Page no Section Contents

4 1 Executive Summary

5 2 Background
6 3 Contexts
9 4 Review

14 5 Future Strategic Direction 2013 – 2020

15 6 Purpose, Aims and Objectives

16 7 Artistic leadership

20 8 Engagement
23 9 Equality

24 10 Funding

27 11 Governance

28 12 Monitoring and Evaluation

2
Page no Section Appendices

30 A1 Organisation Development Plan

31 A2 Programme Plan – Priorities and Timeframe
32 A3 Engagement and Marketing Plan
33 A4 Fundraising Plan

35 B1 Action Plan including Programme Targets

37 B2 Marketing Tactics

38 C1 Budgets to 2013
39 C2 Development Budgets
40 C3 Programme Budgets

41 D1 Premises
42 D2 Equipment
43 D3 Personnel – Core staff
45 D4 Personnel - Profiles
48 D5 Personnel - Careers

49 E 1 Situation Analysis – Summary External and Internal

52 E 2 Internal - Capacity
54 E 3 Internal - SWOT
55 E 4 Internal - Risk
56 E 5 External - Benchmarking
64 E 6 External – Partnerships
69 E 7 External - Political, Economical, Social and Technological
71 E 8 External - Cultural, Learning, Creativity, Skills, Commercial

73 F 1 Procedure - Board
89 F 2 Procedure - Operations
121 F 3 Procedure - Finance
126 F 4 Procedure - Monitoring And Evaluation

128 G1 Policy - Equal Opportunities

133 G2 Policy - Child Protection
134 G3 Policy - Vulnerable People And Disabilities
141 G4 Policy - Health And Safety
144 G5 Policy - Website Policy

152 H1 Annual Report

153 I1 Programme Projects – Developing Practice

160 I2 Programme – Teaching + Learning
172 I3 Programme – Schedule

3
1 Executive Summary

As Scotland’s Centre for Photography, Stills provides a unique range of expertise, facilities and
services, which explore and develop the medium of Photography and visual arts practice.

Our priorities are to develop more opportunities for artists, in Scotland and Internationally, and to
involve more people in these activities.

The key challenge we face is to meet the demand of our constituents. This means achieving our
existing plans while working towards the next generation of facilities and services, which continue
to stimulate new artistic insights, creative experiences and cultural development.

The steps towards achieving our aims are:

1.1 Defining a world-class centre for Photography in Scotland

This process will consider new trends in artistic practice and limits of capacity of our current
premises, demand for Teaching and Learning and will identify the best options for the next
generation of our services.

1.2 New opportunities and representation for artists

To stimulate ambitious artistic practice and to raise the calibre of the sector in general, the next
phase of our Developing Practice Programme will include:
• long term curatorial projects, which explore themes, provide context for learning and
commission new works. This will require more specialised staff, strong UK and International
networks and partnerships, and an increase in funds for production
• European and Middle Eastern partnerships in our Resident Artist programme linking
professionals within an expanded cultural community
• a developed commissioning and acquisitions policy which will improve the value of investment
of public funding in new works and strengthen the legacy of Photography in Scotland
• touring exhibitions that will increase visibility of our artists and create income for our future
Programme
• new critical writing and publications.

1.3 Increasing engagement in Photography

To further develop a diverse range of activities for the general public, we will
• appoint a part-time post of Assistant Curator of Photography
• commission consultant specialists to advise us of sector-specific developments
• exploit digital technology as a tool for learning and communication
• undertake partnerships throughout Scotland to reach more people, more effectively
• optimise our existing facilities and skills to meet demand through training, creative projects and
events.

1.4 Achieving financial targets including

• securing a 25% increase in our revenue award to £175k p.a. from Creative Scotland (Scottish
Art Council) to support new artistic programming
• securing agreement from the City of Edinburgh Council (CEC) for a continued period of stability
during our feasibility process (rent, rates and revenue standstill) valued at £50k p.a.
• generating a surplus-income of £180k (over two years) from our Teaching and Learning
programme, which will fund feasibility, costs for capital growth, reserves and contingencies to
ensure that we are financially prepared for our future
• income from Trusts, Foundations and other sources of £130k over two years.

4
2 Background

Stills has championed Photography since 1977. Initiated by a group of artists, Stills was the first
Scottish organisation to specialise in Photography. Our mission to promote understanding of
Photography as an art, with particular emphasis on the inherent potential of this medium
amongst the public remains unchanged.

After securing the first Lottery capital grant awarded to a visual art organisation in 1997, Stills
relocated to 23 Cockburn Street in order to provide enhanced production facilities to artists and
increased engagement to more people than previously possible.

Since 2000, Stills has presented over 70 exhibitions to 400,000 people, enabled over 3,000
members of Edinburgh communities to work directly with artists at no financial cost, provided
almost 1,000 courses to 6,000 people to develop their skills in Photography and moving image,
provided over 300 free talks and events exploring Photography and contemporary art and
supported 30 artists through residency programmes.

Prioritising the needs of artists to make new works while responding to demand for increased
understanding of Photography enables a mix of professional, amateur and novice to work
alongside each other daily, providing an exceptionally rare situation where people can develop
their skills within an environment of professional critique and support.

Stills also supports professionalism within the cultural sector by providing pathways for
graduates and professionals in the arts sector to progress further in their careers significantly
enhancing Scotland’s potential to play a strong role in national and international cultural
affairs.

Throughout Stills’ lifetime, a revolution in digital imaging technology has evolved. Today the
demand for skills development and understanding meaning within visual culture is at an
unprecedented level, providing both opportunities to and challenges for Stills. We recognise
the opportunity to develop the next stage as the Scottish Centre for Photography and believe
that we can achieve this while operating within our original aims.

Stills’ continued performance growth since 2005 is reflective of our ability to meet ever-
evolving trends in Photography and digital image. In particular, since renewing our equipment
in 2007/8, we have generated consistent increases in surplus income; £18,000 in 2007/8,
£43,000 in 2008/9 and £60,000 in 2009/10. This has informed our targets for surplus-income
growth of £72k in 2010/11, £83k in 2011/12 and £95k in 2012/13.

The development of this Plan has been led by Stills’ Director, while working closely with Stills’
core team of staff and Board members, and while undertaking formal and informal consultation
with Stills’ partners and constituents.

5
3 Contexts

Stills operates within many different and overlapping contexts, with contemporary visual art at
our core.

The range of people we work with is expanding and diversifying as recognition of the value of
the Arts becomes widely recognised throughout society, and as the medium of Photography
and the reproduced image continues to permeate throughout the everyday experience of our
lives.

3.1 Photography and Image-based digital-technologies

The digital age has revolutionised Photography, while technology brings us closer to the
medium, its transformative nature simultaneously empowers and challenges us. The need to
understand the medium and its exploitation gathers momentum with every day.

