The Official MIPP Newsletter
August 2013
FOCALPOINT
www.mipp-malta.com
Issue No. 31
EDITORIAL
August....can
you feel the heat? I bet you all are and hopefully most of you have some sort of shutdown or holiday planned to distract you from this weather and cool off. This newsletter has some interesting features this time round which I hope will benefit you all in some way or other.
Kevin Casha handed over a good and thorough article about participating in competitions. I would give this article a good read since most of you are keen for competitions. Then Dennis Cutajar gave me a fantastic write up about his trip to Porto which really manages to put one on the scene, and should push you into really taking travel photography seriously. On another note, I will gladly feature any work you guys have for me. We are highly interested in making this newsletter as diverse as possible. So once again, contact me and do not be shy!
Newsletter Team Editor: Therese Debono Design: Therese Debono Articles: Various contributors
Happy Reading! Editorial Advice: Kevin Casha Contact: newsletter@mippmalta.com
AUGUST 2013 pg 3 pg 12 pg 23 pg 28 pg 31 pg 33 pg 35 pg 36
cover artist
president’s viewpoint travel feature exhibition review upcoming lecture upcoming event results calendar mipp notices
CONTENTS Performing well in competitions On punctum and port wine in Porto Fringe A Man & his Legacy World Photography Day BBQ PTYA Standings Mark your diaries! MIPP donates prints
Dennis Cutajar
Dennis is a dentist by profession so he is not a person I like visiting much, however his love for photography especially travel photography can be clearly appreciated in the article he gladly contributed about his trip to Porto. This is one of the many images he shot during his trip and I decided to feature it as a front cover. Here is his take on the image: “We all know that the number three is the single most effective number when it comes to composing images. These birds seem to agree.”
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president’s viewpoint
Performing well in
Competitions
The worldwide explosion of photog-
raphy since its transformation through the digital revolution has concurrently seen a proliferation of photography related competitions. Although for some photographers participating in competitions is not their cup of tea, contests undoubtedly have their advantages. Besides the possibility of winning the prize, they are essential to promote your work and diffuse your name. This is extremely important for up and coming newcomers who want to get noticed in the extremely competitive arena of photography. Another very important factor to compete, or work towards a Qualification, is the fact that you challenge yourself to produce better work, to work in genres
of photography which you might not have explored, to study and explore what other photographers are doing and why they are successful. In this short write up I would just like to evidence some practical pointers, gained from my years of experience both as competitor and as judge, on how to gain quick inroads into this sphere of photography.
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Effects should be only attempted when they add to an image
1. Choosing Carefully The competitions you enter need to be studied and chosen carefully. Naturally, the less participants in a competition the more chance of doing well. So initially, I suggest that you source out competitions in which you will be directly competing only with your peers and photographers who are at the same level as yourself. It can be daunting for a beginner to compete with experienced and professional photographers - regular bad results are not very inductive to boost your confidence. In this
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case, the law of averages would make this a probable reality. So try and source out lesser known and less established contests. It is definitely wise to start from the lower rungs and work yourself up. Avoid contests which attract huge amounts of participants. 2. Themed competitions It is also obvious that free themed competitions are more popular than themed contests. So working more on the latter type can give you better results. It is a known fact that people are somewhat lazy when entering contests and they are more apt to choose from their stock images than particularly work towards a set subject. Thus, themed competitions have less entrants so they are a better option particularly for beginners. Actually, the stranger and harder the theme, the less participants. Striking models and unlikely combinations attract attention
3. Free entry or not? Now this is a double edged knife, which again, like most things in life, has its pros and cons. Everyone hates to pay, so free contests are much more popular and subscribed. Contests which do not carry entry fees will not have as many contestants so, here again, perhaps investing some money in paid contests can produce dividends. Some contests may have other rules which, for example, put restrictions on age or on the camera used. Again, these will attract less participants, so looking into the rules in detail can be beneficial. Whilst on this subject, I cannot stress enough that rules are to be carefully understood and strictly adhered to. Many a good entry is eliminated because some entrants only skim through competition regulations. This is one of the main reasons for disqualification and it is not usual for organizers to tell you this - so your disqualification would be most probably not associated with your level of photography. Also, beware of adding borders and watermarks - most competitions do not allow this. Do not make the mistake that some painters do and make the frame of your image more artistic and eye catching than your actual work!
