ISSUE
69
The official MIPP Newsletter
Photography by Romana Wylie
www.mipp-malta.com
2017
JANUARY | FEBRUARY
Photography Kevin Casha
Editorial Seeing the Light Dear Members, Whilst teaching photography, one strange thing that I regularly encounter is the lack of motivation and willingness to engage in research by a good number of students. I find this rather curious as today there are so many ways of absorbing knowledge and improving oneself. Books, online media, video, blogs, and webinars – the list is endless. Yet even from a few simple questions, one can usually gauge the lack of involvement of learners through their attempted answers. It seems that most students are all looking for a quick fix and, unfortunately, this does not exist. We are all a product of our conditioning. How many times do we hear this when we come to, for example, nutrition issues? We are told we are what we eat, and naturally, this is a true empirical statement. But, leaving physical needs apart, our brain also requires the right feeding to evolve; and the food for the brain is filtered and selected knowledge. Scientific research indicates that by keeping the brain active and challenged, even illnesses like dementia can be combated. What better reason to keep exercising our minds? Valid photographers are artists and need to know what is happening around them, what issues are concerning society, what their peers are producing or instigating. Granted, today’s lifestyle is difficult to handle: we all have time constraints. However, one needs to rethink one’s lifestyle and prioritize matters in order to make more time for absorbing knowledge and research. If we really delve into the way we go through our lives, and reflect sincerely, I am sure that we can avail ourselves of more time through really being selective in what we do and see . . . and this is all for the benefit of art and society. In fact, being selective is the key. Ok, it is nice to read fiction, it provides an escape from reality and everyday life, however if we are to be creative, we should engage with more instructional material. Life is full of choices, and I believe in absolute freedom as long as this does not impinge on other people’s freedom, but we must identify what we want out of life. Do we want to plod through life and try and isolate ourselves from all that is happening around us? Do we want to live in our own little world and not care about trying to leave a better society than the one we lived in? Do we really not care about who comes after us? Transferring this line of thought into art, how can we become ‘artists’ if we do not engage in raising public awareness on issues which are for the common good? If an artist is to engage with an audience, there is the vital need to identify concepts that can help to pass on a message and make an impact in daily life - however small that might be. It is all good that a person engages in art practice for his/her own satisfaction but that is a fragment of the benefit that art can do to our society. Unfortunately it seems that most people today are trying to shut out the difficult world and situations that we are continuously confronted with. This is quite understandable as dwelling too much on negative issues is not conducive to great peace of mind or good health - however, blocking out what is happening around us will not make problems disappear - on the contrary, it gives scope for worse situations to arise. If we were to all do our little part, the overall picture would surely improve - this is the role and duty of a serious artist. I do not criticize those who wish to quietly live their life and not challenge themselves but I do criticize those who are all the time moaning about this or that and not doing anything about it. I just hope that these few lines make at least a few people reflect. I will leave you with an Ansel Adams quote, which I find very apt:
“The single most important component of a camera is the twelve inches behind it” Kevin Casha President.
Editor: Kevin Casha
Design: Articles: Sita Azzopardi & Malcolm Sammut Various contributors
Proof Reading: Louisa Tonna
Members Profiles: Daniel Vassallo
If you want your photos featured on the newsletter’s front page just send the images to: newsletter@mippmalta.com Your contributions are always welcome
2 | The official MIPP Newsletter
Contents Illustrated Academic Essay by Lorraine Abela
pg 04
The MIPP International Convention 2016 by Kevin Casha
pg 07
Richard Farrugia by Daniel Vassallo
pg 10
‘Malta Street Life’ – Artist Statement by Martin Agius
pg 15
Comments Still Image Course | The MIPP Image Editing Course
pg 18
Annual General Meeting | Agenda for the AGM
pg 19
Jot down dates
pg 20
Light Hearted Moments by Mario Casha
pg 21
Exhibition feature by Tomoko Goto
pg 22
Membership Renewal and newcomers
pg 24
MIPP Benefits of Being a Member
pg 25
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Illustrated Academic Essay Contextual and cultural referencing in art & design
fine art. “Mann’s photographs suggest that the camera is as adept at depicting the desires of the subconscious as it is rendering the shapes of everyday life.” Andy Grundberg, the New York Times.
