Gold Magazine September - October 2013, Issue 30 | Page 85

CAPTURING
CYPRUS

T

he Cyprus
Photographic Society
(CPS) has been
actively operating since 1960
(being invited to join the
Federation Internationale de
l’Art Photographique in 1964),
hoping to capture cCyprus’
attention, educating the

public as to the possibilities
inherent in this art form.
Working tirelessly to make
this art form accessible
to all in Cyprus, branches
representing CPS exist in
Nicosia, Limassol, Larnaca,
and Paphos, welcoming
membership from all factions
of society.
Yearly, a number of
national and international
photographic events –
spanning exhibitions and

conferences to seminars,
lectures, photographic
excursions and discussions –
are organised.
Most recently, CPS staged
an International Digital Photo
Competition, the closing date
of which was September
10, 2013. Opportunities are
plentiful for members to
present their photographic
work, whilst learning from
their peers and exchanging
ideas.

frame of having taken
What size and medium is
the picture. Value is
it? Is there a signature or
THE IMPORTANCE OF
other form of identificaCONDITION IS NOT TO BE placed on these prints
due to the idea that
tion? What condition
UNDERESTIMATED
the image faithfully
is it in? Thirdly, what
embodies the phoposition has this artist
vision at the time.
and their works occupied within the market tographer’s
Photographic
circles tend to
thus far?
tives as being raw
Whilst key names from the world of fine perceive film negafiles, with a so-called ‘original’ photograph
arts may roll off collectors’ lips – Picasso,
being a wet print made by the photograMonet, Dali – endlessly, knowing which
photographers to target in the fine art pho- pher themselves; that is, one generation
from the raw file. %