Scottish Orange Walks, 1993-98

A new publication from Scotland-based photographer Jeremy Sutton-Hibbert and Café Royal Books, their 7th collaboration, has been recently released.

From a series of photography Jeremy undertook in the early 1990’s, in the West coast of Scotland, photographing the annual Orange Order marches, and the spectators who accompany the walks.

Edition of 250
32 pages
14cm x 20cm
b/w digital

Copies can be bought for £6.00 from Café Royal Books.

 

Other titles from Jeremy Sutton-Hibbert and Café Royal Books:

The Common Ridings

North Sea Fishing

Klondykers, Shetland, 1994

Nelson Mandela, Glasgow, 1993

Shipbuilding On The River Clyde

Longannet Colliery 2001

 

 

Did you like this? Share it:

A Game of 2 Halves in Coatbridge

The memories are still ripe in my mind. The rain sliding in a grey sheet across the train window, the cold air colliding with our faces and the wind catching our breath as we alight from the train at the inappropriately-named Coatbridge Sunnyside station. In the distance, piercing the sodden winter gloom, bright stripes of red and yellow paint greet our arrival at Cliftonhill Stadium, home for the last century to Albion Rovers Football Club, one of the also-rans of the Scottish game who have, according to some, merely been making up the numbers since their formation back in Victorian times.

This place is far removed from the higher echelons and glories of the game. It is, however, a place of ritual and pilgrimage. Whilst bus loads of Celtic fans have departed each Saturday from this corner of North Lanarkshire for the sunny upslopes of Parkhead, the few that remain behind have cast their lot in with their local football team, and exhibit the same amount of passion, devotion and love for a club which has steadfastly refused to be pulled across the religious divide that defines so much of this part of Scotland.

In their distinctive and almost hallucinogenic red and yellow colours, Albion Rovers have been ploughing and plodding along for as long as anyone can remember, often derided, frequently ignored, but always there. That we cannot place their name on the map has even become something of a badge of honour for club and supporters. They have this unique identity, one which would be sorely missed if The Wee Rovers ever exited the Scottish League.

And this is nearly what occurred during a tumultuous 2018-19 season: somehow, against all the odds and expectations, Rovers managed to come back from the dead, overhauling fellow sufferers Berwick Rangers and condemning the Northumbrians to relegation and oblivion. It was a close thing, but Albion Rovers survived.

Set amongst these tales of the constant struggle for survival are individual stories, some of heroism, most of stoicism. And one of a photographer: Iain McLean. Almost two decades ago, Glasgow-based McLean was casting around, looking for a long-term project, something sporting to get his teeth into. After rejection from a local rugby club, he received a positive response from Rovers and set about documenting behind-the-scenes at this iconic little club.

Iain McLean’s ‘A Game of 2 Halves’ Photograph © Colin McPherson, 2019 all rights reserved.

 

After a hiatus lasting several years, McLean once again focused his attention on Cliftonhill and was fortunate enough to witness both promotions and relegations, the contrasting emotions now visible in his newly-opened exhibition entitled A Game of 2 Halves, on show at the Summerlee, the Museum of Scottish Industrial Life in Coatbridge, until 27th October, 2019. It is, due to its location, necessarily folksy and fun, but nevertheless there is a fine body of work which shows a keen eye and dedication to stick with the subject through thin and thin (as life is at Rovers).

McLean’s dynamic monochrome images sit alongside cases of ephemera and souvenirs, memory-jogging reminders of seasons gone by, all in those distinctive bright colours. McLean’s work, however, shows us a colourful side to the Rovers: a kaleidoscope of characters, often in fancy dress, compete with the friendly smiles of tea ladies and kit men, all of whom make up the cast at Cliftonhill.

My own experiences of watching my team playing against Albion Rovers in Coatbridge are many and varied: the seemingly bright idea to take a new girlfriend to her first-ever football match – a stultifying nil-nil draw, which, amazingly, never deterred her from future games. Then there was the time a young boy was admonished for throwing bits of rubble around the tumbledown terracing: “Stop that, Billy, you’re making a mess,” was followed instantly by “Fuck off, dad, I’m tidying the place up!” And no trip was complete with a pre-match pint in Owen’s bar, just a wayward corner kick away from the stadium.

