Colin McPherson

Photographer and Visual Artist

Posts tagged ‘England’

National Photography Symposium, 2018

On Friday, November 2, I had the pleasure of contributing to one of the events at this year’s National Photography Symposium at MediaCity in Salford, which looked at the future of working in the photography industry. The NPS is a biennial event run by the Redeye photography network. Below is a transcript of my talk:

Can I start by issuing a spoiler alert?

I’m sure you are not alone in thinking you don’t want to hear from another white, middle-aged man on the subject of photography. Well, the good news, is nor do I.

Therefore, I thought I’d do an impersonation.

More accurately, I thought I’d wind the clock back thirty years to 1988, to where it all began for me, and speak to you as if I was that 24-year-old, fresh from securing his first-ever assignment on a local newspaper in Edinburgh, and express my hopes, fears and dreams about my future as – hopefully – a professional photographer.

You see, so much has changed in those three decades since I innocently and carefully loaded a spool of black-and-white film into my non-motorised, non-autofocus, non-electronic Nikon FM2. But, in many ways, so much has stayed the same and so much still needs to change.

I look back at my 24-year-old self and wonder: how and where did he acquire the skills necessary to become a walking, mechanised, computer-literate, one-person media centre, capable of disseminating visual, audio and written content across the globe from the comfort and safety of an iPhone? Who would teach this novice snapper what it would take to be at the frontline of photojournalism, witnessing many great and significant political and social events?

Where would the money come from to finance the constant upgrading, upscaling and uploading?

The answer was: on the job. Looking, listening, learning. A true autodidact, but with influences stretching back to the invention of photography itself.

Mr Deguerre, I salute you and I will buy you a drink when we are together in the big darkroom in the sky. You gifted the world the prize of alchemy, turning one’s imagination into a solid state, with a bit of glass, a sheet of paper and some chemicals.

So it’s 1998. What are those hopes, fears and dreams? What does the future look like and what is my plan to get myself seen and heard. What can I expect of the world of photography? And how can I make sense of it enough to pursue the idea of a career – surviving – making a living.

For starters, I want a fair crack of the whip. While I don’t expect doors to be held open for me, I would like to think if I knocked hard enough, there would be a response. I’m looking for the people who wield the power, who call the shots and make the decisions. Who are they, what do they look like and where can I find them?

The options are limited. This is 1988, after all. There are so few photography courses in this country and the ones that exist are difficult to get into, over-subscribed and therefore able to cream off the best students to fill the places. And there are so few photographers, certainly not many like me, with a passion and a hunger to make it as a professional. To get out on the streets every day, to play with the light, find interesting people and places, tell stories using my camera. Anyone you meet with a camera is either a bird watcher or a train spotter. Or my dad with that funny little camera which only comes out when we go on holiday. To Filey.

Meeting other photographers is really difficult too: I could join a camera club and hang out with all those old men who are hung up on technicals and techniques. Bit I’m a punk rocker and they probably wouldn’t even let me in that posh-looking building where they have their meetings and show pictures of old boats. And sunsets. And children in the playground. Dodgy, most of them, I reckon.

The local art gallery sometimes puts on photography shows, but these are so infrequent that they are almost invisible. And none of the work is relevant to me. To my life. To where I live and what I see every day. I could keep sending my photos to newspapers in the hope that they would like them. I did that a couple of times. I got this really cool picture of a bunch of nuns running for the bus. I developed the film the following day and then made a really nice print in my darkroom (well, it’s actually the spare downstairs toilet. Which is ok to use as long as my brother doesn’t need a pee and open the door and ruin another precious sheet of photo paper.)

So I made this lovely print and found a hard-backed envelope and sent it to our evening newspaper. But they didn’t print it. Maybe I should have used a first-class stamp? More expensive than second class, but worth it. At least it would have got there a day earlier.

But even doing that seems daunting: just finding out whose in charge at the newspaper is nearly impossible. Phone calls go unanswered and I never get a response to the letters I write to them.

So I get a bit frustrated. And I think to myself: Bollocko, I’ll do it myself. I’ll show them. So I put on this little exhibition, in a church hall near where I live and got my mate Barry to design a poster which we photocopied and stuck up all over the town. And guess what? A few people actually came. And they liked it. They even wrote some nice things in the visitor’s book.

