2013 March MIPP newsletter

March 2013

The Official MIPP Newsletter

FOCALPOINT

in this issue featured ASTRID PURDEW, THE SWPP MARCH SEMINAR & much more!

Issue No. 27 www.mipp-malta.com

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will start writing this editorial by expressing my genuine happiness and thanks to all those members who really help me out when it comes to the newsletter!

There is nothing more motivating than when I approach you members and you oblige to help out in some article, or to provide some image or other. Please do come forth and contribute. Without you this newsletter would not exist!

On another note I am excited about March! Not only because it is my birthday month, but we have one lovely SWPP Seminar coming up with the great Dave Wall as speaker! This seminar will be all about product photography and ambient interiors, so this should again be a different speaker than who we usually have.

To close off February nicely I am excited about my new role within the committee, that of Hon Secretary. This is my 4th year on the Executive Committee and though it’s hard work I really enjoy it and find it very rewarding.

I leave you to enjoy this newsletter with a cup of tea or coffee maybe....

Newsletter Team Editor: Therese Debono Design: Therese Debono Articles: Kevin Casha, Sergio Muscat & Therese Debono Editorial Advice: Kevin Casha Contact: newsletter@mippmalta.com

CONTENTS pg 3 pg 7 pg 9 pg 15 pg 17 pg 23 pg 29 pg 33 pg 37 pg 39 pg 40

cover artist

president’s viewpoint sergio’s blog featured mipp member member’s article special feature featured panel featured artist seminar mipp notices calendar upcoming monthly event

MARCH 2013

How has photography impacted art?

Voyeurism & Photography Astrid’s Venice Rape by Alan Grech 14 il-hsieb - Reuben Chircop Joe’s Travels Pawlu Mizzi The Swpp March Seminar Definition of Duties Mark your diaries PTYA Judging & March Seminar

ALAN FALZON

“Months of election fever are a good opportunity for a personal photographic challenge. How could I portray the power both political leaders have on our future? This led to several weeks of brain storming until I heard that the new Valletta lift will be opened to the public before Christmas. I realised that this lift will immediately become a popular land mark, so should I use it for my challenge?

During the 1st two weeks of December I regularly visited the area in the mornings, afternoons and again at nights, with the hope of developing an idea, until I finally managed to put the bits and pieces together, creating the final picture in my mind. All I had to do now was wait for the perfect light after the official opening.

Luckily this came on Sunday, the 1st day after its opening. Listening to music, camera settings dialed in, composition set, I waited. Nearly an hour and 11 frames later my idea was captured.

Two men alone on top, looking over Malta. Which one will have to leave? What direction will the remaining leader take?” Alan Falzon

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president’s viewpoint

How has photography impacted ART!

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t the turn of the century, philosopher Walter Benjamin in his essay “The Work of Art in the Age of Mechanical Reproduction,” spoke about the loss of the Aura of an artwork. It was the time that film and photography had made their appearance and made it “miraculously” possible to faithfully and easily reproduce Art works.

Although Benjamin mainly attributes this “decline” to the appearance of film and photography, he also looks at this new medium with an optimistic vision for the future.

Photography, (which appeared around 1835), and film, not only made this significant and important breakthrough, but introduced a new, creative Art medium.

This perhaps enabled the art world to become aware that it needed to evolve away from slavish reproduction and realism to an art which was freer and more liberated. With its introduction, Photography made it necessary for artists to imbue their work with elements that photography could not provide.

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Kevin makes us think to what the world has come to with all this technological evolvement in the digital arts....is he right, wrong, what is your take on this...

I believe that the repercussions this had on the Art world, coupled with the social, religious and industrial upheavals of the 20th Century, are still being felt to this day.

As we know, photography was subsequently followed by film, video, digital photography, internet etc; providing countless other tools to artists which hitherto had never been available before.

Photography has in a way actually enabled us to “See” in a much more detailed and better manner.

Although the issue is still debated to this day, I think that due to the realism of the camera, artists realized that they could experiment and search beyond realism.

Impressionism was very much influenced by the advent of photography, as were cubism and modernism.

I think that photography has been a most positive force, galvanizing the artist to map out new horizons, explore new mediums, to create new realities. The duplicating capabilities of Photography have also made Art widely accessible to the masses.