3.2 The Visual Arts in Scotland

The contemporary art scene in Scotland is thriving like never before; Scottish artists have
established a high profile at home and abroad – from artists working in site-specific contexts,
to winners of major UK and International awards, throughout international exhibitions and
collections, and on the global art market.

Scotland now has a diverse and crucial sector of contemporary commercial galleries
presently operating at all of the important fairs throughout the world drawing attention to
contemporary Scottish culture. While gallery successes generate business for our artists, they
also stimulate new consideration of the role of public funding and the legacy of the works
they fund, particularly regarding collections and acquisitions policies.

The constant mobility and success of artists and their commercial representatives has led to a
new generation of organisation1 linked more strongly beyond the UK than with it, and the
dialogues within these inter-cultural relationships are providing exponential growth for
emerging generations of artists and arts professionals in Scotland’s cultural diaspora.

Scotland’s Art Schools continue to thrive amidst fierce competition, huge application rates
and increased admissions, and demonstrate invaluable specialist practice and providing
essential employment to many artists and curators within the sector. Opportunity clearly
exists for Stills to work closely with HE and although we have failed to achieve this to date,
we are optimistic that the recent development of IPG (Informal Photography group) will
bring the gallery sector closer to HE to realize research-based collaborations.

3.3 International Visual Arts

Stills regularly works with artists and organisations beyond Scotland and the UK with this
development occurring naturally in response to artistic mobility, the potential of technology,
global awareness, intercultural identity and Stills’ strong reputation for quality of critical and
professional performance.

Since 2008, Stills has undertaken research throughout Europe to identify interest in
international partnership for artists residency programnmes and the response has been

1
Common Guild, Modern Institute, Doggerfisher, Sorcha Dallas etc

6
overwhelming: 100% of those consulted2 expressed interest in undertaking collaborations with
Stills. Kirsten Lloyd, Stills’ Associate Curator spent six months on sabbatical in Berlin and
Deirdre MacKenna, Director has consulted with organisations throughout the UK and Europe.
Stills’ new post of Programme Fellow is increasing our capacity to undertake programme
research and development and is significantly increasing our dialogue with a wider range of
organizations, curators and artists particularly through the medium of artists’ film.

3.4 Cultural Policy – National and Local

The development of Scottish Cultural Policy since Devolution has occurred during a period of
phenomenal growth within the cultural sector locally, nationally and internationally. During
this period Stills’ main relationship has been with SAC who awarded Stills Flexible funded
client status in 2005.

We consider the development of Creative Scotland to be a significant opportunity for Stills to

position itself more clearly as essential to the realisation of critical, technical and social support
to both the still and moving image communities and to emerging generations of artists and
4cultural consumers.

Despite high demand, our activities are not yet fully recognised for their contribution to
enabling our citizens to achieve a smarter, fairer, healthier and wealthier life in Scotland, and
we must increase awareness of Stills at national policy-levels as well as increasing
understanding of the value of our role in order to achieve greater recognition, more funding
and better long-term planning.

Edinburgh is a city of festivals with seven of the twelve major festivals occurring during the
August ‘Festival season’. The status of Edinburgh as Festival City clearly generates critical
attention and massively boosts the number of visitors to cultural attractions as well as
stimulating healthy competition amongst organisations. However, it can stretch culture funding
even further across a greater pool of projects than in a city without a Festival, challenge year-
round operations to compete for a reduced budget outside Festival periods, arguably relegating
them to playing a role in the less important ‘shoulder months’. For the visual arts in Edinburgh,
only recently joining the peak-season festivals with the Edinburgh Art Festival (EAF),
representation as a sector has struggled and failed to generate significant strategic backing from
the Local Authority.

A process initiated in 2002 by City of Edinburgh Council (CEC) Culture and Sport was intended
to generate a strategy for the Visual Arts, Architecture and Crafts but was never concluded,
despite attempts made intermittently by stakeholders.

CEC has recently initiated a new consultation process in order to determine options for the
HUB development which will address existing and potential accommodation and organisation
models for the visual arts in Edinburgh.

Amongst the four visual art organisations3 regularly funded by CEC Culture and Sport, Stills
receives the highest level of support with an annual ‘revenue’ award of under £20k and waived
rent and rates at an estimated value of £30k4.

3.5 Professionalism

2
LUX, FVU, ArtsCataylst, Photographers’ Gallery and No.w.here London, FOAM Amsterdam, Fondazione Sandretto Re Rebaudengo, Fondazione Cassa di Risparmio Modena,
Fondazione Morra Greco Napoli and Exposito Napoli, Delfina Foundation and many others
3
Collective, Edinburgh Printmakers, Edinburgh Sculpture Workshop and Stills
4
Charitable sector rental rates based upon 66% commercial sector rates. CEC identified £45k commercial rate in Nov 2009.

7
Today’s culture of voluntary / internship working presents graduates and emerging artists with a
clear route for continued professional development at the early stages of their career form
which Stills benefits greatly. We are extremely conscientious about our interns and provide a
measurable, structured programme for each person participating.

Significant recent growth at post-graduate level education, particularly at MA and PhD, has
greatly contributed to the enhanced level of critical engagement in practice and professional
Amongst our community of artists and arts professionals, in turn providing a new sector for our
events, projects and professional opportunities.

Additionally, this trend draws attention to the role of the professional sector in providing
continued research and development for emerging generations of practitioners and the need to
consider that role.

3.6 Learning

Secondary schools and the Curriculum for Excellence are stimulating phenomenal rates of
engagement with computer-based learning, particularly exploring the potential of the visual
medium to deliver content through alternative formats. Stills has started discussion with the
GLOW network and the digital technology community to identify strong partnerships to
undertake a series of pilot projects during 2010.

Statistics from Higher Education indicate that we must prepare for significant increase in
demand from emerging generations of professional and non-professional Photographers as
demand outstrips opportunities eleven times over5.

We are increasingly aware of the need to address these developments as opportunities to

expand our Teaching and Learning programme of activities. A major challenge is to retain our
contacts and knowledge of the sector as it continues to make significant advances in methods
and priorities.

5
2010 applications to Napier University Photography BA.

8
4 Review

Stills is unique in the UK. Organisations such as Streetlevel, Glasgow and The Photographers’
Gallery, London provide elements of Stills’ activities, but none offers the range and mix of
curatorial expertise, theoretical exploration, critical approach to developing practice and
creativity through sustained support of our commissioning, residency, teaching and
engagement programme.

The increasing ubiquity of Photography throughout artistic practice and the need for artists to
understand the medium is evident in the constant stream of requests to undertake Residencies
with us: almost 100 unsolicited requests are received each year and over 100 applications are
submitted for each open call that we make.

4.1 Residencies, Commissions, Exhibitions

In 2007, we piloted a new approach to our Artistic Programme by significantly increasing the
level of theory within the curation, the artistic practice commissioned/presented and many of
the events, and we are delighted that this has stimulated increased growth in attendance and
participation, more diversity in attenders’ age, backgrounds and occupations, and an increase
in the range of partners interested in working with us6.