4. Be Different Try and be different and stand out from the crowd. Although having a good stock of images helps, it is generally more successful to go out and specifically shoot for a competition. Where possible, you must attempt to stop the judges in their track with something a bit ‘out of the box.’ Going for the obvious and for clichĂŠs will rarely get you anywhere. Try and be different and research the theme in depth before you start shooting. Keep that camera down and use your brain and your eyes to plan your photographs. Few images are successful by chance - the vast majority of successful images are the result of painstaking observation, thought and preparation. Getting the judges to notice is daunting, but take the time to read the regulations in depth so you fully understand what the organizer is asking for. Then think about
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the type of image most entrants would submit and make sure to keep clear of that type of photograph whilst conduct research into how you can make yours different.
5. Technique Perfect technique in competitions is a must. You will make the judge’s work easy if you fail in the right technique as this will give the judge a reason to summarily dismiss your work in favour of other images which do not carry technical flaws. Exposure, composition, cropping, focusing, colour enhancements, editing should be of a professional standard. Avoid over processing the photographs.
6. Social Media Contests Avoid contests which are free but are judged by the number of ‘Likes’ or votes through internet media like Facebook. These are usually aimed at increasing traffic on the organizers’ sites or pages but the worst thing is that the winning image is usually the one whose entrant has badgered the most number of people to vote for his or her image. Although the winning prize can be great, such contests do not give you any guide as to where your images stand. In fact, entering contests which actually give you constructive and valid feedback on your images, even if they do not carry a prize, is very beneficial towards improving your work and thus your chances of faring well.
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Handling Light creatively is vital
7. Organization The more you become interested in competitions, particularly if you start doing well, the more you are inclined to participate. Organization is the key to increasing your chances of winning. Keep folders where you keep images which you feel are of a certain noticeable standard. That way, each time you are interested in entering a competition, these images will be quick and easy to find and you will not be dis-
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heartened by having to search through countless hard drives and folders. Make also sure to track any feedback and results you get from competitions you enter so you will be able to gauge better any progress and which images are doing well. Keeping track of the competitions you entered is imperative to knowing your success rate and what has worked best for you. You can then apply this knowledge to future contests.
8. End note I cannot encourage beginners enough due to the fact that most of my main initial progress and knowledge has come out of competing. Being a photographer who just snaps images and keeps them on his computer is not my idea of photographic enjoyment. Photography is wonderful because it helps us interact and learn from one another. Do not be afraid to go out there and try, even if you fail. The learning curve is more than worth it. Reflection: It is not true that the same people win competitions, but it is true that those who win competitions are those who enter!
Good luck! Write up and Images by Kevin Casha
This Page: Framing the subject creatively
travel feature
A certain Darren Rowse once argued that most amateur photographers may be classified as either ‘Binge photographers’ or ‘Snack Photographers’. The latter term encompasses the steady shooters, always with a camera in hand rearing to go, while the former are more inclined to spend days if not weeks without ever taking a photo, then go through a burst mode where hundreds or even thousands of images are taken in a couple of days, only to then slip back into another photographic hibernation period. In spite of my best efforts to be a consistent shooter, I must admit upfront that I fall fairly and squarely into the ‘bingeing’ category, with most of my exposures taken on the few days I spend on holiday each year. I cannot therefore, overstate how humbled I was recently when the editor of the MIPP newsletter asked (Well you all know Therese, she gives out offers that can’t be refused!) me to write a short article about one of these trips. I am acutely aware of the fact that most of you are
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On Punctum and Port wine in
Porto Write up and images by Dennis Cutajar
I love travelling...well who doesn’t you may argue and for us photographers there is no better holiday than one where you can snap away at leisure. I had seen some of Dennis Cutajar’s photos which he sometimes submits for competitions or critique. I was intrigued to know more about his enchanting work and travels. Dennis obliged and here’s his piece..... enjoy! vastly more experienced photographers, while others might still be starting out and hence I will strive to appease both ends of the spectrum. This narrative will deal primarily with my short stay in the fascinating city of Porto, also known as Oporto, in Portugal. This trip is not exactly a recent one. It took place in December 2010 and since then I have visited eight other countries, got three more years of practice and reading under my belt, upgraded most of my equipment, got myself a mentor in the form of the ever patient Mr. Charles Calleja, (Who I enjoy exasperating with dozens of allegations of improvement, all of which have yet to manifest themselves) and possibly produced a couple of arguably better images along the way. However, the trip to this city has remained a firm favorite of mine for reasons I will attempt to divulge hereafter. I will try to recall the salient sites I visited and will go to great lengths to imply
