Sarah Amy Fishlock joins Document Scotland

Document Scotland begins a new era in our short and full life. We are delighted to announce that long-time friend and occasional collaborator, Glasgow-based photographer Sarah Amy Fishlock has joined us, and together we look forward to joining our energies and expertise, and building on all that Document Scotland has so far achieved in promoting documentary photography in and about Scotland.

 

We welcome photographer Sarah Amy Fishlock to the Document Scotland team.

 

Sophie Gerrard spoke with Sarah about how she got started in photography, her projects, some of her influences and what’s next.

From the series Middlemen © Sarah Amy Fishlock 2011 all rights reserved.

SG: So welcome to Document Scotland Sarah, we’re looking forward to working with you – perhaps we can start with you telling us a bit about yourself…

SAF: I was born and brought up in Glasgow. When I left school I did a degree in Literary Studies at Glasgow University – it was originally going to be an Honours English Literature degree, but I cut it short when I realised that I wanted to go to art school. My father, whom I was close to and who passed his love of visual art on to me, passed away a year after I left school. I remember being in Venice with my mother soon afterwards, and taking a photo with my little point and shoot camera – a view of a corner building, from a bridge. The photo is pretty ordinary but I remember the moment really clearly as the instant I realised I wanted to do something creative, although I wasn’t quite sure what that would be.

Even though it was photography that sparked my interest in the creative industries, I started studying Visual Communication (now Communication Design) at Glasgow School of Art when I was 21, originally intending to specialise in Graphic Design. After taking a short introduction to black and white photography course in 2nd year (my first time in a darkroom), I fell in love with the process of photography. My boyfriend at the time, though not a professional photographer, was really interested in photography, and would buy me various cheap cameras for birthdays and christmases – Olympus Trip, Holga, Fuji Instax – so my first forays into photography were really experimental. I fell in love with the way my everyday surroundings could become beautiful through photography. I spent lots of time in the darkroom during my degree – now, I can’t even remember what I was printing, but I remember it being a really meditative experience, and crucial in helping me to form ideas of what a future career could look like.

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From the series Middlemen © Sarah Amy Fishlock 2011 all rights reserved.

SG: It sounds like your starting point was quite instinctive – tell us a little about how you developed your passion and interest …

SAF: During my degree, the artists I loved were those who made the ordinary extraordinary. I was fascinated by images of the American south – Robert Frank, William Eggleston, Stephen Shore. I still love those photographers, but I realised during my studies that my own style of photography would be more intimate, the stories I tell more focused. The Iraqi interpreters that I worked with during Middlemen, my degree project, have been through trauma that most people can’t imagine, but I wanted to tell the story of their quiet persistence, their day-to-day challenges and triumphs – a story about what happens after conflict, when people must rebuild their lives. One of the primary influences on this work was KayLynn Deveney’s The Day to Day Life of Albert Hastings – the simple story of the artist’s friendship with an elderly widower, illuminated by Deveney’s lyrical, painterly imagery.

Today, two of my main influences are Sian Davey and Bertien van Manen – two artists who produce slow, quiet, unhurried projects, in which the viewer is given an intimate glimpse into other worlds.

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From the series Amye & Ahren © Sarah Amy Fishlock 2012 all rights reserved.

SG: We’ve enjoyed your work such as Middlemen and Amye & Ahren and featured them in Document Scotland publications and salons, you’ve also created Goose Flesh photography zine. You’re clearly a prolific and driven individual, what motivates you?

SAF: For me, photography is a way of making contact with the world. It was hard to get Middlemen started – it look a long time and a lot of persistence to find the men, but once I did, I began to understand how humbling and illuminating it can be to help someone tell their story. While discussing a new project with a friend recently, something he said struck me – ‘the best projects are the most difficult’. For me, that’s definitely true – I want my work to challenge not only the viewer but myself, as a photographer and as a human being – to think differently, to change perspective, to reconsider opinions.

From the series Middlemen © Sarah Amy Fishlock 2013 all rights reserved.

From the series Amye & Ahren © Sarah Amy Fishlock 2012 all rights reserved.

