Stars and Skype

Long distance relationships are difficult, but nowadays, technology makes it somewhat bearable. Cellphones and computers allow friends, families or lovers to chat and see each other at any time of day or night, and in the privacy of their own rooms, or even cars (Just don’t drive and text).  And while we pay for Internet or cellphone service, connecting to another anywhere in the globe is actually free with Facetime, Viber, Hangout or Skype.

In the early 1970’s, when John was courting me (in those days, men courted women and we never said  “when WE were courting …”), John’s mother considered me a bad influence because I was encouraging him to work as a photographer, which meant that he was not paying attention to the family business. To separate us, she sent him off to Iloilo to stay with his sister. Now, in those days, there was no Internet, email or Skype, there were no cellphones or even pagers, and public coin-operated phones were just for local calls. Long distance calls could be done if one had a landline at home (we didn't) or would have to be done at the telephone company's premises.  Mailed letters took a long time, so any messages that needed to be rushed were sent by telegrams. 

My family was poor and we did not have a phone at home. If John wanted to call me, he would have to call my aunt’s house, which was next door, and wait for someone, usually my aunt’s maid or houseboy (then called servants) to call me and for me to rush to my aunt’s house. With cousins practically eavesdropping, there was no chance for John and I to say sweet nothings to each other. Besides, in those days, telephones had party-lines, meaning, two phone owners, usually neighbors, took turns in using one phone line. As a matter of phone courtesy, when one lifts the handset and hears someone talking, that person must put the phone down gently, and wait. If you’re the one using the phone, sometimes, it meant hearing that handset being lifted and put down over and over again, and when the other party becomes impatient, they say “Hello, party line, puede ba ako naman (may I have my turn?)  There was no way to stay on the phone a long time to make “telebabad” (staying too long on the phone).  

It was too embarrassing to use my aunt’s phone to call long distance, so for calls that I would have to initiate, I would go to the Philippine Long Distance Company office in Port Area, near the foot of Jones Bridge (two jeepney rides or approximately five kilometers from Paranaque, where I lived).  There were booths there, and callers were guaranteed not only soundproofed privacy, but also no party lines waiting on the wing for me to finish my call. But long distance calls were expensive, and I did not have the money to make such calls. 

Before he left for Iloilo, and anticipating the difficulty of keeping in touch, John agreed to my romantic suggestion to connect somehow by gazing at the sky and looking at a row of three stars (Orion’s belt) at the same time every night at exactly 7:00PM. We had no cellphones or Internet, it is true, but what we had was a direct connection, soul-to-soul through the stars, it was private, and it was free. Who needs Skype?

John eventually came back to Manila. We set up Adphoto, got married, and raised our own children. We’re still together, so obviously the stars worked. Once in a while, through the more than 40 years since the 1970’s, when John and I look up at darker provincial skies (disappointingly, Metro Manila no longer offers a clear view of the night sky), we give thanks that when we did not have Skype, we had the stars. 

Motorbike Backrider

Carless and often cashless, our only means of transportation in the 1970’s was John’s 350cc Honda motorcycle, a gift from his father. It was a cozy way to be riding together, with my arms around him for safety.

Riding the motorcycle was the way we picked up and delivered work. During those days, there were no personal computers (no “Powerpoint” or “Keynote”), and slides for audiovisual presentations were made from photographing handmade artworks drawn on 30”x40” illustration boards. If available, words were made with the use of letter transfers (“Letrasets”) and if not, they were created by skillfully airbrushing them on the boards. The boards are carefully wrapped because the colored inks used on them were attractive to roaches.

Since all we had was a 35mm Nikkormat with a 43-86mm zoom lens, most of our jobs were doing these slides. We would pick up the boards from the ad agency and bring them to our studio to shoot.

John would get up on his motorcycle and I would then gingerly mount the motorbike behind him with the wrapped illustration boards between us, leaving me with no way to wrap my arms around John or to hold on to any part of his big bike.  As long as we were not riding over speed bumps or potholes, we were fine, but John would continue to show his concern for me by saying, “Talk to me and keep talking, so I’ll know that you’re still there.”

Wasn’t that sweet? ;)

John in Adobo Magazine

Here's a very straightforward article by Adobo Magazine's writer, Mia Marci on John and his passions - photography, especially aerial photography; flying; his pet elephant, Maali; his advocacy, Photography with a Difference, that works with special children and persons with disabilities; getting a street in Manila, R. Hidalgo, to become a photographers' haven.  John's photo was taken by our daughter, Kathy.

