MIPP July Newsletter

The Official MIPP Newsletter

July 2014

FOCALPOINT

Issue No. 41

www.mipp-malta.com

EDITORIAL

Here we are...summer is upon

us and the heat is kicking in.

Guess most of us look forward to the evenings to relax by the sea, for a refreshing evening and a nice bbq meal....so where do we fit in our photography you must wonder?

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!

Well Malta’s light is harsh and bright during the winter months let alone the summer period, so going out with your gear when the sun is still up is not exactly pleasant, but am sure most of you are off on holiday, so which gear to take and which gear to keep at home is always puzzling.

I am off backpacking this month and believe it or not my slr is going to stay at home, however will be taking my faithful compact camera since I can’t not document my trip! I urge you all to take a little exercise in photogAssistant Editor Kerstin Arnemann

Find us on:

raphy h and shoot with compacts and carry minimal equipment this season! The reasons are various, but mainly having an slr does not necessarily guarantee the best pictures!

So which gear is best for light travelling?

Will let you know how I manage with my compact on my backpacking trip! Meanwhile enjoy your summer!

Enjoy!

Therese & Kerstin!

Newsletter Team Editor: Therese Debono Assistant Editor: Kerstin Arnemann Design: Therese Debono Articles: Various contributors Editorial Advice: Kevin Casha Contact: newsletter@mippmalta.com

CONTENTS

JULY 2014 pg 2 pg 6 pg 14 pg 16 pg 22 pg 24 pg 26 pg 30 pg 31 cover artist

President’s viewpoint Mipp featured member Mipp event Members’ contribution MIPP Notices Member’s contribution Out & About Calendar Members’ gallery

Photography Tuition Keith Darmanin Collaboration with Fuji Code Red Concert Press Release Vince DeBono July Events around Malta & Gozo Mark your diaries!

Images from International Online Comp

Keith Darmanin Keith’s initial idea for this shoot was to make the model look like a mannequin; those were his instructions to the styling crew. This image was shot in a cave with natural light as the main light and a few flashes used mainly to highlight the fabric and the model’s body.

The styling crew helped move the fabric so that Keith could also capture the flowing effect of the fabric.

The use of the mobile phone in the image was just used as a punctum Keith says just to give a twist to the whole image.

Keith added that the model was listening to Pearl Jam’s song ‘Sirens’ whilst shooting just to get her in the mood for this shot! After the test shots Keith opted to leave the model looking human rather than go for the mannequin look since he liked the effect he got.

Finally Keith told me that they gave chocolates to the model as treats, since they shot this image in January and it was quite chilly!

1

Photography Tuition - A New Jungle Dear Members, Way back in 1992, when I originally started doing my courses in photography, I never realized how these same courses would evolve into what today I consider as my main job and passion. Although some courses and tuition were already being done by the only organized photography group on the island at that time, it was really unheard of for a person to teach photography in Malta as a freelancer!

How dare someone teach the profession and enable others to become better photographers! How dare someone deprive already working photographers of their livelihood by helping the ‘competition?’ What audacity for someone to facilitate the path of other ‘wannabe’ photographers towards building a business or a career in photography?? As if anyone who is in any profession has any God given right to stop anyone else from taking the same route that he or she, as a beginner, had first undertaken! Do you know of anyone who was born a photographer right away in his cot! Had all these short sighted detractors forgotten their humble beginnings?

2

Viewpoint Yes, all these accusations were levelled at me when I took the plunge and started teaching. Today, most of my critics are belatedly trying to do what I did years ago: yes - teach. I have always advocated that learning is important and I have eternally been in favour of a free market. Anyone who is capable and passionate enough has all my full support. Yet, currently, I cannot but cringe at the way that matters are shaping up. It really seems that everyone now is trying to teach photography and, although there are various persons capable of doing this in the right manner, there are a host of others who are just jumping in without any skills or background. Recent years have thrown up a spate of complaints from persons who are in some way being ‘duped’ into paying for photography tuition and then finding out that they are really learning very little or, worse still, getting the wrong information or guidance. There are even cases where courses were just teminated midway through their schedule without the students being refunded! Unfortunately it is becoming a jungle and there is little one can do but attempt to educate the students BEFORE they go out and book courses blindly.