Stills’ Resident artists have gone on to be commissioned by Tramway, Talbot Rice,

Transmission and many other significant art institutions, aided by their critical texts written by
David Campany, Lisa Le Feuvre, Thomas Lawson, Ken Neil, Kerstin Mey, David Green,
Henriette Huldisch, Sarah Smith, Ray McKenzie, Clive Gillman and others.

Feedback from Residents confirmed that our professional and critical support is of optimum
value to them, and that they also prioritise support which enables them to operate beyond the
UK. Stills recognises the need to meet artists’ expectations of strong professional networks
throughout and beyond Europe and our increased mobility, our engagement in virtual
communities and our evolving international networks contribute to our increased exposure and
profile to national and international audiences.

To provide context for our artists and our new partnerships in Europe, in 2010, Stills will
embark upon a new collaboration with the Delfina Foundation by undertaking an initial
research trip to the Middle East to identify partners for pilot artist-residency projects.

We are aware that up to 70% of our Resident artists working with Photography also work with
moving image. Requests from artists and our pilot presentation of the Rewind Archive in
summer 2009 have clarified the need to engage critically with the history and theory of artists’
film.

Our first major commission produced in Stills by Nicky Bird has subsequently toured to three
other venues in Scotland and the entire series is currently being considered for acquisition to a
public collection. Our second commission of Scottish artist Elín Jakobsdóttir was selected as the
international guest presentation of Cologne Contemporaries and is planned to tour throughout
2011.

6 ECVAC, The Cultural Alliance, HICA (The Highland Institute for Contemporary Art), The National Galleries of Scotland, The Delfina Foundation, VAGA, Fondazione
Arnaldo Pomodoro, Cassa Di Risparmio, Exposito, Cinémathèque De Tanger, Townhouse Gallery, ArtSchoolPalestine, Darat al Funun, Arab Image Foundation, Cologne
Contemporaries, HomeWorks V, CIC (Contemporary Image Collective), Al Mahatta Gallery, Ashkal Alwan

9
Stills’ interest in national and international collections demonstrates a need for an integrated
organisational acquisitions methodology.

Our first major International commission by Danish artist, Joachim Koester, Time of the
Assassins, has been the highest-ever attended exhibition at Stills with over 3,000 visitors during
the first month.

4.2 Events

Stills provides a very diverse Programme of events to enable a diverse range of people to
engage with theoretical discussions, film screenings, residential critiques, artist talks, alternative
music, reading groups and more.

Exhibition openings attract an average of 300 people and artists’ talks such as the Joachim
Koester Edinburgh Art Fair morning attracted an audience of 76 people. More regular events
such as reading groups consistently attract up to 20 individuals and Stills’ F.ocus group is very
popular, with an average audience of up to 40 people attending each month.

4.3 Partnership

Locally, developments which will strengthen Stills’ forthcoming plans include the consultation
to determine development for the medium of Photography recently commissioned by National
Galleries of Scotland for presentation to the Culture Minister (response pending); the
development of a new Photography gallery as part of the National Portrait Gallery
redevelopment, and the initiation of a new gallery space within the National Portrait Gallery
specialising in ‘Migration stories’. Stills has been in discussion with relevant National Galleries
personnel throughout the development phases and is working towards collaborative projects.

Continuing this methodology, Deirdre MacKenna and Duncan Forbes invited key personnel
from Streetlevel, GoMA, St. Andrews and Napier Universities to create the ‘Informal
Photography Group’ (IPG) to tackle cross-sector issues including historical context (recording
the history of Photography organisations in Scotland) and emerging opportunities (curating
contemporary Photography) through current, mutually beneficial initiatives (research-led
curatorial projects) which exploit the best of our abilities and create a shared legacy for the
future.

Stills has a well-established network of organisations with which it collaborates and is in

discussion about co-commissioning in order to enhance the range of specialism and
representation offered to artists and provide a stronger financial structure than otherwise
achievable. This includes Film and Video Umbrella, Arts Catalyst the Open Eye Gallery and
others.

Ongoing issues regarding a collective commitment to develop the Visual Arts in Edinburgh are
starting to make progress after the formation of ECVAC (Edinburgh Contemporary Visual Art
Consortium); the EAF making a commitment to developing strategic opportunities for the sector,
and the City of Edinburgh Council leading a feasibility study for a new centre in Market Street
(the HUB).

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4.4 Engagement - Teaching and Learning

During 2008/2009 we undertook a major research and planning process focused around all
aspects of engagement with Stills in order to assess demand for all of our activities, to identify
the most appropriate ‘products and services’ to offer and to underpin our financial planning.

We gained significantly improved knowledge of the characteristics and priorities of our

constituent sectors, with strong evidence of demand for all of our activities. We also analysed
profitability within our fee-paying activities, levels of usage of our facilities and their limits of
capacity.

Outcomes of this work are a new full time post of Engagement Co-ordinator appointed in
January 2010; a very clear and practical Marketing strategy and the role of digital technology in
achieving this; new relationships in new sectors (particularly Commercial); recognition of the
need to work with specialist consultants within each different sector; the need to maintain a
high level of technical facility; and the potential for achieving quality outcomes through
advancements in digital technology.

The level of uptake of our activities is growing at a phenomenal rate. Our courses are now
booked to at least 80% within the first 5 days of a two-month term, and attendance at all our
events is at capacity. Responding to the increasing demand we will pilot a programme of
daytime activities to further explore new models of engagement. Such developments could
include the expansion of our range of courses including History and Theory of Photography
and Film. Accordingly, we now run some activities with no publicity, using only word of mouth
to enable those already active with us to participate in events designed to meet their needs.

4.5 Premises and stability

Our current premises are owned by our local authority: City of Edinburgh Council (CEC). The
capital development, designed by Neil Gillespie of Rieach and Hall Architects, cost £1.3m to
construct a purpose-build centre on five floors behind the original street-level façade.

Stills has occupied the site on a rent-free basis granted by CEC since it’s relocation in 1997.
This arrangement has recently been called into question by CEC as a consequence of the
review of rental rates to third sector clients as well as the City of Edinburgh Council target of
savings of £93m by 2013.

This generates an opportunity for Stills to examine its role and function within the context of
visual art and cultural provision throughout the City. Additionally, The Collective and
Edinburgh Printmakers have been presented with the same challenges and are collaborating
with Stills as we each define our own strategic development and priorities as we participate in
the CEC’s HUB feasibility study to determine the potential of a new visual art centre in Market
Street.

The HUB project presents a particularly significant additional issue in that it is the preferred
option of CEC. This would involve Stills relocating to and sharing an as yet undefined and un-
costed arrangement with other partners (CEC’s preferred partners are Edinburgh Printmakers
and The Collective).

