as others see us 

 

The Story so far

To celebrate Homecoming 2009 Tricia Malley and Ross Gillespie, together known as broad daylight, conceived and produced a major exhibition and accompanying publication marking the 250th anniversary of the birth of Robert Burns. The project, ‘as others see us’, featured a series of stylised and considered photographic portraits that capture twenty-four Scots and adopted Scots who are prominent in their chosen field of endeavor. Amongst the sitters were such notables as; actor Peter Capaldi, musician Eddi Reader, artist Peter Howson, entrepreneur businessman Jim McColl novelist Janice Galloway and writer and broadcaster Kirsty Wark. Each sitter produced a small body of text as a response to their favourite Burns poem or song communicating their own view of the relevance of Burns today. ‘as others see us’ is a celebration of Scottish culture, reflecting and conveying through words and pictures the work of this extraordinary man not only to the people of Scotland but to a much wider audience.

After being launched in the Scottish Parliament on Burns Night, it was shown the length and breadth of Scotland including in the National Galleries during the International Festival and travelled to both Brussels and Sydney. Heralded as a great success, in total it was viewed by some 320,000 visitors. Both the National Portrait Gallery in London and the Scottish National Portrait Gallery Edinburgh have acquired images from the exhibition, the latter showing two portraits at their grand re-opening in December 2011 as part of the ‘Hot Scots’ show.

BIG NEWS!

‘as others see us’ progression.

Following on from the huge success ‘as others see us’ has had we have been given the opportunity to edit and extend the project for viewing in North America and beyond. In July of this year we were given support by the Scottish Government and The National Galleries of Scotland to help enable us begin to advance the project featuring Scots and adopted Scots recognisable to an American audience. We will be launching the exhibition at a prominent venue in New York as part of the 2014 Scotland Week visual programme from where it will travel to at least one other major American city. We are also currently in talks with a major Scottish venue who are interested in hosting the exhibition on it’s return from touring, hopefully around Burns night 2015. 

Due to the outstanding track record of the project we are hoping to attract sponsors and sitters of the highest calibre. This is a tremendous opportunity to highlight and promote the works of Robert Burns to an even wider audiens and provide a showcase for Scottish talent. The extended project will offer extensive visibility for sponsors. We hope to attract sponsorship in the form of funding of selected sitters, corporate and personal patronage and are also looking at the possibility of crowd funding…exciting times! If you are interested in this sponsorship opportunity please contact us by email at: info@broaddaylightltd.co.uk

Below are the portraits taken by Tricia and Ross along with the sitter responses, their chosen poem, a selection of visitor's comments....enjoy.

 

Portraits & poems

Ca’ the yowes to the knowes

Ca' them whare the heather grows

Ca' then whare the burnie rowes, 

My bonnie Dearie.

 

As I gaed down the water –side,

There I met my Shepherd-lad:

He row’d me sweetly in his plaid,

And he ca’d me his Dearie.

 

I'm from Ayrshire, so Burns has always loomed large - school competitions and the like did not put me off. I sang 'Ca' the Yowes' at Burns suppers as a teenager, sometimes as the only woman present, and loved the eerie quiet of the words before I really knew what it meant.

Songs to country girls are a stock in trade in folk song circles, but Burns’ are special. That she is ‘fair and lovely’ is an unlikely thing, given the arduousness of minding yowes – out in all weathers from the age of ten, sleeping on the hillside, zero to meagre pay – but Burns imagines her as heroic, calling the sheep to the swollen waters of the burn in the evening to keep them safe, being his ‘Bonnie Dearie’. And the melody, an almost modal minor tune, is completely haunting.

Sing it yourself, unaccompanied – it’s the only way.

Janice Galloway - Novelist

 

 

 

 

 

The Address of Beelzebub (The Devil) to;

The Rt. Hon. John, Earl of Breadalbane ;  1786 A.D ( 5790 A.M).

Go on, my Lord ! I lang to meet you

An’ in my HOUSE AT HAME to greet you :

Wi’ COMMON LORDS ye shanna mingle

The benmost newk, beside the ingle

At my right hand, assign’d your seat

‘Tween HEROD’S hip and POLYCRATE

A seat, I’m sure ye’re weel deservin’t ;

    An’ till ye come - your humble servant,

                                         BEELZEBUB  

  HELL, 1st June, Anno Mundi 5790.

 

 

 

 

To a Louse

O wad some Pow'r the giftie gie us

To see oursels as others see us!

