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 BFINAN2 students: click HERE to see the site where you can download your project.
it's not everyday that we get to see a story that's really very inspiring... earlier, after going through Captain Faeldon's website, i chanced upon this story about a photographer who retired as a doctor the day she passed the board. i am not only touched by her story... i do relate to it! maybe you do too... read the story and share your views... ISA Lorenzo must have had the shortest career in medicine ever. "The day I passed the board was the day I retired," says the 31-year-old photographer. As might be expected, her decision not to pursue a career in medicine, after nine years of pre-med, med proper and internship-at the Universtiy of the Philippines-Philippine General Hospital no less-caused people to doubt her sanity and elicited much hand-wringing all around. You're throwing your life away! exclaimed her family. Sayang ang slot mo! (You're wasting your slot) exclaimed her classmates, many of whom would have killed for a choice residency position. The reaction was understandable, considering that Lorenzo didn't have a clue as to what she wanted to do, other than that medicine wasn't it. "The funny thing was, being a doctor was something I dreamed about," Lorenzo-whose mother is a physician-recalls. "I wanted to become a cardiologist, a master of the heart." But somewhere along the way, the heart had gone out of it. Go all the way In fact, her father, former Ateneo basketball legend and agribusiness czar Luis "Moro" Lorenzo, had told her, shortly before he died: "I know you're not happy. Go and find out what it is you want to do. But when you do, make sure you do it seriously and go all the way." Lorenzo took her father's advice. With only a vague idea of doing something "creative," Lorenzo started knocking around in media. She worked briefly for television, producing shows for "Probe." Then she worked for "People Asia" magazine as a writer. "And then I found photography," she says. "I realized that the only time I was really interested was when there was going to be a shoot." Her father might have had something to do with it. "Moro" had been a keen amateur photographer, and as a child Lorenzo had spent hours with him in his darkroom, watching images emerge from the play of light and shadow. In any case, it was off to New York to further explore this new world. "I met a guy from Tanauan, Batangas named Fernando Afable, who works for the International Center for Photography (ICP), and he sort of took me under his wing and talked me into going to school there." Founded by the legendary photojournalist Cornell Capa in the 1940s, the ICP, according to Lorenzo, is "primarily a community of people who eat, live and breathe photography." In the company of such people, Lorenzo began to eat, live and breathe photography herself, to the point where she eventually decided to take a masters' degree in photography at the prestigious Parsons School of Design, where she promptly got her first reality check. Individuality "I was doing crap work," she admits. "Pretty pictures. My first critique in class, they took one look at my work and asked, what's the point? They look like every postcard we've seen. Where's the individuality?" Considering that her lecturers included living legends such as Richard Avedon, Annie Leibowitz and the venerable Andre Kertesz, it was a question that Lorenzo couldn't ignore. She was soon cured of her "pretty pictures" affliction. Along the way she also got massive doses of art theory: surrealism, dada, postmodernism. Apparently, learning how to take photos is only a very small percentage of photography education. "The rest is learning how to see, and how to communicate your message through photography." In other words, the why of photography. "You realize that you just have to stick to it," she adds. "Don't do your work to please other people. At the end of the day, you have to go to sleep at peace with yourself and proud of it." After finishing her studies, Lorenzo's next step was to dip her toes in the world of professional photography, where she promptly got her second reality check: It's a harsh world out there. "She was a bitch and a half," Lorenzo recalls of a certain noted photographer whom she worked for as an assistant. "But you couldn't complain because you were going on huge shoots for 'Vanity Fair'." Another noted photographer, she confides, has had three assistants who killed themselves. Many great photographers, she realized, are difficult people because they demand a lot, of their assistants as well as themselves, and because they put everything second to the final image. 