The icial MIPP Newsletter July 2014
=OCALPOINTEDITORIAL
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?
Well Malta’s light is harsh and
bright during the winter months
Jet 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.
Iam off backpacking this month
and believe it or not my slr is go-
ing to stay at home, however will
be taking my faithful compact
camera since I can’t not docu-
ment my trip! I urge you all to
take a little exercise in photog-
Assistant Editor raphy and shoot with compacts and carry
Kerstin Arnemann | tninimal equipment this season! The rea-
sons 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! Mean-
Find us on: while enjoy your summer!
Enjoy!
Therese & Kerstin!
If you want your
photos featured on
the newsletter’s front
page just send the
images to
newsletter@mipp-
malta.com.
Your contributions
are always welcome!
Newsletter Team
Editor:
Therese Debono
Assistant Editor:
Kerstin Arnemann
Design:
‘Therese Debono
Articles:
Various contributors
Editorial Advice:
Kevin Casha
Contact:
newsletter@mipp-
malta.comJULY 2014
pg2
pg 6
pg 14
pg 16
pg 22
pg 24
pg 26
pg 30
pg 3t
President's viewpoint
Mipp featured member
Mipp event
Members’ contribution
MIPP Notices
Member's contribution
Out & About
Calendar
Members gallery
CONTENTS
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
cover artist
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 im-
age 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 ef-
fect 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 shoot-
ing 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!
1Photography Tuition - ANew 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 pho-
tographers! 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?Yes, all these accusations were lev-
elled 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 shap-
ing up. It really seems that everyone
now is trying to teach photography
and, although there are various per-
sons 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! Unfortunate-
ly 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-
Viewpoint
rapher does not always make a good
tutor. A good tutor needs to be organ-
ized, 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, particu-
larly of those who have no visible track
record of teaching. A student can re-
ally pass through a nightmare experi-
ence. 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 recom-
mendations? 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 profes-
sions 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
3has 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 photogra-
phy, 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 AgiusPano “avantecn
the \
EOS 5D Mark III
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for full details and conditions visit
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Avantech Building
St Julian’s Road
San Gwann SGN 2805MAGICAL KEITH
For this issue we caught up with Keith Darmanin,
whom you might know his work from the popu-
lar 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. 1 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- t = featured mipp member aI 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 of-
ten 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 youre 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 al-
ways manages to find the right outfits and props. What she doesn't find, she creates
herself. Its 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-
8ferred 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. Eve-
rything 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 ex-
perience. 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. Some-
times 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.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 charac-
ters and styling them was tough.
We had a good choice of models to
choose from. Etienne had to practi-
cally 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’ 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 set-
tled 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
10from Alfred Galea’s school. For a good hour and a half we all stood there contact-
ing 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 photogra-
pher 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.
11Another shoot that I particularly enjoyed was The Christmas Past shoot. We de-
cided 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.
Thad 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 find-
er, I always keep my mind’s eye open so that I can imagine what the finished prod-
uct 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 enjoy-
able for all. And that, is after all what shooting a model is meant to be.
12Sarah
Shooting Sarah on
a busy morning
in Valletta, us-
ing only available
light. I worked with
Etienne, Dominic
and Krista. Sarah
did an outstand-
ing 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, Dori-
anne & Yanika did makeup , hair & nails while styling was by Etienne & Caroline.
13Collaboration 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 win-
ning photographic awards since their inception. The conference, aptly named ‘Evo-
lution 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
14al Photography and Ciancio (1913) co Itd Distributors in
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 pho-
tographer 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.
15CODE
RED ....
AGAINST HUMAN TRAFFICKING -
concert TA QALI MALTA
W. 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 photogra-
pher, 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 assign-
ment 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 docu-
ment 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 work-
ing together, so a compatible style had to be taken into consideration, without sti-
fling 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: i aa)
We both tried to cover something that the other one wasn't, whether it was shoot-
ing the performers or part of the crowd. This approach requires trust and confi-
dence 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 im-
age 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 im-
ages.
18MIKE 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 some-
times 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.
