Oot Tae Play

The British Journal of Photography recently announced their shortlist of photographers for their Portrait of Britain photo project, and we’re delighted that photographers and work from Scotland made the cut. Jeremy Sutton-Hibbert‘s portrait from Langholm Common Riding (from his Unsullied and Untarnished book of the Scottish Common Ridings) was selected, as are two portraits be Edinburgh-based Euan Myles (and here), and also a portrait (first image below) by Ilisa Stack from her series ‘Out tae Play’. We contacted Ilisa to find out more about her work and project…

 

Shortlisted image of Michaela, selected from 13,000 entries for the Portrait of Britain Award. © 2018 Ilisa Stack, all rights reserved.

 

Oot Tae Play, by Ilisa Stack.

I have always had a love and desire for photography from the days as a little girl who used to watch her dad developing film in the darkroom to taking everyday snap shots of my own family through the years, however it was not until 2014 when I was accepted into the Hnd photography course at City of Glasgow College that my photography exploration really began. I completed my Hnd and went on to study for the BA (Hons) Degree in which I recently graduated from in June.

The four years studying at COCG really was a joy. The first fast paced years of the course aided my photographic skill set tremendously. With all the given briefs completed I could really start to see the documentary path that my photography was leading towards. I could not wait to start the degree years for that path to develop further with the gentle guidance and support of the hugely talented lecturers at City, as well as inspiring talks from photographers such as Kirsty MacKay and Magnum photographer Martin Parr. The college really has such an atmosphere surrounding it and proved to me to be a wonderful creative hub.

The origins for the Oot tae Play series actually started when I was visiting Hartlepool in 2016 researching Daniel Meadows inspiring book ‘The Bus’. I was drawn to reading about Mary Clark one of his the subjects. Mary’s character reminded me of many of the great Glasgow women I knew. I walked along the beach at Hartlepool and took a few shots; however the area was very quiet except for my boys playing with an old rope they had found. I also came across a concrete play area at the sea-front and as I looked through my viewfinder, an eerie feeling came over me. Later that night everything made sense. My children walked in front of me into the entertainment area of the holiday park we had been staying, to the left of them was a brightly lit over the top stall set with toys galore and directly in front of them was a dance floor and stage full with children laughing and playing. At that very moment I realised it was children that had been vacant from the beaches and play areas. That was the point ‘Oot tae Play’ was created.
I wanted to create work that involved children and their environment, i realised that I could work on a project in my own city which was a revelation for me as a lot of my work consisted of projects that incurred many miles.

 

 

G32 | Age 3 | Scooter | 2018. © Ilisa Stack 2018, all rights reserved. 

 

I advertised the project on social media platforms with a poster that I had created to inform parents and carers who may be interested in their children taking part in the series to show the requirements of the project. The online presence was extremely successful and I had instant numerous responses.
At the start of the project I knew some of the children or I knew their parents, as the series has progressed that has changed and it is wonderful that people now are approaching me and wanting their children to be a part of the ‘Oot tae Play’ kids.
I choose to approach photographing the series in this way as I felt it is a modern way of communication. For me it is a very honest approach. I inform and explain to the parents before the shoot day that the proper releases will need to be signed.
The amazing children who have taken part so far all receive a high resolution image from the shoot, and a certificate to say that they have taken part in the ‘Oot tae Play’ series. It is much more than that though, they are now a community of children. One of the children Cari has now moved on to secondary school since I initially photographed her, her mum has informed me that she is planning on becoming a photographer. Michaela another child from the series’ mum informed me that she had went into school and enjoyed telling everyone about her shoot and showed the image to her class. Fifteen year old Declan’s mum was surprised that he wanted to take part in the project but because the shoot included what he does when he’s is outside, he was more than happy to take part and show his ball and team strip.

 

G32 | Age 6 | Scooter | 2018. © 2018 Ilisa Stack, all rights reserved.

 

The pictures tell a story of capturing a pictorial documentation of children today, how they play, what they play with and the outside environment in which they play. I would hope the images convey a positive representation of Glasgow children. (There also exists a short film of the children and their toys, from ‘Oot tae Play’)


Working on the series has outlined a huge shift in social change in regards to the photographic documentation of children today. These contemporary portraits may still be too current to show the lack of images being taken of children out with a studio environment or family online albums.

It is a tremendous privilege for me to photograph the ‘Oot tae Play’ children and the aim at the moment is to continue to build upon the body of work. It would be very interesting to see and photograph the children again in the future and is something for me to consider.

G73 | Age 14 | Snow | 2018. © 2018 Ilisa Stack, all rights reserved.

 

I receive inspiration from various sources and it is extremely difficult to narrow that down but in terms of photographers work though I have to mention Thomas Annan, Bert Hardy, Oscar Marzaroli, Edith Tudor-Heart, Tish Murtha to Joel Sternfeld, Jim Mortram, Daniel Meadows, Kirsty MacKay and painter Joan Eardly, to name but a few. Whilst being a student you learn a lot of skills and one of those skills is confidence. It for me was really daunting to put work out in the world for others to see other than that of my lecturers. Credit for me entering the BJP really goes to Aileen Campbell my then lecturer. I was given so much encouragement to enter the competition. I am absolutely delighted that my image has been shortlisted for the BJP and that I will have an image printed in the Portrait of Britain book. I cried many a happy tear when I found out. I am in awe of the images that have been shortlisted and it is just lovely to be included in that part of the process. It has been wonderful sharing the news with Michaela and finding how excited she is that her image will be printed in the book. We look forward to the outcome of the shortlist, yes it would be a dream to make the final 100, however I really don’t think Glasgow has enough tissue paper for the tears of joy I would shed if that was the outcome.

 

G44 | Age 5 | Dinosaur | 2018. © 2018 Ilisa Stack, all rights reserved.

 

At this moment in time I am still working on ‘Oot tae Play’. I am however researching background information for two new projects.
I have also been extremely fortunate to have been contacted in June of this year to take part in an exhibition at the aff Galerie in Berlin this October as part of the Monat der Fotografie OFF- Berlin by Malcolm Dickson, Gallery Director at Street Level Photoworks. I’ll be giving a short talk on the work in Berlin on Sunday 14th, which is the opening weekend of the Monat der Fotografie OFF Berlin, which the exhibition is a part of. I am so pleased to be presenting some of the ‘Oot tae Play’ series.

