The art of capturing images

Celebrating Photography in Malta, 1961-2011, Malta Photographic Society, 2011, 200 pp. (limited edition, signed and numbered), hardback.

This de luxe hardbound volume, lavishly illustrated, is a tribute to the art of photography in Malta and is intended to celebrate the 50th anniversary of the Malta Photographic Society.

The eye is the lens and the mind is the camera- E.V. Borg

The volume is divided into four parts: a general history of photography and the way it developed; a history of the Malta Photographic Society; photographs from Edward Sammut’s Cultural Heritage Collection, and a directory of 112 members of the society.

The brief history of photo-graphy and how it reached our shores, compiled by Car-mel Psaila, makes interesting reading.

Tracing the development of photography from the 1850s and the history of the society, it should serve as a great tool for students and researchers alike. Towards this end the society is donating a copy of this book to all secondary schools, Mcast, and the University.

Sammut’s Cultural Heritage Collection is vital for students of Maltese topography.

A unique photo, dating from 1856, of Fort Manoel with statue of Grand Master Manoel de Vilhena in the Windsor Collection is revealing, as this monument, which I ascribed stylistically to Massimiliano Soldani Benzi, was moved three times: first to Ġnien is-Sultan (now Republic Square, Valletta), where it was replaced by the statue of Queen Victoria in 1891, then to the Mall in Floriana, where it was replaced by the Independence monument in 1989, and finally to a square in St Anne Street, also in Floriana, when unfortunately it was damaged in the process.

Included are historical shots by Paul Micallef and Joseph Cassar. Professional photographers should find the selection of old photographs taken on glass negatives particularly interesting.

The last section, a collection of photographs by current members, can easily become a separate publication with serious effort and application. This directory can be amplified to include all members, dedicating a page or two to each member with a short biographical note and a critical evaluation.

The volume includes several other items: from a list of past presidents of the society and their portrait, old black and white photographs by deceased members, the society’s showcase, housing the island’s largest ­collection of antique cameras and photographic equipment, addresses by past presidents of the society (including the founder, Joseph Sammut, Anthony Blackman, Kevin Casha, Carmel Psaila and Louis Agius, the current president), a record of photo shoots, seminars, lectures, judging sessions and important events in the society’s history.

Celebrating Photography in Malta traces the progress of photography from the traditional darkroom monochrome and colour film to the present digital era. It will undoubtedly stimulate awareness of how digital photography is evolving locally and indirectly contribute to raise the profile of photography as an art form. Digital photography has changed our vision and concept of the subject.

As Leonard Cocks puts it: “It has become the dominant platform whether it (photography) is captured through a mobile phone or a top end DSLR. It is not just a trendy niche any more.

“This evolution is having profound and unforeseen effects on society – changing the way people record their daily lives and making it harder to trust the veracity of images.” Reality has become more unreal and surreal.

There are some outstanding photographs in this volume. French Creek by Martin Scerri (b. 1956), which I think is the most breathtaking shot, is outstanding as a historical document, its meticulous definition bringing out the sweeping beauty of the old Bakery at Vittoriosa, regarded by Quentin Hughes as the best example of its kind in the Mediterranean.

Wet Outlook by Carmel Psaila (b. 1934), a veteran expert photographer, simulates a painting as seen through glass splashed with droplets of water and deteriorating paint.

Elaine by Charles Pace (b. 1960), captures in great definition the light shining on a girl’s plaits in a repeated pattern of rhythms.

The Fort by Robert Mifsud (b. 1978), is a historical picture of Fort Manoel and is auxiliary to the one in the Windsor Collection. Left Out by Johann Debono (b. 1980) is an attempt at social realism, but instead of a picture of poverty and neglect one senses the nature of a spoilt child. La Paz, by Cocks (b. 1967), is a monumental colour photo of dancers in motion taking up a double-page spread.

“The eye is the lens and the mind is the camera. We make photographs even when we do not have a camera at hand. We notice things that others might miss: such as the way light falls on a child’s hair or the gentle gesture of a willow branch dipping into a stream.”

This statement by Cocks reveals that subject in art is an excuse, as at times a detail is almost more important than the whole. The ‘part’ inspires our fantasy and imagination.

The volume was produced through the efforts of a working committee chaired by Cocks (who wrote the preface) and made up of Sylvana Piscopo, Joseph Pirotta, and George Swindells and Lionel Cassola. Darren Duncan was responsible for layout and design.