How would our society be without photography? It has totally impacted our society and lifestyle in a tremendous manner.

With the relatively recent introduction of Digital Photography and other technological advances, (such as internet and mobiles), at no other time in the history of mankind are so many billions of images being produced daily. Today the taking of photographs and the viewing and access to these is globally available to nearly everyone.

Images are impacting our lives to such an extent that they are more and more “conditioning” our lifestyle and our way of looking at the world. Photography has become integral not only as an art form or for documentary and recording purposes, but also as a powerful tool for propaganda and for social change. It is an integral part of medicine (e.g. X-rays) and science (e.g. forensic). It is a very powerful tool

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which has made us aware, sometimes in real time, of what is transpiring in the most remote parts of our globe.

Yet, photography’s effects have not always been beneficial. Due to the many images that we are seeing it has, at times, made humankind insensitive and unmoved by tragedy. Is it not the truth that we are sometimes viewing war news, disasters and social issues like immigration and world famine, as if they are Hollywood movies and everyday entertainment? Has the photographic medium made us immune to the suffering of fellow humans?

It is quite shocking that today we eat our dinner in front of our television screen whilst watching the atrocities in Syria, or environmental disasters or people massacred by suicide bombers!

This is a case for further reflection and thought . . .

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sergio’s blog

Voyeurism & Photography

“About this particular image – who is the third man standing, looking through the curtain next to the two already there? It is us. Like them we come upon a scene, a scene pointed out by Henri Cartier-Bresson. We, unlike Henri, are voyeurs. He has captured a moment in time while we return again and again, studying every detail. Is it not interesting that the man with the bowler hat has no sense of our presence. He neither looks through the curtain nor at us, his voyeurism is internal. Where and when the photograph was taken, I can only guess.Was it before or after I was born? Does it make a difference? What I do know is that it has now entered into my history, my reference book, stored in my memory. It will be used again and again in conversation with friends, photographers and critics.”

Leonard Freed, New York, July 2003

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Voyeurism in photography extends throughout a very wide spectrum, both in

space and time. There is the experience of the subject, often the “victim” of voyeurism (but sometimes also the accomplice); the object – the photographer, who is the hunter, seeking something, or someone, to capture – something of interest, of arousal if you will, to be immortalized for the ultimate voyeurs which are the consumers of the image, analyzing every aspect of a moment in time otherwise impossible if not for photography.

The voyeuristic intent and scope becomes even stronger, more arousing, as we stretch the photograph into time – certain questions become more evident as we look at images over time – what happened next? what happened to them? how do they look now? are they still alive? A perfect example is that of the worldwide sensation of Steve McCurry’s Afghan girl. A worldwide audience kept asking these questions the longer the time passed, until it was answered some fifteen years later.

But the power of voyeurism is in the now knowing – very much as the contrast between sexual tension or anticipation and sex itself.

The power of fantasy, of where the mind can take you in absence of answers keeps us gripped to something and we just keep going back to it, elaborating further, imagining further. Once the answer is presented, reality replaces fantasy, a fantasy which given enough time has much outgrown the truth. Once you get the answer, there is no more point in fantasy, and interest vanishes. In TV series they call it the “Moonlighting Effect“.

The whole point in voyeurism is not knowing the truth.

Follow Sergio here: www.sergiomuscat.com

featured MIPP Member

Above: I was quite amazed at how adapt Venetian masquerades are at striking up poses in an effortless and very appropriate manner. This one was no exception.

A few year’s back Astrid won a trip to the SWPP Convention thanks to her image with a venetian mask. I contacted her and persuaded her to write about her trip. She obliged and here is her sweet adventure...... words & images by Astrid Purdew

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Astrid’s Venice

I had always longed to see Venice and finally I had my chance to visit in February 2009, during the Venice carnival.

To be sure, my first experience of Venice was not what I had been anticipating.

Little had I known that I would have to lug my heavy luggage andphotographic gear over steep bridges and through a maze of alleyways in the middle of the night! Luckily Venetian people are friendly and I was eventually directed to the right place.

The hotel I was staying at was very close to Piazza San Marco. As soon as I arrived there I flopped on the bed andwas out like a light.

