In 2013 SSHoP completed a project to digitise every issue of their Journal Studies in Photography, and its predecessor The Scottish Photography Bulletin.

If you have any queries regarding access please contsct .

An up to date list of SSHoP publications may be found on our Publications page.

Publications 1986-2006

A list of contents, including reviews of books and exhibitions, of the Scottish Photography Bulletin (1986-1995) and Studies in Photography (1996-2006).

SSHoP Bulletin, Spring 1986

  • Helen Smailes, Sir Walter Scott in Camera. [Sir Walter Scott, James Hall and Basil Hall.]
  • Nigel Thorp, Early Photographic Collections in Glasgow University Library.
  • Ray McKenzie, ‘The Laboratory of Mankind’: John McCosh and the Beginnings of Photography in British India.
  • David Bruce, Redding the Line. Calotype by D. O. Hill and Robert Adamson, Newhaven, 1845.
  • Julie Lawson, Bankruptcy Through the Lens: The Case of Kenneth Macleay.
  • John Burnett, Day Return to Newhaven. [Edinburgh, Leith and Granton Railway.]
  • A. D. Morrison-Low, The Alexander Sisters by John Adamson: Portrait of a Woman’s Place in Victorian Society.
  • Review: Mike Weaver, The Photographic Art, Stills Gallery (Monica Thorp).

Scottish Photography Bulletin, Autumn 1986

  • Lindsay Errington, Chiaroscuro in the Calotype.
  • Pradip Malde, No Man’s Land: A Portfolio.
  • Julie Lawson, Sir James Dunlop, a Photographic Prodigy?
  • Sara Stevenson, The Progress of the Scottish National Portrait Gallery’s Collection.
  • The Scottish Arts Council’s Photography Review.
  • Reviews: Tierra y Libertad! Photographs of Mexico 1900-1935, Collins Gallery, Glasgow, and Museum of Modern Art, Oxford (Ray McKenzie); John Ward and Sara Stevenson, Printed Light: The Scientific Art of William Henry Fox Talbot, David Octavius Hill and Robert Adamson, Scottish National Portrait Gallery (David Bruce); Town and Country: The Social Scene in Scotland 1850-1920, Hunterian Art Gallery, University of Glasgow (Clare A. P. Willsdon); S. Morozov et al., Soviet Photography 1917-1940: The New Photo-Journalism, London: 1984 (Norman MacDonald); Hugh Murray, Photographs and Photographers of York: The Early Years 1844-1879 (A. D. Morrison-Low).

Scottish Photography Bulletin, Spring 1987

  • A. L. Fisher, Thomas Annan’sOld Closes and Streets of Glasgow.’
  • Janet McBain, The Scottish Film Archive: The First Ten Years.
  • A. D. Morrison-Low, John Muir Wood, Calotypist.
  • Murray and Kate Johnston, Scottish Photographic Works.
  • Towler, John, A Nail-Brush and a Hat Stand … Setting up a Photographic Studio in 1870. From The Silver Sunbeam, 7th ed., 1870.
  • Review: Irving Penn at the Victoria and Albert Museum (Murray Johnston).

Scottish Photography Bulletin, Autumn 1987

  • J. A. Fisher, Thomas Annan’s ‘Old Closes and Streets of Glasgow.’ A Catalogue of the Images. Part One.
  • Graham Smith, James David Forbes and Thomas Rodger.
  • Reviews: Made from Girders, Talbot Rice Gallery, Edinburgh, and Ralph Greenhill, Engineer’s Witness, Toronto, 1985 (John Burnett); William Carrick, Nineteenth-Century Photographs of Russia, Scottish National Portrait Gallery (A. D. Morrison-Low); Fay Godwin, Exhibition at the Stills Gallery, and Peter Cattrell, Exhibition at the Royal Scottish Museum (Sara Stevenson); Roger Palmer, Precious Metals, Third Eye Centre, Glasgow (Ray McKenzie).

Scottish Photography Bulletin, Spring 1988

  • William Buchanan, Photography Comes to Glasgow: A Survey of the Fifteen Years 1839-1854.
  • J. A. Fisher, Thomas Annan’s ‘Old Closes and Streets of Glasgow.’ A Catalogue of the Images. Part Two.
  • Sara Stevenson, The Australian Question. [Dr John Thomson]
  • Jane Brettle, The Photography Workshop.

