Scottish Photographers in Skye

This is the text of a review by Sandy Sharp, in “Scottish Photography Notes”.
Photographs are by Jill Staples.

Twelve Scottish Photographers spent a September weekend at Quiraing Lodge in Staffin on Skye. Quiraing Lodge is the latest Scottish centre to offer residential photography workshops and facilities. For the past two years Sam Gardener and his partner Suzy, from the South of England (in fact from IPSE country) have been running workshops in photography and other activities such as yoga and basket making. Quiraing Lodge is set in stunning surroundings with the beach, complete with recently discovered dinosaur footprints, only a short walk away.

On the Friday evening there was a discussion on contemporary Scottish photography. This was helped by reference to exhibition catalogues and books - publications from the Scottish National Portrait Gallery in particular were of interest. Even allowing for the fact that 2002 had been designated a special year for photography, the efforts of Sara Stevenson and her SNPG team have contributed a huge amount to the recording and understanding of Scottish photography. The creation of a Scottish National Photography Centre can only enhance this scholarship. There followed a (by now usual) inconclusive attempt to recognise what might be definably 'Scottish' about the work of the photographers identified. It was noted that, with notable exceptions, there was an apparent absence of Scottish names in the middle of the twentieth century. A good deal of work of this time being made by incomers. By contrast the establishment both of photography as a degree subject in the Art Schools and galleries specialising in photography has meant that in the twenty first century Scottish workers are becoming better represented and are having a higher profile.

Looking at work

Work at various stages of development had been brought and much of the weekend was taken up with presentations and discussions of these. Keith Price had made portraits of faceless models (taken with a pinhole Hasselblad!), and crossed the divide from photography to painting. He also showed black and white digital images. A sensitive colour MA submission on the "seven ages' had to be spread on the floor by Eileen Fitzpatrick and produced quite different reactions from the onlookers. On the other hand artist's books of the land and sky in Skye from Caroline Dear (who lives nearby) were passed from hand to hand. Jim Mailer has been making photographs for longer than most. In a self effacing presentation (why is everyone so modest?) he began by travelling back in time to show work made on Rannoch Moor. He moved from traditional landscapes to almost abstract tree roots and seemed satisfied when his elderly prints were declared as contemporary as any. The work that Matt Sillars makes is challenging. For Matt ideas and images are equally important. It cannot be said that there was either a great deal of understanding or sympathy with his views, but his contribution underlined once again the great variety of practice which Scottish Photographers includes in its ranks.

Sandy makes a point

Jill Staples showed her books of flower pictures and home made paper and also brought greetings from our older sibling IPSE - Independent Photographers in the South East. Douglas May showed a panel of architectural work and photographs of sculptures made in Sweden at midnight - in the midnight sun. Chris Morris, also from IPSE, preceded a look at his recent conceptual work with (more modesty) a survey of animal pictures from his past. Doug Whittaker explained why he was not called Andrew and then gave an account of making photographs of mongrel dogs, which were directed by, and attributed to, someone else. Sandy Sharp continues to work in Ravenscraig. One of the most extensive pieces shown at the weekend was by Alan Aitchison who had produced much new work in Italy during the summer. Lack of space made it difficult to view this properly. Alan intends to take it forward and it is hoped that he will be able to present it in a method more to his liking in the future. This confirmed the view that suitable local portfolio venues are required.

Alan Aitchison

Such was the amount of work that had been brought along that the only free time was a couple of hours on the Saturday afternoon. This enabled a beach walk - but no dinosaurs fingerprints never mind footprints were to be seen. An attempt was made to organise a print exchange. Prints, which had been brought along, were put into envelopes and anonymously marked by the donors. As a result each participant went home with a gift. However a suggestion that these might be appraised came to nothing. Perhaps the organisation of an exchange can be refined on a future occasion. Like the Inversnaid weekend it was refreshing to view "bodies of work" rather than panels of individual photographs or 'masterpieces'. It was good to see that some of those present at Inversnaid had produced new work in the short time that had passed. It is hoped to run another residential weekend in 2003.

“Scottish Photographers” is a recently formed independent photography group.

To find out more, go to www.scottish-photographers.com