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Jan 16 / Apr 16 - Issue 1 / 2016
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President
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Louis Agius
o 2015 is now history and as we kick start the new year we also launch the beginning of a new photographic season. Forget about the New Year’s resolutions…..these will only last for a few days. From now on image resolutions are all that matters.
Click Editorial Board Executive Committee 2015
Editorial
From this year Click will be issued on a four monthly basis with some electronic newsletters (entitled Flash) in between. The first edition of Flash has been issued last December and from general comments it seems to have been well received. In this month’s Click we have some interesting main features and a tribute to the late Joe A Vella including some of his award winning black and white images. Follow some good tips on panning and long exposure shots from Emanuel Cauchi and Rik van Colen respectively. These tips will come in handy in the competitions later on. Christopher Azzopardi, an artist and a photographer himself; gives his views on the ever present question whether Photography is an art form or not. Ken Dickson shares with us his impressions on what he learned from looking at 8000 images, while Pierre Sciberras takes us on a journey to Tanzania and the Serengeti National Park. Wish you all a healthy and prosperous New Year full of photographic experiences and rewards.
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Front Cover Photo: “The Cry” by Anthony Xuereb
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Hon. Secretary Pauline Grech
Hon. Treasurer Valerie Chetcuti
Competition Manager Joseph Caruana
Courses Co ordinator Jane Farrugia
Premises Manager Mark Brincat
Social Activities Manager Mario Mifsud
Editor
Noel Portelli
Editorial Advisors
Jane Farrugia, Elisabeth Abela
Design & Layout
Noel Portelli, Emanuel Haber
Contributors
Rik van Colen, Christopher Azzopardi, Emanuel Cauchi, Pierre Sciberras, Ken Dickson, Mario Barbara, family of late Joe A Vella
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Editorial / Viewpoint 2,3 Poor man’s ND Filter - Rik van Colen 4, 5, 6, 7 Images from 50th Annivarsay Exhibition 8,9 Is Photography Art - Chris Azzopardi 10,11 Panning Emanuel Cauchi 12, 13 Images from some Activities 14,15 Travel Photograph - Pierre Sciberras 16,17 International Awards / Competition Titles 18, 19 What I learnt...... - Ken Dickson 20,21,22 Images from Lectures & Presentations 23 How was it shot? Mario Barbara 24 World Photography Day 25 Tribute to the late Joe A Vella 26,27,30,31 Product Photography 28 Get Together 32
Paul Deguara
Printing: Veritas Press
Noel Portelli
Table of Contents
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MALTA PHOTOGRAPHIC SOCIETY
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P.O. Box 590, Valletta, VLT 2000, Malta 137, Old Bakery Str, Valletta, VLT 1457, Malta Tel No: (+356) 21 242 265
MPS e-mail: mps1961@gmail.com
Click e-mail: click.editorialteam@gmail.com Readers are invited to visit the MPS website on www.maltaphotographicsociety.org
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Viewpoint And so it goes on ……………… We are at the start of a New Year and already sixteen years into the new millennium. I do hope that you all had a wonderful time with your families and friends during the Christmas holidays and it is now time to go back to our normal routines. During the holidays the committee proceeded with preparations for the new season which for the first time will start at the beginning of the year; however it is important to note that it is a new experience for the committee having to start-up our calendar from January rather than June. The Club premises will be opening again on the 7th of January and on the following Thursday (the 14th) we shall be having the ‘Annual General Meeting’. Hopefully we would have a new committee full of energy to manage this year’s program of activities. As you know, the 50th National Photographic Exhibition had been inaugurated by her Excellency Marie Louise Coleiro Preca President of Malta on the 4th December 2015. After all the hard work that went into the preparations, it was of great satisfaction seeing members and guests going round and appreciating the excellent prints and digital images that are being displayed. I do encourage all of you to visit the Exhibition and also to take with you, your friends and relatives as this is something to be proud of. When I go to visit museums in Malta and abroad, I primarily go to appreciate other talented artists, to learn and get inspired. When it comes to photography we have to go on an endless journey of learning, and you can never say that you know enough. There are 1001 aspects of photography and I am sure that there are only a few who may know them all. We need to keep on practicing, to perfect that which we want to express, and this goes also for most skills, trades and crafts. This is where the Society comes in; apart from the normal courses for
beginners we have to push for more courses, workshops etc. I encourage all members to be hungry to know more and never be satisfied but be ready to push themselves to further their knowledge. It is also very healthy to contribute by giving suggestions and new ideas so as to stimulate the committee so they could create new opportunities for you. During next February we will be starting two courses namely ‘Starting Photography Course’ and ‘Photo Editing for Beginners’. We also have in mind to organise a course in photo editing for intermediate and advanced students. There are also various ideas for workshops and hands on tutorials, like the ones we had between September and December of last year. I cannot emphasise enough that taking part in the internal club competitions will also help you to improve one’s knowledge and experience on photography. When it comes to competitions I also encourage you to participate in the international salons. The Club mentoring competitions will start on the 21st of January with an open colour dpi. So do not miss this first opportunity to embark on the route for the Society’s Photographer of the Year and at the same time appreciate some enticing and creative photos from your colleagues. “You do not make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard and the people you have loved. - Ansel Adams “The key is to integrate our art into our life, not the other way around.” - Brooks Jensen