by Lorraine Abela Part three
Contemporary Work “ Photographs open doors into the past but they also allow a look into the future” – Sally Mann. http://dgh23train.blogspot.com/2012/10/quotes-by-sally-mannartist-that-we.html
Figure 19 | JESSIE AT 5, 1987 https://artofplatinum.wordpress.com/tag/sally-mann/
Reinterpretation of paintings This quote defines precisely what another artist, Sally Mann has in mind. Mann is a contemporary lady
The question regarding whether photography should
photographer born in Virginia in the mid twentieth
be considered as art is one which remains debatable
century, who was inspired by the pictorialists and
in our society. However, whatever one’s opinion may
influenced by Julia Margaret Cameron and Eugene
be, there is an excellent representation of the merging
Atget. Her photography, portraying her own children,
of photography and art displayed in the works of Bill
captures moments in daily life, whilst emphasizing the
Gekas (born and living in Melbourne Australia), whose
cultural perception surrounding sexuality and death.
photographs provide reinterpretations of historical
Her work is intriguing and abstract. She combined
paintings. Gekas mainly uses his daughter as his
technicalities and ideas from the past together with
model. Even though he is reinterpreting paintings
Figure 18 | BLOWING BUBBLES 1987
Figure 20
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from the past, meaning he must have been in some
similar artists. He is mainly influenced by Caravaggio,
way inspired by them and their particular style, he still
Rembrandt, Vermeer and Velazquez. One can admire
manages to give them his own personal artistic twist,
his mere authentic work below.
making his work unique and recognizable from that of
Figure 21
Figure 22
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Figure 23
http://www.profotos.com/education/referencedesk/masters/masters/helenlevitt/ helenlevitt.shtml http://www.masters-of-photography.com/L/levitt/levitt_articles2.html http://www.laurencemillergallery.com/levitt_just_kids.html http://academic.uprm.edu/laviles/id194.htm http://www.iphf.org/hall-of-fame/lewis-hine/ http://www.atgetphotography.com/The-Photographers/Lewis-Hine.html http://blog.nationalmediamuseum.org.uk/2013/04/24/find-out-when-a-photo-wastaken-identify-collodion-positive-ambrotype/ http://theghostdiaries.com/memento-mori-victorian-death-photos/ http://sallymann.com/ http://www.artnet.com/artists/sally-mann/ http://www.gagosian.com/artists/sally-mann http://sallymanninsideandout.blogspot.com/p/influences.html http://www.billgekas.com/about.html http://www.dailymail.co.uk/news/article-2280946/When-Instagram-meetsRembrandt-Photographer-uses-tricks-light-create-illusion- Baroque-masterpiece.html http://digital-photography-school.com/interview-with-fine-art-portrait-photographerbill-gekas/ http://www.metmuseum.org/toah/hd/adag/hd_adag.htm http://perimeterbooks.com/Linda-Fregni-Nagler-The-Hidden-Mother
Works Cited
Figure 24
http://www.eastmanhouse.org/icp/pages/postmortem_port.html http://www.npr.org/programs/atc/features/2002/jan/levitt/020117.levitt.html
Scrutinizing child portraiture and exploring from where it all commenced was very fruitful. Observing firstly, the methods which accommodated the traditions from one century to another and secondly, the development of how photography was approached and altered according to different periods; mainly taught me that photography is a developing art which is constantly flourishing. Bibliography Jeffrey, Ian (1981). A Concise History of Photography. Thames and Hudson Stieglitz, Alfred (1903-1917) Camera Work – The complete Illustrations. Tuschen Lee, SriKartini (2011) Reading Photography – A sourcebook of critical texts 1921-2000. Lund Humphries Clarke, Graham (1997) The Photograph. Oxford Documentary Photography-Life Library of Photography Mann,Sally. Immediate Family Frizot, Michael (1998) The New History of Photography. Konemann http://www.photographymuseum.com/sandh1.html http://www.dailymail.co.uk/news/article-2270169/Post-mortem-photographyMorbid-gallery-reveals-Victorians-took-photos-DEAD- relatives-posing-couchesbeds-coffins.html http://www.theguardian.com/artanddesign/gallery/2013/dec/02/hidden-mothersvictorian-photography-in-pictures http://www.telegraph.co.uk/culture/photography/10475137/Early-Victorian-familyportraits-and-the-disappearing-mother.html http://fadedandblurred.com/spotlight/gertrude-kasebier/ http://codystudies.org/kasebier/bio.php http://www.metmuseum.org/toah/works-of-art/33.43.132 http://reelfoto.blogspot.com/2011/09/helen-levitt-new-yorks-unassuming.html http://www.npr.org/programs/atc/features/2002/jan/levitt/020117.levitt.html http://www.independent.co.uk/news/obituaries/helen-levitt-photographerrenowned-for-her-portraits-of-street-life-in-new-york- 1670451.html http://www.atgetphotography.com/The-Photographers/Helen-Levitt.html