I am delighted that recently I have had an image shortlisted for the Scottish Portrait Awards. This again was wonderful news and as one of the 30 to have been shortlisted the image will be exhibited at Edinburgh Arts Club, Saturday 3 November to Saturday 1 December 2018 and then again at the Glasgow Art Club on Monday 21 January to Saturday 9 February 2019.

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PLANES, TRAINS AND AUTOMOBILES.

PLANES, TRAINS AND AUTOMOBILES: TRANSPORTATION PHOTOGRAPHS

FROM THE NATIONAL GALLERIES OF SCOTLAND 
2 June 2018 – 13 January 2019
Scottish National Portrait Gallery
1 Queen Street, Edinburgh EH2 1JD
0131 624 6200 | Admission FREE
#PlanesAndTrains

Part of Edinburgh Art Festival 2018

The extraordinary advances in the technology of travel over the past 170 years, and their wide-ranging impact on our lives will be the subject of a dramatic and inspiring new exhibition of photographs at the Scottish National Portrait Gallery (SNPG) this summer. Planes, Trains and Automobiles will draw upon the outstanding collection of the National Galleries of Scotland to consider the rapid expansion of transportation from the end of the Industrial Revolution to the present day. It will feature 70 exceptional images, including key images by Alfred G Buckham and Alfred Stieglitz, which demonstrate how the technologies of photography and transport have evolved in tandem, each of them broadening our horizons and radically altering our perception of our ever-shrinking world.

The exhibition will include iconic photographs such as The Steerage, a career-defining image by the American photographer Alfred Stieglitz (1864-1946), made in 1907, while he was travelling to Europe by sea; and Inge Morath’s striking portrait Mrs Eveleigh Nash, The Mall, London (1953). Walking on the first-class deck, Stieglitz looked down into the third-class steerage area below him. Immediately struck by the strength of the composition created by the group of travellers gathered there, he quickly retrieved his camera, and captured the jarring class divide. Celebrated both for its modernist composition and its social commentary, the resulting photograph is one of the most recognisable images in the history of photography. Similarly, Morath (1923-2002), one of the first female photographers to work for renowned photo agency Magnum, used the door frame of an open-topped car to artfully divide her composition, suggesting the social gulf between the wealthy Mrs Nash and her chauffeur.

One of aerial photography’s pioneers was Alfred G Buckham (1879-1956) who took breath-taking photographs in the skies above Edinburgh. Just as fascinating as his photographs, are Buckham’s dare-devil techniques to capture the perfect shot. He gave this sage advice to budding aerial photographers: ‘It is essential to stand up, not only to make the exposures but to see what is coming along ahead. If one’s right leg is tied to the seat with a scarf or a piece of rope, it is possible to work in perfect security’. Buckham also pioneered early layering of multiple negatives to create the perfect shot giving his photographs an ethereal, otherworldly quality.

The Industrial Revolution led to the rapid expansion of the railways, which had a huge impact on the way that people lived and worked and led to the expansion of many towns and cities. As early as 1845, the railway line in Linlithgow was photographed by David Octavius Hill (1802-70) and Robert Adamson (1821-48), who travelled by train to document the main sights of the town.

The Forth Bridge was the longest bridge in the world when it opened in 1890 and it is now widely regarded as a symbol of Scottish innovation and cultural identity. Radical in style, materials and scale, it marked an important milestone in bridge design and construction during the period when railways came to dominate long-distance land travel. Evelyn George Carey (1858-1932), a young engineer working on the construction of the bridge, made an incredible series of photographs as the building work progressed. In one of these photographs Carey records the amusing sight of two men demonstrating the cantilever principle – resulting in the boy sitting at the centre of the ‘bridge’ being lifted into the air. This series of photographs inspired the German contemporary photographer Dieter Appelt (b.1935) to make Forth Bridge – Cinema. Metric Space – a photographic montage of 312 separate silver gelatine prints which together offer a beautiful, lyrical interpretation of an engineering masterpiece.

Another innovation explored in Planes, Trains and Automobiles is the Victorian phenomenon of the stereograph. Made of two nearly identical scenes, which when viewed together in a special device, create a single three-dimensional image; this new photographic technology essentially mimicked how we see the world. It sparked curiosity and encouraged the public to view images of far-flung places from the comfort of their own home. The natural association between travel and transport meant that modes of transport were one of the most popular themes for stereographs. This exhibition will feature over 100 stereographs from the National Galleries of Scotland’s collection in a dynamic wall display, alongside digital interpretations.

524 million journeys were made by public transport in Scotland last year and Planes, Trains and Automobilesexplores this common form of travel. Photographers have been repeatedly drawn to the theme of commuting, fascinated by its ability to show humanity in movement, following regulated routes to work. Among these are documentary photographers Humphrey Spender (1910-2005) and Larry Herman (b.1942) who both made work observing Glasgow and Glasweigians on their daily commute.

From photographs of the iconic Forth Bridge to images of commuting, Planes, Trains and Automobiles is a photographic celebration of transportation in all its forms.

Christopher Baker, Director, European and Scottish Art and Portraiture, National Galleries of Scotland, said:  This is the third in a hugely popular series of thematic exhibitions drawn entirely from the outstanding collection of photography held by the National Galleries of Scotland. The carefully selected photographs on display show how technology and transport have impacted on so many aspects of our lives and provided such a rich and thought-provoking focus for outstanding Scottish and international photographers, from very earliest days of the medium to today’s innovators.”

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MacKinnon Collection

Pictured: Fairlie Album, 1860s by various inc. Julia Margaret Cameron. Collection: National Galleries of Scotland, MacKinnon Collection, acquired jointly with the National Library of Scotland with assistance from the Heritage Lottery Fund, Scottish Government and Art Fund.

 

100 years of Scottish photography secured for the nation

An exceptional collection of historic photographs that captures a century of life in Scotland is to be shared with the public following a special collaboration between the National Library of Scotland and the National Galleries of Scotland.

More than 14,000 images – dating from the earliest days of photography in the 1840s through to the 1940s – have been jointly acquired with support from the Scottish Government, the Heritage Lottery Fund and Art Fund.

The collection covers an expansive range of subjects – including family portraits, working life, street scenes, sporting pursuits, shops, trams, tenements, mountains and monuments. Until now, it was one of the last great collections of Scottish photography still in private hands.

The collection was put together by photography enthusiast Murray MacKinnon, who established a successful chain of film-processing stores in the 1980s, starting from his pharmacy in Dyce, near Aberdeen.