Grown Up or Children's Talk

As a young mother working at home with my husband, John, to build up our photography business, I often felt harassed by my three young children fighting over toys or other domestic issues while I was on the phone with my client. I felt embarrassed because I was in an "unprofessional environment," since I was sure that my client could hear my children screaming and crying in the background. I may not have been as patient with my children as I should have been, but I remember explaining to them that if they were fighting over toys, then they would take their fight to other room and not where I was on the phone - they had to keep quiet because I was on the phone with a client, but if someone among them was hurt, then I don't care if I were talking to a CEO, I would put the phone down immediately to attend to them. Satisfied that I had given my children a good explanation on why they should be quiet, my children asked, "Mom, what's a client? What's a C.E.O?" :)

Car Photography: A letter to Randolph de Leon

Randy is a partially-blind photographer-hobbyist with a passion for cars. We met him at a workshop for the visually impaired that John conducted for his advocacy - "Photography with a Difference (PWD) - Touching Lives Through Photography." We learned that Randy loves cars, and if not for his impairment, would have wanted to be a race driver. Just for his own enjoyment, Randy shoots cars, especially during car shows. We invited him to our studio the other day during a shoot for Mitsubishi.

16 May 2010

Dear Randy,

I’m glad that you enjoyed your visit with us, and saw how car photography for advertising is done. Your own experience in shooting cars – in a photojournalistic style as you mentioned – is a good introduction but is not quite the same as doing photography for advertising, especially studio car photography. Our lighting has to be more studied, so I hope you did not get find our pacing too slow.

I suppose the two main differences between how you shoot cars and how we shoot is in how cars are lit and what angle or perspective they are taken.

Whereas, as you said, you depend on available light (or lights), we carefully decide each light or each reflection of a light that touches the car. 

Taking on a photo-journalistic style of car photography, you can afford to choose the angles or perspectives that look good to you, given the lighting condition present at where the car is, whereas our angle is dictated by the client or the art director (AD) in order to meet some advertising and marketing objectives.  This is why we cannot even begin to arrange lights until we have set up the car (or part of the car) according to the layout required by the AD. We cannot deviate from that perspective because it is that side or part of the car that they want to "sell." So we can say that you have more freedom in choosing your angle or perspective, since you shoot for your own pleasure while we, on the other hand, enjoy the exacting challenges of specific objectives.

Car photography for print advertising is so precise that it has developed its own jargon. We indicate how we will set up the car by measuring the proportion of the bumper (from the left to the right side of the front or rear of a car, in relation to the length of the vehicle – 1:2, 1:2.5, 1:3 etc.), we indicate the angle – front perspective, rear perspective, full frontal, full rear, perfect profile – the last three also being referred to as dead front, dead rear or dead side; we have to define the camera position - worm’s eye view, eye level (since I am a head shorter than John, we still “argue” which “eye” level), or top view – and the many variations, to the left or right, higher or lower, more head on or somewhat oblique, of all these positions. We have also different terms for the lighting contrasts that we want to achieve.

As you may have noticed, after we set up the car according to the required perspective or camera angle (the AD brings what we call a compre – a guide for the photographer for the kind of image he has to produce), that is the only time that we can add our lights, reflectors, gobos etc. one by one, so that we can produce a beauty shot. Since a car has highly reflective surfaces, we cannot just turn our lights on, as doing so will produce "hot spots." Instead, we often turn our lights towards reflectors (including that giant reflector that hangs from the ceiling, and all the curved walls of the studio), so only the lights’ reflections produce what are seen as highlights on the car. On the other hand, some dark materials are placed at strategic places to help create “shadows.” Highlights and shadows are what actually create the shape or contour of the car, photographically speaking. By painstakingly controlling light, a car photographer is also able to bring out details or provide drama – making the photograph a unique visual rendition of a particular car. As you were able to observe – studio car photography is no mean task.

I remember the first time that we ever shot a car inside a studio (a rented one (RS Video in Paranaque), a few years before we built our own in 1992). The client asked me how many set ups John could do in a day, so they could decide how many days to rent the studio, and added that they had five layouts – all complete shots of cars. Very confidently, John, who had only shot cars outdoors until then, said that he could finish all five set ups in one day.

We went to the studio the day before to assess the situation and what would be required. That studio had a ceiling elevation equivalent to three storeys, and had catwalks all around. It did not have the curved cyclorama or the huge reflector from the ceiling that we now have. In order for us to bounce lights off reflectors, we had to cut our roll of seamless white paper into sheets of 8 feet wide, and maybe 9’ or 10’ long, and tape one end to a long water pipe). We needed about three of those, each being manipulated by two men, according to John’s instructions. Since they were on the 3^rd-story level catwalk, John had to shout his instructions (for subsequent shoots, we later bought several sets of walkie-talkies). In addition, we needed more assistants to help set up lights that would be “bounced” on those reflectors.