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http://www.brainyquote.com/quotes/quotes/l/lewishine161834.html http://dgh23train.blogspot.com/2012/10/quotes-by-sally-mann-artist-that-we.html https://artofplatinum.wordpress.com/tag/sally-mann/
Photos Figure 1 | Figure 2 | Figure 3 | Figure 4 http://www.formerdays.com/2012/09/daguerreotype-children-ii.html Figure 5 | Figure 6 http://www.dailymail.co.uk/news/article-2270169/Post-mortem-photographyMorbid-gallery-reveals-Victorians-tookphotos-DEAD-relatives-posing-couches-beds-coffins.html Figure 7 http://www.domusweb.it/en/art/2013/06/17/the_hidden_mother.html Figure 8 Camera Work 3,1903 | Error! Bookmark not defined Figure 9 Camera Work1,1903 pg96-97 Figure 10 | Figure 11 http://fadedandblurred.com/spotlight/gertrude-kasebier/ Figure 12 http://www.laurencemillergallery.com/gallery.htm Figure 13 | Figure 14 http://www.atgetphotography.com/The-Photographers/Helen-Levitt.html Figure 15 http://tomclarkblog.blogspot.com/2011/01/lewis-w-hine-cotton-she-jessworks-for.html Figure 16 http://drx.typepad.com/psychotherapyblog/2008/05/photos-of-the-3.html Figure 17 http://imgfave.com/search/1908.%20%20by%20lewis%20w.%20hine Figure 18 http://www.artnet.com/galleries/edwynn-houk-gallery/sally-mannimmediate-family/ Figure 19 http://fadedandblurred.com/spotlight/sally-mann/ Figure 20 http://sallymann.com/selected-works/family-pictures Figure 21 | Figure 22 | Figure 23 | Figure 24 http://www.billgekas.com/p1014938437
Lorraine Abela
The MIPP International Convention 2016 Article by Kevin Casha
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The MIPP’s 20th anniversary celebrations came to a final crescendo with the recent International Convention held at Monte Kristo Estates in November. Weather was not very cooperative but the fantastic settings and facilities of the venue’s wine vaults helped in no small manner to make this
yearly photographic gathering a success.
and Amanda Hsu together with top local protagonists Alex Attard, Keith Ellul, Domenic Aquilina, Guido Bonett,
This convention was a special one as no less than sixteen
George Abdilla, Charles Calleja, Ramon Sammut, Duncan
lecturers took part. The international flavor was ever
Cauchi and Sean Azzopardi. Throughout the two days
evident as besides our main guest speaker John Denton
of the convention, three lecturing, projection and studio
and his delightful model, Matilda Jane, we had Tom Lee,
set-ups were prepared in the spacious Monte Kristo
Dennis Orchard and Podge Kelly at the convention.
vaults and this provided the delegates with a wealth of
Added to these were foreign photographers based in
inspirational choices to engage with various genres of
Malta of the caliber of Alan Carville, Johan Siggesson
photography.
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Stands by MIPP main sponsors Ilab, PhotoNK
the Year (PTYA) trophy.
(Intervisions) and Avantech further enhanced the networking experience of all those who participated.
The trophy, designed purposely and exclusively for
As is the norm, Juliet Jones, director of the Societies
MIPP by top international artist George Muscat,
of UK, was present at the convention. Unfortunately,
was presented to Sean by Martin Agius who was
this time round, Phil Jones could not be with us due to
responsible for co-ordinating the PTYA competition.
a convalescence period but he was definitely with us
Sean was also presented with vouchers worth over
in spirit. The Societies have been collaborating with
â‚Ź1000 by sponsors Ilab, PhotoInk and the Societies.
the MIPP for the past sixteen years and have been the
Members Johan Debono and Domenic Aquilina were
main force in regularly embellishing our convention
also presented with their well gained Associateship
with international speakers and personalities.
