George Melly Portrait (aged 18) Photographed by ECH in 1944

Supervisory Meeting - 05/11/2014 @ MMU

Present at the meeting: Simon Faulkner, David Brittain, Gavin Parry

The meeting was again used to discuss practice based creative outputs currently being conducted. This work consisted of the following:

• The appropriation of selected Hardman negatives, resulting in the manipulation of composite elements of the works, in order to create new works.  The photographic process has then been reversed in order to work back towards the creation of a new negative.
• The reframing of Hardman's work, presenting some of the portraits in a manner never intended, through tighter cropping and increased tonal range / contrast.  This was intended as more of a technical test, in terms of the possible ways of presenting the Hi-Res scans taken from the archive.
• The linking of a separate database created, which details the data held within the Pilot's Flying Log of Douglas W Roberts, which documents flying activity in the RAF during WW2.  The data has been used to link key dates between the two different activities.
• The meeting between KWR and the National Trust on 15/10/14 - which discussed the use of the materials and the potential output of the project, via exhibition and publication.

In response to this discussion it was suggested that Keith should:

1. Continue to work with the Hardman database, moving into the analysis phase of the project.  The interrogation of the data should be used to drive ongoing visits to the archive.
2. The development of a series of titled 'pamphlets' which should be used to display the different lines of creative and archival enquiry. (E.G. Chronotype / Typology / Key Dates)
3. A written component (abstract) in relation to these different pamphlets, which should attempt to address both the process and the connection to the database.
4. Continued reading around the specific area of 'Database Aesthetics' and 'The Database as Symbolic Form'.  Focusing on practitioners who incorporate or interrogate databases as part of their creative practice and methodology.

Hardman's Servicemen

Dr Sykes' Garden - Ashurst, Formby

The first two images below have both been taken in the same place, roughly from the same position .... the first shows Dr Sykes' and his family in 1936 when the space was the back garden at Ashurst on Duke Street, Formby.  The second shot (78 years later) shows the same space as it now is at the back of the public library on Duke Street, Formby. (Note the same coping stones on top of the wall)

The last shot shows one of the surviving pear trees from Dr Sykes orchard.

Dr Sykes' purchased the land opposite his house (Ashurst) on Duke Street in the late 1930's when it was being used as a farm.  The plan was to develop the area into a new housing estate.  After the successful purchase of the land, he gifted it to the local council with the sole instruction that it should never be built upon.  It is still a public park to this day.

                                           Dr Sykes' and family - 1936

                                          Back of Formby Public Library - 2014

                                                     Dr Sykes' Pear Tree - 2014

Supervisory Meeting - 07/05/2014 @ MMU

Present at Meeting: Simon Faulkner / David Brittain / Gavin Parry

The meeting was predominantly used to discuss practice based work currently being conducted.  This work consisted of the following:

• Hi-Res scans of portraits dealing with the 'Chronotype' (The same sitter with a 22 year gap between each portrait) The presentation of which was discussed, with the negative rebate being considered important to the viewer In terms of identifying a shift in Hardman's practice and equipment.

• A series of 'Re-photography' images of Vale Royal in response to Hardman's location based portraits of Lady Delamere originally taken in 1937.

• A series of 'Re-photography' images of Dr Sykes garden originally taken in 1936.

The importance of methodology was also discussed, in terms of ensuring the database is at the centre of all archival intervention, and clearly driving the selection process and creative output.

In response to this discussion it was suggested that Keith should:

1. To spend a limited timeframe just dealing with one specific aspect of the creative output, which was suggested to be the 'Re-photography' element of the location based portraits.
2. To begin to write a brief abstract (short paragraph) specifically about the individual creative outputs starting with the 'Re-photography' of location based portraits.
3. To consider other creative strategies, such as using the paragraphs within Hardman's written 'Lecture on Portraiture' in linking his actual portraits to his words.  Lastly to consider the use of key events in Liverpool to link to the timeframe of the portraits. 

Reverend Eric Treacy - Photographed by ECH in 1936

 

Born: 1907 Died: 1978

 

Reverend Treacy M.B.E. was an Anglican Bishop and English Railway Photographer. He left a collection of 12,000 photographs which now forms part of the National Railway Museum's archive of over 1.4 million images.

Supervisory Meeting - 26/03/2014 @MMU

Present at Meeting: Simon Faulkner / David Brittain

The meeting informally discussed progression of the practice based component of the project, whilst the RD2 re-submission feedback from the scrutineers was still being progressed.

Arrangements have been made to access the Hardman Archive during the Easter break on Thursday 10th & 17th April 2014.  Discussions were therefore centred upon the creative developments of the project and the best uses of this time spent in the archive.  Progression of the following creative strategies were discussed:

1.       Typology – The classification of different types, as defined by the database will provide a source of narrative through which to view the existing portraits.