Next morning I got up early and headed towards San Marco. In the morning light I was immediately struck by the beauty and mystique of Venice. Indeed that was what I had been anticipating and more!

Venice began to weave its charm and magic on me from there on.

At Piazza San Marco, I caught my first glimpse of masquerades dressed in the famous typical Venetian carnival costumes. I was immediately hooked! There were photographers everywhere, all flocking around the posing masquerades trying to get the best pictures. I was amazed at how elegant the ‘models’ were and at how they could strike up different poses so effortlessly! I was tempted to hang around there and take pictures all day, but I was very keen to explore the rest of Venice and so I reluctantly took off.

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My first day was spent in getting ‘lost’ in the various mazes and alleyways of Venice. My camera did not get much of a break that day. I managed to tire myself out going round in circles for most of the day and not getting very far at all! But I was taking pictures along the way so I was happy!

The next day I decided to be a little more ‘organised’ and try to plan my day. So I chose to visit the charming little island of Burano, not to be confused with the other perhaps more famous island of Murano, well known for its production of decorative fine glass works. Burano is quiet compared to mainland Venice. Its houses are uniquely colourful and this little gem of an island makes for some bright images. I had a relaxing day trying to see as much of the Above: A typical view one comes across on the place as I possibly could, and take island of Burano. The leaning tower at the back pictures of course! is very commonly seen in the whole archipelago of Venice due to the unstable foundations of the buildings.

Over the next few days I fell into a semblance of ‘routine’. I would wake early and first shoot as many images as I could of the masquerades at San Marco square in the lovely morning light. Back then I was very new to photography and still getting to grips with my camera which was (and still is!) the trusty canon eos 5d. Looking back at the volume of images I took, I nowcringe at how trigger-happy I was at the time. Lessons learnt!

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Above: A gondolier waits patiently as the gondola in the background is manoeuvred around the corner. This is a very common sight in the canals of Venice. The light was magnificent at this particular hour!

Right: These lanterns are a synonymous part of Venice as are the pigeons one sees in piazza San Marco. They love to perch on the structures and look down on the flocks of tourists all around them.

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Above: Venice, not unlike Burano, has its fair share of brightly coloured houses in some particular areas. I felt very captivated by the way the Venetians hang out their laundry and it becomes part of the scenery.

For the greater part of the mornings I would hang around Piazza San Marco, taking pictures and enjoying the unique ambience and hustle and bustle of the Piazza at carnival time. Then I would drag myself away and try to cram as much sightseeing as I possibly could. By this I do not mean spending endless hours in queues to visit museums, churches, palaces and the likes. As much as I would have enjoyed visiting such places I did not want to cut on my time of picture-taking! I must have walked miles daily over steep bridges and through alleyways and piazzas till my feet hurt and my back complained in agony.

I spent 12 days in Venice and loved every minute. That wonderful city did indeed weave a magic spell over me which makes me long to be back there every year at carnival time! Next year maybe?

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RAPE ALAN GRECH

Now that’s a title you might not have

expected in a photography newsletter.

If you’re reading this article in hope to learn some new techniques, I apologize, you will find none. What follows is not meant to be educational but provocative.The title does not allude to the physical sexual act, but to gratuitous rape of our vocabulary...the over-abuse of words which leads to their growing old prematurely or to their losing their meaning entirely.

never reach. Originality is a romantic poison. It is used as an adjective that is meant to elevate, in our case, photographers or their work to a level beyond their peers. That’s really nice until the word gets thrown around as a freebie, then everyone is on the same level playing-field again. Stop trying to be original and be good instead. I’d rather have my work described as good rather than original. Good lives on, originality dies.

One such word is “creativity”. A quick Google search provides the following definition...’ The use of the imagination or original ideas, esp. in the production of an artistic work.’ The word ‘original’ makes me cringe. I’m sorry to break it to you but almost everything has been done before. Nothing is truly original, everything is derivative. Get that through your thick skull as otherwise you will be chasing an ever-elusive holy grail which you will

Another one of these oft-raped fancy words is ‘inspiration’. ‘Inspiring photographer’, ‘inspiring photos’, I guess we’ve all heard these words a thousand times before...and no, telling me that something is inspirational will not make it so. Inspiration is something personal, it’s a eureka moment, that instant where you can’t contain yourself and the people next to you turn their heads and see nothing but glee in your eyes. Inspiration is when something

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starts a fire in you to create god’s gift to mankind in the form of a series of photos. It doesn’t matter if it will not end up that life-affirming but that is how it starts.

