A portrait of Tanera (Ar Dùthaich)

Tanera (Ar Dùthaich) is a project by Derbyshire-based photographer Kevin Percival which will be exhibited from this Sunday, 18th June, at Rhue Art in Ullapool.

The photographs featured focus on a tiny island off the west coast of Scotland, where Kevin lived and worked for several years. Like many of Scotland’s coastal communities, the challenges facing local people revolve around the struggle for employment, affordable housing and access to education and other services, and often uncertainty surrounding who actually owns the spaces and places around their homes. Tanera Mor is no different, having been bought and sold – and recently withdrawn from sale – several times over the last few decades. Nevertheless, people living on Tanera Mor, the largest of the fabled Summer Isles, work hard to make the place habitable and sustainable. As Kevin notes: “The island had a very small population when I lived there, but has a particularly interesting and close relationship with the local mainland communities. Many have lived or worked on the island, on the fish farm in the bay, fishing or running tours in the waters around the Summer Isles archipelago. As such Tanera occupies a specific place in hearts, minds and mythologies of the local people. The photographs are a ‘portrait of place’, shown through the people and the marks and effects they have on the landscape around them. Given the island’s small size, these traces often exist together, in close proximity, so you can see the effects of families living on the land 200 years ago, right next to what is happening today. Over time these traces build up, layered on top of each other forming a kind of catalogue of existence like a palimpsest. This becomes particularly evident in smaller, self-contained or continually populated landmasses, such as Tanera Mhor.”

Giving a voice to people in marginalised places, whether they reside in inner-cities or in Scotland’s vast, rural landscape, is often a calling for photographers. In many locations, history is buried beneath layers of time. Kevin’s interest and approach bears this out: “With this work I wanted to explore both this rich past, as a Viking sanctuary, and a fishing and crofting community, and its current state and the people who are leaving their traces today. Visually, I wanted to acknowledge the Romanticism of the Scottish wilderness, but contrast that with modernity – emphasising that this is a current workplace and home. Rural populations in Britain seem under-represented, both politically and photographically, and I wanted to present a project which encourages conversation around rural living and issues”

The project started in 2012 when Kevin moved to Tanera Mor for a job and it developed from there. He spent two years living on the island seasonally; eight months on, four months off and has returned to the island for at least a few weeks every year since. Shooting mostly on black and white film, Kevin’s aim was to reference the Romanticism and the photographers who have depicted Scottish islands before. As is common these days, Kevin’s approach sought to tap into the pace of life in the islands: “I also love using film because it slows me down, makes me really look at a scene and work through different compositions in my head. When every shot costs a few quid you quickly realise you can’t walk around with a motordrive going, you have to take your time with your subjects”

The project is not intended as a complete history of Tanera, nor a catalogue of everyone who has ever lived there or ever contributed to the fabric of the place. With a place like Tanera Mor, periodically inhabited for over 1000 years, such a task would be impossible. Kevin’s intention is to create a small but timeless snapshot, focused on the particulars of how the island has been managed for the past 20 or so years. Luckily, Kevin found the people he was living and working with supportive, as he explains: “I was really lucky that everyone was so welcoming, from the people who own/run the island to the local fish-farmers, course tutors and tour boat operators. I ended up photographing people from wildly different backgrounds, but for whom the island was a strong presence within their lives. Most people living in remote areas like the Highlands and Islands find they have to become modern crofters, or I suppose you could call it ‘portfolio workers’. In order to survive, most people work two or three jobs. Likewise, the island takes on very different roles for each person. For artists, writers and other creatives it is a gateway to contemplation or inspiration, for the scallop divers, creelers and fish-farmers it is their living”

Tanera (Ar Dùthaich) will be on show from this Sunday until 24th August, 2017.

 

Tanera. Photograph by Kevin Percival, 2017 all rights reserved.

Tanera. Photograph by Kevin Percival, 2017 all rights reserved.

Tanera. Photograph by Kevin Percival, 2017 all rights reserved.

Tanera. Photograph by Kevin Percival, 2017 all rights reserved.

Tanera. Photograph by Kevin Percival, 2017 all rights reserved.

Tanera. Photograph by Kevin Percival, 2017 all rights reserved.

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Read all about it!

Hogmanay revellers, Edinburgh, 1995. Photograph © Colin McPherson, all rights reserved

 

With An Independent Eye now up-and-running at Oriel Colwyn, Document Scotland’s Colin McPherson explains how his current exhibition came about and what led to the photographs being transferred from printed page to gallery wall.

“Something must be done! That oft-repeated phrase, beloved of campaigners, complainers, politicians and journalists, was on my lips when the Independent newspaper announced in early-2016 that it would cease publication as a newspaper and concentrate its output online. The title, founded 30 years previously, had provided me the opportunity over more than two decades to cover news, features, travel, sport and much, much more for the title and its sister, the Independent on Sunday.

Jacob Rees-Mogg, Fife, 1997. Photograph © Colin McPherson, all rights reserved

 

“So I decided to bring out a small compendium of images which I had either been commissioned to take for the paper, or had submitted and had published since my first assignment for them back in 1995. The 48-page book, A5-size, containing some memorable and favourite images, proved to be very popular as people looked for a small souvenirs of something disappearing from our newsstands in the UK. I had first worked for the Indy in Scotland and when I relocated south of the border in 2004, the work followed me down there. It was always an interesting mix of assignments and working for them always felt like a pleasure. Even when the papers shrank from broadsheet to tabloid, there were still people who understood the value and power of the picture, something which informed the way the Indy presented itself to the world. Their love of the monochrome image was especially prevalent in the early days and often a whole half-page would be surrendered to a photograph in order to tell or lead into a story.

“By the time the final edition rolled off the presses on the 26th March 2016, I had had over 1000 images published from stores and features across the world, some on assignment, some ideas which I had taken to the Indy myself and which they had printed.

An Independent Eye at Oriel Colwyn, 2017. Photograph © Colin McPherson, all rights reserved

 

“But the story didn’t end there. Shortly after An Independent Eye was published, Paul Sampson, the curator of Oriel Colwyn, the photography gallery with a burgeoning reputation for staging contemporary photography shows, contacted me and suggested the book would be the basis of an interesting and informative exhibition. Over the subsequent months we gently patted ideas back-and-forward until it was decided that we should display a selection of images from the book alongside the original newspaper cuttings showing the published images. As I had preserved cuttings from many of the most important stories I covered, it proved easy to put together. The result is a show which brings the recent past into focus and allows the viewer to see the original setting and context of where the pictures appeared. There are a smattering of famous people and places, iconic locations and momentous political events. Being on commission for a newspaper such as the Indy meant that every assignment looked and felt different to one another, or at least that’s how the photographers who worked for them wanted to make it look.