We also came prepared with car cleaning materials like chamois (which does not leave lint on the surface of the car), including Armor All for putting a nice shine on the car body and giving tires a rich black hue. We also had several cans of dulling spray for controlling hot spots.

High-end digital photography was still more than a decade away, so we were shooting with 4x5 color transparency films and Polaroid or Fuji instant print films.

We started setting up at eight in the morning. Experimenting with the lighting before the clients came later in the afternoon, we exposed sheet after sheet of Polaroids. They came before we were satisfied with our first layout. They looked at the set up, and looked at the Polaroids, and pointed to several “hot spots.” “No,” they said, “you cannot just use dulling spray on those hot spots because that will take out the sheen or shine of the car exterior.”

So we moved lights and reflectors around. As we did, the controversial hot spot disappeared, but before we could cheer, we discovered it popping somewhere else.

It was close to midnight and we still had not done our first set up. John motioned me to approach him. In a whisper that still loudly betrayed his fatigue and frustration, John asked me to tell the client that he had made a mistake. Shooting cars inside a studio was a challenge too big a bite for him to chew. “Offer to return their down payment, and to pay for damages, offer to pay the studio rental. And tell them, I am sorry but I can’t do this job.” I could not distinguish his tears from his sweat, but the pain of defeat was very palpable.

I approached the client and the art director and repeated what John said almost word for word. To my surprise, the client said no, they would not let John give up. They then told me, holding the latest of the many Polaroids, that it was the best car shot that they had ever seen, and there was just one hot spot that we needed to work on. They asked me to ask John to tell them how many more days we needed to rent the studio, and instructed me to charge extra for all the Polaroids we’ve used.

I returned to the corner where John was – seated on the floor, looking really exhausted. I repeated what the client said, and he could not believe his ears. Something in him immediately lit up, and together we gathered our crew. We explained our assessment and our client’s decision. John told them that since the client was renting the studio for at least another day, they could decide if they wanted to rest and start again the next day or if they wanted to continue. Jun Tolin, his assistant, threw back the question at John. “Sir,” he said, “it’s up to you. If you need to rest, we will rest, but if you want to continue working, then we will be working with you.” John took a deep breath and said, “We’re almost there, so let’s do it – let’s finish this first set up. Let’s not rest until we’ve done this.” With that, they went back to work, with renewed energy and inspiration.

In less than half an hour, they produced a Polaroid that client was happy to sign. YES! “Let’s shoot film,” and John took out the Polaroid adapter and slipped in the transparency film holder for the first of about ten to fifteen sheets of Kodak Ektachrome 4x5 film. 

The second wind was blowing. Moving more confidently after that first “accomplishment,” John set up the car for the second layout, and rearranged the lights to match the new angle.  Before the crack of dawn, he had finished another set up.

We agreed to return to RS Video to continue the rest of the set ups at five that afternoon. The client only had to rent the studio for one more day.

Fast forward to year 1992 when we built the first studio for still car photography in the Philippines, year 2000 when we invested in a PhaseOne digital back, 2003 for the second car studio on Enrique Street, and on to the present, 2010. John has been doing car studio photography for more than two decades now, and can expertly light a car set up in about one or two hours. He has read books, watched videos, attended workshops, learned from foreign car photographers, and experimented with his car photography to know which combination of lights, diffusers, reflectors, gobos – will give him the exact lighting effect or “feel” that an art director requires. He knows which lens to use to bring the car proportions – sleek or sporty - required for a car print ad or brochure.  He is familiar with different car cleaning materials. He jokes that we can set up a car cleaning and detailing shop – except that we only know how to work on the side of the car that faces the camera! J

While designing the studio specifically for the requirements of car photography has greatly helped in reducing the manpower requirement (he can shoot a car with two assistants, instead of 8 to 10), the need for a catwalk (unless he is doing a high angle shot), and the use of seamless papers as reflectors, John has also accumulated tons of car photography experience from years of experimenting with lights, reflectors, gobos, cameras and lenses to make him truly a master at car photography. Yet, he continues to find ways to bring his car photography to a higher level, and surprisingly, to share what he knows with other photographers.

John has taught another photographer, G-nie, all he knows about car photography in the 18 years that she worked with us. Since she has since moved on to work abroad, John is now devoting his time to mentoring our daughter, Kathy. Just as G-nie’s learning curve in shooting cars was reduced drastically by having John as her teacher, we know that Kathy will learn it too – not in a day, a week or a month – but in the right amount of time that John can compress more than 20 years of doing car photography.

