Street Photography with Marvin Fernandez

photo by Sherika Mae

Marvin Fernandez, a Web Developer and fellow SOCCSKSARGEN Bloggers has a passion for street photography. In an interview, he shares his fondness on street photography.

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IGUOI FILMS: When did you start in photography?

MARVIN: I started taking pictures around 2010. I’m using a compact digital camera that time.

IGUOI FILMS: What motivates or inspires you to go into photography?

MARVIN: National geographic pictures. 

IGUOI FILMS: Why street photography?

MARVIN: I just discovered street photography around 2012 when my friend showed me several examples. It’s love at first sight. Street photography is more challenging since you can’t control how things will move plus you’ll get a chance to know people, talk to them and eventually learn from them.

IGUOI FILMS: How do you educate yourself to take better pictures?

MARVIN: I joined the facebook group called “Usapang Kalye” where they critic your photographs and make sure you learn from your mistakes. I received so much ditching from the group which helped a lot. I love how they see each photograph and point out the strength and weaknesses inside the frame.

IGUOI FILMS: Among your works, which one is your favorite? Why?

MARVIN: click this link 

This is the first photo where I had the best luck ever.

IGUOI FILMS: Whose work has influenced you most?

MARVIN: Alex Webb, Henri Cartier-Bresson, Gary Winogrand, Bruce Gilden

IGUOI FILMS: Can you identify a unifying theme or recurring thread running throughout your photographs?

MARVIN: I still don’t know. I am still in the process of learning the core of street photography. I still need to define it myself. It’s not easy but I know I’ll get there

IGUOI FILMS: What is the one thing you wish you knew when you started taking photos?

MARVIN: That I should have known street photography before

IGUOI FILMS: What kind of gear do you use?

Camera body – Canon 550D, Fuji x100s, Zenit 12XP Analog camera

Lens – Canon EFS 18-55mm, Canon EF 50mm, Fujinon 23mm 2.0, Photax 35mm

Tripod - Manfrotto

Filters – Hoya ND4

Flash - none

Camera bag – ordinary bag

IGUOI FILMS: Which is your favorite lens? Why? 

MARVIN: All. They function differently in different situations

IGUOI FILMS: When you go in one of your travels, what all you take with you? Why? 

MARVIN: The Fuji x100s, lightweight and compact. It does the job.

IGUOI FILMS: Among the gadgets that you own, is there something that you wish you hadn’t bought? Why? 

MARVIN: Nothing. I bought a gear for specific purpose and not just because of GAS (Gear Acquisition Syndrome)

IGUOI FILMS: What is your favorite camera?

MARVIN: Fuji x100s

IGUOI FILMS: What’s your dream project?

MARVIN: Documenting a gang culture

to check his other works you may go to

marvfernandez.com

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with Tony Esteban Jr.

Mindanao State University-GenSan in partnership with the National Commission for Culture and the Arts (NCCA) organized a two-day workshop called Stage Lighting: The Basic and Beyond last May 20-21, 2014 at MSU-AVR Graduate School. In this photo, Tony Esteban Jr. discussed the basic principle of Stage lighting to the aspiring Lighting Directors in GenSan. 

 

 

 

 

more on Iguoi Photography 

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Jamir (Behind the scenes)

Day1 (April 7, 2014) - Datu Abdullah Tondog Elementary School 
photo by Rachel Hernandez

It’s a fulfillment that I made my second film entitled Jamir. The bad experience that I have encountered in my first short film motivates me to shoot it. The lessons that I gained from it helps me do this film better. 

Jamir is a story of a boy who is torn between his dreams and his “responsibility”. Jamir represents young Muslims in Mindanao that choose school over being a rebel. The story is based on real events happened in 70s and 80s. 

Jamir is supposed to be my fist short film. That time, I was busy that I cannot concentrate writing it properly. The script went a lot of revisions (under the supervision of Teng Mangansakan). So I decided to rest it for a while and pursue Bé. 

The original (time) setting of the film is in the late 70s. Direk Teng advises me that it would be better if the setting is in the late 90s. He said that it would be difficult for me to pursue the late 70s setting because of its demand in production materials. 

