Photographing the Photographer: Malou Pages

You’d think that after a certain period of being an apprentice you would, as a matter of course, move on to the next level, no questions asked. I’d begun my apprenticeship at Shutterfairy Photography in August 17, 2011, and so when August 17 of this year came I expected to receive an e-mail or letter from my boss/mentor Malou Pages declaring the end of my noviciate and telling me to get ready for the next chapter of my journey with her (like, as associate photographer, perhaps?). Alas, that e-mail or letter never came, and instead all I got from her that day was a comment on one of my posts on Instagram asking if I was ready to shoot her. Yes, herI, the aspiring photographer, was going to shoot her, the established photographer, and that was going to serve as my “final exam” of sorts. “Are you being serious right now?” was my initial reaction, to which she made it very clear that, yes, she was being dead serious. Never one to recoil from a challenge, I, of course, said yes—but that isn’t to say the whole idea of it didn’t get my hands all clammy.

Most people will agree that photographers make for very challenging subjects—and even Malou herself has admitted this at one point or another, having been subjected to a similar situation in the past—because there will always be that tendency for them to espy (and call out) the things you’re doing badly, to dictate your creative process, and to measure your methods/output against their own style. Said differently, “photographing the photographer” (or, as Malou’s contemporary Josephine Sicad likes to put it, “shooting the shooter”) is not an activity for all tastes, and is definitely not for the faint-hearted. To me, it’s, like, ask me to shoot a band standing next to a fiercely burning fire and I’d gladly breeze through that without breaking out in a sweat, but ask me to take a picture of a photographer—and my boss at that!—and I might require a little towel to dab the beads in my forehead with. I mean, hello, I am fairly new to this craft, and even if some of my favorite anecdotes to draw inspiration from concern artists sitting for other artists (example: Irving Penn photographing Richard Avedon back in 1993), inspiration doesn’t always translate to howling courage.

Malou was quick to assure me she was going to be the opposite of everything that I’d had qualms about, promising to behave like the “ideal subject,” and to let me have my way with zero “backseat driving” from her. “Your equipment, your style of shooting, your style of editing,” she swore. But even with that concern out of the way, I still had another dilemma in my hands: How to approach this whole thing? My first impulse was to make it documentary-style—i.e., follow her around on a working day, and take photos of her as she took photos of actual clients. I scratched that, of course, once I realized that that would be like interfering with her business. I then considered approaching it like I would any other shoot—i.e., a styled session where I could dress her up and she could do some role-playing. But then I was afraid that that was going to make me focus more on the styling aspect and less on the photographing part, and that would be totally missing the point of this exercise, right?

Ultimately I decided to make it a personal style portrait session—her wearing pieces (up to 5 outfits) from her own closet, à la, well, personal style blogger, and tinkering with the stuff that she surrounds herself with. Perfect, right, since this would take styling out of the equation, and so I would have all the room in the world to mind my composition, white balance, aperture, and all that other good stuff!

I really like Malou’s style, although she would be the first to tell you that she doesn’t have any style to speak of, and that she’s “more of a tomboy” who would “rather go biking” than mind what she shoves into—or pulls out of—her closet. (When I came back from my summer vacation this year and I handed her a floral bodycon dress that I’d bought for her in California she gave me a funny look, like she would rather have received a Lance Armstrong book or something!) Funny how she doesn’t see that she can go on and on about having no stomach for shopping or clothing, but the way she puts herself together will always contradict her claim. On the day of the shoot I told her something to the effect of, “How could you say you have no style, when in fact you even have two?” There was the Malou that I saw everyday, whose deal was the warm-weather/California boho style—airy tunics or bright kaftans bloused up over vintage denim cut-offs, statement necklaces, and strappy flat sandals, plus the occasional straw sun hats, multicolor beach hobo bags, etc. And then now, after taking a peak in her closet and browsing through her picks for the shoot, it became evident that she had another side, one that had a thing for old, offbeat and fun pieces, like chunky grandmother cardigans, wool blend jackets in quirky floral patterns, bright colored skirts with applique detailing. After I deduced this she would admit that, yes, she did have a penchant for old stuff, and that she considered herself a kind of modern-vintage character born a couple of decades too late. So she was one of those who had developed her personal style subconsciously rather than studiously. Trust me when I say that’s the more interesting kind of personal style!

OK, I guess it’s time to brush the topic on clothes aside and back up a bit to how the actual exercise went. First of all, I appreciated that Malou kept her word that she was going to stay out of my hair and be really laissez-faire about the whole activity. This made me very happy because it allowed me to strike a balance between the techniques she had taught me over the past year and those I’d worked to develop on my own. It helped, too, that she turned out to be such a natural in front of the camera as she was behind it—I would later find out that she’d attended a couple of modeling workshops in her youth (it was the makeup artist Owen Taboada who disclosed this little tidbit, and I’m pretty sure Malou is going to hate me for putting this on record) and that she’d had some modeling experience (she was the original face for local accessories brand Gracie Q before Fretzel Buenconsejo came into the picture). I also loved how I finally got to see her home, and survey not just the stuff that she surrounded herself with but how she’d organized her workspace as well. This helped me a great deal because, as those close to me might know, I tend to be a first-class slob, and so seeing how Malou had arranged her tools, equipment, research material, and files forced me to reexamine my own system (or the lack of it), and made me realize that if you want to be serious about the business aspect of photography you’ve got to learn to de-clutter and get rid of the things you don’t need. (Some two weeks following this shoot I would find myself setting up a home office patterned after hers—with a little help from all that IKEA that I’d gotten from California, of course.)

But my absolute, absolute favorite part of this shoot was that I finally got to try my hand at shooting film. Yes, you read that right: I got to shoot film! In the days leading to this session, you see, Malou had asked me if there was anything more about this craft that I wanted to pursue, a “new thing” that I was dying to explore. I’d told her I could not think of anything except that “new old thing” called film—yes, I’d wanted to go back to basics, for the most part because I’d felt it was time to really tap into my father’s legacy. She’d proceeded to ask her film camera enthusiast friend Christian Enricuso to tag along with us, and that’s how I ended up with two cameras dangling from my neck that day: my DSLR, and a circa mid-‘80s Nikon FG-20 35mm (50mm f/1.4). I used a roll of Konica Centuria 400 film. I haven’t seen the outcome yet because that roll is still in Manila being developed as I am writing this, but I promise to post them on here if they turn out to be decent!

So now you understand how strongly I feel about this woman as my mentor. As much as she’s intent on instilling in me some of that signature Shutterfairy stamp, she is also keen on encouraging me to define my own style and carve my own path. I don’t say this enough, but everyday I thank my lucky stars for that one fateful day last year that she decided to take me under her wing (I don’t know if I’ve mentioned this, but did you know that, before Malou came along, a lot of doors were slammed on my face?). I have learned so much from her, and grown so much under her tutelage. To say that I owe so much to her is an understatement. Right now, at this point in my career, I’m not exactly sure where I’m headed—but at least I know I’m going somewhere, and that’s thanks to her. If you ask me now if I’ve worked out some sort of long-term plan, I’d say no. But I can tell you that I’d love to stay with Malou (as associate or assistant or whatever you call it) for the next 2-3 years—that is, granting that I pass this test!

Maria Luisa “Malou” Pages | Photographed by Angelo Kangleon in Cebu City, Cebu, on September 23, 2012 | Hair and makeup by Owen Taboada | Special thanks to Christian and Mela Enricuso 

3 thoughts on “Photographing the Photographer: Malou Pages

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