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Click Editorial Board Executive Committee 2014/2015
Editorial
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elcome to this edition of Click. When you receive this magazine we will be discussing the results of this year’s Annual Competition. I wish you luck and hope that your efforts will bear some fruit. If not, do not be discouraged; it is the right time to recompose yourself, recharge your batteries and give your hundred percent for the next one. In this issue, Anthony Xuereb explains in detail how to process and convert images to black and white. Trevor Calafato and Manuel Azzopardi give us some tips how to take creative images at home and their different results in liquid photography. These are ideas we can try indoors during the hot summer days in the comfort of an airconditioned room. I thank Manuel for welcoming me to his studio to witness first-hand and experience his approach to water drops/liquid photography and in particular the use of his Splash Art digital gadget. I thank all the contributors just mentioned above; Russell Mizzi for his explanation of how he shot the levitation image; Joe Caruana for putting on record some of the vintage cameras we have at the Club and last but not least, Stephen Buhagiar with his interesting project “People of Malta”. I am sure that you will find these articles interesting. I must also thank all those who have directly or indirectly contributed to this magazine. This issue brings us to the end of another photographic season. It is now time to relax and enjoy your summer.
Noel Portelli
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Front Cover Photo: Noella - by Mario Abela
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Editorial / Viewpoint 2,3 Winners Mentoring/Panels Competitions 4, 5, 6, 7 Colour or Black and White 8,9 From the Society’s Vintage Collection 10,11 How was it Shot? 12,13 Taking your Photography to the Next Level 14,15 Member’s Profile - Noel Portelli 16,17,18 FIAP News & Internationals Accept/Awards 19 The People of Malta - Stephen Buhagiar 20,21 Society Activities 22,23,26,27,28 Water Drops & Splash Photography 24,25 Calendar of Events / Entries for Annual Photographer of the Year Top 15
Louis Agius
Vice President Jane Farrugia
Hon. Secretary Pauline Grech
Hon. Treasurer Valerie Chetcuti
Competition Manager Joseph Caruana
Courses Co ordinator Paul Deguara
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
Anthony Xuereb, Joe Caruana, Trevor Calafato, Russell Mizzi, Noel Portelli, Stephen Buhagiar, Manwel Azzopardi.
Photos
Mario Abela, Mark Brincat, Dominic Camilleri, Doreen Gauci, Carmen Vella. Printing: Veritas Press
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Table of Contents
Editor’s Choice
President
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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 Summer Time is Here!
the time these few words go to print the Byjudging of the 50th Anniversary of the National
Photographic Competition would be over. Now the next step would be to exhibit all the accepted images. Unfortunately at this stage we have not yet found a suitable place, however I am confident that a venue will be found in time to show off the best photos of this year. Congratulations go to all those who had an acceptance especially to all award winners and we must also thank the judging panels who gave their time and expertise to select all the accepted images. A big thank you goes to all those who worked hard and dedicated a lot of their time to ensure that this year’s event comes to fruition. One must remember how much effort is needed to organise an annual competition and exhibition of this calibre entirely by enthusiastic volunteers. On the 8th of May I was requested to attend a meeting titled ‘The Future of Social Dialogue in the European Union’, being organised by MEUSAC and the Speaker of the House of Representatives. This meeting was very interesting and enlightening, but I will also remember this event for the fact that it was held in the new parliament building which was inaugurated on the 4th of May 2015. This new building whose architect is the world famous Renzo Piano has given the already animated City, a new life to the outdated entrance to Valletta. Photographers now have something more vibrant and modern to photograph. We have already seen plenty of images adorning the media, Facebook etc; and we have also seen an abstract exhibition entirely on this building, by an MPS member, Alex Attard. It is also very attractive and eye-catching to tourists visiting our island. Taking a ‘selfie’ with the Parliament building as a background has become Issue 2 / 2015 - Jun 15 / Aug 15
quite a novelty with tourists and locals alike. I have also taken the plunge myself to shoot this extraordinary building, however I had started this project almost from its inception when there was just a huge hole where the building stands today. The image below was taken with my mobile phone before the conference proceedings. I wish I had my camera with me so I could have taken a better photo.
