The 1839 invention of photography in France and Britain concurrently triggered a minor revolution in civilisation. Life changed imperceptibly and memory changed profoundly.

By a series of fortunate coincidences, Malta found itself among the earliest to be exposed to this amazing technological breakthrough. Foreign, and shortly later, local professional photographers quickly hitched a ride on the bandwagon.

Unfortunately, the rich and exciting history of photography in Malta did not raise much interest until Margret Harker published her pioneer research in 2000. A few others shortly later took up the challenge.

In its beginnings, photography started as anything but a simple process. Every stage depended on intricate chemical and mechanical skills of those who aspired to practise the art.

In today’s world, conditioned by a click of an iPhone for an instant selfie, it becomes difficult to appreciate how complex, risky and expensive photography was in the 19th century – hand-crafted lenses and cameras, home-made sensitive emulsions, slow speeds, manual focussing, tripods, messy developing, printing, fixing – all made photography the almost exclusive domain of passionate camera artists.

A page in the photography manual illustrating 'Le Marveilieux', the Lancater camera recommended for beginners. Photos: Courtesy of William Zammit

Very few amateurs had the skills, the resources and the leisure to face the challenges of early photography.

And in fact, though several Maltese Victorian professional photographers have left a record of their work, not surprisingly almost nothing is known of the ‘amateur’ scene.

More reason why it comes as a very pleasant surprise to discover a popular manual on photography-made-easy, written in Maltese and published 130 years ago, as early as 1895.

Many mysteries surround this handbook, especially the profile of its author. The publication is entitled Tghallim Tal Fotografia migbur minn E.L.V. Autur tal Ctieb tal Chcina.

The author had his book published by A. Aquilina e Co, Librari-Edituri, Strada Reale No. 58, il Belt and printed by C. Busuttil, it triek tal fran, 133. Kevin Casha first drew attention to this manual in 2016.

ELV, the author, remains an enigma. No biographical dictionary ever mentions him, though his literary output in Maltese results quite abundant. William Zammit, who owns a copy of this work, has listed other popular books in Maltese by ELV, besides the manual on photography: Chif Ghandna Ingibu Ruhna Fis-Società, 1895, published by Calisto Maistre Editur, 114, 115 u 116, Strada Teatru, Valletta; Taghlim ghal poplu – Gemgha ta pariri, ricetti u taghlim utili u piacevoli miktubin b’mod li jfimhom culhatt, 1903, published by the Stamperia Tal Malta, 16, Strada Zecca, Valletta; Kif ghanda tinzam id-dar, 1904, published by A.C. Aquilina & Co,  Librari-Edituri, Strada Reale Nru. 58, il Belt; Ma Ghandecx – giabra ta sbalji li ma ghandomx isiru, u irregolarità li ghandna naharbu fill condotta taghna f’is-società, 1905, again published by A.C. Aquilina & Co, Librari-Edituri, Strada Reale, 58, il Belt.

The frontispiece of the 1895 Maltese manual of photography by ELV.

These publications do not seem to be housed at the National Library, which however has another book by ELV, Ctieb tal Chcina, 1894, published by A. Aquilina e Co. and printed by C. Busuttil of No 133, Strada Reale(?), il Belt.

Internal evidence from the photography book reveals the higher education of the author. He writes good current Maltese without any purist bias and grammatically almost faultless.

Although the ‘language question’ had not yet bedevilled local politics intensely, his choice of Maltese belies his non-snob, democratic credentials. He has mastered the technical intricacies of photography and is eager to share what he has learnt. He also underscores another of his aims – that of seeing others use the Maltese language to spread learning.

The author’s several other publications in Maltese, which I have not read, show him as a person of wide-ranging interests – from photography to cooking, from housekeeping to etiquette.

I find it curious that, with the glut of cookery books being published in Malta, no one has so far considered a serious study of ELV’s, quite likely the very first cuisine manual in Maltese. Does it transpose foreign recipes, or does it try to record traditional domestic culinary traditions?

ELV changed publishers several times. In the space of 10 years, he used A.C. Aquilina (where Charles & Ron formerly ran their fashion outlet), Calisto Maistre and the Malta printing press. The last one could be revealing. The Malta represented the outspoken anti-colonialist opposition and those not afraid of identifying with unpopular political stances generally patronised it.

L’Instantograph Lancaster camera, mid-range 1892 model, recommended by the author.

But who was ELV? There are faint traces of an Edoardo Luigi Vella, but only as an insubstantial ghost. I have never come across any photographic work signed by him. Charles Paul Azzopardi, a historian of photography, knows of a late Victorian photo, clearly stamped on the back ‘Edward L. Vella Amat(eur) Photographer’.

The preface of the book Ghal min jakra again throws some light on the author. He confesses his concern that youngsters in other countries had plenty of publications to learn photography from, while those Maltese youths who did not now Italian or English so far had no way of learning.