2.       Chronotype – The database provides a method through which to extract the portraits of an individual taken over an extended timeframe.

3.       Re-Photography – The existing location based portraits offer a physical environment within which to explore photographically.

4.       Coding – The specific codes used within the registers (such as ‘DNL’ or ‘Gratis’) offer a means through which to view and use the archive in ways never intended.

5.       Replacement – The chronological gaps within the archive (presented through prior extraction or image decomposition) present an opportunity for creative engagement, using surnames from the registers.

RD2 Resubmission - 7th March 2014

The RD2 transfer from MPhil to PhD document has now been resubmitted for scrutiny by Professor Stephen Dixon and Dr Alice Kettle, the findings of which are scheduled to be fedback on Monday 31st March 2014.

The re-submission was required to respond to a number of recommendations and amendments as specified by the scrutineers, which in summary requested greater clarity in terms of the practical output of the project and further work on the Literature Review component of the report.

A full copy of the report can be obtained by request.  The Abstract for the report was as follows:

Edward Chambré-Hardman (1898-1988) was a Liverpool based commercial portrait photographer, practicing between 1923 to 1966.  He left behind a vast collection of photographic work including portraiture, landscape and topographical cityscape works, all of which are now archived within the Central Liverpool Library.  The focus of this project specifically concerns the commercial portraiture component of Hardman’s archive, which consists of approximately 140,000 individual sheet negatives. This report explains what steps have been made to develop this project from MPhil to PhD, including an evaluation of the existing aims, as compared with the revised aims now being proposed.

 The first section of the report details the original project aims as specified in the RD1 report, it then goes on to list the revised aims as driven by the research and creative practice conducted to date.  The initial aims are then elaborated upon, with a rationale being proposed in relation to the new aims.  The second section details all the research and creative practice conducted to date, including the difficulties experienced with accessing Hardman’s archive and the subsequent development of a database designed to drive the process of archival intervention.  The second section addresses the research and practical output of the project to date in terms of both technical testing and case study development.  The third section elaborates upon the research and creative response to the archive that will be conducted in order to complete the doctorate.  This will include how the created database will help drive the archival intervention and the various forms this intervention will take, it will also propose a future work-plan and timeline for the forthcoming two years until completion.  The final part of this section will detail the provisional layout of the written component of the project and also explain what format the practice based component of the project will take, including details of the proposed final exhibition. 

 The fourth and final section of the report is the literature review, which intends to assess current knowledge regarding the use of archival intervention within the visual arts and in particular, photographic practice. This review consists of five interrelated parts linked together through the proposed creative practice element of the project.  It begins with mapping the field of practice in relation to archival intervention, examining the work of key contemporary practitioners using archives within their work (specifically photographic), drawing a distinction between the different types of archives being used.  The following part of the review examines key theoretical texts with the intention of framing the project in relation to both historic and contemporary discourse surrounding the archive.  It then goes on to address the use of typology within the visual arts, offering a specific definition in relation to the ways in which this project will use typology for the creation of practical output.  Lastly it will briefly discuss commercial photographic portraiture within a historical context, touching on issues of photographic conservation in relation to cellulose nitrate materials.

 The report will demonstrate how the project will represent a significant contribution to knowledge, firstly through the generation of creative practical output which can be both displayed through exhibition and reflected upon within the written component of the project.  Then secondly, through the methodology and models employed using site specific archival materials and the precedents this practice might offer to others working within a similar field. 

Supervisory Meeting - 19/02/2014 @MMU

Present - Simon Faulkner / Gavin Parry

The meeting was predominantly used to discuss the resubmission of the RD2 Transfer Report which is due on 7th March 2014.  Two main aspects of the RD2 have been identified as being problematic at this stage of the project, including the literature review and the lack of clarity surrounding the creative practical output the project intends to generate.  Areas of discussion were as follows:

 

• The development of the Literature Review in line with comments offered by the scrutineers reports, requesting a clearer link between literature and practice.


• The creation of the database in relation to what can be digitised within the given timeframe and how this must be made central to the methodology for practice.

 

In response to this discussion the following was suggested:

1. Think more about the different innovative creative strategies for using the database within the creation of typologies from the Hardman Archive.
2. Further develop the Literature Review and submit this to the team for feedback prior to the re-submission deadline of the 7th March 2014.
3. Develop a practice based submission (PDF) to submit with the RD2 in order to clarify both what has already been achieved and what is being now being proposed in line with transfer to PhD.  To be submitted to team prior to resubmission of RD2.