Fittingly, the exhibition opened on 26th March this year, precisely one year to the day since the Indy’s disappearance from the country’s newsagents and kiosks.”

An Independent Eye, the exhibition, is a joint collaboration with Glasgow’s Street Level Photoworks and the intention is that the show will tour to Scotland (venue and date TBC) and other venues across the UK over the coming months and years. It runs until 31st May, 2016 at Oriel Gallery, Colwyn Bay, north Wales.

Traveller children, Liverpool, 2004. Photograph © Colin McPherson, all rights reserved

 

Demonstrators, Berlin, 2015. Photograph © Colin McPherson, all rights reserved

 

Peat cutters, Lewis, 1996. Photograph © Colin McPherson, all rights reserved

 

Family, Swaziland, 2008. Photograph © Colin McPherson, all rights reserved

 

Male racegoers, Aintree, Liverpool, 2012. Photograph © Colin McPherson, all rights reserved

 

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Gone fishing

Fisherman Felix Impas Jr. from the Philippines, Peterhead, 2016. Photograph © Keith Lloyd Davenport, all rights reserved.

 

The work of Scottish photographer Keith Lloyd Davenport first came to our attention last year when Document Scotland held a portfolio review session in Cardiff at the launch of our Common Ground exhibition at the city’s Millennium Centre.

It’s fair to say that tackling the subject of fishermen as a documentary photographer offers both abundant source material, but comes also with a series of pitfalls. Whist the allure of Scotland’s coastal and fishing communities draws us into a rich history set against the contemporary narrative of a once-thriving industry in seemingly terminal decline, the fact that so many great photographers have spent time and effort capturing fishing in all its forms means that the bar is set incredibly high in terms of producing something relevant, interesting and different from what has gone before. Indeed in his ongoing project Mare Liberum, Freedom of the Seas, Davenport cites two legendary bodies of work, Pleine Mer by Jean Gaumy, and Fish Story by Allan Sekula as major influences. So far, so good. When it came to Davenport’s work, made chiefly at a number of locations around north east Scotland since 2014, the then final year photography student at Newport showed us a set of images which although technically good and aesthetically pleasing, left a void in terms of connecting with the subject and telling a story. There was something there, but we could not at that stage see what it was.

Fast forward almost a year, and Davenport’s project reached a milestone as a small selection formed part of his MA final show exhibition. To supplement this, he produced a newspaper with images from the project, giving further context and meaning to his work. This publication has transformed the work and what is presented on the pages illuminates both the photography and the story behind it. The idea came from discussions with friend and fellow photographer, Rocco Venezia, (who also collaborated with the design of the newspaper) to have something other than prints on the wall for the exhibition at West Wharf Gallery in Cardiff.

Mare Liberum, Freedom of the Seas by Keith Lloyd Davenport. Photograph © Colin McPherson, all rights reserved.

 

The end result connects us with the people involved in the story and the state of the Scottish fishing fleet at a time when the implications of Brexit – unknown and uncharted – will probably redefine what it means to be a fisherman in Scotland in the 21st century as the Common Fisheries Policy recedes over the horizon and into history.

It was Davenport’s connection to the area he was born – the town of Banff on the Buchan coast – which gave him the initial impetus to make the work. It is places such as this which have seen the greatest changes in fishing over the past two decades as the European Union’s decommissioning policy has wielded the axe to so many small and medium-sized fishing boats. Concurrently, the consolidation of the industry now means that so-called super trawlers now rule the roost and these enormous and incredibly high-tech vessels compete in Scotland’s territorial waters with boats from outwith the country, to land almost all the nation’s catch.

One of the most striking aspects of the work presented on the pages of his newspaper is the ethnic mix of the crew of the boats which Davenport worked with. It nails the lie that the fishing industry supports scores (hundreds? thousands?) of ‘indigenous’ jobs. I look at the Filipino faces staring back at me from the pages (around 1000 men from the Philippines have crewed for the Scottish fishing industry in the last decade) and wonder what this multicultural workforce makes of Peterhead or Fraserburgh and what these communities make of the men whose honest toil puts fish on our plates and in the nation’s chippies. It is a further mark of how the world of traditional, manual work continues to change in the interconnected, global world of business.

Scotland’s skippers were the most enthusiastic Brexiteers and it will be interesting to see how this plays out over the coming years. Hopefully Davenport, his studies behind him, will continue to find the motivation and skill to continue with this striking and worthwhile project.

View of Banff from Macduff, 2016. Photograph © Keith Lloyd Davenport, all rights reserved.

 

Working aboard the Troon-based trawler Progress, 2015. Photograph © Keith Lloyd Davenport, all rights reserved.

 

Peterhead Fishermen’s Mission, 2016. Photograph © Keith Lloyd Davenport, all rights reserved.

 

Renyl Lofranco from the Philippines, Peterhead, 2016. Photograph © Keith Lloyd Davenport, all rights reserved.

 

Pyramid Takeaway, Banff, 2016. Photograph © Keith Lloyd Davenport, all rights reserved.

 

Vic from the Philippines aboard the Progress, 2015. Photograph © Keith Lloyd Davenport, all rights reserved.

 

Cod and haddock for sale in Peterhead Fish Market, 2016. Photograph © Keith Lloyd Davenport, all rights reserved.

 

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The past present

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It would be easy to label Larry Herman’s work as ‘old school’.

His photography is indeed imbued with an aesthetic sense which resonates the past. Grainy, monochrome images which depict life at a time when Scotland’s Industrial Age was coming to an end and the new service economy and its illegitimate offspring, unemployment and job insecurity, had not yet pervaded everyday life. This would do an injustice to Herman’s work, however, the context of which is directly relevant to peoples’ lives today: our never-ending struggle for financial security and survival; the ceaseless toil of work; the quest to find justice in an increasingly unequal Britain.

