Access to Edward Chambre Hardman's collection of 142,500 pictures in Liverpool, is being discussed with members of the public.

The project at the late artist's home, at 59 Rodney Street, aims to be a focal point for the regeneration of the Hope Street Quarter of the city.

Hardman, who used a technique to show the camera can lie, was one of the UK's most successful photographers, between the 1920s and 1960s.

[The house] provides a major opportunity to integrate the preservation of this heritage asset with Liverpool's Hope Street Quarter

David Porter, National Trust

If the �0.75m funding required for the work is secured, it is hoped it will help Liverpool's bid to become European Capital of Culture 2008.

The public has been discussing the plans with the National Trust, which is leading the project in partnership with the Edward Chambre Hardman Trust and Liverpool City Council.

The trust has applied for �760,000 from the Heritage Lottery Fund (HLF) for the work, which it hopes to secure later this month.

The full contents of the house would be preserved

If it is successful, a further �500,000 will be invested by the trust in repairing the Rodney Street house.

David Porter, the trust's area manager, said the public's view was being sought on a number of issues.

He said: "We have been presenting the scheme to conserve and provide access to the house.

"We have also been seeking the views of local people on access arrangements to the house, the educational value of the collection, transport links and the impact the house will have on the continuing regeneration of the area."

'Pictorialism' tradition

The house and its contents would all be preserved under the scheme.

Mr Porter said: "59, Rodney Street provides a major opportunity to integrate the preservation of this heritage asset with Liverpool's Hope Street Quarter.

"If the HLF application is successful...the Edward Chambre Hardman's house and photographic collection will provide a major contribution to Liverpool's European culture bid."

Hardman worked in the photographic tradition of pictorialism, which used devices like soft focus, manipulation and re-touching, to demonstrate how the camera does not always reflect the truth.