The HUB feasibility process, and the independent but concurrent development of the ECVAC7
group is significantly improving dialogue between organisations and their profile within the
7
Edinburgh Contemporary Visual Art Consortium (membership comprises Edinburgh Printmakers, Edinburgh Sculpture Workshop, The Collective and Fruitmarket Gallery).

11
sector, leading to greater combined potential than has previously existed.

At the time of writing, CEC, Culture and Sport has confirmed that it is seeking a standstill of
current rental terms (effectively zero charge) until 2013 when the HUB feasibility will be
concluded and the new development resolved.

In 2010 Stills will determine the options and strategic path appropriate to our own priorities by
undertaking a feasibility study, which will explore and consider premises, services and demand
within the timeframe of our existing lease, which ends in 2019. We intend to research
emerging patterns of patristic practice, potential programme models and analyse the limitations
of our current premises to define options for future expansion or relocation of premises.
Additionally, we will consider facilities and equipment upgrade of an estimated cost of £150k,
which are required to maintain current levels of service.

4.6 Personnel and expertise

The expertise within our personnel is crucial in achieving high performance in both skills and
critical content, and our team has grown accordingly with Stills now employing two part-time
Curators (based in London and Edinburgh) and a team of specialists based locally to
compliment the core staff team and our guest presenters.

The ‘Core’ team includes a Development Manager and two Producers, responsible for working
closely with all of our collaborators to supervise the realisation of technical, curatorial and
educational projects to the highest standards who are each supported by a specific Co-
ordinator.

Stills’ Board has changed in the last year with three members leaving, four joining and one on
sabbatical. Our new Chairman, Paul Gray is a practicing artist, as it was felt appropriate for this
phase of development for Stills.

We have recognised the need to invest in research and development of both future projects and
the cultural context as a whole and are fortunate that SAC Cultural Diversity funds have
enabled an 18 month post to support our plans to launch a series of projects exploring Artists’
film in relation to Photography, while supporting the career development of another
professional within our specialised sector. We acknowledge the constant need for this level of
activity in order to remain at the forefront of developing theory and to meet the demands of our
audiences, our artists and the developing professionals within our core team. Consequently
using project funds, we will appoint a new post of Assistant Curator of Photography in 2010 for
a pilot period of six months with the aim of integrating this permanently from April 2011.

It is our opinion that investment in expertise is essential to obtain relevant specialist knowledge
and to provide better support to core staff, artists and users, particularly regarding the History
and Theory of Photography and artists’ Film. Through the process of engaging with specialist
knowledge and advice, we intend to develop our contracts and terms of agreement with
commissioned artists, to ensure that Stills’ funds are being re-invested in the future of our
organisational activities and that opportunities for acquisitions are being explored and realised.
Stills will prioritise collaborative working to develop opportunities for artists, expand our reach
to wider audiences and generate more developed critical content and to maximize use of
funds.

We are committed to increasing funds for staff to undertake artistic and technological research
and development, prioritising staff development to ensure retention, optimise our investment

12
and maintain relationships. Expertise is also beneficial to Stills in improving our knowledge of
the education sector by retaining a consultant and undertaking Research and Development in
relation to the potential of Photography to play a role in developing educational practice.

Staff retention is extremely important to Stills to provide consistency of service and to optimise
investment in the training of the individual. Staff work with Stills for an increasingly long
period, currently averaging four years and progression to a directly related career stage is
100%. As Stills evolves, so to does our approach to careers and relationships and since 2008,
we have undertaken new arrangements through supporting a six-month sabbatical and part-
time PhD for Curatorial staff as well as more flexible.

Stills relies on a very large team of voluntary staff to provide our public service seven days a
week, supporting enquiries and visits and the research and general admin of the staff team.
During their three to six month ‘term’ with us, Interns become increasingly specialised in their
work and follow personal plans for career progression. The caliber of professional experience
gained at Stills is widely recognised and we attract a very high level of applicant, it is
increasingly likely that they are qualified to Post-graduate level and prepared to relocate to
undertake the opportunity. Subsequent employers of our Interns include ICA London, National
Galleries of Scotland, Film and Video Umbrella and Arts Catalyst amongst others.

13
5 Future Strategic Direction 2013 – 2020

Stills wishes to reflect the role that Photography plays within contemporary society in order to
stimulate the engagement of artists to create new works, and to play a significant role in the
production of Scottish culture.

Our vision is of a process that centers around production and the discussion of ideas within an
environment which is inclusive and specialised at the same time. The tangible outcomes of this
vision will be artworks, books and measured individual progress through lifelong learning.

Stills will be playing a much stronger role in art education, working closely with Higher
Education, supporting their research activities, and producing new modules for the study of
contemporary culture, directly providing support for the research and incubation of new
practice. Our relationships with schools will be constant, with Stills providing artistic ideas to
learning methodologies for both pupils and teachers throughout Scotland.

We will continue to consider and respond to progressive organisational and professional

practice in order to reflect artistic practice and the needs and methods of engaging with the
public. We will be working with institutions and agencies to enable the works we commission
to become part of our national collections.

Our premises will be different, either an expanded current site, or a new, central Edinburgh
location, with more people working with us than we can now accommodate.

Our sense of community will have evolved significantly: currently those who engage with our
artistic and educational content are based predominantly in local areas. This is changing and
will soon be radically different due to increased years’ working with our European and Middle
Eastern artists and the ubiquity of digital technology and virtual communities.

Current role models which we consider to be leading the field in LUX Associates, London and
De Ateliers, Amsterdam for their post-post-graduate model of support to artists. FOAM,
Amsterdam offers a broad range of Photographic practice to the general public, and a very high
level of critique of Photography and the art sector through commissions, a dedicated in-house
commercial Photography gallery and series of courses which investigate the Photographic
zeitgeist and its contexts.

Witte de With, Rotterdam and BAK, Utrecht inspire us by exploring highly topical social and
political issues through exciting and challenging artistic practice thus creating content,
situations and events which stimulate consideration of collective social responsibility and
identity.

Further afield, Fotomuseo Panini, Modena and The Arab Image Foundation, Beruit, Lebanon
utilize their public collections of local society to enable artists to contextualise their practice
within a historical framework giving meaning and resonance to new expression.

14
6 Purpose, Aims, Objectives

Purpose

Stills’ purpose is to be the leading organisation in Scotland for the development of

contemporary Photography by

• providing a catalyst for the development of a strong community of artists and network of
organisations, agencies and individuals

• being recognised as Scotland’s destination for contemporary Photographic practice by

national and international audiences.

Aims

• To lead progressive artistic practice

• To increase engagement with Photography

• To develop awareness of Stills’ partnerships in Scotland and internationally

• To ensure that Stills provides its activities in a fit for purpose building which is accessible
and welcoming to all abilities

• To manage Stills as a robust organisation with flexibility to develop and grow.