The answer boils down to common sense and, first and foremost, one needs to realize that a skilled photog-

rapher does not always make a good tutor. A good tutor needs to be organized, needs to know how to deliver and share his knowledge, and needs to keep abreast and on top of his game. Taking good pictures and being a professional in one’s work is necessary but a good teacher needs many other skills. With social groups and online marketing, it has become quite easy for anyone to create a course and diffuse it around the internet and attract students. Again, there is nothing wrong with that, it is a free country, but be aware, particularly of those who have no visible track record of teaching. A student can really pass through a nightmare experience. If you needed a doctor, would you go to anyone who advertises on social media? Would you blindly ask for a service from any company which pays for an advert in yellow pages or would you ask for referrals and recommendations? Do an exercise and look up photographers on Malta’s yellow pages – some of the claims that some advertisers publicize make you laugh (or cry, for that matter!) This is not just in photography, but in all other professions or service industries - it’s a sign of our times.

So how does one go about selecting the right course or the right tutor?

In Malta it is rather easy. Just ask for recommendations, ask someone who

3

has already been to the tutor that you are considering. There is no better advert than recommendation and word of mouth, particularly on a small island like ours, where everyone knows everyone else. Go for courses which are well structured and clearly map out what you are going to be taught and how it is going to be done.

Look for professionalism in every detail.

So the next time that you are seriously thinking of going into learning photography, do yourself a favour, and research your tutor well. It will avoid you unsavoury experiences and a waste of time and money.

Kevin Casha MIPP President

Images in this article courtesy of Martin Agius

4

the EOS 5D Mark lll joins the rental family! ... now available for rent.

for full details and conditions visit www.avantech.com.mt or call on 2148 88 00 Avantech Building St Julian’s Road San Gwann SGN 2805

5

MAGICAL KEITH For this issue we caught up with Keith Darmanin, whom you might know his work from the popular TV programme Venere. Here Keith tells us how much work is involved in finally presenting the final images of these beauties he photographs and ultimately quoting him ‘Whatever Makes you Happy - Work for it!’. And we couldn’t agree more!

I

am fascinated by the human being, the way it looks and the way it shows and shares feelings.

That is what I try to deliver in my work. Sometimes it is pretty plain and easy to deliver what you have in mind. But as I work and work on the same subject it gets harder… or my aim gets higher.

Model Photography is what I definitely like doing most; it always pushes me to improve what I do and gives me a lot of satisfaction when the job is done.

Working with models has nothing to do with working with your dumb camera in order to find the perfect exposure. It has no settings or pre-sets.

I spend a lot of time in choosing who to work with. The model, (I will be referring to female models), has to look good. But most importantly she has to be able to deliver what I’m after in that particular shoot.

I usually get inspired by the music I hear, by certain feelings, by a location and by other everyday things that I come across. It’s not easy to explain that to my model. I prepare a mood board, set up a folder with images and get the model to take a good look at them. She has to represent that emotion; she has to fill the missing part of the picture. She’s a very, or even the most important piece in the puzzle that will be my final image.

Right: Nicola This was a sponsored shoot of Nicola who had just won the local edition of World`s Next Top Model. I wanted white to dominate in the shot. I think she looks like the figure you might meet when trying to talk your way in through Heaven’s Gates. Etienne did the styling, Christina Grixti did the makeup and Roberta Bonello the hair.

6

featuredfeatured mipp member member

7

I was asked to share my experience in working in the fashion reality television programme Venere. Let me start by saying that it is always an amazing experience.

You get to be part of a professional team, where people understand you and where you are always pushed to do better.

I always look forward to a Venere shoot. Despite the hard work and the tension to deliver good results, it always ends up to be loads of fun. Expectations from the team are always very high. You need to deliver a first-class product which is also sellable to PBS – something that can be aired on national television. And believe me, that is not always easy.

Preparing for the Shoot I find that the hardest part is to find the time to do the planning. You need to work according to the availability of the other people who are working on the shoot. You need to explain the image that you have in mind to your stylist. Your model needs to understand the mood. You need to understand what the hair stylist means when s/he starts talking up styles and big hair. The same goes to makeup artists. You often find that it is not always easy for others to be on your same wavelength, but it’s always a pleasure working with the talented and artistic people of Venere. It’s very important that you clearly explain what you you’re after. Hairstylists and makeup artists dedicate a lot of their time to transform a model to the image that you have in your mind. That is why I always make it a point to be present when hair and makeup are being done. I enjoy seeing the transformation anyway!

You need to start from your own imagination. You cannot start from the model or from an image you saw on the internet as those would condition your end result.