It wad frae monie a blunder free us

                   An' foolish notion:

What airs in dress an' gait wad lea'e us,

                   And ev'n Devotion !

 

I was brought up with and still am surrounded by terrific singers in my life and their staple diet was songs by Robert Burns, which I ate up. My Grandmother, who had a lovely soprano voice, is encyclopaedic about Burns and quotes him endlessly. Through her love and knowledge of his songs, my Mother and Father to this day constantly sing and quote the bard to highlight the machinations of human nature. 

Naturally I now do the same thing. It’s a joy that this great man’s philosophies are quoted all over the world.

‘O wad some Power the giftie gie us,

To see oursels as ithers see us!’

I heard these lines many times growing up. I remember what a thrill it was when I first read this poem in Primary School and immediately recognised these two lines as words of wisdom plagiarised by my parents.

This poem is one of the great levellers. I love the ‘fur coat and nae knickers’ aspect of it.

The imagery is so filmic; the close up of the wig and bonnet to catch a glimpse of the indiscriminate louse. I hear the music right now; light-hearted mixed with liturgical.

As a child I loved the image of this grand, authoritarian Lady being brought down to earth, without knowing it. It was our little secret and Burns immediately fills the reader with quiet smugness and a satisfying belief that no one is better than anyone else.

The imagery of this work is both empowering and inspirational and is a salutary lesson to us all.

Patrick Doyle - Composer

 

 

 

Lovely Polly Stewart

The flower it blaws, it fades, it fa’s,

And art can ne’er renew it;

But Worth and Truth eternal youth

Will gie to Polly Stewart.

 

May he whase arms shall fauld thy charms,

Possess a leal and true heart!

To him be given, to ken the Heaven

He holds in Polly Stewart!

 

While making an album of Robert Burns’ music and words, I travelled millions of miles in his company. I searched gravestones for his friends and his companions; I stood in the rain outside doorways he had stood in; I drank in bars he had drunk in; I marvelled at the beauty he saw from the hills of Galloway and the Heads of Ayr and I am convinced that I was directed by him in my choices for the album. The book of his work that I was collecting from continually opened, Harry Potter–like, at the page that contained the words of the poem ‘Willie Stewart’ until the day it magically fell open at a poem called ‘Polly Stewart’. Polly was Willie’s daughter and I decided to insert it into my version of Willie Stewart. After getting loads of praise for my album, I went back to Dumfries to visit Burns’ last home and found the lines to half the verses engraved on a back window in a hidden room. I felt his company once more.

Thank you, Robert. I love you x 

Eddi Reader - Musician, singer and songwriter

 

 

 

 

 

To A Mouse, On turning her up in her Nest, with the Plough

Still, thou art blest, compar'd wi' me !

The present only toucheth thee:

But Och! I backward cast my e'e.

                                    On prospects drear!

An' forward, tho' I canna see,

                          I guess an' fear !

 

I suppose it is being on the land myself and Burns being a man of the land that makes this poem stick with me. He was so connected with the land and I think that is something we have lost today.

Nowadays it is all about big tractors and 20 tonne machinery that costs thousands of pounds. In the past sheep farmers used to walk the hills. They heard the birds and watched the land under their feet changing. We don’t have that everyday contact with the land anymore. Maybe that’s where we are going wrong.

When Burns wrote, ‘I'm truly sorry Man's dominion, Has broken Nature's social union,’ well, we are still doing that today. But here’s a man who wrote that 250 years ago before anyone was thinking about conservation or the environment. He was just a man doing a job and writing what he saw. But he was also asking us to look for ourselves.

Neil Gillon - Ayshire farmer

 

 

 

 

 

Tam O' Shanter

Whiles holding fast his gude blue bonnet ;

Whiles crooning o'er some auld Scots sonnet;

Whiles glow'rin round wi' prudent cares,

Lest bogles catch him unawares:

Kirk-Alloway was drawing nigh,

Where ghaists and houlets nightly cry.

 

            Inspiring bold John Barleycorn !

What dangers thou canst make us scorn !

Wi’ tippeny, we fear nae evil ;

Wi’ usquabae, we’ll face the devil !

 

'Tam O’Shanter' makes a riotous cautionary tale out of an uncomfortable national truth, pitting its vainglorious ‘everybam’ figure against demons both of the imagination and of the inner self.