And then there was Victor Kasule: the singularly most mercurial talent I have ever borne witness to on the football fields of Scotland. A diamond in a sea of mud. The grace, skill, poise and speed which could leave any opponent for dead, a winger who could weave his way through any defence and into any bar, the other place where he was very much at home. ‘Vodka’ Vic came to prominence at a time when there was not a single black player playing in any of the professional leagues in this country. And while his career may have trailed off after spells in England and Finland, his legacy and the memories of his dazzling footwork, have upgraded his status from favourite to legend at Albion Rovers and Meadowbank Thistle.

I ask McLean whether he is likely to continue the journey he has been on with Rovers. He is uncertain and I get the feeling he is worried about repetition and seeing the same places and faces over and over again. I don’t think so. My sense is there is a lot more to discover here and that the project could unfold in many ways. In the meantime, raise a glass and wave a scarf to the players, officials, volunteers and supporters of the mighty Albion Rovers. And to Iain McLean for documenting their emotions.

Iain McLean’s ‘A Game of 2 Halves’ Photograph © Colin McPherson, 2019 all rights reserved.

 

Iain McLean’s ‘A Game of 2 Halves’ Photograph © Colin McPherson, 2019 all rights reserved.

 

Iain McLean’s ‘A Game of 2 Halves’ Photograph © Colin McPherson, 2019 all rights reserved.

 

Did you like this? Share it:

The Photographs of Archie Chisholm

It was with interest recently that I spotted a little link in a mailer from Street Level Photoworks / Photo Networks Scotland, that author Michael Cope would be doing a talk (last week) in Uist about his new book on The Photographs of Archie Chisholm.

I wasn’t aware of the name Archie Chisholm, or of his photography, and on following a few links, and a few emails, Michael Cope (and his publishers Thirsty Books) generously shared a pdf of the new book, and have allowed us to reproduce below an introductory text to the photographic works of Archie Chisholm along with a few of his images. – Jeremy Sutton-Hibbert.

 

The Photographs of Archie Chisholm: a unique documentary source for the Outer Hebrides in the Late Victorian and Edwardian eras

 

 

Archibald Alexander (‘Archie’) Chisholm (1859-1933) was the Procurator Fiscal in Lochmaddy, North Uist during the years 1881 to 1913. Outside of his professional life Archie had many other interests including archaeology and natural history, field sports, especially fishing, and, importantly, photography. What or who sparked Archie’s interest in photography? It is interesting to speculate that he developed his interest through his friendship with Erskine Beveridge the renowned archaeologist, antiquarian and photographer who also lived in North Uist at the same time. We know that in the preface to his book North Uist: Its Archaeology and Topography Beveridge acknowledges Archie as ‘among friends who have been most helpful’.

 

Archibold Alexander ‘Archie’ Chisholm, 1859 – 1933.

 

Archie’s photographic archive comprises nearly 300 images taken in the years 1892 to 1905. The images, taken from Harris to Barra, range from landscapes to portraitures, especially of the working and crofting communities, and from aspects of trade and commerce to the means of transport and communications. As such this is a unique documentary source of the life and times in the Inverness-shire part of the Outer Hebrides during the two decades at the turn of the nineteenth and twentieth centuries. Importantly all the photographs are attributable to one person – so providing continuity across a wide variety of themes not usually seen in other compilations.

Archie’s earliest photograph is dated 1892 and the first public exposure of his work was a series of plates contributed to W.C. Mackenzie’s book History of the Outer Hebrides in 1903. In the same year he provided some images to a series of picture postcards published by the Scottish Home Industries Association. In 1904 he published his own edition of 140 picture postcards known as the Cairt Phostail series.

 

A whale’s tongue, Harris [Cairt Phostail series postcard: 2005; scan courtesy of Norman Hudson].

 

Shipping a Uist pony at Lochmaddy Pier [Cairt Phostail series postcard: 2165; scan courtesy of Norman Hudson].

 

Archie was keen chronicler of events with many of his photographs taken in and around Lochmaddy to include local celebrations at the annual cattle markets and fairs and a rare glimpse into the festivities surrounding Queen Victoria’s diamond jubilee in this remote corner of the realm. Also in the late 1890s he produced the contentious ‘eviction photographs’ which showed at least two families being evicted from their houses in Lochmaddy. Archie was active in upholding the rights of crofters and probably saw these events, very close to where he worked and lived, as a way to embarrass the estate owner at the time.

 

Distressed women and children at an eviction scene. [Original Archie Chisholm photograph reproduced from lantern slide collection of Margaret Paterson: 1931].