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that Porto should be on every photography enthusiast’s ‘must visit’ list. Whether you are mainly interested in its rich history, the scenic views it has to offer, architectural or street photography, it is all there in abundance, with port wine practically flowing down the streets being the most cheerful cherry on the cheesecake. So why are we here in the first place? It all started when one fine day Melanie, (my now intractable wife, back then my fabulous fiancée) decided to attend the 10th Scientific Congress of the European Resuscitation Council which was going to be held between the 2nd and 4th December. Initially I was eager to attend the conference as well. However interest in this prospect dwindled rapidly when it became apparent that the congress would simply be a launch of a new set of guidelines and not a training event in itself. Guidelines can always be downloaded and studied later, not so with the photographic experience the city could offer! The first couple of days: Landing at the city airport we were greeted by a long line of idle taxis driven by, without exception, the deaf, mute, or perhaps one of the numerous non-English speaking subspecies of Portuguese. Either way it made no difference and our preliminary attempts at making conversation with the native population ended within five minutes of our arrival as its futility was instantly evident. In retrospect, this might have been why our taxi driver took us to three different hotels prior to helpfully pulling up in front of the Boa Vista hotel, where we were to be stationed. This hotel is situated at the Foz do Duoro, which I had selected primarily for its proximity to the Castello do Sao Joao and Castello do Queijo (the cheese castle) the former is nowadays a military base and, impressive as it may be from the outside, is not open to visitors. However the delightful cheese castle is open to the public. We got there in as golden an hour as one could wish for and I made sure that Mel fully understood the implications before she even stepped out of the taxi. We checked in and were out again within fifteen minutes, taking pictures of one of the lighthouses at the mouth of the estuary. Our stroll took us through the rather muddy but still pleasant Jardim Do Pas-
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seio Alegre along the coast. The scenery was bliss. In our hurry we had not really taken note of the ambient temperature and within an hour or so we were rapidly risking reaching hypothermic states. This catalyzed the shift of focus from photogenic lighthouses to meat and mead and as we could not catch a glimpse of any restaurants in the vicinity we decided to play it safe and have dinner at the hotel. The restaurant was on the top floor, fully furnished with an enticing view of the well lit Castello do Sao Joao. When we got there it was deserted. We were about to suspect that the kitchen was closed when a lonely looking waiter manifested out of thin air and ushered us in. By now the waiter was assumed to be deaf, mute or Portuguese, so we ordered with the help of index fingers and smiles of goodwill to ensure that our food was gently treated prior to being forked and knifed by yours truly. It was just us and the lonely waiter that evening, and had he known any French he might have bragged about the service à l’anglaise he was involuntarily providing. The following day I decided to set out into the blistering cold early morning for a stroll, primarily to scout the area. The light was divine, the scenery succulent and the serenity of the place only broken by my silent wails of anguish at not having a tripod available. I still feel ashamed at the lost opportunity that morning. The place seemed to have been created and kept in existence for what Mr. Kevin Casha ‘fondly’ refers to as chocolate box images. I could have been contracted to Cadbury that morning but was not, simply for the lack of a simple tripod. It was a
hard learned lesson, and I have never travelled without one ever since. All this rue and sorrow left me famished and I started the long walk back to the hotel, trying to find sustenance on the way. I was starting to grow apprehensive of the fact that shops appeared to be a rarity in the area, when I incidentally looked inside what looked like a rundown house and lo and behold, it turned out to be a shop of some sort. It had no signage on the outside, no counter, no displays, nothing, just shelves full of wares and an old couple who appeared to be just as baffled by my presence as I was with their establishment. After gaping at each other for about a minute or so, I broke the silence and tried out all the four, rather limited, languages in my repertoire, to no avail. Then I remembered about the best universal sign language ever to be utilized by mankind, the venerable index finger, which proved effective enough in getting me some highly sought after water and nutrients. On the way back to the hotel I noticed a number of other similar establishments. I simply can’t understand the logic behind having a shop to run and not even bothering to put up a sign outside, but this seems commonplace enough along the river front of the Foz do Douro. Anyway, back at the hotel Mel was up and ready to go. Having firmly established that we were well beyond walking distance from the centre we found no difficulty in agreeing to take a bus. Photographers interested in architecture would instantly fall in love with the historic centre. Upon getting there we immediately walked towards the imposing Igreja and Torre dos Clerigos. The latter is 75m high and when it was built in 1763, it was the highest building in Portugal. We walked on towards Rua do Carmo, where one may witness what is probably the narrowest house in