Qualification certificates. Johan got his with a Nature panel whilst Domenic with a Sports panel. The MIPP
The convention came to a close on Sunday evening
Still Image Award students were also presented with
with the MIPP’s award night held at the Le Meridien
their certificates and Martin Agius was presented
Hotel. During the event, Sean Azzopardi was
with the MIPP Award of Recognition for services
presented with the fabulous MIPP Photographer of
rendered to the MIPP.
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Another pin, another line, another adventure
PHOTOGRAPHY BY RICHARD FARRUGIA
Richard Farrugia Richard Farrugia, 26 years old, lives in Rabat, Malta. He
super-telephoto photography.
studied business and management and he is currently a production planner at STMicroelectronics. He loves
In 2014 Richard decided to step up to a mirrorless
metal music, he plays the piano and calls himself a
camera. He bought a Fujifilm X-E2 which has a 16
metalhead, besides that he also likes travelling, body
mega pixel APS-C CMOS sensor. He prefers to buy
art - namely tattoos - philosophy and photography.
from local dealers and only reverts to online purchases when items are either not available locally or they are
Richard has been nourishing his passion for
way more expensive. With the X-E2 camera came a
photography since he was young. He started
kit-lens, the 18-55mm, later on he purchased a 50-
snapping his first shots when he was 13, using his
230mm telephoto lens and also a 35mm and a 12mm
father’s Petri SLR film camera. Prior to that, his dad
wide-angle lens. The primes are the lenses that he
had owned another three or four cameras as he was
uses the most at the moment as he feels that with the
quite passionate about photography and that is who
zoom lenses he was becoming too lazy.
Richard inherited this pastime from. Richard is a fan of Fujifilm cameras because they In 2006 Richard switched to his first digital camera.
look and handle like classic SLR film cameras and he
Back then he was still in post-secondary education
likes that vintage feel with all the manual settings and
and he managed to convince his father to buy him a
the aperture ring on his lenses. He hails mirrorless
bridge camera for his Systems of Knowledge project.
cameras for their colour representation, the vintage
The Fuji S9600 was an excellent camera and easy
design, the versatility and most importantly the
to use, especially for travelling. At that time he
electronic view finder which helps him to expose his
visited several Asian countries, he carried his S9600
shots much more easily compared to the viewfinders
everywhere with him and he did not have to bother
found on DSLRs.
swapping lenses. Bridge cameras have a substantial
Richard argues that since he does not earn money out
zoom that covers everything - from wide-angle to
of photography, he pays attention to the amount of
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money he spends on equipment. Some of the lenses
course held by the MIPP. Richard tries to attend most
he buys are third party lenses and he is forced to
of the monthly lectures that are provided free of
focus manually but he actually enjoys shooting in
charge to the MIPP members. He looks forward to
manual and thinks that autofocus makes him lazy.
the continuation and advancement of the Still Image course and he hopes to be able to achieve a Diploma
In 2014, he also started attending an Introduction
or a degree in photography with the MIPP.
to Photography course at MCAST. In 2015, at the end of the first course, he decided to undertake the
Before these courses, Richard could not decide what
Intermediate Course in Photography at MCAST. It was
kind of photography to focus on, he used to shoot
during this time that he met Kevin Casha who was his
anything, simply exploring the different genres. In
lecturer. Since then he has developed a relationship
2016, after the Still Image Course he felt that it was
with Kevin who became Richard’s mentor and they
easier for him to choose a direction.
now consider each other close friends. He combined philosophy with photography and
he decided to accept another challenge and he has
depicting addiction artistically and this is a huge
successfully completed the Still Image Award training
challenge for him because of his timid nature, he
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Addiction
I can still keep you joined
I can still keep going...
I can still protect you
PHOTOGRAPHY BY RICHARD FARRUGIA
photography. He started a project with the aim of
PHOTOGRAPHY BY RICHARD FARRUGIA
Institute of Professional Photography (MIPP). In 2016,
PHOTOGRAPHY BY RICHARD FARRUGIA
he focused more on conceptual and minimalistic
PHOTOGRAPHY BY RICHARD FARRUGIA
In July 2015, Richard became a member of the Malta
has to work directly with people and direct them to
art and he describes it as the expression of a human
achieve the shot that he sets in mind.
being. A part of his soul is imprinted in his works and Richard sees photography, music and tattoos as the
He has already taken some shots which give a
main forms of art shaping up his future.
comprehensive view on addiction compared to the most common topics that come to mind. At the end
One of Richard’s favourite shots is his self-portrait
of this project, Richard plans to have a panel of 20
shot in his garage which he also uses as his studio.