He said: “The collection covers the day-to-day lives of Scottish people both rich and poor, the work they carried out including fishing and farming, in order to survive, and their social life including sport and leisure. These were turbulent times what with industrialisation, shipbuilding, new forms of transport, the social upheaval caused by the First World War in Europe and the Boer War in South Africa. The discovery of penicillin and radiography heralded the development of medicine and the pharmaceutical industry in Scotland.

“I would like to thank all the people involved in acquiring this collection for the Scottish nation, and for their great efforts in making this acquisition possible.”

Culture Secretary Fiona Hyslop welcomed the public acquisition.

She said “The MacKinnon collection is one of the most remarkable collections of Scottish photography and an invaluable resource for researchers, students and the wider public. I am delighted that £300,000 of Scottish Government funding has supported the acquisition, curation, touring and digitisation of this collection, preventing it from being broken up or sold overseas.

“Our rich cultural and artistic heritage plays an intrinsic part in boosting our economy and tackling inequalities. I commend the National Galleries of Scotland and National Library of Scotland for their achievement in ensuring that this unique collection can now be enjoyed by the people of Scotland, enabling the public to learn more about our fascinating early photography tradition.”

National Librarian, Dr John Scally said: “Scotland has a unique relationship with photography which dates back to the work of the early pioneers such as Hill and Adamson. This acquisition is akin to buying Scotland’s photographic album of 14,000 pictures and bringing it home, and together with the National Galleries of Scotland, we were determined to make that happen. I am confident that every Scot will feel a connection with these wonderful photographs and we look forward to sharing them with the public over the coming months.”

National Galleries of Scotland, Director General Sir John Leighton, said: “This collection superbly demonstrates the important role Scotland had in shaping the history of photography. Our ability to tell this story is greatly enriched by this acquisition, and we look forward to the exciting partnership with the National Library of Scotland in making these artworks accessible to all.”

Heritage Lottery Fund, Manager for Scotland, Lucy Casot, said: “Taken in the pioneering days of photography in Scotland, these historical images allow us to glimpse our ancestors going about their daily lives. Thanks to players of the National Lottery, this valuable resource has been secured for us all to enjoy. It’s a fascinating collection detailing what life was like and how that has shaped us as a nation.”

Director of Art Fund, Stephen Deuchar said: “We are proud to be able to support both National Library of Scotland and National Galleries of Scotland in acquiring Murray MacKinnon’s unparalleled collection for the nation. It is incredible to have these photographs join a public collection where they can be enjoyed for generations to come through their display and tours as well as digitally.”

The photographs provide a visual record of how Scotland has changed physically, socially and economically since the 1840s.

Highlights include:

More than 600 original photographs from the pioneering days of photography featuring work from David Octavius Hill (1802-1870) and Robert Adamson (1821-1848), James Ross (d.1878) and John Thomson (d.1881), Cosmo Innes (1798-1874) and Horatio Ross (1801-1886).

Some of the finest work of Thomas Annan (1829-1887) and his son, James Craig Annan (1864-1946) including rare examples of their original albumen prints.

Fine examples of the work of Scotland’s successful commercial photographers including George Washington Wilson (1823-1893) and James Valentine (1815-1880).

Portraits of Scottish regiments from the Crimean War by Roger Fenton (1819-1869).

A series of albums and prints depicting life in the main towns and cities from the late 1800s and early 1900s.

Studies of farming and fishing communities in remote villages and hamlets.

Scenes of shipbuilding, railways, herring fishing, weaving, whisky distilling, dockyards, slate quarries and other working environments.

The collection contains an exquisite view of Loch Katrine by William Henry Fox Talbot, who travelled to Scotland in the autumn of 1844. Talbot was the inventor of the calotype, a negative-positive paper process that was patented around the world, but, importantly not in Scotland, allowing for free use and experimentation. As a result, early Scottish photographers, such as Hill and Adamson and Ross and Thomson, were encouraged to take up the new technology, becoming key figures in developing its potential as both document and art form within its first two decades.

As the photographic medium evolved, Scotland once again was at the forefront when, in 1883, Thomas Annan and his son James Craig Annan secured the British rights for the previously secret process of photogravure. The photomechanical process created prints in large editions, revolutionising the publication and reach of photography.

While photography is known for its reproducibility, many of the artworks contained within the collection are unique, including daguerreotype portraits and hand-made albums. One such impressive example is the Fairlie album, consisting of family portraits and photographs by known makers including Julia Margaret Cameron. Using elements of collage, drawing and marginalia, the pages are a one-of-a-kind celebration of the Fairlie Family, from Fife. Reginald Fairlie was the architect of the National Library of Scotland building on George IV Bridge.

A major exhibition of the MacKinnon collection will be held at the Scottish National Portrait Gallery next year, with touring exhibitions around the country to follow. The entire collection will also be digitised over the next three years and made available online.

#ScotlandsPhotos

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Colin Templeton’s Glasgow.

Photographer of Glasgow, Colin Templeton, is exhibiting work in a group show Photography Now, at the Brick Lane Gallery in London, from 8th – 20th November. There’s an opening night on the 8th Nov, 6.00- 8.30pm.

 

Rear Window – A face glimpsed through the steamed up window of a car. © Colin Templeton 2017

 

Of the work he’ll exhibit Colin says, “The city is in constant flux. Right now in Glasgow the shipyard cranes and tower blocks are vanishing. The pubs are closing or becoming gentrified. Everything disappears and, once gone, becomes fascinating.

I’ve come to realise that the city is my inspiration to pick up a camera. It seems to me that the fabric of the buildings and places are the perfect backdrop for the people. There is darkness and drama in the most everyday places, and I enjoy the challenge of finding and capturing it.”

 

Red Road – Final days of the Red Road flats. © Colin Templeton 2017

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Behind the Scenes, University of St Andrews

Recently as a group we were delighted to be invited to spend time at the University of St Andrews, taking a look at what goes on behind the scenes, seeing the little moments which make the historic educational establishment run on a daily basis. From gardeners to waiting staff, from members of staff to the choirs and students themselves, little glimpses of  daily life are being captured building into a larger set which will in time we hope be exhibited or published. But for now the chronicling of the corridors of education in St Andrews continues…

 

Heather Bremner cleans Younger Hall, prior to the installation ceremony of Professor Sally Mapstone as Principal and Vice-Chancellor – Behind the scenes at the University of St. Andrews. ©Jeremy Sutton-Hibbert 2016, all rights reserved.

 

Preparations for a ceremonial dinner at Lower College Hall – Behind the scenes at the University of St. Andrews. ©Jeremy Sutton-Hibbert 2016, all rights reserved.

