MIPP NEWSLETTER October 2016 interactive

ISSUE

67

The official MIPP Newsletter

Photography by Sandra Hotrum

www.mipp-malta.com

2016 oCTOBER

Photograph Kevin Casha

Editorial Dear Members, First of all, I hope you had a welcome rest in August. Curiously, it is sometimes important not only to have a physical rest from our main work but also to shelve our cameras for a short while – this usually prevents us from going stale and eventually sharpens and renews our thirst for photography. A little break always does wonders.

I wanted to utilize this address to put you in the picture and up to date on the work that the MIPP is currently doing. Last month we welcomed Oriella Formosa Carabez to the committee and she has fitted in well. I am sure that she will be an asset to the Institute.

For the past few months, we have been working on completely renewing our website. It needed a thorough overhaul and a newer platform. Another one of our committee members, Tonio Polidano, has been overseeing this, together with the contracted person.

It is no easy feat and involves a lot of work and dedication, but I am happy to say a lot of progress has been made and we are still on track to launch the new site by our upcoming Convention. This year has also been very busy with the MIPP Still Image Award and we have had a great crop of students taking part in what has become one of the top photography courses in Malta. Those students who have undergone these accredited courses can vouch for their seriousness and the progress achieved. I am also in the process of launching two further Level 4 accredited awards for next year. The applications have already been posted with NCFHE and we are awaiting approval. As you know, we have also resumed our popular Photowalks, organized by Sergio Morana. These create ideal opportunities to network, socialize and learn photography through the informal tuition of more experienced members.

Coming also to this newsletter, it will be the last one in the old format as it too, will undergo a revamp and restructure. We sincerely thank Therese Debono for her input in designing it for such a lengthy period of time. Again, it is no easy task to do such a work, month after month, on a voluntary basis - particularly with the time constraints that everyone is struggling with. It was time for Therese to have a break from this and tackle different challenges. For this purpose, we have constituted a new editorial group, which will be announced soon. The target is to issue the first new format newsletter in October. As you can see, quite a lot has been going on in the background in an unceasing attempt to give our members a better service.

Finally, a short note on our forthcoming November international convention: as it is our 20th anniversary year, we wanted to end up with a bang and this time round, apart from our main guests - John Denton and his model - participants will be regaled by a large number of top Maltese exponents of photography. For a detailed programme see elsewhere in this newsletter. We do hope that you will make all this work worthwhile by your attendance.

Best regards, Kevin Casha President.

Editor: Kevin Casha

Design: Sita Azzopardi & Malcom Sammut

Articles: Various contributors

Proof Reading: Louisa Tonna

If you want your photos featured on the newsletter’s front page just send the images to: newsletter@mippmalta.com Your contributions are always welcome

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Contents Member’s Article

Illustrated Academic Essay by Lorraine Abela

pg 04

Member’s Article

Street Photography by Mark Pace

pg 07

Viewpoint

Duncan Cauchi | Kerstin Arnemann | Dennis Cutajar

pg 10

Exhibition Review

Imagineering (Re)activating the Photographic by Tomoko Goto

pg 12

MIPP Events

International Convention 2016

pg 14

Members Article

Photography is about being exquisitely present

pg 15

by Joel Meyerowitz (edited by Lorraine Abela) MIPP Calendar

Jot down dates

pg 19

MIPP Workshop

Members at Waterpolo

pg 20

MIPP Courses

Still Image Award by Oriella Formosa Carabez & Sergio Morana

pg 22

MIPP Membership

Membership Renewal and newcomers

pg 24

MIPP

Sponsors

pg 25

MIPP Events

World Photography day commemorated

pg 27

14

2

17

4 26

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21

Illustrated Academic Essay

Daguerreotype

Contextual and cultural referencing in art & design

have their portraits taken. Around 1853, it is calculated

by Lorraine Abela Part One Focusing on Child Photography along the years

As photography started to grow in popularity, in the mid eighteen hundreds, more people were seeking to that in New York alone there were around eighty six photographic studios. This shows the growing popularity of the daguerreotype photography at that time. The photographs’ uniqueness, delicateness and their different perspective made the daguerreotype fashionable. Researching Child Photography primarily took me back to a period of time were families were requesting portraits of their children to be taken.

