Abstract
Within the last year, Scotland's place in the history of photography has received a renewed scholarly attention and, one may say, not before time. In the vanguard of this modest resurgence of interest is Sara Stevenson's masterly work, The Personal Ar t of David Octavius Hill (Yale University Press, 2002), which examines the formative partnership between Edinburghbased artist D. O. Hill (1802-1870) and the young photographer Robert Adamson. Their collaboration, recently the subject of a major exhibition at the Scottish National Portrait Gallery, produced a series of images that for the first time established Scotland and its people as a photographic subject of international significance. After Hill, the meaning of Scotland would never be the same again: the camera would become the apparatus that established the nation as a visual * truth'.
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