I always begin by researching my subject: this is really important when working with a different culture, as during Middlemen, or with disabilities, like Amye & Ahren. I read around the subject and look at other artists’ work for inspiration. I’ve learned to always make work about subjects that interest me, even if they don’t seem ‘photograph-able’ to begin with – there’s always a way in. I then look for ways to access the people I want to work with – this might be through a charity, like the Scottish Middle Eastern Council who helped me meet the middlemen, or a mutual friend, who introduced me to Amye. I treat my projects as collaborations between myself and the subject – their comfort always comes first. It’s important to me that when I show my work, the people I’ve photographed are happy with and proud of the result.

In 2013 I started Goose Flesh with a small grant from Ideastap as a way of showcasing work by emerging and established artists from, living in, or connected to Glasgow, in a compact, accessible, affordable form. So far, five issues of the zine have been produced, alongside exhibitions in a range of venues around Glasgow, from Trongate 103 to the Arches. My interest in zines continued during my residency at the Citizens Theatre (2013-14 ), for which I produced two zines documenting my projects – it was a great way to bring the work back to the community that inspired it. I now teach zine workshops to university students and community groups around Scotland. This is something I’d like to continue and develop in 2017, perhaps alongside one of my photography projects. Goose Flesh is on hiatus at the moment while I develop my own photography projects – but it’ll definitely be back at some point in the future!

From the series Five Lands © Sarah Amy Fishlock 2016 all rights reserved.

From the series Five Lands © Sarah Amy Fishlock 2016 all rights reserved.

SG: Have you had any surprises along the way? Unexpected moments or challenges when making your work?

SAF: I am always humbled and pleasantly surprised by the people I photograph – the middlemen and their families welcomed me into their homes, gave me lots of delicious food, and shared their stories with me. Amye and Ahren did the same, despite the daily difficulties and challenges they face as a single parent family living with autism.

I’ve begun a few projects that have later fizzled out because I wasn’t sure exactly what the focus of the story should be. It’s important to identify precisely what interests you about a situation, even if you can’t envisage the outcome right at the beginning.

From the series Five Lands © Sarah Amy Fishlock 2014 all rights reserved.

From the series Five Lands © Sarah Amy Fishlock 2016 all rights reserved.

SG: We’ve seen that your new work Beloved Curve, has been selected for Focus Photography Festival in Mumbai, and you’ve just returned from exhibiting it with Uncertain States in East London – many congratulations.  What’s coming up for you next?

My most recent project, Beloved Curve, is a departure from my previous work – it’s a series of experimental double exposures looking at my relationship with my father and my experiences of mourning his loss. I have enjoyed immensely the process of working in a different way, and I’m really proud of what the project has achieved – as well as being exhibited in Glasgow and Edinburgh this year, it’s been featured by BBC News In Pictures, the Guardian and Fiona Rogers’ Firecracker. Thanks to this coverage, I’ve recieved great feedback from members of the public who’ve connected with the work – it’s important to me that my work has resonance beyond the photography community, and I’m delighted that this project has achieved that.

I want to continue looking at some of the themes Beloved Curve touches on, but with a documentary slant – getting back into telling other people’s stories. I’m currently researching what I hope will be a long term project about child bereavement in Glasgow, as well as some smaller documentary projects.

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From the series Beloved Curve © Sarah Amy Fishlock 2016 all rights reserved.

I’m really excited to have the opportunity to join Document Scotland at this stage in my career – I think it’s important to have other artists to collaborate with, and to support and be supported by. I feel passionately about getting Scotland’s photography seen, not only by people in the industry, but also making connections with those outside it. Document Scotland is making this happen, through the website, events and salons as well as exhibitions. It’s a very exciting time for photography in Scotland, and I’m really pleased to be a part of it.

SG: Thank you for joining us Sarah and for taking the time to do this interview Sarah, we’re excited to be working with you!

If you’d like to see more of Sarah’s work please …

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The History Woman

Nicola Sturgeon meets with her dress makers  Totty Rocks before being voted in as Scotland's First Minister. Photograph © Peter McNally, 2014, all rights reserved.

Nicola Sturgeon meets with her dress makers Totty Rocks before being voted in as Scotland’s First Minister. Photograph © Peter McNally 2014, all rights reserved.