Scottish Photography Bulletin, Autumn 1988

  • Julie Lawson, William Walker: An Early Amateur Photographer.
  • Euan McGillivray, Private Lives – Public Heritage. [Museum of Victoria]
  • Robert Donaldson, Obituary: Max Begg.
  • Margaret MacDonald, Calotype Workshop Report.
  • Reviews: Roger Fenton: Photographer of the 1850s, Hayward Gallery, London (Margaret MacDonald); Larry Schaaf, Sun Gardens: Victorian Photograms by Anna Atkins (A. D. Morrison-Low)

Scottish Photography Bulletin, 1989 No. 1

  • Julie Lawson, William Donaldson Clark (1816-1873).
  • David Bruce, Oscar Marzaroli: A Tribute.
  • James Lawson, The Photographic Image and Romanticism.
  • Sara Stevenson, Brief Encounter. [James Nasmyth and David Octavius Hill]
  • Reviews: Sara Stevenson, James Cox 1849-1901 (A. Morrison-Low); Jacques-Henri Lartigue: My Friends and I, Grand Palais, Paris, 1988 (Norman MacDonald); Andrew Cronshaw, Old Dundee Postcards, Edinburgh, 1988 (Dorothy Kidd); Heinz and Beatrice Henisch, The Photographic Experience, Palmer Museum of Art, 1988 (Sara Stevenson).

Scottish Photography Bulletin, 1989 No. 2

  • Donald McCoo, John Urie: Portrait Photographer (1820-1910).
  • Mrs Mucklewham, The Whole Art of Photography Exposed!
  • David Bruce, But the Photography Was Wonderful … [Cinephotography in Scottish documentary film]
  • Monica Thorp, Hill and Adamson without Adamson? The Ballochmyle Calotypes.
  • Reviews: Terence Pepper and John Kobal, The Man Who Shot Garbo, Scottish National Portrait Gallery (Julie Lawson); David M. N. Teach, Shoal and Sheaf: Orkney’s Pictorial Heritage, Orkney Library, 1988 (Margaret MacDonald); The Kodak Collection at the National Museum of Photography (Sara Stevenson); Mike Seaborne, Shelters: Living Underground in the London Blitz, 1988 (Margaret MacDonald); Robin Gillanders, Significant Others, Scottish Photographic Works (Sara Stevenson).

Scottish Photography Bulletin, 1990 No. 1

  • Ray McKenzie, A Love Affair with Loch Katrine: Problems of Representation in Early Scottish Landscape.
  • Jenny Wetton, James Mudd, Photographer (1821-1906).
  • Andrew Patrizio, Fixing Steel Plates to Glass: Benjamin Baker, Evelyn Carey and the Forth Rail Bridge.
  • Pam Roberts, The Royal Photographic Society Collection.
  • James Berry, The Care and Conservation of Photographs.

Scottish Photography Bulletin, 1990 No. 2.
Special Issue in Honour of Murray Johnstone

  • David Williams, Mortonhall Crematorium, Wednesday 10 January 1990. [Murray Johnston]
  • Iain Stewart, The Greatest Gift …
  • James Lawson, Photography, and Political Economy and its Enemies.
  • Robin Gillanders, Portraiture.
  • Larry Schaaf, The First Photograph James Nasmyth Ever Saw.
  • Graham MacIndoe, For All That’s Done.
  • A. D. Morrison-Low, Photography in Edinburgh in 1839: The Royal Scottish Society of Arts, Andrew Fyfe and Mungo Ponton.
  • David Bruce, Then and Now from Photographs.
  • Lawson, Julie, The Problem of Poverty and the Picturesque: Thomas Annan’s ‘Old Closes and Streets of Glasgow,’ 1868-1871.
  • John Charity, in conversation with James Lawson, Documentary Photography.
  • Sara Stevenson, David Octavius Hill, Friendship and Art.

Scottish Photography Bulletin, 1991 No. 1

  • Graham Smith, Maida and Blanche: Talbot, Scott, and John Adamson.
  • Mike Ware, Prints of Gold: The Chrysotype Process Re-invented.
  • Julie Lawson, Frederick Bremner: A Vision of India.
  • Michael Gray, A Suggested Classification and Nomenclature for Early Positive and Negative Photographic Images on Paper.
  • Reviews: Andrew Cronshaw, Edinburgh from Old Picture Postcards, 1989 (Deborah Mays); Julie Lawson, William Donaldson Clark (1816-1873), National Galleries of Scotland, 1990 (Patricia Macdonald); Maurice Lindsay, David Bruce and Murray Johnston, Edinburgh: Past and Present, London, 1990 (Deborah Mays); Jane Carmichael, First World War Photographers, London and New York, 1989 (A. D. Morrison-Low); Alexander Kusnetsov and Alexander Kuptsov, Gulag to Gorbachev (Ray McKenzie); La Riviera de Charles Nègre, French Institute, Edinburgh (James Lawson).