Southworth & Hawes were two photographers, partners in this business, who are considered as

Child Photography has always been an area of interest

pioneers in this field. Many children daguerreotype

for me. Having my own children made it easier to

photographs bear their name. The following are some

interact with different children of all ages. Lately

examples of their works, which display children posed

some work in this area of photography has taught me

in a very rigid way, generally gazing away from the

a great deal and was of so much satisfaction. So the

camera.

decision to focus the essay on Child portraiture and research how it has evolved throughout the years, from the very beginning of photography to recent works, came automatically.

Figure 1 | Unidentified child 1850; Southworth & Hawes 1850

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Figure 2 | Alice Mary Hawes, daughter of photographer Hawes; Southworth & Hawes 1850

Figure 3 | An unidentified girl; Southworth & Hawes 1850

Victorian Era Traditions changed along the years and progressively

Figure 4 | A little boy; Southworth & Hawes 1850 translating from Latin as “remember you must die”.

This was a strange tradition but there were instances where the photograph would be the only existing

other trends started to infiltrate photography. Prior to the Victorian era, even though people used art to record some situations they soon started to turn to photography, in daguerreotype and then ambrotype. There was this tradition in those days that deceased persons started to be photographed as post mortem remembrance but mostly because there was no existing image or painting of the deceased.

Southworth and Hawes offered this service as well and Southworth once wrote: “The artist is often required to transfer to canvas, paper or marble, the living features after the pulse has ceased to beat. Much oftener is the daguerreotypist called to copy what life has left. Sometimes he may represent “balmy sleep,…under the worst and most forbidding circumstances….” (http://www.eastmanhouse.org/icp/pages/postmortem_port.html )

One can find several examples of Victorian Post Mortem or memento mori photography, the latter

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Figure 5

photo of the whole family or of the siblings of their lifetime. In the following images one can have an idea of what the above mentioned photographs looked like.

As photography started to be easily attained by the average class people, many started to take pictures of their bundle of joy. One might find this kind of photography eerie but it was frequently used in late 1850’s. As one can see in the pictures below, the child seems to be alone in the photographs but when looking closely one can notice that the child is actually sitting on his/her mother’s lap covered with some kind of fabric such as a curtain. `This kind of photography is known as ‘The Hidden Mother’. The reason behind why the mother is never showing in the photograph is still unknown. The mother had to hold her child due to long exposure. Linda Fregni Nagler, a Swedish photographer and nowadays established in Milan, made a collection of these photographs ranging from daguerrotypes, tintypes, carte de visites and cabinet cards and even published a book as seen below:

to be continued next Issue

Lorraine Abela

Figure 7 | A Collection of Linda Nagler

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Figure 6

Street Photography

So much has already been written about street photography that one tends to forget that there is no definite and absolute definition of the topic. Rather, it has become a generalised term to define both the subject (the street, the shops, the neighbourhood etc.)

Article & Photographs

by Mark Pace

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and the activity of the photographer, acting either as a documentarist or a free roaming spirit projecting his or her own artistic inclinations.

Throughout its long history photography was always

represented and conveyed fundamental aspects of

considered capable of representing faithfully the

street life. Others, like Henri Cartier Bresson

reality of the world and hence it was a natural move

combined a sense of narrative with his trademark

for photographers interested in contemporary life to

‘decisive’ moment. On the other hand, photographers

turn to the streets for inspiration and challenge.

like Gary Winogrand and William Klein delved into

A close general description locates street photography

the underlying chaos, aggression and violence hoping

as an evocation of the street; a kind of sensual

to capture ‘the energy, the stress, the anxiety’.

recollection released by the eye but conjuring up the

My photography seeks to focus and interpret the

recollection of smell, touch, taste and sound. Indeed,

various facets prevalent on Maltese streets. Whilst

Bruce Gilden famously remarked that “If you can

giving due attention to the historical and architectural

smell the street by looking at the photo, it’s a street

heritage, I also opt to include different backgrounds

photograph.”

portraying a visual aesthetic that identifies clearly the Maltese pedestrian experience. I also expose many

Artists like Andre Kertesz who embedded in his

aspects that prevent a pleasurable experience for

photographs a narrative quality that faithfully

pedestrians amongst which are the excessive amount

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it was in the past, there still exists a dynamic that can produce interesting street photography.

A prevalent issue with most local street photography is the issue of privacy and data protection. This issue tends to make photographers shy away from this genre for fears of certain repercussions. Indeed through my experience I can ascertain that certain people’s attitude towards street photography is quite hostile and there have been instances where serious objections were raised about me shooting on the streets. However with a little creativity I got inspired to explore different styles of street photography and how one could circumvent this negative attitude towards the genre. This included shooting from the hip, unobtrusively waiting for that decisive moment whilst in certain instances having total control over the imaging.