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Portugal, sandwiched between two churches. These churches, Igerja des Carmelitas and Igerja do Carmo nearly touch each other. However it seems that there was a law stating that no two churches could share a wall. The house is barely a meter wide and is now uninhabited. However it was still occupied in the 1980s! At this stage sugar levels started to dwindle and Melanie wished to dine in style at an apparently highly commended place called Antunes, which she had read about. Allegedly this restaurant utilizes only wood-fired ovens. It was quite a walk as this was in the Trinidade region. However I played along, especially when Melanie assured me that the resident chef specialized in pork dishes. We took it as an opportunity to take a stroll through the city. We strode north through the mighty Rua da Conceicao and Rua Richard Jorge which led to the Igerja da Trinidade down Rua do Alfere Malheiro and around another couple of corners, simply to find it was closed. Instead of walking the same way back, we decided to go directly south to the Bolhao region, via Rua Formosa and Rua De Santa Catarina. Both the Lonely Planet, and Rough Guide publications describe this as the busiest part of the city, with loads of shops and cafes and no restaurants. We were crestfallen. Eventually we came across CafĂŠ Majestic, the interior of which had been exquisitely preserved since 1921. It was now time for a francesinha and some port to wash it down. The former is probably the most common local snack, and in my humble opinion, was nothing more than a heartburn inducing piece of bread soaked in loads of sauce, but the port wine was exceptional. They had every vintage under
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the sun all crying out to be tasted. Melanie herself insisted that we should quench our significant thirst with native fluids and who was I to disapprove the notion. The ten year old port wine was more than adequate and the thirty-year old dazzling, the forty-year old was celestial and the fifty-year old one categorically unaffordable. By the time we received an expected phone call from a couple of friends who were also visiting the area, the world was starting to acquire some vibrancy and a touch of motion blur. I might be forgiven for not taking a single tack sharp image that afternoon. Another lost opportunity perhaps but no other lost opportunity ever tasted or felt better. After the hearty breakfast which started off my third day in this opulent city, I ushered Melanie to the coach which was to take her to the congress and managed to bravely wave goodbye for a second or two before, in one big rush, grabbed my gear and headed off in an arbitrary manner with the sole purpose of documenting the vicinity. My initial intention was to walk all the way to the cheese castle, but after what seemed to be hours on end of huffing and puffing I happened to have the most
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brilliant idea of catching a bus. (An even more brilliant idea would have been to use a map to calculate distances!) Unfortunately, being a complete novice at bus riding, I managed to end up going in the opposite direction, towards the city centre. The cheese castle was simply going to have to wait another day. Throughout the next couple of days I played at being a travel photographer for the very first time, and to date, there appears to be no turning back from the addiction. Recommendations for aspiring visitors: Allow me to impart a couple of recommendations for anyone willing to visit the area, especially those who are just starting out in photography, just as I was back in 2010. To take full advantage of the scenic imagery the location provides, it is essential to wake up early and make sure that you have a sturdy tripod, remote shutter release and a neutral density filter if you enjoy experimenting with long shutter speeds. Just take a stroll along the river bank (The Ribeira region or even at the estuary itself) and you will be amply rewarded for your efforts. Research the area thoroughly in advance and scout around during the not so golden hours of the day. A fabulous option is to shoot from upon the fantastic Dom Luis Bridge as it affords great views in all directions. When the sun in up, instead of skulking back to the hotel for a nap, try out some street photography. You can’t really go wrong here, but possibly the best place to start is at the historic centre. Not only is it the busiest area, but it is also a Unesco World Heritage Centre. This leads me to the discerning architectural photographer. Architectural photography appears to be one of the most popular genres at the moment so I will spend some more time on this. Porto is an architectural heaven. I would start by wondering around the Ribiera do Porto. This is a waterfront area where the numerous shops and restaurants have a very unique style to them. The oldest secular building is the medieval Alfandega Velha (Casa do Infante) built in 1325. Most of the buildings in this style have unfortunately been edited, excuse me, altered in the 18th century but the simple Romanesque and Gothic aesthetic may still be enjoyed in the Se (cathedral) and the old church of Cedofeita. The 14th century Gothic Igreja de Sao Francisco is possibly the most extraordinary church in Porto. It has now been deconsecrated and I only had the opportunity to see it from the outside however the inside (which, as I mentioned, was altered in the 18th century) is allegedly more interesting and there are catacombs underground.
