Revealing early photography in Birmingham through the practice of Jo Gane and George Shaw (1818 –1904).

Gane, Jo (2026) Revealing early photography in Birmingham through the practice of Jo Gane and George Shaw (1818 –1904). Doctoral thesis, Birmingham City University.

Preview	Text Jo Gane PhD Thesis Volume 1_Final Version_Final Award May 2026.pdf - Accepted Version Download (41MB)
Preview	Text Jo Gane PhD Thesis Volume 2_Final Version_Final Award May 2026.pdf - Accepted Version Download (133MB)

Abstract

This PhD uses my art practice to understand and articulate photographic history. My research creates contemporary artwork made with photographic materials and processes; the calotype, daguerreotype and wet plate collodion, that are congruent with those used during the historical period under investigation (1839 – 1857). This making process brings life to new knowledge about the early development of photography in Birmingham.

The aim of my research is to articulate my understanding of the work of George Shaw (1818 – 1904) through the making of new photographs and generate knowledge of its continued importance to photographic practice today. The catalysts for my research are material image objects by Shaw made between c.1842 – 1855 in a private collection, in the National Science and Media Museum and in the Musée D’Orsay. These collections contain 30 daguerreotypes and 26 calotype photographs along with related images, correspondence, notebooks and ephemera. Shaw’s labour with photographic materials is important to photographic history and art practice today but is under-represented. My approach to photography as a material process highlights stories of industrial manufacturing in the Midlands and develops an understanding of the importance of place and material to both contemporary and historical practice.

This work sits across photographic history, science and contemporary art practice, offering contributions to the fields of history and art practice. In this study, re-creative practice operates as a starting point for an imaginative exploration of process activated by tactile and sensory experience. I write this as re-creation, rather than recreation to separate the repetition of making with congruent historical photographic materials and foreground the creative act. This creative practice-led approach generates an understanding of photography as both a historical collaborative practice and of its role in in contemporary socially engaged photographic practices.

Item Type:	Thesis (Doctoral)
Dates:	Date Event 11 May 2026 Accepted
Uncontrolled Keywords:	Recreative practice, photographic history, industrial history, tacit knowledge, daguerreotype, calotype, material, socially engaged photography, collaboration, landscape.
Subjects:	CAH20 - historical, philosophical and religious studies > CAH20-01 - history and archaeology > CAH20-01-02 - history of art, architecture and design CAH25 - design, and creative and performing arts > CAH25-01 - creative arts and design > CAH25-01-02 - art CAH25 - design, and creative and performing arts > CAH25-01 - creative arts and design > CAH25-01-04 - cinematics and photography
Divisions:	Arts > Art and Design Doctoral Research College > Doctoral Theses Collection
Depositing User:	Louise Muldowney
Date Deposited:	29 Jun 2026 09:52
Last Modified:	29 Jun 2026 09:52
URI:	https://www.open-access.bcu.ac.uk/id/eprint/17085

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