I am really thankful that Andrei Karoly Hernandez (Amaya Han) and Meika Vieve Catog (Lady M Chua) extend their support for this film project. When I offer them the role as my Assistant Director and Cinematographer, they eagerly say yes. I felt blessed because I collaborated with my filmmaker friends. I cannot help but compare them to my previous crew because both of them were really good. I have learned so much from them in filmmaking. 

We shot Jamir only for two days. Unlike my first film, the shoot was fast yet suave. My staff and crew were quick, smart and practical in terms of decision making. Furthermore, Jamir was special because my family was involved in the filmmaking process. My Ate was the Producer of the film. My parents help cook the food for the staff and crew. My siblings also act as Production Assistants. And my Uncle and Aunt were actors in the film. 

We entirely shot the film in our place – in Baluntay Alabel, Sarangani Province. The school scene was shot in Datu Abdullah Tondog Elementary School (formerly Baluntay Elementary School). My sister and I asked permission to the school principal before we shoot the film. That time it was end of the school year, so most of the students were all in vacation. Luckily, there were some Grade VI students who were still present because of their school requirements. 

Though there were problems during post production stage, I still manage to fix it smoothly. Problems and challenges are all part in filmmaking. That’s why I make contingency plan to fix it.

Whether Jamir will win in the film festivals or not, I’m still happy and lucky that I was able to shoot this film project. I hope this film will spark discussion on what really happened on the Peace Agreement between the Philippine government and the Moro National Liberation Front (MNLF). I hope it will help the audience to be critical thinkers in the current peace agreement between the Philippine Government and the Moro Islamic Liberation Front (MILF). I do not mean to be a killjoy here but let just hope that this is not another false agreement engineered by the Philippine government and other parties involve in the peace accord.

STAFF & CREW OF 'JAMIR'

Written & Directed By – G.V. Alfasain 

Producer – Vanessa Alfasain 

Assistant Director – Amaya Han 

Directors of Photography – Lady M Chua & Amaya Han 

2nd Camera Operator – Ariel Lalisan 

Film Editor - Amaya Han

Sound Recordist – Ariel Lalisan & Jason Alfasain 

Production Designers – G.V. Alfasain & Vanessa Alfasain 

Production Assistants – Cristy Laila Alfasain, 

                            Jason Alfasain, 

                           Rashid Yusop 

                          Nash Layson 

CAST

Michael Josh Angelo Ramos as Jamir 

Nur Aida Taha as Aya (mother) 

Orlando Layamon as Abdullah 

Annabel Distor as Teacher 

Classmates 

Vincent Sardido as Ryan 

Aladin Taha as Leonard 

Moasar Amell as Rashid 

Cherry Mae Ulgasan 

Fatima Ingkong 

Ma. Ilaica Albarida 

Julayla Pontuan 

Jessie Mae Padivas

Jenny Alomia 

Mariton Cueme 

Marzella Mae Radin 

Norhima Tondog 

Phil Patrick Largadas 

Tomy Yusop as father of Rashid

plese like Jamir Facebook page

end of part 1

UPDATE: 'Jamir' is in "coma". It needs rest. (08-19-14)

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Vlog: Cinema Rehiyon 6

This video was taken during the 6th Cinema Rehiyon last February 18-22, 2014 held at Cagayan de Oro City.

Originally posted in Yadu Karu's Blog

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SanSwê: The Challenge of Encroaching Culture

A scene in the film SanSwê

Sarangani Province is rich in stories that are worth sharing. These stories reflect the daily lives of the people inhabiting in it. Aside from the beautiful sceneries, abundant natural resources and the rich and diverse culture of Sarangani, the stories found in this Province are interesting, enigmatic, entertaining and you can learn a lot from it. 

A good friend of mine and a fellow SOCCSKSARGEN Bloggers, Ariel Lalisan, shares one of the stories of Sarangani in the SalaMindanaw International Film Festival (SIFF) last November 2013. His film SanSwê (it pronounces as Sanswa – meaning Betrothal) depicts the culture of B’laan where parents arrange the marriage of their children. It also presents the challenges face by the B’laan culture from the influence of the outsiders. His film will be showcased in the 6th Cinema Rehiyon this coming February 19-22, 2014 to be held in Cagayan de Oro City. 

