RP Newsletter #9 - Reflecting on Sonny Yabao
and Beware of the preacher saying "Let the photos speak" plus some recommendations.
Reflecting on Sonny Yabao
Originally written in Feb. 13, 2021 and edited recently.
I struggle to find the words in coming to terms with Sonny Yabao.
He is a name that is attributed to Philippine Photography's pantheon. Young me was told to look and study his work. I was told that there is depth in looking through the eyes of world through the Somnambulist. And yet when I finally found his work and held a book of his, I felt it was lacking. Where is the mysticism that people talked about? What is this magic realism that they attribute to him?
I thought that there is something wrong with me. I don't see what others see in his work. So I interrogated myself. Is it the fact that the somnambulist is already a title of a Ralph Gibson book? Is it the emptiness of outside context and the constant overhyping of others? Or perhaps it has come to the point that the myth is bigger than the man himself?
I don't remember where or when but I recall the moment I was introduced to him. He just looked at me and gave a nod. That was it. There were a few more encounters in pubs, gallery openings, and simple hi and hellos were exchanged. The usual pleasantries were given and we added each other on social media. I've been involved in meetings with him included on possible festivals/groups/projects that never materialized after the initial meeting. I quelled an argument involving him and another photographer in our photo book club. I recommended some practitioners to show their work to him. Some came back with gusto and others came back disappointed by his dismissiveness. I don't recall anything in particular that lives to the mystique. To me, he was mortal.
In contrast to those around me who had spent significant time with him. Stories of how they scrutinized the work presented or picked his brain. Others gave how he recounted tales from their working days with him. While some allowed to observe and be close in the development of works and projects with his critical eye and dynamic character. To them, he was larger than life.
Perhaps that's what I lack with Sonny Yabao. To appreciate the man and his work, you have to know him as well. I did not. And the same can be said for the generations of photographers who will only know his work by looking at them and not understanding who he is.
Philippine photography's foundation is oral history. How Sonny Yabao will be remembered will be based on the conversations that will happen and will arise as people think back. For now, the words of those near and dear to him are in various social platforms. A simple search on facebook for "Sonny Yabao" will yield results that show the outpouring of support and the grief of those whose life he clearly affected. I do hope someone will compile all of them for reference.
As for me, I don't know what will happen to his legacy. Will more stories come out about what he has done? Will he share the same fate of Filipino photographers who have passed on and our only experiences are second hand accounts? Will we see a book of his work made by those who know him best? I want to hear more stories whatever they may be.
I'm just an observer of these things and giving it some thought. I will be closely watching what will happen but one thing is for sure, the legacy and myth of Sonny Yabao will be ever present in conversations on Philippine Photography. Whatever he was, whatever he has done, and whatever may come out in future, he is a man who photographed. May we continue to remember him kindly.
Rest in photography Sonny Yabao.
Beware of the preacher saying “Let the Photographs Speak”
He forgets that photographs are partial truths.
Steve McCurry's portrait of Sharbat Gula is visually stunning and awe inspiring.
But if we let the photo speak alone then we won't know that Gula never receieved a single cent from McCurry even when McCurry made so much money from exhibitions, print sales, and a documentary revisiting her. That she had to hide her identity constantly as she tried to escape Afghanistan and cross to Pakistan. It was only when the Afghan government gave her a house and a stipend recognizing her as a symbol of what Afghani’s are. I wonder if McCurry ever took that into consideration?
If we let the photo speak, we wouldn't find out that the V-J Day kiss photo of Alfred Eisenstaedt was non consensual. That the nurse, Greta Friedman, was grabbed by George Mendonsa. That in all accounts, the men all around Times Sqaure were blatantly grabbing women and kissing them. If we only let the photo speak, would we know that it was a day of countless harassments and yet only six reported cases of rape took place? Or will it forever be the image of victory that Life perpetrated it to be? In 1980, Life wanted them to recreate the image.
Part of the 4 photo sequence Alfred Eisenstaedt took that day. Note the clutched fist of Greta Friedman not present in the photo that Life Magazine ran.
If we only look at Vivian Maier's images, we wouldn't know of men abusing her work images for profit. John Maloof paused tried to look up who Maier was but it did not made him reflect to properly seek the wishes of the woman. The they were in a mad dash to sell prints, make books, and do exhibitions. Only to be stopped when an heir showed up. It was only when a settlement was reached that it was continued again. Sure her images are nostalgic and the story is straight out of a novel but what happened to respecting the original intent of the creator? If only the photos speak, does that mean the voice of the original creator and the labor that went through the work does not matter?
The medium of photography needs context to be complete. It needs the stories of the people and places around the photograph. It needs the story of the photographer and the reception of the audiences. It needs to be placed in history. As much as we think that photographs happen in an instant, all photographs start as an idea and follows a number of events until it becomes a final image. Even then, the life of photograph doesn't end there. Photographs may be still images but it is ever changing.
Never misconstrue the quiet nature of the image for its voice is in the story of how it was made and why it persists.
The next time you hear some one say let the photos speak, maybe the person that said it really doesn't have much to say after all.
Post script + Recommendations:
I have written so much but was not able to find energy to publish. Handling a pandemic semester was no joke and with the the third lockdown, all my plans went haywire as well.
I don’t want to plan anything anymore. It has been tough as we are also in the process of moving houses. The best I can do for my self and my family is to take care of our well being. The guide to photographic storytelling workbook has been coming along slowly but I will forgive myself and stick to going my own pace. I also have some books I want to review for the main site and other projects I want to start with others. As much as I want to dedicate more time to this, I have to prioritize paying gigs and my day job or running an entire college.
Speaking of which, the Bachelor’s in Photography in LPU-Cavite has finally launched. Everything has been busy busy busy and I just want everything to pause for a bit. Sadly, time waits for no one so I will just do my best in running the program and being a good father to my son. Here’s to hoping we get more enrollees.
Keep in touch and I’ll see you on the next!
WATCH - As a person who took bike commuting during the pandemic, the bicycle has so many similarities with a camera. They are both great ways of interacting with the world.
LISTEN - Clubhouse has been a revelation. As much as I enjoy listening to foreign shows, Tethered is the only local one I follow that specifically discuss photography in its multiple facets. It’s a great listen and I suggest you jump in to this episode as it will tackle the effects of Canon PH’s ambassador fiasco.
READ - As the self appointed president of the F*ck Dean Worcester Club, this is essential reading. Not just for image practitioners but for anyone who wants to get a grasp of our visual history.