Photography is vaster than the mere techniques of photography. I am lucky that my wife, Etienne, supports me. We discuss shoots, we come up with ideas and she always manages to find the right outfits and props. What she doesn’t find, she creates herself. It’s good to have someone to assist you from the very first idea of a shoot, right up to the finished product.

Resources are limited. We need get used to that and to make better use of our brains. Shooting outside a grand villa with a golden Aston Martin won’t guarantee you a great image. You have to work for that. So you need to stop moaning that there’s nowhere else to shoot on this tiny rock. Take a good look around and you’ll find that there are many interesting places that you could use. Mind you, finding a location for Venere is anything but easy. You don’t always get to shoot in your pre-

8

ferred light situations since you have to make it possible for the filming crew to film the shoot too. Sometimes you have to get permits for locations. You need to set up meetings to discuss what you intend to do. You are asked a lot of questions and you need to come out with a good reason. You just cannot climb the fence or talk the security guy into letting you take a couple of pictures. You need to remember that your every move is being filmed and will be aired on national television. Everything needs to be prepared down to the last detail and no matter what happens, the shoot has to take place that day. If the person you contacted for the location has second thoughts on the day or if rain starts pouring down, you need to come up with a decent plan B. In any shoot, but especially in Venere, time is your major opponent. When shooting Venere everyone stays together as a team. You don’t go start working with one model when she’s ready. You start shooting when the entire team is ready.

As I already mentioned, the model has a very important role. She is, after all, one of the media that will help you to deliver your message. So it’s important that you take good care when choosing your model and “how to use her”. You don`t choose a model just because she’s pretty. In doing so you would be setting a mediocre goal to your final result. On the other side, you don’t choose a model unless she`s pretty, as that too would give a mediocre outcome. And that makes choosing a model time consuming and complicated. Venere’s models sometimes start with no or little experience. They can also be very shy and over-conscious that they are being filmed.

Venere’s photographers don’t always get to choose the models for the shoots. Sometimes you are assigned to a set of models or team and you have to work with them.

Sometimes even the theme is set for you. And that’s when you really have to wrack your brain into understanding what the production is expecting from you and into finding ways to deliver their expectations through your own style. Things can get even more complicated than that. The last season of Venere was also a competition between the girls, so the photographers had to make sure that they gave the same level of attention and prominence to every model.

9

To name but a few of my Venere shoots….

I think that the toughest one so far was the Anime themed shoot. We did not want to do Cosplay or copy any existing character. We wanted to create our own Venere Anime characters; sweet, sexy and dangerous. Creating these characters and styling them was tough.

We had a good choice of models to choose from. Etienne had to practically create their outfits from scratch.

We needed very long hair and thanks to Marielle from Prive`, the girls got their extra-long locks and complicated cartoon-like hair styles. Reproducing the huge eyes on our Anime characters proved to be a tricky business. Makeup artist Mateja came up with the idea of drawing the eyes on the models’ eyelids. This meant that they would need to work with closed eyes. I must admit that the idea of having the models working in high heels, real weapons and closed eyes didn’t sound doable. At first I wanted to play it safe. Drawing the eyes later on Photoshop would have been much easier, but on the other hand, I wanted the models’ eyes to look big even on video. So I chose to take the risk. Needless to say Mateja did an outstanding job on the eyes. The girls could even open them without smudging the makeup. And damn, they looked good.

The smile on my face was soon wiped off on finding that the person who had granted me permission to use a most suitable setting had changed his mind at the very last minute. I needed to think fast. I needed a structure with parallel lines and perhaps some available light. As the models were getting ready I set off with Adrian Mizzi, the programme’s artistic director to find an alternative location. Postponing the shoot was not an option.

Even though the original setting for the location could not be matched, we settled upon using the MCAST parking place which was still under construction.

The security guy was not too keen on letting us in without permits. The models were ready and we were also joined by the rest of the crew…a troop of Ninjas

10

from Alfred Galea’s school. For a good hour and a half we all stood there contacting people, trying to convince them to grant us their blessed permission. All the adrenaline that had built up at the studio had obviously eased off and it was very hard to get everyone back on track once the permit was eventually granted. All this time-wasting meant that I had to abort all the action shots that I had had in mind.

I was obviously very disappointed but I could not afford to influence the rest of the team. Alfred still had to teach the girls how to handle the weapons so that they would look good in the images. I think that my determination to leave the place with good results paid off in the end.

