This volume explores the experience of everyday life in Scotland over two centuries characterised by political, religious and intellectual change and ferment. It shows how the extraordinary impinged on the ordinary and reveals people's anxieties, joys, comforts, passions, hopes and fears. It also aims to provide a measure of how the impact of change varied from place to place.The authors draw on a wide range of primary and secondary sources, including the material survivals of daily life in town and country, and on the history of government, religion, ideas, painting, literature, and architecture. As B. S. Gregory has put it, everyday history is 'an endeavour that seeks to identify and integrate everything - all relevant material, social, political, and cultural data - that permits the fullest possible reconstruction of ordinary life experiences in all their varied complexity, as they are formed and transformed.'

In the wake of Glasgow’s transformation in the nineteenth-century into an industrial powerhouse — the "Second City of the Empire" — a substantial part of the old town of Adam Smith degenerated into an overcrowded and disease-ridden slum. The Old Closes and Streets of Glasgow, Thomas Annan’s photographic record of this central section of the city prior to its demolition in accordance with the City of Glasgow Improvements Act of 1866, is widely recognized as a classic of nineteenth-century documentary photography. Annan’s achievement as a photographer of paintings, portraits and landscapes is less widely known. Thomas Annan of Glasgow: Pioneer of the Documentary Photograph offers a handy, comprehensive and copiously illustrated overview of the full range of the photographer’s work. The book opens with a brief account of the immediate context of Annan’s career as a photographer: the astonishing florescence of photography in Victorian Scotland. Successive chapters deal with each of the main fields of his activity, touching along the way on issues such as the nineteenth-century debate over the status of photography — a mechanical practice or an artistic one? — and the still ongoing controversies surrounding the documentary photograph in particular. While the text itself is intended for the general reader, extensive endnotes amplify particular themes and offer guidance to readers interested in pursuing them further.

Reprint of the original, first published in 1864.