 

As the 2015 UK General Election campaign gathers pace, we are being bombarded by soundbites and overwhelmed by statistics whilst politicians appear on every television screen, newspaper and website we look at. There’s no getting away from politics, for the next couple of months, at least.

So we at Document Scotland are going to add to mix by showcasing work by Glasgow-based photographer Peter McNally, who has been granted unprecedented access to photograph one of the pivotal figures in the current contest for votes: Scottish National Party (SNP) leader and First Minister Nicola Sturgeon.

 

Nicola Sturgeon, on stage at the Corn Exchange, Edinburgh. Photograph © Peter McNally, 2014, all rights reserved.

Nicola Sturgeon, on stage at the Corn Exchange, Edinburgh. Photograph © Peter McNally 2014, all rights reserved.

 

The story starts during the Independence referendum campaign, when Peter was one of a small team of dedicated photographers working on behalf of the National Collective to document its campaigning activities as it sought to persuade Scots to vote Yes. Through this, Peter was able to make a visual record of the campaign, and in so doing, got close to the people making the news. Little did he know at the time, but his work was being noticed by the leaders of Yes Scotland and the SNP.

In the dramatic aftermath of the 18th September 2014 vote, Alex Salmond resigned and his then deputy, Nicola Sturgeon was elevated to the position of First Minister. This followed on directly from a nationwide tour which the party undertook, with Sturgeon speaking at packed venues and the party’s annual conference. By this time, Peter had already been contacted and offered the opportunity to photograph behind-the-scenes. It was a chance he grabbed gladly. As Peter explained: “The SNP tour was a first of its kind in Scottish and British politics and saw Nicola visit Edinburgh, Dumfries, Dundee, Inverness, Glasgow and Aberdeen whilst engaging directly with the public with a talk then an open question-and-answer session.” Shortly into the assignment Nicola Sturgeon became the SNP party leader at the party’s National Conference in Perth then soon after that, Scotland’s first female First Minister. Peter was on hand to capture it all.

Nicola Sturgeon waiting for an interview inside the BBC radio mobile studio. Photograph © Peter McNally, 2014 all rights reserved.

Nicola Sturgeon waiting for an interview inside the BBC radio mobile studio. Photograph © Peter McNally 2014, all rights reserved.

 

In terms of creating an archive of images from an historic moment, the SNP saw the value of what they were proposing through Peter’s work. As Peter noted: “The SNP team were interested in developing both an in-house style of photography they could have as a go-to resource and also a historic documentation that would act as a public record.” But there’s realpolitik involved too, according to Peter: “The project also fits in well with Nicola’s own vision of a more accessible and transparent governance.”

Selfies with supporters, Eden Court Theatre, Inverness. Photograph © Peter McNally, 2014 all rights reserved.

Selfies with supporters, Eden Court Theatre, Inverness. Photograph © Peter McNally 2014, all rights reserved.

 

Peter’s work is set to continue and is being updated continually on the internet, as he explained: “Right now we are focusing on documenting campaign events in the run up to the General Election in May. My own vision is to not only tell the story that is front and centre but to try and capture moments behind the scenes. I hope this will make for a more complete and hopefully interesting look at this one section of Scottish politics. Currently it’s been so busy with the General Election campaign that we haven’t really had time to discuss how the project might progress. There have been informal discussion about documenting more in depth on a day-to-day basis and even setting up a dedicated team to deal with editing and archiving. As it’s an SNP project I am funded by them but the parliament have their own photographers so there may be a need to work more closely with them in the future.”

 Nicola's husband Peter Murrell proudly looks on as Nicola thanks friends and family at a reception in Bute House. Photograph © Peter McNally, 2014 all rights reserved.

Nicola’s husband Peter Murrell proudly looks on as Nicola thanks friends and family at a reception in Bute House. Photograph © Peter McNally 2014, all rights reserved.

 

As Peter concludes: “We are also in the process of organising an archive on Flickr. There are lots of idea out there. I think after the General Election we will be able sit down and see how we would like to progress. There are also opportunities for exhibiting and publishing a photo book, something I am keen to work on. For now though, I’ll keep shooting and try to keep it interesting for people.”