In an interview, he said that SanSwê is his first film. Short film for him is very challenging because he is accustomed to direct music videos (in support for local artists). I know from the very start that Ariel has potential for filmmaking. That’s why I persuaded him to join the SIFF. 

“It’s basically learning by doing”, Ariel said. “We wanted to show an actual wedding ceremony of the B’laan but we did not have enough resources to rent traditional (B’laan) attire and the time to organize such an act. I had also a hard time inserting the filmmaking process in my schedule. We did not have the proper equipment like lighting, and we are all first timer. Because of constraints we are not able to follow the script in its entirety”, he added. Despite the challenges he encountered in filming his short film, he enjoyed making it. Supposed to be, I should be his Production Manager & Designer for Sanswe, but our schedule did not meet and I also help Ronald Tamfalan for the film Bé. So we shoot our own films and survive its challenges. 

“Watching my film in the cinema was unbelievable for me”, Ariel said. “I never thought that one day my work would be seen by other people in the big screen. I was very nervous because I’m not confident of my output. The reaction of the people was flattering. At least there were expressions of kilig, laughter, surprise and somehow provoke their thoughts.” 

The character of Mimi in the film is worth remembering. Her character epitomize the young generation of B’laans who get educated in the city and tend to forget their culture. As Ariel explained, “it is easy for them (the young B’laans) to turn their back on their traditions. Mimi embodies the challenges face by the young B’laans in modern times”. He pointed out that showcasing their stories through films may help for the preservation of the B’laan culture. It is important to document this kind of story to educate the younger generation of the importance of culture and tradition against modernization. 

Ariel also shares his dream film project. He said that he wanted to make a collection of films showcasing the rich culture of the different tribes in Sarangani. He wanted to present their plight and sentiments. To make them proud of their identity and to empowered them, as well as to educate the viewers. Moreover, he wanted to tell stories that never heard before or realities that most people tend to ignore.

“If you want to create a great film, you want to harness the talent of the right people to help you carry out your vision,” as Ariel realized. “Film is a very good medium to communicate your ideologies. Sometimes a story may seem simple or complex but if you look at the symbolism and the language use in a film you will realize its richness, depending on the viewer’s interpretation”.

I really admire Ariel for sharing the stories of the B’laan tribe. It is important to showcase their stories for enlightenment. I hope the majority of the Filipino viewers will appreciate this kind of story. Enough with the teleseye type of story because too much “entertainment” will drown us to delusion. As Ariel suggests, “Look around you; immerse yourself in the community. Listen to their stories. Listen to what your heart tells you. Take everything as an opportunity to learn and to grow. Never tire to learn new things.” Ariel's advice may sound cliché but it is still worth a try.

Synopsis 

Ariel Lalisan’s SanSwê (Betrothal) follows Mimi who returns to her family in remote Sitio Atnayan. Being the first in her sitio to have finished high school, Mimi’s homecoming is surely the family’s proudest moment. But not until the stark difference between the new set of norms she has acquired— after several years of living in the town—and the old traditions her B’laan family enshrines begins to turn the reunion into a mishmash of awkward realizations and heated confrontations.

Originally posted in Yadu Karu's Blog

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Baybayong Birhen: Q & A with Amaya Han

Photographed by Melizza Baquiran

In an interview via Facebook, Andrei Karoly Hernandez or popularly known as Amaya Han, talks about her recent film entitled Baybayong Birhen (The Virgin Shore) and her experience filming it.

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Yadu Karu: Amaya, please tell something about yourself? 

Amaya Han: I’m Andrei Karoly Hernandez, 18 years old. I was born in Manila but grew up in Mindanao (General Santos and Agusan del Sur). I’m taking up Bachelor of Fine Arts major in Cinema at the University of San Carlos. 

Amaya Han is a pseudonym. “Amaya” means rain in Japanese. I chose a Japanese name because my dad is part-Japanese, and I chose a name that meant “rain” because I was born on a stormy day. “Han” stands for Hernandez, Ariston, and Narciso - our family surnames. 

Yadu Karu: Was there a particular event or time that you recognized that filmmaking was not just a hobby, but that it would be your life? 