Objectives to 2013

• To produce an integrated programme of residencies, commissions, events and exhibitions

which develop the critical and professional capacity of Scotland’s artists and enhance the
developing character of Scotland’s culture

• To provide innovative Teaching and Learning opportunities through the processes and
theory of Photography

• To reach a diversity of artists and non-artists by working collaboratively, through networks,

consortia and relationships

• To renew our technical facilities, professional expertise and environment

• To run Stills as a well-planned, sustainable business with rigorous operational procedures.

15
7 Artistic Leadership

7.1 Approach

Our approach is to explore and contextualise the medium of Photography by stimulating

discourse throughout all of our activities so that multiple viewpoints can engage with new
insights into our current cultural and social situation.

By working with a team of curators, writers, academics and other specialists, we maintain a
diverse range of perspectives and expertise to inform our Programme and stimulate discourse
through our communities.

Stills is the hub of a large, diverse, open and supportive community of individuals and
organisations who identify us as a unique, specialist centre where they can develop their
knowledge, creative ideas and technical abilities.

Our activities are divided into two categories to distinguish suitability for either professional
artists and specialists (Developing Practice) or non-professionals (Teaching and Learning).

7.2 Programme Structure

7.2.1 Developing Practice - new work, new ideas

• Residencies, commissions, exhibitions

• Production (Equipment + facilities hire)
• Critical events

7.2.2 Teaching and Learning

• Training
• Creative projects
• Networking events

Since Stills’ inception over 30 years ago, Photography and the lens have become established as
the dominant medium in contemporary art practice. Artists, while becoming increasingly
skilled both technically and conceptually, have moved away from medium specificity for its
own sake and new demands are therefore placed on institutions like Stills to respond to current
artistic practice.

Our approach to media and process is to concentrate upon ‘the lens’ and where relevant, other
mediums, and in particular, artists’ film. The practice or medium of film and video installation
is now such a dominant form in contemporary art, (a fact evident in analysis of most exhibition
programmes including Stills’). The overall Programme will continue to focus on moving image
work. The lens will continue to be at the core of Stills but will also work with other mediums
when relevant to an artists practice.

Our programme also includes historical reference and framework to enhance consideration of
practice at the current moment. Stills has addressed the problem of Photography’s neglect in
the field of fine art since it was first established in 1977.

16
7.3 Theory and Curation

As curators become highly influential figures in contemporary art, mediation is a vital

consideration for the 21st Century. Through our exhibition Programme audiences engage with
and consider how work is mediated, foregrounding and the process of critique and theory
within artistic practice and the role of curator. Stills’ commitment to developing practice is
further demonstrated with the Programme Fellow post, where an individual is able to develop a
career as a curator though the support and experience of working at Stills’ and closely with
Stills’ associate curators.

Developing curatorial practice is fundamental in providing the critical framework needed to

support artists and the public to explore Photography. In 2009 Stills appointed Debi Banerjee as
Programme Fellow in order to enhance Stills’ critical capacity and support the development of
curatorial practice within Scotland. Debi is working closely with Stills’ team and is specialising
in artists’ film. Her post is fixed-term until May 2011 and in Summer 2010 she will be joined by
a new fixed-term post of Assistant Curator of Photography which, initially, will specifically
address Stills’ teaching resources and the historical and theoretical content of our Teaching and
Learning and Events programmes.

We hope to permanently appoint this post in April 2011 financed by an increase in Revenue
funding by Creative Scotland. The Associate Curator of Photography will work with Debi and
the wider Programme team to support all the commissioned artists and residents and with Stills’
community of practitioners, academics and curators who will work with audiences to develop
critical strands.

7.4 Residents

At the core of Stills’ activities are the artists who work with us for sustained periods to explore
and develop their practice. Stills provides critical and technical expertise to aid development of
a new phase of work, which will significantly progress the artists’ practice. Artists are not
obliged to specify a final outcome. Our priority is to enable and engage with the process of
artistic development, thus liberating the artist to experiment freely with specialist critical and
technical support, while increasing our understanding of their motivations, methodologies and
practical needs.

This model has become increasingly highly valued by artists in Scotland and has stimulated
recognition and interest from artists and organisations outwith Scotland.8

We have now created a small network of organisations linking Edinburgh with Cologne,
Modena and Naples and we will run the first of a series of pilot projects in 2010 to increase
mobility amongst artists while enhancing their networks of relationships, information and
discourse.

Partner organisations are selected for their ability to enable artists to:

• directly engage with both the recent and current local cultural context (through connections
with cultural institutions, the media and local communities)
• integrate to advanced levels within the independent, public and commercial artistic sectors
(through advocacy for the artist with artists, curators and critical specialists).

In order to fully support artists as they engage their role and opportunities as part of a
8
Each artists and organisation consulted in the UK and Europe in 2009 confirmed their aspiration to work with Stills.

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developing global society, trans-national identity, borderless communities and the expectation
of mobility within contemporary artistic practice, we will undertake a subsequent short
consultation exercise with up to five organisations in the Middle East. This area has been
identified as increasingly active culturally and although fundamental differences in cultural,
political and economic profiles, the connections between the Middle East and southern Europe
are highly topical to wider global cultural issues such as individual and collective identity and
memory. Consultation with our communities of artists has clarified that research and exchange
to explore these issues would be highly valuable to artists from Scotland, and also in enhancing
the cultural profile and identity of Stills by hosting visiting artists.

This approach is a key element in enabling Stills to act as an open-minded organisation,

tolerant of and informed about diverse perspectives, consequentially able to stimulate artistic
and public communities alike.

7.5 Commissions

Stills’ increase in residency and self-initiated exhibitions has led directly to an increase in
commissioned works and since 2008, Stills has commissioned three artists to produce works for
solo exhibitions.

More recently this included the commission of two works with Scottish artist Elin Jakobsdottir:
for one of these works photographic prints were produced using Stills in-house darkroom
facilities. Similarly Nicky Bird produced work in Stills’ digital suites during post-production
towards exhibition Beneath the Surface / Hidden Place which then went on to tour to two
Scottish venues. Recent International commissions include artist Joachim Koester’s series of
works Time of the Assassins, notably the most attended exhibition at Stills to date.

Following the success of these commissions Stills is continuing to work with this model and is
undertaking a review of its commissioning terms and agreement, working towards an
institutional collaboration which will lead to acquisitions of commissions for Scottish public
collections.

Stills has commissioned Alexander and Susan Maris (Scotland), Rut Blees Luxembourg
(Germany/UK), Dani Marti (Glasgow) and Ruth MacLennan (Scotland/USA) to make new works
for show during 2010 and 2011.

7.6 Exhibitions

From April 2011, our programme of exhibitions will increase to include one more exhibition
per year in order to meet demand from artists and the public for more projects. The annual
programme will be divided into four main strands which will explore Photography through
documentary, film and social exchange and will involve a three-year curatorial research based
project by Associate Curator Kirsten Lloyd; a series of ‘Duet’ exhibitions curated by Lisa Le
Feuvre to commission an artist to make a new body of works in response to another artists’
works; and an annual intensive season of photography and film.