Scottish Photography Bulletin, 1991 No. 2

  • Bahattin Oztuncay, James Robertson: A Scottish Artist in the Ottoman Capital.
  • Ruth Stirling: An Interview [with] Jane Brettle.
  • Major Halkett’s Portable Camera, 1856.
  • Reviews: Sara Stevenson, Hill and Adamson’s ‘The Fishermen and Women of the Firth of Forth, National Galleries of Scotland, 1991 (David Bruce); Venus at Home: Lee Friedlander’s Nudes, Portfolio Gallery, Edinburgh, 1991 (Halla Beloff); In Our Time: The World as seen by Magnum Photographers, McLellan Galleries, Glasgow, 1991 (Ray McKenzie); Jenny Aston, Without, Netherbow Centre, 1991 (Sara Stevenson); Larry Schaaf, Tracings of Light: Sir John Herschel and the Camera Lucida, San Francisco, 1989 (A. D. Morrison-Low)

Scottish Photography Bulletin, 1992 No. 1

  • Audrey Linkman, A Roving Scot: Itinerant Photography in the Heart of England in the 1850s.
  • George Mason (1839-1901), Pictures in Black and White: First Picture – Old Giles.
  • Lloyd Smyth, Does the Legacy of Ceausescu still haunt Romania in the 90s?
  • Reviews: Helen Smailes, Kenneth MacLeay, 1802-1878, National Galleries of Scotland, 1992 (Sara Stevenson); Glyn Satterley, The Highland Game – Life on Scottish Sporting Estates, Portfolio Gallery, Edinburgh, 1992 (Alexandra Aikman); John Blakemore, Inscape, 1991 (Sara Stevenson); Brooks Johnson et al., An Enduring Interest: The Photographs of Alexander Gardner, Chrysler Museum, Norfolk, Virginia, 1991 (Julie Lawson).

Scottish Photography Bulletin, 1992 No. 2

  • Sara Stevenson, Sara, The Rev. David Thomas Ker Drummond, 1806-1877.
  • Richard Ovenden, Recent Acquisitions of Travel Photography by the National Library of Scotland.
  • H. Baden, Mr John Fergus’ Studio at Largs, 1882.
  • Reviews: William Buchanan, The Art of the Photographer: J. Craig Annan, National Galleries of Scotland, 1992 (Ray McKenzie); Photography 1900: The Edinburgh Symposium 24-26 September 1992 (Margaret MacDonald); Robert Doisneau Retrospective, Aberdeen Art Gallery, 1992 (Robert Kemplay).

Scottish Photography Bulletin, 1993 No. 1

  • R. Hamilton, John Murray (1809-1898): Pioneer Photographer in India.
  • B. A. and H. K. Henisch, Balaklava, 1854.
  • Reviews: George Washington Wilson Centenary Conference, Aberdeen, 20 March 1993; Elliott Erwitt: Personal Exposures, Royal Photographic Society, Bath, 1993 (John Kemplay); Fotofeis: Scottish International Festival of Photography, 1993. Glasgow and the South West: ‘Views from the Edge’ (Ray McKenzie; Fotofeis in Edinburgh (Graeme Gollan); Fife’s Fotofeis (James Berry).

Scottish Photography Bulletin, 1993 No. 2

  • James Lawson, Postscript to Fotofeis: Just One Picture.
  • Catherine A. Mooney and Thomas Joshua Cooper, Paul Strand: A Truly American Artist.
  • Norman MacDonald, Some Autochrome Plates in Glasgow University.
  • Sara Stevenson, A New Portrait of David Livingstone.
  • Reviews: The Waking Dream. Photogaphy’s First Century: Selections from the Gilman Paper Company Collection. Edinburgh City Art Centre, 1993 (Julie Lawson); Amy Rule (ed.), Carleton Watkins: Selected Texts and Bibliography. Oxford, Clio Press, 1993 (Ray McKenzie); Ian Bavington Jones, Portrait of the Tweed. A Celebration of the Borders Landscape. London, Corsall, 1992 (Milla Cameron); Bill Brandt, Photographs 1928-1983, Barbican Art Gallery, 1993 (John Kemplay); Sehsucht. Das Panorama als Massenunterhaltung des 19. Jahrhunderts [The Desire to See. The Panorama as Medium of Mass Entertainment in the 19th Century], Bonn, 1993-1994 (Stephen Lloyd); The Art of the Daguerreotype, Scottish National Portrait Gallery, 1993-1994.