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Clydeside 1974-76 currently on show at Glasgow’s Street Level Photoworks, offers us a glimpse of a world which, in strict terms, no longer exists: The men in the blast furnace at the Ravenscraig steel mill, the workers dwarfed by ships under construction on the Clyde; a woman, head bowed in concentration, sewing pockets to garments in a factory in Campbeltown, of all places. These locations, once the lifeblood of countless Scottish communities, swept away in the Thatcherite firestorm, now consigned to memory and preserved in a thoughtful, honest and soulful manner by Larry Herman’s photographs. They are intimate moments which humanise industry.

The title of the show may be geographically misleading, but the sentiments and honesty behind the work endures and cuts through this narrow definition of the life and land surrounding Scotland’s most famous – and infamous – river. By including images from as far afield as rural Argyll and Ayrshire, we are allowed to spy different aspects of life and work in 1970s Scotland. The pictures do not romanticise working life in Scotland, often the curse of the commentariat which likes to hark back to some ‘golden age’ when the world was Clyde built (neglecting to observe that this was all done on the blood, sweat and tears of the working man and woman). At the same time, Herman’s images do not portray a negativity and grimness of the occasional visitor or voyeur. His was a project, constructed over two years, which allowed him the time and space to develop his themes and narrate carefully a political strand to his output which subtlety and successfully takes a stand.

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If inequality is an oft-bandied word in today’s political lexicon, then some of Herman’s images in this show demonstrate starkly that it has always existed. The photograph of the fatted, ruddy country squires sits uneasily with a picture of family life in the vast, sprawling streets-in-the-sky of Glasgow’s Red Row flats. It is classic epic and everyday, woven together by a determinedly singular vision of the world, which has sustained a passion and fire in Herman’s work until this day, where he still shoots stories and projects with those same political themes at their core.

We emerge from the gallery, blinking in the early-October sunshine as people of all races, cultures and backgrounds colourfully tumble down Argyle Street, shopping bags swinging, music blaring. I remind myself that so much has changed for the better in this city and the regions surrounding it in the past 40 years, but at the same time, so much has remained the same.

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Larry Herman’s photographs are a reminder that photography can still prick our conscience and be a call to action, even after all these years. It is a timely rejoinder to anyone who thinks ‘old school’ is dated and irrelevant in the digital age.

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Clydeside 1974-76 by Larry Herman continues at Street Level Photoworks until 27th November, 2016. There will be a Q&A event with Larry Herman, Noni Stacey and gallery director Malcolm Dickson on Saturday 22nd October at 3pm, which is free to attend.

Gallery photographs © Colin McPherson, 2016, all rights reserved.

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Roll out the barrel…

The first delivery of barrels to InchDairnie. Photograph © Colin McPherson, 2015 all rights reserved.

This month sees the first new whisky distillery for a century officially opening in Fife.

Document Scotland photographer Colin McPherson was commissioned by the company responsible for the project, MacDuff International, a Swedish-own film with head offices in Glasgow, to document the construction of the InchDairnie facility from a brown-field building site to completed distillery.

Rather than setting a brief which would befit a commercial contract, McPherson was given unrestricted access to the site and the people working there, in order to photograph the various stages which brought the project together. He was asked only to focus on the workers and their work, to engage with them and show the many skills and attributes which are required to bring such a major project from concept to reality.

Over the course of 15 months from early-2015, McPherson made repeated visits to InchDairnie, watching the seasons changing and the buildings taking shape. The various contractors came and went and left behind their legacy. The distillery, designed and built by John Fergus and Co, began production by the end of the year as the building work continued through the wet and windy winter of 2015-16. By May 2016, with the building and landscaping work done, the final result looked as aesthetically pleasing as a fine glass of malt.

The photographs are to be archived by MacDuff International as a permanent record of the project and discussions are under way about a possible publication to mark this historic moment and showcase the work made by McPherson over the last year. In the meantime, McPherson is planning to return to InchDairnie in the coming months to photograph the team of distillers and other workers employed permanently on site.

 

Construction gets underway at InchDairnie. Photograph © Colin McPherson, 2015 all rights reserved.

Construction gets underway at InchDairnie. Photograph © Colin McPherson, 2015 all rights reserved.

 

Contractors welding parts for the stills. Photograph © Colin McPherson, 2015 all rights reserved.

Contractors welding parts for the stills. Photograph © Colin McPherson, 2015 all rights reserved.

 

Copper stills arriving at InchDairnie. Photograph © Colin McPherson, 2015 all rights reserved.

Copper stills arriving at InchDairnie. Photograph © Colin McPherson, 2015 all rights reserved.

 

Project director Ian Palmer in his office. Photograph © Colin McPherson, 2015 all rights reserved.

Project director Ian Palmer in his office. Photograph © Colin McPherson, 2015 all rights reserved.

 

An electrician working on site. Photograph © Colin McPherson, 2015 all rights reserved.

An electrician working on site. Photograph © Colin McPherson, 2015 all rights reserved.

 

Stacking and storing barrels. Photograph © Colin McPherson, 2015 all rights reserved.

Stacking and storing barrels. Photograph © Colin McPherson, 2015 all rights reserved.

 

A contractor installing machinery. Photograph © Colin McPherson, 2015 all rights reserved.

A contractor installing machinery. Photograph © Colin McPherson, 2015 all rights reserved.

 

Computer screens with data. Photograph © Colin McPherson, 2015 all rights reserved.

Computer screens with data. Photograph © Colin McPherson, 2015 all rights reserved.

 

Examining newly-arrived barrels. Photograph © Colin McPherson, 2015 all rights reserved.

Examining newly-arrived barrels. Photograph © Colin McPherson, 2015 all rights reserved.

 

Fife barley ready to harvest. Photograph © Colin McPherson, 2015 all rights reserved.

Fife barley ready to harvest. Photograph © Colin McPherson, 2015 all rights reserved.

 

The completed distillery. Photograph © Colin McPherson, 2016 all rights reserved.

The completed distillery. Photograph © Colin McPherson, 2016 all rights reserved.

 

 

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Home and away with Albion Rovers

Booklet Cover

Cliftonhill is one of the most evocative grounds in Scottish football, yet one suspects hardly anyone in Scotland could describe what it looks like or even – given Albion Rovers’ name – where it is. Photographer Iain McLean has spent many years visiting the ground as a fan and a photographer. His project, entitled More Than Just A Football Club has recently been published in book form. Here he chats to Document Scotland’s Colin McPherson, himself an aficionado of lower-league Scottish football, about his striking images of the Coatbridge-based club.

