|
YOU
might have heard that members of some native Indian or
African tribes—and, yes, the occasional
celebrity—believe that having their picture taken steals
a part of their soul. The rationale being that for the
photographer to have something, the subject must have
lost something accordingly.
No
doubt, most people will be inclined to dismiss this as
mere superstition—chief of which would be the legion of
Pinoys every ready for kodakan—but at a recent
event, I wondered if these tribespeople might have known
more than they’re given credit for.
The
event was the photo exhibit of Donald Tapan, held
recently at Robinsons Place Manila in observance of the
Philippine Heritage Month, with the theme focused on
festivals around the Philippines. The name Tapan, of
course, carries much weight around photography circles.
His brother is, of course, George Tapan, better known
for his contributions for Mabuhay magazine, while
Donald’s own works have graced the pages of such
publications as Mod, Woman Today and Metro.
Gazing
at the pictures in the exhibit, one can’t help but be
reminded of the apprehensions of the tribespeople. Tapan
captures his subjects with such clarity and purity that
it would initially seem as capturing their essence or
soul. But upon closer inspection, Tapan’s process
reveals itself as one of discovery more than anything
else, the discovery of that small but special secret
that is inherent in his subjects. “When I capture
photographs, I try to look for something outside of the
obvious, something not always noticed,” Tapan said
during the event.
“Photography is an art and should be treated with
respect as with any art form,” he added.
This
philosophy reflects itself in his photographs—from a
scene of the La Naval, where the soft glow of dozens of
candles seems to float in the air surrounding the figure
of the Virgin Mary, to the enthusiastic colorful energy
reverberating from the crowds of the Moriones Festival.
Taking
on this project was personal for Tapan, as he recalls a
childhood that he described as hard due to financial
limitations. “I didn’t grow up rich, so I feel that I
want to give back to the poor now that I’m more
successful,” he said, adding that he would like to be
remembered for helping the needy through his craft,
having promised as a child to do so should he go on to
success as an adult. True enough, the proceeds from his
exhibits are routinely directed to charities, especially
those which address education.
On the
evolution of his style, he said his modest roots played
an important role in determining the direction of his
career in photography.
He
recounted that early in his career, he did lots of
portraits, mostly of famous people, then venturing as
well into various fields such as news, fashion and
sports. Ultimately, he decided to photograph the
“simpler” things, or ‘”human interest” subjects, like
those featured in the Philippine Heritage Month exhibit.
“Nowadays, I’m most comfortable with subjects with a
sense of human interest, especially with the things that
most people take for granted. I try to bring it out,
make it more beautiful,” he said.
Of his
family—all his children are into photography, with a few
of his daughters contributing to the festival exhibit—he
is thrilled that they could share this passion for
photography with him. “I never forced any of them to
take photography; in fact, I encouraged them to pursue
their own interests,” he said, adding that whatever they
chose to do in life, they still have a responsibility to
help the needy.
“It’s my
wish that my children can continue this legacy for
me—that is, helping in our own individual ways to
solve—or at least alleviate—the problems of the poor,”
he concluded. |