This together with an attention to detail and geometric shapes produce images that besides the aesthetic also portray a sense of movement and flux. Although of vehicles, haphazard planning and the slow

somewhat complicated and haphazard, the local

degradation of our historical architectural heritage.

street scene offers photographic opportunities that

Besides the visual aspect, my images also strive to

can serve as a distinct portrayal of the dynamism of

highlight the social dynamic of Maltese streets,

Maltese streets as well as giving due importance to

keeping the human element as a central part of my work. This is important in understanding that while the street scene in Malta is not as central to society as

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the documentary and archival aspects of this genre.

Mark Pace

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KERSTIN ARNEMANN The soul of the village

Photography by

DUNCAN CAUCHI Looking Down

Photography by

DENNIS CUTAJAR Eavesdropping

Photography by

2016

Continental Cars Ltd.

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Imagineering (Re)activating the Photographic works by Discipula, Klara Källström & Thobias Fäldt, Werker Magazine Exhibition review

by Tomoko Goto

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I made my first trip to Krakow, Poland, last month, and I was pleasantly surprised by what this city had to offer. It’s filled with cafes and restaurants, and with music and literature, both old and new. I visited several galleries and museums during my stay, and I’d like to share my impressions of one particular exhibit that you might find interesting: Imagineering-(Re) activating the Photographic (May 17-Aug 21, 2016) at Bunkier Sztuki Gallery of Contemporary Art. Curated by the German social anthropologist Lars Willumeit, the exhibition set out to question and rediscover the role of photography. Photographs have the ability to make people believe what they see.

They influence our behaviour, actions and decision

by these artists transformed them into a grotesque

making, and images control how we perceive reality.

judgement of our food consumption.

The exhibition encouraged the viewer to interact with

I found it interesting to see how these artists used

these images and interpret them freely so that he or

photography and other media to narrate their ideas

she might discover new layers of messages hidden

often in combination with texts, drawings, and

beneath the surface.

installations of artefacts. Photographs were printed on wallpaper and on long transparent plastic sheets,

Källström and Fäldt travel and explore “historical layers

or were projected onto screens and TV panels.

and notions of uncertainty and chance in order to draw attention to the gap between what’s visible and

Our modern world is directed by images. We snap

what is told.” One of their projects, called Wikiland,

casual photos with our mobile phones and post them

dealt with Wikileaks founder Julian Assange. But the

on Facebook. We share and steal images from each

artists didn’t photograph what the news media was

other, and we believe that what we see is ‘real’. Today,

presenting as truth. Rather, they sought to capture

anyone can take powerful photojournalistic images

everything else around Assange’s media appearances

and sell them if he just happens to be in the right

in England in February 2011. This behind-the-media-

place at the right time.

scenes view prompts us to question how we can be so certain that what we’re seeing on TV truly reflects

So what’s left for photographers? It’s important to

what’s actually going on.

keep thinking about how we give images meaning, and the implications of our decisions. But it is still

Another work that stood out for me was a project

the viewer who decides what he sees and what he

called Efficacy Testing Stream, created by Discipula.

believes, regardless of the intentions of the artist —

As you enter the space, you hear an emotionless

and that gap offers us an interesting discourse on

female voice reading about how we consume

photography and its possibilities.

food. Multi-layered stock photos of dishes, and of Asian people biting off a piece of meat with visible enjoyment, were printed on clear plastic sheets.

Although such stock images are normally used to attract people to eat, the combination presented

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Tomoko Goto

Malta Institute of Professional Photography Main speaker:

John Denton INTERNATIONAL CONVENTION

2016

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Monte Kristo Estates

Saturday 19th & Sunday 20th November

on e of th e most icon ic street photog r aph ers

“Photography is about being exquisitely present.”

He has a career spanning over 50 years, and his work has been showcased in over 350 exhibitions and published in more than 20 books. Meyerowitz’s evident successes make him a photographer we can truly turn to for inspiration.

Meyerowitz allows himself to get absorbed by his surroundings, by the activities and atmosphere on the street and this technique plays a key role in the achievement of his astounding photographs and is definitely an example worth following when shooting

Joel Meyerowitz (edited by Lorraine Abela)

on the streets. Although Meyerowitz uses both an 8x10 large format view camera and Leica cameras, he is mainly associated with the latter; small, compact and discreet, being ideal for this kind of photography.

