Q: Without viewing the photo on the camera's lcd, how would you know if you were successful in capturing a candid moment?
A: As your pressed the shutter and the mirror slapped to block the viewfinder, you were not able to see the candid moment happen.

A candid moment passes by with a blink of an eye; in a split second. It is a moment that is fleeting. Henri Cartier Bresson once said, "The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box."

Capturing human emotion is the most gratifying aspect of shooting portraits or events. The key is blending in the environment, having a solid knowledge of your camera, and a coordinated eye and finger tandem driven by a perceptive mind. We normally refer to the third as - anticipation.

If you don't blend in, people don't relax to your presence. So their real self is repressed. If you don't know your camera, you'll fumble and miss the shot, or get a fuzzy and/or wrongly exposed photograph. If you can't anticipate an emotion about to happen, even if you do so well in the first two keys, you still won't be able to catch a candid.

Static shots are easy. Add light to a static subject and you get drama. But if you freeze emotion, you produce a photograph that appears to have a life of its own. That is what candid photography is about.

These are my favorite candid photographs of 2008.

For my multiply, click HERE.

A young girl jumps to embrace her mom after winning a game
The Growing Place (School) Family Day
1/500 f/4 ISO400 200mm


Pat spins away to evade being photographed
2nd Shoot-Me-If-You-Can Game
1/750 f/4 ISO400 200mm


Eric and Char laugh it out, as Char tries to hide in embarassment for her strange grand entrance (long story, can't say, sorry, hehe)
Eric's Despedida
1/20 f/2.8 ISO800 17mm Slow sync flash


Noel cries as he hugs Ben, his former cell leader, in a portion of the Encounter where the cell leader ministers to his disciple
DMI Men's Encounter
1/20 f/1.4 ISO1600 30mm


Sam amused with confetti, picks up the used paper and throws it on himself
DMI Men's Encounter
1/125 f/1.4 ISO1600 30mm


Dan and Jill laugh as the latter hands over her going away present to the still single, Dan. It's a book entitled, "10 Great Dates Before You Say I Do."
Dan Orc's Despedida in Church
1/250 f/2.8 ISO1600 17mm


EJ, a close friend of Dan Orcullo, cries as he and the rest of the leaders pray for the latter during his last day in church
Dan Orc's Despedida in Church
1/160 f/2.8 ISO1600 44mm


Martha and Sam horsing around while on videoke
Eric's Despedida
1/20 f/2.8 ISO800 40mm Slow sync flash


Vky and Mina laugh at a joke thrown during a get together
UP CORE Get together
1/80 f/2.8 31mm


Butch impersonates Kuya Carlo during his birthday party. Kuya Carlo gets back at the prank and returns with a high five
Kuya Carlo's Birthday Surprise
1/80 f/4 ISO800 17mm TTL flash



All photographs were shot with a Nikon. =)

Events photography is the most difficult field of photography. Landscape and portrait photographers may disagree, but I'm pretty sure the rest of long-time events photographers would agree. Hehe. Peace out to the local photography community.

In addition, events is the photographic field over saturated with photographers, because it is the easiest to enter into in the early stages of a career. Amateur photographers would bite at any event, from birthdays, to debuts, to weddings, to corporate functions, to concerts, to fashion shows, etc, etc. The list goes on and on.

While it is the easiest to settle into, not all photographers become excellent in this field. I have seen a number of so called professional events photographers showcasing crap to their clients or online. The trouble nowadays is that anyone who buys a camera calls himself a photographer. And a photographer shooting for a fee calls himself a professional. Clients may not be too discerning (especially when the photographer edits like there is no tomorrow), but the more perceptive photographers know crap when they see it. =) [Note: crap is an ugly photo or work or style sold off to clients as professional or modern or progressive work]

The prevalent and woeful practice among local amateurs entering events photography is to either give away their precious service for free or undercut the local acceptable rates by offering dirt cheap service fees. The most common reason amateurs do this is to compete with the professionals and win some clients over to their stead. They believe that since they are new to the biz, they're not suppose to charge like the professionals. So they charge lower. The second reason, is because they think it is the only way they could gain experience. Both are pure cow dung (or  BS* if you prefer).