photographs which he will then showcase in an
He particularly likes to work on his tripod, admittedly
exhibition.
it slows his work down, but the gains in precision are definitely worth it. The self-portrait is an image that
He also has another idea which is still being developed
took him a lot of preparation and he set up the shot
by the name of The Art of Pleasure and Pain, it is about
using one of his friends as a model.
capturing the most important moments of tattoo making in an artistic way. He started getting tattoos
Richard has a very interesting view about photography,
on his body in the last year and a half and he plans to
he argues that at this day and age, everybody can snap
keep adding more tattoos in the near future and he revealed that this form of body art is the main reason he got more involved into photography. Richard loves
PHOTOGRAPHY BY RICHARD FARRUGIA
Remembering the gone
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PHOTOGRAPHY BY RICHARD FARRUGIA
St Patrick Cathedral
reality. Even in commercial images such as a wedding photograph, the photographer can create a new reality by asking people to stop whatever they were doing and to pose for him. Richard’s photography is inspired by Hiroshi Sugimoto who is known for
his
extremely
photography
and
minimalistic also
Shigeru
Yoshida. One of Richard’s greatest ambitions for the future is to become commercially viable and perhaps work in photography. Daniel Vassallo
PHOTOGRAPHY BY RICHARD FARRUGIA
Release
pictures but not everyone is a photographer. What separates a photographer from the rest is the ability to look at the world in a photographic way, expressing what he sees and imagines in a creative manner, giving viewers something to ponder about when looking at the photograph. For him photography is about creating realities as imagined and perceived by the photographer that might have never existed. Photographs do not necessarily show reality, often they channel the message that the photographer had in mind. A landscape shot can show a different reality if taken with a long exposure. A picture of a street in Valletta, taken 70 years ago will show a different
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PHOTOGRAPHY BY RICHARD FARRUGIA
Waiting for Flight
2016
Continental Cars Ltd.
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‘Malta Street Life’ Artist Statement “Your first 10,000 photographs are your worst”
in my personal projects It is curious that when I first started photography I always thought that I did not want to take photographs of people. It is strange how things work out during the course of time. In fact, I ended up obtaining my Associate Qualification with the Malta Institute of Professional Photography (MIPP)
“Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera”
and the Societies (UK) in Fashion & Glamour, started
“It is an illusion that photos are made with the camera…
Kevin taught and mentored me in my photographic
they are made with the eye, heart and head.”
journey. I consider Kevin as the best photographer on
work as a photojournalist and sports photographer and gradually becoming enamoured by street photography. Besides my wife, I happened to come upon two great people in my life, Kevin Casha and Ramon Sammut.
the island and I am particularly proud to be working I feel that the above quotations by French iconic
with him within the MIPP, in order to continually
photographic legend Henri Cartier-Bresson, amply
strive to improve photography on the island. Ramon
describe me and my work. Being a photojournalist by
Sammut was also my tutor and mentor when it came
profession, I try to retain these lines of thought during
to image editing. With these two stalwarts how can
my work. Such reflection has helped me focus more
one go wrong in photography? My successes are very
on what I need to achieve when I press the camera
much thanks to them. Like any other dream, it has not
shutter – be it during my commercial work as well as
been an easy one to achieve, but with the continued
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support of my wife Therese I have managed to
they enquired if I want to work part-time for them.
achieve these satisfactions.
Without even thinking I said yes – and right after I had my doubts about to what I was doing; after 27
Whilst I was in the army I met Maj Ivan Consiglio and
years in the service it was not easy to start working
he asked me if I would join him at the Army Media
outside the army world. However, my trepidations
Office as a photographer. It wasn’t an easy decision
were unfounded and I immediately clicked at my new
because in the last year of my army service I had to
workplace. I was now working in a job that I loved. In
change regiment, but I accepted as the photographic
September 2013 I was offered, and promptly accepted,
bug had bitten deep and I had already decided that
a full-time job with Media.Link Communications.
on retirement I would try to work as a photographer. So this was a great opportunity to improve my
Throughout my photographic journey, I have won
capabilities and gain valuable experience.