7.7 Film Lounge

The Film Lounge will be a unique, permanent screening room installed in Stills’ resource space.
Stills’ Programme Fellow, Debi Banerjee, has initiated the project and will work with Stills’
Curators and the Directors of screen archives and collections throughout the UK and Europe.
The screening room will be designed to show moving image works in optimal conditions.

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Works will be presented as a series of eight curated programmes to compliment Stills’ main
exhibitions, commissions and residencies and events. The films will enhance audience
engagement with historical and contemporary works by both local and International artists and
filmmakers.

7.8 Events

Responding directly to exhibition themes, we programme approximately sixty events per year
including preview nights, artist talks, guided tours, critical discussions, reading groups,
seminars and workshops. We also explore cross-art form connections such as music and
literature to reach new audiences and consider alternative perspectives and approaches.

In providing such a diverse programme of events, our intention is to meet the varied
preferences and levels of ability of a wide range of people by exploiting the scope of
Photography. Attendance at our events is at a consistently very high level of capacity,
approximately 90%.

7.9 Teaching and Learning Activities

Dialogue surrounding the production and presentation of work is fundamental in stimulating

insight and long-term relationships. The artist as leader in all our activities is essential to our
programme model and adds unique value to the experience for the participant.

Our teaching and learning activities are open to everyone and include training in a wide range
of Photographic and digital media processes. And in response to recent feedback from
attendees, in 2010, we will launch the first in a new series of History and Theory courses.

Bespoke creative projects for groups and a diverse series of events, meetings and presentations
all provide a unique environment and community for networking and engagement with
Photography.

Building form the learning’s and experience of the ReCreate projects, Stills has commissioned a
range of artists to lead creative projects for groups. Leena Nammari, a Palestinian artist whose
work focuses on the theme of belonging and home, continues to work with a variety of ethnic
minority groups exploring cultural issues through photography and image making. She will
work together with artist, Jila Peacock, to lead Stills’ upcoming project Language with Flowers.

In 2009, Caroline Douglas, Stills past Re:Create artist, along with four other Stills’
commissioned artists collaborated to deliver Revealed, a photography project working with
visually impaired people. Revealed 2 is currently in development.

Most recently, in November 2009, 36 Higher Art & Design students from 6 Secondary schools
worked with the National Museum of Scotland (NMS) and Stills to take part in a portrait
photography workshop based on Craig Mackay’s Salt of the Earth exhibition at NMS. Run by
professional photographer Leanora Olmi, the workshop was designed to provide students with
a clearer understanding of portrait photography and to contribute to the expressive aspect of
their Art & Design portfolios.

This year, Creative Electric, an Edinburgh based youth group, participated on a six week Stills’
workshop looking into alternative ways of taking photographs and photography trends using
Lomographic photography allowing them a unique photography experience that would

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challenge their current perceptions of what a photograph should be. This project will continue
throughout 2010 engaging up to 30 youths and working with a range of photographers, artists
and project volunteers.

8 Engagement

8.1 Planning for Engagement

In 2008/2009 Stills conducted a nine-month period of research and analysis in order to fully
focus our activities in response to existing and new audience needs. This process has enabled
us to focus on Stills’ priorities to generate additional income and further establish Stills as a
centre of excellence for Photography and has resulted in a new engagement strategy for our
organisation.

Our engagement strategy is a development planning structure, enabling Stills to develop

audiences and participants through a range of high quality services, which will meet
participant’s expectations and generate new sources of income.

Through consultation with a range of potential audiences through focus groups, individual
interviews and surveys, as well as data captured through new evaluation methodologies for
existing services, we demonstrated evidence of demand to support the engagement activities
proposed in this plan.

Consultation has involved the following key stakeholders:

• Artists, curators and writers: those currently working with us; artists we are considering
commissioning; and those who constitute our local community; established professionals
from further a field.
• Photographic and digital resource users: occasional, lapsed and potential.
• Collaborators: potential and existing organisations and agencies.
• Funders: previous and potential, revenue and project, Trusts and Foundations.
• Practitioners, organisations and specialists complimentary to Photography: e.g. dance,
performance, film, digital sound/music, design, architecture, special needs, intercultural
and others.
• Education Sector: formal education, community and LLL (Life Long Learning)
• Commercial Sector (finance, legal etc) regarding their CPD (Continuing Professional
Development) and CSR (Corporate Social Responsibility) needs.

By carefully exploring the expectations and specific needs of our constituents, we have
redefined existing and created new facilities and services to create a programme of engagement
activities and marketing actions, which will:

• provide excellent experiences for our publics.

• develop and support a strong infrastructure of artists.
• secure wider public engagement with our activities.

In January 2010 we appointed an Engagement Co-ordinator and we plan to appoint a part time
Assistant Curator of Photography in autumn 2010. This new post will provide historical and
theoretical context throughout all our activities and work with us to define a plan for
management of web-based content and develop a pilot web-based teaching module for
primary/secondary education, including freebies and online projects for remote participants.

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The following engagement findings and recommendations have been integrated throughout this
business plan

• ensure that all creative learning includes leadership by artists

• support artists in order for them to work professionally and effectively through participative
projects
• long term relationships lead to deeper levels of satisfaction and increased likelihood of
continuation of activities by participants
• additional expertise and sector-intelligence is essential to unlock new markets and identify
viable projects
• implementing evaluation methodologies to carefully monitor, document and evaluate
activity to inform and improve future services

8.2 Engagement and Digital Strategy

Beginning in March 2009, Stills will embark on the AmbITion Associates programme to help
achieve sustainable organisational change and improve our capacity for audience engagement,
through implementing integrated IT and digital development.

Producing a digital strategy is now as key a business discipline as any other. It is important to
recognise the potential savings and growth that can be made by articulating our activities in the
digital sphere, attracting, converting and retaining audiences via the web. Managing our
reputation in social media is now vital to the continued engagement with our activities. A
digital strategy is not a one off transaction - it is a relationship.

The AmbITion Associate programme will begin with an audit of our organisation to (1) clarify
our ideas, (2) diagnose our needs and (3) describe and prioritise the next steps. Stills’
Development Manager will then develop a business case to manage implementation of the
knowledge and intelligence gathered.

The AmbITion process is a holistic approach to organisation change through the exploitation of
digital media. Outcomes of this project will be:

• optimised social media networking strategy

• optimised customer relationship management systems
• more opportunities for artists, photographers, writers and curators
• new intelligence
• new online dialogues and online networks
• new partnerships nationally and internationally
• improved competitiveness within the visual arts sector.

Subsequently Stills will be well positioned for major partnerships, providing innovative creative
and critical exchange platforms at the cutting edge of digital developments.