Another shoot that didn’t quite go as planned was the Why So Serious? (Batman featured). The weather was dark and gloomy and that made me a happy photographer since it went well with the Dark Knight theme. However I had not expected the heavy rain that started hammering down on us during the shoot. The hair was getting ruined and hairstylist Gary Westacott had to re-arrange every model’s hair right before I shot her. We also feared for Elaine Galea’s artistic Joker’s face makeup.

The models were shivering with cold and it was getting way too dark. We finished that shoot soaking wet.

Party Crashers was like an enjoyable ride from start to finish. Getting to shoot the girls at a real party with the guests just staring at them gave us all a weird thrill. The models just loved the attention. We shot on the red carpet, on tables, by a couple of Porsches that were on display and finally on stage while Airport impressions were giving a live performance. We had to shout or use gestures to communicate, and we laughed a lot.

11

Another shoot that I particularly enjoyed was The Christmas Past shoot. We decided to go back to the 1930s so there was a lot of research to be done. Etienne had to find the right outfits and hair stylist Dominic Bartolo and makeup artist Krista Paris completed the look so that the models really felt that they were coming out from a past era. Dominic even brought a trunk-load of vintage props that we used.

I had even booked an authentic 1930s Ford for the shoot. But buckets of rain kept it safe in its owner’s garage. I was lucky to find a 1920s car on location, which I used, even though the results are way different to those that I intended to shoot outside the villa. This shoot was special due to the fact that there were three Venere teams working on the same location at the same time. Jacob Sammut and Kurt Paris were shooting Christmas Present and Christmas Future respectively with their own teams.

Besides being a photographer I am also a dreamer. As I look through the view finder, I always keep my mind’s eye open so that I can imagine what the finished product will look like. Preparation is the key. When the rest of the team is convinced of your idea, your enthusiasm and drive during the shoot become contagious. Backed by a good and prepared team makes shooting your model much easier and enjoyable for all. And that, is after all what shooting a model is meant to be.

12

Sarah Shooting Sarah on a busy morning in Valletta, using only available light. I worked with Etienne, Dominic and Krista. Sarah did an outstanding job. This image was chosen for the Malta Fashion Week & Awards exhibition.

Angels (Venere) This is from my very first Venere shoot. And the first time Venere featured photo manipulations. Cherise`s wings were added later in post-production. Elaine, Dorianne & Yanika did makeup , hair & nails while styling was by Etienne & Caroline.

13

Collaboration between the Malta Institute of Profession Malta for

A recent event organised by the Malta Institute of Professional Photography

(MIPP) together with Ciancio (1913) Co Ltd; presented photographic enthusiasts with the perfect opportunity to try out the latest Fuji X series cameras and printers now available on the island.

The one day event was built around the Fuji X camera series, which have been winning photographic awards since their inception. The conference, aptly named ‘Evolution to Revolution,’ commenced with an in depth technical review of the latest Fujifilm cameras by Valdas Bagdonas, Fujifilm’s sales manager who was brought to Malta by Ciancio (1913) just for this conference. This was followed by an illustrated lecture by top professional photographer and tutor, Kevin Casha on his personal impressions of the latest Fuji X-T1 camera, whilst subsequently, the programme continued with a talk on the latest updates and services available on the Ciancio

14

nal Photography and Ciancio (1913) co ltd Distributors in r Fujifilm

interactive website www.photociancio.com After lunch, the conference took the form of a practical workshop, with Kevin Casha demonstrating how to photograph models using continuous and minimal light sources. Here, the participants could practice not only with their own cameras but handle and use the Fuji cameras available throughout the event and compare the results.

Kevin Casha, who is also President of the MIPP, thanked Ciancio Group for this initiative as undoubtedly, such gatherings not only increase and inform the photographer but also empower practitioners of this medium to network together. The event was concluded with a short address by Daniel DeBono, (Director Ciancio Group), who thanked the MIPP for helping to organize this event as well as his dedicated staff for their work, not only during this conference, but throughout the year.

15

CODE

RED concert

A CONCERT AGAINST HUMAN TRAFFICKING TA’ QALI MALTA

We were asked to cover the Code Red Concert by Kevin Casha, President of

MIPP. Once you have client, it becomes extremely important that as a photographer, you fulfil your clients wishes.