Scottish Photography Bulletin, 1994 No. 1

  • Jeremy Sutton-Hibbert, The Romanies of Sintesti.
  • James Berry, The Positive Identification of 19th Century Photographic Processes.
  • Reviews: Tom Ray-Jones: A Retrospective, Portfolio Gallery, Edinburgh, 1994 (John Kemplay); Wilfred Thesiger’s Photographs: A ‘Most Cherished Possession.’ Pitt Rivers Museum, Oxford, 1993 (Richard Ovenden); Jim Henderson, Grampian (Photographers Britain). Stroud, Alan Sutton, 1993 (James Berry); David Paterson, The Highlands (Photographers Britain). Stroud, Alan Sutton, 1993 (James Berry); William Buchanan, J. Craig Annan: Selected Texts and Bibliography. Oxford, Clio Press, 1994 (Sara Stevenson).

Scottish Photography Bulletin, 1994 No. 2

  • Sara Stevenson, ‘Edinburgh Ale’ and ‘The Morning After.’
  • Henry C. E. Gage, The Jewish Cemeteries of Prague and Warsaw.
  • David Williams, ‘one little room … an everywhere.’
  • Reviews: Annie Leibowitz: Photographs 1970-1990, Scottish National Portrait Gallery, 1994 (Halla Belloff); Teresa Swiebocka, Auschwitz: A History in Photographs, Bloomington and Warsaw, 1993 (Kevin Lewis); Mood of the Moment: Masterworks of Photography from the University of St Andrews, National Museum of Scotland (Audrey Wilson); Visions of the Ottoman Empire, with essays by Christopher Ferrard, Julie Lawson, Sara Stevenson, and B. A. and H. K. Henisch, Scottish National Portrait Gallery, 1994 (Ray McKenzie); Bruce Bernard, Humanity and Inhumanity: The Photograpahic Journey of George Rodger. London, Phaidon Press, 1994 (Richard Ovenden).

Scottish Photography Bulletin, 1995 No. 1

  • Graham Smith, Talbot and Canova’s ‘The Three Graces.’
  • Michael Cassin, Seen but not Heard: Photographing Children in the Scottish National Portrait Gallery.
  • Norman MacDonald, Gift of Historic Photographs [by C. T. R. Wilson] to Glasgow University.
  • Reviews: Heinrich Schwarz, David Octavius Hill: Master of Photography. New York, Viking Press, 1931 (Paul Strand); Paul Strand, The World on My Doorstep, Scottish National Portrait Gallery (Robin Gillanders); Atget’s Paris, Thames and Hudson, 1992, and Atget’s Seven Albums, Yale University Press, 1992 (James Lawson); Magda Segal, London at Home. Manchester, Corner-house Publications, 1993 (Ray McKenzie); Elliott Erwitt, Between the Sexes. London, W. W. Norton, 1994 (Halla Beloff); Edward Chambré Hardman, Photographs 1921-1972. Bath, Royal Photographic Society, 1994-1995 (John Kemplay); John Blakemore, The Stilled Gaze. Zelda Cheatle Press, 1994 (Sara Stevenson); Heinz K. and Bridget A. Henisch, The Photo-graphic experience 1839-1914: Images and Attitudes. Pennsylvania State University, 1993 (Julie Lawson)

Studies in Photography, 1996

  • William Buchanan, Snapshot of a Curator of Photography: Sara Stevenson.
  • A. D. C. Simpson, Talbot’s Photometer, or Developments before Photography.
  • Thomas Joshua Cooper: interviewed by Ray McKenzie.
  • Calum Colvin: interviewed by Ray McKenzie.
  • Robin Gillanders: in conversation with James Lawson.
  • Catriona Grant: interviewed by Sara Stevenson.
  • Owen Logan: in conversation with Julie Lawson.
  • Ron O’Donnell: interviewed by James Berry.
  • Iain Stewart: in conversation with James Lawson.
  • David Williams: digest of a conversation with James Lawson.
  • Patricia Macdonald, To Remain Dissolved: Aspects of Photography and Language. SSHoP Annual Photographer’s Lecture 1995.
  • Jinx Witherspoon Rodger, in collaboration with Brigitte Lardinois, George Rodger: A Photographic Journey from Scotland to Africa.
  • Margaret Hutchison Evatt, Grandfather Hutchison: A Victorian Photographer.
  • Reviews: Light From The Dark Room: the exhibition reviewed (William Buchanan); Light From The Dark Room: the publication reviewed (Graham Smith)