Well, not all of them did. Barry’s brother said it was shit and that I should have had more pictures with girls without their tops on, like in the Sun, because that’s what real photography is.

And everyone I come across is, well, so old. And they are all men. And posh. And busy. And important. There don’t seem to be many women in photography. And I certainly haven’t met anyone who isn’t white. But I guess that’s not my problem. All I want is a lucky break, something to go my way, get my career off the ground.

If it is up to me, photography will be different in the future. Imagine what it will be like way in the future, 30 years from now. Because in 2018, I reckon everything will be different.

There will be equal numbers of men and woman photographers. There will be a project called 325 Voices, where 325 women photographers will each make a portrait of each of the 325 women MPs at Westminster.

There will be people from all sorts of ethnic backgrounds, and they will be visible and prominent in the institutions and organisations which represent photography and who represent them. And people of all of abilities in charge.

In 2018, people whose passion is photography but who don’t want to study, or can’t because they cannot afford it, or they are caring for a relative, can have their voices heard, their work seen and their experiences validated.

In 2018 it will not matter whether you have a degree in photography but whether your voice and work are authentic, honest and valuable.

Studying photography will be brilliant though, because there will be literally dozens of courses, all over the country, and you’ll be able to learn about so many different types of photographic practice.

And there will be hundreds of jobs to choose from when you graduate, and you’ll have an equal chance to get employment no matter what your social or ethnic background.

And big companies and powerful media corporations will all respect your rights, your intellectual rights, your copyright because this year, the prime minister Mrs Thatcher actually did the only good thing she ever did and brought in the Copyright, Designs and Patents Act, 1988, which enshrines our rights and protects us from voracious and greedy people trying to make money out of our skill and hard work.

In 2018, our world view will be seen from different angles and perspectives, and not just narrated through the press and media by people from narrow backgrounds, with vested interests who retain the power and the processes by which photography is funded and viewed.

Male, pale and stale people will have an equal voice alongside everyone else.

In 2018, we will live in politically enlightened times:

There’s no way the most celebrated and influential photography magazine in the world could illustrate the issue of who owns land with an image of an heroic, white cowboy.

There’s no way one of the world’s most influential newspapers could publish a picture of a starving black child on its front page to elicit sympathy and the notion of the white saviour.

There’s no way the four main prize winners in a national portrait competition will be white people presenting images of black people.

There’s no way an image of a stone-throwing protestor will be elevated to Art and discussed in terms which would embarrass great Dutch and Italian masters of the past.

And there’s no way a long-lens image of bikini-clad women reclining on a beach, won’t be seen as objectification, an example of unconscious everyday sexism, whether or not it’s taken by a middle aged man as art.

Because in 2018 none of those things will happen and if they did it would just show that we still have a long, long way to go to break down the barriers, storm the citadel and make photography truly democratic, representative, honest, enlightened and collaborative.

I believe that in 2018 photography will still exist in its vacuum: somewhere between entertainment, art and journalism. Whatever your practice, whatever your outcomes, it will still be a profession or pursuit where you will rely on your own ability, determination and skill as well as the support, cooperation and encouragement of others for your success.

That will mean that photographers and photography will have to continue to act as chroniclers, witnesses and creators, to make their work. But they will also have to continue to be agitators, campaigners, agents of change in order to create and sustain new, transparent and trustworthy power structures which are open and accessible to all.

So my advice to all 24-year-olds in 2018, starting out on your journey in the wondrous world of photography is to question and challenge everything. Be disruptors. Respect yes. But do not stay silent or kowtow. Don’t accept that things cannot change. Recognise and praise progress. Call out wrongdoing and bad practice when you see it.

Photography was, is and always will be about rebellion, insurrection and revolution, after all.

And as the song goes: the revolution will not be televised.

But it sure as hell will be photographed.

Photograph © Craig Easton, 2018.

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Silver jubilee time

Cardiac surgery on a newborn baby, London, 2013. © Colin McPherson, all rights reserved.

On the 14th August 1993, I emerged blinking (and slightly worse for wear) into a brave new world. Little did I imagine that 25 years later I’d be celebrating a quarter of a century of being an independent, freelance photographer.

