ONE IN FOCUS
Monty Papa Captures The Light
Lets jump straight into it.. Monty tell us a little about your background and how life is in these strange times….What’s the Situation like in your part of the world?
I am a Manila based stockbroker by profession, and an avid photography enthusiast. I was fortunate enough to get a chance to do a little bit of travelling and found myself practically shuttling between Manila – Hong Kong – Tokyo on a monthly basis. I loved roaming the streets alone chasing the light, looking for shadows that transform the mundane and searching for candid moments of people playing and going about their daily lives. All that seems like a lifetime ago. This pandemic changed all that, and will probably lead to a transformation on how we live and function as a society. People will be more suspicious, distant and less sociable. This disease took away our natural inclination to group together and to seek solace with other like minded individuals. Due to the risks associated with travel and the call to shelter in place, it will probably be some time before I can again walk those streets looking for my decisive moment.
How did you first get into photography and who, or what inspired you along the way?
My very first camera was a Minolta X700 which I saved for what seemed a years worth of allowance money. During the turbulent 80’s an upheaval was taking place in Manila known as the People Power Revolution. I was transfixed watching protesters, priests and clergy going up against armed soldiers. I was hooked. My next camera was Nikon FE2 which did not see much action since life in University took over. Years later, walking the streets of Kowloon after having dropped off my daughter at SCAD (Savannah College Of Art and Design) I found inspiration in the streets of Hong Kong in monochrome. I purchased a Leica M Monochrome 246. I thought long and hard about getting a range finder (which I knew very little about) that shoots only in black and white, and have never regretted it. I am a ravenous reader and collector of books; Winogrand, Koudelka, HCB, Fan Ho, Erwitt, Callahan, Metzker all masters in black and white photography. I strongly adhere to the quote “buy books not gear”. I have over a thousand books on the life and works of famous and little known photographers who inspire me through their art, thoughts and history.
How has today’s current situation effected your photography? Good or bad?
Currently, I am working on teaming up with another Leica Ambassador to host a couple of video convoys for Leica Philippines version of Stay Home With Leica Webinars. We will share photos, talk about gear, experiences using the Leica camera. I guess we are all just trying to make the most of what has been handed to us. I very much miss being outside, shooting street requires a fair amount of intuition that is honed through experience and experimentation. Cartier-Bresson said it most eloquently when he stated “your first 10,000 photographs are your worst.”
Staying at home has also provided me an opportunity to catch up on more reading and experiment on my editing technique.
How would you explain your style of photography with the colour tones your use?
Recently, I have tried to introduce a filmic, desaturated flavour to my work. I love watching the films of Wong Kar-Wai. Whenever I feel burned out, I watch one of his films and the creative juices start flowing. Wing Shya served as his on set photographer and protege, he is brilliant!
What is it about Leica cameras you appreciate the most?
Having worked with Leica Philippines on my previous exhibit, they offered me the position of Leica Brand Ambassador for the newly launched SL2. I was very familiar with the previous SL camera having used it extensively. The SL was my workhorse, it is weather sealed and performed perfectly in the sub zero climate of Harbin China.
A lot of your images are lifestyle and street style. Can you tell us a little bit about your vision and the concepts behind your photos?
Leica Philippines reached out to me and invited me to do an exhibit entitled “Majesty Of Solitude”. The photo exhibit portrays minimalist, abstract, geometric high contrast scenes of urban life depicting solitary individuals navigating a frame whilst lost in a moment of solitude. My work is constantly evolving and I have started to focus more on colour photography. I find myself staring at images captured by Saul Leiter, Alex Webb, Eggleston, Meyerowitz, Gruyaert and imagine how they skilfully compose their photos. Leiter’s images in particular are akin to a canvas of light and colour.
What kind of feeling were you trying to capture during your shoots?
Even the most technically sound photo falls short when it fails to convey any kind of emotion. Personally, I enjoy looking at a gritty composed urban image to that of aesthetically pleasing towering vistas, mountains, lakes. This is the cause of many debates, arguments in our photo community. What is good for some may hold little value to others. This becomes most apparent in social platforms like Instagram, Facebook, Flickr where your work is judged based on the number of likes or followers. Shoot what you like, look for images that resonate and it will become apparent in your work.
Hong Kong is rapidly being transformed. Its old buildings, neon signs, hand painted signboards, traditions being replaced with steel, glass and new money. Old communities are being gentrified forcing out families that can no longer afford rent. I wanted to capture vestiges of Hong Kong’s old world charm before it was overtaken by progress. Many of the places I have visited and photographed have changed or no longer exist. When I view the images of Fan Ho, I wish I had the opportunity to walk those same streets and alleys. Watching the rickshaws, labourers and trams ply the streets, Chinese junks, floating amidst the mist of Victoria Harbour. I long to convey that sense of nostalgia.
Tokyo is the foil, to me synonymous with cyberpunk, straddling the delicate balance between tradition and modernism, anime, technology, minimalism, discipline, extremes, nature, beauty and spirit. I try to capture this dichotomy when I shoot in Japan. This style of photography is very distinct and difficult to replicate if you have never lived and immersed yourself in the Japanese way of life.
Which camera(s) and lenses did you use to shoot these photographs? And what do you see as the advantages of your set up?
The questions most people ask… What camera do you use? What is your go to camera? Why Leica? If you had 1 camera to choose, what would it be?
My answer would really depend on the circumstances or environment I would be in. Shooting in places that would require a lot of traveling and unfamiliar locales, I would bring the SL or SL2 coupled with the Vario-Elmarit 24-90 f2.8-4 ASPH. Having the zoom capability, weather sealing is paramount. Admittedly, weight does detract but I prefer not having to change lenses on the fly. When I shoot street and try to be discreet, I pair the SL2 with either 35lux, 50lux or 90cron. I also use the M10 which allows for an even more discreet camera and the capability to shoot in colour or to convert to monochrome and still retain outstanding quality. I am very much looking forward to using the M10 Monochrome, its predecessor being as close to a perfect black and white camera as can be had. Leica lenses are the benchmark for the industry. In fact, you will find hobbyists and collectors searching for vintage lenses which enhance the Leica glow” or “look and feel” characteristic of 60-70’s.
When you purchase a Leica camera you are assured of quality, dependability and a rabid community of enthusiasts who share the same love for the brand. If you are fortunate to be in a city that provides one of their Customer Care Centres, they are quick to provide complimentary camera cleaning service when applicable.
Do you prefer shooting with film or digital for your photography? Why/why not?
I shoot primarily in digital, but wish I were more proficient with film. I love the idea of taking a picture not knowing what you have, going through the development process and being rewarded.
How much work did you put into editing these images and could you describe your process?
I try to limit editing work to 5 minutes, since anything more than this tends to alter the photo to a degree that no longer does justice to the original photograph. Principally, using Lightroom I am trying to develop a signature palette style. My aim is to tone down the clinical signature associated with digital photographs.
What advice would you offer to anyone looking to improve their portrait or fashion photography?
I find avant garde fashion photography more interesting than traditional photo shoots, I love the work of JeanLoup Sieff, Deborah Turbeville and Martin Parr (for Gucci). In the case of Martin Parr, much of his signature street photography style resonates in his commercial work. Wing Shya used actors and actresses as models to convey his vision to great effect.