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The 18th century churches provide the country’s richest concentrations of Baroque architecture. This style was introduced by the famous Italian painter and architect Nicolau Nasoni. The church and tower of Clerigos, found in the city centre is perhaps his most famous work. In the second half of the 18th century the luxuriant complexity associated with the baroque style started to give way to the neoclassical pillars and capitals of ancient Greece and Rome. Understandably, the neoclassical buildings in the region contain not only hints of Gothic and Baroque art but also Islamic influences. If interested, take a look at the Palacio da Bolsa’s Salao Arabe. By the 20th century, thanks to the likes of Jose Marques da Silva who studied in Paris, Porto’s Neoclassicism had acquired a distinctly French Renaissance touch. Some works in this style include the Sao Bento railway station and the Teatro Nacional Sao Joao. If it is modern architecture that tickles your fancy, I would suggest a visit to the Casa da Musica, designed by the internationally acclaimed Nicolai Ouroussoff. If your appetite has yet to be appeased feel free to admire Ponte Dona Maria across the river, designed by no other but Gustav Eiffel himself, or the even more imposing Dom Luis Bridge, the views from which are breathtaking. Architecture photographers might also feel like taking a trip to Serralves Museum. It’s a striking minimalist building designed by Pritzker Prize-winning architect Alvaro Siza Vieira, which mainly displays international contemporary art. I distinctly remember that there were three paintings by Adolf Hitler himself on display. For the nature lovers, the eighteen hectares of surrounding gardens would be a welcome sight. On food and wine: Did I just mention appetite? Allow me to wind up by giving reassurance to anyone who enjoys good food. It’s hard not to eat well in Porto and if you enjoy fish you’re in for a treat. The locals specialize in a Tripe stew and Cod fish (Bacalhau) is found in abundance. Not only are the traditional recipes with salt dried Cod fish centuries old but they have also gained my zealous seal of approval. If you ever get tired of the cuisine marketed towards the mortal masses you might feel inclined to dine in opulence at Rui Paula’s multi award winning first restaurant, DOC, for a culinary experience you will never forget. For those interested in food photography, his
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book, “Rui Paula, uma cozinha no Douro” was awarded 3rd place for Best Photography by the Gourmand World Cookbook Awards. Vila Nova de Gaia is just across the river from Porto and within easy reach on foot. This is where all the big names involved in the port wine industry are to be found. It would be criminal not to visit at least one lodge and taste a few of their vintages. Some lodges, like Sandeman are found on the waterfront, but I would heartily recommend walking up to the more distant Taylor’s for the views it offers. You can always stop for a second helping on the way back! Most of us are familiar with the fortified wine, and that it is consumed mainly as a desert wine. However, there are also variants used as aperitifs and are not that popular outside Portugal. Like most other pleasantries in life, our stay came to an abrupt end. We spent another couple of days in Madrid but these paled in comparison to the time spent in Portugal and rather than squander words on the mundane visit there I feel more compelled to briefly discuss a concept I was recently reading about. I believe a discerning photographer might find this to be of greater interest than my aimless wondering about a city. I presume that most of you are familiar with Roland Barthes’ Camera Lucida. In this book, he develops the twin concepts of studium and punctum. Studium denotes the linguistic, cultural and perhaps political interpretation of a photograph, while punctum denotes details that touch us personally, perhaps wound us, to establish a direct relationship with the person or object within the image. On studium and punctum: Studium may be described as the elements that create interest in an image as it shows the intention of the photographer. The latter will think of an idea or intention and present it as a photograph, while the viewers have to act in the opposite way. They see an image and have to interpret it to see the ideas and intentions behind it. Studium is what makes us like, rather than love an image. For example, when an image is well exposed and composed, incorporating interesting textures, patterns etc, it might be described as being generally pleasant. The viewer would be inclined to show a ‘polite interest’ in these well executed images. Punctum on the other hand is an object or image within a photograph that jumps out at the viewer to grab his or her attention. It is much more powerful and compelling to the spectator and might be closer to what makes us love an image. As an example, we might think of a candid portrait with a very powerful facial expression. We see hundreds of portraits every year, how many of them fascinate us? How many of them do we remember? Relate to?