CM: I have several memories of visiting Cliftonhill in the 1980s with the team I supported, Meadowbank Thistle. The rubble-strewn ground was in a ruinous state, with its dungeon-like toilets and crumbling main stand and an owner who seemed part of the problem not the solution. And yet… it was always one of my favourite away days. From arriving at the ironic-sounding Sunnyside station to a pint in Big O’s before the game, the trip to Albion Rovers was always eagerly anticipated. When did you first connect with the club?

IM: In season 2000/01 my friend and Rovers stalwart Bill Walker suggested coming along to the club when I was on the lookout for a longterm photo project. I had never been to Coatbridge before and knew nothing of its history never mind anything about Albion Rovers. I’ll never forget seeing the stadium for the first time – a blaze of yellow and red alongside a busy road. It had an oddly exotic appearance from the outside with the colours standing out against the cold North Lanarkshire backdrop. I was impressed. Bill secured me permission to take pictures and I got started immediately. I found the fans to be welcoming and despite the state of the stadium – as you say, it was in need of a bit of TLC – I had a good feeling about being there. I originally shot on film – HP5 – developing and printing in my shed, and in the first season produced a few decent prints from games against Peterhead, Dumbarton and East Stirlingshire.

Albion Rovers v Arbroath, 2014. Photograph © Iain McLean, all rights reserved

Albion Rovers v Arbroath, 2014. Photograph © Iain McLean, all rights reserved

 

CM: Ah yes, those evocative colours, bright red and almost luminous yellow, certainly stood out from the more familiar grey sky which seemed to be ever-present there. I was particularly fond of Rovers’ mid-1980s strip which featured a series of red diagonal stripes to complement the then sponsors Tunnocks. A design classic. Your images are monochrome of course, so we’ll just have to add the colour in our imagination. What was the rationale behind using black-and-White for the project?

IM: Despite the colourful exterior,  as soon as I saw the inside of the stadium I knew the photographs had to be mono as the inside harked back to another time. Black-and-white gives the pictures a more timeless feel and also gives the whole project continuity. Your own excellent pictures in When Saturday Comes are to an extent dictated by editorial needs, but I have a little bit more freedom when it comes to how the pics are presented.

CM: Actually the WSC images reflect very much my approach to photographing football – the magazine gives me complete autonomy, it’s just the style I’ve developed over the last decade. I’d be interested in photographing a football project in mono, but I’m so drawn to the colour palette that I can’t imagine ever doing it. I think your images work really well in black-and-white as the emotion of what you capture is laid bare more starkly. You have also had the opportunity to stay close to the story, as it were, and develop a strong narrative. I love the ups-and-downs you portray. Were the Rovers supporters aware of who you are and what you are doing?

IM: I started very anonymously, just quietly mooching around seeing what was happening. Slowly the fans have become aware of me and what I am up to and I suspect I am viewed with something between mild suspicion and vague curiosity. The pics have been exhibited a few times as well as been published in local and national press, so they are well used to seeing their photographs in the public domain. I also offer a free print to anyone who asks for one by way of thanks as it is the least I can do to repay people for their help. Given that our average gate is around the 400 mark, I’m a bit limited with potential models but try not to feature the same characters too often. There are some brilliant subjects though and amongst my favourites are Andy and Mary. They are real golden-hearted gems who are, as they say in football, 110% loyal to the club, attending fundraising nights and events. Mary swears that by taking her knitting to away games it brings the club good luck. The fans (hopefully) realise that I am not out to embarrass anyone or make them appear foolish – certainly there are often quirky scenes or incidents that present themselves, but I love showing the humanity and warmth this particular group of people have. I guess the project could be about anything – I originally approached a local rugby club – but lucky for me Albion Rovers came along at the right time.

CM: Have you ever thought about widening it to include the playing staff, management, etc. Albion Rovers have had a few great characters down the years: I can imagine a night out with the legendary Vic Kasule might have had the film spinning through your camera! I suppose what I am asking is are you intending to carry on the the series, or do you feel the book marks the final chapter? It’s always difficult to know when to draw a project to a halt. There are usually milestones, after which the photographer takes stock and decides whether it’s worth carrying on. Where are you with it all?

IM: At one point I attempted to contact local people with a view to photographing them and hearing their thoughts about living next to a football stadium. Sadly nobody replied to the leaflets I posted through doors, but it may be worth another push with this idea perhaps offering some kind of incentive. Every time I think about bringing the project to an end a new opportunity arises. This year we are playing some excellent football and are currently holding our own in League 1, which is surprising because we were everyone’s favourites for the drop. So I have had new opportunities to visit new clubs (who are not in League 2) and also had the chance to record last year’s League Championship win, which as you would imagine was a fantastic day for the club and also for photo opportunities. Eventually I’d like to have a large exhibition of the photos – but first need a location and a good editor! The club have been accommodating and really helpful towards me. Provided I am not a nuisance I am allowed to go about my business in a quiet and discreet manner. I have seen various directors, chairmen and managers come and go but I rarely have any dialogue with them, although last week I met one of the directors for the first time when he was helping serve tea and coffee in the players lounge! A recent request to photograph the home, away and referee’s changing rooms was granted without any quibble and I am sure the club see the positive side to the project when we get good media coverage and have exhibitions here and there.

CM: So where can we get a hold of More Than Just A Football Club then?

IM: The 50 page photojournal is available priced £9.99 (+ p&p) from my websiteIt is also available from: Street Level Photoworks, Albion Roversfootball club, Summerlee Museum and Battlefield Framers in Glasgow.

CM: Thanks very much Iain, it’s been great talking to you. Up the Rovers!

Groundsman, Cliftonhill. Albion Rovers v Montrose, 2014. Photograph © Iain McLean, all rights reserved

Groundsman, Cliftonhill, 2014. Photograph © Iain McLean, all rights reserved

 

Albion Rovers v Montrose, 2014. Photograph © Iain McLean, all rights reserved

Albion Rovers v Montrose, 2014. Photograph © Iain McLean, all rights reserved

 

Albion Rovers mascot, 2015. Albion Rovers v Montrose, 2014. Photograph © Iain McLean, all rights reserved

Albion Rovers mascot, 2015. Photograph © Iain McLean, all rights reserved

 

Berwick Rangers v Albion Rovers, 2011. Photograph © Iain McLean, all rights reserved

Berwick Rangers v Albion Rovers, 2011. Photograph © Iain McLean, all rights reserved

 

Rangers v Albion Rovers, 2014. Photograph © Iain McLean, all rights reserved

Rangers v Albion Rovers, 2014. Photograph © Iain McLean, all rights reserved

 

Colin McPherson is “In Conversation With…” writer Kevin Williamson on Thursday 7th April, 2016 at the Scottish National Portrait Gallery in Edinburgh at 6pm. Entrey is free.