The next AGM will be hosted on the 25th June and I am looking forward to see a good team forming the Executive Committee who will be helping the Society to move forward to another term. After the AGM the curtain comes down on the calendar of activities for this season, which was full of interesting talks and presentations and during July and August the new committee would then be busy discussing and planning the next phase. The warm weather has now come through and many of you make plans for vacations and weekend breaks at the sea side. We all deserve to rest and relax and I hope you will take some good photos and enjoy your holidays.
Louis Agius FMPS EFIAP PPSA MPS President 3
Winners of the Fifth Mentoring Competition
People Who Need People
Tony Rizzo
Pierre Sciberras 4
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Winner of the Third Panel Competition Panorama Landscape -
Pierre Sciberras
Winner of the Sixth Mentoring Competition Benches - Angelo Caruana
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Winners of the Fourth Mentoring Competition Circles
Angelo Caruana
Noel Portelli 6
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Winner of the Fourth Panel Competition S t i l l L i fe / Ve g e ta b l e s
Presented by Pierre
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Sciberras
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Colour or Black & White - From Ordinary to Extraordinary By Anthony Xuereb LRPS EFIAP AISF FMPS
When looking at a colour image, a painting or a photo, in all its magnificent detail, you can practically feel the wind in your face, the sun’s warmth, or the chill in the air. A properly crafted black & white image wields much more power, as it forces your mind to see more details that might be overlooked in a colour image. Black and white in itself is abstract art, as we are used to see around us everything in colour. Black and white makes your brain work harder to see deeper into the photo, revealing more texture, tones and lighting, more details in portraits that in colour you overlook. Removing colour takes us a step away from reality and towards creating artistic interpretations. Some people think that black and white is a back-up when a colour photo comes out poorly and they want to save it. [I believe all photos can be saved both as colour and as black & white, if you look deeply]. This is a far cry from the truth as to produce a super black and white image, requires more skill than to produce a super colour one. When you do, the appeal of black and white goes deeper, the monochrome image at its best is beautiful, it is art, as it captures 8
the beauty and the soul of the object and moves people more than a colour print does. One must teach oneself to recognize tone, shapes, light and shadow, and what tones each colour produces as black and white, train the brain to see in different tones. Before digital came along, black and white photography required different skills, in film choice, darkroom skill, developing paper, chemicals etc. It was a thrill every time you produced a good print, sometimes after lots of paper waste, and a long time in the dark. When you create the photo it will be all yours, using your skills to get the desired quality. In today’s digital world, to get a black and white print, you must convert it using conversion software. At this point lots of people get mixed up and produce flat images with lack of contrast that appear lifeless, because the colours in the photos were similar and were not adjusted to get the values to certain tones. It is important to never create your black and white image in the camera. Many cameras can do that, but there are many disadvantages, and if you let the camera select the tones values you will lose a lot of detail and information. Using conversion software will give you greater control to turn true colours into tones. Always have Click