But that day will always be etched in my memory as the start of an incredible journey. I had taken the decision to leave the security of a staff photographer’s job at the Edinburgh Evening News and now it was up to me to make a go of it. With the help of innumerable people (fellow photographers, journalists, picture editors, friends, family and the thousands of people whom I have encountered along the way), I have managed to survive, somehow, in an industry which has changed beyond recognition in the two-and-a-half decades since I loaded a roll of monochrome film into my Nikon FM2 and began my first freelance assignment – to photograph the beginning of the construction of The Church of Jesus Christ of Latter-day Saints in Alloa, Scotland.

If someone back then had said to me the words social media, smartphone, digital camera, low-cost airline, Holyrood, AppleMac, autofocus, Brexit, Dolly the sheep or English Premier League, I wouldn’t have had a clue what they were talking about. So much has changed, not just in the world around us, but in the way photographers work. But so much has stayed the same, too. The stories, characters and issues which populate our everyday lives are largely cyclical. The way we choose to illustrate them is still very familiar (many would say too much so) to the way it was back then. Men in suits still rule the world and the old enmities and adversaries have been replaced by new ones. That is not to say there haven’t been amazing strides forward and progress too. I have been lucky enough to see changes in science, technology and medicine through the lens. I have witnessed the ebb-and-flow of politics and the achievements of many sporting heroes and cultural icons too. And shared in the pain and pleasure of everyday life.

When I began my freelance career I was solely a newspaper photographer: that kept me busy all the days of the week I needed to make a good living. The intervening years has seen that industry wither and decline. But with that situation, new possibilities have opened up. Photography is a creative practice, but I didn’t realise how many times I would have to adapt my ways of working to survive and thrive. From moving location to working collectively, it has never been a straight road. All the time, however, I have tried to derive as much fun and enjoyment from making a living from what I love doing. There have been ups-and-downs, good years and bad and countless mistakes and missed opportunities. Some of the assignments I have covered I wished had never happened: bad news sells, unfortunately. But over all, it has been a pleasure and a privilege. To work on all five continents of the world, to travel to some of the planet’s most sparsely-populated and beautiful places and to meet people of all different races, religions and backgrounds – and to photograph them. It’s a dream come true. That’s what has kept me going over the last 25 years, and will hopefully do the same over the next!

In no particular oder of preference or relevance, below here are just a tiny – and random – selection of images culled from the hundreds of thousands of clicks of my shutter. Thank you for taking the time to read this and for everyone’s help, encouragement and love down the years. Finally, if you want to purchase a compendium of my work, I still  have a few of commemorative books left, marking my 20 years working for the Independent newspaper.

Salmon netsman, Scotland, 1998. © Colin McPherson, all rights reserved.

The Queen’s Baton Relay, Lesotho, 2017. © Colin McPherson, all rights reserved.

Politician Jacob Rees-Mogg, Scotland, 1997. © Colin McPherson, all rights reserved.

Dolly the Sheep, Scotland, 1997. © Colin McPherson, all rights reserved.

Paul ‘Gazza’ Gascoigne in rehabilitation, England, 2016. © Colin McPherson, all rights reserved.

Nottingham Forest football fans, England, 2015. © Colin McPherson, all rights reserved.

Sculptor Andy Scott, Scotland, 2014. © Colin McPherson, all rights reserved.

Morning exercise, Beijing, 2012. © Colin McPherson, all rights reserved.

Writer Douglas Coupland, Scotland, 2009. © Colin McPherson, all rights reserved.

Comedian Ken Dodd, England, 2008. © Colin McPherson, all rights reserved.

Foot-and-mouth crisis, England, 2001. © Colin McPherson, all rights reserved.

The remnants of East Germany, 1992. © Colin McPherson, all rights reserved.

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News and reviews

Newly graduated students, St. Andrews. Photograph © Colin McPherson, 2016 all rights reserved

It’s been a breathless year, with many changes and new challenges. I’ve made a gallery of some of my favourite images from 2016 and while we’re at it, here’s a quick round-up of what’s happening right here, right now:

Catching the light in the darkroom…

The University of St. Andrews is the home to one of the world’s most important photography archives. I was delighted when the august institution approached me about acquiring a set of images from Catching the Tide, my long-term project documenting Scotland’s last salmon net fishermen. This allowed me to go back into my darkroom after many years and hand print the photographs, which I have called the St. Andrew’s Day Edition, as they were made on 30th November, 2016. I can now offer additional prints of the iconic image Hailstones, Kinnaber, 2000 for sale. Please get in touch if you are interested in buying one of the prints, which I explain about in more detail in this short film I have just released:

The taste of Nutmeg…

December 2016 blog

Exhibiting photographs in public can be nerve-wracking, not knowing what the audience reaction is likely to be. After many years staging solo and group shows, I have become used to taking criticism and praise when it comes. The new edition of the Scottish football periodical Nutmeg takes my output in a new direction with the publication of my first-ever short story. This work of fiction centres around the nefarious goings-on at an amateur football club in central Scotland. Grab a copy before it sells out!