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Independent day

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To mark today’s final printed edition of the Independent, Document Scotland’s Colin McPherson talks about his contribution to the newspaper and the motivation behind the publication of a book of his photographs taken on assignment for, or published by, the paper.

Document Scotland (DS): Today, 26th March, the last edition of the Independent will hit the streets. What has been your involvement with the paper?

Colin McPherson (CM): I started working on a freelance basis for the ‘Indy’ in 1995. At the time, I was living in Edinburgh and photographing on a regular basis for the Scotsman and Herald newspapers. The first call I took from the picture desk of the Independent was to assign me the not-too-difficult task of taking a picture of St. Bernard’s Well, for a feature about writers’ favourite places. Given that it was a static object, it was pretty hard to get that wrong.

Peat cutters, Lewis, 1996. Photograph © Colin McPherson, all rights reserved.

Peat cutters, Lewis, 1996. Photograph © Colin McPherson, all rights reserved.

 

DS: From those humble beginnings you quickly started working on a regular basis for the paper. Have you any other recollections of those early days?

CM: Yes. Almost as soon as the assignments came rolling in, my former picture editor at the Edinburgh Evening News and Scotsman, Rod Sibbald, took the reigns at the Indy. We always had a good relationship and we would talk on the phone early each morning to see if or what might be of interest to the paper. It would be too strong to say he relied on my suggestions, but he regularly took them up and sent me off across Scotland to get a stand-alone image or cover some major story. The Indy was still broadsheet format at the time, and the ethos of the paper still meant that pictures were as of much value as words.

DS: Were you shooting in colour then, or was it the trademark black-and-white, for which the Independent was famed for?

CM: It was strange. Right up until the late-1990s, the picture desk would allow you to chose. If I arrived on a job and thought, ‘this will make a cracking black-and-white’ I’d  shoot it like that. For some features, where time wasn’t an issue, I’d even have the luxury of making prints in my darkroom and sending them to London. Unthinkable nowadays. Gradually they wanted everything on the news, features and sports pages shot in colour, which they turned mono on the computer. It was then that the look and quality of the paper began to change.

DS: You must have covered some fascinating events and visited amazing places with your camera!

CM: Yes, I was really fortunate that in those days picture desks would have the trust in you – and generally the budgets – to back your ideas. I spent a few days in Sancta Maria Abbey in East Lothian in March 1996 based on persuasion. The result was a page of pictures in the features section on Easter Saturday, appropriately enough, given the subject matter. I loved travelling to the farthest outposts of Scotland and discovering ways of life which were either frozen in time or disappearing, such as peat cutting, salmon netting and doing a feature on Scotland’s last jute mill, in Dundee shortly before it closed.

Taxi driver, Moldova, 2004. Photograph © Colin McPherson, all rights reserved.

Taxi driver, Moldova, 2004. Photograph © Colin McPherson, all rights reserved.

 

DS: It was a very explosive time politically in Scotland. And there were other major news stories. Did you cover big events too?

CM: Yes. I was at Dunblane on the day of the primary school shootings, which was really hard. And there was a lot of politics: the campaign to re-establish a parliament in Edinburgh was in full swing and there was Tony Blair’s victory in the 1997 General Election. Every day there seemed to be something going on and eventually it all led to the establishment of the Holyrood parliament and the infamous building project that went with it.

From the Independent Saturday Magazine, 26th March, 2016.

From the Independent Saturday Magazine, 26th March, 2016.

 

DS: You swapped Scotland for England in 2004, but still kept working for the paper. How easy was that?

CM: Not that straightforward. The daily had gone tabloid, not only in format but mentality. The picture editor at the time didn’t seem to value images as much and many of the ‘big beast’ photographers had moved on – the likes of Brian Harris, David Rose, Tom Pilston and John Voos. Luckily, Sophie Batterbury was in charge at the Independent on Sunday and still commissioned me regularly from my base in north west England. Eventually the picture desks of the two titles merged and I was able to work more regularly across both papers again.

DS: What made you decide to publish a book with your images taken on assignment or published in the Independent?

CM: I wanted to do something to commemorate the paper, to mark its passing. It’s an infrequent event, the death of a newspaper and I thought it might be nice to share some of my favourite images. I didn’t want it to be an authoritative history of my involvement, rather some snapshots of life and how its lived. And some humour too.

DS: The book came together quite quickly, how did you make it happen?

CM: The idea came to me to do something almost the day I heard that the Indy was closing. From that moment it was a bit of a scramble to get quotes for printing, decide on the layout and – most importantly and interestingly for me – select which images I wanted to show. I deliberately avoided including too many staged photographs, relying rather on individual pictures which could tell their own story. I wanted some humour in there too and I took a few liberties with the design to include a couple of pairs of images set against each other. At the end-of-the-day it’s a small, self-published book which I hope people will derive some enjoyment from. For me, it’s a keepsake, something to remember happy times out-and-about photographing for a wonderful, friendly newspaper, one which will be sorely missed by many people.

'An Independent Eye'. Photograph © Colin McPherson, all rights reserved.

‘An Independent Eye’. Photograph © Colin McPherson, all rights reserved.

 

DS: There’s already been quite a lot of interest in the book. Where can we get copies from?

CM:  Yes, it was featured by Phil Coombes on the BBC In Pictures website, and today’s final edition of the Independent Magazine carries a celebration of their photography which contains one of my images, which is very flattering. The book is available exclusively through my website. Get one, before it too disappears!

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Dunblane remembered

1996 Dunblane massacre

Twenty years ago this weekend, on 13th March 1996, a lone gunman entered Dunblane Primary School and shot dead 16 pupils and their teacher, before killing himself. Document Scotland photographer Colin McPherson was one of the first Press photographers on the scene and recalls the impact the day had on the town, its people and himself.

“I was in the offices of the Herald newspaper in Edinburgh on the morning of the shooting. A journalist came into the photographer’s room looking for one of the staff snappers and blurted out that there had been a shooting at a primary school in Dunblane. Within an hour, I had arrived in the small town to be confronted by a wave of panicking parents making their way from all directions towards the school.