 

Family researches have gathered together all of Archie’s known photographic images from various museum archives, published pictures and postcards and family and other private collections. As far as possible all the original locations of the images have been established and present day photographs of the same places have been taken to highlight the changes, or lack of them, over the intervening hundred or so years; approximately three-quarters can be properly located.

These researches have been collated in the recently produced book The Photographs of Archie Chisholm: Life and Landscapes in the Outer Hebrides 1881-1913 by Michael Cope, published by Thirsty Books, Edinburgh.

An exhibition featuring Archie’s photographs is being planned for display at Taigh Chearsabhagh Museum and Arts Centre, Lochmaddy in 2020.

 

With many thanks to Michael Cope, and Sean Bradley at Thirsty Books.

Did you like this? Share it:

Longannet Colliery, 2001.

Following on from previous successful publications Jeremy Sutton-Hibbert has brought out a sixth publication of work in collaboration with Café Royal Books, ‘Longannet Colliery, 2001’.

 

‘Longannet Colliery, 2001’ by Jeremy Sutton-Hibbert, published by Café Royal Books.

 

The work which was shot at Longannet Colliery in Fife during a news paper magazine assignment takes a look at the working life in what was Scotland’s last commercially working deep coal mine. These pictures were shot in 2001, and after flooding in March 2002 the mine closed, thus ending underground coal mining in Scotland.

The book published in an edition of 250, is available from Café Royal Books, at the price of £6.00 plus P&P.

Publish Date 16.01.19
32 pages
14cm x 20cm
b/w digital

‘Longannet Colliery, 2001’ by Jeremy Sutton-Hibbert, published by Café Royal Books.

 

‘Longannet Colliery, 2001’ by Jeremy Sutton-Hibbert, published by Café Royal Books.

 

‘Longannet Colliery, 2001’ by Jeremy Sutton-Hibbert, published by Café Royal Books.

 

‘Longannet Colliery, 2001’ by Jeremy Sutton-Hibbert, published by Café Royal Books.

 

‘Longannet Colliery, 2001’ by Jeremy Sutton-Hibbert, published by Café Royal Books.

 

 

A further seventh publication and collaboration between Jeremy and Café Royal Books will follow in July, titled ‘Scottish Orange Walks, 1993-1998’.

Did you like this? Share it:

Nelson Mandela, Glasgow 1993.

Jeremy Sutton-Hibbert’s images shot during the visit of Nelson Mandela to Glasgow in 1993, go on display this month at the City Chambers in Glasgow. Coinciding with Black History Month, the small exhibition has been made possible with the support of Street Level Photoworks, and depicts the events of the visit of Mandela to Glasgow to receive the Freedom of the City.

Exhibition runs at:
Glasgow City Chambers
82 George St, Glasgow G2 1DU
Mon – Fri, 8.30am – 5pm

 

Crowds await Nelson Mandela, Glasgow, 1993 – © Jeremy Sutton-Hibbert 1993.

 

From Street Level Photoworks:

2018 marks 100 years since the birth of Nelson Mandela. Known and loved around the world for his commitment to peace, negotiation and reconciliation, Nelson Rolihlahla Mandela was South Africa’s first democratically elected president (1994 to 1999). Mandela was an anti-apartheid revolutionary and political leader, as well as a philanthropist with an abiding love for children. In 1963 he was imprisoned by the Apartheid government of South Africa and was sentenced – with seven others – to life imprisonment in 1964.

Glasgow was the first city in the world to honour Nelson Mandela with the Freedom of the City, in 1981, nine years before he was released from prison. In a bold move to send a message to the then apartheid regime, the Glasgow City Council also renamed St George’s Place as Nelson Mandela Place in 1986. This was seen as highly significant as this then became the address of the South African Consulate, which was based there.

In October 1993, two years after his release from prison, Mandela came to Glasgow, where he was described by the then council leader Jean McFadden as “a symbol of the fight for equality and freedom across the world”. The event famously saw Mandela dancing on stage in George Square, to the delight of the crowd of 10,000 people who had come to see him.’

Award winning Scotland-based editorial photographer Jeremy Sutton-Hibbert was one of the photographers there that day, and these images are a record of that event. Previously published as a pocketbook by Cafe Royal Books, this is the first time these images have been seen in Glasgow.

In his acceptance speech in October 1993, Nelson Mandela said of Glasgow, “…It is a privilege to be a guest of this great City of Glasgow. It will always enjoy a distinguished place in the records of the international campaign against apartheid.

