Social media marketing experts reveal six things to consider when taking the perfect photo
Finding the best spot is key, so embrace natural light, avoid harsh sources, and face the light at eye level to prevent unflattering shadows
Create a flattering photo by posing at a 45-degree angle, look up with the camera at eye level, and hold your arms slightly away from your body while creating triangles with your pose
With approximately five billion photos taken daily worldwide and a trend toward natural looks, many people are looking for ways to capture the perfect picture without relying on editing.
Social media marketing experts at Viralyft have identified six top methods for taking a flawless photo, so you can skip the filters and Photoshop.
Lighting
Step one is to find the perfect spot to take your picture and this means finding the best lighting. The are two key things to remember: one is to embrace natural light and steer clear from harsh lighting like computer screens, bright light bulbs or harsh sunlight. The second thing to remember is to make sure you face the light and adjust the camera until the light is hitting around eye-level; this is to avoid creating any unflattering shadows, such as dark circles under the eyes.
Strike a Pose
There are some simple adjustments you can make to your posing that can make all the difference when it comes to taking a flattering or an unflattering photo.
One is to position your body at a 45-degree angle to the camera as opposed to facing it fully; it is incredibly slimming and adds interest.
A couple of other key tricks to striking a becoming pose are to hold your arms slightly away from your body and to create triangles with your body, such as putting your hand on your hip or playing with a strand of hair.
Backgrounds
You don’t have to be on an exotic beach or a snowy mountain top to create the perfect background. Intriguing backgrounds can be found anywhere, from your house to your local park. Choosing a lighter background with fewer distractions can lighten your features and makes sure your face stands out.
Make use of phone and camera features
While it’s easier to use your front camera for selfies, the camera on the back of your phone is much more powerful, creating a much higher quality and professional looking photo. And don’t forget to take advantage of features such as portrait mode which can often be used on both your front and rear-facing cameras, such as with the iPhone.
The grid that can be displayed on the camera screen of most smartphones is another great tool for creating aesthetically pleasing photos. This allows you to create pictures according to the classic composition technique of the rule of thirds, which states that your subject should be off-centre for a more engaging photo.
No digital zooming allowed
Optical zoom, which relies on the physical adjustment of lenses, preserves image quality when zooming in, resulting in sharp and detailed photos. However, digital zoom, which is the type of zoom a smartphone uses, is convenient but typically reduces quality by digitally enlarging the existing image. So, the best options are either moving closer to your subject or a camera with adjustable lenses.
Be careful using your flash
Flashes are far inferior to other forms of lighting such as natural light or a ring light as they are often situated too close to the lens to create flattering light and the bulb is an LED, which creates an unnatural blue tinge.
“These contribute to the red eyes, squinting eyes and harsh, bleached out effect that are regular consequences of flash taken photos. Some current-generation smartphones have significantly improved the multi-shot HDR capabilities, particularly Google Pixel phones which boast an impressive low-light feature known as Night Sight.
“If it’s dark and flash is the only option, play around with angles until you find one that works best for you, but your best bet is to just turn if off in most situations.
Thomas Moore, Director of Viralyft, commented:“With photo-sharing and video-sharing apps like TikTok and Instagram having gained extreme popularity over the past few years, photoshopping has become so prevalent that the line between fiction and reality has become truly blurred.
“But with this rise in photoshopping has come an increase in expertise and knowledge, which has created edit investigators who can spot an altered photo when they see it. And there are now even fake image detectors, which can say whether an image has been changed.
“Therefore, a demand for the natural and unedited has also risen, and many celebrities have joined in the trend that promotes body positivity.”
This October the National Galleries of Scotland is partying like it’s 1984 with Celebrating 40 Years of Scotland’s Photography Collection, at the Portrait gallery from 26 October 2024 – 16 March 2025.
Step back in time to the 1980s when the National Galleries of Scotland officially began its world-class photography collection. Explore over 100 art works from Scotland’s national photography collection, dating from the 1840’s to the present day in this free-to-visit exhibition.