But who was ELV? There are faint traces of an Edoardo Luigi Vella, but only as an insubstantial ghost

He had those unprivileged in mind.  It is clear that for him photography was not to be seen as a vehicle for creative art, but another practical trade biex jakilghu biccia hobz. Nothing wrong with that. In fact, very Maltese that aesthetic values are irrelevant, so long as there is some money to be made.

The book starts with describing the basic equipment needed for photography. Vella praised what the firm J. Lancaster & Son from Birmingham offered for sale as the best, most reliable and cheapest, and goes on to illustrate the specifications of four of their more popular models, all to be used with a tripod.

The firm remained active in business from 1835 to 1955. At one time it claimed to be the largest camera manufacturer in the world, having merchandised over 200,000 cameras. It held patents for and produced enlargers, magic lanterns, multi-image, watch, stereoscopic and pocket cameras, microscopes and telescopes.

The International Lancaster camera proposed by ELV as an excellent, and expensive, buy for professional photographers.

Vella rounds off this chapter by recommending two photographic outlets in Malta, R. Ellis in Strait Street and is sur Cassar (Salvatore Lorenzo) in front of St John’s Co-Cathedral, who stock whatever one may need. They both develop and print negatives by amateur photographers.

This chapter about equipment is revealing as it lists prices in some detail. The cost of the cheapest model of cameras, Le merveilleux, including tripod and lens, depended on the size of the glass negative – quarter plate 21/-, half plate 42/-, full plate, 63/-. The most expensive camera, the International designed for advanced professionals, “one of the best cameras ever made. Comprises all novelties… has an instantaneous shutter.” Including lens and tripod, for quarter plate photos it cost 50/-, half plate 100/- and full plate 150/-.

In today’s terms, this translates into: the cheapest model cost €1.30, the largest and most expensive, €9. The author recommends beginners to start by using quarter-plate cameras as, at first, they will make several mistakes owing to inexperience and will have to throw away many glass plates. Overall, he advises novices never to buy second-hand equipment.

Vella’s chapter on the several chemicals needed to develop the negative glass plate and the paper photograph elicits admiration for his efforts into Maltesising scientific chemical terms: bromidu, spiritu di vinu which, he claims, needs no explanation as everyone knows about it – do you? Then, bicloridu, and ossalat tal-putassa. Alum, which my father used to stanch small cuts after shaving, he translates as xropp il-gmied, a phrase new in my vocabulary.

I believe we need not get lost in the pages and pages of intricate and alternative chemical formulas and suggestions for developing, fixing and printing negatives and ultimate prints. Vella avoids any mention of colour photography, then quite advanced, but far more complicated, challenging and unpredictable than monochrome.

Rubber stamp used by ELV in 1898 on the backs of photos taken by him. Photo: Courtesy of Charles P. Azzopardi

On the contrary, the author’s advice on portrait and group photography proves nothing less than fascinating. Portraits, which he calls ritratti, are to be taken of persons dear to us, or of friends “who today are with us but tomorrow, only God knows where they will be”.

The sitter should be in the shade, and if she is a woman, we must be affable towards her, have patience and gracefully explain to her how she should pose. She must not smile but hold her lips tightly shut and not move her head. Smiling in portraits became de rigueur much later. Earlier, mostly because of poor dental health and hygiene, protocol forced sitters to look gaunt and banish from their visage anything revealing joy.

Portraits should never be frontal – one side of the face ought to be more shaded than the other, “this is what confers beauty to portrayals”. Those taken in a professional studio, geuua il baracca tal hgieg, always result better than those taken by amateurs fl aria aperta.

Vella goes to town with his advice on group photos. The sitters should face the camera forming a crescent, some standing, others sitting and a few in front lying down.

The background should be attractive, say a fountain and trees or a striking building. Advise the sitters to look in different directions to avoid them all glaring at the camera, li hia tant chergha.

Those wearing dark colours should be at the centre, those with the lighter attires on the sides. And, above all, do not include dogs in the group, as many opt to do. Dogs, unless perfectly obedient to their owner, will move during the exposure, bizzejed biex ihassarlec collox. Those who want a photo of their pet can always snap it solo u ma ikieghdux mal bnedmin.

One of the last chapters deals with the sensitive issue of whether and how to retouch a negative-early photoshop. Here again, a streak of patronising Victorian misogyny transpires. Special pencils are available, and these help bags under the eyes appear less noticeable and make wrinkles disappear – “old people can become youngsters, but the portrait will still be a good resemblance.

“Women, in particular, want their photos doctored as they know that retouching is capable of giving the lie to their birth certificate.” Malta is lucky having professional photographers who, ghal bagatella, will retouch your negatives, print and frame them.

Acknowledgements

My thanks to Dr Charles Paul Azzopardi, Kevin Casha and Prof. William Zammit.