Louis Agius FMPS EFIAP PPSA MPS President Issue 1 / 2016 - Jan 16 / Apr 16
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The Poor man’s ND filter
and an award winning image by Rik van Colen (www.rikvancolen.com) So you are interested in long exposure photography but you do not own neutral density (ND) filters? Well, neither did I. Let me tell you a story... On a chilly November evening in 2014, standing on the Siege Bell Memorial holding my tripod, I saw a ship leaving port. My mind began racing and an idea steadily started to form, “That’s a diagonal, in a square. Lock tripod. Continuous drive. 10 seconds f8 ought to do it. Here it comes... no time for a test shot. Lock down the shutter, fingers crossed, it ought to be ok.” One by one, these images appeared on my camera’s screen, effectively exposed to the right.
This was a good series for my Poor Man’s ND filter. A workflow I developed after reading this article on the web – Faking An ND Filter For Long Exposure Photography by Pat David. It is rather simple. You take a bunch of shots on a tripod in continuous drive and in post editing, average them into one. Oh... and ladies, it works for the poor woman too! Once home I imported the images into Lightroom, cropped them square and did some basic adjustments. Or better still, I did this to the first image and then used the Synch Settings feature to copy the adjustments to the others, taking particular care that the white and black points worked for all of the images. Now I needed to average them.
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The averaging can be done in Photoshop. From Lightroom, select the images, and open them in Photoshop (Photo > Edit in > Open as Layers in Photoshop). In Photoshop select all layers (Select > All Layers), and convert them to a smart object (Layer > Smart Objects > Convert to Smart Object). Finally to average them choose the Mean in Stack mode (Layer > Smart Objects > Stack Mode > Mean). But that is not what I did with Leaving Port. The Poor Man’s ND filter does not need Photoshop. It only needs Lightroom or any RAW converter that exports tiff files and a free program called Imagemagick. From Lightroom I exported these images as 16 bit tiffs into a separate folder named “TIFF” with these settings:
Get Imagemagick (from http://www. imagemagick.org/script/binary-releases. php). Scroll down to the Windows section and download the latest version. Run the installer leaving all the default options. (These instructions apply for Windows, but there is a version for Apple users too.)
following command:
To avoid having to type the command each time I made a little batch file. Open Notepad and precisely type in the
convert *.tif -evaluate-sequence mean -alpha off OUT.tif Save this on your desktop as <average.bat> making sure you select <All Files> next to <Save as type> in the save dialogue box. Jan 16 / Apr 16 - Issue 1 / 2016
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Using Lightroom In Lightroomâ&#x20AC;&#x2122;s library module right click on the just created TIFF folder, choose <Show in Explorer>. Minimize Lightroom and any other programs except for Windows Explorer. Double click the TIFF folder to open it. On your desktop find the average.bat file and drag it into the TIFF folder. Double click on it to run it. After a few seconds (or minutes if you have a lot of files) a new file named OUT.tif will appear. Now open Lightroom right click on the same TIFF folder and choose <Synchronize Folder>. In the box that pops up click on the <Synchronize> button. Done! (see image page 5). The actual editing can start. Here are a few more pointers about this technique. Advantages: Getting the exposure right. In the evening start shooting somewhat over exposed. The first few shots will be blown out. These can be deleted. As the light drops, you will have perfectly exposed images. In the morning start off with half a histogram or less and allow for the light to increase. Less noise. This is a huge benefit. The longer a single exposure, the more noise. With this technique there is much less noise in the individual files and it gets further averaged out in post editing. There is no limit to the total length of your exposures. For more than 30 images your computer might struggle to average them. Average them in two or more stages. Disadvantages: Post processing time and hard disk space. 1,000 exposures... I have only done that once. Not suitable for fast moving subjects. For example, car light trails will be mere dashes not continuous lines because of the time in between closing and opening of the shutter. The fastest shutter you can use continuously, without it slowing down 6
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is probably 1 or ½ second. That will limit the light in which you can use this technique. Folks, this technique is for the blue hour! However do consider a bright day, a sunny 16 situation, ISO 100 and a 10 stop ND filter. That makes for 10 second exposures... I can’t wait to try this! Lastly, the end result. It has won me honourable mentions at the Monochrome Awards, the IPA’s and Best Landscape/Seascape in our very own National Competition. But, what I am most proud of is that flash of vision I had on that chilly November evening. As it leaves the Grand Harbour, the hull of a ship blends with the sea, foretelling its disappearance over the horizon. This is my vision: Leaving Port.