Marvel at historic photographs, visit some famous faces and discover an exciting range of what makes a photograph in this eclectic celebration of the nation’s photography collection.
Celebrating 40 Years of Scotland’s Photography Collection marks this magnificent milestone, reflecting on all that has been accomplished in the last four decades and looking to the future. In the 1980s recognition of photography as an artform was growing rapidly as museums and galleries around the world were looking to establish and grow their collections.
National Galleries of Scotland were no different. Having begun collecting photography in the late 19th century, it was in 1984 that the National Galleries of Scotland collection was formally established.
A world-renowned photography collection it is regarded as one of the best in the UK, its breadth and quality matches those of London institutions such as the V&A and National Portrait Gallery, London.
Due to its original remit to collect the very best of Scottish and international photography, the collection has developed over the last 40 years to have global reach.
Now over 55,000 artworks strong the ever-growing collection is showcased in this lively exhibition which explores the major themes, subjects and processes from throughout the history of photography.
Including works by major photographers such as Julia Margaret Cameron, Robert Mapplethorpe and Annie Leibovitz. Highlighting the enticing and universal nature of photography, the exhibition will include six themes; portraiture, landscape, documentary photography, archives, inclusion and experimentation.
Find portraits of famous Scots such as, Andy Murray, The Proclaimers, Jackie Kay and David Tennant as well as fun and vibrant portraits such as Viviane Sassen’s In Bloom.
A newly acquired work consisting of photographs, film and performance by Glasgow-based artists Beagles & Ramsay will be on display for the first time.
The Sanguis Gratia Artis (Black Pudding Self-Portrait), is a performance piece alongside photographs where the artists make black pudding out of their own blood to explore the boundaries of the self-portrait.
Celebrating the connectivity and nostalgia that photographs bring to people worldwide, the exhibition looks at how this incredible artform can be traced through generations of Scottish photographers and schools of photography.
Embracing the eclectic nature of photography, vibrant displays will create interesting contrasts and connections between historic and contemporary images.
Discover how the ideas and subject matters that started with David Octavius Hill and Robert Adamson in the 1840s continues to be photographed centuries apart with different and modern cameras.
Take pride in the influential alumni of Scottish photography schools whose connections extend around the world, making Scotland a significant home to photography.
Explore the idea of what makes a photograph, reflecting on changing technology and taking a look at artists who are pushing the boundaries of what we might have traditionally thought of as a photograph.
Get a deeper understanding of how photographers have explored the themes of landscape and environment change including a new acquisition by American, Sant Khalsa combining photography and sculpture.
Displayed alongside early Scottish photographs by John Muir Wood, showcasing the beautiful shapes created by trees. This offers a fascinating look at how these two artists explore the same subject matter in completely different ways.
Discover works by revered international photographers, with exceptional photographs from the ARTIST ROOMS collection, jointly owned by the National Galleries of Scotland and Tate.
The exhibition draws a selection of works by globally renowned artists, such as Robert Mapplethorpe and Diane Arbus.
This will also be the first time the National Galleries of Scotland has shown work from the ARTIST ROOMS collection by Don McCullin, one of the world’s greatest photojournalists.
Scotland is known as a centre for documentary photography and the exhibition will celebrate this with a medley of the best documentary photographers who have made work in Scotland.
Weaving in some old favourites and new acquisitions this will highlight photographers such as Alfred Eisenstaedt, Eve Arnold, David Hurn, Joseph Mackenzie and Bert Hardy.
A wall of Hill & Adamson’s fisherwomen will mark an important moment in the development of documentary photography not just in Scotland but in the history of the medium.
In the years immediately following its establishment, National Galleries of Scotland received a number of significant bequests which quickly grew the collection.
The exhibition will explore some of these major archives, such as The Riddell collection which joined the collection in 1985, ARTIST ROOMS, established in 2008 and jointly owned by the National Galleries of Scotland and Tate, and the MacKinnon Collection that was jointly acquired with the National Library of Scotland in 2018.
Viviane Sassen
Throughout the decades, the collection continues to grow and each year new additions are made, with an increasing focus on equality, diversity and inclusion.