Scotland has a brutal, bloody and embarrassing history of supernatural credulity. The nation of David Hume and James Clerk Maxwell is also the country of James VI and his Demonology, of witch-burning and religious hysteria. More pertinently, it also has a brutal, bloody and embarrassingly on-going history of alcohol abuse. ‘Wi usquabae, we’ll face the devil!’ The ‘water of life’ renders us fearless enough to fight the most monstrous of foes, but more often renders us insensible enough to imagine monstrous foes where none exist, then disastrously to fight any proxy who happens along at the wrong time. Thus we can sympathise with Tam but never admire him, for any heroics he performs are purely to extricate himself from the kind of situation you might get yourself into ‘whene'er to drink you are inclin'd’.

Christopher Brookmyre – Novelist

 

 

 

 

Such a Parcel of Rogues in a Nation

Fareweel to a' our Scottish fame,

   Fareweel our ancient glory;

Fareweel even to the Scottish name,

   Sae fam'd in martial story!

Now Sark rins o'er the Solway sands, 

   And Tweed rins to the ocean,

To mark whare England's province stands,

   Such a parcel of rogues in a nation !

 

Some people write Burns off as merely a romantic poet and a songsmith but work like ‘Such a Parcel of Rogues in a Nation’ shows Burns to be passionately political when it comes to the constitutional future of the Scottish nation. Scotland and the Scots seem to historically blame the English for everything. Burns manages to rise above such petty politics to see the whole issue in context. He blames the Scots for selling their ain folk out; and the price was paid in English gold. This searing political insight was some two hundred years ahead of its time. Scotland's destiny rests in Scotland's hands.

Hardeep Singh Kohli - Author and broadcaster

 

 

 

 

 

 

 

 

My Jean - a Fragment

Though Cruel Fate should bid us part

    Far as the pole and line

Her dear idea round my heart

   Should tenderly entwine.

 

Though mountains rise, and deserts howl,

   And oceans roar between;

Yet dearer than my deathless soul

   I still would love my Jean.

 

Is it because he was an awesome philanderer, or despite it, that Burns' understanding of love seems so acute? When he writes, as he often does, of melancholic partings, or the bittersweet victory of love in the battle against age and fate, he rises above the sentimental and presents us with a truth recognisable to everyone who knows what love is.

Peter Capaldi – Actor

 

 

 

 

 

 

 

 

 

 

 

 

The Tree of Liberty

Wi' plenty o' sic trees, I trow, 

The warld would live in peace, man; 

The sword would help to mak a plough,

The din o' war wad cease, man. 

Like brethren in a common cause,

We'd on each other smile, man; 

And equal rights and equal laws,

Wad gladden every isle, man. 

 

Wae worth the loon wha wadna eat

Sic halesome dainty cheer, man;

I’d gie my shoon frae aff my feet,

To taste sic fruit, I swear, man.

 

Burns was a poet of the common man who championed universal suffrage and the abolition of slavery long before it became fashionable. Inspired by the American and French revolutions with their ideas of liberty, equality and fraternity, Burns stood against the corruption of the gentry, nobility and royalty.

The Victorian upper classes tried to sanitise the radical Burns into a tartan shortbread icon with drunken suppers in the name of culture, but the real Robert Burns wrote about poverty and the injustice of the class system, and wanted to make the world a better place.

His songs and satire still enrich that struggle against oppression and injustice and I believe we owe it to Robert Burns to explain who he really was and what he stood for.

For me, ‘The Tree of Liberty’, written in support of the ideals of the French Revolution provides that explanation.

Aamer Anwar - Human Rights Lawyer

 

 

 

 

For a’ that and a’ that

Then let us pray that come it may,

       As come it will for a' that,

That Sense and Worth, o'er a' the earth

       Shall bear the gree, and a' that.

    For a' that, and a' that,

        It’s comin yet for a’ that

That Man to Man the warld o'er,

     Shall brothers be for a' that.

 

If I had to choose my favourite Scot of all time I would choose Robert Burns. Our national bard has established himself as Scotland’s greatest cultural icon and the nation’s favourite son.

The poetry of Robert Burns has carried Scots to an audience beyond our shores and adds real colour to the Scottish tartan. Burns forms a substantial part of the articulation of Scottish identity. His work contained virtues that have been absorbed into our sense of self - it is humorous, radical and articulate.

If I had to choose from his canon of work I would select ‘A Man’s a Man for a’ That’ as my favourite Burns poem. His body of work has stood the test of time and continues to influence and inspire people across the world.