Football on the BBC…

Clyde versus Edinburgh City. Photograph © Colin McPherson, 2016 all rights reserved

Clyde versus Edinburgh City. Photograph © Colin McPherson, 2016 all rights reserved

I am continuing to document Edinburgh City FC’s inaugural season as members of the Scottish League, with the BBC Sport website showcasing a gallery of images from selected matches throughout the season. Whilst City started life as a League 2 club with a string of defeats, a first win at Montrose in November heralded a run which has propelled them towards safely avoiding relegation, although there is a long, long way to go. The most recent match I covered was my first-ever trip to Broadwood to see ‘the Citizens’ secure another point in a 0-0 draw against Clyde.

The fifth Beatle…

Document Scotland are delighted to be able to announce Glasgow-based photographer Sarah Amy Fishlock is to join our collective with immediate effect. We have long been admirers of Sarah’s work and have already collaborated with her on a couple of projects. My colleague Sophie Gerrard interviewed Sarah about her work and we look forward to Sarah being an integral part of the Document Scotland team.

Document Scotland are currently working on exciting new initiatives and plans for 2017 and beyond and you can keep in touch with us – or purchase our work – through the website.

Licence to roam…

Anti-AfD demonstrators, Berlin. Photograph © Colin McPherson, 2015 all rights reserved

Anti-AfD demonstrators, Berlin. Photograph © Colin McPherson, 2015 all rights reserved

Finally, after a long and sometimes painful hiatus, I have resolved all the contract issues with Getty Images regarding their buy-out of Corbis, who represented me for the best part of two decades. I am delighted to say that my collection of over 11,000 photographs is now available to licence worldwide through Getty Images and I look forward to adding to the archive in the coming years.

Beyond the Border…

In the run up to the 2014 Scottish independence referendum, Document Scotland staged an exhibition entitled Beyond the Border at Impressions Gallery, Bradford, our first high-profile national show. Curated by the gallery’s director Anne McNeill, the exhibition was an overwhelming success with record audience numbers. Now it travels a bit further north and will be staged by Berwick Visual Arts from 11th February until 14th May, 2017.

Final score…

City of Liverpool FC. Photograph © Colin McPherson, 2016 all rights reserved

City of Liverpool FC. Photograph © Colin McPherson, 2016 all rights reserved

As always, my photography appears in print and online regularly in the monthly football magazine When Saturday Comes. Even if you are not a football fan, I hope you can still enjoy the cultural commentary which I try to communicate through these images, taken at grounds and stadiums across Scotland and beyond.

All that remains…

Finally, thank you to everyone who continues to support me and my work. I love taking photographs for my own and other peoples’ enjoyment. Keep in touch, have a great festive season and all the best to everyone for 2017.



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The Year in Pictures

A look back at 2016, some of the faces and places I’ve encountered in a momentous year of choice, change and contradiction, through the lens of my camera.

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Any old Iron?

UK - London - West Ham United Versus Crystal Palace Football Match

With just a handful games left to play at their historic old Boleyn Ground, West Ham United fans gather for a London derby against Crystal Palace. Fine spring sunshine brings the crowds on to the streets early and the pubs and cafes are doing a brisk trade a good couple of hours before kick-off.

I catch the mood as I arrive at Upton Park station. There’s optimism in the air. The Iron, as they style themselves, are on the up, chasing a European place next season and contemplating the much-talked about move to their new stadium at nearby Stratford. Whilst it may be a wrench to leave their present surroundings, the demands on football clubs to become global brands is driving the project and most supporters seem content with the prospect, especially as season ticket prices on offer are low and the present scramble for tickets will be ended by the increased capacity at the new ground.

West Ham fans in Ken's Cafe. Photograph © Colin McPherson, 2016 all rights reserved.