Looking to the next 40 years, the exhibition also focuses on acquisitions from the last decade which address issues such as equality, inclusion and diversity.
National Galleries of Scotland actively seek opportunities to broaden representation across the collection and the exhibition highlights this as a priority area for collecting in the future.
Representation of female photographers has been a recent priority, with work by artists including Chrystel Lebas, Wendy McMurdo, Chloe Dewe Mathews and Arpita Shah entering the collection.
Anne Lyden, Director-General at the National Galleries of Scotland, said: ‘Photography is a cornerstone of the National Galleries of Scotland, accounting for almost half of the entire collection.
” It is with great delight that we celebrate the medium with this impressive and engaging exhibition drawn entirely from the vast holdings of the nation’s collection.
“Over the course of the last forty years many photographers, collectors, donors, curators, and enthusiasts have contributed to this important world-class collection which belongs to the people of Scotland.
“We are excited to celebrate this anniversary with our visitors through such a dynamic display.’
Louise Pearson, Photography Curator at the National Galleries of Scotland, said: ‘The 40th anniversary is the perfect moment to draw from the full breadth of Scotland’s photography collection.
“This vibrant and fun exhibition includes photographs of famous Scots and works by photographers who have become household names. It opens many possibilities in making connections across our country’s photography collection, sharing highlights as well as celebrating lesser-known works.
“We want visitors to join us in celebrating the collection and take pride in Scotland’s contribution to photography worldwide.’
This exhibition is funded by The Morton Charitable Trust and the players of the People’s Postcode Lottery.
Take a visual journey through the history of architecture and explore the connection between people, places and photography in the National Galleries of Scotland’s new exhibition, Making Space: Photographs of Architecture.
Opening yesterday at the Portrait gallery in Edinburgh, the exhibition focuses on one of the most enduring themes in the story of photography: architecture. With over 40 photographs from the 1840s to the present day to see, Making Space is the fourth instalment in a popular series of free exhibitions which explores the richness of Scotland’s national photography collection.
Generously supported by players of People’s Postcode Lottery, and awarded funds by Postcode Culture Trust, Making Space not only considers the integral role of architecture in the history of photography, but also how buildings impact everyday life. Architecture has the power to tackle inequality, address social issues including homelessness, poverty and displacement, and even create a more sustainable future; key themes considered throughout the exhibition.
Visually engaging and physically static, buildings were the perfect subjects for early photography, with the evolving built landscape continuing to inspire photography enthusiasts today.
From the dawn of its invention to new techniques of today, Making Space spans the breadth of photographic history. The exhibition invites visitors to peer through the camera lens and uncover a diverse range of photographic styles, formats and processes.
From Hill & Adamson’s early experiments on Edinburgh’s Calton Hill to spectacular contemporary photographs which capture the breathtaking scale of modern buildings.
Standout modern works include Andreas Gursky’s San Francisco which goes on display at the Portrait for the first time since its acquisition in 1999. Deliberately disorientating, Gursky uses digital manipulation to challenge perception, with humans often appearing insignificant and dominated by their built environment.
The exhibition also features three key loans from Tate, including work by renowned photographers Bernd and Hilla Becher, Candida Höfer and Hiroshi Sugimoto.
Chris Leslie
Making Space introduces several acquisitions made by National Galleries of Scotland in recent years, including six works from Scottish photographer Chris Leslie’s Disappearing Glasgow series and a further six from Canadian born Sylvia Grace Borda’s project exploring modernist architecture in East Kilbride.
Untitled (Rosemary and Ocean) and Untitled (Sweetbriar and Atlantic) by Philadelphia based photographer Mark Havens round off the new acquisitions, with his colourful works gifted to National Galleries Scotland in 2019.
The social history of Scotland plays a central role within Making Space, with some of the earliest work providing a window into Scotland’s past, and more recent work tackling the issues of today.
