As the photographic means of communication continue to become embedded in our day-to-day affairs as Filipinos, discussions about ownership and fair use also become extremely relevant. Particularly in social media, photographic images are shared and re-shared at the speed of thought. But together with this circulation, credit becomes an issue as the public becomes more and more acquainted with the term CTTO, a term some would argue is not just lazy, but is also largely transgressive, infringing on the basic rights of creators and photographers. Tonight, we explore these questions with Atty. Exequiel Valerio of the IPOPHL-Bureau of Copyright and Related Rights. We will discuss the ethical, legal, and practical aspects of photo sharing, and provide some best practices for both photographers and the general public. The first part will be a lecture by Atty. Valerio while the 2nd half will be a Q&A / Kwentuhan session. Thank you for joining us for Episode 19 of the Marites Talks Kwentuhan Sessions entitled, Photographs in the time of CTTO: Best Practices for Photographers and the Public.

As the photographic means of communication continue to become embedded in our day-to-day affairs as Filipinos, discussions about ownership and fair use also become extremely relevant. Particularly in social media, photographic images are shared and re-shared at the speed of thought. But together with this circulation, credit becomes an issue as the public becomes more and more acquainted with the term CTTO, a term some would argue is not just lazy, but is also largely transgressive, infringing on the basic rights of creators and photographers.

The term “Visual Literacy” seem to have gained newfound traction in recent times with established practitioners such as Jes Aznar being vocal about this advocacy. In public engagements and on his personal page, he has also directed this call-to-action not only to peers but also to the general public. While such push is not new, being the core preoccupation of educational and professional institutions such as Benilde, UP, ACFJ, and PCP, hashtags such as #SpreadVisualLiteracy, #VisualLiteracy and #MediaLiteracy gives this endeavor a public dimension.   

Nevertheless, a critique on this push reveals a possible weak point. At its current iterations, differing invariably across various advocates, the discussion of visual literacy has an unclear context from which a general understanding can be drawn out of, as well as, an absence of a clear manifest objective to which such rigorous efforts can be directed to. Visual literacy is broad and takes on very different meanings depending on use and audience. While fundamentally related (i.e. to be visually literate is to know how to make sense of visual phenomena, and in the context of the Marites Talks, photographic visual phenomena), most of what we conceive as visual literacy has the danger of dissolving into obscurity as the imprecision to which it is used in discourse lacks a solid foundation, and thus arguably preventing it from being a true battlecry to rally on to.  

Tonight we endeavor to contextualize what is Visual Literacy, identify the agents who are involved in shaping this goal, and the methods to which it is operationalized in Philippine contemporary visual culture.  

Thank you for joining us for Episode 8 of the Marites Talks: Kwentuhan Sessions on Philippine Photography, entitled, Visual Literacy: A Crisis of Method? Tonight, we have Mr. Jes Aznar, Photojournalist, Artist, and Educator, and Mr. Francis Tady, Chairperson of the AB Photography Program of the De La Salle - College of St. Benilde.

The term “Visual Literacy” seem to have gained newfound traction in recent times with established practitioners such as Jes Aznar being vocal about this advocacy. In public engagements and on his personal page, he has also directed this call-to-action not only to peers but also to the general public. While such push is not new, being the core preoccupation of educational and professional institutions such as Benilde, UP, ACFJ, and PCP, hashtags such as #SpreadVisualLiteracy, #VisualLiteracy and #MediaLiteracy gives this endeavor a public dimension.   

Nevertheless, a critique on this push reveals a possible weak point. At its current iterations, differing invariably across various advocates, the discussion of visual literacy has an unclear context from which a general understanding can be drawn out of, as well as, an absence of a clear manifest objective to which such rigorous efforts can be directed to. Visual literacy is broad and takes on very different meanings depending on use and audience. While fundamentally related (i.e. to be visually literate is to know how to make sense of visual phenomena, and in the context of the Marites Talks, photographic visual phenomena), most of what we conceive as visual literacy has the danger of dissolving into obscurity as the imprecision to which it is used in discourse lacks a solid foundation, and thus arguably preventing it from being a true battlecry to rally on to.  

Tonight we endeavor to contextualize what is Visual Literacy, identify the agents who are involved in shaping this goal, and the methods to which it is operationalized in Philippine contemporary visual culture.  

Thank you for joining us for Episode 8 of the Marites Talks: Kwentuhan Sessions on Philippine Photography, entitled, Visual Literacy: A Crisis of Method? Tonight, we have Mr. Jes Aznar, Photojournalist, Artist, and Educator, and Mr. Francis Tady, Chairperson of the AB Photography Program of the De La Salle - College of St. Benilde.