Studies in Photography, 1997

  • Graham Smith, The Presentation of Eve Arnold for the Honorary Degree of Doctor of Science.
  • David Williams, Self Portrait. SSHoP Annual Photographer’s Lecture 1996.
  • Anne Claxton, Robert Hay’s Expeditions to Egypt and his use of the Camera Lucida in the 1820s and 1830s.
  • Jennifer Melville, An Album of Photographs compiled by Sir John Everett Millais.
  • William Buchanan, J. Craig Annan Walks Again: The Photographic Convention Visits Glasgow, 1898.
  • Gunnie Moberg, Photographing George Mackay Brown.
  • Mark Johnston: extracts from an interview with James Lawson.
  • Tricia Malley, A Prize-Winning Photograph.
  • Reviews: August Sander, London, National Portrait Gallery, 1997 (Halla Beloff); Julie Lawson, Women in White: Photographs by Clementina, Lady Hawarden. National Galleries of Scotland, 1997 (Belinda Rathbone); Larry Schaaf, Records of the Dawn of Photography: Talbot’s Notebooks P & Q. Cambridge University Press, 1996 (Graham Smith); Richard Ovenden, John Thomson (1837-1921) Photographer. National Library of Scotland, 1997 (Sara Stevenson); Belinda Rathbone, Walker Evans: A Biography. London, Thames and Hudson, 1995 (Ray McKenzie); Gallery of Modern Art, Glasgow: The First Years, 1996. Essay ‘Art for People’ by Julian Spalding (Ray McKenzie); Peter Galassi, American Photography 1890-1965 from the Museum of Modern Art. New York, 1995 (David Mackie).

Studies in Photography, 1998

  • A. D. Morrison-Low, Robert Adamson, 1821-1848.
  • James Lawson, The Urban Landscape between Progress and Decay.
  • Lilly Koltun, Regalia of Conversion: the Hill and Adamson Portraits of the Reverend Peter Jones, or Kahkewaquonaby.
  • Calum Colvin, The Alchemical Canvas. SSHoP Annual Photographer’s Lecture 1997.
  • Larry Schaaf, Henry Talbot’s First Exhibition in Scotland.
  • John Frew, The Reiach Surveys, 1934-1942.
  • Robin Gillanders, Obituary: Chick Chalmers.
  • Reviews: Richard Whelan et al., Robert Capa, Photographs. Philadelphia, Aperture, 1996 (David Mackie); David Bruce, Scotland the Movie. Edinburgh, Polygon, 1996 (Ray McKenzie); Ute Eskildsen et al., Ellen Auerbach: Berlin, Tel Aviv, London, New York. Munich and New York, Prestel, 1998 (Patricia Macdonald); Heinz K. Henisch and Bridget A. Henisch, Positive Pleasures: Early Photography and Humor. Pennsylvania State University Press, 1998 (Sara Stevenson); Mark Hawarth-Booth, Photography: An Independent Art. Photographs from the Victoria and Albert Museum, 1839-1996. Victoria and Albert Museum, 1997 (David Mackie); James Lawson, Sacred and Profane: Calum Colvin. National Galleries of Scotland, 1998 (Alan Woods); Robin Gillanders, Alec Finlay and Ian Hamilton Finlay, Little Sparta: A Portrait of a Garden, National Galleries of Scotland, 1998 (Murdo Macdonald).

