The month of May is Photo Month. As part of the month in 2018, I shared on Facebook and Twitter photos of Egyptian-revival architecture around Liverpool. The posts were popular, so I’ve put them all together here. For those interested in photographing them, I’ve included extra information on how I photographed them.
This past year has been an amazing year for me and my photography. From humble beginnings, taking a few photos for fun at the Garstang Museum, I’ve ended up photographing lots of beautiful ancient Egyptian artefacts, providing photography for the Book of the Dead exhibition and having my images up on the wall of the Tate Liverpool.
As I think back over the last year, and look forward to what 2018 has to bring for me, I thought I’d share some of my favourite photos and moments with you from the past twelve months. So, here’s my year in photos, month by month, for 2017.
Having had a bit of a break from photographing artefacts while the Book of the Dead exhibition was being put together, I started back at the Garstang a couple of weeks ago.
Whilst having a bit of an explore of the storerooms, I happened upon some boxes of amulets; I knew immediately these tiny little objects could be great fun to photograph.
I’ve had a lot of fun over the last few years exploring galleries of Egyptian collections with my camera (as a visitor). A lot of it has been hit-and-miss, to say the least, usually because of glass reflections or low light (or a combination of both). But I’ve learnt (the long, hard way) a few things about photographing artefacts in museum galleries. So, for those of you who’d like to improve your photography skills for museum visits, I’d like to share a few tips and tricks I’ve picked up over the years (if your photography’s up to scratch, then here’s a post with some pretty pictures to enjoy).
On Friday, 28 April 2017 at 9.45 am, I was sitting outside the World Museum in Liverpool waiting impatiently for it to open. Why? It was the official opening of the newly refurbished and expanded Egyptian galleries we’d been waiting nearly two years to see.
I headed straight up to the third floor with my trusty camera in hand. Even before getting into the galleries, I was impressed.
Last week, I had my first proper session in the photographic suite. I spent the day in near darkness, photographing a couple of pages from the Book of the Dead.
But why were you in near darkness?, I hear you cry. Because of my arch-nemesis: reflections.
The papyri are encased in sheets of glass, which were cleaned beautifully by some of the museum interns before I photographed them. However, the now extra-clean glass was was extra shiny, and therefore extra reflective. Although the walls and ceiling in the suite are painted black, even low amounts of light were reflecting off the light fittings in the ceiling back down onto the glass.