A few years ago, the talk of the local community was about some amateurs who gave away their service for free to the organizer of an underwear fashion show just to see scantily clad women walk the ramp. That is pure stupidity.

Some hobbyists who earn a stable pay from their day jobs are known to shoot events at night or on weekends, without caring if their rates are competitive. They do not care because their day jobs provide for their family or personal needs. What they care about is the money they get so they can buy more equipment. Because photography forum culture teaches us that buying more equipment makes us a better photographer. Morons think that way.

Because of this malpractice, the local events photography industry is suffering a seemingly irreversible ripple effect. Service rates are going down because of low-balling, while more and more enthusiastic and foolish amateurs enter the field, so less and less work becomes available. The average events organizer is now looking for the cheapest events photographer. The cheaper, the better. Only a handful really care about quality nowadays.

I have been very vocal about this malpractice over the years. I don't know if it's affecting amateur photographers in my circle of influence. But I hope I am influencing my friends.

Some amateurs who think that they need to bite into the professional market to get experience fail to see that practice can also be had in other areas. Apprenticeship is up on the list. Another are local NGOs who have limited budgets for professional photographers but welcome volunteers. Others are churches and para-church organizations. There are many ways to gain experience. It's just a matter of looking carefully.

So there. I just needed to get that off my chest. If I have struck some emotional chord in you, well and good! That means I am producing impact trying to save what is left of the local events photography industry.

Five years into documenting events and I still love doing it. Events is where I began as a photographer and remains my bread and peanut butter (sic). =) Early in this field, I have set my mind to run away from the pack; always trying to bring something new on the table; not being fully satisfied even with good photographs; all along raising the bar against myself. Over my stay, I have continuously refined my technical skills, attempted to learn new things at every opportunity, told a story out of every photograph whenever possible, and patiently produced a style a cut above the rest.

I am not your average events photographer.

Here are my favorite events photographs of 2008.

For my multiply entry, click HERE.

Oblation and people watch the fireworks display during the UP Lantern Parade; the closing event of UP's centennial celebration
4.2s f/9 ISO200 23mm


Sarah, daughter of Cesar Castellanos, dancing during worship
G12 Conference, Cuneta Astrodome, Pasay
1/100 f/5 ISO500 12mm cropped


4,600+ people packed the Cuneta Astrodome for the 2nd National G12 Conference
4s f/13 ISO100 24mm
Seven vertical photos stitched to make a panoramic view.


Husband and wife, pastors Carlo and Zha kiss in the closing portions of the topic on strengthening marriages
G12 Conference, Baguio
1/13 f/2.8 30mm


SM's hot air balloon
12th Philippine International Hot Air Balloon Fiesta
1/15 f/4 ISO800 22mm


A dance performance during DMI Los Banos' 18th Anniversary
1/60 f/2.8 ISO1600 17mm


A Bossa performer amidst glass trophies
Unilever Star Awards
1/125 f/2.8 ISO800 17mm


Scene after the altar call
Fire and Glory Conference, Word of Hope
1/80 f/2.8 ISO1600 82mm


Shoes of the deceased are handed over to the relatives before the cremation
First funeral service I documented
1/20 f/3.5 ISO800 18mm


My brother Em, finds love and finally settles down
Em & Belle's civil wedding
1/90 f/2.8 ISO1600 17mm

Now for my favorite portraits. Understand that I was only able to photograph a few people this year so the selection for portraits was meager. Add to that the fact that portrait photography isn't really a major part of my work (Except for when I do portraits in weddings. That is a different item).

I've noted in my earlier post that a photographer shouldn't limit himself to a single field of photography. Knowing how to work in other fields is essential to a wholistic growth. Yes, specialization is good for business and in advancing against your peers, but on the other hand, it doesn't hurt to learn new things and have fun in the process.

In the case of editorial photography, (depending on the magazine) editors expect the photographer to have a firm grasp of different fields of photography. For instance, my work for Mabuhay Philippines magazine allowed me to shoot food, portraits, landscapes, interiors, and products. Had I been stubborn and limited myself to shooting events, I would not have had the pleasure of photographing other things (and seeing my name printed on the magazine).

