Supervisory team: Professor Dan Hicks (Oxford) and Dr Sadie Watson (MOLA).
Co-supervised by Dan Hicks (Professor of Contemporary Archaeology, Oxford) and Dr Sadie Watson (Project Officer, MOLA), the research will re-assess the status of the photographic image in the practice of archaeological fieldwork and documentation in the digital age. Studying the tens of thousands of photographs taken and archived by MOLA in the course of more than 40 years of professional practice on development projects from the City of London to national infrastructure projects such as High Speed 2, the research will apply approaches from the study of photography in the History of Art and Visual Anthropology to the study of historic archaeological photography and the reflexive study of archaeological fieldwork and the creation of archaeological knowledge of the human past. The subjects of photographs will range from excavations of prehistoric, Roman, medieval or modern sites to standing buildings, artefacts, or fieldwork in process.
The study of historical and changing contemporary practices, genres and norms of archaeological photography offers a unique opportunity to study the place of visual culture in the production of knowledge of the past. The research will address the idea of “photological knowledge” in relation to questions of time, archive, and objectivity – moving beyond longstanding literatures on the social construction of heritage in order to look at the visual enactment of the human past through the photography of archaeological deposits – soils, scales, artefacts, and so on.
The collaborative nature of the project will facilitate research that is genuinely embedded within field projects across the UK, from London’s Square Mile to rural landscapes. This will make possible a unique extended case study for observing and reflecting on photography as a practice in the field, and its afterlives both in the museum archive and both formally and informally across social media. Particular themes may include the different modes of ‘working shots’, technical field photography as ‘preservation by record’, and reportage or journalistic photography; tensions between fieldworkers’ photos and ‘professional’ photography; the changing presence of the human subject in the frame of archaeological photographs; new drone technologies creating new forms of aerial photography; and archaeological approaches to the sheer scale of the digital record, and its preservation. The researcher will have full access to the unique photographic archive of MOLA, as well as the ongoing production of photographic images in fieldwork through the organisation’s contemporary practice, and may also choose to study the use of archaeological imagery in museum displays and publications.