There are more challenges to face. John is constantly reinventing himself, in car photography or in other aspects of advertising photography.

Randy, John invited you to watch him and Kathy at work because you had expressed a great interest in car photography. And even though John and I did not want to raise your hopes too highly about shooting at our shoot (John even asked you not to bring a camera or a companion – we are under contract that dictates strict confidentiality – this is after all, advertising), I approached our client and explained who you were, and why you have such a deep interest in cars. I told him what you told me - that as a child you wanted to be a race driver, and that your disability (of partial visual impairment) has not diminished your passion for cars.

Our client, Arlan Reyes of Mitsubishi, must have been impressed with your knowledge of cars that he allowed you to shoot and even gave you permission to post your shots on Facebook.  Congratulations. It’s very easy to see that passion has brought all of us together. I hope you enjoyed your visit.

Sincerely,

Harvey

2009 Annual Report

The dark clouds of worldwide economic gloom, which started to gather in the last quarter of 2008, ushered in the new, but not very hopeful, year. While we are thankful that we survived it, last year was a year that we are glad belongs to the past. However, if we chose to look at life in 2009 in a more positive way, the slow business calendar actually allowed us to do other things for which we are grateful.

John was able to devote time to his advocacy, started in 2008, which he now calls “Touching Lives Through Photography”. Two Autism Society of the Philippines (ASP) chapters – Cavite and Baguio – joined “Colors of A Spectrum,” a photography workshop for families touched by autism, while Makati’s Persons with Disability and Company (Perdisco) offered it for children with various disabilities. John also helped organized “Skywalk” for the Down Syndrome Association of the Philippines. In all of these projects, Canon (for which John has become an official endorser) was very supportive.

I, on the other hand, made serious moves to do things other than manage Adphoto – not for business reasons but as part of my wish to retire. Perhaps the most major step was teaching “Business of Photography,” to graduating A.B. Photography students at the College of Saint Benilde. I was also able to start researching on John’s 1970’s photos by making a few trips to the National Library. I still have a long way to go in archiving John’s photographs, but as the great saying goes, “the journey of a thousand miles begins with the first step…”

A brief but exciting challenge was co-curating a mixed art exhibit, Glimpse of A Soul” by my artist-friends at the Carl Jung Circle, which segued well into my participating in a group photo exhibit, with 18 of my students and one co-teacher. I chose three photos from a recent trip to the U.S. East Coast.

Somehow, having bucked the downtrends during many crises in the Philippines made us confident that we would survive and maybe even prosper, but the numbers were not helping. Billings were very low and collections even lower. Newly hired employees were the first to be discouraged and left. When Weng, our messenger, resigned, we decided not to replace him and instead promoted our cheerful houseboy, Ronel, to do deliveries. Ninfa, who started as Kathy’s yaya (nanny) in 1981 and moved up to fill different office positions, opted for early retirement to take care of her ailing mother. G-nie, our photographer of 18-years, after parrying many offers from abroad, finally made the move to try her fortune in Dubai. Before she left, she garnered awards and international recognition (Cannes Lions, Singapore Spikes and the Philippine Araw awards) for a series of ads done at Adphoto for Boysen Paints/TBWA. Online chats continue to connect her to us, and Ninfa occasionally visits.

With a lean staff and some deft cost-cutting measures, we managed to end the year with all assets intact and even a slim profit. We even managed to do major physical renovations at the studio, and do some meaningful team building activities – to get us ready for when the economy is better (which I believe is now).

All our preoccupation with declining business and the troubled global economy screeched to a stop in October, when floodwaters from typhoon Ondoy inundated all of Metro Manila and nearby provinces. Setting aside normal work activities, we helped affected families – by cooking hot meals, packing rice, instant noodles and canned provisions, gathering old (and some new) clothes, donating towels, rubber boots, mosquito nets, hammers, shovels, saws and some cash to families in Tanay and other places. (Thanks for donations received from Ching and John, Sacha and Wayne, friends Barbara and Sarah, and thanks also to Kathy for leading our very own relief operations).

Throughout the year, there were a lot of “hellos” and “goodbyes” when friends came in batches – former college friends and dorm-mates Aida Reyes (from Davao) and Genie Abiad (from Baguio and U.S.); International Club of the Philippines members who came from various parts of the country and the world; and dear relatives like Tia Remie who hosted a family reunion of the Valentinos, Lomboses and Dumasals. Skype allowed for regular communication between us and Gary and Sylvia Bement, and my dear 86-year old namesake, Harvey E. Jewell in Tennessee.