One failure of some people beginning in photography is to concentrate shooting in a single field only, because of their passion for that area. While passion is essential to producing good work, it can become a handicap, limiting that photographer in unraveling his potential in other fields. We know that in photography, you can't tell what you're good at, until you begin doing it.

And now I'd like to address another issue - the use of flash. At one gathering in UP Photography Society, I was chatting with an applicant and she mentioned that she preferred not to use flash when shooting portraits. At first, I thought it was one of those artistic preferences. I asked more probing questions and found that the main reason she hesitated from using flash is because she didn't know how to use it.

Well, 5 years ago, I didn't know how to use flash. Let me tell you an interesting story about buying a flash accessory. Back in my film days, I had purchased an entry-level Sunpak manual flash. Then I read online that an accessory called a stofen omnibounce would help me soften my flash light. So I set out to buy one for my flash. When I arrived at Avenue, in Hidalgo, I inquired about the stofen with one of the salesperson. Another customer, a guy maybe 5 or more years older than me overheard my inquiry. He butted in in the conversation and asked to see my flash. I showed it to him and he told me with an air of smugness, as if saying my cheap flash necessitated no accessory, that instead of buying a stofen, I was better off with a bounce card (tying a calling card with a rubber band to my flash head). Being new, I didn't know that my flash's power output was weak negating the use of a stofen. I got out of the store with a piece of advice that helped me greatly in the next 3 years shooting events. Of course, I would have preferred that the proud guy who offered unsolicited advice treated me better, but that's part of the industry. On one hand, you meet the nicest photographers whose photographs stand out. And on the other hand, you run into conceited photographers, and there are many of them in photography forums giving hobbyists and amateurs plenty of advice, whose photographs are rubbish.

Now, before I veer away and begin talking about smug photographers (Hehe. I have a feeling a couple of them visit my multiply and prefer not to leave a comment. Haha.), let me offer a piece of [unsolicited =) ] advice to hobbyists and amateurs desiring to shoot portraits - learn how to use flash. Exhaust the functions of your pop-up flash; buy a speedlight and exhaust it's function; then buy some strobes and continue learning. For the many Nikon users out there, learn CLS (creative lighting system). It'll do wonders to your photography. =)

Now for the photos!
Note: unless written, all photos shot without flash. For my multiply entry, click HERE.

Napoleon Abueva, national artist (sculptor)
on assignment for Mabuhay
1/60 f/9 ISO200 60mm
lit with one 80watt bare strobe


Che and Noriel, prenup portrait
The Greenery, Bulacan
3s f/7.1 ISO400 35mm
lit with Nikon CLS: 2pcs remote SB800 on SU-4 mode (manual)


Children at Antipolohan beach
Narra, Palawan
1/250 f/7.1 ISO100 170mm
lit with Nikon CLS: 1pc remote SB800 on SU-4 mode


Little girl of Barangay Balingasay
Bolinao, Pangasinan
1/500 f/4 ISO200 70mm


Marrian de Goma
UP Diliman
1/90 f/4 ISO400 48mm


Man harvesting clams
Bolinao, Pangasinan
1/320 f/4 ISO200 200mm


Em and Ezra
Luli Island, Honda Bay, Palawan
1/180 f/8 ISO200 12mm


Nanay
at home
1/25 f/1.4 ISO800 30mm


Tatay
Cebu Pacific airplane to Palawan
1/400 f/2.8 ISO800 23mm


Lawin or Zorro
UP Diliman
1/160 f/4 ISO400 45mm

Now, for my favorite animal or object photographs.

For my multiply entry, click HERE.