Amaya Han: I’ve always loved watching films and taking videos as a kid. But it was during our second year high school when we were told to make a film for our ComEd subject that triggered me to pursue my filmmaking dreams. 

Yadu Karu: When did you start making films? 

Amaya Han: It was in second year high school. We made a 48-minute horror film. But if we’re talking about making films as a cinema student, then it was when I was in second year college. I made a 3-minute short horror film entitled “12:23”. It was meant for a horror video-making contest. 

Yadu Karu: Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either? 

Amaya Han: Both take courage. Despite all the hindrances, the only thing I had to do was to believe in myself and to believe that God will help me through it all. Everything else will follow. 

Yadu Karu: What is the name of your film, what's your role and what is it about? 

Amaya Han: “Baybayong Birhen” (The Virgin Shore) - It’s about a young couple who discovered a pristine beach. As naturally self-centered as humans are, the couple (especially the young man) forgot how they badly affect (or destroy) the nature, thus leading them to their punishment. In that film I’m the director, costume designer, storyboard artist, and additional sound person. 

Yadu Karu: What’s the inspiration behind the film BAYBAYONG BIRHEN? 

Amaya Han: It was from an observation - as someone who grew up in a less-polluted place, then having to reside in a polluted urban was like a “culture shock”. Pollution became something common that people have forgotten and neglected their duties to Mother Nature. Salamindanaw International Film Festival also inspired the making of this film. 

Yadu Karu: What’s your feeling after making your short film BAYBAYONG BIRHEN? 

Amaya Han: It was a feeling of relief and fulfillment. It was a “relief”, because we were able to make it to the deadline. “Fulfillment” because despite everything that has happened, we did it! As what the veterans say - sometimes it’s the lessons that you learn from filmmaking that makes it fulfilling. 

Yadu Karu: Describe your state of mind when you saw your film in the cinema. 

Of course, I was proud and happy that it made it to the cinemas. I’m sure my teammates were very happy as well. 

Yadu Karu: Can you tell me the challenges that you and your crew encountered during the shooting of the film. 

Amaya Han: There was a lot - actress backing out on the day before the shoot; bad weather and disturbingly strong waves; and time constraints due to work and school schedules. Et cetera et cetera. 

Yadu Karu: Describe the BAYBAYONG BIRHEN in one word. 

Amaya Han: Impressionist 

Yadu Karu: When I saw your film at the SalaMindanaw International Film Festival last November 2013, I notice that you hired professional actors from Cebu City. How’s working with them? 

Amaya Han: I didn’t hire them. The actor (Eli Razo) told me that he would co-produce and act for free in my film. The actress (Mutya Collander) who replaced the actress who backed out the day before the shoot is his friend; and the diwata is my older sister. Working with them was all good. 

Yadu Karu: Most of your short films tackle about the importance of environment like BAYBAYONG BIRHEN, so what motivates you to insert this advocacy in your film(s)? Is that your advocacy? 

Amaya Han: My motivation is the reality and yes, that's my advocacy. As much as possible I want to include these issues that we, humans, are gradually disregarding. 

Yadu Karu: As a (young) female director, have you experience any advantages or disadvantages in filmmaking? 

Amaya Han: Yes, I have. Trusting and expecting too much, but you learn from these “disadvantages”. At least you know what to do next time. 

Yadu Karu: Any interesting comments from the audience members during the film screening? 

Amaya Han: “Ngano di sila ga-istorya? Wala koy masabtan.” (Why they didn’t talk? I didn’t understand the film). It’s weird but sometimes I like it when people don’t understand my films. 

Yadu Karu: What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen? 

Amaya Han: I learn the art of Improvising. We had to remove or replace some scenes because we were running out of time (we were catching the last boat ride back to Cebu). I won’t say that it’s actually a good thing removing scenes from the original plan, but it helped. 

And also I learned that it is better to get your close friends or close relatives as actors (or even as crewmembers). If you plan to get legit people, then pay. Because once you pay, some people change and work better. Never sacrifice the quality of your film. 

Yadu Karu: If you are given a chance to change the ending, what would it be? 

Amaya Han: Nothing. I like it as it is. 