Indigenous as Sustainable - this is what Anthotypes aspire for. Anthotype is a photographic image obtained by using plant dyes (photosensitive pigments in plants), without the need for cameras, lenses, inks, lasers and specialized equipment.   

Artist, Curator, Writer, and FOTOMOTO Co-Founder Stephanie Frondoso makes a case for "Sustainable Photography" by emphasizing that photography can be done with naturally occurring materials and processes. Such medium also could claim, in a certain way, to "predate" the invention of cameras and challenges our associations of photography as a product of modernity.  

Thank you for joining us tonight for Episode 7 of the Marites Talks: Kwentuhan Sessions on Philippine Photography, entitled, Anthotypes as Sustainable Philippine Photography.

Indigenous as Sustainable - this is what Anthotypes aspire for. Anthotype is a photographic image obtained by using plant dyes (photosensitive pigments in plants), without the need for cameras, lenses, inks, lasers and specialized equipment.   

Artist, Curator, Writer, and FOTOMOTO Co-Founder Stephanie Frondoso makes a case for "Sustainable Photography" by emphasizing that photography can be done with naturally occurring materials and processes. Such medium also could claim, in a certain way, to "predate" the invention of cameras and challenges our associations of photography as a product of modernity.  

Thank you for joining us tonight for Episode 7 of the Marites Talks: Kwentuhan Sessions on Philippine Photography, entitled, Anthotypes as Sustainable Philippine Photography.

Indigenous as Sustainable - this is what Anthotypes aspire for. Anthotype is a photographic image obtained by using plant dyes (photosensitive pigments in plants), without the need for cameras, lenses, inks, lasers and specialized equipment.   

Artist, Curator, Writer, and FOTOMOTO Co-Founder Stephanie Frondoso makes a case for "Sustainable Photography" by emphasizing that photography can be done with naturally occurring materials and processes. Such medium also could claim, in a certain way, to "predate" the invention of cameras and challenges our associations of photography as a product of modernity.  

Thank you for joining us tonight for Episode 7 of the Marites Talks: Kwentuhan Sessions on Philippine Photography, entitled, Anthotypes as Sustainable Philippine Photography.

There is a lack of discourse of photography in the Philippines. And when we say discourse, we refer to it in a manner that is an understanding of photography not only by its mediatic conception, but more encompassively as the recognition of Photography (uppercased) as a site of human experience. The latter framing allows for the expansion of exposition of Photography that goes BEYOND the traditional categories of studies to which it is associated it, namely Commercial Arts, Communication Arts, and Fine Arts.

This episode is an overview of Contemporary Trends in Philippine Photography from 2005 to 2023 that looks at the topic through various perspectives (framing, tangential references, and intersectional understanding).

This episode provides a cursory look at the framework of the on-going project by Photography Chismis PH.

Thank you for joining us tonight for Episode 6 of the Marites Talks: Kwentuhan Sessions on Philippine Photography, entitled, Contemporary Trends in Philippine Photography.

There is a lack of discourse of photography in the Philippines. And when we say discourse, we refer to it in a manner that is an understanding of photography not only by its mediatic conception, but more encompassively as the recognition of Photography (uppercased) as a site of human experience. The latter framing allows for the expansion of exposition of Photography that goes BEYOND the traditional categories of studies to which it is associated it, namely Commercial Arts, Communication Arts, and Fine Arts.

This episode is an overview of Contemporary Trends in Philippine Photography from 2005 to 2023 that looks at the topic through various perspectives (framing, tangential references, and intersectional understanding).

This episode provides a cursory look at the framework of the on-going project by Photography Chismis PH.

Thank you for joining us tonight for Episode 6 of the Marites Talks: Kwentuhan Sessions on Philippine Photography, entitled, Contemporary Trends in Philippine Photography.

To see is to be. While this statement resonates to many as something that is poetic, this conception of Photography reveals something more substantial and perhaps existential about our experience of the world, especially when viewed through the lens of phenomenology.   

Tonight, we shall endeavor to view photography in a philosophical manner, and as our guest puts it, “inquire into how photography and photographs shape our contemporary human existence.”   

Thank you for joining us tonight for Episode 5 of the Marites Talks: Kwentuhan Sessions on Philippine Photography, entitled, Philosophy of Photography: A New Way of Seeing. We have Dr. Remmon Barbaza, Associate Professor and Former Chair of the Department of Philosophy, School of Humanities, of the Ateneo De Manila University.