It was also hello and goodbye for our family. On staggered schedules last December, Ching and her John (from Singapore), Kathy’s John (from the Middle East and Holland) and Sacha (from Canada) came home for a brief but fun holiday – giving us time to enjoy each other’s company in Siargao (the surfing capital of the Philippines). Ching, John V, Kathy and John G showed their form on the surfboards, John C tried valiantly but did not quite make it to standing position, while Sacha and I became the enthusiastic audience (and official photographers) of the surfers in the family. Before everyone left, we managed to pose in color and style-coordinated Columbia outfits for a family picture with all the pets – Lucas, Ginger, Bob (African love bird) and would you believe, Maali (John’s non-resident pet elephant, through the magic of Photoshop).

Looking back, except for the damages wrought by the typhoon, we might have anticipated worse than what came, and thank God, the first two months of this year actually offer us hope that we are back on track. Goodbye 2009. Welcome 2010.

Sacha's Favorite Photographer

When my daughter Sacha was 3 years old and preparing to graduate from nursery class, her teacher called for me frantically. She had her young students in their togas, queueing to pose for their graduation pictures with the school photographer, and Sacha was upset. Normally a very cheerful and cooperative child, Sacha was crying and refusing to be photographed. She would not tell her teacher what was wrong.

I rushed over to the school, just a couple of blocks away from our home cum photo studio, and found Sacha sitting in one corner, pouting and visibly upset. I knelt down so I could be face-to-face with her, and asked her gently what was bothering her. She murmured between sobs – “I don’t want him to take my picture, I want my papa to do it. Papa is my photographer.”

I tried to explain to her in the simplest terms possible that we don’t do school photography, and that the school photographer was better equipped to do this job, but she was adamant. “I want my papa!, ” she said with such loyalty. (How I wish all our clients would show their preference for us with the same conviction. ☺)

Her teacher understood and offered to lend us the toga. I watched the school photographer do a photo of one child so I could explain the set up to my photographer-husband.

Sacha and I walked home where she had her exclusive photo session with the photographer of her choice. She smiled sweetly for her dad - her photographer.

P.S. Thanks to my Malaysian writer-friend Chin Chet Mooi for reminding me that I have not blogged in a long, long time.
P.S. @Sacha - Can you look for that graduation picture and post it here?

Here's One of Those Aerial Photos

We found at least one aerial photo of Banaue, and still need to look for one of the Hundred Islands. This photo was taken in 1976 or 1977.

Copyright/Photography by John K. Chua. All Rights Reserved.

Short Ride, Long Drive

Once upon a time, John was in Banaue to take pictures – not for any client, but just for himself. He drove eight hours in his yellow Ford Fiera (see photo with our Adphoto staff in the late 70’s – we all looked very young!) and was busy photographing Ifugaos on the rice terraces when he saw a helicopter land on the parking lot of Banaue Hotel (the only place where it could land). Two sounds are music to John’s ears - the click, click, click of his camera and the sound of a helicopter propeller whirling. Hearing them both at the same time was like heaven to him, and he was ecstatic.

He ran to chat with the pilot, who volunteered the information that he had room for one more passenger. Like an eager child, John asked him, “Can I come? Can I come? Please, please, Can I come?” The pilot was ferrying some foreign guests and would be flying back to Manila through Baguio that same day. “Sure, hop on,” said the pilot to the photographer, and away they flew. They flew low so John could take photos of the Banaue rice terraces and the Ifugao villages, the geometric rice paddies and thick pine tree forests of Mountain Province and the vegetable and flower terraces of Benguet. They made a stop over in Poro Point, La Union to refuel, and continued on to fly over scenic Hundred Islands in Pangasinan and over the rice fields of Pampanga and Bulacan and back to Villamor Air Base, in Metro Manila. John clicked away with his camera, loading roll after roll of film.

The flight took just slightly over two hours, but John still needed to go back to Banaue. His clothes and vehicle were still there. As soon as he hit Metro Manila, John immediately grabbed a cab and asked to be taken to the Pantranco Station in Quezon City, so he could have a bumpy ride on a non-aircon bus (that’s all there was then) all the way back to Banaue.

His yellow Ford Fiera was still parked where he left it. He gathered his clothes and threw his bag into the Fiera. He grinned ear-to-ear, and whistled happily while driving alone all the way from Banaue through Nueva Vizcaya, Nueva Ecija, Bulacan, Metro Manila and finally to his home in Makati – over eight hours to travel 350 kilometers. 700 kilometers of road travel and I don't know how many air miles in less than 24 hours!