8.3 Market Sectors

Of the seven different user types we consulted with, referred to in Section 8, we have named
our key market sectors to include both local and international artists and photographers,
secondary and higher education, community, creative industry, corporate sectors and general
public. Earlier this year, we undertook a short period of research into market segmentation

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(Mosaic UK 2009 profiling). Assessed through these profiles our target markets (Liberal
Opinions and Alpha Territory) show a high percentage of:

• disposable income
• attending arts events, art galleries or exhibitions
• charitable donations
• online behavior

The Challenges are to:

• maintain high standards of facilities and services

• seek to secure appropriate resources
• programme and deliver activity according to audience needs and expectations
• research, develop and test new services
• secure a high level of customer service
• invest in professional development for all staff

A fully considered marketing strategy will address these challenges to meet the demand and
needs of our market sectors.

8.4 Marketing

Stills wrote a detailed, highly considered Marketing Strategy for its 2007 Business Plan,
informed by external expertise and considerable research. However, we did not achieve the full
potential of that plan due to:

• lack of understanding of how our own activities function and succeed or fail
• lack of funds
• lack of a review process
• lack of consistent marketing expertise at a sufficiently high level of experience.

We have now produced a realistic Marketing Plan, which will enable us to achieve and deliver
our short term goals. We have achieved this by:

• designating Marketing responsibility to Stills’ Development Manager

• integrating Marketing throughout staff operations
• implementing a major e-marketing campaign which has been successful
• developing an integrated database which enables monitoring and analysis of web-based
customer activity
• undertaking major analysis of our products, services and facilities through the Planning for
Engagement work

In order to remain informed of trends, profiles and market sector activity and continue to reach
attendees, participants and customers we will require to commission specialist consultancy.

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9 Equality

Engaging with Equalities in every aspect of our work is critical in enabling Stills to operate as an
open-minded organisation, informed about diverse experiences and perspectives and able to
stimulate artistic and public communities alike.

Stills is committed to the development, appreciation and understanding of contemporary artistic

practice and offers activities to participants to enable as many people as possibly to engage in
creative activities. Evidence of this is clear from the many projects we have undertaken with
diverse groups and individuals of all abilities, genders, race, religion and sexual orientations.

Blind photographer Rosita Mackenzie’s artistic and professional practice has created innovative
opportunities for visually impaired people. Stills’ support of Rosita since 2006 demonstrates our
commitment to good artistic and professional practice. Led by Rosita and delivered by five
experienced artists, the Revealed project has opened innovative creative opportunities for
visually impaired people in Edinburgh.

Inspired by the surroundings of Edinburgh and the participants’ own experience of the city they
inhabit, the workshop introduced participants to photography through a series of practical
sessions and critical discussions at Stills. The work created will be exhibited at North Edinburgh
Arts from 8 to 26 July 2009. Aiming to celebrate and raise awareness of participants’ abilities
and challenge-sighted people’s perceptions, Revealed offers a range of fascinating visual
experiences of the city. !The photographs exhibited are accompanied by tactile interpretations,
created by Camilla Adams, as well as sound recordings, created by Rachel O’Connor and Jules
Rawlinson, which will make the exhibition accessible to all audiences.

Stills’ key issues and requirements to meet Equal Opportunities include

• Updating the Marketing Strategy to increase potential for audience engagement

• Updating the Equalities Policy to stabilise and establish Stills’ commitment to cultural
diversity in programming and explore differentiating methodologies for gaining cultural
and social insights

• Update of the Engagement Strategy to increase diversity of cultural content and audience /
participants within our organisation

• Invest in a feasibility study to explore premises expansion and development considering

access and operational procedures

• Update the Governance, HR and Management policies to ensure capacity to address skills
and information gaps within our personnel and operational governance, with intent to
gain intelligence and increase capacity to deliver successful equalities operations through
research and awareness of external and internal contexts, providing highest quality service
to all

• Develop strategic partnerships within the UK and abroad to engage in cross-cultural

dialogues with a diverse range of individuals and organisations

• Implement performance measurements to successfully manage diversity within our

organisation.

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Through the process of a rigorous situational analysis and strategic review, Stills has developed
an accessible Programme and high-quality Engagement Strategy, promoted through artist
commissions, enabling creative learning opportunities and being inclusive in all operational
activities. Stills’ has developed working relations and collaborations with numerous groups and
individuals in Europe, Central Europe and the Middle East.

We will achieve and overcome specific equalities issues directly addressed throughout
forthcoming projects which include such as: Fondazione Fotografia – AiR; Middle East
Residency Pilot; Scottish Residency Programme; Touring exhibitions; Film Lounge, The City
and The Stars; Social Documents: The Ethics of Encounter and other Teaching and Learning
courses and projects.

Stills will continue to consult with stakeholders and user groups and to consider our evaluation
processes in order to stimulate awareness of developing

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10 Funding

10.1 Current position

In 2007 and 2008 Stills incurred a deficit, which at its peak balanced at £27k. Achieving a
considerable reverse of trend, a surplus of £9k was generated in 2009 and the deficit balance
rests currently at £19k.

The target outcome for 31 March 2010 is £10k with the aim of getting a further surplus of £9k
aimed for at 31.03.2011, which will eradicate the deficit.

The recurring overspends of 2007 and 2008 occurred at a period of significant organisation and
capital development and growth in artistic ambition. In short, the staff team was stretched in
order to meet ambition and demand, and this formula can clearly be seen to be of high risk.

Overspending is mainly attributed to unexpected costs from exhibitions, commissions and

residencies and challenges arise from lack of contingencies and reserves, therefore leaving Stills
no resources to cope with unexpected activities of any kind.

Overspending is mainly attributed to unexpected costs from exhibitions, commissions and

residencies. It is aggravated by Stills’ inability to operate to date with contingencies and to
accumulate reserves, therefore leaving Stills no resources to cope with unexpected activities of
any kind.

In order to change this pattern, significant change must occur: contingencies must be planned
for, reserves accrued for the unexpected and to enable significant developments; the
programme must be researched and consulted and support confirmed well in advance of any
potential change in schedule, and surplus-income targets must be achieved.

10.2 Self-generated Income - growth

Analysis from the last three years of trading has demonstrated very significant increase in
surplus-income generation from £18k in 2007/08, to £43k in 2008/09 and an estimated £60k in
2009/10. This can be attributed to the capital equipment upgrade in 2007 / 2008 and
significantly evolved services delivered by a mature staff team.

Targets for surplus-income (profit) for forthcoming years are £73k in 2010/11, £82k in 2011/12
and £95k in 2012/13. Self-generated Income Growth slows considerable after 2010 as we
reach capacity of our current arrangement. Plans are underway to optimise current ‘down-time’
but ultimately, the potential for growth from existing demand can only be realised through
increased premises.

As surplus-income is becoming more established, the challenges include

• reaching capacity in evening and weekend Courses
• testing new and alternative products
• scheduling during currently under-used times
• forecasting income generation from the public sector
• shifting patterns of uptake within the various sectors
• the obsolescence of equipment, software and technologies.