Flames
DMI Men's Encounter
1/400 f/4 ISO400 55mm. Nikon D40 + Nikkor 17-55 f/2.8


Owl
Crocodile Farm Zoo, Palawan
1/60 f/4 ISO800 200mm. Nikon D200 + Nikkor 70-200 f/2.8


Wine and Glass
For Mabuhay Philippines Magazine
1/60 f/9 ISO100 60mm. Nikon D200 + Nikkor 60 f/2.8 Micro + Strobes


Faucet Heads
3rd Floor, CSWCD Bldg., UP Diliman
1/125 f/8 ISO400 55mm. Nikon D200 + Nikkor 17-55 f/2.8


McDonalds Signage
Clark Airbase
1/2000 f/5.6 ISO100 70mm. Nikon D200 + Nikkor 70-200 f/2.8


Leaves
At Home
1/400 f/4 ISO100 50mm. Nikon D200 + Nikkor 50 f/1.8


Dogs Running
Snake Island, Puerto Princesa, Palawan
1/640 f/5.6 ISO100 200mm. Nikon D200 + Nikkor 70-200 f/2.8


Honeybees
Baguio City
1/125 f/4 ISO1600 55mm. Nikon D70 + Nikkor 17-55 f/2.8


Hanging Laundry
At Home
1/1250 f/1.4 ISO100(?) 30mm. Nikon D70 + Sigma 30 f/1.4


Dessert (didn't note the name, sorry)
Zucchini's, QC
1/125 f/11 ISO100 55mm. Nikon D70 + Nikkor 17-55 f/2.8

Happy New Year!

Let me open this year by showing you my Top 10 favorite photographs from the year 2008. In every blog/album entry, I'll be displaying my favorites, each from a variety of photographic fields I dabble in.

Today, it's about landscapes. Enjoy the photos!

For my multiply link on these photos, click HERE.

Paniki Cave
Biak-na-Bato, San Miguel, Bulacan, June 07
30s f/11 ISO100 26mm. Nikon D200 + Nikkor 17-55 f/2.8


Sunset Behind a Curtain
viewed from the RVC Building, Anonas, Quezon City, January 19
1/125 f/11 ISO500 17mm. Nikon D40 + Nikkor 17-55 f/2.8


Raincloud
Honda Bay, Puerto Princesa, Palawan, May 01
1/500 f/11 ISO100 35mm. Nikon D200 + Nikkor 17-55 f/2.8


Sunset behind Mount Sto. Tomas
Baguio, December 29
1/80 f/11 ISO400 30mm. Nikon D70 + Sigma 30 f/1.4


Bolinao Waterfalls
Samang Norte, Bolinao, Pangasinan, March 01
1/2 f/16 ISO100 35mm. Nikon D200 + Nikkor 17-55 f/2.8


Reflection of Coconut Trees
Panacan, Narra, Palawan, May 04
1/40 f/11 ISO100 15mm. Nikon D200 + Tokina 12-24 f/4


Underground River Bay
Palawan, May 02
1/40 f/11 ISO100 17mm. Nikon D200 + Nikkor 17-55 f/2.8


Ocean view at the Taclobo Travel Lodge
Sta.Cruz, Zambales, February 29
6s f/11 ISO100 14mm. Nikon D200 + Tokina 12-24 f/4


Clay Evaporates
from a dried Sto.Tomas River, San Felipe, Zambales, February 28
1/40 f/11 ISO400 12mm. Nikon D200 + Tokina 12-24 f/4


Subic Bay
Zambales, February 28
1/60 f/8 ISO100 17mm. Nikon D200 + Nikkor 17-55 f/2.8

Dec 17 '08

For more photos in my multiply, click HERE.

Before anything else, I'd just like to say, I had a fever during the Lantern Parade. This explains why I was only able to take a few shots compared to last year's parade. Add to that the new parade movement scheme we still couldn't understand. Despite my condition, I opted to go since it was one of the major events I look forward to every year and this was the closing event of UP's centennial celebration.

UP President Emerlinda Roman leads the parade.


The UP Lantern Parade is the time we get to see our old friends and familiar people. I'm blessed to have a variety from different colleges, students and alumni alike. So whenever possible, I try to photograph them.

Roi and Dana. It's good to finally see this lovely couple working with the same camera system (Dana shifted to brand B). Now they can swap lenses. =)


Of course, who wouldn't recognize Lawin or Zorro.