On the practical side of things, inspiration is not a google search or the browsing of your favourite photographers’ pictures or those of your peers. You might have been building a database of photos you really like for the past couple of years, maybe more. A library of pictures to draw inspiration from.

There are way too many pictures you can look at, at any one time, and yet, after all this time, you realise you never used them at all. At first you might think this was a completely useless exercise, but this cannot be furthest from the truth. The beneficial by-product of your hoarding is that you came to understand better who you are and what you like. However, I believe that now it is time you let go off these images. Go through them and write down common traits found in these photos and then delete them all. By doing this you will have no visual reference you can copy in your work but instead you end up with written descriptors that should hopefully result in work that is less plagiaristic and more personal.

Something that you should be doing more of is drawing stimulus from different media other than photography.

This could be anything from sculpt-

ing, prose, music or even something as mundane as listening to people speaking about their daily lives but most probably you can start with paintings, illustrations, movies and hopefully some good books or lyrics. Starting off from a different medium altogether will help you detoxify yourself from visual residue.

In conclusion I would ask you to try to be less of a Creative and more of a Creator. Creative is the way of the hit and miss, of the lucky chance and the throwing of stuff at the wall and hoping something sticks. Creator is the path to craftsmanship through hard work, of consistent growth and imagemaking with direction and intent. To find your direction, kill that Inspirational Photos folder on your computer and follow your written descriptors.

You might think that these might be big words coming from someone many of you don’t even know...and I would have to agree. Yet in a nod to what Dr. Randy Pausch referred to as a ‘head fake’, this article was never meant for any one of you. It was meant for me. It is a guideline I will refer to when I see myself straying away from the path. It is a proverbial slap in the face whenever I become self-indulgent and think of myself as being a creative.

Contribute! We are always on the look out for great articles from members!

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Erbatax il-hsieb

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special feature

On a cold February evening I visited Reuben Chircop’s exhibition called ‘Erbatax il-hsieb’. I was curious, intrigued but little did I know that I would come out of the venue with more than I bargained for.... words by Therese Debono

I visited Reuben Chircop’s exhibition at the Razzet Tal-Markiz

Mallia Tabone in Mosta at the beginning of February. It was a cold evening, but when I went in, Reuben’s welcome warmed me up and once inside the room where the exhibits were hanging I forgot all about the weather, because his exhibits caught my attention in a way which hasn’t happened for a while.

You see, his exhibition was not about images only. His 14 pieces, all in black and white bar for 2 which were in colour, all had a poem to go with. This is not Reuben’s first exhibition, it is his 13th one after two years, at which I did a double take! I was impressed at our difference, I never exhibited and here he was at his 13th exhibition! Weldone Reuben!

This exhibition is all about his world, which is an instigation triggered from Kevin Casha who inspired him. At every exhibition Kevin Casha always seems to push and inspire Reuben for the next one. Talk about never a dull moment with Kevin!

This time Reuben’s approach was different. As I already mentioned he added poems to his images, in Maltese. If you are foreigner reading this, you might not find it strange that a local writes in his native language, however I relate to Reuben here. Reuben like me has for the past years always written in English, however this time round his poems are in Maltese and finally he confirms that the native language gave him the ability to be more pure and to the point in his expressions and to his surprise he found himself also very fluent in the language.

Left: The image for the composition called ‘Kuragg’ (Courage)

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Above: The image which accompanied the poem called ‘Dejjem Rebbiegh’ (always a winner) which is all about how time is always the winner....

Reuben describes himself as an introvert and an observer. I was intrigued by this because every time we met he was always nice and friendly however I could picture him like he described himself. To be able to write, you have to be an observer, you have to be an introvert. The artist is absorbed by himself first and foremost to be able to understand what he is feeling and putting those feelings into words, and Reuben agreed to my way of thinking on this. He says that he likes to tune in to the stuff going on around him say for example if he is at the market, he walks around and tunes in to his surroundings like one tunes in to a radio station and amongst all the static he absorbs all that is being said and done. His writings are often times triggered by a word or a series of events which would have happened earlier, and then he jots it down on his notebook. It is not the first time that he wakes up in the middle of the night to write down a few fleeting thoughts which would have come to him there and then. This is how it works really, you either write these thoughts down when they come to you or they are forever gone....And nothing is more frustrating for the writer when thoughts are missed out on because they were gone too fast!