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10.3 Revenue

Stills’ aims for 2011 and 2012 are to

• secure a 25% increase in our revenue award to £175k p.a. from Creative Scotland (Scottish
Art Council) to support new artistic programming

• secure agreement from the City of Edinburgh Council (CEC) for a continued period of
stability during our feasibility process (rent, rates and revenue standstill) valued at £50k p.a.

10.4 Organisational growth

Stage one of Stills feasibility study is costed at £10k and initial equipment fundraising costs are
budgeted at £4K. Costs for Phase 2 Feasability for Capital and Organisational Development will
be sought externally during late 2010, 2011 and 2012.

A target of £150k has been set for new equipment, which can proceed regardless of as yet
underpinned changes in premises.

Development will increase in 2011 with £6k sought from project funds and £4k from Stills’
core funds.

Professional Development will also increase in order to develop the capacity of Staff and
minimise staff turnover during this critical period of growth.

Project funding targets are £40k 2010 (confirmed), with 25% growth each year thereafter.

It is anticipated that in 2013 / 2014, Stills undertakes a major project-funding exercise with
European and Middle Eastern partners, with a likely source being EU Culture funds.

10.5 Sponsorship

Beginning in 2010, Stills will work with a fundraiser to begin to explore appropriate avenues of
sponsorship in relation to our programme.

We aim to secure sponsorship targets of £5k in 2011/12 and £10k in 2012/13 for our
Developing Practice Programme and £5k in 2011/12 and £15k in 2012/13 for capital
development.

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11 Governance

Stills’ Board operates fluently and with a high level of engagement through Management Group
meetings, integration with the core staff team and regular training and development events. The
Board currently comprises twelve members who provide a healthy range of expertise and share
an interest in Photography. Through Management Groups, regular informal meetings and
participation in courses and events, works closely with the Director on key strategic decisions.

11.1 Management, Human Resources, Operations

Human Resources

Stills’ staffing structure model comprises a core team of seven full time staff, three permanent
part time specialists (curatorial and financial) as well as a very effective team of Intern and
Voluntary staff and a large group of freelance experts. This flexible approach enables Stills to
provide consistent services and achieve high standards, while retaining the capacity to respond
to developments and opportunities.

We operate in a climate of fast-paced and constantly developing practice and funding

arrangements, and with such a mix, our personality is lively, open, enquiring and welcoming,
and our procedures value experience and are diligent and efficient.

Stills maximises staff contribution by integrating research, training and development within
every role.

• The core team comprises: the Director; Curators; Development Manager; Programme
Producer; Technical Producer; Programme Coordinator and Engagement Coordinator and
from summer 2010, a new part-time post of Assistant Curator of Photography.
• Project funded staff are professionals who work with Stills’ core team on fixed-term projects
(e.g. recent Engagement Research and Re:Create projects and our current Programme
Fellow)
• Volunteers and Interns work together as a team of six, working four days per week;
invigilating, providing reception services, operating photographic and digital facilities and
at events, and undertaking research for projects.
• Tutors work with us on a freelance basis and inform and deliver our Teaching and Learning
programme for individuals and groups as well as providing valuable feedback from
throughout our extended communities.
• Specialists also work on a freelance basis, working very closely with the core team to
support developmental aspects of our work (specialised fundraising, curatorial research,
marketing, innovations etc).

Internal Communications and Operations

Stills operates a series of regular weekly, monthly and quarterly meetings between Board, staff
and Board and various staff teams which are sensitive to both inward and outward facing
perspectives. These are all recorded and cross-communicated to ensure the widest possible
awareness of business and integration of team members.

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12 Monitoring and Evaluation

All Stills activity generated is carefully monitored and evaluated to further improve our
programme activities, engagement outreach and in-house facilities.

Stills addresses monitoring and evaluation methodologies through the collation of quantitative
and qualitative information, to provide measurement of customer satisfaction. Information is
captured through questionnaires, online surveys, individual interviews and group discussions to
allow diversity of measurement and capture all feedback appropriately.

All of Stills’ services and activities are evaluated, analysed and reported with the incentive to
determine Stills’ capacity for improvement. Stills effectively measures our organisational impact
on audiences, assess governance and management, planning and staff support operations,
effectively measures impact on internal resources, meets and engages with audiences and
stakeholders needs and expectations and identifies achieved outcomes.

Stills’ implements reporting procedures for within all aspects of organisational procedures:

• Course reports are carried out tri-annually, analysing data collated from three separate
course evaluations and course booking summary sheets.
• Creative group project reports are produced annually, analysing data collated from two
evaluations, critical review session.
• Exhibition reports are produced after each exhibition analysing data collated from Audience
Monitoring sheets and Visitor Surveys.
• Resource user reports are produced annually analysing data collated from the online
questionnaire and centralised excel documents

At present Stills’ customer data is captured through a variety of sources including Stills’ website,
online mailing list: Constant Contact, online survey forms: Question Pro, hard copy evaluation
questionnaires and visitor surveys and group and individual consultants.

Stills is committed to monitoring and evaluating all aspects of our programme to achieve
optimum operational methodologies. At present and in the future, Stills is addressing gaps in
staffing resources to enable expanded capacity and delivery of the above new services,
researching our environmental impact, and working towards developing ways in which we can
become more sustainable, environmentally responsible and working towards zero waste and
researching undertaking a period of research into the current market of open source CRM
systems. Such research involves identifying Stills’ current CRM needs in relation to market
technology.

Technological ambition and utility management are necessary to provide Stills with a path for
enabling advancements and improvements in activities and extending audience participation
and delivery of artists’ courses.

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12.1 Risk Analysis

Stills’ Risk Analysis is a rigorous study of all financial, operational and programming
measureable risks applicable to the organisation. Through this process we have identified the
key risk implications for Stills and considered measurement and response.

The key risks identified as applicable to Stills are:

• Market Rent Applied to Stills’ premises by City of Edinburgh Council

• Reduction in Scottish Arts Council (Creative Scotland) Revenue funding
• Insufficient cash for emergencies
• Unexpected property maintenance
• Fire

Response

• Stills is explorative of all future opportunities and possibilities. In the event of applied rental
rates, Stills will further explore the development of the HUB and as measurement, accrue
reserves
• A reduction in funding would possess implications to running of our organisation. In
response Stills would, accrue reserves and reduce business risk by reducing staff and the
artistic programme and increasing course income
• Stills contingency budget has been implemented to prevent the implications of having
insufficient cash. The impact of such a situation could cause closure of the business. Stills’
courses are increasing in popularity with incredibly high demand, providing Stills with
strong trading projections and financial measurement
• Unexpected maintenance could result in closure of part or all of the building and a
significant loss of income. Stills personnel regularly carry out premises checks as a form of
measurement. Proposed measurement and response include the implementation of a
premises survey or relocation from the affected area
• In response, Stills operates a daily duty manager walk through of the premises and through
the implementation of our Health and Safety Policy and fire drills, Stills is aware of all fire
responsibilities, threats and procedures

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