His take from this joyride? Priceless photographs to show a bird’s eye view of the Ifugao rice terraces and Hundred Islands.

(Note: Our archivist is still looking for those vintage aerial shots).

A lesson to be learned: Scan those film images now before they fade away.

Conversations with a Cobra

MONDAY, SEPTEMBER 25, 2006
Conversations with a Cobra

Kathy welcomed a group of 35 students under Ms. Judy Sibayan, her former thesis adviser who came on a field trip to visit our studio. Aside from showing them around, she regaled them with stories of how she not only survived Ms. Sibayan, but also actually learned how to be a better photographer because of her. (Incidentally, although she did not receive the highest possible grade, her thesis was adjudged best thesis of her batch’s).

Although Kathy’s assignment was to photograph endangered Philippine endemic animals, her thesis adviser wanted her to include the Philippine cobra, which is not an animal on this list. Kathy thought that Judy just wanted to see her dead.

To top it all, her adviser wanted her to use a film camera. It would have been easier to use a digital camera which would allow her to see right away if she got the pictures right.

Reluctantly and fearing for her life, she set up her photo session with the cobra. The Zoo did not have any anti-venom in the premises, and the nearest one was at the San Lazaro Hospital, just a few kilometers away but an agonizing three-hour ride in Manila’s horrendous traffic.

Judy wanted it photographed on a white background, with its wings flared – all poised to attack. With one eye looking through the viewfinder, and another eye watching out to see if her subject was aiming for her, and her hand shaking, Kathy tried to photograph the cobra. Because she was using film, she had no way of checking if her pictures would turn out alright and had to use up the entire roll of 36 exposures and hope that at least one would be sharp, properly exposed and with the cobra within the frame, and doing what was expected of him! It was a tall order for both the photographer and the cobra!

“Aren’t you done yet?” asked the cobra.

“Just one more, please,” pleaded the photographer.

“Okay, hurry up, I’m busy.”

The students laughed at Kathy’s funny way of storytelling, and Kathy continued with her narration.

She presented her photos to her thesis adviser, who thought that it might be better to use a black background. Unable to argue her way out, but convinced that her teacher was resolute in seeing her dead, Kathy cried all the way home but went back to the zoo to re-arrange for another shoot.

“You again? What do you mean, you have to re-shoot?” was the cobra’s reaction. Kathy pleaded with the cobra and explained that her adviser wanted a different background.

“Make it snappy. I get angry when I get too tired. Or impatient.” So Kathy rushed through another roll, careful not to displease her subject.

She then faced her thesis adviser, whom she feared as much as the cobra, and presented her with the second set of contact sheets. Briefly browsing through the new images, Judy chose the very first portrait of the cobra – on white background!

After narrating the story of how she survived her ordeal with her subject and with her thesis adviser, Kathy turned to the students and declared “Whatever does not kill you, will make you…” and she waited for all 35 of them, and Ms. Sibayan, to say in chorus, “…stronger.” “I would like to reassure you that you would live through Ms. Sibayan, as I have.” And with that, they applauded her. More than a talk on photography, it was probably what they needed most to hear.

Dreams Do Come True

Sunday, November 26, 2006

Dreams Do Come True
Paolo Coelho in his book, "The Alchemist" promised that "when you truly want something, the universe will conspire to give it to you." I have only recently read this book, but it seems John (my husband) and I have been living according to this precept for most of our lives.

In 1975, we needed a four-wheeled vehicle for use in our photography business. Since we couldn't afford to buy a car, we traded in our motorcyle for an owner-type jeep that was old and decrepit. One time, John was driving and the stick shift came off from the socket! It was a frightening experience but we somehow laughed it off.

A couple of months later, we started doing editorial and coverage photography for General Motors. John wanted to have a car - not a car to buy since we didn't have money to buy one - but he wanted to convince GM to give him a car to use. I didn't know then about the power of dreams and asked John "Nahihibang ka na ba (Have you gone crazy?), why would GM give you a car? Will you do all your photography for free use of a car?" Being the partner in charge of the business, I didn't want such an arrangement. John reassured me that we would get paid and still get a free car to use. The volume and value of work that we were doing for GM then was quite low and so I found it hard to imagine that GM would agree to this proposal. I was still full of disbelief, and John pleaded "Just believe. Trust me, they will give us a car." John dictated the proposal to me and I typed it on our letterhead.

Guess what, GM agreed! They even took care of maintenance, all we had to do was spend for gasoline. If anything was wrong with the car, John could take it back and come home with another car! Our neighbors thought we were rich.