Rt Hon Alex Salmond MP MSP - First Minister of Scotland

 

 

 

 

 

 

To a Louse

O wad some Pow'r the giftie gie us

To see oursels as others see us!

It wad frae monie a blunder free us

                   An' foolish notion:

What airs in dress an' gait wad lea'e us,

                   And ev'n Devotion !

 

My whole career I’ve come across people jostling for position within an organisation, some of whom are just full of their own self importance and don’t have the ability to see themselves as others see them. But if they did it would make them a much better leader, and person.

It is something I often think about in my approach to building businesses. We have to listen to each other. So we try to build a more inclusive team approach where everybody gets to say what they think, even if it is not what others want to hear.

However, it is also a Scottish trait to often think that other people know more and know better than us. But I’ve found that whenever I’ve travelled abroad for business they often see us as better than we see ourselves. That’s the other side of what the poem is all about, it is telling you to step back a bit, think about what others see and recognise the good in yourself as well.

Jim McColl - Entrepreneur, Clyde Blowers

 

 

 

 

 

Epigram to a Painter

Dear --, I'll gie ye some advice

    You’ll tak it no uncivil:

You shoudna paint at angels man

   But try and paint the Devil.

 

To paint an angel’s kittle wark,

   Wi’ Nick there's little danger;

You'll easy draw a lang-kent face,

   But no sae weel a stranger.

 

This sums up so many things about Burns that I love and find forgotten: he's a messy hero, the best and tastiest kind. He wrote poems with the ‘c’ word in them, was a cheeky bugger, pass-remarkable, occasionally snide and sometimes bitter. Almost anyone who reads a lot of his work will find something in it to offend them, and challenging is exactly what ferocious honesty should do.

This scrap of a poem is a painful reminder that no matter how much artists hope to capture angels, most of us are really documenting our devils and then charging the public to peer at them.

For me the truly great thing about Burns is his accessibility. There’s no glory in making a reader feel they’d be able to see your soul if only they’d done a degree or read the classics. Burns is as comprehensible as an advert.

There’s an epigram in a synagogue in Prague which is so beautiful that I’ve copied it into every notebook I’ve had since. Written of a man long dead, it is a glorious claim that could be said of few but can be truly said of Burns:

‘Here lies a man who understood the beauty of songs.’

Denise Mina – Novelist

 

 

 

 

A red, red Rose

O my Luve's like a red, red rose,

    That's newly sprung in June ;

O my Luve's like the melodie

    That's sweetly play'd in tune –

   

We have lived in Scotland almost as long as we’ve lived anywhere. We came here in 1979, nearly 30 years ago, so half our lives so far. It was very easy to move here. It is a very straightforward place to live and work - a great place to do business. Scots make you feel part of the community very quickly. It’s pretty easy to fit in. Now we both absolutely look at this as home. And as our family grows so too does our connection with Scotland. All our grandchildren are Scottish. We are very lucky that we have all stayed close and live within 20 miles of each other.

I picked ‘My love is like a red red rose’ because it’s my wife’s favourite and it just sums everything up. Hopefully that will keep me in the good books!

Sir Moir Lockhead - Entrepreneur, FirstGroup Plc

 

 

 

 

 

 

 

Holy Willie’s Prayer

Yet I am here, a chosen sample,

To shew Thy grace is great and ample:

I'm here, a pillar o' Thy temple

                         Strong as a rock,

A guide, a ruler and example

                         To a' Thy flock. –

 

Burns was a romantic and I’m a romantic, not in that sickly sweet Mills and Boon fashion but romantic in the sense that we will always oppose the classicists and we will always question the establishment.

Burns intoxicated me; his legendary life of womanising, love making, drinking and debauchery just enthralled me. This was a man that could write such beautiful poems and yet could be so flawed and had endured such tragedy. I guess I recognised a kindred spirit in him; a tortured soul. He was simply a genius and this poem in particular is a work of genius.

It is satirical, funny, pokes fun at the establishment and is completely timeless - it could have been written today. Burns wasn’t not a believer so he was not poking fun at God but he was poking fun at people’s perceptions of God and at the hypocrisy that can exist within the church. I am also a Christian and I have fought bigotry all my life and what this poem did at the time was change perceptions and that is a remarkable thing.

Burns was a rebel and he made people think. That’s what art is all about for me; making people question and open doors into another world. Burns ignited my spark and that’s all I can ever hope to do to others.

