My Favorite Photo #02

Photo Number 02:
Title: The Joy of Childhood
Model : Kids of Bolinao
Location: Bolinao, Pangasinan, Philippines
Date: May 01, 2004


Camera : Fujifine Pix S602z
Time: 18:23:49
Speed: 1/80 sec
Aperture: f:/7.0
ISO Rating: 200
Focal length: 7.8mm

Winner: National Geographic Channel Photo Contest 2004
Agfanet.com Photo of the Month 2004
digitalimage.com Photo of the Month 2004

Prize : Photoworkshop @ Sta. Fe, New Mexico, USA
Sony DSC V-3 with accesories
1 year subscription of NATGEO Magazine

My Favorite Photo #01

Everyday im going to post my favorite photos.

Photo Number 01:
Title: Baby Lark
Model : Lark Darius Ganitano
Age: 10 months

Camera : Fujifine Pix S602z

Winner: Grand Prize and People's Choice Award
2003 Gift Gate and Fuji "Why Smile" Photo Contest

Prize : P150,000
Fujifine Pix S602 digital camera

"Winning & Working by and for his Art"

Bulletin Today’s Picture Perfect
25 May 2005
by Yugel Losorta

A true artist sees the unusual in ordinary, brings out the joy in something that looks dark, and still thinks about his art no matter what the situation is.

The last premise was clearly evident in artist photographer Edwin Loyola when in, In 1999, he emerged bloodied from a plane accident, put out his camera and took shots of the crash site while blood ran down all over his face. Rescuers were a bit shocked to see him click his camera despite his bad condition. Normally, an injured fellow would look after his safety first than secure shots of the plane that almost killed him. He was just one of the passengers; and if he didn’t have a photoshoot assignment in Bacolod, he might not have a camera at all. Take note, a stewardess was ushering him out of the plane but he insisted he’s not going out without his camera.

“That’s just me showing how crazy I am with photography, ” claims Edwin whose multiple awards in photo contests here and abroad reflect the artist’s blood running through his veins. “Fine art photography is capturing things that are not usual so it was probably my instinct as an artist that prevailed right at the moment.”

Actually, it’s not only the unusual things that get Edwin’s attention. Even the ordinary catches his lensman’s eye. Stones, chalks, bottles, corns, ice cream cones, and many other commonly seen things end up as significant subjects and become part of his artistically flavored portfolio.

Bull’s eye in the first tries

Edwin’s years old of collecting awards in photo contests included a fulfilling win at his first try and an even remarkable triumph at his first attempt on the Internet-based photo contest sponsored by the National Geographic Channel (Asia) and Sony. He bagged the second prize for the competition’s 2004 edition with his entry “The Joy of Childhood,” which made it from among 2,000 entries submitted by photographers across the Asia Pacific region.

Just looking at the said entry which shows a group of kids in silhouette holding hands together and jumping in joy, one can detect that Edwin’s style features his love for dark tones, which is the very reason why some critics and colleagues regard his as the “Dark Artist.” However, the catch here is not really the “dark” quality of Edwin’s images appearance-wise, embraced by a deep sense of universality.

The kid that won many smiles

Interestingly, in a contest in 2003 sponsored by Fuji and Gift Gate and which carried a theme about smiling. Edwin’s entry captured a baby kid standing parallel to a door, wearing just sandals, with his head raised and staring up at the ceiling. The kid wasn’t really smiling which is very much the opposite of some other entries that predictably showed faces in full smile. The result: Edwin won the grand prize and the People’s Choice Award and his prize was said to be the highest given for a photo contest in the country!

“Know the contest’s theme first before the technical aspect,” advises Edwin. I create a story out of every picture. A photo should be able to tell a story right at first glance. “ Edwin recall that his interpretation for the smile-themed contest was that an entry should make people smile upon seeing it. If others had to boldly endorse the sponsors by showing their logos or products in he entries for easy recognition, he just needed to let the baby put on a branded sandal and that was enough. A toy was put high above the kid’s head for him to look up. For many, Edwin’s entry was a simple image with a strong visual impact.

Last year, Edwin won the judges’ nod when he was awarded the Photographer of the Year for the Framed Shots Camera Club and the PhotoCup 2004 which is competition among members of different camera clubs. His photos have won from city-wide contests like ”Soul of Makati” to globally competitive Sandisk International Contest. He reflects, “Joining contests helps me develop as a photographer, though I believe winning is not a guarantee that you are superb. I go on perfecting my craft because I have a personal notion that i haven’t taken my best shot yet!”