 

The ceremonial Macebearers take the ancient and valuable mace’s from the safe, in the Vestry of St Salvator’s Chapel, prior to the installation ceremony of Professor Sally Mapstone as Principal and Vice-Chancellor – Behind the scenes at the University of St. Andrews. ©Jeremy Sutton-Hibbert 2016, all rights reserved.

 

Students having gowns adjusted after coming off stage at the Younger Hall at the University of St. Andrews, on graduation day, 30th November, 2016. ©Colin McPherson, 2016, all rights reserved.

 

Bell ringers at St. Salvator’s Chapel at the University of St. Andrews, on graduation day, 30th November, 2016. ©Colin McPherson, 2016, all rights reserved.

 

Newly graduated students at St. Salvator’s Chapel grounds at the University of St. Andrews, on graduation day, 30th November, 2016. ©Colin McPherson, 2016, all rights reserved.

 

Adam Taylor and his team of gardeners from the Estates, Grounds and Recycling Services carry out some spring time planting in the garden at Edgecliff House. This year they have planted over 11,000 tulip bulbs and 2000 crocus bulbs around the campus. Behind the scenes at The University of St Andrews, 30th March 2017. ©Sophie Gerrard 2017, all rights reserved.

 

Dame Anne Pringle, Senior Governor of The University of St Andrews University, April 2017. Photographed at University House – the Principle’s Residence at the University of St Andrews.
For the first time in the history of The University of St Andrews four of the senior positions are now held by women (Principal, Senior Governor, Rector and Student President). ©Sophie Gerrard 2017, all rights reserved.

 

Charlotte Andrew, President of the Students’ Association, St Andrews University, April 2017. Photographed at University House – the Principle’s Residence at the University of St Andrews.
For the first time in the history of The University of St Andrews four of the senior positions are now held by women (Principal, Senior Governor, Rector and Student President). ©Sophie Gerrard 2017, all rights reserved.

 

 

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Here We Are, by Burberry

Here We Are, an exhibition of over 200 photographs of British documentary work by 30 photographers, including work from Jeremy Sutton-Hibbert’s North Sea Fishing series, has gone on show in London, until 1st October. The show is curated by Christopher Bailey, President and Chief Creative Officer, Burberry; Lucy Kumara Moore, writer, curator and Director of Claire de Rouen; and co-curated by photographer Alasdair McLellan.

 

Burberry ‘Here We Are’ British documentary photography show at Old Sessions House, in London.

 

HERE WE ARE – EXHIBITION OVERVIEW
A major photography exhibition exploring the British way of life and character on display at Burberry’s new show venue, Old Sessions House.
* ‘Here We Are’ will bring together the work of over 30 of the 20th century’s most celebrated social and documentary photographers, from 18 September – 1 October 2017.

 

‘Here We Are’, by Burberry. Credit: Burberry. 

 

* The exhibition will be displayed over three floors of Burberry’s new show venue Old Sessions House in Clerkenwell, which will open to the public for the first time since its restoration.
* The exhibition will feature over 200 works and will be divided into themes which reflect different aspects of the British way of life.

* The exhibition will showcase important bodies of work by individual photographers as discrete, monographic presentations, alongside the thematic displays.

* Inspired by the spirit captured in British social portraiture, Burberry’s September collection for men and women will be presented at Old Sessions House on Saturday 16 September at 7pm.
Exhibiting photographers – ‘Here We Are’ will feature over 200 works by over 30 photographers including Alasdair McLellan, Andy Sewell, Armet Francis, Bill Brandt, Brian Griffin, Charlie Phillips, Chris Steele-Perkins, Colin Jones, Colin O’Brien, Dafydd Jones, Daniel Meadows, Homer Sykes, Ian Berry, Ian Macdonald, Ian Tyas, Jane Bown, Janette Beckman, Jeremy Sutton-Hibbert, Jo Spence, Karen Knorr, Ken Russell, Mark Power, Martin Parr, Olivier Richon, Peter Marlow, Roger Mayne, Shirley Baker, Stuart Franklin, Tessa Traeger, Tom Wood and Tony Ray-Jones.

More information and further interviews and work from the show can be explored via the Burberry App for smartphones.

Jeremy Sutton-Hibbert being interviewed about his work, at the Burberry ‘Here We Are’ British documentary photography show at Old Sessions House, in London.

‘Here We Are’
18 September – 1 October 2017
10am-9pm daily
Old Sessions House, 22 Clerkenwell Green
Free entry

PUBLIC PROGRAMMING & EVENTS
In addition to ‘Here We Are’, we will run a varied programme of events and activities and will include temporary versions of Burberry’s all-day café Thomas’s and a Claire De Rouen book shop.
We are endeavoring to curate a programme of events in collaboration with exhibiting photographers and key creative partners which will respond to key themes of the exhibition. Drawing upon the specific expertise of each partner, the programme will include a rich and varied selection of talks, tours, workshops, conversations and book signings. Visitors will be able to sign up to the public programmes and events via Burberry.com.

OLD SESSIONS HOUSE
This September, Burberry’s show will be taking place at a new venue, Old Sessions House in Clerkenwell. The space will be opening its doors to the public for the first time since its restoration. As well as being the home to the ‘Here We Are’ exhibition, the venue will run a programme of events and activities and will include temporary versions of Burberry’s all-day café Thomas’s and a Claire de Rouen bookshop. Old Sessions House will be open daily, from 10am–9pm, 18 September – 1 October 2017. Old Sessions House is an 18th-century Grade II* listed building, for which construction started in 1779. It opened for use in 1782 as Middlesex Sessions House and was once the largest courthouse in England. With an architecture that has attracted attention from artists and topographers over the years, the building is Palladian in style, with a facade constructed in Portland stone and an interior featuring a grand coffered dome at its centre. Visit www.theoldsessionshouse.com for further information.

 

 

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When We Were Young

We’re delighted that the next photography exhibition at the Scottish National Portrait Gallery, ‘When We Were Young’, will include work from the Scottish photography archive by Jeremy Sutton-Hibbert. Included in the group show will be Jeremy’s images of Roma children, photographed in Sintesti Roma camp in Romania in the early 1990’s, part of his multi-year project photographing the Roma settlement on the outskirts of Bucharest, ‘Satra, The Roma of Sintesti.

