Fired from his first job, as an assistant to a renowned Filipino-Japanese photographer – Bahaghari mucked up a few rolls of films in the dark room – Bahaghari, a fine arts graduate from UP Diliman, took to the nomadic lifestyle within the streets of Metro Manila. He "slept where nightfall found him, joined street performers for food and money," and frequented the arts and music scene. The only constant during those times was an old Nikon FM2. In those dreary days, a sliver of light seeped through; Bahaghari discovered a consuming passion for photography, a bit of himself, and a worthy subject: real life.
For almost 10 years now, Bahaghari has been chronicling life as he sees it. In 2005, he was part of a workshop conducted by famous photojournalists Gary Knight and James Natchwey of VII Photo Agency, Antoine D’ Agata of Magnum, and Sarah Canon of Cosmos. The workshop, held at Siam Reap in Cambodia, was part of the Angkor Photo Festival, and further enhanced Bahaghari’s technical expertise and empathetic eye for the human condition.
In his most recent exhibit, "Magandang Hapon: Hello Japan, Beautiful Japan," Bahaghari captured a life back in the streets, this time that of the rich diversity of Japan rather than the urban chaos of Manila. Held at the Shangri-la Plaza Mall, the exhibit was a jovial, almost quirky, showing of photos taken all over the home of sushi. For two months, armed with just a tent, film, a heavy camera, and a well-practiced Japanese phrase that means "May I take your picture?" when translated into English, Bahaghari backpacked all over Japan, capturing a lively people, an abundant agricultural industry, tempting greenery, and colorful festivals, all which have been overshadowed by Japan’s neon and electronica-obsessed reputation. The exhibit was an explosion of color and captivating emotion, and an ode to the photographer’s second home.
But for a man whose name represents a spectrum of colors, Bahaghari’s most visually arresting works are his black and whites, images of poetic detail and stark human emotion. His continuous project documenting the Butbut tribe in the Kalinga mountains, poised to be a lifelong labor, is shot in black and white. Through this medium, Bahaghari is able to vividly depict a group of complex people who convey their pride and courage through intricate tattoos all over their body.
When did you start experimenting with a camera and when did you decide to become a photographer?
I started experimenting as a student in UP College of Fine Arts. Basic black and white photography was one of my subjects and we had to develop and print our own pictures. At that time, it was just fun. I really decided to become a photographer after I worked for Neal Oshima as an assistant photographer and got fired.
What’s the origin of your name, Bahaghari?
My legal name is Richard Atrero de Guzman. It’s a mix of Spanish and American, and I don’t really like it. I changed my name when I was basically living out in the streets.
Kakatapos ko lang mag-apprentice kay Neal Oshima that time – I got fired because I ruined seven rolls of his film. Nagkamali ako ng pag-process sa darkroom. Ang sama ng loob ko. I remember I was always attending art openings, painting exhibitions, and was deep into the music scene. It was my musician friend Ato Mariano who named me Bahaghari. We just woke up one day and he said, "What if you name yourself Bahaghari?" Ako naman ok lang. I was thinking a lot about our culture that time kaya I thought it would be also cool to change my name as a statement that we should try to go back to our roots. Para umunlad ang Pilipinas, we should love our country first, love our own culture, and know our heritage. Dapat matibay ang pagkakaintindi natin sa kultura natin para umunlad ‘tong bayan na ‘to.
Describe your signature style.
I love doing documentaries. My style really depends on the photo assignment I’m doing, but I usually do the realistic, journalistic approach. I like photos that are very natural and spontaneous. I also like classic photos and old photographs, parang old school style.
Where has photography taken you?
I’ve been to Italy, France, and Netherlands. In Asia, I’ve been to Sapa in Vietnam, to Malaysia, Siam Reap in Cambodia, and all over Japan. I’ve been to a lot of the places in the Philippines, from Luzon to Vizayas to Mindanao.
Photography has brought me to a different state of mind. I guess it’s because I shoot mostly people and document stories of the human condition. Through this process I get to learn different aspect of life. Buhay-buhay ba!
Where do you want it to take you?
To a higher learning in life.
How many times have you exhibited?
I’ve had four solo shows and was part of 10 to 15 group shows.
Describe the content of your exhibits.
My first solo show was my university thesis. I did everything, from framing my pictures to setting up and curating my own photographs, and even designing my poster and invites. It was the first time anyone from the university did a thesis about photography. It was a technical photo exhibit. I also made a book about cross-processing techniques as a possible medium for photography.
Recently, my shows have been about the culture and heritage of the Philippines. It’s really tiring to have a show especially when you really want it to be comprehensive, but it’s fulfilling when people look at your photographs and smile. I feel so content when they understand what it is I want to say.
What other projects are you now completing?
I’m still working on photographing the Butbut tribe of the Kalinga Tribe. I don’t think there’ll be any end for this project – it’s a continuous learning process.
Why did you choose to photograph Japan?
I didn’t really choose to photograph Japan. I just travel to Japan a lot, and find it so interesting to photograph. I see Japan as being like the Philippines – there are some similarities in terms of land structure, festivals, and both countries’ farming and fishing industries.
Did you shoot in film or digital?
All my Japan photos were shot on film, using a medium format camera, my favorite. I used an old 6 x 7 Pentax model, which came out in the ‘70s.
How long did it take to complete this project?
I stayed in Japan for a total of three months but shot and travelled by backpack in just two months. I basically travelled by local train and boat.
What was the best part about this journey? And the most difficult?
The Japanese food! I love sushi and miso soup. I also enjoyed the hot springs in Onsen – I always drink fresh milk after the hot bath while enjoying the cool fresh air outside.
I hated applying for the Japanese visa, although the most difficult part was having to carry two big, heavy cameras and a load of film. It’s a pain trying to walk when you’re carrying a big camera.
What was the most challenging project you’ve had?
It would still have to be my project involving the Butbut tribe of Kalinga. The language is different; I still need a translator when trying to explain to my subject what I’m doing in their place. Hiking near a cliff is not easy for me, either. I’m acrophobic, I’m really scared of heights.
What else would you would like to do for your art?
I imagine myself staying somewhere far, where I’ll have a huge working space and a nice ventilated darkroom. Aside from printing my photographs, I’ll also be setting up photoshows of upcoming young photographers. I also like to put up a foundation that archives valuable photos by legendary Pinoy photographers. It’s now time to collect these masterpieces. Yeah!
In your various journeys and experiences, how would you sum up people’s reactions to a photographer and his camera?
Everyone loves pictures and the camera. It’s a universal phenomenon.
How do you capture that "perfect moment"?
I really don’t know how the perfect moment works. It’s magic! I always have my camera wherever I go and try to be observant to my surroundings. Most of all, I always try to be involved in what’s going on around me.
How do you strike a balance between photojournalism and more commercial editorial work?
I always try to shoot both photojournalistic and editorial work because it makes me see two different worlds, although I see to it that my personal photo projects are my first priority.
Whose work do you admire?
I like the works of Filipino photographers like Sonny Yabao, Luis Liwanag, Alex Baluyot, Dick Baldovino, Butch Baluyot, Jimmy Domingo, Dereck Soriano, Romeo Gacad, Nana Buxani, Jake Verzosa, Gari Buenavista, Paolo Picones, VJ Villafranca, Jez Aznar, and Raffy Lerma.
I also like some international photographers such as Henri Cartier-Bresson, Robert Doisneau, Anders Petersen, Robert Frank, W. Eugene Smith, Bruno Barbey, Sebastiao Salgado, Ed Van Der Elsken, and Ihei Kimura.
How do your photographs reflect your personality?
I’m basically a happy person; my photos are very light and inspiring.