Code Red is an initiative within the Cross Cultural International Foundation, which is an anti Human Trafficking initiative. The links to their information are below :http://ccifmt.org http://projectstop.ccifmt.org

The concert held at the Amphitheatre in Ta Qali, Malta and was intended to raise awareness of Human Trafficking and bring to the populations’ attention that it could happen on anyone’s doorstep, even in Malta. We had been given our assignment and our work was to tackle this serious and sombre project as professionally as possible.

THE APPROACH Through our work we had to get the message across, however, we also had to document the event. Even though the message was dark and serious the concert was upbeat and light. We had to bear in mind that we were two photographers working together, so a compatible style had to be taken into consideration, without stifling one another’s individual creativity and freedom. We had to work as a team but without constraints and had to be aware of each others’ angles and position, keeping in mind to capture those necessary images without becoming repetitive.

Moreover, we worked without setting too many boundaries on one other and this takes awareness and trust.

16

We both tried to cover something that the other one wasn’t, whether it was shooting the performers or part of the crowd. This approach requires trust and confidence in your colleague and a certain degree of professionalism, as there was no room for ego since we decided to work with the attitude that if one colleague’s image was better than the other’s we would use that.

THE SHOOT The concert was at noon, when the Maltese sun beat down relentlessly upon us.

Consequently, attendance in the early hours was sporadic. With performers both from Malta and abroad giving their time to this, it meant that shooting had to be done sympathetically, without swamping the event and being too much “ in your face” with our shooting styles. From a photographer’s point of view, the event held certain difficulties; the heat, the awareness of low numbers in the crowd to begin with and not to take over the whole event for the sake of photography, or to miss anything important.

We photographed all the performers and we covered the light and dark side of the event, making sure that, wherever possible, the message was included in the images.

18

MIKE SAPIECHA Shooting events like these for me are always a battle between what I want and what the client needs and of course the client must always come first which can sometimes put constraints on me as a photographer. Whilst shooting Code Red, I felt totally free working with Suzanne Muscat. Knowing her dedication, I knew that if I missed something, she would NOT. This gave me time to watch the crowd as well as shoot the performers, concentrating on my subject with passion. I was aware that whilst I was shooting what was going on with the musicians, she was shooting the crowd and vice versa. I found it a trouble free shoot, knowing that we would cover the entire event thoroughly between us despite the severe midday contrast and the heat. Working with a colleague also gave me the time to integrate with the crowd and get to know the musicians.

19

20

SUZANNE MUSCAT When I shoot events like these I always get so engrossed in what’s going on that I have to restrain myself from chatting to the crowd too much, dancing to the beat of the music on or off stage, or becoming too emotionally involved with a sad and sombre topic such as Human Trafficking. The sound of my shutter snaps me back into the reality of pleasing my client and carrying on with my work.

On 31st May 2014, the midday heat was almost unbearable and the high contrast seen between the highlights and the shadows led me to use fill in flash wherever possible. Somehow, the day surrounded us and there was enough time to enjoy the music as well as photograph the event. Working with Mike Sapiecha gave me the confidence to take time and reflect on what was going on and get into the day’s atmosphere. I was able to photograph the mood, knowing that if I “missed the moment”, Mike would capture it. However, I am considering investing in a pair of spiked shoulder pads for those instances when we are both so engrossed in our work that we bump into each other !!

In conclusion, we would like to say that the shoot was a success from our side and out client was pleased.

If you would like to view more images from the day, please visit Mike Sapiecha or Suzanne Muscat Photography on Facebook, both sets of images are the same.

Article and images courtesy of Mike Sapiecha & Suzanne Muscat

21

MALTA INSTITUTE OF PROFESSIONAL PHOTOGR EDUCATION INSTITUTE Press Release: The Malta Institute of Professional Photography, MIPP has been officially licensed, by the National Commission for Further and Higher Education (NCFHE), as a Further Education Institution. The NCFHE has also approved and accredited an MIPP course in Photography, which will be held for the first time next year, in 2015. The course, which is titled the ‘MIPP Award in Still Photography’, will consist of four learning Modules with a total of 100 hours of tuition. This award, which conforms to all the stringent conditions laid out by the NCFHE, leads the successful participant to a Level 4 certificate in Photography.