total control of your work. You must always try to get a good colour photo to start with, having good exposure, especially the highlights, composition, subject etc. There are many ways and software to do the conversion; some simple ones are desaturate the image, turn it to grayscale format from RGB. Some say that these two are not so recommended as they create flat images. Personally, I strongly disagree as I always use the grayscale method. Why? Because I need total control of the final work. Some software that are suggested for black and white are plug-ins, such as Nik Software’s Silver Efex Pro, Topaz Labs and so on. Also closer to dark room work, but needing time to get it right, is using the channel mixer where you adjust the RGB tones. Whatever technique you use, a good black and white starts in your mind. Teach yourself to see in black and white to create great work. Against all odds I prefer to use grayscale as I can use my roots when I started in the darkroom working on black and white images with full control, and not letting the software do the job for me. In the dark room you never got a good print straight away from the negative, but had to do tests on different parts of the image to get the right tones by burning in or dodging, using both your hands. To see the results you had to develop the print and see for yourself. If the outcome was not satisfactory, you had to start all over again. Today on your computer you can work it out easily: save and redo any time you want with no more wastage and chemical smell. Jun 15/Aug 15 - Issue 2 / 2015
To start with, when I open the colour photo in Photoshop, I check the levels to see that the histogram is balanced, and if not, I adjust it to get the desired balance. Also check brightness and contrast and give it some contrast. Correct what is required such as verticals and horizontals, clone away unwanted items etc. Duplicate the layer, change mode to grayscale, don’t flatten image [to check progress later on] and discard colours information. Re check the levels, better move the mid-point to get deep blacks, also some more contrast will do. The result you get is already a decent photo. Nonetheless you need to further reveal the tones and the only tools you need are the dodge tool and the burn tool. Start by burning the mid-tones. It is important to always use low exposure; put it to 3% or less and start brushing around the print, darkening only the mid-tones. Select the shadows range and do the same, deepening the shadows. Go slowly, low exposure. Should you make a mistake you can either go back steps in the history or switch to dodge and pass again the too much burnt part to lighten it up. For deeper contrast, now bring out the highlights especially where there are edges on light areas by using the dodge tool on the highlights.You get a deep contrast by working slowly affecting only the highlights. Continue switching between burning and dodging on the three elements - mid-tones, shadows and highlights until you have a deep contrast and all tones have practically changed from white to pure black in your photo. If you practice I am sure you will master it and be satisfied with the work you produce. 9
From The Society’s Vintage Collection Cameras donated by friends of the Society
SEAGULL TLR CAMERAS Seagull is the oldest camera maker in China. Seagull’s cameras usually use basic, time-tested mechanical designs that require no batteries. The Seagull is a 6X6 TLR camera for the 120 roll film. The taking optic is a HAIOU-31 SA-eight digit serial number 1.3.5/75 coated lens. A special feature is the depth-offield scale with the focusing knob. The five bladed fully synchronized leaf shutter has a B and 1 to 1/300sec speed. ATAK INKA Very simple box camera, looks like a TLR, but it is not. The Inka has a fixed focus lens, and is completely made of Bakelite and steel. It has 2 f/stops and 3 shutter speeds from which the photographer can choose Bulb, 1/25, and 1/75sec. The Inka produces 6x9 frames on roll film. Made in Czech Republic, C ze c h o s l o v a k i a .
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Compiled by
Joe Caruana
From Wikipedia, the free encyclopedia
AIRES TLR CAMERAS In 1950 Aires switched to producing 6X6 TLRs and cheaper 35mm cameras. The Aires TLRs became popular, the series later included models with Nikkor lenses and (more rarely) Olympus Zuiko lenses. The Aires Automat was rated as one of the better Japanese TLR cameras, although it was rather crude compared to the best German competition.