 

WHEN WE WERE YOUNG:
PHOTOGRAPHS OF CHILDHOOD FROM THE
NATIONAL GALLERIES OF SCOTLAND
14 October 2017 – 15 April 2018
Scottish National Portrait Gallery, 1 Queen Street, Edinburgh EH2 1JD
Admission FREE
nationalgalleries.org | 0131 624 6200
#WhenWeWereYoung

Part of Photography Scotland’s 2017 Season of Photography

The magic and wonder of childhood will be the subject of a new exhibition of photographs at the Scottish National Portrait Gallery (SNPG) this autumn. When We Were Young will delve into the rich collection of the National Galleries of Scotland to explore how the lives of children have fascinated photographers from the earliest days of the medium to the present. More than 100 images, which capture children at play, at work, at school and at home will reveal how the experience of being a child, and the ways in which they have been represented, have changed radically in the past 175 years.

The photographs not only reveal the shifting attitudes towards children and their representation, but also show the evolution of the photographic processes from early daguerreotypes to contemporary digital prints.

Opening on 14 October 2017 at the SNPG, When We Were Young is the second in a series of thematic exhibitions being held to inspire a new appreciation for this extraordinary art form.

One of the earliest works in the collection is a daguerreotype of a family photographed by James Howie (1791-1858). Having trained as an artist, Howie was known as a portrait and animal painter; he switched to photography and established the first professional photographic studio in Edinburgh in 1841 (only two years after photography was first introduced). His customers had to climb multiple flights of stairs, then use a ladder to access a skylight leading to the roof of his outdoor studio, where they would then perch several floors above a bustling Princes Street below and were told to “sit as still as death”.

Some photographers’ directions for children were more amenable. Julia Margaret Cameron’s literary and religious evocations of the 1860s brought an imaginative element to the depiction of childhood. In her portrait of Kate and Elizabeth Keown, titled The Red and White Roses, the two sisters are shown close up with one clutching a sprig of flowers, the other has hands clasped as if in prayer. The work was not intended as simply a portrait of the photographer’s neighbours on the Isle of Wight, rather it was a metaphor for youthful beauty and the passage of time. Cameron has posed the girls to create an artistic scene and deliberately records them in soft focus so as to create a dreamlike, ethereal quality in the photograph.

Some of the photographs show young children at work or in a work environment—apprentices at ship yards, fisher girls on the beach, or children working family farms and crofts, such as Larry Herman’s 1974 portrait of John Watson at work on a dairy farm in Ayrshire, and Paul Strand’s portrait of John Angus MacDonald on his family croft on South Uist in 1954. In the work of MacMahon of Aberdeen, the photographic studio captured three young boys at a fish processing plant in the town in order to provide a sense of proportion and scale for the giant cod that was being shipped overseas to Portugal. The picture shows the smallest boy in the middle of the composition, dwarfed by gargantuan fish.

From uniformed school pictures to class outings and lessons, another selection of photographs shows children within an educational context. Among the works on display is a series of images by Edith Tudor-Hart (1908–1973), whose intimate pictures of teachers and pupils from Camphill School, Aberdeen, were originally commissioned for a magazine essay in 1949. Tudor-Hart explored the teaching philosophy of the institution which is displayed in the tenderness of the work that addresses the school’s ethos of providing support and education for children with developmental disabilities, mental health problems and other special needs.

The exhibition also explores the notion of play, a subject synonymous with childhood. From portraits of Victorian children with their dolls and books to explorations of today’s virtual playground, the photographs reveal that while children may have vastly different toys from the past compared with the present day, there is still the desire to escape into a world of make-believe and imagination. Many photographs reveal the street playgrounds of the 1950s and 1960s, such as Roger Mayne’s Children playing on a lorry, Glasgow (1958). Like so many of Mayne’s highly contrasting, black and white photographs, it captures perfectly the children’s vitality and abandon in a simpler time, whereas Wendy McMurdo explores the state of modern play which often is situated both in the real and virtual worlds. Inspired by the recent phenomenon of Pokémon GO, which involved young children searching out computer-generated characters inhabiting physical sites and landscapes, McMurdo photographed a number of children and utilised digital technology to obscure their faces and create a splintered portrait—symbolic of their fractured play between two worlds.

When We Were Young is also a chance to see, for the very first time, new works recently acquired by the Gallery from artists including; Wendy McMurdo, Glasgow-based Margaret Mitchell and leading South African photographer Pieter Hugo. The carefully selected photographs, all from the national collection, celebrate the notion of childhood as recorded by the camera since the 1840s with a delightful and engaging selection and coinciding with the Year of the Young Person in 2018.

“This is the second of our thematic exhibitions drawn from the photography collection here at the National Galleries of Scotland. This fun and engaging display of childhood from all over the world will feature iconic images alongside less well known works, old favourites and new acquisitions—essentially something for everyone, no matter what your age!”

Anne Lyden, International Photography Curator, Scottish National Portrait Gallery.

Part of Photography Scotland’s, Season of Photography 2017, a lively series of exhibitions and events taking place across Scotland from September to November 2017.

Part of Luminate, Scotland’s creative ageing festival
Luminate runs a diverse programme of creative events and activities throughout the year, including a nationwide festival of arts and ageing. Luminate’s sixth festival takes place 1 – 31 October 2017.

About the Robert Mapplethorpe Photography Gallery
When We Were Young: Photographs of Childhood from the National Galleries of Scotland is being shown in the Robert Mapplethorpe Photography Gallery and is part of a continuing series of photographic exhibitions (including Lee Miller & Picasso and Ponte City) in the Scottish National Portrait Gallery. The Robert Mapplethorpe Photography Gallery, named after the renowned American photographer, is supported by a very generous donation from The Robert Mapplethorpe Foundation. The gallery is the first purpose-built photography space of its kind in a major museum in Scotland.

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North Sea Fishing, in Wick.

 

North Sea Fishing, an exhibition of black and white photographs shot aboard seine net fishing boats in the early 1990s by Jeremy Sutton-Hibbert, continues its travels up the East coast of Scotland, and is presently showing in Wick’s St Fergus Gallery. Times and dates are in the above poster.

After Wick, it’ll travel onwards to Thurso Art Gallery which will be the last stop this year, and then in early 2018 North Sea Fishing will finish its tour at Beacon Arts centre in Greenock.

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FLOW PhotoFest

Document Scotland are very pleased to announce that we’re being represented in the inaugural Flow PhotoFestival, with two bodies of work. The new photography festival takes place across the Highlands of Scotland throughout September.

