Just Like in the Movies When the Action Begins: Eric and Godday

Wanna hear a funny/sad story? Alrighty then, here it goes: Where were you when the nearly 7-magnitude earthquake hit Cebu (and the neighboring island of Negros) some eight months back (I think it was on February 6)? Me, I was in bed, watching Pearl Harbor from 2001 for, like, the 50th time—it’s one of those movies that I never get tired of, and not so much because of the obvious sausage fest (Affleck! Hartnett! Matthew Davis! One-fourth of the Baldwin brothers!), but because of the, well, ‘40s fashion! Anyway, so, yes, I was in bed, Cheetos is hand, deeply engrossed in the movie, and by the time I got to the bombing scene that was when the earthquake struck! At first I thought the whole shaking was ‘cause my surround sound was pretty intense, and I actually exclaimed silently, Wow, I’m so glad I got these Edifiers!—it wasn’t until I checked my Twitter timeline a few minutes after the shaking stopped that I realized there had been an actual earthquake! And as everyone was praying for the resulting tsunami warning to turn out to be a false alarm, all I could think of was, God, no! I can’t die right now! Not when I haven’t had a 1940s-themed shoot yet! True story! I am not making this up, I swear! I know that by sharing this tidbit I risk being called a coldhearted little prick, but I can’t help it if that was what really went through my head at the time! OK, so maybe I need a little help in reprioritizing my life, but for now let it be put on record that, for a while there, I cared more about the prospect of a 1940s-themed photo shoot that I did my own safety!

As luck would have it, my prayers would be answered only less than two weeks later when the Manila-based events stylist Deo “Din-Din” Urquiaga flew into town to book us (by us, I mean the Shutterfairy team) for a wedding that he was working on. The legwork was going to commence with planning the engagement session. When he mentioned that he was given a free hand to think up/explore a variety of concepts for the couple’s consideration, I wasted no time in pitching the Pearl Harbor-inspired theme at him. Initially he’d had a different concept in mind—something to the effect of “film director and screen siren, bard and muse, songwriter and songstress”—but once I got him started with stills from movie he found it hard to disentangle himself from his iPad! This guy and I go way back, and over the years we have come to acknowledge and respect our differences in aesthetics—e.g., if it’s grunge and so it looks like a job for me, he gets out of the way; if it’s romantic/ladylike and so it’s right up his alley, I step aside. This right here was one of the very few times that the two of us saw eye-to-eye on a particular style—the 1940s look appealed to me in that, especially for men, bright colors took a backseat to make way for more subdued tones, thanks to “wartime restrictions” (and drab has kind of a grunge quality to it, no?), and it fascinated him in that, for women, the hemlines were longer (i.e., more becoming), the waistline was reemphasized, and hats and gloves were a big deal. Something gave me a sense that this was going to be a winning collaboration! Thank God that because the groom-to-be, Eric Omamalin, was one of his closest friends (I think they’ve known each other since their college days), and therefore trusted him enough, we didn’t have a hard time selling the concept to the couple.

Let’s get one thing straight, though: I am not about to take credit for the styling, because that aspect was all Din-Din. Preparation time coincided with my travel dates, you see (I had to leave for L.A./New York and be gone for almost two months), thus I had no choice but to relinquish that detail. Well, it was me who worked on the mood board—I think I must have spent three or four straight hours at the Cathay Pacific lounge at Chek Lap Kok immersing myself in the Michael Kaplan/Mitzi Haralson dynamic, browsing through American fashion ads from the war years (Clare Potter, Adele Simpson), and staring at Vogue covers from the latter years of the Edna Woolman Chase era—but it was Din-Din who took the collage and painstakingly translated it to actual clothes/accessories for Eric and his fiancée Godday Bastigue. These dresses that you see on Godday aren’t vintage, by the way; they’re Din-Din’s own designs, brought to life by whom he calls his “super secret seamstress” (I volunteered to scour topnotch vintage shops [The Way We Wore down La Brea, revamp down the L.A. Fashion District] and even the Hollywood Goodwill for authentic 1940s pieces, but he good-naturedly declined, saying there was nothing this “super secret seamstress” could not whip up for him). That’s the thing about Din-Din: he never reveals his sources, not even to me, and everything is “super secret”—there’s even this shop where he gets props/knick-knacks for his shoots/events that he calls his “super secret store.” Clearly all this coyness works well for him, and that’s alright with me, because he matches this with irrepressible creative drive and a healthy dose of chutzpah.

What’s not-so-secret, though, is his choice of makeup artist/hairstylist. If it’s an event/shoot styled by Din-Din, expect him to demand for Vanessa Gamus: “It’s Vanessa or no one else,” he’d always say. For years I’d been trying to decipher this preference, and on the day we did this shoot it finally occurred to me: what made Vanessa appealing to Din-Din was her uncanny ability to strike a perfect balance between what was in the inspiration boards and what actually worked best on the subject’s face. Trust me when I say not a lot of makeup artists have that kind of eye!