THE ROLLIECORD TLR The Rolleicord was a popular mediumformat twin lens reflex camera made by Franke & Heidecke (Rollei) between 1933 and 1976. It was a simpler, less expensive version of the high-end Rolleiflex TLR, aimed at amateur photographers. The models that has the letters DBP on the left and to the right DBGM on the front of the camera means that they were made post World War II. The Rolleicord was never offered with a larger aperture than f/3.5, thus ensuring its pedigree as an “amateur� camera. Issue 2 / 2015 - Jun / Aug
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How Wa s i t Shot ? BY TREVOR CALAFATO
Where was it shot (location)? This photo was shot in the kitchen to facilitate access to the necessary material. What gear (camera, lens etc.) did you use? Camera: Nikon D3200, Macro Lens: Sigma 105.0 mm f/2.8. Besides the photographic gear I also used the following: a transparent bowl, oil, water, a fork, a desk lamp and a colourful magazine. What ƒ/8.0, ISO
settings did you use? 105.0 mm, 1/125, 400, Manual shooting
Flash or lighting set-up, if any? No flash was used. The desk lamp was used to light up the magazine that was placed slightly more than 30 cm underneath the transparent bowl. The bowl was put on a stand to create the necessary distance. Inside the bowl I poured around 2cm of water and later on added some oil. The magazine, which was lit up by the desk lamp, created a kaleidoscopic range of colours that gave a different 12
tone to the photo. One could control the colours more by using coloured papers or cardboard. In this case I used a magazine so that not one of the pictures taken could be similar to the other. Since at a macro level the focus will be on the circles formed by the oil bubbles, the background will be completely blurred, but will create an interesting artistic effect. Why did you compose the shot as you did? Once oil and water were in the bowl, I used a fork to mix the two elements. I had to wait until the water stopped moving. The result was a mix of bubbles. The next step was to find a series of bubbles that created a nice and attractive composition. What post production work have you done on the shot? Photoshop was used to increase the contrast of the photo. What was the target of this shot? I was looking for a creative way to use photography on a rainy Sunday morning. Click
Where was it shot (location)? The image was shot at Buskett. It is really a composite made from two separate exposures. What gear (camera, lens etc.) did you use? I have used my Nikon D7000, a 50 mm prime lens, a tripod, a Yongnuo 560 Speedlight and a cheap shoot-through umbrella. What settings did you use? The shutter speed setting was dictated by the intensity of the background light in relation to how bright I wanted the background to appear in relation to the subject. I wanted enough separation of the subject from the background but also wanted to have visible background detail so I set the aperture to f/4. I decided to set the shutter speed to 1/150s since I did not wish to have lighting that looked artificial so it was a matter of balancing the exposure. In this case, I was also concerned by the shadows that could have been cast on the background and therefore, it seemed obvious to me that it was best to avoid too much contrast. Flash or lighting set-up, if any? The light from the Speedlight/flash was modified using a shoot-through umbrella. I made sure that no shadows were cast by the subject (and anything else) on the piece of ground which was to be included in the picture. This was essential to what I wanted to do later in post-production. Why did you compose the shot as you did? Technically, the composition can Jun 15/ Aug 15 - Issue 2 / 2015
BY RUSSELL MIZZI be considered to be a straightforward application of the rule of thirds. The subject lies at the lowest horizontal third division. These choices become second nature and after some time, one no longer thinks of the rule of thirds consciously whilst shooting. It is more likely that I was day-dreaming about some underwater scene. What post production work have you done on the shot? Two shots were taken using a tripod from precisely the same angle and using the same lighting. I first shot the picture with the model balancing herself on a stool with the help of a friend of hers and then I asked the model and her friend to leave the scene. I removed the stool as well and took another shot. The post-production consisted mainly of opening the two shots as separate layers in Photoshop and using a layer mask to paint over the stool and part of the model’s friend hand to reveal the background. What was the target of this shot? I am always driven by the pleasure of photography. 13
TAKING YOUR PHOTOGRAPHY TO THE NEXT LEVEL Text by: Noel Portelli
Photo by: Doreen Gauci
So how do you take your photography to the next level? This is a frequently asked question beginners often ask themselves. Progress is not something that you obtain instantly. You have to work hard to achieve it. Here are some tips that hopefully can help you get better results. Know your camera. It is important to know all the features in your camera. With camera in hand, go through the manual frequently. You will be surprised to learn something new each time you read the manual.
Know your limitations. Try doing something that is within your reach. Know the limitations of your equipment and your post processing knowledge. Only when you achieve this try out some harder projects. Follow the works of the masters. Take ideas from the masters and make them your own, don’t just copy. Quality not quantity. Take a few well planned images rather than a hundred random ones. Stop and observe. Don’t just look.