West Ham fans in Ken’s Cafe. Photograph © Colin McPherson, 2016 all rights reserved.

Sweeping down towards the stadium, past the famous Ken’s Cafe, stuffed with memorabilia and full English breakfasts as well as full English people, I arrive at the Boleyn Ground: its ersatz towers either side of the main entrance lending an air of a kitsch amusement park. The stadium is ringed by burger vans, indeed the quantity of mechanically-recovered meat being greedily consumed really puts the iron in irony: the modern-day football fan is the antithesis of an Olympian athlete, yet West Ham will soon reside in the Olympic Stadium. I surmise the only green shoots I’ll see on Green Street today will be the pitch. I’m not wrong.

Momentum builds inexorably towards kick-off time, with fans jostling around the clogged up narrow streets which act like arteries funnelling fans in the direction of the Bobby Moore stand, the Chicken Run and the less-traditional sounding Betway Stand. I look for sharp-suited East End geezers, skinheads with braces or maybe smartly-attired casuals, but all I encounter are people of all ages, sizes and genders in replica kits, the scourge of modern football. There’s a business-like air with fans going about their fortnightly routine behind smiling, contented faces. They pour out of the Boleyn Tavern, arriving in their seats just in time for the trademark cascade of bubbles and the singing of the accompanying theme tune as the players walk solemnly onto the pitch.

Fans squeezing through the turnstiles. Photograph © Colin McPherson, 2016 all rights reserved.

Fans squeezing through the turnstiles. Photograph © Colin McPherson, 2016 all rights reserved.

The game is feisty, short of real quality and with the odd surprise. Palace take the lead, the delayed reaction amongst the away fans suggesting this hadn’t been expected of a team yet to register a league win in 2016. Still, the Hammers find their poise and are winning by half-time. I don’t see either goal, preferring to study the stands for signs of life. I find plenty.

Half-time brings a parade of supporters from West Ham United overseas fan clubs, marching to rapturous applause and song. Americans, Israelis, Iraqis all in step together. Remarkable.

Action at the Boleyn Ground. Photograph © Colin McPherson, 2016 all rights reserved.

Action at the Boleyn Ground. Photograph © Colin McPherson, 2016 all rights reserved.

The second half is disjointed and increasingly bitter. West Ham are reduced to 10 men and then to hanging on as Palace sniff an unlikely win. They fall just short and it ends 2-2. No-one goes home happy. “It’s just like back to the old days,” complains one fan as he exists the stadium for what could, conceivably, be his last visit as sunshine gives way to a miserable drizzle. After 112 years at the Boleyn Ground, there are plenty of old days to remember. And much to look forward to. But it won’t be the same, even if at present the grass does appear greener on the other side.

To view a fuller selection of images from the day, please visit the WSC Photos website.

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It’s arrived…



Copies of my new book with images from various assignments at home and abroad for the Independent and Independent on Sunday newspapers, have arrived! This limited edition compendium is available exclusively through my website for just £7.50 plus p&p and is being brought out to coincide with the papers ceasing publication. Get your here copy whilst stocks last….

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Football Landscapes of England

With the football season in full flow and gathering pace, I am delighted to announce the launch of a new creative venture in partnership with one of north west England’s finest and most historic non-League clubs.

Greetings from Marine

With the help and cooperation of Marine FC, I have created a special souvenir postcard, depicting the club and its supporters during a match this season against Ilkeston at the Marine Travel Arena in Crosby. The first in a series called Football Landscapes of England, the postcard reflects what I love most about non-League football: intimacy and informality mixed with passion and commitment.

Chairman of the Marine Supporters Association, Dickie Felton, was instrumental in supporting the venture and getting it off the ground. He told me: “We are thrilled to work with such an acclaimed photographer as Colin on this project which captures the unique atmosphere of our club. The images on the postcard are wonderful and they will be a big hit with not just our fans but anyone who loves the beautiful game.”

From my base in the North West, I have covered matches at home and abroad for the monthly magazine When Saturday Comes for the last decade. And although there’s little that beats the thrill and excitement of internationals or Premier League football, non-League football is the game’s beating heart and the environment I am happiest photographing.

