Rae's black-and-white photographs highlight the monumental scale of the ships under construction, juxtaposed with the individuals who built them. These compositions underscore both the grandeur of the industrial environment and the integral role of the workforce within it.

The series also reflects the socio-economic context of the era, marked by the Conservative government’s policies leading to industrial decline. Rae’s images capture not only the bustling activity of the shipyards but also the looming uncertainty faced by the workers. Photographs of vacant outbuildings, such as the empty hall of a plating shed at Readhead’s, evoke a sense of abandonment, prompting contemplation of the industry’s fragility. Through this project, Rae offers a poignant commentary on the impact of deindustrialisation on communities whose identities were closely tied to shipbuilding.

Bruce Rae, born in 1946 in Aberdeen, is a British photographer known for his rich tonal work, meticulous compositions, and deep engagement with light and shadow. His still life, landscape, and portraiture possess a timeless quality, balancing precision with a sense of mystery, transforming everyday subjects into something meditative and atmospheric.

Rae’s work is shaped by a strong response to the social and political landscape of his time. His portraiture, in particular, was given structure and context through Side Gallery on Tyneside, where he developed a body of work that served as a reply to the market-driven forces of the 1980s and the dominant vision of Thatcherism. His images do not simply document people or places; they explore the effects of economic and cultural shifts, offering a quiet but powerful commentary on the world around him.

Known for the use of his wooden field camera, combined with his mastery of darkroom techniques, gives his work a depth and luminosity rarely seen in modern photography, ensuring that each image stands as both a technical achievement and a reflection of broader social forces.