EJK victim, Del Pan Bridge, North Harbor, Manila. (November 22, 2017)
The Red Room, NIL Exhibit, Artinformal Gallery, Mandaluyong City, June 9-July 14, 2018.
Dumaguete City, Negros Oriental, Visayas, 2016
Andi Eigenmann, The Greatest Love, 2016
On the road to Quirino, Luzon, 2016
Barber, Manila, 2016
Ningning, Northern Palawan, 2015
Junkyard in Paranaque, 2015
Jomar, Octopus ride operator for 20 years, 2015
Prague, Czech Republic, 2014
Holocaust Monument, Berlin, Germany, 2014
Emir, movie musical by Chito Roño, 2010
LRT Recto Station, shooting Gusto Kita With All My Hypothalamus, 2018
Dwein Baltazar's Gusto Kita With All My Hypothalamus, Day 11 Polaroid, 2018
Ruins of Saint Mary’s Cathedral, Marawi, Lanao del Sur, Mindanao, 2017
Anthony Falcon, Gusto Kita with All My Hypothalamus, Quiapo, Manila, 2018
Taal Basilica, Batangas, 2013
Climbing the unusual rock formations of Biri Island, Northern Samar, Visayas, 2017
Shooting Signal Rock, Biri Island, Northern Samar, Visayas, 2017 (Photograph by Tina Velasco)
Local audience, Signal Rock, Northern Samar, Visayas, 2017
Aria, the movie, Pampanga, Luzon, 2018
Old house in Tabaco, Albay, Luzon, 2016
ACT Theater, Cubao, Quezon City, 2015
Dragon's Back Trail, Section 8, Hong Kong, 2015
Rock formation, Batangas, Luzon, 2012
Fishermen in Pagbilao, Quezon, Luzon, 2010
The submerged Immaculate Concepcion Church, Artex Compound, Malabon, 2014
Paris, France, 2014
Nude on the 6th floor, 1997
Soliman Cruz, Gusto Kita with All My Hypothalamus, 2018
Full moon over Antipolo, Rizal, 2018
Emir, movie musical, Morocco, 2010
Covered saints, San Miguel, Bulacan, Luzon, 2018
Janna Unsi, 2018
Parking lot, Manila, 2018
Pasig river jump, Manila, 2018
Neil Daza (b. 1961, Paranaque, Metro Manila) grew up visiting his father, a former military colonel who was taken as a political prisoner, in Fort Bonifacio during the Marcos regime.
Daza, who belonged to a family of activists, took to photography and painting to engage with the volatile conditions of the period. Influenced by Jess Abrera and other social realists, he first pursued Fine Arts at the University of Santo Tomas, but quickly traded the brush for the camera when he was given an opportunity to shoot for publications Malaya, Midday and WeForum.
However, his career in photojournalism (1986-1989) was cut short by an accident while covering the New People’s Army in the Cordilleras. His injury, which evolved into a slipped disc, prevented his return to the field.
After his recovery, he enrolled in film production workshops at the Mowelfund Film Institute and at PETA from 1991-1995. It was in this period where he would meet fellow filmmakers Avic Ilagan, Ricky Orellana, Robert Quebral, and Ellen Ramos, with whom he formed the collective Blacksoup Project. Renting a space for their first office in Marikina Shoe Expo, Cubao, they worked on the second floor and used the first floor as an exhibition space for photography. Daza served as its head curator, staging shows such as “Kambyo”, an exhibition of cellphone images, and “Detritus,” crime photographs from the archives of the tabloid, People’s Tonite (1987-2002). The latter was shown under a new title, “Nil” in 2018 at Artinformal gallery, due to the insistence of his co-curator Erwin Romulo who believed it a timely response to the extrajudicial killings under the Duterte administration.
Already an accomplished cinematographer, in 2017, Daza held a solo exhibition of photographs at the Cultural Center of the Philippines. “Neil Daza 25 Times, Images from Behind the Camera” covers 25 years of documenting theater, cinema, and television.
“I like doing movies because it requires you to become a pictorialist,” he would say in an interview. His images, as he describes them, shuttle between the real and unreal. In the dream sequence of Bwaya (2014), a girl in white toga sails across an expanse of gray mist and marshland greens. Solitary figures are captured with quiet intensity: Sharp contrasts of light and shadow emphasize a man’s stark features seen from a reflection (Badil, 2013); an elderly actress resting before her take (Maalaala Mo Kaya, 2007) is shot in somber tones of gray, seemingly waiting for something that never arrives. Even in these stills, his approach is bound by a faithful pursuit of narrative where even light is treated as character. “It has to be real,” he insists. “It has to be motivated.” Always carrying a humble point-and-shoot camera, a cellphone, or a portable Instax, Daza would capture both behind-the-scene takes and documentary images of the film location. Geometric patterns in Berlin’s holocaust memorial and files of leafless trees in Paris were taken while shooting films abroad.
Daza hopes to one day produce a book that would bring together photographs from his long cinematic career.
Arevalo, Rica. “25 years of cinema behind the camera.” Manila Bulletin, July 31, 2017.
Carino, Gina. “Interview with a Cinematographer Neil Daza: The Eye of an Eclectic Beholder.” Star Cinema Website, 2002. Rpt. in “Conversation #1 Dekada ’70, 2002.”Neil Daza (blog), October 2018.
Daza, Neil. Curriculum Vitae (updated 2018).
De Leon, Pristine. Researcher’s interview, 11 August 2018, Pioneer Studios, Mandaluyong, Metro Manila.
Dy, Philbert. “Pinoy movieland in the eyes of Neil Daza.”Rogue. July 2017.