Studies in Photography, 1999/2000

  • Zoltan Jokay, Looking out for Happiness. SSHoP Annual Photographer’s Lecture 1999.
  • Rebecca Marr and Valerie Gillies, Men and Beasts: Wild Men and Domestic Animals of Scotland.
  • John Murray and John K. McGregor, Watermarks.
  • Keith Bell, ‘Just the kind of people Canada wants.’
  • Quentin Bajac, Fragments of Lady Matheson’s Work Considered.
  • Sara Stevenson, Calton Hill.
  • Review: Magna Brava: Magnum’s Women Photographers. National Galleries of Scotland, 1999 (Patricia Macdonald)

Studies in Photography 2000-2001

  • David Bruce, David Octavius Hill Bicentenary Festival 2002.
  • Robin Gillanders, The Actual Photograph. SSHoP Annual Photographer’s Lecture 2000.
  • Lori Pauli, Margaret Watkins: Making It Home.
  • A Summary Index to Articles, 1986-2000.
  • Reviews: Kathleen S. Howe, with Michael G. Wilson, Excursions Along the Nile: The Photographic Discovery of Ancient Egypt. Santa Barbara Museum of Art, 1993; and Kathleen S. Howe et al., Revealing the Holy Land: The Photographic Exploration of Palestine. Santa Barbara Museum of Art, 1997 (David Mackie); Philip Steadman, Vermeer’s Camera: Uncovering the Truth Behind the Masterpieces. Oxford University Press, 2001 (James Lawson); Robin Simon (ed.), Public Artist, Private Passions: The World of Edward Linley Sambourne. London, British Art Journal, 2001 (J. Malia Andrus); Sara Stevenson and Duncan Forbes, A Companion Guide to Photography at the National Galleries of Scotland. National Galleries of Scotland, 2001 (Roddy Simpson); Paul Strand, Tir a’Mhurain. Bradford, National Museum of Photography, Film and Television, 2001-2002 (Roddy Simpson).

Studies in Photography 2001-2002

  • Maud Sulter, Polaroid Portraits. SSHoP Annual Photographer’s Lecture 2002.
  • David Bruce, Exhibiting Mr Hill (Mr Adamson, and some others): a brief survey of the exhibitions participating in the D. O. Hill Bicentenary Festival.
  • John Hannavy, David Octavius Hill and the Artful Use of Light.
  • Ray McKenzie, Pictorialist Photography in Hungary: International Connections.
  • Lilly Koltun, A Portrait Gallery for Canada: Five Centuries of Subjects in a 21st-century Frame.
  • Reviews: Stirling in the Sixties: Photographs by A. D. S. MacPherson. Stirling, Smith Art Gallery and Museum, 2002 (Roddy Simpson); Penelope Curtis et al., Return to Life: A New Look at the Portrait Bust. Leeds, London, Edinburgh, 2000-2001 (Ray McKenzie).

Studies in Photography 2002-2003
Proceedings of the D. O. Hill bicentenary Conference, ‘The Artful Use of Light,’ Edinburgh, May 2002.

  • David Bruce, First Impressions.
  • Hugh Miller, The Calotype.The Witness,’ 12 July 1843.
  • Larry Schaaf, Science, Art and Talent.
  • Murdo Macdonald, A Somewhat Bold Capriccio.
  • Sara Stevenson, The Calotypes.
  • Ray McKenzie, The Pre-photographic Printmaking Work of D. O. Hill.
  • Duncan Macmillan, The Disruption Painting.
  • William Buchanan, Rediscovering Hill and Adamson …
  • Mike Ware, On the Stability of Robert Adamson’s Salted Paper Prints.
  • K. Eremin, J. Tate, J. Berry, On the Chemistry of John and Robert Adamson’s Salted Paper Prints and Calotype Negatives.
  • Graham Smith, Imagination and the Genius of Antiquity at St Andrews.
  • A. D. Morrison-Low, Tripping the Light Fantastic: Henry Talbot and David Brewster.
  • Quentin Bajac, Hill and Adamson and France: 150 Years of Critical Approach.

Studies in Photography 2004

  • Roger Palmer, Appearances. SSHoP Annual Photographer’s Lecture 2003.
  • Calum Colvin, Photography at Duncan of Jordanstone College of Art and Design.
  • David Williams, Edinburgh College of Art: Photography Course Statement.
  • Vaughan Judge, Photography at the Glasgow School of Art.
  • Jim Hamlyn and Colin Andrews, Photographic and Electronic Media at Gray’s School of Art.
  • Carole Baker, The B.A. (Hons) Photography, Film and Imaging course at Napier University.
  • Graham Smith, Photography at the University of St Andrews.
  • R. M. Callender, The Shandon Connection.
  • Michael R. G. Spiller, A Photohistory Coincidence.
  • A Game of Charades; from The adventures of Mr Verdant Green, by ‘Cuthbert Bede, BA.’
  • Reviews: Robin Gillanders, The Photographic Portrait. Newton Abbott, David & Charles, 2004 (Michael Russell); Fleeting Arcadias. Howden Park Centre, Livingston, 2003 (Roddy Simpson); Fay Godwin, Landmarks, Scottish National Portrait Gallery, 2003-2004 (Roddy Simpson)