A first edition limited run of just 250 postcards costing £2 each will go on sale at Marine’s FA Trophy match against Kidsgrove Athletic this coming Saturday, 14th November, kick-off 3pm. It will be available exclusively at the club shop and social club and the aim of this partnership is to promote Marine FC and my own football photography.

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Winners and losers in Wirral

Counted Conservative ballot papers. Photograph © Colin McPherson, 2015 all rights reserved.

Counted Conservative ballot papers. Photograph © Colin McPherson, 2015 all rights reserved

It was a long and strange night. But then, voting in your Member of Parliament often is.

As the 2015 General Election drama unfolded across these islands, a tennis centre in Wirral became the focus of a political mini-drama. A fight-within-a-fight. On an evening when the Labour balloon slowly deflated on a giant television screen in the corner of the counting hall, Wirral West MP Esther McVey became the only Conservative government minister to lose her seat in the UK, as Margaret Greenwood sneaked home for the Labour Party with a wafer-thin majority of 400 after a recount.

The cheers and smiles of the victors masked disappointment that the swingometer in Scotland was looking more like a Richter scale while further south, the Tories were entrenching themselves at Westminister for another five years.

In the end the winner was the loser and vice versa. Funny old game, politics!

Tellers checking voting. Photograph © Colin McPherson, 2015 all rights reserved.

Tellers checking voting. Photograph © Colin McPherson, 2015 all rights reserved.

Esther McVey tackles the media. Photograph © Colin McPherson, 2015 all rights reserved.

Esther McVey tackles the media. Photograph © Colin McPherson, 2015 all rights reserved.

The Scottish swingometer. Photograph © Colin McPherson, 2015 all rights reserved.

The Scottish swingometer. Photograph © Colin McPherson, 2015 all rights reserved.

Tories watching results on TV. Photograph © Colin McPherson, 2015 all rights reserved.

Tories watching results on TV. Photograph © Colin McPherson, 2015 all rights reserved.

Wirral West candidates scrutinise votes. Photograph © Colin McPherson, 2015 all rights reserved.

Wirral West candidates scrutinise votes. Photograph © Colin McPherson, 2015 all rights reserved.

A victorious Margaret Greenwood. Photograph © Colin McPherson, 2015 all rights reserved.

A victorious Margaret Greenwood. Photograph © Colin McPherson, 2015 all rights reserved.

Labour celebrate a rare victory. Photograph © Colin McPherson, 2015 all rights reserved.

Labour celebrate a rare victory. Photograph © Colin McPherson, 2015 all rights reserved.

Esther departs, stage right. Photograph © Colin McPherson, 2015 all rights reserved.

Esther departs, stage right. Photograph © Colin McPherson, 2015 all rights reserved.

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Football’s becoming home

Supporters of Runcorn Linnets watch their team at local rivals Runcorn Town. Photo © Colin McPherson, 2013 all rights reserved.

Runcorn Linnets at local rivals Runcorn Town. Photo © Colin McPherson, 2013 all rights reserved.

In the week that saw the top tier of English soccer sell the remaining scrap of its soul in a £5bn television deal, my favourite magazine has launched a collection of contemporary and archive football photography which shows a different side of the game.

Showcasing the photography of its four regular contributors, the When Saturday Comes (WSC) ‘Images of Football Culture’ collection allows the viewer to browse images made over the last two decades, including my own work for the magazine.

The unique view of Dundee's stadiums. © Colin McPherson, 2011 all rights reserved.

The unique view of Dundee’s stadiums. Photo © Colin McPherson, 2011 all rights reserved.

My association with WSC started back in the 1980s when I would write the occasional article on Scottish football. The newly-formed magazine was one of the many publications which sprang into life during the fanzine boom of that period and was a response to the increasing commercialisation of the sport and a feeling of alienation amongst supporters across all nations and divisions. Back then, these often home-produced efforts would be glued together, photocopied and sold by supporters on matchdays at their teams’ grounds. Some survived, some rode the wave and disappeared. Others grew and flourished and continue to this day, the ethos and beliefs still there for all to see and read.

Nottingham Forest fans at Derby County. Photo © Colin McPherson, 2015 all rights reserved.

Nottingham Forest fans at Derby County. Photo © Colin McPherson, 2015 all rights reserved.