“There were around half-a-dozen Press photographers who all arrived simultaneously and soon we were joined by many more, as word spread across the Central Belt of the enormity of the situation. I remember the silence, the only sound being feet scurrying across the roads and pavements. People gathered in numbers, little clusters of parents and children, outside the school perimeter. It all seemed so calm, and yet occasionally you would see people embracing, sobbing and consoling each other. None of the police were armed, yet this was only 90 minutes after the grim events had taken place.

“After a very difficult hour-or-so working on the street outside the gates, watching police, ambulances and people being led into and out of the school, I went round the back of the buildings and found a vantage point to get a shot of the whole site. I was astonished to see children looking out of a classroom window, seemingly oblivious to what had unfolded, guarded by a solitary, uniformed police officer.

“It was a raw, cold day, and the emotion of it all seemed to be frozen. I am sure it was just that no-one could imagine such an event taking place in such a sleepy and pleasant location such as Dunblane. The organised stoicism of people that day, the dignity in the way they conducted themselves, will remain with me forever. It was as if they were immediately aware of the potential of destructive consequences being visited on their community and collectively the people were saying: ‘you will not break us’.

“I don’t remember any particular hostility to the Press in general or photographers in particular. So many of the journalists were parents too, of course, and that solidarity seemed to come through. By the lunchtime of the 13th, writers and photographers from London started arriving and it was time for me to organise developing my films, scanning and sending photos to the Independent.

The enormity of it all didn’t hit me until later that day when I was driving back home in the dark. In those pre-internet days news travelled more slowly, so the first time I ‘caught up’ with the story was on Radio Scotland’s teatime news. The whole thing hit me like a ton of bricks at that point. The rest of the journey was very difficult.

“I was asked to return to Dunblane by the Independent for the next two days, after that the picture editor gave me the chance to cover another story, the Glasgow Science Festival, for which I was very grateful.

“I returned to Dunblane often in the weeks and months after the massacre. There were political and Royal visits, remembrance services and an official inquiry. The images I took that day had a lasting impression on me and my career: the photographs were syndicated by Sygma, and I was asked to join the prestigious agency, for whom I then worked for a number of years.

Twenty years on, I still feel the emotion of that terrible day every time I drive past or near Dunblane. I think of the people and what they suffered and how they rebuilt their lives and their community and hope that no-one has to go through what they went through.”

A young girl is carried away. Photograph © Colin McPherson 1996, all rights reserved.

A young girl is carried away. Photograph © Colin McPherson 1996, all rights reserved.

 

An ambulance arriving at Dunblane primary school. Photograph © Colin McPherson 1996, all rights reserved.

An ambulance arriving at Dunblane primary school. Photograph © Colin McPherson 1996, all rights reserved.

 

A crying woman is comforted outside Dunblane primary school. Photograph © Colin McPherson 1996, all rights reserved.

A crying woman is comforted outside Dunblane primary school. Photograph © Colin McPherson 1996, all rights reserved.

 

A police officer stands guard. Photograph © Colin McPherson 1996, all rights reserved.

A police officer stands guard. Photograph © Colin McPherson 1996, all rights reserved.

 

A group of adults and children embracing. Photograph © Colin McPherson 1996, all rights reserved.

A group of adults and children embracing. Photograph © Colin McPherson 1996, all rights reserved.

 

Document Scotland has taken the decision to publish a small selection of Colin’s images to accompany his testimony. We hope that you understand that these are for illustrative purposes and we do not seek to offend or upset anyone by doing so.

 

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The Beautiful Game

Edinburgh City versus Spartans. Photograph © Colin McPherson, 2015 all rights reserved.

Edinburgh City versus Spartans. Photograph © Colin McPherson, 2015 all rights reserved.

 

One of the most pleasing spin-offs from the launch of our show at the Scottish National Portrait Gallery has been the blizzard of positive press coverage for the show.

Added to this, the BBC commissioned and made a short film about Colin McPherson’s work, which has been released on the corporation’s website today. Focusing on the images from When Saturday Comes, filmmaker Dan Curtis spent last weekend interviewing Colin in the gallery and then following him around as he photographed local club Edinburgh City as they hosted Spartans FC in a match at the Commonwealth Stadium.

 

The Grandstand at Meadowbank Stadium. Photograph © Colin McPherson, 2015 all rights reserved.

The Grandstand at Meadowbank Stadium. Photograph © Colin McPherson, 2015 all rights reserved.

 

The film identifies what Colin looks for when photographing football and combines stills from The Ties That Bind with the images captured during last Saturday’s game.

 

Happy Edinburgh City players. Photograph © Colin McPherson, 2015 all rights reserved.

Happy Edinburgh City players. Photograph © Colin McPherson, 2015 all rights reserved.

 

The film is intended for broadcast on the BBC terrestrial television, so you might get a chance to see it on programmes across the network at some point very soon. And in case you wondered, City defeated Spartans 1-0!

 

Colin and Document Scotland would like to thank Dan Curtis for making the film, Edinburgh City FC for being such generous hosts and the staff at the Scottish National Portrait Gallery for facilitating the filming.

 

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Cafe Royal Books

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We are delighted to announce that publisher Cafe Royal Books has produced a very special, limited edition box set of work by Document Scotland’s four photographers.

Timed to coincide with our exhibition entitled The Ties That Bind, which opens at the end of September at the Scottish National Portrait Gallery in Edinburgh, the compendium of work comprises four photo-essays, each with their own distinctive flavour.

The editions were produced as individual publications, but the man behind Cafe Royal Books, publisher Craig Atkinson, has gone the extra mile by bringing the four into one and presenting them in a slim, but stylish box.

The four stories featured are:

North Sea Fishing (Jeremy Sutton-Hibbert)

Aboard the seine netter Argosy. Photograph © Jeremy Sutton-Hibbert, 1995, all rights reserved.

Aboard the seine netter Argosy. Photograph © Jeremy Sutton-Hibbert 1995, all rights reserved.

 

Dookits (Stephen McLaren)

A solitary dookit. Photograph © Stephen McLaren, 2015, all rights reserved.

A solitary dookit. Photograph © Stephen McLaren 2014, all rights reserved.

 

Tunnock’s (Sophie Gerrard)

Mr Boyd Tunnock. Photograph © Sophie Gerrard 2013, all rights reserved.

Mr Boyd Tunnock. Photograph © Sophie Gerrard 2013, all rights reserved.