Studies in Photography 2005

  • Jane Brettle, Appearances. SSHoP Annual Photographer’s Lecture 2004.
  • Hilary Macartney, The Reproduction of Spanish Art: Hill and Adamson’s Calotypes and Sir William Stirling Maxwell’s ‘Annals of the Artists of Spain’ (1848).
  • Monica Thorp, William Henry Fox Talbot and the Edinburgh Connection, 1855-72.
  • Graham Smith, Elizabeth Garrett at St Andrews.
  • Niels Henriksen, Ernst Friedrich’s ‘War against War.’
  • Russ Young, Historical Pinhole.
  • Norma-Louis Thallon, You Cannae See It From The Road.
  • A. J. Anderson, Leaf from my Note-Book; from The ABC of Artistic Photography in Theory and Practice, (London, c. 1910).
  • Reviews: Henri Cartier-Bresson, Dean Gallery, Edinburgh, 2005 (David Bruce); David Elliot, Summers Lang Syne: Scotland 1930 to 1959. The Photographs of John P Munn, Falkirk (Roddy Simpson); Allan Brodie, Andrew Sargent and Gary Winter, Seaside Holidays in the Past, London, English Heritage, 2005 (A. D. Morrison-Low)

Studies in Photography 2006

  • Mari Mahr, SSHoP Annual Photographer’s Lecture, 2005.
  • William Buchanan, The Annans of Glasgow. The Annan Lecture, 2006.
  • Lilly Koltun, Photography and the Nation.
  • Paschal Downs OSB, ‘The delight of their existence’: the Photography of Horatio Ross of Rossie (1801-86).
  • Hugh Cheape, Herself and Green Maria: the Photography of M. E. M. Donaldson (1876-1958).
  • Paul Kenny in conversation with Sara Stevenson, 22 November 2005.
  • Sara Stevenson, Heinz Henisch.
  • Reviews: Arnaud Maillet, trans. Jeff Fort, The Claude Glass: Use and Meaning of the Black Mirror in Western Art. New York, 2004 (A. D. Morrison-Low); John Hannavy, Case Histories: The Presentation of the Victorian Photographic Portrait, 1840-1875. Woodbridge, Antique Collectors Club, 2005 (Damian Sutton); John Fowler, Mr Hill’s Big Picture. Edinburgh, St Andrew Press, 2006 (David Bruce); Bernard Finn, ed., Presenting Pictures. London, 2004 (A. D. Morrison-Low)

Studies in Photography 2007

  • Hulleah Tsinhnahijinnie, SSHoP Annual Photographer’s Lecture, 2006.
  • Sara Stevenson, The Doctor, the Lady, and the Man who Printed his own Money. The Annan Lecture, 2007.
  • Fiona Myles, Discovering Thomas Keith’s Photographs.
  • John Hannavy, Thomas Keith – a Scottish Master.
  • Roddy Simpson, Evidence of Location in Images by Thomas Keith.
  • Dr Thomas Keith’s Paper on the Waxed Paper Process, 10 June 1856.
  • Fiona Myles, Dr Thomas Keith: A Selective Bibliography.
  • Julie Sheldon, Elizabeth Rigby and the Calotypes of Hill and Adamson.
  • Roddy Simpson, The Artist and the Engineer: the Friendship of David Octavius Hill and John Miller.
  • Tacye Phillipson, Forgotten Gems: Microphotographs as Jewellery.
  • An Episode in the Saltmarket, Glasgow, in 1870; incl. Guy Fulton McCrone, Antimacassar City, 1940 (extract).
  • Paula Summerly, Late 19th Century Clinical Photography in Glasgow.
  • Photographing Sputnik – a 50th Anniversary Tribute; incl. Morris Allan, ‘Our Sputnik Pictures Scooped the World,’ Dundee Evening Telegraph, 26 October 1965.
  • Reviews: Elizabeth Brayer, George Eastman: a Biography. University of Rochester Press, 2006 (A. D. Morrison-Low); L’Image d’après [The Image to Come: How Cinema Inspires Photographers]. Cinémathèque Française, Paris, 2007 (David Bruce)

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