What is your vision? Use this technique or any other and share it with the Society in the upcoming Long Exposure Mentoring Competition. Jan 16 / Apr 16 - Issue 1 / 2016
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The 50th National Photographic Competition and Exhibition, 2015
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Is Photography Ar t? by Christopher Azzopardi B.Ed (Hons.), Dip. in Fine Arts, AMIPP, AMPS
In order to say whether photography is art or not, one has to define the meaning of the word â&#x20AC;&#x2DC;artâ&#x20AC;&#x2122;. Unfortunately, it is a very difficult task because it has been misused so much that almost anything that has an interesting shape is called a work of art. First of all we need to make it clear that a work of art has to be made by a human being and it has to be done intentionally and not accidentally. The definition of art is not something constant; in fact it has changed throughout the ages. There was a time when it just meant the imitation of nature. Plato was one of the philosophers who believed in this definition. But by the introduction of photography in 1839 this concept has changed drastically. After the 1839 we saw that various art movements tried to create something different from what can be captured through a camera. At first when photography was invented, photographers were highly influenced by what was happening in painting. However, soon they realized that photography was an art in itself and started experimenting with different shutter speeds and apertures to create images that we are not able to see with our own eyes. Photographers soon realised that they can manipulate their photographs to create images that are impossible to be captured in a camera. Although we think that photo editing started just recently with the introduction of digital images, it has in fact been around for quite a long time. One of the earliest recorded edited photographs was in 1860s; that of Abraham Lincoln. This photo was made from two separate photographs. The body was of John C. Calhoun and the head of Lincoln. In the past, editing was done in the dark room and was a skill in itself. Nowadays, it is easily accessible and can be done on any computer as long as there is an adequate software installed on it. The need to differ from just imitating nature has increased so much that editing apps can be even downloaded on smart phones. Although quite a lot of people think that photography is inferior to painting, this is not true. We must say that throughout the 180 years 10
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that photography has been around, it has influenced painters directly or indirectly. Quite a number of famous painters have made use of photographs in their paintings. Among these there were Edgar Degas (1834 – 1917), Paul Gauguin (1848 – 1903), Vincent Van Gogh (1853 – 1890) and Pablo Picasso (1881 – 1973). In my opinion, artists who create a work of art, whether it is a painting or a photograph, have to transmit their own emotions in it. They have to adopt their own style, be innovative and inspirational. If I just throw paint on a canvas and pretend that I am imitating Jackson Pollock, I will be only creating a fake art because I’m just imitating his work but not his soul. The same applies to photography. If I just take a photo of a beautiful object it doesn’t mean that I am an artist. People might like the object in the photograph but not necessarily the photograph. I highly believe that photography is a form of art and an art form that is relevant to the world that we are living in. The fact that it is easily accessible should not make it less important than other traditional forms of art. It is us photographers who should defend photography. The fact that a photograph is taken by a camera should not be considered as inferior to painting. A camera is just a tool like a brush or a pencil. If you give paints and brushes to a great painter you will get a master piece but if you give them to a less skilled person you will get an amateurish painting. Likewise, if you give a good camera to a great photographer you will get a great photograph but if you give the same camera to a less skilled and artistic photographer you will only get a snap shot. When I look at an artistic image, irrespective whether it is a painting or a photograph I look at these things: 1) the wow factor that the image has; 2) the master of the medium; and 3) excellent use of composition and lighting. I believe that if an image has all these qualities, it will stand out from the rest.