Historic highlights include David Octavius Hill and Robert Adamson’s photographs from the early 1840’s, depicting the construction of Edinburgh’s Sir Walter Scott Monument. These iconic images not only record the birth of one of the Scottish capital’s most recognisable manmade features, but also provide the first known photographic documentation of a building site.
Thomas Annan
Heading west to Glasgow, Thomas Annan’s The Old Closes and Streets of Glasgow series offers a 19th century view on what could also be considered a 21st century problem – the housing crisis.
In documenting the overpopulation in the east end of the city, Annan used photography to highlight inequality and push for change. This collection of photographs is now recognised as pivotal to documentary photography, offering visitors insight into an important moment in history.
Linking historic photographs to the present day are a wide variety of contemporary works from across Scotland. Picking up where Thomas Annan left off, albeit over a century later, Leslie’s Disappearing Glasgow series documents stories from the people on the frontline of the city’s extensive demolition and regeneration programme.
Following years of decline, Glasgow’s Red Road Flats were eventually demolished in 2013, with former residents watching from the sidelines. The building’s demise and subsequent social impact have been carefully recorded by Leslie.
At the other end of the spectrum, the work of Sylvia Grace Borda tackles the evolving nature of architecture and the ways in which it can be used to improve society. Designed in 1947 and widely considered one of the most complete Modernist towns in the UK, East Kilbride was constructed to relieve pressure from an overpopulated Glasgow.
A visual record of the town was created by Borda between 2005-2017, highlighting not only the modern architecture, but the green spaces, integrated public services and homes flooded with natural light, showing what architectural design can achieve when the needs of people are at its heart.
Sir John Leighton, Director-General of the National Galleries of Scotlandsaid: “This continued series of free exhibitions at the Portrait Gallery is a fantastic way to explore the history of photography though the richness and diversity of the national collection.
“Making Space: Photographs of Architecture presents an opportunity to not only marvel in the evolution of photography, but also consider the impact our built environment has on society, health, and sustainability.
“We are proud to present several new acquisitions by contemporary photographers from Scotland and beyond, displayed for the first time alongside work by the trailblazers who inspired them.”
Laura Chow, Head of Charities at People’s Postcode Lottery, said: “Architecture impacts us in ways we don’t often realise – the built environment around us affects how we feel.
“Our players have raised over £5 million in funding for the National Galleries of Scotland. I’m delighted that this money means exhibitions like Making Space are free for everyone to enjoy and learn more about architecture and how it impacts people’s lives across Scotland.”
Making Space: Photographs of Architecture opened at the Portrait yesterday on Saturday 7 October.
ELREC are organising a very exciting workshop in partnership with Heriot-Watt University exploring people’s perception of their language and how it can be reflected in a form of art.
Join us for this very creative course. Attendance at all the sessions is not necessary, you can come along to as many sessions as you wish. All materials and food are provided
Monday to Saturday – 10am to 5pm (last entry 4.30pm)
Price – Free
See the world’s best photojournalism for free, at the only venue in the UK to host this exhibition.
This year’s World Press Photo Contest winners, chosen from thousands of entrants, highlight the climate crisis, community, war’s impact on civilians, and the importance of press photography around the world.
There’s no need to book – the exhibition will be free to view in the Main Hall during opening hours.
World Press Photo exists to celebrate and champion photojournalism and documentary photography.
This year the winners were chosen out of over 60,000 photographs and open format entries, by over 3,700 photographers from 127 countries.
The Scottish Parliament has been one of the only UK venues to host this global exhibition since 2006.
Special preview tour with curator (and BSL interpreter) – Friday 4 August, 2pm
Join us for a tour of the exhibition by the World Press Curator Mariana Rettore Baptista, and see the exhibition before anyone else!
Mariana will talk about the background to the stories and themes covered, and why they were chosen to feature in the exhibition.
This is a free tour, open to the public, but spaces are limited. Spaces will also be given to BSL users, as there will be a BSL interpreter present:
Never Give Up: Gallery Talk in Association with the Exhibition ‘Paul Duke: No Ruined Stone’
Join us for a talk with Lynn McCabe from Royston and Wardieburn Community Centre and Willie Black a passionate local activist from North Edinburgh.