VQ
(er! a
19SUZANNE 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
ER
Z1MALTA INSTITUTEOF PROFESSIONAL PHOTOG
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 success-
ful 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 Me-
ridien 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 ap-
ply need only provide their secondary school leaving certificates and a digital port-
folio 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 con-
fidently 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 eve-
nings.
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
22RAPHY 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 Qualifica-
tion. 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 ad-
dressed to courses@mipp-malta.com.
Kevin Casha
MIPP President and Course Director
National Commission for
Further and
Higher Education
Malta
“The National Comision for Furor sis Higher Babson fuenving MALIA INSTEFUTE OF PROFESSIONAL PHOTOGRAPIEV
(Licence Numbers 2OULFHEOLS) wa Farther Fecation Ietiation Malta Fnstitte of Profesional Photography i licemat provide
Farther Eicon programe: atthe following addecs: Malka Intute of Professional Photography, civ Le Meridien, 3%, Main Sweet,
‘atots Hay, Soin’, ST 1097, Malta
Me. Kevin Casha, Diectat Sat hee vest eth the legal epreseeaticn for Malta InaBitute of Profeasaal Photupragiy.
“hos Hicece is beng oe wi a hove detains the horns coors fee Malta Imttute of Profesional Phocepraphy, The provider is
legaly blige to ae by thexe ces om aad tafe The Nate Commie fo Father and Higher Besa wf ay tages ch ocr
sitag the ped covenag the hese
This icece ie val for five ear and shes be renewed hy April 201%,
flaca Further and ae
“The Nacional Corinto for Higher Education
Farther and Higher Etucacon ‘Mas Stet
“hice
ee Pa 3
‘eee Tuas
A reproduction of the NCFHE certificate,
23Vince’s Passion
A quick catch up with member Vince
DeBono!
Check out how his passion in photog-
raphy 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 pe-
rimeter 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
Jed to the purchase of the ubiquitous Russian
SLR and later a Nikkormat. These were all
manual cameras and this taught me the es-
sential 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. Ini-
tially 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
24Above: 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.
25One should never stop learning. Although mostly self-taught, having spent a for-
tune 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
AZZIONI
KATToLIKA
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!
26OUT AND ABOUT July Events
Since art is not only about photography, Kerstin came up with the bril-
liant 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 through-
out 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 MEA artist is to develop an art practice and a crea-
tive 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
27The 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 MALESE-
VIC, ELISA VON BROCKDORE, 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
Ce
28Paper to Screen & Everything in
Between
paper Exhibition
to
Peres. 2nd - 8th July
Mcast
4 EVERYTHING IN BETWEEN Website: www.facebook.com/McastArtand-
Design
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 pro-
duced 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, trans-
formed 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 generat-
ing 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 compa-
nies, 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
29The Living World
Exhibition
4 July 2014 - 31 July 2014
Le Meridien St Julians Hotel & Spa
Main Street - Balluta Bay, 39, St Ju-
lians
Website: http://www.whatson.com.
mt/en/events/events/9349/the-liv-
ing-world-art-exhibition.htm
“The Living World’ is Chloe Jayne Waterfield’s second solo exhibition and encom-
passes 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.
Ce re
30CALENDAR
PHOTO
capture ~ print ~ treasurePTYA Standings MEMBERS’ GALLERY
Rani Name
1 Kerstin Arnemann 45.00 1 36.00 1 |41,.00| 1
2 _|Romana Wyllie 44,00 2 35.00 | 2 |36,00| 2
3 _|Stefan Cachia 38.00 4 34.00 | 3 |25.00| 4
4 |David Sammut 32.00 6 28.00 | 6 |27.00| 3
5 _ [Renata Apanavi 39.00 | 3 34.00 | 3 |0.00| 0
6 [Simon Attard 38.00 4 33.00 | 4 |000/ 0
7__|Robert Mifsud 38.00 4 29,00 | 5 |0.00/ 0
8 [Mario Micallef 0.00 3 34.00 | 3 |24.00) 5
9 [Marika Mallia Scerri 26.00 8 27.00 | 7 |000| 0
10 [Joseph Lungaro 35.00 5 0.00 8 | 000) 0
11_—s|Aaron Kerr 7 9 oO
Above: image by Kerstin ArnemannLeft & Right: Imag
Below: Image by KOe rmsd
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