First opened in 1983, the Burrell Collection soon earned its place as a key cultural icon for Glasgow. By 2015 the building was showing its age and surveys suggested the original entrance sequence was not quite working. Architects John McAslan + Partners have revamped the interior , whilst leaving the external shell untouched but upgraded to improve the building’s environmental performance. This shoot was for Beck Interiors, responsible for the majority of the internal fixtures and finishes. The total budget was £68m, raised by Glasgow Life.

Alexander Runciman painted a ceiling mural and four pendant paintings in the apse of St Patrick’s Church in Edinburgh’s Cowgate in 1867. When the Presbyterian church acquired the building, they painted over the ceiling mural, believing it to be idolatrous. It remains hidden, other than small test panels, but these photographs, for the Runciman Apse Trust, show the two left hand pendant paintings, before, during and after conservation by Owen Davison of The Conservation Studio.

The NMS opened three new galleries in July 2016: Science & Technology, Fashion; Art & Design. I was commissioned by the company responsible for designing the galleries - Metaphor Design - to photograph the galleries during installation, on the opening day, and again a week later.

The RCS Museums were housed in two buildings near the city centre. John McAslan + Partners, working with Campbell & Co Design, redeveloped the complex to include a new glazed link and new displays. I was commissioned to photograph the completed project.

The Heritage Lottery Fund has been supporting the training of young people in a range of heritage skills under the general banner of "Skills for the Future". I have photographed a number of them on location: David Livingstone Centre, Blantyre; GalGael Trust, Govan; Low Parks Museum, Hamilton; Forth & Clyde Canal

Knockando Woolmill in the whisky countryside of Moray was one of the last surviving estate wool mills, and was originally water-powered. An innovative project has not only restored the original mill buildings but has secured their sustainability via a new production facility, making high quality tweed and woollen fabrics and goods, both for direct sale and for other producers.

I photographed the site in October 2016 for the Architectural Heritage Fund, one of the organisations that had supported it.