 

Sancta Maria Abbey, Nunraw (Colin McPherson)

Monks at dawn prayers in the chapel at Sancta Maria Abbey at Nunraw. Photograph © Colin McPherson, 1996 all rights reserved.

Monks at dawn prayers in the chapel at Sancta Maria Abbey at Nunraw. Photograph © Colin McPherson 1996 all rights reserved.

 

Each edition will be available to purchase through Cafe Royal Books website and at the SNPG at the launch of our show. The box set – limited to an edition of 50 – is also available directly from the publisher. Grab one quick before they are all snapped up!

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The Ties That Bind

SNPG_Framer-01

We are less than a month away from the launch of our forthcoming exhibition at the Scottish National Portrait Gallery in Edinburgh, which opens on 26th September 2015.

Curated by the gallery’s Curator of International Photography, Anne Lyden, The Ties That Bind brings together Document Scotland’s four photographers who each present projects which have been inspired by the period of intense debate and self-examination among Scots, in the run-up to, and aftermath of the Referendum in September 2014. Each photographer – Stephen McLaren, Jeremy Sutton-Hibbert, Colin McPherson and, Sophie Gerrard – has created a body of work which considers a different strand of Scotland’s culture and heritage, and in the process explores very timely questions of personal and national identity.

 

For The Ties That Bind, McLaren, Sutton-Hibbert, McPherson and Gerrard have created four groups of work that consider legacy —Scotland’s role in the slave trade and sugar plantations of Jamaica in the 18th century; tradition —the centuries-old celebration of Border towns in the Common Ridings festivals; engagement —the devotion and commitment from football supporters in small towns and communities across the country; and the land itself —focusing on contemporary farming through the experiences of six women.

Rozelle, Jamaica. Photograph © Stephen McLaren, 2015 all rights reserved.

Rozelle, Jamaica. Photograph © Stephen McLaren, 2015 all rights reserved.

 

A Sweet Forgetting, Stephen McLaren’s project, revolves around the involvement of Scots in the sugar economy of Jamaica in the 18th and 19th centuries, which was built on the back of slave labour from Africa. McLaren spent a month in Jamaica looking for the sites of plantations owned by seven Scots men of that era, before coming back to Scotland to trace how these men spent their wealth, and what is left of this legacy today. McLaren’s photographs largely concentrate on the mansions and estates purchased with funds from the slave trade. One of the plantation owners McLaren studied was the politician and poet Robert Cunninghame Graham (1735-1797), who owned several estates in Scotland as well as a Jamaican plantation at Roaring River and made his fortune from slave plantations. A Sweet Forgetting suggests that Scotland has perhaps largely forgotten how much of its economy was dependent on slave labour in Jamaica. McLaren’s subtle, but provocative work considers Scotland’s past and how it shapes the present, as well as how we choose to remember the past.

Common Riding, Selkirk. Photograph © Jeremy Sutton-Hibbert, 2013 all righted reserved.

Common Riding, Selkirk. Photograph © Jeremy Sutton-Hibbert, 2013 all righted reserved.

 

For Unsullied and Untarnished, Jeremy Sutton-Hibbert focused on the Scottish Borders area and its traditional summer festivals, known as the Common Ridings. During the Common Ridings, riders chosen as representatives of their communities symbolically survey the boundaries of the town’s and burgh’s common lands. Participating in the yearly ritual is considered an honour for the local youths; the Common Ridings are an opportunity to represent their community by carrying the standard around the neighbouring borders of the common land, before bringing it back “unsullied and untarnished”. During the festivals, “exiles” return home to partake in events and greetings are often sent by those unable to make the journey, while bonds are re-established with neighbouring towns. Intrigued by the history of the festivals Sutton-Hibbert visited various towns, including Hawick, Selkirk and Jedburgh among others and made portraits of the riders and other participants in traditional outfits. By looking at how the history and sense of community is kept alive, Sutton-Hibbert explores traditions and their legacy in modern society.

'The Cowshed, Greenock Morton. Photograph © Colin McPherson, 2015 all rights reserved.

The Cowshed, Greenock Morton. Photograph © Colin McPherson, 2015 all rights reserved.

 

Colin McPherson’s contribution to The Ties That Bind is entitled When Saturday Comes, after the eponymous football magazine which has commissioned McPherson over the last 10 years to photograph football culture both in Scotland and further afield. An ardent football fan himself, McPherson has used the opportunity to explore the game at all levels, although for this exhibition he has focused on lower-league football and the rituals associated with the sport; his photographs explore the sense of belonging and commitment shown by supporters, players and those charged with running clubs – from Berwick Rangers to Fraserburgh. For a lot of people football is an experience first encountered at the community level of village youth clubs and small town teams. As a weekend ritual it draws people together on the stands or grassy verges in all weather and seasons to celebrate or commiserate over the game at hand. This sense of engagement and loyalty is one that is echoed around the land every Saturday.

Sarah, Isle of Eigg. Photograph © Sophie Gerrard, 2015 all rights reserved.

Sarah, Isle of Eigg. Photograph © Sophie Gerrard, 2015 all rights reserved.

 

The fourth project in The Ties That Bind, Drawn to the Land, is Sophie Gerrard’s ongoing exploration of women in the contemporary Scottish landscape. Gerrard’s photographs offer a glimpse into the lives of six women farmers in a variety of Scottish settings (Argyll, Perthshire, the Scottish Borders, the Isle of Eigg and the Isle of Mull), and how they shape, and are shaped by, their surroundings. Working as hill farmers with responsibility for remote and diverse parts of the land, these women identify as custodians rather than as landowners, and often talk of being drawn to the hill. For Drawn to the Land, Gerrard set out to understand her own connection with the Scottish landscape, which is often seen as a symbol of national identity and nostalgia. To explore the topic she chose to focus on female farmers, often under-represented in the UK despite the number of women in farming increasing significantly in recent years. Through each of these women’s compelling stories, Drawn to the Land presents an emotional response to this country’s rugged mountains and remote lochs and islands and a wider story of Scotland’s national identity.

 

While the work touches on the political landscape around the Referendum, the images do not affirm any one position, but seek to portray a multiplicity of views that portray the complex challenges and subtle nuances surrounding the larger debate. Together these images create a compelling dialogue about Scotland, its people, diversity and culture, and reveal the subtle nuances that shape a nation’s identity.