Peter Howson – Artist

 

 

 

Tam O' Shanter

Now, do thy speedy utmost, Meg,

And win the key-stane o' the brig ;

There at them thou thy tail may toss,

A running stream they dare na cross.

But ere the keystane she could make,

The fient a tail she had to shake !

For Nannie, far before the rest,

Hard upon noble Maggie prest,

And flew at Tam wi’ furious ettle ;

But little wist she Maggie’s mettle -

Ae spring brought off her master hale

Bur left behind her ain grey tail :

The carlin claught her by the rump,

And left poor Maggie scarce a stump.

  

What Burns means to me.

Growing up in Dumfries. My Father’s middle name. Burns Mineral Water Works, Peter Burns the town herbalist, Burns house, Burns Street, Burns statue, The Auld Brig museum, Burns Mausoleum, St Michael’s Kirkyard, the Black Death, plague graves and grave robbers.

Burns commemorative stamps in 1966. Laurieknowe Primary School and Burns by heart. Southwestern speak. Ca’ The Yowes, My Love Is Like A Red, Red, Rose, To A Mouse, To A Louse. The Observatory, the murderer’s clogs, the drowned man’s skull, Sawney Bean and Tam O’Shanter. Bogles.

Ellisland Farm. Shooting pigeons in winter stubble near Auldgirth. Fishing the Cluden Water, Nith and Solway. Sleeket, cowran, tim'rous beasties.

Pints and McKerrows in The Globe. Guid Nychburris and riding his countryside. The Deil's Awa Wi' Th' Exciseman among Georgian streets and soft red stone.

Leaving for Glasgow. The Trongate and Gallowgate. The Griffin and the Sarrie Heid. The Merchant City and Graven Images. Timorous Beasties’ Burns Suppers. Rovin’ Scottish mafia in far-flung places. Haggis in Wellington, Hong Kong and Helsinki.

Then moving to Ayrshire. Burns Cottage, Souter Johnnie’s, thatched roofs, Cassillis and Culzean. NVA at Alloway. Farming and ploo horses. The dirty hole called Minibole. Mauchline and Tarbolton. Sweet Afton and the Banks O’ Doon.  The Bachelors Club and The Jolly Beggars. Burns country, cookery, smokery and B&B. Burns sausage supper, Hogmanay and whisky. Our immortal memory. Auld Lang Syne.

Professor Janice Kirkpatrick - Designer, curator and writer

 

 

 

 

For a’ that and a’ that

Then let us pray that come it may,

       As come it will for a' that,

That Sense and Worth, o'er a' the earth

       Shall bear the gree, and a' that.

    For a' that, and a' that,

        It’s comin yet for a’ that

That Man to Man the warld o'er,

     Shall brothers be for a' that.

 

No other poet has Burns’ gift for camaraderie. To him, fellowship was a religion, and through his poetry we get to feel that empathy is the greatest triumph of human nature.

When I first discovered ‘A Man’s a Man for a’ That’, I felt like I’d run into a secular hymn to the dignity of the common man that outstrips any holy writ or any national anthem. It is a song for every colour, every class and every creed, to the notion of brotherhood and equality as the greatest testament to humanity’s essential compassion, a goal everybody can share.

I always want to post the poem to world leaders whenever they face a crisis: it denotes the creative part played by the human imagination in leaving the world in better shape than we found it. Here was a poor man, a flawed man, doused in adversity, who nevertheless managed to write with beautiful optimism about the future.

‘It’s comin yet for a’ that,’ he wrote, ‘That man to Man the warld o’er/Shall brothers be for a’ that.’ It was no government, no committee of elders, no faction either, that could write this anthem to the human spirit. Only Burns, a true master of the believing heart.

Andrew O’Hagan – Novelist

 

 

 

Epigram on Rough Roads

I’m now arrived - thanks to the Gods!

Thro' pathways rough and muddy,

A certain sign that makin roads

Is no this people’s study.

 

Altho' I’m not wi Scripture cram'd,

I’m sure the Bible says

That heedless sinners shall be damn'd -

Unless they mend their ways.

 

For me being Irish but having lived half my life in Scotland and fortunate enough to have travelled most of the world on business and pleasure Its fair to say most people have heard of Robbie Burns and they always refer to him as the POET of all times!

For me Burns was one of the GREATEST poets and he continues to live through the lives of those who read his many poems.
 Tam O' Shanter is a fantastic poem however, Epigram on Rough Roads is my favourite and is witty and very much about life!!