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It is a peculiar quality. Barthes himself says that ‘what I can name cannot really prick me’. It is also subjective, and culture might be a decisive factor in determining the strength of the response to any image. Susan Sontag, in her sublime On Photography argues that even time changes our perception of photographs as we get desensitized. What might be considered to be shocking now, might not elicit the same reaction in the same viewers after even a brief period of time. Sometimes the punctum of an image is only apparent later on after we’ve ceased viewing it. It is what we remember, what sticks to our memory, what makes us reflect. It is usually something we can associate ourselves with and might have nothing to do with the photographer’s initial intentions at all. A couple of days ago I was discussing all of this with my dear friend, colleague and last year’s PTYA winner Mr. Alan Grech who immediately associated the concept of punctum with ‘impact’. Initially I agreed however, after giving this much thought through sleepless nights and days spent staring at ceilings and re reading the book itself. I am not entirely sure it is. Impact has more to do with studium rather than punctum. Let us take a classic, well executed sunset as an example. Most probably, it would be the reddish sky that grabs the passer by’s attention. Perhaps an interesting foreground leading us into the image, while the punctum in the image (what sticks to us, what we recall later that week) might be something completely different which we only see after a thorough examination of the image. It might be completely different (or absent!) for different viewers. Impact may be more readily understood and exploited by the photographer than punctum. Allow me use one of my own images as an example. I invite you to take a look at image 8. What is it that initially grabs your attention? In my case it is definitely the mist. That is what I consider to be impact. However, when I personally think back to this image, I think of the boat which is barely visible beneath the lighthouse on the right side of the image. In my case, that is the punctum I found in this image. Most of you might not have even noticed it, and most of those who did might not think twice about it, which is why punctum is subjective, personal and sometimes inexplicable. So how is this relevant to my trip to Porto? In all fairness I am not sure. However I firmly believe that a couple of the images I took there had the potential to contain that extra punch, which I might have missed out upon. I am incredibly proud of two or three images in particular, but I cannot help but realize that they could have been greatly improved upon. I can only hope that following this experience I might
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be better prepared to capture that fleeting moment that provides punctum in an image, and am a step further in nourishing that instinct we all crave for, the instinct of knowing when to press the shutter button, such as the one Henry Cartier Bresson nurtured with practice and patience over the years. It is for this reason that we should give our all when recording the mundane on a daily basis. Snack on photography rather than binge, with the intention of becoming consistently proficient with the camera being nothing but an extension of our body. When one day a really interesting moment presents itself, instead of fumble away and later complain about the missed opportunity, we might keep our cool and grab the image by the b… Image on Pg11: Most of my colleagues consider this to be one of my strongest images. It might have impact, but what about punctum? Would anyone, to quote Barthes, be more than ‘politely interested’ in the image? Image on Pg14: This was the very first image I ever submitted to a competition. These images were taken in nearly sub zero temperatures without gloves by an amateur just starting out. If you think they are half decent, take a look at the work of Michael Kenna and try to imagine what a master could come up with in these sublime conditions! Image on Pg15: This was my first conscious effort at street photography. In retrospect, the image could have been composed better. I was using a wide angle and at the time did not have the courage to get in up and close. Robert Capa once said, “If your pictures aren’t good enough, you’re not close enough.” Get physically closer and become more involved and intimate with our subjects. Image on Pg16: This image was captured just moments after our arrival. Knowing it would eventually be converted into black and white I was especially interested in the texture provided by the rough, glistening, paved rock and did my best to incorporate it in the composition. Had I been shooting for color I might have given more importance to the sunset in the background. Image on Pg17: Few would stake their professional integrity on such an image, but capturing the man on the right in the bubble required a degree of observational skill and reflexes. It is only if we practice on such mundane images that we might someday be ready to capture that elusive punctum filled image when the opportunity presents itself.