Colin McPherson’s images of Scottish football culture, the When Saturday Comes series, are on show at the Eden Court, Bishops Rd, Inverness, IV3 5SA. From 2nd – 30th Sept.

Colin’s work documents the ‘beautiful game’ and photographs of football culture in Scotland. Exploring the social process which surrounds football, McPherson immerses himself, and the viewer, into the rituals and practices of the fan as they embark on their weekly experience of football. Attention is given to the banal and the everyday details of the manner in which football is performed by the fan in the season. McPherson produces illuminating and insightful work on a ubiquitous aspect of contemporary Scottish culture. This work was previously shown at the Scottish National Portrait Gallery in Edinburgh.

 

‘Craigroyston, 2006’ from the series ‘When Saturday Comes’. ©Colin McPherson 2017, all rights reserved.

 

‘Alloa Athletic, 2010’ from the series ‘When Saturday Comes’. ©Colin McPherson 2017, all rights reserved.

 

Jeremy Sutton-Hibbert’s North Sea Fishing images are being exhibited at St. Fergus Gallery, Wick Library, Sinclair Terrace, Wick, KW1 5AB. The show runs from 9th Sept – 21st Oct.

High Life Highland are delighted to be hosting a striking exhibition of black and white images shot aboard the seine net fishing boats, Mairead and Argosy, in the North Sea in the 1990’s. These images, by Scottish documentary photographer Jeremy Sutton-Hibbert, capture the reality of the life at sea for the fishermen of Scotland’s North East fishing communities – the cramped conditions, the monotony, and the gruelling work in harsh conditions.

Aboard the ‘Argosy’ seine-net fishing boat, in the North Sea, Scotland, February 1995. Photograph by ©Jeremy Sutton-Hibbert 1995, all rights reserved.

 

Bill Smith secures the nets, aboard the ‘Argosy’ seine-net fishing boat in the North Sea, Scotland, February 1995. Photograph by ©Jeremy Sutton-Hibbert 1995, all rights reserved.

 

The FLOW PhotoFest runs through September at a variety of galleries and exhibition spaces throughout the Highlands of Scotland.

 

 

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North Sea Fishing

We’re delighted to write that Jeremy Sutton-Hibbert currently has two bodies of work exhibiting with Shetland ArtsNorth Sea Fishing is showing until August 27th at the Bonhoga Gallery, and Klondykers is showing at the Mareel arts centre for the next year, both in the Shetland Isles.

 

About the North Sea Fishing exhibtion, Shetland Arts wrote: “Scottish documentary photographer Jeremy Sutton-Hibbert captured the reality of the life at sea for the fishermen of Scotland’s North East fishing communities aboard the seine net fishing boats, Mairead and Argosy, in the North Sea in the 1990s.

These images serve as an important record of a period and style of fishing which is already passing into history, an insight into the working conditions for seine net fishermen, operating far from the safety and comforts of the shore. They capture the cramped conditions, monotony, and the grueling work in harsh conditions.

The North Sea – “a confused sea” as it was once described to me and, as one fishing trawler skipper told me, late at night, only the instrument panel lighting the bridge room, “the north sea, she’s a cruel mistress”.

With thanks to Ronnie Hughes and the crew of the Mairead, and Duncan Mackenzie and the crew of the Argosy, for their hospitality and generosity. All photographs shot in 1993 on the Mairead, and 1995 on the Argosy.

This is a touring exhibition hosted by the Scottish Fisheries Museum in Anstruther. The production has been made possible thanks to the generous sponsorship of several organisations including Street Level Photoworks in Glasgow, Scottish Fishermen’s Trust, Scottish Fishermen’s Organisation and Loxley Colour Photo Lab.”

The Klondykers work (2 images above), shot in 1994, and published as a zine by Cafe Royal Books, looks at the period in Shetland’s history when fish processing ships from the Eastern Bloc countries would come to Shetland waters buying up catches of mackerel and herring from Scottish fisheries. The Klondykers work was written about by Shetland News here on the publication of the Cafe Royal Books. Very limited numbers of the Klondykers book will be on sale fro Shetland Arts during the run of the exhibition.

Speaking to the Shetland News, Jeremy says of his time photographing in Shetland “It was the period when communism had collapsed and Eastern Europe was opening up. To come to Shetland to see street signs in Cyrillic and people in all these foreign accents walking around – it was a fascinating time.

I remember driving out to the garbage dump. A couple of ships had been impounded in the port and hadn’t been allowed back to sea, and the company weren’t paying the crews any wages.

You had all these guys in the Lerwick garbage dump looking for things they could refurbish to take home, or things they could sell.

And I remember Shetlanders driving up and giving them packets of cigarettes, or bags of clothes and things. It was interesting to see that Shetlanders were rallying around to help them.”

North Sea Fishing, 8th July – 27th August, Bonhoga Gallery, Weisdale Mill, Weisdale ZE2 9LW.

Klondykers, for the next year, at Mareel, North Ness,, Lerwick, Shetland ZE1 0WQ.

The North Sea Fishing exhibition, on completion of its run in Shetland, will travel onwards to:

Wick, St Fergus Gallery, 9th September – 21st October.

Thurso Art Gallery, 28th October – 9th December.

Greenock, Beacon Arts Centre, 6th January 2018 – 24th February 2018.

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‘Thomas Annan: Photographer of Glasgow’ in LA

LOS ANGELES – During the rise of industrialization in mid-19th century Scotland, Thomas Annan ranked as the preeminent photographer of Glasgow. For more than 25 years, he prodigiously recorded the people, the social landscape, and the built environment of the city during a period of rapid growth and change. Thomas Annan: Photographer of Glasgow, on view May 23-August 13, 2017 at the J. Paul Getty Museum, Getty Center, presents the first exhibition to survey Annan’s prolific career and legacy as both a photographer and printer via his engagement with Glasgow as his photographic subject.

The exhibition includes more than 100 photographs, the majority on loan to the Getty, providing a rare opportunity to view key series by this photographer in the United States. Among the works to be featured are recently rediscovered prints Annan made at the end of his career and numerous photographically illustrated books that demonstrate technical innovations he perfected and championed.

“This exhibition is the first to explore Annan’s deep fascination with Glasgow and fully contextualize his contributions within the city’s history,” says Timothy Potts, director of the J. Paul Getty Museum. “His work effectively recorded the transformation of greater Glasgow over the course of several decades, during an era when this ‘second city of the empire’ flourished. Annan’s photographs underscore the notion of progress that dominated this era and directed urban growth in the 19th century.”