 

Christopher Baker, Director of the Scottish National Portrait Gallery, said: “Document Scotland has impressively addressed through The Ties That Bind some key themes about belonging and history, the resonance of Scottish heritage and diversity of community life across the country today. Their work demonstrates the outstanding quality of contemporary documentary photography and its ability to provoke us to think about issues of individual and collective identity.”

 

Document Scotland: The Ties That Bind is part of the IPS (Institute for Photography in Scotland) 2015 Season of Photography, a series of exhibitions and events taking place across Scotland from April to September 2015. The exhibition will run until 24th April, 2016. Admission is free.

 

Document Scotland would like to acknowledge and thank Creative Scotland and the University of St. Andrews Library’s Special Collection for supporting the making of the work for The Ties That Bind.

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Another layer of steel

Andy Scott's Steel Man

During the spring and summer of 2014, I spent several months exploring the site of the former Ravenscraig steelworks in Lanarkshire.

Once Europe’s largest hot strip mill, the British Steel plant employed thousands of men – and some women – in what was commonly regarded as Scotland’s industrial heart from when it opened in 1957 to its controversial closure in 1992. When it shut, the surrounding area was devastated economically and socially and after the site was cleared in 1996, lay derelict and neglected for many years.

My project looked at the Ravenscraig site today and the people who were endeavouring to bring the area back to life. I photographed and interviewed people who had worked in the plant, as well as those now studying, working and living at the college, sports centre, businesses and housing estates slowly springing up on a site which is double the size of the principality of Monaco.

Andy Scott welding Steel Man in his studio workshop. Photograph © Colin McPherson 2015, all rights reserved.

Andy Scott welding Steel Man in his studio workshop. Photograph © Colin McPherson 2015, all rights reserved.

 

The result of my work was The Fall and Rise of Ravenscraig which was exhibited as part of Document Scotland’s Common Ground exhibition at Street Level Photoworks in Glasgow in the autumn of 2014. As with many projects, the story didn’t seem to end there. In the run up to the show, I had met Andy Scott, the acclaimed Scottish sculptor whose most celebrated work, the giant Kelpies statues was one of my favourite pieces of public art in the world.

I discovered that Andy was working on a new piece, which had been commissioned by a group of people connected with the steel industry in Lanarkshire, who wanted to make a commemorative statue to honour those who had lost their lives in the service of iron and steel making in Scotland. When I first visited Andy’s studio workshop in Glasgow, the parallels with steel making were instantly apparent: welding gear, safety equipment, heat and sparks flying everywhere. And before my eyes, rivet-by-rivet, Steel Man was taking shape.

Andy Scott during a break whilst working on Steel man. Photograph © Colin McPherson 2015, all rights reserved.

Andy Scott during a break whilst working on Steel Man. Photograph © Colin McPherson 2015, all rights reserved.

 

The major difference was scale: whilst Andy painstakingly crafted his statue with the precision of a jeweller, Ravenscraig was a belching furnace, a difficult and dangerous place of work, where many injuries were sustained and lives lost. Notwithstanding that places like Ravenscraig produced the steel which made everything from airplanes to washing machines and powered Scotland’s economy, those that worked there did so out of necessity, not choice. They also had no choice when the plant closed. Some took redundancy, some left the area to find employment and many simply never worked again.

Andy Scott working in his studio workshop in Glasgow. Photograph © Colin McPherson 2015, all rights reserved.

Andy Scott working in his studio workshop in Glasgow. Photograph © Colin McPherson 2015, all rights reserved.

 

As the statue progressed during the spring of 2015, it became apparent to me that it was not only a timely memorial to the past but a symbol of hope for the future. Ravenscraig today may not be the site of an economic powerhouse, but slowly, surely it is coming back to life. Steel Man is a poignant reminder of what has gone before, but as a piece of art by one of Scotland’s best-regarded contemporary creative minds, it offers us a glimpse of what is possible if a group of people are determined to make something happen. The fundraising effort to bring Steel Man to life involved people from the old industry and those determined that the site should have a positive future.

Steel Man taking shape in Andy Scott's studio workshop. Photograph © Colin McPherson 2015, all rights reserved.

Steel Man taking shape in Andy Scott’s studio workshop. Photograph © Colin McPherson 2015, all rights reserved.

 

Steel Man was finally unveiled at a moving and celebratory ceremony in June 2015, when the statue was shown off for the first time. Former steelworkers, trade unionists, religious and civic leaders were joined by local school pupils, supporters of the project and Andy Scott himself, who talked about the statue and how much it meant to him to create. There were prayers and dedications to those who had perished and as the wind whistled around, it was not difficult to image in noise, dust, smoke and heat of Ravenscraig past.

For me, it was another fascinating layer to the story of Ravenscraig, one which I first became acquainted with on a hot July afternoon in 1996, when the Independent commissioned me to photograph the destruction of the iconic cooling towers by controlled explosion. It took me fully two decades to return to Motherwell to take up the story again, but if I hadn’t, I would not have encountered so many interesting and inspirational people, and I would not have met Steel Man either.

Coverage of the making of Steel Man in the Independent. Photograph © Colin McPherson 2015, all rights reserved.

Coverage of the making of Steel Man in the Independent. Photograph © Colin McPherson 2015, all rights reserved.

Workmen preparing for the Steel Man unveiling. Photograph © Colin McPherson 2015, all rights reserved.

Workmen preparing for the Steel Man unveiling. Photograph © Colin McPherson 2015, all rights reserved.

Pipers welcome guests to the Steel Man unveiling. Photograph © Colin McPherson 2015, all rights reserved.

Pipers welcome guests to the Steel Man unveiling. Photograph © Colin McPherson 2015, all rights reserved.

Flowers growing on the Ravenscraig site. Photograph © Colin McPherson 2015, all rights reserved.

Flowers growing on the Ravenscraig site. Photograph © Colin McPherson 2015, all rights reserved.

Former steelworkers gather at the unveiling. Photograph © Colin McPherson 2015, all rights reserved.

Former steelworkers and their families gather at the unveiling. Photograph © Colin McPherson 2015, all rights reserved.

The unveiling ceremony of Steel Man. Photograph © Colin McPherson 2015, all rights reserved.

The unveiling ceremony of Steel Man. Photograph © Colin McPherson 2015, all rights reserved.

Andy Scott and Steel Man at the official unveiling. Photograph © Colin McPherson 2015, all rights reserved.

Andy Scott and Steel Man at the official unveiling at Ravenscraig. Photograph © Colin McPherson 2015, all rights reserved.

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