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Going back to his iimages....I found out tthat they span over quite a few countries mainly M Malta, Gozo, Sicily, Englland & Japan, so apart ffrom being drawn to the iimage for its’ impact I also found myself questtioning where it was shot. We went round all tthe 14 exhibits one by one and Reuben took ttime to read out the poems for me. It was nice to h have him read them out Above: ‘Id-Dubju’.....

to me. I could have done it myself and in fact I did read out loud a few of them, but somehow they sounded better when he read them, since he is the author thus only he knows in what way a particular poem has to be read. Whilst he read I looked at the image and let myself experience whatever the poem made me think and feel. I admit it was challenging at first because I was primarily focused on trying to guess what he wanted me, the viewer, to think, but then I let go. I just set myself free from this challenge I put upon myself and listened and looked, only to find it quite refreshing to realise that there is no need to really understand what he wants me to understand. Reuben has a way of writing which baffles the viewer thus teasing with his words and visuals. I found this interesting and eager to go for the next image.

Of course I had a favourite which was called ‘Il-Harba’, however I was drawn to the poem for the image called ‘Taqtiegha’, which is all about the fight between the self.

This image was one of the only two in colour, but it was not the fact that it was in colour that drew me to it, but more the words, and the recognition of my ‘self ’ in those words. Another interesting image and poem was called ‘Dejjem Rebbiegh’ which was about time, which after all is always the winner since it keeps on going and never stops. Another one which impacted me and maybe touched me since it was too close to home was ‘Kuragg’ which is all about losing a friend when it was not her time. Reuben pointed out whilst chatting and discussing this latter image

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and poem that the 20s were all about carefree days, but the 30s are the years which test how strong one is. I couldn’t agree more!

Finally we discussed the presentation, which I liked. The images were presented on grey paspartout neatly cut out equally for the image and the poem, and framed with a black frame. It showed clearly that Reuben’s work did not stop at writing and composing the images, but that he also takes framing seriously, which after all is part of the whole concept.

I spent more than an hour at the exhibition and I was lucky enough to be the only one, so I could ask and analyze each and every piece.

Then it was time to go and when I went out I barely felt the biting cold air, since there was something else alienating me and calling out for me....my need to write again was stimulated thanks to Reuben’s exhibition and that is what I call an exhibition with purpose, when I leave the place and am itching to do more and be more. Reuben surely managed to do just that for me.

Follow Reuben here: www.rchircop.com

Above: The image for the poem ‘Il-Harba’ Left: One of the work of art on display at the exhibition. This one is in colour and is called ‘Nistenna’

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Joe’s Travels

This page: Street Dancing round the corner from La Recoleta cemetery. Buenos Aires and tango are synonymous. Tango street shows are found all over Buenos Aires at milongas and by walking around the city.

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featured panel In this issue we meet Joe Maniscalco who got his Associateship in Travel Photography with a stunning set of images from various parts of the world. Here’s Joe’s take on travel photography.

“When travelling, we have to carry a camera and equipment (not just a Smartphone) to capture memorable moments. Travelling is as expensive as you want it to be. The cheaper it is, the longer you can stay or plan more trips.

Travelling within Europe could be more expensive for the same duration compared to the Far East.

I look at a fantastic poster of Ha long Bay and I say to myself: I want this photo. I check the forecast before my trip and it’s rain, and more rain! This shows how much travel photography is dynamic and time-limited. Chances are that you will not visit the same location again. Good homework, situation awareness, experience, equipment and improvisation, are more likely to give you decent shots.

Establishing a form of communication with the locals before taking photos is essential - this can be either instant or it might take some time to convince them depending on their personality.

Each photograph is a place, a story, an event and a feeling. Some will remain a mystery - pity. Travel photography is about connecting people to their environment, culture and traditions”.

