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‘MARVELLOUS MALTA – Where Wild Orchids Grow’ is meant to be the first volume in a collectable series of photographic books showcasing the natural beauty of Malta.
It is also meant to be a positive and beautiful addition to all the negativity surrounding Maltese nature in media. A lot of things need to change if we want to retain anything for the next generation. We hear about birds being blasted out of the sky, trees being uprooted in the name of development and properties being built in ODZ areas. Obviously, these events need to be highlighted, but sometimes we also need to hear or see something positive to inspire us to protect what we have left. I hope the book inspires people to go out and look for these little beauties in the countryside. When you learn to appreciate something I think you are more prone to protect it.
This is not in any way a comprehensive guide to Maltese orchids but a book that celebrates the shapes, forms and patterns of these flowers with what I hope people think is great photography.
I have been travelling to London for over 25 years, getting around on the underground and seeing all kinds of people going about their daily lives.
I should explain, I am not a real street photographer but have always loved the idea of doing some kind of street/candid photography, which I think this panel falls into this genre, but I never saw anything that set me off, that I wanted to go chase and shoot it all the time, until about 3+ years ago. I saw this man sitting reading his paper on the underground tube and I just happened to be reading a text I received. I then got the idea to use my phone to try capture him, and this was the start of it, I had found my project to do. I also wanted the images to have a different feel to them. An Old approach, giving my images a feeling like they were shot a long time ago, like turn of the century. I thought about the old Tintype process, early 19th century, it was done on plate cameras and most were wet plates…well I could not really do this on the London underground. If I did I would have been most likely been arrested and locked up. Also a camera would take the candid look away, as people would not be relaxed or in their own little world if they saw me with a camera taking their pictures.
So I have an app on my phone which allows me to set up and shoot in the fashion of Tintype photography technique so I married the idea of an old process Tintype with todays technology my IPhone to produce my body of work. I have been working on this project for a couple of years now. Any time I can get to London I go shooting on the underground trains and platforms.
What I noticed about shooting on the underground is that everyone is in their own little worlds and unless they were with someone they knew there was no interaction between people. They would not even make eye contact, just start looking on their phones, pads, tablets maybe even open a real book to read or a newspaper. But there was all sorts of emotion there as well, I have seen people crying, sadness, laughter, even praying, or just lost in their thoughts. And me being the nosey type watching to see what everyone was doing, I then tried to capture what I saw in front of me.
A few things about shooting this type of image on the underground, it was all done unknown to the people I shot, in the world around us these days, people are just not as friendly as they used to be and if caught taking their photographs I could be in a lot of trouble. So using a real camera could be a problem. So what I did was shoot my images from the hip on my phone. I could not see what I was getting on my phone most of the time, until later on, and then what I was shooting on the tube was long gone, I did understand the angle of view of my camera lens so with a lot of practice I knew what I was shooting, but this still did not mean I got everything I was after. As I said I did this without people knowing I was shooting them, but if you look, you will see some people kind of knew I was shooting but were not really sure, So I got away with it. One of the problems with shooting from the hip is you don’t know what you really have until you get home and study your days shooting, I got some really great shots but I also got a lot and I mean a lot of rubbish as well, such as hands, feet, walls, floors and doors etc.
My other issue was the lighting on the tube, most times it was quite low just what is on the tube but the phone handled it well enough I think. The old Tintype process also added to the effect I was looking for, because with this process the images were not always razor sharp because the tube was moving or on the platform in the station I was walking, and the old Tintype process well it was a slow ISO so with long exposures, poor lens’s and emulsion that was wet on the plate and so moving as well, so the images had this unique feel to them, So when I could see some movement in my image, which I though added to the effect I was after.
The printing I have in my head and the way I want my panel presented, is to be printed on an art/textured type paper to add to the mood of my images.
All the processing has been carried out on my phone, all images have been brought into Photoshop to just level out the exposures and to get an even tone across my panel.
Thank you for your consideration, your time and your expertise in looking at my panel. Podge Kelly
No matter how long someone has been shooting for, we all encounter challenges and seek advice on a frequent basis, and chances are, those that have been in the industry longer or who have been subjected to similar challenges can help or may have a solution that is worth its weight in gold.
The MIPP is dedicated to better the local commercial industry, this means that we are hear to act as a voice of a community that, at times, and likened to other creative industries, experience situations that other industries would consider unfair and at times, downright laughable and disrespectful! These challenges may be in relation to remuneration and payment terms, acknowledgement and accreditation when being published, the misuse of your IP and the list unfortunately goes on and on and on.
The MIPP’s aim is to be Malta’s premier voice for the photographic industry and thus, have created a page dedicated to assisting you in your journey as a photographer. The content you will find here may be in the form of opinion pieces, anecdotes or professional advice and is not claiming to be legal advice. It is simply a platform for photographers with countless decades of experience up their collective sleeves, who are imparting their experiences and knowledge. It is not a place to name and shame, and even when being anecdotal, no names are to be used.