North Edinburgh has been a hotbed of community activism for decades. ‘Never Give Up’, was a book produced by North Edinburgh Social History Group in 2011 – a panoramic account of community activism in North Edinburgh, highlighting the previously largely ignored and barely mentioned community areas of Pilton, Drylaw, Royston, Wardieburn, Granton and Muirhouse.
Lynn McCabe reflects on how this publication is still deeply relevant today and Willie Black talks about North Edinburgh today, and shares positive stories from this vibrant and resilient Edinburgh community.
While we hope to run this event in the City Art Centre, we may have to adapt to the situation at the time and the event may need to move to digital. Book via the link or by phoning the City Art Centre on 0131 529 3993.
Looking for something fun to do this autumn? Then make sure you head to the stylish Native Edinburgh where the inimitable Stew Bryden is set to host his debut solo showcase in the cool coffee and speakeasy Counter.
Launched on Thursday (3rd Nov) until the end of the year, this new creative collaboration will see ten striking pieces shot by Bryden – famed for fashion and celebrity portraits, and displayed in Counter by Native Edinburgh for all to enjoy.
Free to attend, the stunning exhibition launches the boutique hotel’s Artist in Residence series that seeks out programming to ignite creative imagination, with an ethos to create great places, with great people, in great areas.
At the Edge of Things is in homage to Virginia Woolf’s most experimental work, The Waves: an exploration of the trinity shared between individuality, the self and community.
An iridescent display of eclectic suits, sequin-adorned cocktail dresses and layered outerwear, the visual captures each look within its own habitat — far removed from each other and yet merged into one singular narrative.
As spoken word plucked straight from Woolf’s novel plays over a psychedelic harmony, the images and film flawlessly exudes the themes of its muse: portraying multiple stories merged into one, a unity between the self and other.
Much like fashion itself, the work(s) bear a compelling power that celebrates our limited time on earth.
Stewart Bryden gained his Hons Degree in Glasgow, Scotland before moving to New York City, working within the Chinatown based studio of world-renowned American photographer and artist Ryan Mcginley.
Now based between London, Berlin and Scotland, Stewart has gained commissions and continues to work with some of the world’s most up and coming and leading brands, publications and agencies. He’s shot for the likes of Fendi, Gucci, Max Mara, LV, and editorial clients include Wonderland, Man about town and Clash Magazine.
Olivia Immesi, Managing Director of Native Places , said:“Stewart is a true visual tastemaker and it’s such a pleasure to have him as our first Artist in Residence at Native Edinburgh.
“We’re excited to champion his work and host an exclusive celebration of creative photography here in Edinburgh.”
Stew Bryden, owner of Stewart Bryden said: “As a visual artist it’s always exciting to see your work exhibited, more so with this being my debut solo residency.
“These images and accompanying film were a true passion project and collaboration with some incredibly talented individuals, I’m very proud of the work and for Native places to approach me as their debut artist in residence is very exciting.”
Stewart Bryden’s At The Edge of Thingswill be on display in Counter at Native Edinburgh from Thursday, November 3rd until the end of the year. It’s free to attend and Counter is open seven days a week from 8am – 1am.
To enjoy a stay, book directly with Native aparthotels, by heading to:
A stunning range of exhibitions for 2022 including a winter photographic season of three new displays has been announced for the City Art Centre.
All exhibitions will be free to attend. Further information on the individual shows, including an exciting and varied public events programme, will be announced later in the year.
National Treasure: The Scottish Modern Arts Association 21 May – 16 October 2022
The Scottish Modern Arts Association was founded in Edinburgh in 1907. Established by artists and their supporters, the organisation aimed to secure for the nation a representative collection of modern Scottish art. For more than fifty years, it actively acquired work by leading contemporary artists, building an outstanding collection of over 300 paintings, drawings, prints and sculptures. The majority of these artworks were transferred to the City of Edinburgh when the association disbanded in the 1960s, and they are now maintained by the City Art Centre.