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This page: Market Vendor in Chiang Mai, North Thailand. Thai markets can be found in most villages, with the larger ones having thousands of stalls - taking a few hours just to walk along. Clothing, ornaments, souvenirs, massages and food are the main attractions.

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Left: Life at Chai Be floating market. The fertile Mekong Delta is in the southernmost region of Vietnam. Traditional transportation in the Delta is by boat along a vast network of canals and channels. Wholesalers with larger boats trade fruit and vegetables to many smaller boats early in the morning Below Left: Night stay at the Zay tribe, Ta Van. A typical kitchen setup where the food was fantastic. To get to Ta Van it takes: an 8hr night train from Hanoi to Sapa, a pair of wellington boots and 5hrs trekking in extremely muddy treks and rice terraces. The people are poor as they can only harvest rice once a year, but they were very welcoming and warm hearted.

Below Right: Paddling the Sampan boat using their feet, is a common practice in Tam Coc (North Vietnam near Halong Bay). These water ways are used by farmers to access the paddy fields.

This page: Fruit Vendor. There are many small shops side by side in most of the roads in Koh Samui (Thailand). Each shop is as organized as its’ owner. Tropical fruit stalls are very popular, displaying a vast range of juicy fruits and bright colours.

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PAWLU MIZZI Pawlu was one of the artists on the panel ffor MIPP’s event organised last year called ““Artists’ Night”, where members submitted iimages and were critiqued by artists rather tthan other photographers.

This event created an interesting synergy between the artists and photographers. I b was one of those in the audience though w rregretfully I submitted no images, I do reccall being highly interested in the debates which some of the images caused. w So here is Pawlu’s Artistic Statement and further on he kindly answered a few questions related to how artists see and portray photography.

“

31, artist and idealist, I am a graphic designer by profession. Whilst holding dear to my passion for aesthetic beauty and graphic design discipline, I dwell to fight political and spiritual alienation by tightrope walking on the fine line in-between. A playground where new media and the power of pictorial and textual combinations, become canvas and/or paint that give new contexts to humans’ innate rhetoric.

Art as a means of communication is nowadays presented to us in evolving combinations of images and text. My playground.

I translate my intimate thought into words and these reflections into images.

Travelling through a journey from ‘harbour to harbour’, I like to come into contact with people. This experience takes me from the most intimate to the most political, the personal and the social realms. I am dragged into a quest that would lead me to identify a purpose for life; each harbour reminding me that life itself is the only chance to achieve that purpose in this physical realm of ours.

I’ve walked from past mirroring of myself, through female metaphors of abstracted beauty to an investigation into the contemporary contexts of art. Presently, I research

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featured artist

Is photography an art? How do artists see photography?

We caught up with professional artist & graphic designer Pawlu Mizzi to hear about his take on photography. new languages that could express contemporary personal and political issues. I promote awareness, participation and a sense of being – elements that are, unfortunately, highly compromised within the mass culture society of the western world; a consumer world that have created disintegration of real unity and unity from virtual defragmentation.

In a society transformed and shocked with the advent of new media and social networking, it is high time to investigate the mimetic interaction between the two. Similarly to the Industrial Revolution, these latest technologies have given us newfound opportunities but have made us lose control of our real selves. Such concepts about identity and the loss or enhancement of itthrough social media, help me trigger existential reactions and questions within my audience; real or virtual.

“

Image: James A friend of the artist

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Why you chose graphic design & digital painting as a medium of expression?

I don’t choose. It is a process of discovery I’ve been through so far and which might last till the very end of my life. I believe that an artist should always be ready to change if change is the catalyst for his/her message to come across in a sharper tone. As with the disciplines you mentioned, graphic design is a discipline that teaches an artist how to work around various constraints whereas the painting medium, be it physical or, as in my case, digital, defies that state and provides the artist with a vast terrain of freedom. The coming together of both disciplines is somehow magical.

Do you really paint/design to express yourself or is it a means of income?

I don’t think artists who aim at solely at income as real artists. An artist is a sensitive person who is aware of the surroundings within and outside him/herself. Having the ability to express that sensitivity and bring it out for others to deal with is a gift and any real artist should always dwell to serve that purpose.

What inspires you?

Politics (with both a small and a big P), revolutionary thoughts, emotions, the female body, good music and anything remotely creative.

As regards photography, do you think it is another medium of expression?