That was our first big dream, and we have been chasing and realizing dreams ever since. Thank you John for teaching me, before Paolo Coelho did, that dreams do come true. Thank you, universe.
posted by Harvey at 10:54 PM

Cold Knocking

Friday, December 15, 2006

Cold Knocking
From a post on www.digitalphotographer.com.ph/forum"

Quote:
Tap your "network" Mom, Dad, cousin, classmates etc.

We live in a country that's it's who you know and not what you know anyway. *sigh*
End Quote


I beg to disagree with the above statement, so I wrote this and posted it on the same thread.

Cold Knocking:

That may be true for some people you will meet, but many you can meet through a process called "Cold Knocking."

Before graduating from college, I sold encyclopedias. We were told NOT to call on relatives or friends but to do "cold knocking" which meant going door to door, knocking on the doors of people we did not know.

When John and I started, we did not know anybody. Although he's Chinese, he was not connected with the Chinese community. Because I went to U.P. and did not join any sororities, I did not have a "network" of college friends. So I did what I had learned before - I did some "Cold Knocking." I picked up the Yellow Pages and started calling ad agencies. I told them that we were interested to do advertising photography and may I present our portfolio to them?

I prepared a portfolio. We did not really have an advertising portfolio (a simple clearbook with black cartolina inserts) but lakasan lang ng loob (what's the English translation? -* "we had guts"*). Most of the items in the portfolio were shots that were obviously amateurish. I included an article on John called "The Magic Eye of John Chua" that Asia Magazine (now extinct) had published.

John would always say that whether you approach a big agency or a small agency, the effort is the same, so I approached one of the biggest ad agencies - J. Walter Thompson. (Sabi ko na, lakasan lang yan ng loob!). Since all we had was a 35mm camera, one of our first projects was for an audiovisual presentation. Mostly, repros. But we got our break.

We also approached Nation Ad - former partner of Grey Advertising (now partnered with Campaigns), plus a few others that have now already disappeared from the advertising scene.

We were getting all minor assignments, but we made sure that our clients were happy with our work. With money saved, we bought a 120mm camera. The brand was "Kowa" and it was a Hasselblad wannabe. (One established photographer asked me what John's medium format camera was, and I said "Kowa." "Kowa-wa naman kayo" was his reply). *Translation: kowa-wa, take off from "kawawa" which means pitiful.*

I continued to do cold knocking. Tiyaga lang *I persevered*. I cold-knocked on the doors of Ace Comption, now Ace Saatchi and Saatchi. The AD asked me what lights we used. I said "available lights." He asked me how John would control highlights and shadows and I said "magaling siya *he's good* with available lights." I called every now and then but did not get an assignment from them until 7 years later.

When I was selling encyclopedias, I learned to persevere. We were told that maybe in the beginning, the number of rejections compared to acceptance would be higher. Maybe in the beginning, we would have to knock on a hundred doors before we got in. If we quit on the 99th, we would never meet our first customer.

We were told to work hard to improve the ratio - to bring down the number of rejections, but to accept that rejections were part of the game - that every rejection brought us closer to the sale. I also learned this from Tom Hopkins (Official Guide to Success) who welcomed every rejection because they brought him closer to his success. 1, 2, 3, ...96, 97, 98, 99.. hurray! here comes the 100th. Finally, a sale!

33 years later, and I am still asking our people to do cold knocking.

There are a lot of clients waiting to meet you. If you don't call them, how would they know where to find you? Buti nga ngayon may internet. *it's a good thing that now we have internet* but that is not enough.

Sure, go ahead, check out your friends and relatives but do pick up the phone book, buy trade directories, join online fora, print your business cards and give them away.

Zig Ziglar (author of various books on selling) said he would give himself a quota of 20 cards a day to give away. At the end of one particular day, he was about to go home. He loaded gas and saw two cards still in his wallet. So he handed them to the gasoline attendant and requested him to give his cards to two customers of the gasoline station who look like they needed new cars. The following week, he got a call from someone who said he received Ziglar's card from the gas boy. He made a sale.

Once I tried doing that. I was at the Enterprise and saw one food stall that looked like they could use better photos. I bought my lunch there and offered my card to the cashier, and said, "if you need good photos of your food, please ask the owner to give us a call." She said, "Mam, si boss po ang nagshoot nito." *Mam, my boss did the photos."* When I was no longer within hearing distance, I gave out a sigh, and told myself, "you can't win them all" and counted "no. 99."