National Treasure: The Scottish Modern Arts Association reveals the story of this unique collection, and the artists represented in it. Featuring work by the Glasgow Boys and the Scottish Colourists, as well as individuals such as William McTaggart, John Duncan, Anne Redpath and Joan Eardley, this major two-floor exhibition celebrates Scottish art at the dawn of modernism.
Will Maclean: Points of Departure 4 June – 2 October 2022
Will Maclean (b.1941) is one of the outstanding artists of his generation. His work is anchored in the history, archaeology, and literature of the Scottish Highlands and the Highland people, as well as his family background and personal associations with the sea.
Perhaps best known for his wall constructions, this major retrospective will span almost fifty years of work and embrace every facet of his practice – his constructions, drawings, prints, sculptures, artistic collaborations, video productions and outdoor installations. Combining exquisitely hand-made pieces with found or (on occasions) mass produced objects, his work balances between simplicity and complexity and invites the viewer to linger, to admire and to ponder the universal themes which he explores.
Accompanied by a new publication, the exhibition will be drawn from public and private collections, with many of the exhibits going on public display for the first time. The exhibition promises to be a rich visual feast for anyone with an interest in Scottish art and history.
Early twentieth century women filmmakers and photographers in Scotland (working title) 12 November 2022 – 12 March 2023
This ground-breaking exhibition presents the work of fourteen pioneering women photographers and filmmakers working in Scotland during the early 20th century.
The women are Violet Banks (1886-1985), Helen Biggar (1909-1953), Isabella Bird (1831-1904), Christina Broom (1862-1939), M.E.M. Donaldson (1876-1958), Jenny Gilbertson (1902-1990), Isobel F Grant (1887–1983), Ruby Grierson (1904-1940), Marion Grierson (1907-1998), Isobel Wylie Hutchison (1889-1982), Johanna Kissling (1875-1961), Isabell Burton-MacKenzie (1872-1958), Margaret Fay Shaw (1903-2004) and Margaret Watkins (1884-1969).
These women present different accounts of Scotland, covering both rural and city places and communities. The exhibition will show the breadth of their photography and filmmaking, offering a critical analysis of their work.
It explores the ways in which their work differs from their better-known male contemporaries, considers their different motivations and how these informed the work they made, and the different narratives we see emerging from their work in Scotland.
It is the first time their work will have been seen together, and it uncovers a previously untold story within the history of Scottish photography. Exhibits will be drawn from a broad selection of private and public collections.
The exhibition is a partnership project with Jenny Brownrigg, Exhibitions Director at The Glasgow School of Art.
Ron O’Donnell Edinburgh: A Lost World (working title) 19 November 2022 – 5 March 2023
Edinburgh: A Lost World features black and white and colour photographs of forgotten Edinburgh interiors by Scottish artist Ron O’Donnell. During the 1970s and 1980s O’Donnell focused on photographing shops, tea rooms, public toilets, prison cells and factories all over Edinburgh, many of which are no longer in existence. In 2010 he returned to photographing shop interiors. This time, he concentrated on barbers, pet shops, auto repair businesses, shoe repair shops and book shops, including the smallest shop in Edinburgh.
For many years O’Donnell has had a curious and insatiable desire to document the city. As a hunter of unusual interiors, he would cycle around Edinburgh with his camera, a flash gun in a cardboard box, strapped with bungees onto his bike rack, and a tripod slung round his neck.
He found his camera was a key to accessing interiors – hidden spots that many people never saw. As a result, O’Donnell has created an impressive photographic archive of these lost places. The exhibition displays a selection of his photographs, revealing and documenting the dramatic shifts that have taken place in the capital over the years.
Paul Duke: No Ruined Stone 26 November 2022 – 26 February 2023
The artist Paul Duke grew up in the Muirhouse area of Edinburgh between the mid-1960s and early 1980s. In 2015 he returned to Muirhouse to develop No Ruined Stone, a photographic series exploring the built environment and its residents at a time of significant urban regeneration and social flux.