I would define photography as the art of hunting moments in time. Yet again, I believe a real photographer should commit him/herself for the higher purpose of art and make use of the photographic tools to work for the greater good of art itself, that is, the greater good of mankind. Indeed, another medium to get closer to that ultimate quest of wisdom.

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Do you use photography to help you in your work? If yes state how etc I revert to photography whenever I need to exhaust the urge of creating pictures. I also use photography as a base canvas for my digital works.

Judging a painting, judging a photograph, are they similar or different? State why in both cases.

The word “judging” sounds like a discordant note when it comes to art. I don’t believe true art should ever get in the process of judging. Instead, discernment could be the right process how people may benefit by highlighting the different reactions that come out of a work of art and discuss how these reflect upon them. On a technical level, I believe painting and photography are two different worlds so they can never be treated in a similar way. In both cases, techniques, tools and language are completely distinct, thus deserving distinct treatments.

A note to photographers and artists.

Be your own contemporary. Deconstruct whatever you know and rebuild yourself anew each day. Talk about now and make yourself relevant. The best artists have always spoken about their contemporary realities of mankind and did their best to promote a better life for the same. That should be the aim of all artists and photographers. The Maltese artists/photographers need to make themselves more relevant by speaking about their contemporary life.

Personal Design Project: www.redwhitemt.com Personal Blog: http://www.tberfil.blogspot.com/ Personal Poetry: http://www.facebook.com/tascity?sk=notes

Left & spread: Death of Malta

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MAXIMUM IMPACT MINIMUM OUTLAY M

eet Dave Wall....... the speaker for the yearly March Seminar organised by The Societies (www.swpp.co.uk) in collaboration with MIPP. In the following pages Dave Wall describes these two days in his own words!

So what are you waiting for? Just book! Prices are 65Euros for members & 95Euros for non members with lunch including on Saturday at Corinthia San Gorg.

See you there!

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upcoming march seminar

SMALL PRODUCT PHOTOGRAPHY - Saturday 23rd March 8:30am - 3:30pm (Corinthia San Gorg, St.Julians)

As I have said many times in the past small product photography is my passion, and a large part of my business. So I have designed this totally new course from the ground up with a preview of what it can achieve in the January issue of Imagemaker.

I have run this course several times on a one-to-one basis and it has been very successful, but this will be the first time with a group ... so I am really excited!

Coming straight off the back of my win of Advertising & Commercial Photographer of the Year at this year’s Convention I am hoping for a packed house so I can excite people into this lucrative area of photography.

We will be looking at my ‘bijou’ lighting system in-depth and shooting live ... so delegates can see how I ‘build’ an image from various exposures. Looking at how light interacts with products and also how to modify it for any given outcome. In addition to this I will also be showing how all the pieces are placed together within Photoshop to create an impossible lighting illusion!

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AMBIENT INTERIORS - Sunday 24th March 9:30am - 12:30pm (St.James Cavalier, Valletta)

Another, totally new seminar. One I have been requested to produce especially for the guys and gals over in Malta.

For many years, in fact, my first foray in self employment, I ran a company specialising in interior photography (with the catchy and enlightened title of ‘The Interior Photography Company’). How inspired!

I still shoot many interiors for interior designers, architects and even corporates such as Manchester United (come on you reds)!

Where many people fall short when photographing interiors is they are not sympathetic to the design of the room and just photograph it as a ‘record shot’.

Interiors don’t just happen, they are ‘created’.

They have a structure and a story to them. They have component parts that work in harmony, playing with light and shadows for maximum effect. So this training day will revolve around seeing angles, composition, shadow play, all photographed with available light so the ambience of the room isn’t destroyed.

All created through multiple exposure techniques then blended together with a fantastic Lightroom plug-in that will just blow your mind! So if you think classroom-based training is a ‘bit boring’ ... think again!

Let me prove you wrong!

All my training sessions are ‘no holds barred’ !

Nothing is held back.

No secret sauce that I am keeping to myself.

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EXECUTIVE COMMITTEE - DEFINITION OF DUTIES A new official year has started and the following are the definition of duties for the new MIPP Executive Committee for the year 2013.

President: Mr Kevin Casha 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

Head of Executive Committee Official MIPP representative to other organizations both local and foreign unless there is a designated official.