Good luck. Sorry for the long post. I just wanted to help inspire you to just keep on knocking.
Online
posted by Harvey at 9:26 AM

A Chinese Decision

Tuesday, January 09, 2007

A Chinese Decision

In 1985, having made the decision to stay in the country, we had offered to buy the house that we had been renting since 1980. It housed our studio as well, while we lived on the second floor that had two bedrooms, one for my husband John and myself, and the other for the children. The living room and a ground floor masters’ bedroom had been converted into photo studios, the library into an equipment room, and we shared the dining room and kitchen with the staff and clients.

When we informed our landlady, with whom we had become friends, that we were interested to purchase her house, she did not want to name a price. Instead, she wanted us to make an offer.

To help me arrive at a fair price to offer her, I decided to look around in the neighborhood to see how much properties were selling for. Then, one day, one of the real estate agents asked me to check out a house in San Lorenzo Village (or San Lo, for short), a first class gated subdivision right next to the Makati Central Business District. Although San Lo was a residential community, they were quite lax and allowed businesses to be established in some of the homes (as long as they didn’t obviously build business buildings). She assured me that San Lo prices were at par with Bautista’s, since Bautista was considered a commercial area.

My only intention for looking around was to get an idea of how much to offer for our house, but I was thrilled to think that there was a possibility that we could live in a nicer neighborhood.

True enough, I found a house in San Lo that met one of the most important specifications that my husband had set – that it must have a living room large enough to be used as a photo studio. I showed it to my husband and he gave his imprimatur. I liked it myself because it had a yard and was near the community park. I envisioned having my young children biking around in this safe neighborhood and making friends with other kids in the neighborhood – something they could not do on busy, noisy and traffic-dangerous Bautista Street.

Since I had a friend in the real estate business who lived in San Lo, I took her to the house to get her advise on how to negotiate with the owners. To my chagrin, she immediately said we should not get that house. I asked her why, and she said “Tumbok yan, and that’s malas” (“tumbok” is the Tagalog word for being at the intersecting point of two roads connecting like a T, and “malas” means to be capable of bringing misfortune). It was my first time to hear the word “tumbok” and I certainly did not believe in superstitions. I argued that my husband and I work very hard and can offset or overcome whatever “malas” the house would bring. “That may be true,” she said, “but many people believe that houses like this are ‘malas’ and if and when you need to upgrade, you would have a hard time selling this property.”

I went home frustrated that we could not push through with buying a house because it was “tumbok” and “malas.” I went to bed early, very disappointed and slightly depressed at seeing all my happy dreams and visions of this San Lo house going pffft, and at the thought of doing house hunting all over again.

All of sudden, a thought came to me that pulled me out of the pits. My inner voice was saying – “Why feel bad? In 1970 when you started the business, you had nothing and hardly any money, and today, you almost bought a house in an exclusive community in the city. You’ve come a long way, Harvey.” That thought was enough to perk me up, and I went downstairs to the studio to reassure my husband that I was feeling okay and not to worry about me.

I saw him working overtime in the studio with a Chinese client. We talked about the house and he (Felix Wu, formerly of Ajinomoto) said he would like to share a story with us of two businessmen – a Chinese and a Filipino.

Here was the story:

There were two entrepreneurs, one Filipino and one Chinese. They both had a “sari-sari” store (a humble variety store that sells, in retail, only small low-priced everyday items).

After a year, the Filipino used the profits of his store to buy himself a TV set. The Chinese man reinvests his money into the store, and turned his “sari-sari” store into a mini-grocery.

After the second year, the Filipino bought himself a second-hand car while the Chinese continued to commute using public transportation. He expanded his store, while the Filipino still had the same “sari-sari” store.

After the third year, the Filipino bought himself a house in BF Homes (a medium-level suburban subdivision) while the Chinaman continued to live in a tiny room above his store, which was by then, close to looking like a department store.

At this point, my husband butted in and said, “You see, the Chinese way is better,” to which I replied, “Better for the business but look at the two and see who is smiling.” It was easy for the three of us to reach the conclusion that the Chinese knew how to do business, while the Filipino knew how to enjoy life.

“Let’s have a Chinese decision,” John said. “Let’s offer to buy this house. After all, the studio is here, we won’t need to transfer, we might lose clients if we transferred, we won’t have to change business forms and stationary, etc.”

“Okay”, I said, “for now, we will have a Chinese decision, but I hope someday, we can enjoy a Filipino decision.”

We offered to buy the house, our offer was well received, and for the next 20 years, we lived and worked here, raised our children and grew our photography business, combining home and business as many Chinese families would. We continue to live our Chinese decision, while waiting for the opportunity to enjoy a Filipino decision.