It's interesting that more and more people are toting digital SLRs now. Thanks to Nikon D40 (and series) which provided the most affordable cameras. That explains why you've seen a lot of Nikon cameras during the parade. The downside of having more SLRs is that each photographer would have to contend with another when shooting the same subject simultaneously. We either take turns or block another. My apologies to those photographers I've blocked. Hehe.

It was good timing that I happened to be in front of the Landscape Architecture group when they decided to show off their float.




I think this bass drummer rocks.


The College of Engineering, perhaps the largest contingent, paraded as a long stretch of students in orange shirts. Every now and then, they would make a wave from one end of the line to the other. It was fun to see! This is what it looks like in the middle of a wave.


I saw this float of plastic cups pinned together (about 6 people held it) earlier during the parade. Whoever pinned those cups must have loved doing it. That person might likely be phlegmatic. Hehe.


It looked better later in the evening once they've placed luminous sticks in the cups.


The parade showcased fascinating Lanterns/Floats from different colleges. At the back those lanterns, are tireless students who either carry or push them.


Changing perspective using a telephoto lens (1st photo) and an ultrawide lens (2nd photo).




The College of Human Kinetics' version of the film 300. I used to have abs that good. Well, maybe not identical but nearly as good. Haha. Later in the evening, some of them were complaining about the cold temperature. Unfortunately, soldiers in the film didn't have warm clothes. =)


And the finale - the UP College of Fine Arts, where the most exciting, colorful, weird, and fun lanterns come from.




I have 6 cow items at home. So I'm not really into cows. =)


Taken with a Sigma 30mm f/1.4. Love the smile and the bokeh.


We set up our tripods in front of oble early, expecting the fireworks to be at the back of Quezon hall.


It was a good thing I ran around to check and see where the fireworks were before we quickly transferred to the back of oble for a better perspective. Thank God we were able to set up in time. Haha. This is the shot that sent me home smiling, happy and proud. 4.2s f/9 iso200 23mm.


---

Geeky Corner:

Ok, now I'm pretty sure there are a lot of photographers reading this, so what follows should help.

What I brought along during the parade are: Nikon D200, Nikon D70, Nikkor 70-200 f/2.8 VR, Nikkor 17-55 f/2.8, Tokina 12-24 f/4, Sigma 30 f/1.4, 2pcs Nikon SB800, Manfrotto tripod & ballhead, and a cable release (for the fireworks).

Years ago, I used to shoot the parade with a 70-200 and a 17-55. But acquisition of new lenses changed that, as I found myself shooting more with the 12-24 ultrawide most, and the 30 1.4 second during the parade. Why I preferred to shoot with those lenses is simple. The ultrawide gave me a different perspective than the rest of the photographers around who might likely have the 18-55 lenses attached. It also allowed me to enter into tight spaces and still photograph full portraits of people or large lanterns. Lastly, the distortion is really fun to use (but must be used with care). On the other hand, the 30 1.4 allowed me to shoot in low light and blur my background for those select portraits.

I've seen a couple of photographers hauling around their tripods in the afternoon of the parade. An alternative would be to leave your tripod in a secure place and return for it to shoot night scenes like the fireworks. Being lightweight equates to being more mobile during a parade.

By order of flexibility of use, especially when swapping lenses, the bags for events are: 1) utility belt or what some call, "batman belt", 2) camera shoulder bag, and 3) camera backpacks. Strongly consider investing in a utility belt set when you find yourself shooting more and more events. Someone was kind enough to take a photo of my back. Hehe. You can view it HERE.

When shooting fireworks, buy a decent tripod and a cable release. Those are essential.

Smile and nicely ask people for their permission if you want to take a posed photo. You'll be surprised at how many people are willing to be photographed.

Here's some more tips.

• Avoid shooting a lot, unless you have plenty of time to sift through tons of photos afterwards.
• As a potential subject approaches, visualize the composition and tweak the camera settings as you are or the subject is moving. It pays to be familiar with your camera.
• Shoot smart, shoot less.
• Be really choosy when trimming down your photos for display.
• Learn batch processing in photoshop.
• Be a happier photographer who posts his photos quickly and gets more sleep.

Ola!

For more photos in my multiply, click HERE.