'Adobo' and home Throughout her stay, Lorenzo was soaking all of this up, and not even 9/11, which happened right outside her apartment window, could distract her. But while waiting for the dust of the twin towers to clear, she found herself eating adobo and thinking of home. "Coming from a milieu like that and trying to replicate the free flow of ideas, it was very important for me to have a space that treats photography as a religion of sorts," says Lorenzo. The result was Silver Lens Gallery, which Lorenzo opened last year at the Fort, one of only two galleries in Manila devoted exclusively to photography. "The gallery came to fruition as a venue for my own work," she says. "I saw all of these spaces which I felt were more for commerce. The shows are so short here, two weeks max, and they do that because they have to make money. I wanted to find a space that would really put the time and effort into the curatorial element-editing, narrative, telling a story, documenting, space layout and lighting configuration, the introductory text and the marketing of the show." With its recessed lighting, hardwood floors and sense of timeless space, the first Silver Lens looked more like a shrine to photography than a mere gallery. This seemed to be the idea-to inspire in the viewer a kind of reverence for what is on view. "The challenge is how to educate people into seeing that photography is just as much art as painting or the more traditional media." The challenge is all the more difficult because of the media-saturated world in which we currently live, where the average person is constantly bombarded with images, from billboards to television to the Internet to cellphone picture messages. The result of this visual overload is to blunt, rather than heighten, the way we see pictures, and to cheapen the individual image as a transient commodity rather than something of lasting value. Low-rent On top of that, photography is still considered in many circles a low-rent profession. Glamorous, perhaps, but still low-rent-a species of skilled labor on the same level as, say, automotive mechanics or electronics repair. Lorenzo's mission with Silver Lens is to change all that, first by showing only a photographer's personal work, and second by treating it with the same kind of respect accorded to painters or sculptors or filmmakers. The gallery pays painstaking attention to details such as image selection and sequencing, print and paper quality, mounting and lighting. Silver Lens offers viewers the kind of space where they can look at a photograph, and really see it. The effort seems to be paying off. So far, all of the shows at Silver Lens have been able to pay for themselves. At the very least, they've allowed photographers to recoup their expenses, or attract new clients. The gallery has also attracted a small but well-heeled clientele with a taste for photography, some of whom eventually become serious collectors. Recently, a commissioned print fetched the more-than-respectable sum of P120,000-a sign that art photography has come of age at last. And although Silver Lens is currently on hiatus, pending its reopening in March at a new venue, it is fully booked well into next year, with a growing waiting list of photographers eager to show their personal best. Ironically, while fulfilling on its own terms, Lorenzo’s efforts on behalf of other photographers has left her precious little time to pursue her own work. This is why her current exhibit at the Cultural Center of the Philippines took her three years to complete. Strong and timeless "Filipinas" is an exhibit of 30 portraits of outstanding Filipino women, most of them in their seventies. Among her subjects are former president Corazon Aquino, the late Haydee Yorac, publisher Eugenia Apostol, economist Solita Monsod, actress Gloria Romero, Teresita Ang-See, Dr. Fe del Mundo, painter Anita Magsaysay-Ho, businesswoman Socorro Ramos and writers Carmen Guerrero-Nakpil and Gilda Cordero-Fernando. "All my life I have been fascinated by the Filipina and how she holds power within our societal system, how they manage this power by taking on pivotal roles, and how they use this power to quietly come into their own," Lorenzo wrote in her introduction to the exhibit. "The result of their individual journeys is what I'm interested in: strong, timeless Filipinas with a humanity that transcends history and legacy." Strangely enough, Lorenzo's favorite photographic subjects are landscapes without people. "I don't really like shooting people," she confesses. "I think portraiture is so incomplete. When you take a picture of somebody, they don't look like that, or sound or act like the way they look." In most cases, anyway. Lorenzo's subjects in "Filipinas" are exceptions. "The thing about these women is, they've reached a point in their lives when they don't care what people think of them, so they're very, very candid and very, very wise. They're not pretentious. All of these women have this air of 'I am what I am. I make no apologies for myself, I just do my job'." "I guess I want to become one of these women," she says. "I want to look back on my life and say, I'm still working and I love what I do'." When that happens, medicine's loss would have been photography's gain. Eric S. Caruncho Inquirer, January 29,2006.