We are here to share and hopefully in the process, shed light on topics that may be tricky to navigate, and to educate each other on ways to push the photography industry forward, not only here in Malta but also abroad, in hope that one day, these ill-practices will eventually be a thing of the past. We can only hope, right!
If you have any topics or questions you wish to raise, or would like to contribute to the conversation by writing a an opinion piece or case study, please get in touch with us – director@mipp-malta.com
If you are in need of peer-to-peer advice, please consider becoming a member and attend our monthly social nights, we are a community here to help one another! Times are changing so let’s steer this beast together, with one photo at a time.
The MIPP has established a photographic Qualification system on the same standards as international Distinctions.
This is a three-tier system, namely the MIPP Licentiate (LMIPP), the MIPP Associate (AMIPP) and the MIPP Fellowship (FMIPP).
Only MIPP members can qualify for these Distinctions. Members may apply for LMIPP, AMIPP or FMIPP directly, always under the guidance of the MIPP committee.
Applicants are requested to submit a photographic print panel of 20 works under specific themes, including the submission of a research or book monograph publication. These are assessed by a qualified independent panel of experts who decide whether the candidate has reached the required level.
A certificate, given under the common seal of the MIPP, is issued to each successful candidate.
When necessary, the selection panel meets bi-annually, usually during the months of March and November, in order to assess submissions. Candidates will be informed regularly of the date of the next assessment meeting, as well as the date by which submissions must reach the MIPP designated offices. Members are also allowed the use of a mentoring service to help set up the panel.
Licentiateship (L.M.I.P.P) is the first level of qualified membership. It is a recognition for a general basic level of skill and competence in professional practice within photography and allied technologies.
Associateship (A.M.I.P.P.) is considered as a middle level distinction. Associates carry the responsibility for the development of the profession and the MIPP.
Fellowship (F.M.I.P.P.) denotes the highest level of technical and creative ability in photography.
Application forms may also be obtained from either contacting the Secretary-General or can be downloaded from here.
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Tickets remain the property of the event organiser and may be reclaimed if terms are violated.
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Tickets are non-refundable, except in the case of event cancellation.
Event date, time, and venue are subject to change. In the event of rescheduling, tickets are therefore valid for the newly assigned date.
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From a functional point of view, the staircase may be thought of as the spinal cord of a building, while on a psychological level it may be read as a choreographed stage-set rich in metaphoric and symbolic overlays. Although physical connectivity was always the overriding consideration, over time staircases acquired greater aesthetic value, as they evolved into conspicuous artistic elements, prominent, embellished and ornate.
We begin to perceive stairs not as a structure, but as a unique event where we are physically and spiritually on a journey. On stairs we can be completely absorbed in a multi-input sensorium of light, sound (or abject lack of it) and space, an experience that concurrently combines all aspects of both here and there. As an event, they share similar performative qualities with the corridor and the door, in that both can be places for serendipitous, unstructured encounters, and thresholds between realms. On stairs alone, however, we are temporarily suspended in time and space – between the moments of departure and arrival – where signals from the surrounding environments can be suppressed, providing a respite in the stream of a particular setting.
As a photographer, I started from stairs but sought to elevate them to something beyond the mundane, beyond architecture, into a fine art panel based on texture, shape, pattern and light. The value of these transactions is in their brevity and we can encourage such encounters through a thickening of space, light and tones, just enough to pull out of the flow, but not so much as to predetermine the nature of the transaction.
With this body of work ‘The Land of Fire & Ice’ I want to share my innermost and personal experience that explores the relationship between man and nature.
Since this was my first time visiting this amazing country, I had to plan well ahead for the images I wanted to capture. Naturally, intensive research was needed in order to capture images that echo the message I wanted to deliver.
During the whole trip I felt more alive than usual, the diverse grandiosity of nature that surrounded me with different elements from beautiful green pastures to glaciers and volcanoes made me reflect in awe at the mystical elements and power of nature. It was a photographic trip but at the same time, a personal search of my deep relationship with nature. I could not help but realise that my presence seemed insignificant and how small we all are compared to those vast. wonderful locations, particularly when untouched by humans. I could not but wonder in awe that I was in places which had not changed for millennia.
My main goal was to portray that feeling through my lens, to show the viewer the scale of the human figure in relation to the vastness of this land and to make them possibly feel as if they are present and experiencing the connection. It is impossible to convey the grandeur and feel of those places on a two dimensional medium, but I tried to get as close as possible.
As a photographer, I emphasised the emotional recreation of the viewer and the journey of the human state into the wilderness which portrays this story through landscape photography.