Chuckie, our beloved Chihuahua passed away early morning of yesterday (Dec 02). He died due to liver failure, a sequential complication from his long-standing skin disease. During the past days, he was yellowish and refused to eat. He was last found lying lifeless in his cage, hardened, cold, and bald.

Even though he became bald, I continued to take him out in our neighborhood streets for his exercise whenever possible. He proudly trotted, walking as if he had hair, tugging me in tow with his little legs. He was the curious kind, sniffing new items on the street, foraging through grass for interesting things.

Chuckie lost nearly all his hair following his year-long bout with the persistent skin disease. Strangely enough, vet medication didn't seem to help at all. I feel bad for having failed to walk him recently. Had I known he was leaving us, I would have brought him to UP Diliman, knowing he'd enjoy running in the lush, wide grasslands.

These photos were taken when Chuckie first arrived in our home. He was still a healthy young pup, fragile, yet extremely frisky at times. And this is how we choose to remember him.

Farewell to you Chuckie. =(

To those whose heart's might be touched, my Christmas wishlist items and their worth follows. Hehe. They are arranged in order based on need. =)


1. Honda Jazz (used)                               400K
2. Strobes 600 watts (2 pcs)                      60K
3. Lee Filters + Holder + accessories        35K
4. Nikon D90 + grip                                    55K
5. Nikkor 24-70mm f/2.8                            80K
6. Nikon D700 + grip                                165K
7. Macbook (2nd unit)                                65K
8. My own Photo Studio                           300K
9. Nikkor 50mm f/1.4                                  30K
10. Nikkor 85mm f/1.4 AF-S                       50K
11. Nikkor 80-400 AF-S VR                        60K
12. Nikkor 200mm f/2 VR                         210K

Hello!



Three of my photographs are exhibited in the East Avenue Medical Center lobby starting November 17 (Monday) until 21 (Friday). This showcase of paintings and photographs is a fund raising event of the surgery department. Two of my photographs are still for sale. I hope you can come and visit.

Cheers!

Dan Cercado

Oct 16 08
UP Diliman

This picture-taking was in preparation for Marrian's shoot for her setcards. UP Diliman is the default location when I can't think of anything elses. =)

For more photos, click HERE.



Admittedly, I'm still new to this side of photography - portraits. I really grew up shooting events, some landscapes, and some products. Photographing people in events is different from taking posed portraits. The main difference of course is that the skill and timing required of a photographer in taking portraits in events is different (I know, it's redundant). Before any portrait photographer reading this reacts violently, allow me to explain.

When shooting portraits in events, often the photographer is not allowed the liberty of posing and lighting the person. So he is forced to shoot as the subject moves, while taking note of the lighting, and making sure that the timing is right. Whereas in posed portraits, those factors are nearly controlled. The static subject poses at the count of the photographer, while the lighting is set.

Note that I'm not insinuating which field is more difficult. I'm just explaining how things are done in the actual shoot.

Being new in this field, I have much to learn in doing portraits, especially in artificial lighting. The only time I get to shoot plenty of portraits are in weddings. But those moments only comprise a small fraction of the whole event. So what I bring on the table when doing portraits are the beef I've picked up in weddings.

While I enjoy shooting events, I've come to appreciate the value of immersing in other photographic fields. I've stressed the importance of this practice a number of times here and in my multiply. It's not healthy for a young photographer's growth to merely concentrate on a single field in photography. While the motivation varies from one photographer to another, bragging right as having specialized in a single field is shallow (ex. I'm so and so. And I'm a caterpillar photographer! Voila!).

So whether one is a professional or a hobbyist, a variety in practice is essential to getting better. You'd be surprised to learn that principles being applied in different photographic fields actually overlap. What you learn from one field can be used in another.

So don't be comfy merely being a caterpillar photographer. If you like shooting sports, go out and shoot food. Test your boredom. If you like food, shoot landscapes. You'll love the color and the exercise. If you like posed portraits, shoot events. Transform those fats into lean muscles, while developing your timing.

Get plenty of exposure on varying fields while there is time and while opportunities are present. That's the way to get better.