The First Minister's portrait is added to the walls at the official residence at Bute House in Edinburgh.  Photograph © Peter McNally, 2014 all rights reserved.

The First Minister’s portrait is added to the walls at the official residence at Bute House in Edinburgh. Photograph © Peter McNally 2014, all rights reserved.

 

If you are interested in keeping up with Peter’s work you can visit the official SNP photo archive on flickr and follow Peter’s work on Instagram or on his website.

 

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Summerhall Salon, Edin., 12/7.

We’re pleased to announce that Stephen McLaren will be giving a short talk this Saturday at the Yestival2014-organised Summerhall Salon of photography talks, at Summerhall Salon in Edinburgh, from 1-3pm.

Talking alongside Stephen will be photographers Alan McCredie and Alex Boyd, and Sarah Bromage of the Scottish Political Archive.

You can reserve a free ticket here.

photoweb

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Alan McCredie, 100 Weeks of Scotland

Flodden field on the 500th anniversary of the Battle of Flodden, Alan McCredie ©

Flodden field on the 500th anniversary of the Battle of Flodden. Photograph © Alan McCredie, all rights reserved.

 

Alan McCredie, an Edinburgh-based photographer, had the genesis of a great project-idea in October 2012. Realising that the Independence referendum was exactly 100 weeks in the future, he decided he would start “100 Weeks of Scotland”, a photographic endeavour to record events and scenes from all over Scotland in the lead up to the referendum. As Alan on the website (100weeksofscotland.com) says…

“It is intended to show all sides of the country over the next two years. Whatever the result of the vote Scotland will be a different country afterward. These images will show a snapshot of the country in the run up to the referendum. The photos will be of all aspects of Scottish culture – politics, art, social issues, sport and anything else that catches the eye.”

Many projects which sound like a “great idea” at the time often falter as real-life intrudes on the ability to shoot relentlessly on the same topic. However Alan has stuck with it, shooting across the whole of the country week-in, week-out, and now the end of the project is coming over the horizon.

Astutely he managed to get the Scotsman interested in showcasing his weekly photo digests and has thus given him a good platform to leverage the project and make it a decent proposition for a book and exhibition.

Alan covers many different subjects in the project, occasionally shooting around work for his main clients in the theatre, fashion and design industries. One week it may be wintery landscapes, the next it might be a series of portraits of a soap opera. In addition to a wide range of subjects, Alan also writes thoughtfully on his topics and brings a lot of contextual information which make you want to know more about what he has been shooting.

Eilidh C. , Alan McCredie ©

Eilidh C. Photograph © Alan McCredie, all rights reserved.

 

In addition this project, Alan is a member of the Independence-leaning arts group, National Collective. He enjoys working collaboratively with about six other photographers from the group and there is a current joint-project for coming up with a series of National Collective posters which might run in bus shelters or online campaigns. On his featured page on the website, Alan explains his vision for a post-referendum Scotland: “The essence of the Scotland I would like to live in – entirely inclusive, welcoming, and most of all outward looking in its beliefs and ideas. Only through a rich exchange of different viewpoints and attitudes can a country truly be said to be wealthy”

Certainly the Independence referendum seems to have galvanized many artists and writers in Scotland to contribute in some way to the “national conversation” that is supposed to be accompanying the referendum in its passage through Scottish civic society. The conversation may occasionally get a bit shouty but it is giving many people with a creative voice, including photographers, an opportunity to explore more personal stories close to home. Ironically as newspapers cut back on the number of photojournalists they employ so the number of photographers developing strong documentary projects, like 100 Weeks of Scotland, seems to be on the rise.

“Documentary photography in Scotland is very strong at the moment, there seem to be lots more people doing it, more of a sense of not working alone. Working with the National Collective has been great in that I enjoy working collaboratively and knocking ideas about. And sometime you just want to be able to ask a daft question about how a bit of your camera works! It’s good that the National Collective now have a dedicated space down in Leith called the Art Cave, and I’m looking forward to putting on a mini-exhibition of 100 Weeks of Scotland down there in the spring.”