Reading,learning, creating

“This father of a twelve year old boy credits his grasp of photography through his constant reading. What ‘s interesting is the way he reads wherein he limits himself to literally just reading the books’ text, not minding about their accompanying pictures. It has been his odd practice ever since to cover the photos of photography books. Asked why he does this, his reply: ”That would help you create your own style because you don’t have images to pattern yours. You just have to know the theories behind capturing images and make it on your own.”

Edwin, a self-taught artist who grew up in Pangasinan, worked as a clerk for Philamlife before his company superiors noticed his talent. At present he’s not only into digital photography, but graphic designing and lay-outing services as well. He’s much into advertising and has joined and stage multiple group and solo exhibits, respectively. He owes much respect to the FPPF (Federation of Philippine Photographers Foundation) and to the contests that shaped his career.

In relation to his plane crash experience, Edwin feels it was one of those unfortunate moments which, in a positive way, made him realize how essential photography is for him. “I treat photography as an art, not something that may be used to earn money. I feel lucky I got into photography. Before I was a loner, but since I began mingling with other lensmen, I have learned to socialize. Indeed, he socializes significantly, happily sharing his knowledge to young, budding photographers.

Edwin Loyola Images

Edwin Loyola Images

Review: Loyola@10 Photography Exhibition II

No ordinary beauty...
By: Giselle P. Kasilag, Art & Lifestyle Correspondent, BusinessWorld
Wednesday, 10 December 2004

Looking at the world through the lens of a camera, photographer Edwin Loyola has developed a unique perspective on life. Through his eyes, nothing is ordinary -- a point he easily drives home with his latest exhibit. Loyola@10 features over 100 photographs of everyday objects -- the oldest was shot a month ago, the most recent was taken three days before the opening last Monday.

The exhibit is a celebration of his 10th year in the business as well as the first year anniversary of PALCARE which is the event's beneficiary. PALCARE is an organization of volunteers who take time out to talk and entertain cancer patients. Mr. Loyola is an active volunteer.

The concept of the exhibit is based on the institution's tagline, "Ibalik muli ang kulay ng kanilang buhay (Return the color of their lives for a while)" Though Mr. Loyola's work generally leans towards black-and-white, he gave colored photography a chance this time around. His idea was to find simple objects -- ranging from marbles to eggs -- that most people would simply pass by without taking a second glance. He took these objects, clicked the shutter, and the resulting photographs have been stopping viewers in their tracks.

In the same vein, Mr. Loyola's first camera was not hi-tech. As a child, he would play around with the point-and-shoot cameras that made use of ASA 110 film and a flash cube attachment. Looking at the family photo albums, he would always be absent as he was the one behind the lens.

He was 19 when he entered and won his first photography competition with the Federation of Philippine Photographers -- armed with crude equipment and a strong imagination. He never took formal lessons but he would devour photography books. He pointed out that he would cover the pictures to keep him from copying what others have done. To this day, he reads books with large pieces of paper taped over the photographs. This, he believes, is what has kept his material and perspective fresh and still largely uninfluenced by the so-called masters.

He admitted, though, that many of his successful photos were altered forms of his intended ideas. One photograph features a cherry with ants. The original concept was to feature simply the fruit on white background. In the middle of his session, he stepped out of the room to answer a client's call. Upon his return, an army of ants had formed a line and were inspecting the cherry with deep interest. Thus, the resulting photo.

Almost all of his works were taken by the side door of his home. He does not employ any lighting devices. Everything is shot using sunshine from 8 to 10 a.m. by that particular doorway. This, he added with a laugh, is the reason why he cannot leave his house.

His decision to turn professional came by accident. Working as a clerk for Philamlife, he was asked by his boss to lay out the office newsletter. The changes he made -- including the use of his photographs over drawings -- were well appreciated. Eventually, the office bought him additional equipment to put his talent to use.

His most memorable photo is still the one he took when his child was born. He captured the moment when his baby was looking up and smiling in a beatific manner. Years later, he took another photograph of his child (still by the doorway), again with his head raised up and smiling in the same way. This, he feels, is like coming full circle and are photographs he will always cherish.

Today, he works as a freelance photographer and graphic designer. He uses a digital camera,finally replacing faithfully for years. The Minolta now rests on a place of honor in his studio, a constant reminder that anything can be achieved despite humble beginnings.

Review: Loyola@10 Photography Exhibition

by: Willy Marbella -Art Curator
December 8, 2003

Chalks, colored pencils, shells, marbles, water droplets,even a wilted sunflower.These are some of the mundane objects that master photographer Edwin Loyola used as subjects for his 10th year anniversary exhibition.


Ten years ago, Edwin Loyola enrolled in a photoworkshop conducted for employees of Philamlife As a culminating activity there was a competition entitled 'Yellow' Even then, Loyola showed an uncanny ability to look at things from a different perspective. With a hand holding an inverted yellow balloon, it showed water frozen in time and space as it spurts from the opening. The water that covered the balloon was strikingly clear as well. What was compelling was that the image was set against a yellow background. With two yellows competing for the viewer's eye, Loyola, nonetheless, was able to make a clear distinction between object and background.