Thomas Annan, who opened his own photographic firm in Glasgow in 1857 and remained active until his death three decades later, worked at a time when the city’s population increased dramatically and industry neared its peak. Initially Annan garnered attention for work that ranged from studio portraiture and reproductions of artwork to landscapes, but he also quickly emerged as an important documentarian of Glasgow and its outskirts. Near the outset of his career, Annan was tasked with documenting the construction of a 35-mile long aqueduct—located in a picturesque wooded glen called the Trossachs—from Loch Katrine to Glasgow. His photographs reveal how this colossal feat of engineering impacted the scenic landscape of the Scottish countryside, underscoring the industrialization associated with this era in British history, as well as the somewhat tenuous relationship between man and the natural environment. Annan continued to record the development and effects of the aqueduct for more than two decades. One gallery in the exhibition explores his extensive commitment to the subject, featuring rare views from his 1859 documentation of the aqueduct scheme that will be on view for the first time since the 19th century.

Today, Annan is remembered principally for his haunting images of tenements and passageways, known as closes, slated for modification or demolition as a result of the Glasgow City Improvements Act of 1867. Considered a precursor of the social documentary tradition in photography, Annan’s Photographs of Old Closes and Streets series (1868-71) not only reveals the difficult living conditions of working-class residents of central Glasgow, but also suggests progress underway as a result of the Improvements Act. Despite challenges posed by weather, sanitation, lighting, and the labor-intensive photographic equipment/process he employed, Annan produced highly detailed, enigmatic photographs of the closes and the tenement dwellers that are testament to his technical and artistic mastery. On view will be albumen silver prints from the Old Closes and Streets series, including an original glass plate negative and publications that feature the closes.

Throughout his career, Annan photographed construction efforts, engineering works, buildings, and other subjects that related to concurrent municipal initiatives. Among the civic projects that he documented, and that will be showcased in the exhibition, are the relocation of the University of Glasgow, the re-navigation of the River Clyde and the construction of Queen’s Dock at Glasgow harbor, and the beautification of Glasgow Cathedral. He also photographed numerous country estates and houses that were demolished or repurposed as part of the outward expansion of the city and the rising industrialist class. Transformation of the built environment in Glasgow during this time largely shaped the appearance of the city as we know it today, and Annan effectively documented this evolution.

Annan is also credited for promoting various photographic processes, specifically carbon printing and photogravure, for which he owned the licensing rights within Scotland. His legacy was extended by his eldest sons, James Craig and John, who worked as photographers and managed their father’s photographic firm upon his death. While James Craig pursued fine art photography and emerged as a leading figure in the Pictorialist movement, John carved out a steady career photographing architecture and industrial machinery in Glasgow. Their discrete areas of expertise reflected their father’s myriad interests and may have constituted the division of labor at the firm as well.

“Though a pioneer in his field, Annan has remained a relatively marginalized figure in the history of photography,” says Amanda Maddox, assistant curator of photographs at the J. Paul Getty Museum and curator of the exhibition. “This exhibition seeks to highlight the breadth of his output and the extent of his contributions to the medium, which we hope will prompt further scholarship and greater appreciation for this important 19th century practitioner.”

Thomas Annan: Photographer of Glasgow, on view May 23-August 13, 2017 at the J. Paul Getty Museum, Getty Center, will coincide with the presentation of Now Then: Chris Killip and the Making of In Flagrante. Together these exhibitions represent a century of industry in Britain, from its height to its demise. A scholarly publication that shares the title of the exhibition and is focused on Thomas Annan’s photographically illustrated books about Glasgow will be released by Getty Publications in spring 2017.

Images:

Left: Piping across the Balfron Road (1859). Thomas Annan (Scottish, 1829 – 1887). Albumen silver print. Image: 20.9 x 28.6 cm (8 ¼ x 11 1/4 in.); Sheet: 38 x 48.5 cm (14 15/16 x 19 1/18 in.); Mat: 40.6 x 55.9 cm (16 x 22 in.). Lent by Glasgow Life (Mitchell Library Special Collections) on behalf of Glasgow City Council. Image © CSG CIC Glasgow Museums and Libraries Collection: The Mitchell Library, Special Collections

Right: High Street from College Open (1868 – 1871). Thomas Annan (Scottish, 1829 – 1887). Albumen silver print. Image: 40.5 x 54 cm (15 15/16 x 21 1/4 in.); Mat: 50.8 x 60.9 cm (20 x 24 in.). Canadian Centre for Architecture, Montréal. © Canadian Centre for Architecture, Montréal

# # #

The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that includes the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation. The J. Paul Getty Trust and Getty programs serve a varied audience from two locations: the Getty Center in Los Angeles and the Getty Villa in Pacific Palisades.

The J. Paul Getty Museum collects Greek and Roman antiquities, European paintings, drawings, manuscripts, sculpture and decorative arts to 1900, as well as photographs from around the world to the present day. The Museum’s mission is to display and interpret its collections, and present important loan exhibitions and publications for the enjoyment and education of visitors locally and internationally. This is supported by an active program of research, conservation, and public programs that seek to deepen our knowledge of and connection of works of art.

Visiting the Getty Center
The Getty Center is open Tuesday through Friday and Sunday from 10 a.m. to 5:30 p.m., and Saturday from 10 a.m. to 9 p.m. It is closed Mondays, January 1, Thanksgiving Day, and December 25. Admission to the Getty Center is always free. Parking is $15 per car, but reduced to $10 after 3 p.m. No reservation is required for parking or general admission. Reservations are required for event seating and groups of 15 or more. Please call (310) 440-7300 (English or Spanish) for reservations and information. The TTY line for callers who are deaf or hearing impaired is (310) 440-7305. The Getty Center is at 1200 Getty Center Drive, Los Angeles, California.

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A PERFECT CHEMISTRY: PHOTOGRAPHS BY HILL & ADAMSON

A PERFECT CHEMISTRY:
PHOTOGRAPHS BY HILL & ADAMSON
27 May – 1 October 2017
SCOTTISH NATIONAL PORTRAIT GALLERY
1 Queen Street, Edinburgh EH2 1JD
Admission: £10 (£8) | 0131 624 6200
#HillAndAdamson

Hill and Adamson, Sandy (or James) Linton, his boat and bairns ca.June 1845

This summer the Scottish National Portrait Gallery will explore the captivating images produced by the unique partnership of Scottish photographic pioneers David Octavius Hill (1802-1870) and Robert Adamson (1821-1848). A Perfect Chemistry will comprise over 100 photographic works dating from just four short years in the 1840s, when these two men changed the path of photography and created a remarkable body of work that has had an unparalleled impact on the medium. This will be the first time in 15 years that these treasured photographs will have been the subject of a large exhibition in the UK.

