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"I view photography as similar to spoken language in that I don't think photos communicate primarily through their "content" (subject, clothes) in the same way spoken language does not communicate primarily through words. In a spoken conversation, there are a variety of factors aside from words that comprise the majority of communication - intonation, rapport, the energy, the context. The same words can have a profoundly different effect depending on how they are said. 

This other avenue of communication is less logical, less structured, less understood but is actually more "felt". In my photography I try to communicate in precisely this "other way" by putting together elements that do not make sense at all logically, but somehow make sense together visually. This is why I employ different treatments, crops, tones, planes, colors, textures for my stories. I want to showcase this non-sense, non-linear, non-logical aspect of photography because I feel that fashion photography as I am acquainted with it today has a tendency to be very literal in how it is trying to communicate - looking for certain clothes, the certain model, the certain look but sometimes forgetting the certain feeling in the process, simply due to the need for so much certainty. 

This more intuitive process is important to me because until very recently I was a very logical, black and white, either-or thinker, reasoner and photographer. Different colleagues have pointed out that I was too "process oriented" as I was always trying to reverse-engineer photos from the outside-in. I would frequently try to deconstruct x person's lighting or treatment or film developing technique and I would wonder why my photos did not feel the same way. In other words, by fixating on the formal goal (the "look" of a photo) I lost sight of the intuitive process - I was trying to make logical sense of something I did not even necessarily have to understand and I was forgetting to actually feel out my photographs. "

Kenji Onglao
Kacie Mills
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Aldo Tolino
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