Document Scotland enjoyed picking some favourite images from Alan’s project to accompany this blog but we also wanted to hear some anecdotes about specific images from the photographer.

Centrepoint, Alan McCredie ©

Centrepoint Photograph © Alan McCredie, all rights reserved.

 

“I had been photographing the many places that claim to be the ‘centre of Scotland’ and this was one of those places. I had done a lot of research beforehand and had consulted maps and other photos to work out exactly where to photograph. I had checked this location on Google Street View before setting off and it was a little uninspiring. I didn’t really hold out too much hope for a decent shot. As I got to the exact location according to my GPS, I genuinely could not quite believe it when I saw the road sign at the edge of the road. It points almost directly to one of the supposed centre points of Scotland (follow the arrow about two-thirds up the hill). There were roadworks nearby and I suppose the sign was placed there accidentally. I think it shows that it can sometimes just take a small stroke of luck to give a shot that little extra.”

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Hogmanay Bins. Photograph © Alan McCredie, all rights reserved.

 

 

Greek Orthodox Priest, Alan McCredie ©

Greek Orthodox Priest. Photograph © Alan McCredie, all rights reserved.

“This image was a very quick portrait and one that I like a lot. I had been working for the Carnegie UK Trust and was photographing one of their events. As soon as I saw the priest I really wanted to get a shot of him. I kept circling, but didn’t want to intrude as he was deep in conversation. Moments before he left I finally got my chance and I asked if I could take his portrait. I don’t think he was too sure about it and I took one shot, before he turned to go. I don’t think I could have got a better one if I had shot fifty more and I don’t think I would have asked him to stand the way he did if I had had more time. It is his positioning, and body shape that makes the image work for me.”

Alan McCredie ©

Photograph © Alan McCredie, all rights reserved.

 

Barber Van, Alan McCredie ©

Barber Van. Photograph © Alan McCredie, all rights reserved.

 

“I was lost in an industrial estate of endless roundabouts in Stirling when I spotted this barber van. I drove up to it and took a few shots and then drove on. I stopped for petrol a few minutes later and quickly checked the images. They were OK but it was fairly obvious it really needed somebody in the shot to make it work. I headed back and realised that, actually, I really did need a haircut. 15 minutes later, freshly shorn, I took a few images of the owner of the van and drove on. £6.50 for a pretty good haircut, and a nice image was well worth it.”

 

Leith Academy School Prom 2013, Alan McCredie ©

Leith Academy School Prom 2013. Photograph © Alan McCredie, all rights reserved.

 

“This is one of my favourite images. I was doing some images of a high school prom as a favour for a friend and had been snapping away as the kids arrived. The moment I saw this couple enter I knew I had to get a shot of them. At first it was difficult to get them not to smile so I photographed away knowing I would get my chance eventually. After not too long they were very quickly getting bored and this was the last, and best, and best frame that I shot. Essentially I bored them into getting the image I wanted.”

 

Burger Van, Alan McCredie ©

Burger Van. Photograph © Alan McCredie, all rights reserved.

 

Seafront at Arbroath, Alan McCredie ©

Seafront at Arbroath. Photograph © Alan McCredie, all rights reserved.

 

See more of Alan’s Scottish photo-odyssey at www.100weeksofscotland.com.

 

 

 

 

 

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History making

Canon Kenyon Wright receives the applause of delegates to the Scottish Constitutional Convention. © Colin McPherson 1995, all rights reserved.

Hold the front page: Canon Kenyon Wright receives the applause of delegates to the Scottish Constitutional Convention.
© Colin McPherson 1995, all rights reserved.

 

A week, as the old saying goes, is a long time in politics.

But how do we measure 18 years? On another of many historic days in modern Scottish politics, the government of our devolved parliament today launches its White Paper, setting out a prospectus for an independent Scotland. Spool back almost exactly 18 years ago to St. Andrew’s Day 1995, and we find another day which was a stepping stone to where we are today: the publication by the Scottish Constitutional Convention of a document entitled Scotland’s Parliament, Scotland’s Right at the Church of Scotland General Assembly building on the Mound in Edinburgh.