Yadu Karu: What’s your dream film project? 

Amaya Han: Surreal horror films. 

Yadu Karu: What advice would you give to someone who wanted to have a life creating film? 

Amaya Han: I’m still new at this and I still have a lot to learn but for me, we all just have to believe in what we can do, and actually do something about it – that’s where the magic starts to happen. 

Yadu Karu: After BAYBAYONG BIRHEN, what’s next? 

Amaya Han: I will make a short film or two; some collaborations with my pioneering cinema-mates, and my thesis film. I really wish to shoot it in GenSan, that’s if the budget allows me. If not, then maybe next time.

Baybayong Birhen (The Virgin Shore)

BAYBAYONG BIRHEN (THE VIRGIN SHORE) 

Director – Amaya Han 

Writer – Diem Judilla 

Producer – Rachel Hernandez & Eli Razo 

Cinematographer – Jay Hernandez 

Editor – Jay Hernandez 

Music – Michael Vincent Tuico 

Sound – Jay Hernandez, Mykko Archie Zamora 

Cast – Astrid Hernandez, Eli Razo, Mutya Collander 

Duration – 10 minutes

Synopsis 

The spirit of the Sea takes rest in human form and relaxes in the waves of special shore. A couple discovers the shore and they make it their special place. The Spirit blesses their love, until the boy, who is careless, litters the seashore. Along with the sea, the Spirit’s human form changes from pristine to polluted, decaying its benevolence into malice. When the boy finally proposes, the Spirit captures him and takes him away. Later, the girl realizes what needs to be done: the shore must return to its original state in order for her beloved to return.

Originally posted in Yadu Karu's Blog

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Precy and her film’s lullaby

Photo by Precy Regalado

Precy M. Regalado is a woman who can do two things at the same time. When I first met her in the summer of 2013 (The 1st GenSan Summer Film Camp) I admired her for being sincere and passionate not only for being a teacher but also for being a filmmaker. 

Maam Precy (as commonly called by her students) is a University Professor in Mindanao State University- General Santos City. She is in the College of Education and teaches the subjects - Methods of Research; Education Technology; Curriculum Development; Music and Arts for Teachers; MAPEH; Ed.102; Principles and Methods of Teaching; Teaching Profession and Ed 197- Practice Teaching. These subjects are taught in her 2nd and 3rd year class. Currently, she’s taking her Ph.D in Education at Notre Dame of Dadiangas University (NDDU) of GenSan. With these heavy loads I could say that she is a superhuman. 

Despite the busy schedule, Precy still manage to shoot her first film entitled HELE NI LORNA (LORNA’S LULLABY). In an interview via Facebook, Precy shares her experience in shooting her first film and impart the lessons she have learned in filming it.

Yadu Karu: Precy, please tell something about yourself? 

Precy: I’m a College professor of Mindanao State University of General Santos City, I’m a Seventh Day Adventist and a proud mother of two children. 

Yadu Karu: Is it hard to combine your profession as University Professor & filmmaking? 

Precy: No, It’s not hard for me combining my profession and filmmaking because in the first place filmmaking is my passion. Filmmaking is part of my profession because I’m teaching Educational Technology to education students where filmmaking is one of the course highlights. 

Yadu Karu: What motivates you to make or shoot a film? 

Precy: [The media] and my students - because they are the first one making films under my instruction. I was challenged by their works, for I didn’t have my own to be proud of before. Then, until such time, I tried to make my own. 

Yadu Karu: Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either? 

Precy: Yeah! It’s really hard because I don’t have a formal schooling on this field. I have a limited background when it comes to filmmaking. But my desire to know better helps my development in this field. And I have to balance my time with my profession, my family and filmmaking. 

Yadu Karu: What is the title of your film, what's your role and what is it about? 

Precy: It’s HELE NI LORNA (Lorna’s Lullaby). I am the director of this film. It’s about postpartum blues of a mother. 

Yadu Karu: What’s the inspiration behind the film HELE NI LORNA? 

Precy: It is based on true story. HELE NI LORNA inspires many mothers who undergone the same predicament with Lorna in the film. This tells people that there is hope in every bad situation that happens to every individual in this world, especially if it measures the love of a mother to her child. 

