MEMBERS PROFILE - DARRIN J. ZAMMIT LUPI
Published in The Journal of the Malta Photographic Society No.47 (Aug-Sep 1993)
By John D. Nunns ESFIAP
Photo by Chris Loufte
Actor, director, photographer, journalist, and a determined young man to boot. Not many people manage to cram such a wealth of experience into so short a period of time as has Darrin Zammit Lupi. I intended interviewing him principally as a photographer, a member of the Malta Photographic Society, but other of his activities, all intimately connected with his photography, were magnetically drawn into the story.
Darrin had the good fortune to have been reared on a diet of National Geographic Society magazines, replete with their exceptional photographic contents. He was suitably impressed, more so by the landscapes published. In 1981, a three-page spread of the erupting Mount St Helen's made him realise that taking photographs could, at times, be risky; that there was infinitely more to the process than just taking pictures.
Darrin was thirteen years of age when he obtained his first camera - an instamatic. Not long after, he befriended Jonathan Wrigley, under whose guidance his enthusiasm for photography flourished. One of Darrin's more valid traits is his courage to experiment and this he did with his newly discovered element. Smilingly he recounted his purchase and use of various filters - the results being not what he would have liked to describe as successful.
During his studies at University - he read Communications - Darrin took to acting and, later, directing stage productions with the MADC. He was ever ready to take photographic advantage of the numerous opportunities the stage presented. His ambition was to search the very depths of the characters portrayed rather tahn those of the actors themselves.
An experience which was to serve him well in the future was his illustrating 'Folk Carnival in Gozo', a series of annual studies carried out by the University of Malta and the Mediterranean Institute. A selection of works from this three year series comprised a personal exhibition, held in April 1992, under the heading "Masks and Metamorphosis". Selections of these works were also used in a documentary shown on Malta TV.
Darrin's first public showing was, however, in 1989, when, as an active member of MZPN he participated in a joint exhibition with Daniel Cilia, another up-and-coming youngster. Gaining confidence, Darrin went on to win the Silver Medal in that same year's prestigious Dunhill competition. These events prompted a 'Profile' in the JP Publications magazine 'Circle' and commissions to illustrate various articles followed.
Some eighteen months ago Darrin was initiated into the 'mystique' of monochrome processing by Pierre Stafrace, yet another young member of the Malta Photographic Society. Darrin readily acknowledges his gratitude towards both Pierre and Jonathan for their generous aid and encouragement.
'Maltafest 1991' provided Darrin with the opportunity to exhibit his theatrical work under the heading 'Theatre Through the Lens'. This and other successes, combined with the study of works by some the world's leading exponents of the 'art', instilled in him a deep fascination for photojournalism. High on his list of personal favourites were Sebastaio Salgado, Don McCullin and James Nachtwey. Other favourite photographers included Ansel Adams and Bob Carlos Clarke. Taking straight forward scenes became not to his liking. To venture beneath the surface ; to penetrate to the 'soul' of the story ; to reveal the oft-hidden truth rather than the imagined, became his goal - eventually to improve the visual impact of day-to-day news his aim.
Darrin's first experience of the professional life was when, in April 1992, he joined 'The Malta Independent' as a staff photographer. This lasted but a few months however, and later that year he signed on at 'In-Nazzjon' as a 'stringer'.
An exciting chance to prove his potential - to himself more so than to others - was the visit he paid to Albania during April 1993, in co-operation with the organisation SOS Albania. The results of his journey were published in 'Reportage - In-Nazzjon', a supplement to that paper, the following month.
Darrin's choice of equipment and working medium is uncomplicated but effective. Canon T90, A1 and AE 1P are his cameras, together with lenses ranging from 24mm to 300mm focal length of which the 28mm and 135mm are his favourites. A point of interest is his reluctance to use zoom lenses unless necessary. He would rather have three cameras with lenses of differing local lengths than one camera with a zoom. He uses trade processed slides and prints (colour) but feels more 'at home' working with black & white simply because he can manage his own processing throughout.
What time had he for MPS activities? He supported the Society's competitions when possible, more essentially the Annuals. As for successes, besides a number of acceptances in the Club's Annual and Dunhill exhibitions, and silver medals for slides in each of the 1990 and 1992 editions of the Dunhill, he collected second prize in the colour print section of the O&V 1991 competition and first in the monochrome section (preliminary category) of the Club's 1993 Annual.
What of the future? "Definitely photojournalism," he replied without hesitation. Political photo documentation for preference, possibly combining freelance assignments outside Malta - if necessary seeking a photojournalist career in foreign lands."
In furtherance of his ambition Darrin is, at present, in the UK, having begun a year's course in Photojournalism with the National Council for the Training of Journalists. His courage is evident in his relying on his own resources to see him through. I, and I am certain all who know him, wish him the very best of luck and success.
Copyright John D. Nunns ESFIAP 1993
© Darrin J. Zammit Lupi 2000