When I lifted the first glass plate from the dirt floor of the cowshed, the excitement was overwhelming. With the light of a candle, I could see the image of Britannia in her armour holding a trident, and I knew that I wasn’t dealing with an average collection of stereotyped portraits that were so common for the period.
These dry glass plates, around 1000, gave away their age as well as the Edwardian fashions and the war portraits. The dates became more precise, being between 1907 and 1917. The photographer’s name, Herbert John Pardey, remained a mystery a little longer.
It is important to remember that his clientele was limited by the distance covered by horse and cart and that a generalist covered everything from weddings to funerals, community events to social life, and commercial to state contracts. Pittsworth was his territory.
Herbert’s vision is as interesting as it is varied. There are, of course, the bread and butter shots and the standard weddings taken by all country photographers, but his successful quest was to expand his visual language into a larger narrative. His sense of humour is ever-present and his approach to humanity obviously was appreciated in the main street of Pittsworth.
He responded to his personal need to escape routine, a common issue for the practising professional. One needs to try new avenues, listen to inner voices, and explore the constraints of a 7×5 frame. It is the challenge to visualise the inner struggles of the sitter, express the pathos of country life and represent the spirit of the land. He did this in many ways; by framing an image within its negative space, with the choice of subject and expressions and by using inner tensions, such as contrast and polarities.
Well before the photographic language was codified, Herbert was searching for his own. Importantly, he had control over the shutter release which was his moment to express what he saw and understood.
In exhibitions, one often looks for the reflections of other photographers. As it comes to mind, you might find hints of J.H. Lartigue, but also devoid of plagiarism, the more confronting style of Richard Avedon’s “The American West” series, whereby using a white background, he forces the viewer to consider the emotions of his sitter. We had the same intentions and, without prejudice, have enlarged prints beyond their historical limitations.
Herbert John Pardey well deserves the recognition of a show and The Maud Street Photo Gallery is proud to host the exhibition.
Eric Victor
