Flash, bang, wallop – what a snappy festival in Fife

End of the tarmac road, Menie, Aberdeenshire, 2011. By Alicia Bruce. � Alicia Bruce, TRUMPED project

End of the tarmac road, Menie, Aberdeenshire, 2011. By Alicia Bruce. � Alicia Bruce, TRUMPED project

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More details of the first annual St Andrews Photography Festival planned for later this year have been revealed.

The partnership between BID St Andrews and the town’s university will see an exciting series of exhibitions, including one outdoor show, along with a host of events and talks for all ages and skills.

Mallorca, 1982. By David Peat. � David Peat Estate, courtesy of St Andrews University Library.

Mallorca, 1982. By David Peat. � David Peat Estate, courtesy of St Andrews University Library.

The festival will offer the opportunity to see rarely seen pictures from the University of St Andrews Special Collection, including prints by photography pioneer Thomas Rodger on show in the first purpose-built photographic studio on St Mary’s Place.

The work of renowned rock photographer Harry Papadopoulos will feature, alongside that of feminist documentary photographer Franki Raffles.

Outside on The Scores, documentary collective Document Scotland and the university will present a series of images showing the collective’s photographic record of the lead up to the Scottish Independence Referendum.

During the festival there will be demonstrations of the earliest photographic processes, the chance to have your photograph in a recreation of an outdoor Victorian Tintype Studio, youngsters can learn to Become a Street Photographer, and the opportunity for family photographs to be explained.

There will also be readdings and talks during the festival, which runs from August 1 until September 11.

Four gentlemen golfers in a Car, St Andrews, 1904. By John Fairweather, held in Cowie Collection.

Four gentlemen golfers in a Car, St Andrews, 1904. By John Fairweather, held in Cowie Collection.

Allan Robertson, St Andrews, 1850. By Thomas Rodger.

Allan Robertson, St Andrews, 1850. By Thomas Rodger.