the Societies (UK) Press and News Photographer of the Year in 2011. In 2015 I was awarded a distinction
When I retired from the army in July 2010, I was
in the Level 3 ‘MIPP Award in Still Photography’. I
contacted
have managed to gain several awards, both locally
by
Media.link
Communications
and
and abroad, participated in collective exhibitions in Malta, UK, Italy, Egypt and Greece and my work has been published locally and internationally. In 2011 I joined the MIPP as a Committee Member in the post of Treasurer and Competitions Co-Ordinator. The collection of work I am submitting during this exhibition encompasses my recent work in the genre of street photography – one genre which I find embodies the true spirit of photography. Martin Agius
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Recently the MIPP Still Image Course in photography came to an end. Hereunder are some comments received from the students: Dear Kevin, “Thank you for your encouraging feedback! I feel enriched by the Still Image Course and am acutely aware of how far it pushed my boundaries- I do not believe I would have ever attempted such spontaneous candid photography without it. (This would have been a pity- I have found that I enjoy it tremendously and feel it has given me the opportunity to grow as a person too.) Thank you once again.” Martha Zammit Dear Kevin, “Many thanks Kev, it was a good journey. I learned a lot and this course pushed me to pursue avenues which I previously shied away from. Many thanks”. Mark Anthony Bugeja
For details of the course go to
http://mipp-malta.com/courses/mipp-award-instill-photography/
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Hi Kevin, It was a great experience doing this course - not only I made new friends and colleagues but also improved my skills as well. The course was the key to providing an environment in which we could grow and mature in our photographic endeavours also stimulating our creativity and uniqueness. It was a pleasure working for the final panel, as I could challenge myself in areas I wasn’t comfortable in, trying to make sense of a theme that I did not fully understand, but this led me to improve myself not only photographically but also as a person. I recommend this course heartily to anyone who has a serious desire to learn photography in a more detailed approach, as I have to admit, without this course I would not have been able to produce the stunning work I submitted in the last 3 sessions of the PTYA and all the great images during my recent trips. Thanks a lot for the patience and mentoring you gave us, Kevin, we owe you big time. Thanks and Regards Richard Farrugia
Annual General Meeting As you have already been informed, the MIPP’s Annual General Meeting will be held on TUESDAY 7th MARCH at Le Meridien Hotel in St Julians at 7.30 pm. Only fully paid up members will be eligible to vote.
Agenda for the AGM 1 Approval of minutes of AGM 2016 2 Hon. Secretary General’s Annual Report – Sergio Morana 3 Hon. Treasurer’s Statement of Accounts – Martin Agius 4 MIPP’s Vision for 2017 by MIPP’s Hon. President – Kevin Casha 5 Amendments to the statute 6 Nomination of two tellers 7 Presentation of members standing for election 8 Election of the new committee 9 Other Matters
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CALENDAR January February
January /2 017
February /2 017
1
10 Jot dow n the da tes
February/2017
January /2017
MIPP Members’ meeting
MIPP Members’ meeting COMMISSIONER OF DATA PROTECTION EXPLAINING THE LAW
Richard Farrugia, Brian Aguis. Samuel Masini Wednesday 1st February | 19:30
GAINING THE STILL IMAGE AWARD 2015 - 2016 Tuesday 10th January | 19:30 Le Meridien
March /2017
MIPP Members’ meeting
Le Meridien
March /2017
MIPP Members’ meeting GUIDO BONETT GORILLAS IN THE MIST
Annual General Meeting Tuesday 7th March | 19:30
Tuesday 14th March | 19:30
Le Meridien
Le Meridien
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LIGHT HEARTED MOMENTS
EVERYONE IS A PHOTOGRAPHER
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by Mario Casha
Adam Jeppesen Out of Camp” exhibition at C/O Berlin Exhibition Review by Tomoko Goto Adam Jeppesen’s “Out of Camp” exhibition (16/07/16 - 25/09/16) is the first instalment of the “Thinking about Photography” series at C/O Berlin, a major art gallery and educational institute which specializes in contemporary photography. Jeppesen is a Copenhagen-based photographer who traveled solo with his camera from the North Pole to the Antarctic. He documented the footprints of his journey, and he shot a series of landscape images along the way: mountains, seas, rivers, glaciers, hills and valleys.