When

attempting

to

identify

iconic

street

This type of camera has always helped him capture

photographers, one simply cannot ignore Joel

the spontaneity and actuality of street life.

Meyerowitz, an extraordinary photographer of this

Joel Meyerowitz always felt the need to be down in the

genre. He is a living legend and one of the masters

streets, to get a feel of the atmosphere surrounding

in street photography. Born in New York in 1938, he

him; and this urge, together with his love of people,

began photographing mainly in colour back in 1962,

forced him to leave his previous job and focus on

making him an early advocate of colour photography.

becoming a street photographer, documenting all that

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Some of Meyerowitz’s photos from the streets of New York, depicting the perfect use of composition and light and also creating intriguing images

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was happening on the streets of New York. By nature

soon to enter the ‘theatre’ that will make the image

he is a very observant person, and being on the

more interesting, intriguing, original and maybe even

streets helped him gain confidence and become more

humoristic.

intrusive; both characteristics which are essential

One question we should each ask ourselves and

in street photography. One important aspect of his

reflect upon before pressing the shutter release

photography is the way he successfully manages to

button is ‘what should I include in the frame and

capture the intimacy of a complete stranger, a simple

what should be left out?’ When we are looking at a

passer-by.

scene through the viewfinder we are leaving all else out of it, so there must be a reason for selecting what

He admits that he has learned to stop and wait for

is framed. As photographers we must try to depict

things to happen and capture the right moment.

the world in a different way to that which is simply

Meyerowitz’s main focus was to portray with passion

presented before us, by bringing unrelated objects

and enthusiasm what happens in a one thousandth

together, creating a context and by always keeping an

of a second; those events that one can easily ignore

eye out for what is interesting around us. The world

or miss. “Photography takes place in a fraction of a

and its activities can have a stimulating effect and we

second” Meyerowitz says (Rawlings, 2012).

must take the opportunity of bringing out the best in it, just like Meyerowitz always does.

When looking through the viewfinder, Meyerowitz compares the events entering the frame, as if they

Joel

were entering a theatre. He explains that the Leica

documenting the aftermath at Ground Zero in the

has the viewfinder positioned at the very edge of the

months after 9/11. Here are two of the photos from

back of the camera unlike most of the commercial

this archive:

Meyerowitz

was

the

only

photographer

cameras one can find on the market. He insists that when the viewfinder is in the middle, it blocks the

References:

view completely making the photographer unable to see what is happening ‘outside the frame’. The Leica

“Joel Meyerowitz - ‘What You Put In The Frame Determines

enables him to compose, wait and see if something is

The Photograph’”. YouTube. N.p., 2016. Web. 5 Sept. 2016.

“Joel Meyerowitz | Contemporary Color Photography | Author Of Cape Light”. Joel Meyerowitz Photography. N.p., 2016. Web. 5 Sept. 2016.

“Joel Meyerowitz 1981 Street Photography”. YouTube. N.p., 2016. Web. 5 Sept. 2016.

“Joel Meyerowitz Street Photography Images & Pictures - Findpik”. Findpik.com. N.p., 2016. Web. 5 Sept. 2016.

“Joel Meyerowitz’s World Trade Center Archive | Photography | Agenda | Phaidon”. Phaidon. N.p. 2016. Web. 5 Sept. 2016.

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Kim, Eric. “12 Lessons Joel Meyerowitz Has Taught Me About Street Photography”. Eric Kim. N.p., 2014. Web. 5 Sept. 2016.

Rawlings, Nate. “Joel Meyerowitz: Taking His Time As A Master Street Photographer”. Time.com. N.p., 2012. Web. 5 Sept. 2016.

“Top 9 Quotes Of Joel Meyerowitz Famous Quotes, Rare Quotes And Sayings | Inspringquotes.Us”. Inspiringquotes.us. N.p., 2016.

Web. 5 Sept. 2016.

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CALENDAR October November December

Assessment of PTYA ENTRIES

session 2

Evolving in photography the road towards a degree

by Kevin Casha

by Lorraine Abela

Tuesday 1st November | 19:30

Tuesday 4th October | 19:30

Le Meridien

Le Meridien

Convention in collaboration with The Societies Saturday 19th & Sunday 20th November Monte Kristo Estate

Award Dinner Sunday 20th | 19:30 Le Meridien

Xmas Get together Monday 12th December | 19:30

DETAILS TBA

family and friends welcome

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(incorporating the graduation – Awarding of Certificates Still Image Courses)

A selection of images, taken during local Waterpolo

Championship

matches,

by MIPP members. These workshops proved an ideal photo-opportunity as well as a valid practical experience in photographic techniques.

by Patrick Zammit

MIPP MEMBERS AT WATERPOLO WORKSHOPS

The members were accompanied by press photographer Martin Agius who guided them throughout the exercise.

by Elton Barbara

(ASA) for their cooperation.

by Anastasia Vella

We thank the Aquatic Sports Association

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by Jason Spiteri

by Angie Conti

by Mario Micallef

by Neville Pace

Still Image Award

The Still Image Course challenges the photographer in you.