General Overseeing of Subcommittees Liaise with the Sponsors Training & Courses coordinator Reciprocal Agreements Newsletter coordinator Sponsors liason General Correspondence MIPP exhibitions (with Keith Ellul)

Secretary General: Mr Sergio Muscat 1.

2.

3.

4.

5.

6.

7.

Administrative Head of the Committee Substitutes President Programme Coordinator – Logistics Proof reading of all correspondence Coordinates the AGM, EGM, Meetings Online calendar maintenance Seminars Coordinator

Secretary: Ms Therese Debono 1.

2.

3.

4.

5.

6.

7.

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General secretary to President and CEO Committee Minutes Sub-committees /conventions assistant Newsletter Editor: Newsletter Designer: Newsletter Proof reading: MIPP corporate designer (promos, booklets etc)

mipp notices

Treasurer: Mr Anthony Cilia 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

Liaise with Bank Mailing Lists (with Alexei Sammut) Membership fees Maintain all MIPP Accounts, Chase debts Receipt & distribution of MIPP post forwarded from PO box.

Issue Receipts, Invoices, Statements Government Returns (with Charles Calleja) Membership Reminders Substitute MIPP photographer when need arises PTYA Award Coordinator (with Martin Agius, Alexei Sammut)

Public Relations Officer: Mr Chris Sammut 1.

2.

3.

4.

5.

6.

Media Coordinator Funding projects Website (with Clayton Abdilla) MIPP public awareness PRO Events liaison

Assistant Secretary: Ms Charles Calleja 1.

2.

3.

4.

5.

6.

NGO yearly reports MIPP PO Box Assist President & Secretary general Substitute Secretary when latter is absent Updating of MIPP Statute and Qualification Structure Qualifications Co-ordinator

Events coordinator: Mr Martin Agius 1.

2.

3.

4.

5.

6.

7.

Assist in PTYA coordination Booking of event Venues Venue set up coordinator MIPP Facebook Groups Photowalks (with Anthony Cilia) Official photographer/Video coordinator Inventory

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CALENDAR Kindly note that the Course “Intro to Photography Techniques” is for those members who already booked. Also ‘Foundation in Image Editing’ Course is going to be held at iLab, Qormi.

6th, 13th & 20th March Course - Intro to Photography Techniques Corinthia San Gorg; 19:00hrs

12th March PTYA Session 1 Judging Corinthia San Gorg; 19:30hrs

23rd & 24th March SWPP March Seminar Corinthia San Gorg; time tba

3rd & 10th April Course - Intro to Photography Techniques Corinthia San Gorg; 19:00hrs

9th April Talk: Joe Smith Corinthia San Gorg; 19:30hrs

14th April Photowalk - In Guardia TBC

18th & 25th April Course: Foundation in Image Editing iLab; 18:00hrs

30th April Talk: Darrin Zammit Lupi Corinthia San Gorg; 19:30hrs

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UPCOMING MONTHLY EVENTS PTYA Judging

We kick start this year’s PTYA Judging Sessions on 12th March at Corinthia San

Gorg at 19:30hrs.

This is the first session for the year and I strongly suggest that those members who participated and even those members who haven’t, to attend since image judging is one of the best ways one can learn.

As per usual judges will later critique images to help further understand the score they gave.

We urge you to all be on time so as not to miss out on learning!

Good luck to all participants!

SWPP March Seminar

This year’s seminar will be held on the weekend of 23rd & 24th March.

On Saturday 23rd March, registration opens at 8:30am, and the seminar starts at 9:00am. Venue is Corinthia so make sure you get a good rest the night before so that you are all on time for this great seminar. On the day speaker Dave Wall will tackle small product photography.

On Sunday 24th March, at 9:30am we will all meet at St James Cavalier for a morning of shooting interiors. Dave Wall promises to give us his best tips and tricks to create interiors full of ambience.

Bookings on: bookings@mipp-malta.com Prices: 65Euros for members & 95Euros for non members (with lunch included on Saturday at Corinthia San Gorg) (45Euros Saturday only; 35Euros Sunday only) Programme Link: http://issuu.com/m-i-p-p/docs/march_2013_seminar_programme_for_issuu_revised?mode=window

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