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Some tips on how to master Panning by Emanuel Cauchi Panning requires a slow shutter speed to get that blurred background. Start experimenting by setting your shutter at 1/30 of a second and increasing it accordingly until your subject is in focus and the background is blurred. This might seem easy but can be tricky and takes time to master. A point to remember is that if everything is blurry, increase the shutter speed but if everything is sharp decrease the shutter speed. Position your camera at the same level of the subject. This will help when focusing. Leaving sufficient space for the movement of the subject is an important factor. Insufficient space will constrain your Pan. A 70 to 200mm lens is preferable (but any lens can be used), filling the frame while keeping a safe distance from action. Panning can be achieved by either following the subject from left to right or right to left. Make sure to position yourself parallel to the subject where possible. If the subject is coming at you no matter how fast, you will not have a blurred background. Activate continuous Auto Focus and spot metering. Press the shutter button half way to lock on, aim and move along (Pan). Once the subject is just about in front of you press the shutter fully and continue to move along smoothly. Blur will be achieved from start to finish while having a sharp subject. Experimenting using continuous drive mode instead of single shot will help to get a perfect shot.
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Where was it Shot? (location) Hal-Far Race Track during a Badger Karting racing event. What gear (camera, lens etc) did you use? Nikon D7000 with a Nikon 70-200mm lens. What settings did you use? Camera settings were shutter speed 1/200, ISO 100, aperture f13 and centre weighted metering. I was close to my subject therefore had to increase my shutter speed. Flash or lighting set-up, if any? No flash or any other lighting set-up was used. Ample ambient light was available. Why did you compose the shot as you did? Being close to my subject I had no alternative but to crop in a bit. This worked fine to bring out the car details. What post production work have you done on the shot? I used Camera Raw to enhance shadows, vibrance and clarity. Photoshop was used for some sharpening and to crop the shot a little. What was the target of this shot? I was shooting a racing event for a friend of mine, a very enjoyable experience. While at it, I saw the opportunity to try a little panning practice. I had already read some articles about it, and this was a very good chance to experiment. I took a couple of shots and results were encouraging.
Jan 16 / Apr 16 - Issue 1 / 2016
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Starting Photography Course Theory & Practicals
Mentoring & Judging
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Birkirkara & Qrendi Photowalks
Travels with a 10 kilo backpack-Guido Bonett
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My Passion - Travel Photography TANZANIA
by Pierre Sciberras Tanzania is a poor country yet it’s a land where nature surrounds you. There is exhilaration everywhere, the largest of animals, birds of every size and colour, trees and plants burst with flowers and the landscapes so colourful and diverse. Throughout the country, there are unparalleled opportunities to experience this natural wealth. My first stop was Lake Manyara. Stretching for 50km along the base of the rusty-gold 600-metre high Rift Valley escarpment, Lake Manyara is a scenic gem. From the entrance gate, the road winds through an expanse of lush jungle-like groundwater forest where hundreds of baboons lounge along the roadside, blue monkeys running between the old mahogany trees, large buffalo, giraffes, wildebeest and zebra herds gather together on these grassy plains. The following three nights were a dream come true at the 14,763 sq km Serengeti National Park. Serengeti is also renowned for its predators, especially its lions. Hunting alongside the lions are cheetahs, leopards, hyenas, jackals and more. These feast on zebras, giraffes, buffalos, Thomson’s and Grant’s gazelles, topis, elands, hartebeest, impalas, klipspringers, duikers and so many more. It’s an incredible bird watching destination too with over 500 species. I will never forget the incredible experience of being inside the camp during the night and listening to the sounds of the wild animals hunting. During the safaris in Serengeti I encountered various interactions between the animals such as a green mamba showing aggression towards a lion, elephants chasing hyenas, the mating of lions and of ostriches, cheetahs eating a wildebeest and vultures and hyenas eating dead animals. Here I spent hours keeping my eyes peeled for wildlife. It is all out there, you just have to pay attention. These animals are made to blend in with their surroundings and if you blink, you may miss an amazing opportunity. 16