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Study the shadows, look for geometrical lines, patterns, reflections and leading lines. Shoot in RAW and from an unusual angle, not from the normal point of view. - Set your camera according to the desired effect you wish to obtain. - Keep horizons and buildings straight. - Shoot subjects on the thirds.
the bad ones. Enter your best images in local or foreign competitions and follow the critique from seasoned photographers or judges. These competitions will help you improve your photography as you will put in that extra effort. There are various courses available nowadays, take advantage. Follow tutorials online. On the net, knowledge is unlimited.
- Fill the frame. - Avoid busy backgrounds. - Keep it simple – less is more. - Use a tripod when necessary. Knowledge When you’re done with your photoshoot and you’re at home, take note of the camera settings of the good images and be self-critical of how you could have improved Photo by: Dominic Camilleri Jun 15/ Aug 15 - Issue 2 / 2015
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Member Profile
Noel Portelli
compiled by Jane Farrugia
Noel Portelli joined the Malta Photographic Society in 2010. However his interest in photography dates from an early age and in his youth days he had the required equipment to develop and print black and white films and images in a make-shift darkroom at home. Noel, who hails from Floriana, was born in 1951 and now lives in Tarxien. He is married to Josette and has two children, Verena-Marie and
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Alan-Michael. His uncle, the late Fr. Celestino Portelli, is one of the cofounders of the Malta Photographic Society. He is semi-retired and finds time to practice photography and photo editing; his favourite hobbies. His preferred subjects are portraiture and still life. He gets his inspiration from works by local photographers and artists John Borg, Christopher Azzopardi
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and Anthony Xuereb. He is also a keen follower of other foreigners who regularly post conceptual photography and art online. His first camera was a Yashica Minister D which like most film cameras has now become obsolete. In 2010 after attending the Starting Photography Course at the Malta Photographic Society he bought his first DSLR,
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the Canon 500d. His other accessories and equipment include the Canon EF 50mm f/1.8 II lens, the Canon EF-S 18-200mm F/3.55.6 lens, the Yongnuo Speedlite YN-565EX, triggers, tripod, umbrella and stand. Last year he earned a Silver Award in the Monochrome Digital Projected images with his entry “Framed� in the Annual Photographic Competition and Exhibition organised by the Malta Photographic Society. Noel has taken up the role of editor and designer of Click magazine and this is his second issue. His dream for the future is to get additional equipment and to set-up a mini studio where he can expand his knowledge in lighting techniques and further develop his skills in portraiture. 18
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FEDERATION INTERNATIONALE DE L’ART PHOTOGRAPHIQUE
FIAP News – compiled by Lawrence Bonnici AMPS HonFMPS –FIAP Liaison Officer 28th FIAP Projected Images Biennial The 28th FIAP Projected Images Biennial will be held in Indonesia in June 2015. As a Society we can participate with a maximum of 20 digital works which must be coherent from the point of view of inspiration and conception. The Executive Committee has the rights to choose the subject and the selection of entries (at the most 2 per author). No Nudes accepted. Entry Fee will be paid by the Society and the overseas closing date is 20th June 2015. Please contact any member of the Committee for further information. 26th Colour Print Biennial The 26th FIAP Colour Print Biennial will be held in June 2014 in Great Britain. Each national association operational member of FIAP may enter 10 PRINTS Colour (at the most one print per author). Each collection must be coherent from the point of view of inspiration and conception as well as from the point of view of realisation and presentation. Each federation chooses its subject and its choice of entries. The prints must have a format 30x40cm. The smaller prints must be mounted on a light support 30x40cm (12” x 16”). Entry fee will be paid by the Society and the overseas closing date is 14th June 2014. Please contact any member of the Committee for further information.