For FNANCE1 students only use the given information to answer the following questions: (round-off your answers to 2 decimal points) 1. On December 31, 2005, FVR Incorporated provided the following data: ---->quick assets--------------------P208,000 ---->acid test ratio-----------------2.6:1 ---->current ratio-------------------3.5:1 ---->net sales for 2005--------------P1,800,000 ---->cost of sales for 2005----------P990,000 ---->average total sales for 2005----P1,200,000 a. how much was the current liabilities of the company? b. what is the company's inventory balance? c. what is the company's asset turnover ratio? 2. How much is the cost of sales of PGMA Corporation in 2005 based on the following data ---->current ratio-------------------3.5:1 ---->acid test ratio-----------------3:1 ---->current liabilities-------------P600,000 ---->inventory, 12/31/04-------------P500,000 ---->inventory turnover--------------8 times the first 5 to submit their (correct) answers will be given 10 additional points!
BFINAN 2 1030-1130 Hello Garci Inc. has the following data regarding sales of its products, X, Y and Z 2004: sales volume: X=75,000 Y=95,000 Z=120,000 unit selling price: X=10.50 Y=20.00 Z=13.50 unit cost: X=8.75 Y=17.50 Z=12.00 2005: sales volume: X=100,000 Y=80,000 Z=120,000 unit selling price: X=12.00 Y=18.50 Z=15.00 unit cost: X=10.75 Y=17.25 Z=14.00 the first 5 who submits their (correct)answers shall be given additional 10 points!
BFINAN 2 930-1030 Hello Garci Inc. has the following data regarding sales of its products, A, B and C 2004: sales volume: A=75,000 B=95,000 C=120,000 unit selling price: A=10.50 B=20.00 C=13.50 unit cost: A=8.75 B=17.50 C=12.00 2005: sales volume: A=100,000 B=80,000 C=120,000 unit selling price: A=12.00 B=18.50 C=15.00 unit cost: A=10.75 B=17.25 C=14.00 the first 5 who submits their (correct)answers shall be given additional 10 points!
 the following are the FNANCE1 students who were able to make it to the Top 5 for the online activity dated January 4, 2006: Aida Peronce Shiela Urot Cheri Tiangson Ziel Cornel
BFINAN 2 1030-1130 present the trend ratios using the data provided. do not forget to submit your written output on monday. Data for 2000: sales=1,000,000 cost of sales=400,000 operating expenses=240,000 interest expense=160,000 Data for 2001: interest expense=160,000 operating expenses=200,000 cost of sales=360,000 sales=800,000 Data for 2002: sales=1,100,000 operating expenses=230,000 interest expense=150,000 cost of sales=440,000 Data for 2003: interest expense=150,000 cost of sales=400,000 sales=950,000 operating expense=210,000 income tax rate=32% The first 10 to submit their (correct)answers shall be given additional 10 points!
BFINAN 2 930-1030 present the trend ratios using the data provided. do not forget to submit your written output on monday. Data for 2000: sales=500,000 cost of sales=200,000 operating expenses=120,000 interest expense=80,000 Data for 2001: interest expense=80,000 operating expenses=100,000 cost of sales=180,000 sales=400,000 Data for 2002: sales=550,000 operating expenses=115,000 interest expense=75,000 cost of sales=220,000 Data for 2003: interest expense=75,000 cost of sales=200,000 sales=475,000 operating expense=105,000 income tax rate=32% The first 10 to submit their (correct)answers shall be given additional 10 points!
For FNANCE 1 students only present the increase/decrease in Php and % in the account balances (complete income statement) based on the following: sales in 2004: 600,000; cost of sales 300,000; selling expenses 120,000; administrative expenses 100,000; sales in 2003: 550,000; cost of sales 300,000; selling expenses 80,000; administrative expenses 80,000. income tax rate for both years: 30% The first 5 students who can post their (correct)answers will get additional 10 points!! don't forget to include your full name!
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