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The next stop was at Ngorongoro crater. This large volcanic caldera within the area is a UNESCO World Heritage Site. Approximately 25,000 large animals live inside the crater. Large animals in the crater include the black rhinoceros, the African buffalo and lots of hippos. There are also many wildebeests, zebras, common elands, Grantâ&#x20AC;&#x2122;s and Thomsonâ&#x20AC;&#x2122;s gazelles, waterbucks and warthogs. I camped on the rim of the crater with lots of other backpackers from all around the world. It was here that I managed to capture some of my best shots of sunrise. As the sun rose from above the crater, I was stunned by the incredible view and felt my heart well up with emotions. This was one of the most beautiful moments I had ever experienced in my life. My final stop was in Tarangire National Park, a place with the largest concentration of elephants in the world. The Tarangire ecosystem, with the park as its heart and soul, also has more than 700 resident lions and sightings are common. Less visible, but nonetheless present are leopards and cheetahs. What sustain them are large herds of zebras, wildebeest, hartebeest, elands, oryx, waterbucks, lesser kudus, giraffes and buffaloes. With more than 450 species, including many rare ones, some say that Tarangire is the best birdwatching destination in Tanzania. The following morning I headed off to Arusha airport for my one hour flight to Zanzibar. My Zanzibar experience will be shared with you in another issue. Jan 16 / Apr 16 - Issue 1 / 2016
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2016 Competition Titles Mentoring Competitions -2016 Date
Title
21st Jan
Open colour
11th Feb
Open monochrome
14th Apr
Vehicle detail/s
28th Apr
Format
Medium
Deadline
dpi
colour
11th Jan
dpi
monochrome
01st Feb
colour
07th Apr
prints
Long Exposure
dpi
16th Jun
Panning
dpi
30th Jun
Uniforms
prints
monochrome
18th Apr
colour
06th Jun
monochrome
23rd Jun
Medium
Deadline
monochrome
22nd Feb
colour
05th May
Panels - 2016 Date
Title
Format
03rd Mar
Maltese Heritage - Local craft
12th May
Nature
26th May
Street photography
dpi
monochrome
16th May
15th Sep
Portraits - Weathered faces
dpi
colour
05th Sep
06th Oct
Portfolio
monochrome
29th Sep
dpi prints
prints
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International Acceptances & Awards Name
Country
Acceptances
Awards
Agius Louis
Serbia, France, UK, Ukraine.
32 PI
1 Medal
Debono Johann
Serbia, Hong Kong, Croatia, Greece, Poland, UK, Dominica.
19 PI
Mangion Paul
Slovenia.
1 PI
Piscopo Vince
Slovenia, India, Croatia.
26 PI
Rapa Reno
Belgium.
5 PI
Scicluna Charlot
Greece.
11 PI
Xuereb Anthony
Bosnia, Belgium, Greece, Macedonia.
34 PI
ISF Dip
“( PI = Projected Images, C/MP = Colour or Monochrome Prints, M = Medal, GM = Gold Medal, SM = Silver Medal, BM = Bronze Medal, HM = Honorable Mention, R = Ribbon )”
Program for January/February 2016 07th Jan
Explaining the new year Competition titles - Louis Agius
11th Jan
Closing date for Mentoring - Open Subject - colour dpi
14th Jan
Annual General Meeting
21st Jan
Mentoring Competition - Open Subject - colour dpi
28th Jan
‘The War Zone & Travel Photography’ - presentation by Rene Rossignaud
02nd Feb
Starting Photography Course
15th Feb
‘Photo Editing for Beginners’ by Martin Abela
Please check MPS website for any updates Jan 16 / Apr 16 - Issue 1 / 2016
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What I learnt from looking at 8000 images By Ken Dickson (AFIAP, AAPS, UPI CR1) I have recently been involved in running an International Amateur photography competition based here in Queensland. The competition was run through association with the amateur photography associations from Australia (Australian Photography Society) and internationally (FIAP and UPI). The competition was a great success with over 600 entrants and approximately 8000 photos being
supplied for judging. Being involved in the setup of the competition I got to watch the judging process from start to finish. The judging consisted of 16 judges (working in teams of 4) who looked at every photo over a period of a single day. Basically every judge got a period of around 2 to 3 seconds looking at a photo to decide if it was in or out. Photos that received 4 “ins” would then be discussed by the 4 judges in a team for higher awards. So you might ask, what does this have to do with our photos if not entering competitions? Quite a lot in my opinion because people who are looking at our images are making similar evaluations every day. In our modern lives taking into account the internet, TV, magazines and newspapers we are constantly bombarded with images. For our photos to stand out from the crowd and be memorable they need to grab the viewers’ attention in a very short period of time.