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FRINGE EXHIBITION I had been looking forward to Sergio Muscat’s latest exhibition for a while now.
Both of us shoot at the jazz festival so I was curious to see his frames for the same event.
I went early to beat the crowd so I could snap a few images whilst I had the exhibition all to myself. I can say I have gone through each and every image over and over again and let them sink in and hit me. I recalled all the artists on exhibit mainly because I framed them too, however I was intrigued by Sergio’s long exposure technique which gave the images a whole new dimension to jazz portraits. As Dr Vince Briffa described in the brief attached at the exhibition, “...Sergio is not after representing the music genre through his preferred artistic medium. He is more interested in the artist’s performance as an activity that develops over time. Capturing the real soul of the jazz musician requires Sergio to become synchronous with the performer’s own movements. Snapping the picture is therefore a refined exercise in clockwork body movement and camera control.” Below: Sergio with Dr Vince Briffa & Mrs Briffa. Opposite Page: I decided to add some long exposure technique to some images.
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exhibition review
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I couldn’t agree more with Dr Vince Briffa here. It is clear that Sergio was not after showing off the artists themselves, but more after the various movements the artists go through whilst playing during the jazz festival. Shooting such movement of course ain’t a walk in the park. When done with purpose and studied attentively, images using the long exposure technique can give more of an impact to an image. It is like capturing movement rather than freezing it with a static sharp shot. Slowly slowly the two rooms started to fill up with viewers. I could see Sergio chatting away with friends and admirers alike next to his wife Fleur. Later on the event turned livelier with jazz singer Nadine Axixa singing for the guests. Exhibition is still running at Palazzo De Piro in Mdina till 29th September. Opening Hours: Monday to Sunday, 9:00am-5:00pm.
Write up & Images by Therese Debono
Above Right: Wine was flowing on the night. Above Left: Alexandra Pace and guest viewing Sergio’s work. Opposite Page Above: Close up of one of the images on exhibition Opposite Page Below: A play with reflection.
UPCOMING AUGUST LECTURE The Richard Ellis Collection The Richard Ellis photography collection is a unique and invaluable treasure not only of Photography in Malta, but also of the technological advancements of this medium together with a fascinating, detailed and annotated documentary of Malta and the Maltese Society. The books published to date by the local publisher, BDL http://www.bdlbooks. com/art-photography/3645-richard-ellis-the-photography-collection.html, have made this amazing collection much more accessible to the general public. These publications transport us back in time in the days when the port areas where a hive of naval and commercial activity and where life in Malta, although not easy, is so fascinating to us today. Ellis’ photographs are full of nostalgic glimpses of the way our beloved island was – before industry, commerce and political motivations, have unfortunately albeit reduced it to a cacophonic ‘building site’. A number of well known experts and contributors have analyzed photographs from the Richard Ellis collection, commenting on these wonderful images from the past. Their insight, comments and conclusions turn simple photographs into individual studies of the different aspects of Malta and the Island’s way of life. The collection is still with us to this day thanks to the hard work and intervention of Ian Ellis, who has kindly accepted the MIPP’s invitation to lecture on this collection. It is a great pity that the local government has not realized the potential and importance of this archive and has, to date, not given any help to maintain and open this archive to the general public, visitors and scholars. The amount of research potential in this collection is inestimable. Katya Stroud, curator of the National Museum of Archaeology, looks at Malta’s rich archaeological history and links this to Richard Ellis’s period photographs of these numerous sites. She traces their use as an important tool in the ongoing research and restoration of this invaluable heritage.