The people of Glasgow in 1981 were the first in the world to confer on me the Freedom of the City at a time when I and my comrades in the ANC were imprisoned on Robben Island serving life sentences, which in apartheid South Africa then meant imprisonment until death.

Whilst we were physically denied our Freedom in the country of our birth, a City, 6,000 miles away, and as renowned as Glasgow, refused to accept the legitimacy of the apartheid system, and declared us to be free. And in a real sense we were free, because however cruel the treatment meted out on us in prison, we never lost sight of the vision of a new South Africa as enshrined in our Freedom Charter. The City of Glasgow in granting us the Freedom of the City also took upon itself a very special obligation. It resolved to do everything possible to secure our freedom from the prisons of apartheid. It took up our plight in Britain and internationally. For example, the following year the Lord Provost co-ordinated a Declaration signed by over a thousand Mayors from 56 countries across the world which called for our freedom. Then in 1985 it joined with over 100 British local authorities in petitioning the then Prime Minister Margaret Thatcher, to press for my release. Such initiatives were thankfully successful…”

 

Did you like this? Share it:

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

Did you like this? Share it:

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.

 

 

Did you like this? Share it:

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.

Did you like this? Share it:

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.

Did you like this? Share it:

North Sea Fishing

In Scotland’s Season of Photography, the Scottish Fisheries Museum is delighted to be hosting a striking exhibition of black and white images shot by Jeremy Sutton-Hibbert aboard the seine net fishing boats, Mairead and Argosy, in the North Sea in the 1990’s. These images 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 grueling work in harsh conditions.

 

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.

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.

 

12th November 2016 – 19th February 2017
Entry included in museum admission.

Here, Jeremy talks about how the work came about:

“Considering I come from a land-locked family I’ve done my fair share of bobbing about on the waves of the planet, and no sea has more bobbing than the North Sea (although going through the 40degress and 50 degree latitudes of the Southern Ocean was quite interesting). 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”.

I think my first experience on the North Sea was on a fishing trawler, on an overnight assignment photographing fishing trawlers for a paper. There was a fisherman’s protest, lots of trawlers all together, protesting latest EU rules and regulations, net sizes and quotas. I got sent out to photograph. It was a night of adventure: watch dawn rise, shoot the other boats, back to harbour, home by lunchtime. The skipper that night, Ronnie, was a decent chap. I asked him how long he usually goes out for at a time, “10 days”, was the reply. “Can I come next time?” I asked. He smiled, he laughed, he replied, “if you think you can handle it, you can come, but there’s no going back. If you’re sea sick you’ll be sea sick for 10 days”. Count me in.”

The results of this expedition are captured in these striking images which serve as an important record of a period and style of fishing which is already passing into history and the Scottish Fisheries Museum is pleased to be able to provide our visitors with an insight into the working conditions for seine net fishermen, operating far from the safety and comforts of the shore.

We feel equally privileged to be hosting the inaugural display of this exhibition which will then tour other venues nationwide. 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.

Aboard the 'Argosy' seine-net fishing boat, in the North Sea, Scotland, February 1995. Photograph by ©Jeremy Sutton-Hibbert 1995.

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

The Scottish Fisheries Museum-partnered exhibition will then tour to the following venues across the country over the next year:

12th Nov. 2016 – 19th Feb. 2017 – Scottish Fisheries Museum, Anstruther

23rd Feb 2017- End of March 2017 – Arbuthnot Museum, Peterhead

8th April – 13th May 2017 – Montrose Museum

20th May – 29th June 2017 – Signal Tower Museum, Arbroath

8th July – 27th August 2017 – Bonhoga Gallery, Shetland Isles

9th Sept – 21st October 2017 – St Fergus Gallery, Wick

28th Oct – 9th December 2017 – Thurso Art Centre

6th Jan 2018 – 24th Feb 2018 – Beacon Arts Centre, Greenock

A related Education Pack developed by the Scottish Fisheries Museum’s Learning and Access Officer will be available for subsequent venues to engage with their local young people.

The Scottish Fisheries Museum will host a talk by the photographer Jeremy Sutton-Hibbert and featured fishing boat skipper Ronnie Hughes on Friday 2nd December, from 6pm.

Did you like this? Share it:

The past present

ds_blog_herman-03a

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.

ds_blog_herman-02a

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.

ds_blog_herman-04a

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.

ds_blog_herman-01a

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.

***********************

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.

Did you like this? Share it:

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.

Did you like this? Share it: