This highly original book of photographs interweaves images of landscapes, interiors and people with commentary on craft skills and belief systems encountered in the east of England and the Scottish Western Isles, commonly known as the Outer Hebrides. Significantly, both places sit on the edges of the United Kingdom. Richard Denyer has been investigating relationships between land and water throughout his career, beginning with photographic commissions for the Norfolk and Suffolk Broads Authority in the 1980s. The introduction by Professor David Matless traces the antecedents to this new collection and situates Denyer’s practice in a tradition of documentary photography going back to PH Emerson. A desire to complement the photographs with an imaginative text led to the essay by Will Self. To begin with the writing seems to have little connection to Denyer’s images, but the author imperceptibly draws the written and visual elements together by foregrounding his own life experiences and travels to inform a commentary which is as idiosyncratic and colourful as the photographs.
Size: 297 x 310 mm
128 pages, 97 colour plates
In 1980 Raymond Depardon fulfils an order for the Sunday Times Magazine, but the reportage will never be published. The pictures will wait in the photographer's boxes until the exhibition Un moment si doux (Such a sweet moment) at the Grand Palais (14th November 2013 - 10th February 2014), where the audience discovers a sample of the Glasgow series and goes into raptures about it. Depardon grasps the light of Scotland as never before and sublimes the end of a working world. Glasgow's cloudy skies and soaked ground give an extraordinary beauty to the wanderings of working people, hanging around in front of the shops, walking towards the factories' walls and even playing about ruined houses. William Boyd, who is of Scottish descent and was educated in Glasgow, writes the preface of the book, which is bilingual (English-French). Here we publish the complete reportage: 72 colour photographs. The pictures will appear without captions, and only a short bilingual text by Depardon will introduce the reportage, behind Boyd's foreword.
To be published by The Watermill 31 August 2013. A high quality book of black and white photographs revealing Glen Lyon in all its winter glory. With landscapes of stunning winter days and moody mists, the local people at work and play, Scotland longest glen is brought to life through the eye of local resident and photographer Jamie Grant.
See here for samples of Jamie’s black-and-white photography.
In the late 1960s, twenty-one year old David Peat created a portfolio of photographs to gain entry to the film business. Peat who was regarded as a leading cinematographer and documentary film maker, gave permission for Renaissance Press to publish these remarkable images which have remain unseen by the public for forty years.
The Glasgow photographed in 1968 has long gone, but the sights and smells of that time still exist in the recollections of those who lived as children in the streets and back courts of Gorbals, Tradeston, Maryhill and beyond. The black and white photographs in this book can still sharpen the memory as no other medium can.
By David Peat. Contributors Alan Spence, Robin Gillanders, David Bruce, Billy Connolly
Publisher: Renaissance Press
This is the first book to provide a full and coherent introduction to the photography of Victorian Scotland. There are many books which deal with particular elements and individual photographers, which show the interest in the subject, but no book draws everything together to provide an understanding of the multi-faceted nature of photography and the inter-relationship with other activities in the society of the time. This authoritative introduction, building upon these other publications, will provide a wide-ranging appreciation of early Scottish photography and in particular that Scottish photography was in the vanguard of many international trends. The material has been structured and the topics organised, with appropriate illustrations, as both a readable narrative and a foundation text for the subject.
Publisher: Edinburgh University Press
Size: 234 x 156 mm
224 pages, 130 illustrations
Scotland’s Heritage is a unique book. It combines John Hannavy’s stunning and original photography of Scotland with an engaging narrative on the country’s evolution from 4000 BC to the present day, using both the author’s own account of his travels with those of the great travel writers of the past who have explored and been moved by its landscape, architecture and people.
Scotland is a country steeped in history, and blessed with a rich and varied heritage set in a stunning landscape. It is a photographer’s paradise with light which can change a hundred times a day, each revealing a new aspect of the place. Throughout the country, marks reveal the lives of those who have lived before us over past millennia, while today’s landscape is dotted with the remains of buildings erected, enjoyed, altered and abandoned over the past centuries.
Scotland’s Heritage illustrates some of the country’s often-turbulent history by offering a view of the places and the buildings where that history was played out. The text and pictures in the book are arranged thematically with sections entitled The marks left by men; The land of the mountain and the flood; Great houses and humble dwellings; Churches, rituals and monuments; The land of a thousand castles; One thousand years of industry and Living and working by the sea.
Travel writers from the last 400 years such as William Camden, Boswell & Johnson, Thomas Pennant, Daniel Defoe and H.V. Morton have all contributed their views on what Sir Walter Scott called ‘the land of the mountain and the flood’. The land they journeyed through and the experience of travel then was very different to what we know today, and quotations from their erudite, informative and often amusing observations are used to contrast their Scotland with ours.
Publisher: Whittles Publishing
Size: 260 × 210 mm
"Dust to Dust" draws inspiration from early still life painting and recent discoveries in
quantum physics both of which tell us, metaphorically and scientificaly respectively, that
we are a small part of a vast interconnected cosmos and part of that infinite expanse
resides inside each and every one of us. Drawn from an archive of 8 years work in the
Western Isles of Scotland, "Dust to Dust" juxtaposes images of former dwellings slowly
being decomposed by the elements with images of found books in various states of
"Tyler enjoys a considerable visual return from photographing the remains of this “bookwreck”...
Nonetheless, he gains an even greater symbolic return from this catastrophe,
as from the wounded memorials that are these now almost illegible books, mere objects
whose substance has withered, Tyler manages to express a moral lesson, which
transforms his photographs into true Vanitas, one of the primary intentions of this artistic
genre that would later be called the still life. In my opinion, precisely at this time of moral
gravity, Tyler’s photography achieves its most profound beauty and above all, or if you
wish, more so, his most complete understanding of what this art has become in our
days, so defined by time; so, indeed, “dust to dust”, “only time will tell”. Is this not
perhaps the finest testimony to our beauty"
from the text by Francisco Calvo Serraller
The Victorians were the harbingers of the modern age, their society driven by curiosity, a zeal for invention, and an enormous appetite for economic and imperial consumption. The boiler room of the era was stoked furiously, and its frequent combustions produced advances in everything from science and philosophy to industry and architecture.
By the end of the nineteenth century, Scotland was a nation transformed. Glasgow had exploded into the second city of the Empire, the majestic Forth Bridge was celebrated as a wonder of the modern world, and railways had opened the remote Highlands to new industries of leisure and tourism. But for every grand museum or gothic-revival country house, tenements and slums rose in their thousands – overcrowded living for the vast army of workers that sustained the great Victorian machine. Ambition and wealth saw social divisions become ever more acute, producing a society obsessed with class hierarchy.
Now, for the first time, RCAHMS is showcasing images from its National Collection in a remarkable illustration of this landmark era. From the pioneering work of photographers like John Forbes White, William Donaldson Clark, Thomas Annan and Harry Bedford Lemere, to never before seen excerpts from private family albums, Victorian Scotland is a window on the lives of the generation who changed the world.
Size: 300 x 245 mm
224 pages, 220 illustrations