The artistic partnership between the painter Hill and the engineer Adamson was remarkable in many respects: only four years after the invention of photography was announced to the world in 1839, the Scottish pair had not only mastered and improved upon the new medium, but were producing breathtaking works in extraordinary quantities. Their innovative images appear surprisingly fresh even today and their subjects range from intimate portraits to beautiful cityscapes that document the urbanisation of the Scottish capital. A Perfect Chemistry will also feature fascinating images of the Newhaven fisherfolk which form one of the most significant groups within Hill and Adamson’s oeuvre; these outstanding photographs belie the technical challenges faced by the duo and are arguably among the first examples of social documentary images in the history of photography.

The meeting between Hill and Adamson was precipitated by a polarizing religious dispute: on 18 May 1843 a group of ministers walked out of the Church of Scotland’s annual General Assembly in Edinburgh and officially established the Free Church of Scotland. The event rocked the nation and political status quo, sending reverberations around the world. Hill was so moved by the ministers standing up for their beliefs that he decided to commemorate the event in a large-scale painting representing all 400 of them. He turned to Adamson, 19 years his junior, as the first and only professional calotypist in Edinburgh, to photograph the sitters as preliminary sketches for his grand painting.

Hill quickly became smitten by the new art form and within weeks of meeting, the two men entered into a partnership and began making photographs together. Within a matter of months their works were featured in exhibitions and receiving critical acclaim, often being compared to Rembrandt’s etchings due to the strong chiaroscuro (or contrasting dark and light) quality of the prints.

Ironically, Hill had approached photography as a means to expedite his painting yet it took him 23 years to finish his large commemorative canvas: The First General Assembly of the Free Church of Scotland; Signing Act of Separation and Deed of Demission (1843-66).The imposing picture was ultimately sold to the Free Church of Scotland and it continues to hang today in their headquarters in Edinburgh.

The success of Hill and Adamson’s partnership relied on professional alchemy as well as personal affinity, with both men working and living in Rock House, a landmark building located on Edinburgh’s Calton Hill. Since making calotypes required natural sunlight, the photographers used the house’s south-facing garden as their studio, employing a series of props and several different backgrounds for their outdoor images.

These portraits made at Rock House represent a real ‘who’s who’ of Edinburgh’s society and illustrate the vibrancy of the capital’s cultural life in the 1840s; eminent sitters ranged from the artist Sir David Allan, to Isabella Burns Begg, the sister of poet Robert Burns, and the inventor of chloroform James Young Simpson. A string of foreign sitters also attested to the international nature of the capital at this time.

Hill’s artistry gave him an eye for composition, evident in an intriguing portrait of Lady Ruthven, whom he posed with her back to the camera to exploit the intricate lace detailing of her shawl against her dress. The image reads as a metaphor for photography itself: the negative and positive image captured on paper. Adamson appeared to push the boundaries of photography—demonstrating skills few possessed at such an early period in the history of the art form. To create calotypes the photographers dealt with a complex process of applying light-sensitive chemical solutions to paper in order to create the images. The steps involved were cumbersome and variable, yet the consistently high quality of the prints indicate they had perfected the process and mastered the fickle chemistry of early photography.

The exhibition also will reveal how Hill and Adamson made clever use of stylistic and practical devices when creating their pictures. Books not only suggested the sitter was educated, but the white pages allowed light to bounce back on the subject (at a time when there were no studio lights), while the actual object would keep the sitters’ fidgety hands occupied for the duration of the exposure. Poses were held anywhere from 30 seconds to several minutes depending on the available sunlight, and any fidgeting during that time would result in a blurred image. The resulting photographs nevertheless display remarkable vitality, and in some, carry the sense of spontaneity of a modern snapshot like in the group portrait Edinburgh Ale where the sitters exhibit relaxed poses and faint smiles.

Hill and Adamson also captured the fisherfolk of nearby Newhaven. The men and women of the village were known throughout Edinburgh and beyond for their distinctive costumes, and their reputation for bravery had made them a part of popular culture in the nineteenth century, even featuring as characters in novels by Sir Walter Scott. With the limitations of the medium, the photographers could not capture the boats at sea and interestingly some of their most iconic works from the series, depict the men beside their beached boats or tending to their fishing lines ashore. These shoots were not a casual day out at the shore; in order to record these subjects the two men had to transport all their cumbersome equipment (wooden box cameras, tripods, paper, and support stands) to the site. Such complex requirements didn’t stop Hill and Adamson from travelling around Scotland—Glasgow, Linlithgow and St Andrews — and even as far afield as Durham and York in England. The Newhaven images are rare examples of social documentary photography and a selection of the Newhaven photographs was shown at the Great Exhibition at the Crystal Palace in London in 1851; an early indication of the importance of the partnership to the history of photography.

The untimely death of Adamson on 14 January 1848, at the age of 26, marked the end of this unparalleled partnership, but their legacy continues. The fact that the photographs continue to delight is indicative of the special chemistry shared by these two Scottish pioneers. The last exhibition of this scale of Hill and Adamson’s fragile works was Facing the Light at the Scottish National Portrait Gallery in 2002.

Christopher Baker, Director of the Scottish National Portrait Gallery, commented: “Hill and Adamson’s works are the foundation of the photography collection at the National Galleries of Scotland. Their contribution to the history of photography was profound and enduring and is appreciated all over the world. The National Galleries holds the most comprehensive collection in existence and this very carefully selected exhibition will demonstrate the full range of their achievement. We are delighted to be providing visitors with an opportunity to view such important and inspiring works as part of our long-term commitment to promoting the appreciation of photography.”

Sue Dawe, EY Managing Partner for Edinburgh and Head of Financial Services in Scotland, said: “EY has long been a supporter of the arts and I am delighted that we are able to continue our sponsorship in Scotland with the National Galleries of Scotland. The work showcased in this exhibition demonstrates a legacy of industry and ingenuity for which Scotland is renowned worldwide. On behalf of EY, I am proud to help celebrate the efforts of two creative, Edinburgh-based photographers who were dedicated to their craft and documenting Scotland’s social history.”

A Perfect Chemistry: Photographs by Hill & Adamson is part of the Edinburgh Art Festival.

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