Jeppesen experimented with how he produces, perceives and presents his images in an attempt to
I’m sure most photographers would be happy with any
bridge the gap between his experienced reality and
images that they managed to bring home from such
photos which simply project “pretty” mountains or
a trip. But Jeppesen stopped to question whether
deserted fields.
his photographs in fact truly represented what he experienced out there in the wilds. This left him with a
The result was one of the most interesting and
sense of distance between the many hardships of his
innovative displays of landscape photography I’ve
journey and the stereotypically “beautiful” landscape
seen so far. For example, several prints had dust
images that were the result.
and scratches on them. Jeppesen left them that way because this is what the trip did to his prints. Other prints were cut into pieces and then reassembled and stuck on the wall with pins. Jeppesen also showed large prints of glaciers in Iceland which had folded marks on them. He printed these images on semi-transparent rice paper, and the end result gives the impression of having been stored in a dusty drawer for decades. Jeppesen also experimented with the photogravure technique. He
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created a series of 8 prints of the same image, but
fade away like ghosts — just like our memories of
he only coated the printing block with ink once. The
those journeys fade away over time.
first image in each series is of course the most sharply defined, but by the time we reach the last image, the
In experimenting with the idea of imperfection
ink is gone and all we see is the imprint of the block on
and its aesthetic value, Jeppesen retains what
paper. As you move through these prints one by one,
many photographers choose to erase or crop with
figures such as airplanes and open desert landscapes
Photoshop. He treats photographic images and prints as “objects”, something we can touch and feel, and
he
chooses
to
manipulate his photos using
only
analogue
methods. His
images
emotionally
become intense
and real as a result. I felt the ‘textures’ of his prints without touching the
them,
and
landscapes
he
captured
as
prints
spoke to me about the physical challenges of his journey.
23 | The official MIPP Newsletter
Membership Renewal
We would like to remind you that we are now accepting payments for 2017 membership renewals. By renewing the €40 fee (from 2016 it is €40 even for those that have been members for 5 or more years), you will have a chance to
Become a qualified photographer with our three levels of qualification: Licentiate, Associate and Fellowship
Reciprocal photographic qualification with the best UK Institution
Get reduced rates to our courses and workshops
Informative monthly lectures and newsletters
Exclusive photographic competitions ONLY for MIPP members and much more
OR
One may pay by either sending in a cheque to: “27, Moonlight, Giovanni Papaffy Street, Ta’ Paris, Birkirkara, BKR 4021, Malta”, together with the relative membership fee.
(Cheques are to be made payable to “The Treasurer, MIPP”)
24 | The official MIPP Newsletter
Pay directly from the BOV website: www.bov.com and log in to BOV internet banking with your Securekey.
OR When attending an MIPP Event.
www.mipp-malta.com 25 | The official MIPP Newsletter
26 | The official MIPP Newsletter
27 | The official MIPP Newsletter
28 | The official MIPP Newsletter
PHOTOGRAPHY BY DOMENIC AQUILINA
SUCCESSFUL AMIPP QUALIFICATIONS
PHOTOGRAPHY BY JOHAN DEBONO
SUCCESSFUL AMIPP QUALIFICATIONS 29 | The official MIPP Newsletter
The subjects and submission deadlines for the 2017 MIPP Photographer of the Year Award are:
Session
Subject
Qty
Max Points
Submission Deadline
1 2 3 4 5
Valletta Children Interiors Events Food Panel
3 3 3 3 3
60 60 60 60 180
28 Feb 17 30 Apr 17 30 Jun17 31 Aug 17 31 Oct 17
Date of Judging
19 Sep 17
Full details to enter can be found on http://mipp-malta.com/qualifications/qualification-forms/
30 | The official MIPP Newsletter
THE MIPP SPONSORS Non-Profit organizations like the Malta Institute of Professional Photography are constantly in need of funds in order to be able to function in a modern and professional environment. That is why it was important to have various sponsors interested in networking with the MIPP and at the same time involving them in important issues concerning the photographic trade. The MIPP feels it is vital to stimulate joint events and initiatives together with our sponsors. This policy helps our members to be constantly aware of products and services that our sponsors market thus not only encouraging an increase in business but also benefitting our members through special occasional offers and deals. This co-operation and belief by our sponsors, most of who have been with us since the MIPP’s inception, has helped in no small way in making the Institute what it is today. It is one of the MIPP’s main objectives to help keep this co-operation improving. We urge our members to truly support our sponsors by making use of their services and products whenever possible. Our sponsors show faith in the MIPP so it is only fair that our members should reciprocate. Give your custom to those companies and entities that help us.
31 | The official MIPP Newsletter
CONTACTS
Web: www.mipp-malta.com Email: president@mipp-malta.com Address: 27, Moonlight, Giovanni Papaffy Street, Ta’ Paris, Birkirkara, BKR 4021, Malta Tel No: 21486097
2017 JAN / FEB