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Joe Attard Tabone, a prominent member of Malta’s Heritage Committee, analyzes the rural development of Gozo, taking the reader through a collection of images of Gozo from the ancient sites to views of the late Edwardian period. His commentary on customs and traditions on the sister island captured on ‘Film’ by Richard Ellis make thoroughly interesting reading. They make the vision of these images complete giving an in depth understanding of the subject matter. Paul P. Borg is a distinguished scholar of Maltese folklore and author of many books on the subject. For this publication, he has painstakingly analyzed a selection of rural photographs from the Richard Ellis Collection and extracted information as to the techniques and methods used in agriculture in the early years. He has used these images to demonstrate how our grandparents, with their dedication for the land, went about earning a meager living. He has managed to identify and catalogue ancient practices in the field of agriculture that may otherwise be lost forever, the modern generations not having the opportunity to personally observe these traditions today. Kenneth Zammit Tabona’s contribution to the previous volume ‘Sliema and St Julian’s’ was also exquisite. A writer, painter, and music critic, he is in his element, commenting on some of Malta’s fine Palaces and Gardens and the people that inhabited them. He brings to life the royal visitors and distinguished residents of San Anton and Verdala palaces, Villa Bologna in Attard and the Inquistor’s Palace in Girgenti. He gives an insight into the décor and habits of the top end of Malta’s society in his usual inimitable style. As part of the MIPP’s celebration of World Photography Day in August, we are inviting not only our members but the general public to attend Mr Ellis’ illustrated and informative lecture at the Le Meridien Hotel, in St Julians on the 6th of August, at 7.30 pm.
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World Photography Day BBQ
social
In August, World Photography Day is celebrated. The August period is not the
best time to organize photographic events or shoots so this year we decided to do a social event so we can really have a relaxed break.
For this purpose we are meeting for a BBQ at the Le Meridien Hotel Terrace in St Julians. The date we will have the BBQ is on Sunday 25th August. Bbq is at 25 euros per person. (without drinks) – from this price, we get a 10% discount due to the MIPP’s deal with the Hotel. Parking for those coming to the event is free. We will have the opportunity to view the small firework display at 10 pm on that day it is the Feast of St Julians. So those amongst you who are really enthusiastic can get their cameras! Naturally, family and friends are more than welcome. For bookings please send an email to president@mipp-malta.com
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PTYA STANDINGS Weldone to all participants who have made it so far regardless of the number
of gold, silver and bronze you have got!
We urge you to keep at this competition till the very end, even if you are far down in the standings. One stands to learn only if you are open to learning. The images are really improving in standard so may the best one win!
Gold Award for Kerstin Arnemann
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results
Gold Award for David Sammut
Silver Award for Kersin Arnemann
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CALENDAR 6th August Richard Ellis - A man & his Legacy Le Meridien; 19:30hrs
16th August Photowalk - Waterpolo shoot
National Pool Msida; 18:30hrs
20th August Portfolio Presentation Evening
Le Meridien; 19:30hrs
25th August BBQ - World Photography Day Le Meridien; TBC; 25Euro p/p booking required
17th September PTYA Judging
Le Meridien; 19:30hrs
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MIPP NOTICES The Malta Institute of Professional Photography (MIPP) donates prints to National Archives MIPP President, Kevin Casha, on behalf of the Committee, recently presented a set of photographic enlargements to the National Archives, at Santo Spirito, Rabat. The set of photographs, printed from the same National Archives collection, had formed part of a collective exhibition displayed recently at St James Cavalier. The exhibition, entitled Private Art, explored a currently very popular genre of photography - Street Photography. The presented prints depicted vintage scenes taken in the streets of Malta by mostly unknown photographers. The photograph shows Kevin Casha together with Charles Farrugia, the Director of the National Archives, during the presentation. Casha is also the coordinator of the National Picture Archive which strives to archive and preserve for posterity photographs having a Maltese connection. In fact, the National Archives has been digitizing its photographic collection, which runs into thousands of images, for the past years.
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