Scottish political and civic leaders arriving at the General Assembly of the Church of Scotland, 30th November 1995. © Colin McPherson, all rights reserved.

Scottish political and civic leaders arriving at the General Assembly of the Church of Scotland, 30th November 1995.
© Colin McPherson, all rights reserved.

The dramatis personae that day were very different to today’s protagonists and looking back, seem almost anachronistic and unbelievable: on the one side a Protestant minister, Canon Kenyon Wright, espousing home rule on the other a Conservative MP, Secretary of State Michael Forsyth, the Westminster government’s man in Scotland who was implacably opposed to the establishment of a devolved parliament in Edinburgh.

the steps at the General Assembly of the Church of Scotland building on The Mound. © Colin McPherson, all rights reserved.

Reading the Declaration of Arbroath on the steps at the General Assembly of the Church of Scotland building.
© Colin McPherson, 1995, all rights reserved.

The day’s proceedings consisted of two events. Firstly, Secretary of State Forsyth, circling like a vulture in the grey, cold Edinburgh skies, popped up in front of the former Royal High School building – then slated as the location for the putative parliament – and warned all-and-sundry of the dangers and delusions behind devolution.

Campaigners with banners arriving at the General Assembly of the Church of Scotland building. © Colin McPherson 1995, all rights reserved.

Campaigners with banners arriving at the General Assembly of the Church of Scotland building.
© Colin McPherson 1995, all rights reserved.

The main event, however, was the gathering on the Mound of the great-and-good of Scottish political and civic society, there to show solidarity with an idea which was growing in the public’s mind, and to sign the document which would underpin the campaign for the parliament to be reconvened for the first time since 1707.

Campaigners seated within the main hall of the General Assembly of the Church of Scotland building. © Colin McPherson 1995, all rights reserved.

Campaigners seated within the main hall of the General Assembly of the Church of Scotland building.
© Colin McPherson 1995, all rights reserved.

With all the pomp and pageantry of a quasi-state occasion, it looked and felt like the Scottish Establishment were there en masse. But there were noticeable absentees: The Conservatives opposed it and the SNP abstained, angered by the lack of any mention of independence within the Convention. Nevertheless, up the delegates all trooped, dutifully signing a document which with eerie similarity to today’s publication was dubbed “a blueprint for Scottish devolution.”

David Steel MP (left) signing a Scottish Constitutional Convention (SCC) document entitled 'Scotland's Parliament, Scotland's Right'. © Colin McPherson 1995, all rights reserved.

David Steel MP (left) signing the Scottish Constitutional Convention document entitled ‘Scotland’s Parliament, Scotland’s Right’.
© Colin McPherson 1995, all rights reserved.

The rest, as we know, is history. Forsyth and the Tories were blown away in 1997 and within two years the parliament had sat for the first time at the General Assembly building. The final twist to the story for me that day drew on the lesson about “right time, right place.” I was covering the day’s events for the Independent, and in those days I would process my films and file my pictures from the Scotsman office, at that time a stone’s throw from the Mound. I happened to be on the editorial floor late in the afternoon when I overheard a discussion amongst senior editorial staff about which photograph the paper should run on the front page, an image which they hoped would sum up the occasion.

Secretary of State for Scotland and Conservative Party politician Michael Forsyth, pictured outside the former Royal High School building. © Colin McPherson 1995, all rights reserved.

Conservative Secretary of State for Scotland Michael Forsyth, pictured outside the former Royal High School building.
© Colin McPherson 1995, all rights reserved.

I had just wired all my photographs and the editor started talking loudly about the moment at the end of the signing ceremony when all those gathered had stood up and spontaneously started to applaud Canon Wright, the Convention’s figurehead and unifying force behind the campaign. The editor wondered if the Scotsman’s photographer had captured that moment. Unfortunately he hadn’t. I hadn’t thought much of that congratulatory moment, so had not sent the image to the Independent. Indeed I hadn’t even processed the roll of film which contained the photograph. Within the hour, the film was developed and a print made, which was then scanned and laid out on the page for first edition. And so, the following morning, I was proud to say it was my picture which had captured that historic day for Scotland in the Scotsman. (In case you are wondering, the Independent used the photograph of Michael Forsyth.)