Tommy Dreelan - Mogul

 

 

 

 

 

 

 

 

Ae fond Kiss….

Had we never lov'd sae kindly ,

Had we never lov'd sae blindly !

Never met - or never parted ,

We had ne'er been broken-hearted. –

 

Everyone hates farewells but loves farewell songs. These lines published in 1792 in volume 4 of Johnston’s Scottish Musical Museum are a perfect description of sadness at leaving and thoughts of what might have been – the songwriter’s dream.

“The essence of a thousand love tales” - Walter Scott.

Professor Walter Nimmo – Songwriter

 

 

 

 

 

 

 

 

 

 

 

The Vision

 Green, slender, leaf-clad holly-boughs

  Were twisted, gracefu', round her brows;

   I took her for some Scottish Muse,

                      By that same token;

    An' come to stop those reckless vows,

                      Wou'd soon be broken.

    A "hair-brain'd, sentimental trace"

    Was strongly marked in her face;

    A wildly-witty, rustic grace

                      Shone full upon her:

    Her eye, ev'n turn'd on empty space,

                      Beam'd keen with honour.

 

Robert Burns belongs to a certain line of classical poets descending from Theocritus and blossoming most gloriously in Virgil. He knows this, which is why in the poem The Vision he makes sure to have his Muse Coila crowned with holly – the “laurel” of bucolic poetry, according to antique tradition.

Burns sits as the first jewel in Scotland’s national diadem of poetry, with Harry on one side, and Macpherson/Ossian on the other. These days Harry is misdoubted and Ossian scorned, and yet in The Vision Burns pays subtle homage to both. In particular, he structures the poem in duans - an Ossianic device of division within a digressive poem. But in essence this poem concerns the plight of the artist kept poor, only to find spiritual riches in a steady obedience to the command of the Genius. Fortified by dreams of past valour (and heroically dismissive of any futurism), Burns knows that his Muse will easily overturn his cowardly vows to cease poetry to try for fiscal gain. He describes Coila’s look, her eye “ev’n turned on empty space…” which is as apt an account of the way an ideal statue might gaze as any. Burns has here conveyed what his mind’s eye has beheld; an effect not of mere “creativity” -  but of true inspiration in all its perfect objectivity.

Alexander Stoddart - H.M. Sculptor in Ordinary in Scotland

 

 

 

Halloween, Verse XIII

Wee Jenny to her Graunie says,

   “Will ye go wi' me Graunie ?

 I'll eat the apple at the glass,

     I gat frae Uncle Johnnie:"

She fuff't her pipe wi' sic a lunt,

    In wrath she was sae vap'rin,

She notice't na, an aizle brunt

     Her braw, new, worset apron

                        Out thro’ that night.

 

Halloween was a magical time for me as a child - especially growing up in Ayrshire - and I loved fairy stories. I was also knew about the story poem Tam O' Shanter from a young age, witches and warlocks were firmly embedded in the stories of the area. I chose Halloween out of a sense of place and because I think Burns writes the poem with such verve and passion.

Kirsty Wark - Journalist and television presenter

 

 

 

 

 

 

 

 

 

the 'as others see us' exhibition at the Scottish Parliament in Edinburgh  

 

a few exhibition visitor's comments

You remind me of the beauty and truth of Burns' poetry. Amazing portraits -  Becky Murray, Los Angeles USA 

I love the photo & poem concept - very perceptive images - Dorothy Cowan, Morpeth

Excellent and inspiring photos - Doris Hermann, Bonn, Germany

My First time in Edinburgh. First time in Scotland all together. First time I meet Robert Burns. Enchanted. Magical. Interesting. I feel I am leaving a better person. Thank you - A. Felio, Portugal

Excellent and inspiring photos - Doris Hermann, Bonn, Germany

Very touching, meaningful and promising of the way others se us as humans. Photos are astonishing, brought back memories. Unfogettable. Thank you - Kirsty Swan, Edinburgh

 

Previous 'as others see us' sponsors & supporters included

The Scottish National Portrait Gallery – Clyde Blowers  - The Scottish Government - Hasselblad - Bowens - The Leith Agency – FirtsGroup Plc - Prof Walter Nimmo – Bruce Minto – Prof David Purdie and friends - Holyrood Magazine - Tommy Dreelan - Alan McFarlane - Margaret H Duffy - Michael Staniland – Luath Press. Partnered by The Scottish Parliament