Crossing over

The last time Jo Ann Bitagcol appeared in YStyle was on the cover. We played up her androgynous style sensibilities and featured a double image of Jo Ann, one dressed in a flirty dress, the other depicting her in a fedora and a mannish shirt. She was in full-throttle model mode back then, a mannequin that posed as she was instructed and did as the photographer and stylist asked with the least bit complaint, as expected of any professional model.

This time around, Jo Ann Bitagcol is not doing any posing, and is not aiming to change outfits within a 30 second mark. She’s not answering questions about the plight of models in the fashion industry, nor is she recounting her story on how she was plucked out of a provincial factory and pushed onto the catwalk. This time Jo Ann Bitagcol is not a model being pushed to answer impudent questions just to prove that she’s got a lot more than air bubbles coming out of her head. We don’t need to know how smart she is; we’ve known that for some time now. And this time around, Jo Ann isn’t trying to prove her worth as a model with thinking capabilities. Up for judgment now is her mettle as one of the newest figures in local photography.

Two years ago, Jo Ann the model’s interest in photography was just something people waved off as a hobby. No one really thought she’d take it seriously, not even Jo Ann, up until early this year when the top model rearranged her priorities and made the art of picture-taking her main priority. Armed with a handful of advice and borrowed equipment from lensmen she had posed for, Jo Ann started shooting for designers, clothing brands, and magazines.

Taking yourself seriously doesn’t mean that others will. Aside from the expected pressure of making a name for herself in the industry of images, one of Jo Ann’s biggest hurdles is proving that a former model has enough brainpower to come up with beautiful pictures. "A lot of people here in Manila seem to think that models are brainless, so that’s another form of pressure. It’s additional baggage that I have to carry." This derogative on her former profession, however, also works as Jo Ann’s strongest point.

As a veteran of the fashion industry, Jo Ann has developed an eye for what looks good and what’s stylish, what looks good in photos and what will just make a figure look fat. As a former mannequin, she knows a model’s limitations and recognizes when they’re being unnecessarily difficult. She knows all too well how important it is to convey a message through body language and how even more important it is to find the most appealing angle in a face. She has realized that there’s beauty in character and reverence in stillness. And it takes years for other photographers to grasp what has been ingrained in her in years of modelling.

The second time around for YStyle Jo Ann Bitagcol is featured as a beginner and not as someone in her prime. We applauded her character then, we applaud her talent now.

YStyle: How much time do you put into photography now?

Jo Ann Bitagcol: A lot. I’m doing photography full time now. Modelling is still there but it’s second priority to photography.

When did you finally decide to go into photography full-time?

Early this year, I told myself, "Go. Go na."

How does it feel to be the one behind the camera?

I feel really pressured. Siyempre I have to prove myself. It’s a lot different from modelling. As the photographer, I’m the mastermind, I control everyone. When you’re the photographer, you have more work, more responsibility…But I feel fulfilled. I like the mind work. I like it na nag-iisip ako, hindi yung smile lang.

So when people ask you now what you do, what do you say?

I say I’m a bum. Wala lang…

When was your interest in photography first sparked?

I went through this period of boredom and I needed a new challenge, so I thought, "Why not photography?" Then I got into the darkroom and I was printing my images and I felt really happy so I decided to really pursue it.

Before making that decision, what were your post-modelling plans?

Wala, bum.

Who became your first mentor in photography?

I first took a workshop in black and white photography at UP Diliman about two years ago. Then I started bugging Lilen Uy about doing an internship with her. I learned so much from her, especially about studio lighting and lighting details, and the working system. A lot of photographers then started to lend me their equipment: Neil and Claudine Lucente, Jun de Leon, Nelson Villarica (I still have his light meter). Steve Tirona and Raymund Isaac also helped me out. They were all so nice to me. I got so much support.

What made you decide to join photography studio Edge of Light?

To be honest, I don’t have equipment. It’s hard and it requires a lot of money to invest in my own equipment. Xander (Angeles) offered me the chance to shoot for them as an in-house photographer, and I feel lucky to have been asked to join the group. I also get to explore more about photography. Our group is a collaboration – we learn from each other.

What’s your forte?

Since I come from the world of fashion, it’s easy for me to do fashion photography. But these days I’m becoming interested in still life photography.

Have you had a job that required you to shoot people you used to model with?

Yeah! I’ve photographed Rissa (Samson) and Valerie (de los Santos).

Did that feel weird?

I already know them, their movements, their personalities, so it was pretty easy. But I had to be careful about their feelings. I had to be careful about not violating their image.

Do you think it was easier for them working with you?

Hindi ko alam. Ang bagal ko mag-shoot, baka sinumpa na nila ako. You should ask them.

Any realizations now that you’ve made the shift from being the subject to going behind the lens?

A lot. Ang hirap pala maging photographer. I realized the burden and stress photographers go through. But I also realized that, with some of the photographers I used to work with, it was just all power play – they didn’t have to ask me to do certain things, they didn’t have to ask me to do a pose when it was irrelevant to the pictorial.

What did you learn from modelling that you’re now applying to photography?

Respect for each other and respect for everyone’s time and point of view.

Ever worked with a difficult model that didn’t know that you were once in her place and know what modelling is all about?

Yeah, there have been times when I’ve worked with new models that didn’t know that I used to model. I think it’s beyond the point that I am a former model. I’m the photographer and she has to respect my vision.

There was this one girl who had to wear tight shoes and I made her jump and she was complaining about it the entire time. I got so pissed but I couldn’t scream at her because I didn’t want my shoot to be completely ruined. I just had to control myself. The thing is I was never difficult with the photographers I worked with when I was still modelling. I did what they asked me to do because it was part of my job. I had to adjust to any situation as a model.

What are the reactions to your pictures?

I’m not sure. Filipinos don’t want sad pictures and I noticed that my pictures are sad or they’re all dark. Out here, especially in advertising, they want bright happy pictures so hindi talaga ako bebenta!

Is that really your photography style?

I don’t know if sad and dark will be my signature, although I wouldn’t mind if it were. I just want my pictures to be quiet, to tell a story and to have a bit of an element of reality.

Do you work with film or a digital camera?

I shoot digital once in a while but I’m really more comfortable with film. I like the whole process of going to the lab, and having my film developed. I like the surprise factor that comes with using film, not knowing what you’re going to get. And I’m illiterate when it comes to computers; I don’t do much Photoshop, so I can’t really do digital. I’m trying to master the digital form but I find it hard. Other people find it easier but I don’t. And I have respect for people who can shoot in digital form.

What’s your dream project?

To shoot for a book. Eventually, I also want to do cinematography.

Who are your dream subjects?

Other photographers.

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