This exhibition presents a selection of photographs from the series; images that balance a documentary approach with highly personal insights. Duke embarked on this project determined to reconnect with his roots. While raising issues around social inequality and poverty, No Ruined Stone is underpinned by a message of human resilience and strength of character.
The exhibition is accompanied by the publication No Ruined Stone (Hartmann Books, 2018).
Auld Reekie Retold 3 December 2022 – 19 February 2023
This exhibition marks the culmination of Auld Reekie Retold, the largest collections inventory project ever undertaken in the organisation’s history. Over the past three years, this ambitious project has recorded, catalogued and revealed thousands of items housed in stores and venues across the City.
Auld Reekie Retold connects objects in the collection, which has been growing steadily since the 1870’s, with people and places in the city, uncovering new stories from Edinburgh and its residents. Perhaps you’ve seen some of the stories online, or joined one of our digital events; this exhibition will be a chance to see some of the highlight objects uncovered by the team, and also to find out about the behind the scenes work involved in maintaining the collection.
Museums & Galleries Edinburgh’s collections belong to the City, and Auld Reekie Retold aims to give every citizen of Edinburgh a sense of ownership of and connection to its objects and their stories.
Councillor Donald Wilson, Culture and Communities Convener said: “As we look ahead to 2022 at the City Art Centre it looks set to be a truly great year. The City Art Centre is one of the most accessible places in the Capital for art lovers and is home to Edinburgh’s art collection, one of the finest in the country.
“We’re delighted to be playing our part in the Edinburgh Art Festival and hosting some fantastic exhibitions. There are many highlights throughout the year beginning in Spring with ‘National Treasure: The Scottish Modern Arts Association’. The major two-floor exhibition will tell visitors the story of the unique collection and the artists behind it including works by William McTaggart and Joan Eardley.
“And then later in the year we’ll host the fascinating findings from ‘Auld Reekie Retold’. This fantastic project is allowing us to develop a fuller understanding and appreciation of what we have right here in our collections.
“The project has helped to uncover their stories, broaden participation with our Museums & Galleries and ensure their long-term relevance. This is the story of our great city that we all love. It needs to be told and I look forward to visitors discovering it for themselves this autumn.”
Councillor Amy McNeese-Mechan, Culture and Communities Vice Convener said: “The City Art Centre’s 2022 programme of free exhibitions will give visitors the opportunity to revisit enduring favourites such as Will Maclean, some of whose works will be on display for first time. They might also discover new favourites like Ron O’Donnell and Paul Duke, who both give us their unique views of Edinburgh.
“I’m very much looking forward to ‘Early twentieth century women filmmakers and photographers in Scotland’, where the works of 14 pioneering women will be brought together for the first time. This will offer visitors the chance to hear the previously untold story of women’s fascinating role within the history of Scottish photography.
“Whilst it’s fantastic to look ahead to a busy year in our City Art Centre, I’d like to reassure people that we will continue to take measures to ensure the safety of visitors and our staff, and will adhere to the latest public guidance.”
In keeping with Government advice to support the safety of our visitors and staff, the City Art Centre maintains a range of safety measures and procedures throughout the venue, including a one-way system, screens at reception, hand sanitiser stations, extra barriers and signage and staff will of course be wearing face coverings while offering visitors a very warm, socially distanced welcome. Visitors are asked to wear face coverings.
Are you a semi-professional, amateur or fledgling photographer from Scotland? Would you like to display your work in an atmospheric London gallery?
The London Photo Show is set to return for its sixth year running to the Southbank this autumn, giving professional, semi-professional, independent and amateur photographers from all over the world the chance to exhibit their work to the public in a professional and high-profile location.
Show organisers are calling upon photographers of all abilities to enter their most well-loved shots, which will be displayed at London’s Bargehouse Gallery, situated in the iconic Oxo Tower Wharf, between 11 and 14 November 2021.
Founder and professional photographer, Andrew Mason, who established the photography exhibition in 2016 to put a focus on undiscovered talent, said: “We can’t wait to bring the show back to the Southbank this November.