This tradition of taking photographs replete with technical proficiency, human sensitivity, and an artist?s eye is one that distinguishes his works from the rest. Even colored photographs, displaying great sensitivity comes form the fact that he treats them with the same sensibilities when shooting black and white pictures. Never having to use studio lights, Loyola avers, "All of my works are taken in available light." Loyola has an innate ability to look at his subject and distinguish the different gradations in tints and shades. This ability he displays in a picture of a pair of pears seating complacently on a wooden chopping board. Its chiaroscuro effect has a Rembrandt-like quality to it. There is softness, tenderness, and palpable reality in this photograph. It is an unparalleled display of the photographer's dictum: light equals photography.

In another photograph of a child peeking out from behind the door, Loyola goes beyond images and the very human subject renders this picture like a song in the heart. A child is always a foolproof way of connecting with people. It embodies so many things we have forgotten. Our innocence, our sense of discovery, and of learning. These are things this picture reminds us of. The Vermeer like composition of the photograph is just as striking. With the light source from one side, and the black and white checkered pattern on the floor, the allusion to the Flemish master cannot be escaped.


Another strength of Loyola is his ability to see things from a different perspective. Tilting and turning his subjects, he produces pictures that can look different from different distances. Paper that has been turned on its side with just the edges showing, look like random lines done by different colored pencils. These edges, precise, sharp, and swift could have been hand drawn with pinpoint precision by a skilled artist. Instead, it was the imaginative mind of the photographer that gave birth to this image. There was skill, indeed, but more from the creative juices of Edwin Loyola and not from any drafting ability. The kamias takes a whole different attitude in this photographer's hand. Taking a macro shot with a dew just about to fall, most viewers have commented on the perceptible eroticism of the image. Intentional or not, he has given the kamias a totally different nuance.


Another striking photograph is that of a series of colored bottles. Standing in line, they look like soldier's about to march to battle. One photo that shows Loyola's sardonic wit is of a sunflower. But it is not a photo of an ordinary sunflower; it is one that faces the bottom of the frame instead of looking up to the sun.Asked why it should be shown that way, he replies, 'It really is facing the bottom of the frame because I really waited for the sunflower to wilt, before I took the shot.' Ironically the sunflower, a symbol of freshness, renewal, and of glee, looks just as fresh as the day it bloomed despite the circumstances when the photograph was taken. But to Edwin Loyola, the beauty of God's creation extends even beyond its intended life. His green apple, on the other hand, evokes crispiness and freshness. Each drop of dew, each colored striation is an evidence of its lusciousness. A real apple can only surpass its reality content. Even the choice of green is a stroke of genius since dewdrops and cool colors (green) are really evocative of juiciness and delectability.


Edwin Loyola also shows mastery when it comes to composition of images. In a series of 6 photographs of the same piece of corn, he juxtaposes it with 3 pieces of a particular fruit with each photograph having a different kind of fruit. The vertical orientation of the yellow ears blends seamlessly with the green of the husk. And the horizontal placement of the fruits lends a counter point to the corn. Propped against a blue door, and with the help of a filter, the dream-like quality of the photos are remarkable. Soft and gentle, there?s a restful, even ethereal quality to it.

As a former staff of the Philamlife Co. Edwin has transformed himself from employee to a one-man advertising firm. After taking the grand prize for that photograph of a yellow balloon, he has earned the trust and respect of the company and now produces all collaterals for them. From brochures to calendars, Loyola is given free reign from concept to final output. Now independent of Philamlife, he now handles other companies for their graphic needs as well.

With over 20 competitions won, all of them grand prizes, Loyola has more than proven himself as a photographer to recon with. Photography has been good to him and this is the reason why he is giving back this talent in the service of man. The proceeds of this exhibition will all go to a volunteer group called Pallative Care. It is a volunteer group that lends its time to the terminally ill patients of PGH. A magnanimous gesture, its payback time for him. Generous to a fault, Edwin is adverse to talk about his talent but is more than thrilled when talking about this his volunteer work. With over 90 works to choose from, this collection is probably one of the biggest photography exhibition ever mounted by one artist. Indeed, Edwin Loyola has transcended that line when a photographer can truly be called an artist. It is not only about choosing a subject and shooting it; it is about a particular sensitivity, an awareness, even a consciousness for scale, balance, proportion, and all the other elements of art that makes his photographs art and not mere photos. One glance at the works of Edwin Loyola and there is no other conclusion to be made but that he has made it to that league.