This accredited course conforms to the Malta Qualifications Framework and the European Qualifications Framework. For the purpose of professionally conducting this course, the MIPP has entered into a collaboration agreement with the Le Meridien Hotel, in St Julian’s, and lectures and workshops will be hosted at this high end venue. The course is open to all persons over sixteen years of age at the date of commencement of the course. The course is aimed at all those who are interested in improving and boosting their knowledge and competencies in photography in order to gain a recognized, valid vocational qualification. Persons who wish to apply need only provide their secondary school leaving certificates and a digital portfolio of their work in order for the MIPP to gauge their suitability for the course.

The course is geared towards teaching Learners, in a complete and comprehensive manner, through the right balance of technical lectures, hands on workshops, real life scenarios, inspiration, the wide range of skills needed in today’s competitive world. At the end of this course, the successful learner would be equipped to confidently tackle most of the photographic genres necessary to conduct photography to a high professional standard. This Award in Still Photography is made up of 56 tutor contact hours, 4 assessment hours and 40 self study hours. The course, which will be conducted in English, is on a part time basis and held mainly during evenings.

The course, which will be launched shortly, will be run between the months of June and September of each year. In order that the learners have the best possible tuition and facilities, the course will only take on a small number of participants

22

RAPHY LICENSED AS A FURTHER

member’s article

so that more personalized attention can be given. The course also makes use of the already established and respected MIPP Qualifications, and at the conclusion, Learners will need to submit a panel for a Licentiate or a higher MIPP Qualification. Naturally, Learners will be mentored towards achieving this level during the same course.

Applications, which need to be done on the official form, are to arrive at the MIPP by not later than 30th September 2014. All electronic correspondence is to be addressed to courses@mipp-malta.com.

Kevin Casha MIPP President and Course Director

A reproduction of the NCFHE certificate.

23

Vince’s Passion A quick catch up with member Vince DeBono!

Check out how his passion in photography started and how it has evolved so far...

My love affair with photography started

thanks to another schoolboy romance of mine - aviation. While still at secondary school, I used to go outside the runway perimeter to spot visiting military planes. The smell, sound and sight of these magnificent flying machines still excites me to date.

Using my father’s all auto rangefinder, I tried to capture memories of these visits and this led to the purchase of the ubiquitous Russian SLR and later a Nikkormat. These were all manual cameras and this taught me the essential techniques, reflexes and anticipation which still stand by me in good stead today.

This experience also shaped my preference for getting close to the subject, isolating it and making use of long lenses.

Later on I diversified my choice of subject and since film was so expensive - and since laboratories often added bonus scratches during development, I started to process my own slides. Then I took a long break due to the arrival of my family and priorities over financial obligations. Digital re-started my interest and when I discovered I could use some of my old lenses, I took the plunge.

Another influence on my approach to photography was my choice of career. Initially drawn to teaching, I eventually became a tour guide which proved beneficial in two aspects. I am regularly in contact with foreign photographers and I can

24

Above: I had taken an almost identical shot of a Spitfire coming in to land during another edition of the Malta International Airshow. A friend of mine actually framed and gave it to his neighour in New Zealand who had flown Spits in Malta during WWII. This Dakota was shot literally in the same ‘pose’.

I find myself framing instinctively after years of practice which is a good thing, although it can be bad for creativity.

study the way they work, talk about gear (even sometimes seeing pre-production equipment being tested ) and analyze the viewpoints selected etc. Also the average tourist sees my country in a different way. What is mundane to us is a novelty to them and this has perhaps, most importantly enabled me to ‘see’ better.

25

One should never stop learning. Although mostly self-taught, having spent a fortune on magazines and books, I now prefer to refer to the MIPP’s experienced members to answer any curiosity or to bounce ideas around. And I really enjoy acting the teacher / guide with people who are on tour with me.

Plus a change, plus la meme chose. Although photography has changed and will continue to evolve technologically, the art of seeing or the way we interpret shapes, composition or the way colours affect us will never change. This visual language impacts everybody through adverts etc, yet a visually literate person will not just take in the obvious message but will seek to understand and ‘read between the lines’.

Thankfully, I am curious about the world around me, so it seems I will continue to enjoy photography as I see it and as I practice it.

Words & Images by Vince DeBono

Above: I was working in Gozo with a TV crew, rushing between the Piazza and the parked van which held their equipment. At the end, I slowed down and instead of watching my step, I started to look around me, which is when I spotted this forlorn letter ‘O’ lying on its side!

26

OUT AND ABOUT

July Events

Since art is not only about photography, Kerstin came up with the brilliant idea of selecting a few monthly events and pointing them out to our members so that you visit these interesting exhibitions/installations/book launches and be inspired! Enjoy!