A course for any person who loves photography

When we started the course we both felt that we were kind of stuck in photography and hungry and eager to learn more. The main lecturer taking care of this course is the President of the MIPP, Mr. Kevin Casha. We knew that being tutored by Kevin we

Written by Oriella Formosa Carabez and Sergio Morana Why Still Image?

would gain the following: i)

useful information

ii)

constructive criticism on our photos, and

iii) empowerment to continue our journey in photography The Still Image Course as a personal Journey in

Nowadays training to become a photographer might

Photography. As a student in the art of photography

look fairly easy.

you will immediately realise that to become a good photographer you have to go through a learning

Step 1:

Buy a DSLR,

progression. This does not mean learning only

Step 2:

Watch YouTube tutorials,

techniques, but also through practice, research, and

Step 3: Open a Facebook page and ask a couple

personal development.

.................of friends to comment that you are the best .................photographer in town,

In fact, part of the course assessment was based on

Step 4: Start your own business and start calling

the reflective journal which we were told to compile

.................yourself a professional photographer‌

throughout the duration of the course. The very act

.................Well, our recommendation is:

of keeping a journal helped us to brainstorm and be

Step 5:

more creative, whilst serving as a means of keeping

Signing up for the Still Image Course!

track record of our progress, mistakes and successes.

This course is not just any other course being offered

By listing down our achievements, we boosted our

by your village photographer. This course is organised

self-esteem in photography. The journal also served

by the Malta Institute of Professional Photography

as a point of reference during moments of lack of

and it is an accredited Level 3 course, recognised by

motivation.

the Malta Qualification Council, so you will obtain another important certificate to show in your CV.

It might seem hard to believe that during the weeks we followed this course, not only did we enhance

At times, photographers tend to think that becoming

our knowledge in photography, but it was also an

professional is something which you can achieve

opportunity to develop as individuals. This was

overnight. As photographers we all feel the urge to

achieved mainly through:

learn more and we all crave to create better photos.

However, few realise that this means hard work, commitment and effort. Taking up the Still Image

a) Self-discipline: by meeting stipulated submission deadlines,

Course means embarking on a journey which will lead you to improve your photographic skills and to delve deeper into this fascinating art form.

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b) Will Power: confronting ourselves and not giving up on our goals,

c) Embracing new challenges: feeling empowered

become better observers. We learnt new techniques,

to take photos of subjects/ objects out of our

developed better understanding of what makes a

comfort zone,

good photo and we also became more meticulous when editing. Along the way, Kevin always provided

d) Enhancing our creativity: coming up with

us with mentoring and constructive feedback on

innovative ideas and by being guided to use the

the photos we produced during the workshops. The

creative side of our brains.

feedback that we gained during this course was also an opportunity for us to learn and obtain the wide

e) Being humble: recognising that to improve our photography we have to listen and accept the feedback and criticism given to us on our photos.

Lectures and Workshops

range of skills needed in today’s competitive world.

Networking The course also provided us with a platform to network with fellow photographers. This was a perfect setting

One must point out that although the course is

to meet others and learn from each other. We also

not extremely difficult, you will not earn your mark

could seek the advice of others and get valuable

easily. You need to show commitment and self-

feedback. By sharing our photos we learnt from

determination. This will eventually lead you to see

each other’s strengths and weaknesses. This made

noticeable improvement in your work.

us appreciate the benefit of building relationships,

The course is based on both lectures and hands-

since a good photographer is one who is always in

on workshops. The workshops and tasks set out

contact with others and does not remain enclosed in

during the course motivated us to work harder and

his own world. This was particularly evident during

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one particular workshop, where we worked together = to plan a photo shoot. The synergy of ideas provided

Membership Renewal

us with some great results.