You guys are probably going to blow the whistle on me and say it looks like I’m over-relying on or overusing the airplane/hangar/airport backdrop, and that’s totally understandable—I mean, I myself questioned this a couple of months back when I wrote: “What is it about planes and hangars and airports, and why do I gravitate towards them?” That’s what it looks like on the surface, but if you take a closer look you will see that, while the backdrop might be the same, the theme varies from session to session: for the Shandar catalog that I shot at the Aviatour hangar the styling was modern jet-setter with a touch of Catch Me if You Can (styled by my friend Meyen Baguio); the “vintage travel”-themed engagement shoot that I did at the Busay Air hangar exactly a year ago was inspired by cultural behemoth Amelia Earhart; and for the family session that I did at the Van Nuys Airport this past spring I looked to Lauren Conrad’s “airport looks” for inspiration. I have no problems with reusing locations and backdrops, so long as the styling/theme does not make a repeat performance. Just two months ago I had to say no to a bride-to-be who said she wanted a set that simulates Cielo Ramirez’s photos from the Shandar catalog—I just couldn’t bring myself to do it. It’s, like, come up with something that I haven’t done in the not-so-distant past, and let’s talk.

This was one of the first shoots under the Shutterfairy banner that I had to carry out on my own: my boss/mentor Malou Pages couldn’t join me for this session because she had to jet to Manila to attend her idol Nelwin Uy’s first ever wedding photography workshop (yes, she was one of the lucky few to land a coveted spot). Before she left I’d jokingly begged for her to skip the workshop and not leave me alone, but I knew this was no time for me to be selfish—she’d been waiting for two or so years for a chance to meet Mr. Uy and pick at his brain, and now that that day had finally come who was I to keep her from realizing that dream? At first it frightened me that I was going to be working solo—I mean, sure, I’d been doing some of this stuff on my own, for commissioned work outside the Shutterfairy brand, but this time I was flying solo under that banner, and I was afraid that with Malou not around there would be no one to pull me right back on track in case I strayed from that signature Shutterfairy stamp. Good thing Din-Din flew in from Manila on the day of the shoot to keep me in check—he and Malou had been friends for a long time now, which made him all too familiar with Malou’s style! And thank God that he brought his camera with him, too—I wasted no time in designating him as second shooter! Helped a great deal, too, that Godday had kind of an “old soul” air about her, and so not only did she make it look painless slipping into 1940s character, she also lent that ladylike, graceful vibe that is oh-so-Shutterfairy to each frame.

Eric and Godday tied the knot just this past Saturday, October 27, at the Alliance of Two Hearts Parish Church in Banawa, Cebu City, with a reception that followed at the Beverly View Pavilion in Bevely Hills, Lahug. Incidentally, that wedding day of theirs was another first for me—it was my first time to photograph a wedding (not counting my brother’s wedding two months ago). Although I’m pretty confident I did a decent job with the engagement photos, I’m not very sure if I feel the same way about the photos I took during the wedding. Good thing Malou was around for the event, otherwise I’d be screwed! It was such a beautiful affair, from the preparations at the Marco Polo Plaza Cebu, to the church (loved that the priest they’d gotten to officiate the whole thing was someone they’d known since childhood—his homily was peppered with snippets of Eric and Godday’s love story, which made it very heartwarming), and down to the littlest details at the reception. Now, I’d been to the Beverly View Pavilion many times before, but I’d never seen it like that! The sleight of Din-Din’s hand is, indeed, never to be underestimated! The theme was not Pearl Harbor, of course, but he made use of some of these photos that we took during the engagement session, blowing them up to larger-than-life to resemble panel-format American movie posters, and there were floodlights everywhere, not to mention dozens of Speedlights to mimic the blinding flashes of paparazzi’s cameras. He topped this “movie premiere” ambiance with hundreds upon hundreds of luscious flower arrangements that, from afar, gave the illusion of one giant red carpet—majestic cockscombs in oxblood, with big, fat crimson roses, scarlet African daisies, and wine-tinged succulents and Magnolia seed pods. How’s that for plush? For a while there, I thought I was being transported to another place, in the other Beverly Hills (in California), like, say, the Greystone Mansion. Pair all that with Godday’s refined, ladylike bearing (Malou loved how Godday the bride behaved exactly like the Godday in these 1940s-themed engagement photos), and her Swan Princess-inspired bridal dress (by no less than Protacio Empaces Jr.), and you’ve got the makings of a true red carpet event. It was just too cinéma vérité for words.

Erickson Omamalin and Godday Bastigue | Photographed by Angelo Kangleon and Nino Deo “Din-Din” Urquiaga for Shutterfairy in Lapu-Lapu, Cebu, on June 10, 2012 | Styled by Din-Din Urquiaga | Hair and makeup by Vanessa T. Gamus | Sittings assistant: Amy Antony | Special thanks to the staff of Aviatour Air (visit http://www.flyaviatour.com/ to learn about their tour packages)

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