International Acceptances & Awards Name
Country
Acceptances
Agius Louis
Ireland
7 Pl
Caruana Joseph
UK, Wales
3 Pl
Debono Johann
Bangladesh, Italy, France
17 Pl
Mangion Paul
Wales
1 Pl
Xuereb Anthony
Bosnia & Herzegovina
5 Pl
Awards
3 HM
“( 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 )” Issue 2 / 2015 - Jun 15 / Aug 15
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The People of Malta
Meeting and photographing people from different walks of life will give you an in-depth feeling of humanity. Both of us decided that it would be really cool to create a photographic album illustrating different local people from all walks of life. ‘The People of Malta’ is an artistic project to share emotions, stories, personalities, moods and contrasts depicted in pictures and in citations of the Maltese people. This took us on a roller coaster journey to share portraits of the People of Malta. We decided to launch this project by creating a Facebook page and share our work via this popular online social networking service. Alongside the portrait, we are including quotes and short stories from their lives. One can also state that this is an anthropological analysis from an artistic perspective. It is incredibly fascinating the way people interact with you and the amount of stories one can get from individuals. You find people who move away 20
when they see a camera, others who are shy or sceptic and refuse to collaborate, but there are many who are responsive, sociable and approachable. Photos and citations are uploaded every day. We are also trying to give the page a news value. This is just the beginning and we intend to evolve such a project onto a larger spectrum. Where and how is only a matter of time. “Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again.” - Henry Cartier-Bresson Stephen Buhagiar and Roderick Vella
www.facebook.com/ thepeopleofmalta thepeopleofmalta@gmail.com #thePeopleofMalta Click
“Kif jgħid il-Malti, ħu l-fama ...u ejja ixtri minn hawn!”
“llna 55 sena bil-forn. Huwa xogħol li jgħajjik. Lit-tfal jiena stess ngħidilhom isibu xogħol ieħor. Aħjar skrivan!”
“Jien dejjem li xtaqt għamilt. Issa la nagħlaq it-tmintax-il sena nixtieq immur suldat, u determinat li nasal!” Staqsejtu fejn sejjer. Bi tbissima qalli; “Dieħel il-bank, sejjer niġbed il-miljuni.”
X’tgħożż l-iżjed? “Lill-mara. Ġibtha minn Għar id-Dud tas-Sliema. Inbiegħ kollox ħlief lilha. Mill-bqija xejn ma norbot ma’ qalbi!”
“Jien niġi hawn l-iktar għallgazzetta. Pastizz nieħdu biss darba lĦadd.”
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“Dik il-magna rat ħwejjeġ, imma llum le. Xogħolna mar ilbaħar! Kulħadd jaqbad u jixtri l-ġdid.”
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Guest Speakers with their Presentation
“Theatre Photography” - Patrick Genovese
“What makes a good Photo” - Ramon Sammut
“Essay Photography” - Ruben Buhagiar
“Simar-A Nature Reserve” - Mark Gauci
“A b s t r a c t P h o t o g r a p h y ” - A l b e r t D e m a r c o
“Preparing images for Competition” - Louis Agius
Photography by Mark Brincat 22
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In-House Courses Starting Photography Course
Practical Session with Models at Argotti Gardens
The Digital Camera, functions and accessorieswith Carmel Pisani
Phyllis Ferrando-Winner of Photography Assignment
The Group on Completion of the Photography Course
Photo Editing Course
Advanced Photo Editing Course
with Martin Abela
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with Ramon Sammut
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Water Drops & Splash Photography by Manwel Azzopardi ON THE RIGHT YOU WILL SEE MANWEL IN HIS STUDIO SET-UP, FOLLOWED BY HIS DESCRIPTION AND SOME OF HIS WATER DROPS & SPLASH IMAGES AND THE DIGIAL CONTROL BOX.
