In the digital age, where smartphones have become the primary tool for capturing memories, the art of print photography seems to be fading into the background. But in the heart of Belfast, Northern Ireland, a dedicated camera club is working tirelessly to keep this traditional form of photography alive. The Central Photographic Association (CPA), founded in 1906, is not just a club; it's a living testament to the enduring appeal of printed photography. Despite the decline in membership over the years, the CPA continues to thrive, offering a sanctuary for those who cherish the tactile and artistic aspects of print photography.
Vittorio Silvestri, the president of the CPA, is a passionate advocate for the preservation of print photography. He believes that the decline in print images is a loss of history, stating, 'We're losing a bit of history.' Silvestri's concern is not unfounded, as the quality and technology of printed images are unparalleled. He emphasizes, 'Phone images don't have the same quality, the same technology to be able to print well.' This is a critical point, as the art of print photography is not just about the image itself, but also about the process and the final product.
The CPA, with its rich history, has been instrumental in preserving print photography. Over the years, members have contributed print photos to the Public Record Office of Northern Ireland (PRONI), ensuring that these images and their stories are preserved for future generations. Silvestri's initiative to publish a photobook, featuring 120 photographs from past and present members, is a testament to the club's commitment to preserving print photography. This book not only serves as a visual record but also as a tangible reminder of the club's rich history.
The decline in membership, from over 70 to about 30, is a concern for Silvestri. He attributes this to the accessibility of smartphones, which have made photography more accessible to the younger generation. However, he notes that these young people are not joining the club, despite the fact that 'there's no better place to learn how to use a camera than a camera club.' Silvestri's sentiment highlights the importance of community and mentorship in the art of photography.
Robert Sergeant, a member of the CPA for over a decade, shares Silvestri's passion for print photography. He appreciates the physicality of printed images, stating, 'It's nice to see that printed material. It is something you can throw on the coffee table, and if people come in to the house, it's much easier letting them see something physical than having to drag out a phone and saying, look at this.' This sentiment resonates with many, as the tactile nature of printed images offers a unique and satisfying experience.
The CPA's reliance on printed material is not just a nostalgic holdover; it's a deliberate choice to preserve the art form. Sergeant notes, 'The thing about camera clubs is we still have a strong reliance on the printed material, in that you tend to find that people who have phones and use their phones only for photography don't tend to get that hard copy.' This reliance on printed material is a testament to the enduring appeal of the art form, and the CPA's commitment to its preservation.
In conclusion, the Central Photographic Association is a shining example of how a dedicated community can preserve a traditional art form in the face of technological advancements. By embracing the tactile and artistic aspects of print photography, the CPA is ensuring that this form of expression remains alive and well. As Silvestri and Sergeant continue to mentor and inspire, the future of print photography looks bright, even in the digital age.