Signatures on the Scottish Constitutional Convention document entitled 'Scotland's Parliament, Scotland's Right',. © Colin McPherson 1995, all rights reserved.

Signatures on the Scottish Constitutional Convention document entitled ‘Scotland’s Parliament, Scotland’s Right’. © Colin McPherson 1995, all rights reserved.

 

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Why I Took This Picture……..Robert Ormerod

Starting a new series is always a tentative process:  The fulfilment of an idea that may have been gathering momentum in a closet somewhere in a corner of your mind.  Will a story translate from idea form to visual reality?  Will I waste my time working on something that may lead to nothing?

The night before I made this image my mind was still going through familiar questions.  I had spent a few days on the political youth project and so I was planning to visit the Conservative conference in Troon to push forward with the project.  However I was unsure if a party political conference would provide the kind of interesting images that I was looking for.  Would there be enough young people in attendance to justify making the trip?  Would the building provide the right character and back-drop to my images? I’m sure all photographers are familiar with this self-questioning and critical approach to their own ideas. The truth is it all probably stems from the same thing- fear of failure.  And there is only one to deal with this and that is to keep pushing forward.

So I made the trip to Troon, regardless of my reservations, fears and doubts, and I pushed forward with the project.  To my surprise I arrived in Troon to find that the conference was not being held in a sparkling, modern conference centre but in a town hall with original decor dating back a few decades.  As I wandered through the crowded corridors and past the various stalls it quickly became apparent that there were plenty of interesting young Conservatives to photograph.  I settled on these aged yellow curtains in, what looked like an old school gym hall, as my background.  The light was good and I decided the curtains would provide a nice contrast with the fresh, suited-and-booted individuals I had seen at the conference.  I balanced my reflectors on some chairs and began approaching subjects.

Robert’s photograph, and others from his series, Political Youth, can be seen at Fotospace Gallery, Rothes Halls, Glenrothes, as part of the ‘Seeing Ourselves’ exhibition, which is curated by Document Scotland. The exhibition finishes today, July 31st 2013.
Document Scotland’s latest newspaper, which accompanies the exhibition, can be bought via our publications page.

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100 Weeks

David Cameron and Michael Moore appear on the steps of St. Andrew’s House with Alex Salmond and Nicola Sturgeon for the press photocall, prior to signing the documents to authorise a referendum on Scottish Independence, Edinburgh, Scotland. ©Jeremy Sutton-Hibbert 2012, all rights reserved.

 

“In the shade of St. Andrew’s House the press awaited the appearance of, and handshake between, Scottish First Minister Alex Salmond and British Prime Minister David Cameron. The cold seeped to the marrow of journalists and photographers, as the police and politician’s aides kept us all behind barriers. With little fanfare, and with the lone shout of one saltire-carrying spectator, the politicians appeared; some smiles, a shake of the hand, all stage left away from the door upon which was written The Scottish Government; the photographers cursed, their intended image abruptly altered; the politicians stood, all looking their separate ways, and then with a few words from Alex Salmond, they turned and headed indoors, to the heat and to sign the historic 30 Clause document which gives the Scottish Government the authority to hold the referendum on Scottish independence. An historic day, marking the beginning of the 100 weeks of political campaigning, but a day which lacked an iconic image.” – Jeremy Sutton-Hibbert

 

The television cameras check their white balance colour temperatures, in the press conference room, Edinburgh, Scotland. ©Jeremy Sutton-Hibbert 2012, all rights reserved.

 

The television trucks and journalists coffee cups, at St. Andrew’s House, Edinburgh, Scotland. ©Jeremy Sutton-Hibbert 2012, all rights reserved.

 

The journalists chat, awaiting First Minister Alex Salmond’s press conference, St. Andrew’s House, Edinburgh, Scotland. ©Jeremy Sutton-Hibbert 2012, all rights reserved.

 

First Minister of Scotland Alex Salmond addresses the press after his historic meeting with British Prime Minister David Cameron, in St. Andrew’s House, Edinburgh, Scotland. ©Jeremy Sutton-Hibbert 2012, all rights reserved.

 

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