Propolis: Artwork as Social Interstice 6th June to 4th July Saint James Cavalier, Valletta Masters in Fine Arts in Digital Arts 2013/14 Degree Exhibition The collective exhibition “Propolis: Artwork as Social Interstice� will run throughout the month of June 2014 in the upper and lower galleries at St James Cavalier Centre for Creativity.

The exhibits are intended to infiltrate into society, provoking the need for values, on many levels. The aim of the MFA artist is to develop an art practice and a creative production that builds towards change, cultural diversity and identity, to be reflected in society, education, and popular culture.

List of participant artists: Pamela Baldacchino Kevin Casha Chris Castillo Anthony Catania Anna Grima Lucienne Lughermo Pawlu Mizzi Sergio Muscat Maria Pantelidou Jo Tabone https://www.facebook.com/events/631142073622164/?ref=2&ref_dashboard_ filter=upcoming

27

The Summer Collective Exhibition Exhibition 20 June 2014 - 12 July 2014 Lily Agius Gallery 54, Cathedral Street, Sliema Website: www.facebook.com/events/776730509028042 A grand selection of artwork by: AMELIA SAINT GEORGE, DUSKA MALESEVIC, ELISA VON BROCKDORF, RITTY TACSUM, JIMMY GRIMA, PETER MERCIECA & FEDERICO PELTRETTI. Sponsored by: The Malta Independent, The Malta Business Weekly, FimBank, SmartSkinClinic, VAMP Magazine Malta, Red October, and Tico Tico OPENING HOURS: Thursday and Friday 4-7pm & Saturday & Sunday 10-1pm or by appointment outside of opening hours

28

Paper to Screen & Everything in Between Exhibition

2nd - 8th July Mcast Website: www.facebook.com/McastArtandDesign The MCAST Institute of Art and Design will be holding the 13th edition of its End of Year Exhibition. This serves as a showcase for students’ work which was produced during the past academic year..

You can enjoy a wide range of exhibits from various Diploma and Degree students including 3D Design, Fine Arts, Interactive Media, Media Moving Image, Graphic Design and Photography.

A design or a piece of art starts from one idea, which is usually developed, transformed and re-arranged onto paper and, with today’s technological enhancement, most of these ideas end up on a screen. However, it’s not the only thing that this exhibition is all about as there are various things that go in between when generating such ideas; hence the name ‘Paper to Screen & Everything in Between’.

So make sure to book your dates, as the Institute’s doors will be open for companies, collaborators, tutors, parents, students alumni and prospective students.

Public Viewing Days Thursday 3 July 9.00am – 6.00pm Friday 4 July 9.00am – 6.00pm Saturday 5 July 2.00pm – 8.00pm Sunday 6 July 2.00pm – 8.00pm Monday 7 July 9.00am – 6.00pm Tuesday 8 July 9.00am – 6.00pm

29

The Living World Exhibition

4 July 2014 - 31 July 2014 Le Meridien St Julians Hotel & Spa Main Street - Balluta Bay, 39, St Julians Website: http://www.whatson.com. mt/en/events/events/9349/the-living-world-art-exhibition.htm ‘The Living World’ is Chloe Jayne Waterfield’s second solo exhibition and encompasses a wider range of artworks showcasing diverse and developing styles, from her trademark semi-abstract pieces to realism, abstraction and portraiture. ‘The Living World’ is a collective, not only focusing on the world’s most endangered environments and species, but also looking back on the history of our planet and the origins of humanity through Palaeolithic art. The exhibition will also feature a selection of works focusing on endangered and indigenous tribes and cultures.

‘The Living World’ is on display from the 1st to 31st July in the main reception of Le Meridien, St. Julian’s.

Opening night by invitation only. A number of invitations are available for those who ask.

30

CALENDAR 15th July International Online Judging 19:30hrs, Le Meridien

22nd July Photo Essentials Course Moving Image - Lesson 1 (by payment)

29th July Photo Essentials Course Moving Image - Lesson 2 (by payment)

12th August International Online Judging 19:30hrs, Le Meridien

19th August WORLD PHOTOGRAPHY DAY

31

PTYA Standings

Above: image Ab i by b Kerstin K ti Arnemann A

MEMBERS’ GALLERY

32

Left & Right: Image Below: Image by Ke

40

es by Romana Wylie erstin Arnemann

41