The assessment

We would like to remind you that we are now accepting payments for 2016 membership renewals. By renewing the €40 fee (from 2016 it is €40 even for those that have been members for 5 or more years), you will have a chance to

The course assessment was based on tasks set out for us during hands-on workshops in various locations, our reflective journal and a final panel of 20 images on a theme of our choice. Although these tasks seemed

Get reduced rates to our courses and workshops

rather daunting, however we soon discovered that they served as a valuable teaching process. The workshops helped us boost our creativity and challenged us to undertake tasks often outside our comfort zone. On the other hand, the preparation of the final npanel helped us to narrow down our focus and to discover our photographic niche. By working intensely on the chosen genre, we easily became engrossed with it and this also helped us to understand our weaknesses and

Become a qualified photographer with our three levels of qualification: Licentiate, Associate and Fellowship

Reciprocal photographic qualification with the best UK Institution

Informative monthly lectures and newsletters

Exclusive photographic competitions ONLY for MIPP members and much more

strengths in the chosen field.

The intention of preparing a panel of 20 images was that of giving us a taste of what is required when sitting for the MIPP Qualifications. We are now aware of the work needed, what level is expected and what the judges are looking for. We can therefore say that the Still Image Course has paved our way and has also served as a starting point for an MIPP Qualification.

Concluding Taking this course was thus a wise decision since it gave us the courage to take the next step from being just hobbyists to becoming photographers with a truly professional outlook. This course has led us to confront and challenge ourselves and to always aim to improve our abilities. As journalist Joshua J. Marine says, “Challenges are what make life interesting and

One may pay by either sending in a cheque to: “27, Moonlight, Giovanni Papaffy Street, Ta’ Paris, Birkirkara, BKR 4021, Malta”, together with the relative membership fee.

(Cheques are to be made payable to “The Treasurer, MIPP”)

OR

overcoming them is what makes life meaningful”.

Pay directly from the BOV website: www.bov.com and log in to BOV internet banking with your Securekey.

OR When attending an MIPP Event.

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THE MIPP SPONSORS Non-Profit organizations like the Malta Institute of Professional Photography are constantly in need of funds in order to be able to function in a modern and professional environment. That is why it was important to have various sponsors interested in networking with the MIPP and at the same time involving them in important issues concerning the photographic trade.

The MIPP feels it is vital to stimulate joint events and initiatives together with our sponsors. This policy helps our members to be constantly aware of products and services that our sponsors market thus not only encouraging an increase in business but also benefitting our members through special occasional offers and deals.

This co-operation and belief by our sponsors, most of who have been with us since the MIPP’s inception, has helped in no small way in making the Institute what it is today. It is one of the MIPP’s main objectives to help keep this co-operation improving. We urge our members to truly support our sponsors by making use of their services and products whenever possible.

Our sponsors show faith in the MIPP so it is only fair that our members should reciprocate. Give your

Photography by Kevin Casha

custom to those companies and entities that help us.

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World Photography day Commemorated

traces the origins and evolvement of photography

It was a fitting thought that to mark World

engaging narrative proceeds up to the dawn of digital

Photography Day, the subject of Maltese photography

technology. Photography in Malta - Its History and

and its protagonists was chosen. The highly

Protagonists is a 400 page hard-bound publication

informative talk was delivered by MIPP President

and encompasses a treasure trove of over 500

Kevin Casha, who has been researching the subject

vintage photographs which, in their vast majority,

for nearly a decade. The illustrated lecture outlined

are being reproduced for the first time. This work

the beginnings of photography on our island and the

provides a much needed seminal reference as well as

many individuals who had a hand in establishing the

an intriguing and in-depth insight of the course that

profession. From the French to the British and all

has been travelled by Maltese photography and its

through the first Maltese studio photographers, the

leading exponents.

on our island and documents the many fascinating stories of Malta’s leading photographers. Its timeline expands from the first French photographers who introduced the medium to our island, moves on to the British exponents who were then followed by the early pioneer Maltese photographers. The book’s

lecture contained a treasure trove of information and detail that enthralled a captivated audience. After

The book’s publication was made possible through the

the session, which was kindly hosted at the fabulous

financial assistance of APS Bank Limited.

multi-purpose hall at Hilltop Gardens in Naxxar, the participants sat for a networking lunch at the Orchard Bistro at the same venue.

This lecture was an initial taste of Casha’s new book, which will be published in October. This work

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contacts

Web: www.mipp-malta.com Email: president@mipp-malta.com Address: 27, Moonlight, Giovanni Papaffy Street, Ta’ Paris, Birkirkara, BKR 4021, Malta Tel No: 21486097

2016 oCTOBER