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What are keys to making our photos stand out either in a competition or from the everyday flood of images? 1) Have a clear and concise story in the photo. The story needs to jump out at the viewer/judge within those first few seconds or if you have a more complex or subtle story in your photos that needs time to develop you still need to have an interesting key point that captures that initial attention. 2) Uniqueness stands out. After looking at 8000 photos in a day, I can assure you that there are lots of pictures of birds flying and a multitude of sunsets on a beach. Ask yourself, what makes my photo stand out from the others? This is especially important if you are taking pictures of a common subject (The Eiffel Tower for example) or cliche topics (Birds in flight for example). Some photos we take for ourselves, especially traveling and that is perfectly Jan 16 / Apr 16 - Issue 1 / 2016
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fine but when we step beyond that and want pictures that are interesting for other viewers it helps if we have a different take on the subject. 3) Image quality is important. The judging was done on big screen TVs, and high resolution files were requested. Quite a number of the pictures provided did not stand up the test of this file size, this is especially true if big portions of the image have been cropped to enhance the subject. Remember as much as possible â&#x20AC;&#x201C; get closer to your subject and do not rely on cropping the image later. 4) Be careful when making changes to photos in software. During our Lightroom courses both Tony and I encourage people to make lots of small subtle changes to photos when processing. Rarely does making big, bold, whole picture changes work out well for the image. When looking at photos during the judging, those with over saturated colours or over sharpened looked garish in comparison to the other photos. 5) Good use of composition stands out every time. A common factor for the pictures that achieved good results in the competition was good use of compositional tools. The photos used the items like leading lines, colour balance and perspective to reinforce a clear and concise story. It was a wonderful experience to be part of the competition and seeing so many wonderful photos. I learnt a lot from the experience especially how to ensure that my photos stand out from the crowd.
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Mentoring and Hands On Sessions Architechture & Dance Photography - Charles Paul Azzopardi
Fine Art Photography - Albert Demarco
Product Photography - Ramon Sammut
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How was it Shot? by Mario Barbara Where was it shot (location)? This photo was taken in my garage. What gear (camera, lens etc.) did you use? I used Nikon 7100, lens 27-70, a tripod, a speaker, a radio, and different colours of paints. What settings did you use? I set the exposure to 1/2500 sec, F 22, ISO 100. Flash or lighting set-up, if any? 3 strobes. Why did you compose the shot as you did? I composed this shot during some spare time that I had. What post production work have you done on the shot? I cleansed the background from any extra spots. Afterwards I added some shadows and put some bokeh. What was the target of this shot? My target was to freeze the movement of the paint.
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Activity for World Photography Day Jan 16 / Apr 16 - Issue 1 / 2016
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Tribute to the late Joseph A Vella Joseph A Vella was born in Mosta on the 17th July 1927. He started his education at the Mosta Primary School and continued at the Lyceum. Since 1966 photography has become his main hobby. During the last 44 years he has achieved the highest honours and won various prizes. Around 1000 pieces of work have been accepted in both international and local exhibitions. He served as a judge in important exhibitions in London, Belgium, Iran and Malta. Since 1994 until today, his name has appeared in “Who’s Who” of the Photographic Society of America, classified among the 20 best exhibitors worldwide in Monochrome photography. In 2005 he was classified as a Five Star international exhibitor. He won the Photographer of the Year award 6 times. He also won a great number of gold, silver and bronze medals and certificates of merit and excellence in international exhibitions. One Man Exhibitions Year 1979 - National Museum of Fine Arts - Malta Year 1985 - Moscow & six other republics - Russia Year 1987 - Blakanese - Germany Year 1992 - National Museum of Fine Arts - Malta Year 1998 - Genk - Belgium Year 2001 - Near East University - Cyprus Photographic Distinctions Royal Photographic Society Artist de le Federation Internationale de l’Art Photographique Malta Photographic Society International Photographic Federation of Journalists Photographic Society of America Image Sans Frontier Sibiu Photographic Association of Romania India International Council of Photography
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Associateship (ARPS): Fellowship (FRPS) AFIAP: Excellence FIAP (EFIAP): EsFIAP Fellowship (FMPS) Master of International Photography Associate EH.ISF Hon. Fellow Associate
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more images on Page 30 Jan 16 / Apr 16 - Issue 1 / 2016
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Editorâ&#x20AC;&#x2122;s Choice - photo by Winston Cutajar
Mentoring Session - Product Photography
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FMPS Certificate awarded to Johann Debono
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Tribute to the late Joseph A Vella
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Christmas Get Together
Assignments for the Starting Photography Course