“Even though we managed to run the event last year, it was on a smaller scale, we are hoping this year will be the biggest yet. We are once again looking forward to filling the gallery space at The Bargehouse with authentic, raw and evocative images, many captured throughout the pandemic.
“I know myself the thrill and fulfilment that comes from seeing your own work exhibited in a public arena. Our event is more than welcoming to photographers of any level, that’s what makes us different. Our doors are not just open to those at the top of the profession.
“The London Photo Show is known for bringing together those with a love of photography all under one roof each year. The event offers the chance for anyone involved to build their profile and get noticed, whilst allowing visitors the chance to see some truly original artwork for free.”
The open exhibition, which welcomes all subject genres including portraiture, fine art, wildlife, architecture, fashion, nature, travel, sport, reportage, and landscape is expected to host submissions from around 60 photographers around the globe. The event is open to the public across four days with no admission fee.
Andrew ended: “The show was started so that photography can be enjoyed by anyone and everyone – its foundations have been built on inclusivity and we can’t wait to see what artwork this time around.”
Places at The London Photo Show are extremely limited and those wishing to reserve their place should visit: www.londonphotoshow.org for further information.
With costs starting from just £275, exhibitor packages include:
· Wall space with your bio and information
· Advice on choosing and printing images
· Photographer networking events in the lead up to the exhibition
· Hanging of images by professional installation team
· Invitations to the Private View for you and your guests
· Exhibitors profile listing on the London Photo Show website, and promotion though social media
In the midst of the pandemic, nurse Lindsay Macdonald reassures little Hannah as she carries her to the operating theatre at the Royal Hospital for Children in Glasgow. This moment was captured by Lisa Miller, photographer with NHS Greater Glasgow and Clyde’s Medical Illustration team.
It has been selected as one of 100 photos to be displayed in the National Portrait Gallery’s new exhibit: Hold Still which captures a collective portrait of the UK during lockdown and the pandemic over the past six months. Lisa’s photo was chosen out of 31,000 submissions.
Lisa Miller, photographer NHS Greater Glasgow and Clyde’s Medical Illustration team, said: “I took this shot during the height of the pandemic and it shows that in the middle of what was and still is a scary time for everyone, the comfort of a nurse to a young patient.
“I’ve been working in our hospitals throughout the pandemic and have been able to capture moments no one else has been able to. We’ve had to wear full PPE which has made it hard to focus and frame the images through the viewfinder of the camera properly but I’ve been able to expand my skill range and take portraits alongside medical photographs.”
Lisa was only allowed to submit one photograph to the National Portrait Gallery and after much deliberation sought the opinion of her mum because she would look at the image from a mother’s perspective.
She added: “We’re always in sensitive situations, dealing with patients so it’s important to build up a rapport with them to make sure they feel safe and comfortable.”
Lisa has also been shortlisted for a Sky Arts TV photo competition, with another photo of Lindsay.
The National Portrait Gallery exhibit is available to view online: Hold Still.
Nurse Lindsay said: “The picture was taken during a time, right in the middle of lockdown and staff were all adjusting to new ways of working. At that time we were not using the anaesthetic rooms to put children under an anaesthetic and parents were not able to come with children into theatre. Because seeing staff wearing the full PPE could be quite scary for some children, especially young children who can’t see your face.
“That day I was going to meet the patient at reception and bring them to theatre. That way everyone who was already in all the PPE could stay in the theatre room and cause as much little distress for the child before she went to sleep.
“I still remember Hannah, she was such a lovely little girl. I was walking up the corridor to theatre with her in my arms, as she wanted to be there rather than on the trolley. Lisa was also there waiting to go into theatre when she took the photo.
“As a nurse I believe the patient feeling safe and happy is crucial to our role, as they are going into an unknown place with people that are complete strangers to them. I am a parent myself and I completely understand that when parents are handing over the most precious thing in the world to them, they have to believe and put their trust in us that we will absolutely take care of them and make sure that they are in safe hands.”
Lisa has also been shortlisted for a Sky Arts TV photo competition, with another photo of Lindsay.
The National Portrait Gallery exhibit is available to view online: Hold Still.