My association with fanzines and WSC waned until 10 years ago when I was asked to cover the first-ever fixture of newly-formed fans’ team FC United of Manchester for a national newspaper. WSC picked up on the set of photographs and asked to run some in the magazine. Only after publication, did they join the pixels and discover that I was the same person they had commissioned all those years ago. It re-started a love affair with the magazine and for the last decade I have been proud and delighted to have contributed photos and features for WSC on a regular basis.

Outside Goodison Park before a game. © Colin McPherson, 2015 all rights reserved.

Outside Goodison Park before a game. © Colin McPherson, 2015 all rights reserved.

Now, it’s one of the highlights of the month for me going to a match with my camera for WSC. Whether it’s an international match or a fixture at a non-League club, the approach is always the same: to get under the skin of the sport and to reflect the fans’ experience as seen through the lens.

Behind the scenes at Tow Law Town. Photo © Colin McPherson 2014, all rights reserved.

Behind the scenes at Tow Law Town. Photo © Colin McPherson 2014, all rights reserved.

This growing collection of photography by Simon Gill, Tony Davis, Paul Thompson and myself has been put together by WSC art editor Doug Cheeseman and is available now for licensing images – or just pure nostalgic enjoyment by people who love the sport.



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On display

2014 looks like being remembered as being the summer which I truly made an exhibition of myself!

I am fortunate to be showing four separate bodies of work at four different venues across four cities.

Sarah Bush, pictured at her office in Liverpool where she works for HMRC. Photograph © Colin McPherson, 2014, all rights reserved.

Sarah Bush, pictured at her office in Liverpool where she works for HMRC.
Photograph © Colin McPherson, 2014, all rights reserved.

Already on show is my contribution to DaDaFest who commissioned me to make portraits on the theme of disability at work. The resulting Working Lives: Here and There exhibition is on show as part of Liverpool’s International Festival for Business and can be seen on the sixth floor of 43 Castle Street in Liverpool until 26 July. There are restricted opening times: Wednesday-Friday (12.30-5pm) and Saturday (12.30-3pm).

'Border fence, Cheviot hills, 2014' from 'A Fine Line - Exploring Scotland's Border with England'. Photograph © Colin McPherson, 2014, all rights reserved.

‘Border fence, Cheviot hills, 2014’ from ‘A Fine Line – Exploring Scotland’s Border with England’.
Photograph © Colin McPherson, 2014, all rights reserved.

On 1 July, Beyond the Border opens at Impressions Gallery in Bradford, where I will be   showing my project entitled A Fine Line, part of the Document Scotland group show.

Designed and staged by the gallery’s director, Anne McNeill, this major event is a milestone in my career: the first time my work has been fully curated. It also marks the first exhibition in England exclusively showing Document Scotland’s work. Working with Anne and the staff at Impressions on the exhibition has been both educational and enlightening and myself and my colleagues are looking forward to a terrific launch night in Bradford on Thursday 3 July. The exhibition continues until 27 September 2014. We will be staging a professional development day and artists’ talks at the gallery on Saturday 26 July.

"Is gender inequality an impediment to poverty elimination?". Photograph © Colin McPherson, 2014, all rights reserved.

“Is gender inequality an impediment to poverty elimination?”.
Photograph © Colin McPherson, 2014, all rights reserved.

Next up, the A41 Project reaches the southern end of the eponymous trunk road and will be exhibited at Free Space Gallery in Kentish Town. The show will open on 23 July and continue until 12 September (Monday to Friday 9am-6.30pm). This will be the final outing for this particular project, having previously been shown in West Bromwich, Milton Keynes and Birkenhead.

The demolition of Ravenscraig, 1996. © Colin McPherson, 2014.

The demolition of Ravenscraig, 1996. Photograph © Colin McPherson, 2014.

Finally, there’s the results of another collaboration to look forward to at the end of August when Document Scotland’s Common Ground exhibition opens at Street Level Photoworks in Glasgow. The exhibition is a partnership with Welsh collective A Fine Beginning and I will be showing a new body of work made and completed over the summer of 2014 entitled Phoenix: the fall and rise of Ravenscraig, which looks at the legacy of the giant steel mill in Lanarkshire, controversially closed down in 1992, which I photographed being demolished four years later. The exhibition runs for a couple of months and we will be staging two-days of artists’ talks, portfolio reviews and other activities on 29 and 30 August at the gallery.

I hope to see you at some of these exciting events over the next three months.

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