The next meeting was scheduled for 26/03/2014

Supervisory Meeting - 11/12/2013 @MMU

Present - Simon Faulkner / David Brittain / Gavin Parry

The meeting presented the opportunity to deliver an update on project and research developments to the entire supervisory team.  The presentation lasted approx 40 mins and covered aspects of the project including Context / Methodology / Output. The meeting also discussed the RD2 transfer process and highlighted issues that will need to be addressed, including further clarity about how different aspects of the project connect to each other.

In response to this discussion it was suggested that the following be addressed for the next meeting:

• Further consider how the different elements of the project connect to each other.
• Establish a clearer use for the database in terms of how it powers the practice.
• Consider establishing date parameters for the database, instead of digitising all the studio register data from 1923-1966.
• Progress more case study Artist Books, paying close attention to the design and layout, trying different variations. (IE: No Text / More Text / Size / Shape etc)
• Try to establish a clearer understanding of the theory in relation to the project, looking at both 'Photographies' journal and Georges Perec (Species of Space and Other Pieces)
• Allow time to respond to any findings or recommendations that arise from scrutiny of the RD2 transfer submission.

The next meeting has been scheduled for 29th Jan 2014 @ 3.00pm (MMU)

RD2 - Transfer to PhD - 28th November 2013

The transfer stage from MPhil to PhD requires the submission of a formal report known as the RD2, which was submitted on 28th November 2013 to MMU (follow link below to request the full PDF version).  This report will then be scrutinsed by the Faculty Research Degrees Coordinator.  If the report is of an appropriate standard, the FRDC will trigger a 'Transfer Stage Viva', which will consist of a 20 min presentation based on a specific aspect of the research.  It is at this stage that the research is either recommended with or without further requirements, or deemed unsuccessful.

The abstract for this report is as follows:

Edward Chambré-Hardman was a Liverpool based commercial portrait photographer, practicing between

1923 to 1966.  He left behind a vast collection of photographic work including portraiture, landscape and cityscape works which are now stored within the Central Liverpool Library.  The focus of this project concerns the portraiture component of Hardman’s archive, which consists of approximately 140,000 individual sheet negatives. This report explains what steps have been made to develop this project from MPhil to PhD, including an evaluation of the existing aims, as compared with the revised aims now being proposed.

The first section of the report details the original project aims as specified in the RD1 report, it then goes on to list the revised aims as driven by the research conducted to date.  The initial aims are then elaborated upon, with a rationale being proposed in relation to the new aims.  The second section details all the research conducted to date including the difficulties experienced with accessing Hardman’s archive and the subsequent development of a database designed to drive the process of archival intervention.  The second section will also address the practical output of the research to date in terms of both technical testing and case study development.  The third section explains the research to be conducted in order to complete the doctorate.  This will include the mapping of the archive and the completion of the database and will also propose a future work-plan and timeline for the forthcoming two years until completion.  The final part of this section will detail the provisional layout of the thesis and also explain what format the practice based component of the project will take. 

 The last section of the report will make reference to existing literature in relation to both archival intervention within contemporary arts practice, the artist as archivist and the use of typology in photographic practice. This section will also elaborate upon discourse surrounding the use of the archive within photographic and arts practice.  It will then go on to define the meaning of ‘typology’ in relation to the classic use of the term, as compared with the definition specifically determined by the research.

 The report will demonstrate how the research will represent a significant contribution to knowledge, as no detailed scrutiny or catalogue of this component of Hardman’s archive currently exists.

 

 

 

 

RD2 Tranfer Report - 28th November 2013

Hardman's Animals - Case Study

Please review the first case study publication called Hardman's Animals - by Keith W Roberts

http://www.blurb.com/books/4544806-hardman-s-animals

Supervisory Meeting - 05/09/2013 @ MMU

Present at meeting:  Simon Faulkner

The meeting was scheduled to discuss the 6000 word RD2 (PhD) transfer report.  Written feedback was offered by Simon in relation to the submission of the first draft.  The key points raised were:

• Re-Consider the title of the research defining what is actually meant by 'typology' in this instance.
• Indentify the Chambre-Hardman archive within the research title.
• Attempt to clarify the practice in terms of either photographic / archivist etc
• Establish new Aims & Objectives at the beginning of Section 02.
• Move the database details to an appendices at the end of the report.

Next meeting is scheduled for 18/09/2013

Margot Fonteyn -1939

The top image was found yesterday in Biscuit Tin 38,401-38,800 and was shot in 1939 by Hardman (Negative Number 38,763)  The bottom image shows the area in the conservation room where I conduct my research.  Cellulose Nitrate negative material decomposes via an acidic hydrolysis pathway over time and releases a range of oxides of Nitrogen, including Nitrous Oxide, hence the ventilated area .... and perhaps also the reason why I tend to leave the Archive feeling quite giddy at times !