Yadu Karu: What’s your feeling after making your short film HELE NI LORNA? 

Precy: A feeling of fulfillment. 

Yadu Karu: Describe your state of mind when you saw your film in the cinema. 

Precy: I’m so excited with a mixture of fear and doubts, asking myself if I can really make it! But along the way, I felt the acceptance of the audience, hearing them shouting, sometimes, silence and laughing in many scenes they have seen. That was also the first time when our Chancellor told me that my film can be compared to a professional one. I was so happy because I felt that he’s proud of my work. 

Yadu Karu: Can you tell me the challenges that you and your crew encountered during the shooting of the film. 

Precy: There were many challenges such as the preparation of all the things needed in the story and of course, the budget. But Thank God, we have a kind director in the person of Direk Teng Mangansakan with Moises “Musoy” Charles Hollite who always there to support us. 

Yadu Karu: Describe the HELE NI LORNA in one word. 

Precy: Amazing 

Yadu Karu: Most of your actors in HELE NI LORNA are your students and friends. How’s working with them? 

Precy: They are all kind, creative and supportive, that’s why I did not find any idle moment working with them. 

Yadu Karu: During the Q & A portion of the SalaMindanaw International Film Festival last November 2013, you said that your film talks about post-partum depression and partly based in your story. Is it hard to express it visually? Since it’s a personal story? 

Precy: For me, I didn’t find any difficulty to express it visually because as what I have said before, it comes from a true story of my best friend and partly from my own story. It’s not hard to visualize on the things familiar to you. 

Yadu Karu: What’s the usual advice that you have given to your students? Is that advice change when you made your first film? 

Precy: I have been telling them that in making a film, they need to be creative, imaginative and most of all they must have patience and positive outlook that they can really make it. No, it didn’t change because based from my experienced I have proven that all instructions I’ve shared to them are true! 

Yadu Karu: Any interesting comments from the audience members during the film screening? 

Precy: I’ve heard them saying, it’s a beautiful film, amazing, the actors are good especially the lead actress Lorna my student and etc… 

Yadu Karu: What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen? 

Precy: I’ve learned that NOTHING IS IMPOSSIBLE if you commit everything to the Lord. He is always with me since I started dreaming this art. During the making of film, he provided me everything I need, family, mentor, actors, friends even the budget because it’s not easy to make a film especially if you don’t have budget. But Thanks to my God, many of our friends extended their help to make my film Hele ni Lorna a success! 

Yadu Karu: What’s your dream film project? 

Precy: My dream film project is to make a full length film of my life story about Gold mining. I know, you know that already Yads, because I already shared that during our film camp seminar. 

Yadu Karu: What advice would you give to someone who wanted to have a life creating film? 

Precy: My advice to those who wanted to make a life creating film is: Keep up! Keep going, whatever happens, reach your dream! Start making film from a familiar one and please, Don’t Give Up! Trust your God and hold on to His promise that whatever happens, He will never leave you! 

Yadu Karu: After HELE NI LORNA, what’s next? 

Precy: With God’s will, this coming summer, I’ll start making my next project. Hopefully, I can also finish my schooling before this term ends so that I can concentrate making my dream film.

HELE NI LORNA (LORNA’S LULLABY) 

Director – Precy Regalado 

Writer – Precy Regalado 

Producer – Precy Regalado 

Cinematographer – Sharla Raye Billena 

Editor – Kitty Bermudez 

Sound – Sem Catayoc 

Music – Sem Catayoc 

Assistant Director – Cyprus Cyrmith Mayormente 

Production Manager – Moises Charles Hollite 

Production Designer – Roderick Planos, Dannilyn Manayan, Mary Jane Espanola 

Cast – Sheelou Leyva, Mercy Guilas 

Production Company – Montregal Productions 

Durations – 20 minutes 

Synopsis 

There’s no greater love on earth than that of a mother to her child. But sometimes in life, there are things that test the stability of a mother’s love. One morning, Lorna wakes up with a changed behavior, a seeming phantom engulfing her whole being, threatening to cut he bond between her and her child.

Originally Posted in Yadu Karu's Blog

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