I always had a keen interest in water drops/splash photography. One can start this type of photography by hanging a plastic bag filled with water, pin it and get the rhythm of the drops. I have started this way. After a while I bought a system which enables me to have more control on what is happening. These images, which are shown here, were shot with this system. It’s called ‘Splash Art.’ Mainly it has a solenoid fixed to a container to take up the water. The solenoid is controlled from a control panel which has four knobs and a trigger switch. The first knob controls the size of the first water drop which would be released. The second knob controls the delay timing between the first and the second drop. The third knob controls the size of the second drop which would be released. The forth knob controls the timing of the flash when it is released. The switch, when pressed, triggers the camera and the flash according to the pre24
determined settings which you set in the control panel. The control panel is directly connected to your camera with a dedicated cable. As a starting point (as these images are shot with these settings) I would set my camera as follows. F 1 6 … S h u t t e r speed….1/8…….ISO…100 Two flashes on each side (set on slave mode …128) One flash in the back ground (set on slave..128) The main flash is directed at the ceiling so that when it is triggered, the other flashes will trigger simultaneously in order to avoid any shadows on the drop. It’s a Click
must to have a steady tripod. Focusing is done by placing a ruler from one edge of the container to the other and marking the spot where the water drop falls. Then placing a small object at about one centimetre, in front from the marked location, focusing on this object as is normally done and locking to recompose. Finally adjust the focusing to manual mode once this is done. In this type of photography you need to be very patient. The environment working conditions are very important as it would affect the drop. The water temperature and humidity are the most important factors to capture successful drops. Another important factor which needs to be considered is the height of the solenoid from the top of the water bowl. A good starting point is 39 cm from the bowl to the solenoid above.
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Landscape Panoramas - Judges - Patrick Genovese, Pauline Grech, John Borg
People who need People - Judges - Anthony Blackman, Leonard Cocks
Photography by Mark Brincat
The Judging & Mentoring
Circles - Judges - Stephen Buhagiar, Christopher Azzopardi
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of Club Competitions
Still Life -Vegetables Judges-David Attard, Ruben Buhagiar, Anthony Xuereb
Mentoring Session Mentors - Ramon Sammut, Joe Attard
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Photoshoot in Lower Valletta by The Bridge
Society Activities
Chinese New Year Celebrations in Valletta
Alex Attard’s Exhibition - The Overlooked Performance 28
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Editor’s Choice - photo by Carmen Vella
“Patience is the essence of clicking great photographs!!” - Abhijeet Sawant Issue 2 / 2015 - Jun 15 / Aug 15
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MPS Calendar of Events compiled by Jane Farrugia Thursday, 4th June
A presentation by Kerstin Arnemann
Thursday, 11th June
Paul Zammit Cutajar - Sports Photography
Sunday, 14th June
Monthly photo walk
Thursday, 18th June
Martin Abela - Creativity
Thursday, 25th June
A.G.M.
Please consult the Society’s website for any updates.
Entries for the 50th National Annual Competition
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Number 522 693 730 519 414 789 395 582 731 563 79 768 60 83 694
Club
M1
28 29 31 27 28 29 27 25 0 24 25 25 27 26 30
BLC
86 81 0 76 82 69 79 80 0 0 0 81 0 82 0
27 26 29 30 25 28 28 28 27 29 30 26 24 29 27
M2
61 52 51 52 62 59 47 54 57 60 0 0 0 0 50
P1
24 23 33 25 25 25 0 25 22 25 29 32 25 23 12
M3
65 55 66 65 58 59 58 26 57 32 61 0 54 0 0
P2
29 19 27 28 22 23 24 24 22 27 25 24 23 0 21
M4
55 59 66 57 56 57 61 60 53 62 0 41 64 0 43
P3
29 26 29 28 27 23 27 26 25 0 28 0 0 28 25
M5
65 57 72 55 56 63 57 62 56 0 59 0 0 0 0
P4
22 27 26 23 21 19 25 22 21 0 0 0 0 25 0
M6
96 121 121 0 0 0 0 0 0 0 0 0 0 0 0
FOLIO
PORT-
P h o t o g r a p h e r o f t h e Ye a r To p 1 5
587 575 551 466 462 454 433 432 340 259 257 229 217 213 208
Points
Total