Supervisory Meeting - 03/07/2013 @ MMU

Present at meeting:  David Brittain / Gavin Parry

The meeting discussed progression of the work to date and potential future direction.  The following points were agreed to be addressed for the next meeting:

• Must now embark upon practice.
• Consideration of the Excel spreadsheet as a 'generator' with which to produce outputs.
• Map out full structure of RD2.
• Look at production of small books detailing case studies of archival materials.

Next meeting T.B.A.

The Hardman Archive - Rehoused - 01/07/2013

Some images from the Hardman Collection in the newly refurbished Liverpool Central Library:

 

 

The Biscuit Tins - Negative Material

 

Printed Works

 

Additional Personal & Business Ephemera

M.A. Photography Students @ MMU - 20/06/2013

Attached are the slides in relation to a lecture given to the above, focusing on the use of Archival Resources. 

 

Supervisory Meeting - 22/05/2013 @ MMU

Present at meeting : Simon Faulkner / Gavin Parry

The meeting discussed recent research and project progression, the state of access to the Hardman archive and a short piece of writing prepared for the meeting.

In response to this discussion it was suggested:

• Work should continue on the database

• Start making experimental interventions into the archive using the database that currently exists; these interventions should be made as if they were pilot studies for the method the database will be used for; material resulting from these interventions should form part of what is handed in along with the 6000 words RD2 report; some of this work should be completed for the next meeting.

• Continue to write RD2 report and present a full draft for the next meeting.

• Find a systematic way of organising notes on the literature that has been read, as a means of enabling the writning of the literature reveiw part of the RD2 report.

The next meeting has been scheduled for Wednesday 03/07/2013 @ 3.00pm

Supervisory Meeting - 13/03/2013 @ MMU

Present at the meeting: Simon Faulkner / David Brittain / Gavin Parry.

The meeting discussed early stages of the RD2 document, along with further considerations of where the project is currently positioned.

It was agreed that the focus should now be on the element of the RD2 that needs review:

a] Past prescendence for practice IE: Whether photographers bring materials in photographic archives back into visibility, or respond to the archival materials by producing their own imagery.

b] Relevant academic literature on archives and photographic archives.

The next meeting has been scheduled for 01/05/2013 @ 4.00pm

Archival Thoughts

Hal Foster states that artists using the archive often seek to make historical information, which can either be considered lost or misplaced, physically present once again. (Foster, 2004)  Charles Merewether argues the archive functions as the means by which historical knowledge and forms of remembrance are accumulated, stored and recovered. (Merewether, 2006)  As time has elapsed over the past couple of centuries, significant events have not only occurred, but have been carefully evidenced through recordings.  These recordings can include a variety of different media, from handwritten diaries and daybooks, to the generic and ubiquitous family photographic album.  Whichever way we look at it, an artefact of some description has been created and some will inevitably progress better than others through the further passage of time.  The interpretation of these artefacts is dependent upon who views them and for what purpose they are being viewed.  Johnson argues a photograph is not an absolute direct copy of its subject, but rather the transmission of a reality that signifies different meanings to different people.  (Johnson, 1977-78)  For example, a family member will view images in their family album very differently to how a social historian will view them.  In that sense there is a distinct difference between ‘history’ that has been written or recorded about the past, than to the actual past itself. (Jenkins, 1991)

A variety of different histories are formulated about these artefacts over the passage of time through the different people involved with their categorisation.  These different histories can be recalled then both embellished and modified to suit the needs of the particular party interested.  In terms of photographs specifically, they can become the site for inscribing alternate histories onto the ones the images otherwise purport to depict, (Schlak, 2009)  These histories could be referred to as the ‘meme’ in terms of the classical explanation, which details an element of culture that may be considered to be passed on by non-genetic means, especially by imitation. (Dawkins, 1976)  Some of these histories are forgotten or actually disappear altogether, as they compete against each other to be physically stored in our brains (Blackmore, 1999), but the physical artefact they relate to can often still remain in existence.  These remaining artefacts can then be lost or misplaced for many years until they are found again, some are archived and some remain locked in collections, unseen for a generation or more. It is only by unforeseen discovery that a researcher would happen to open these unlabelled or un-catalogued boxes (or Hardman's biscuit tins perhaps) holding these unseen artefacts (or negatives perhaps).  What is certain is that these storage places will hold forgotten secrets waiting to be rediscovered.

As further time elapses, the archive, or collection, or album is once again interrogated and the histories are once again recalled, recreated or reconnected by other areas of research.  The event once again becomes, or is made significant and thus life is breathed back into the artefact once more.