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Egypt's Valley of the Kings.
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The ancient burial place of the Pharaoh Tutankhamun.
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The discovery of his tomb in 1922
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made the archaeologist Howard Carter a global celebrity.
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But it was another member of Carter's team
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who played the crucial role in telling his story to the world.
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He doesn't appear in the excavation photographs,
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because he was the man who took them.
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His camera made the world fall in love with the boy king, Tutankhamun.
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And helped fuel my own enduring fascination
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with this remote and mysterious culture.
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I wanted to find out more about this photographic pioneer
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who created such wonderful pictures
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in the most testing conditions imaginable.
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To help me, I enlisted a photographer
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who uses similar techniques.
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- OK, hold still.
- CAMERA CLICKS
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It's fine. Yes!
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Together, we'll investigate the work
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of an unsung hero of British photography,
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and travel back to the site of his greatest assignment.
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We'll discover how he pushed the limits of 1920s technology
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in the grit and heat of the desert,
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and created a remarkable treasure store of images.
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This is a beautifully laid out picture.
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Well thought out. It's like an old master, in a way.
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We'll recreate his darkroom in the depths of an ancient tomb.
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And to think we're right, literally,
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exactly where Burton would have developed his own negatives.
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And reveal the enduring legacy of his work.
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They are one of the basic, go-to sources for us.
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Anyone who's studying Tutankhamun uses those.
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And we'll learn why his techniques are still used today
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to unpack the secrets of Egypt's ancient past.
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This is the story of the most famous photographer
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you've probably never heard of.
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His name was Harry Burton -
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The Man Who Shot Tutankhamun.
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BIRDS CHIRPING
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3,000 years ago, a stately procession of priests and mourners
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made their way through these desert hills,
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a few miles west of the ancient city of Thebes,
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or Luxor as it's called today.
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They came to bury a young man who'd died suddenly and mysteriously,
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nine years into his reign as Pharaoh.
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Tutankhamun's body, and the precious artefacts buried with it,
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lay undiscovered for centuries.
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In the early years of the 20th century,
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British archaeologist Howard Carter was determined to find them.
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This dig-house in the Valley of the Kings
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was headquarters for his long quest,
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bankrolled by the wealthy aristocrat Lord Carnarvon.
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They employed a small army of local workmen,
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who shifted thousands of tonnes of sand and stones.
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But, after eight years of searching,
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they'd failed to find anything of significance.
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And Carter's time was running out.
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Lord Carnarvon was about to cut off Carter's funding.
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But everything changed when one of the workmen brushed away the sand,
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to reveal a hidden staircase leading to an underground tomb.
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The date?
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4th of November 1922.
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Two weeks later, at the Winter Palace Hotel in Luxor,
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Carter and Carnarvon announced the news to the world.
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They'd solved one of archaeology's greatest mysteries -
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they'd uncovered the tomb of the Pharaoh Tutankhamun.
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And that was just the start of the story.
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BIRDS CHIRPING
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Carter knew that he needed a crack team to help him excavate the site,
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and to tell the stories of the treasures it contained.
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So he sent out a call for archaeology's brightest and best -
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diggers, conservation experts, professors of hieroglyphics.
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And a photographer called Harry Burton.
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CAMERA CLICKS
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For the next ten years, Burton had a front seat
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as the greatest story in the history of archaeology
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unfolded in the Egyptian desert.
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His camera recorded in exquisite detail
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the extraordinary artefacts from the tomb...
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..and captured each chapter in this dramatic story of revelation.
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He created images that gripped the world's imagination,
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and played a crucial role in creating the legend of Tutankhamun.
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The search for this master of British photography
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begins a world away from the heat and dust of the desert.
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Most of Carter's wonderful things are still in Egypt.
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But for anyone with a passion for ancient history,
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there's a store of other treasures from his excavation much to home.
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This is the Griffith Institute in Oxford.
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Tucked away in the basement are Howard Carter's meticulous archives
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of his ten-year adventure in the Valley of the Kings.
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Like so many great adventures,
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it all began with a map.
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This is Carter's original map of the Valley of the Kings.
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- So there's a sort of grid system that he drew?
- That's right.
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He divided the Valley of the Kings into a series of grid squares,
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and he worked through them systematically
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in the search for Tutankhamun's tomb
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until there was just one grid square remaining,
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close to the entrance of the tomb of King Ramses VI.
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This is where they found Tutankhamun's tomb?
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This is where they found the first steps leading to a tomb.
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At this point, they didn't know that it was King Tutankhamun's tomb.
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Well, he must have been terribly excited. Was he?
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Yes. Certainly. This is Carter's original diary from 1922.
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And if we turn to the page for Saturday the 4th of November,
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we see he writes, across the page,
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"First steps of tomb found."
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This is quite unusual for Carter.
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Normally, he stuck very tightly and neatly to the lines.
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- But here he...
- This was just exciting!
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Yes, just about as excited as Carter gets.
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One of those pivotal moments, isn't it?
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It's passed into popular folklore,
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everyone knows Carter found wonderful things.
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Carter was no mere treasure hunter.
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He was a new breed of archaeologist
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who wanted to excavate and record his finds with scientific rigour.
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Within days of uncovering the stairway,
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he began taking photographs,
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but he wasn't happy with the results.
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Carter was a trained artist, he was a great painter,
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also a skilled photographer,
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but I think he realised that he would need a real professional
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in order to take photographs inside the tomb,
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in what were going to be very, very difficult conditions.
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It was very dark, packed with objects.
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And so he needed a real professional to do the work.
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And I suppose he had to do other things too, didn't he?
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He had an awful lot on his plate, of course,
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during the excavation of the tomb.
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This was Carter's original team.
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Including the man who stayed by his side
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through every twist and turn of the excavation.
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Which one's Burton?
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So this is Howard Carter in the centre,
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and just over his shoulder is the photographer, Harry Burton.
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'Ancient Egypt has intrigued me for years.
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'But I'd never heard Burton's story.
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'He shunned the limelight, although his pictures made Carter a star.
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'I want to find out more about this elusive man.
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'How did he create the wonderful photographs
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'that Egyptologists still study today?
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'And, like Carter, I've recruited a photographer to work with me.'
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Just fantastic.
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'Harry Cory Wright still shoots today with a large format camera,
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'like the one Burton used to make pictures like these.'
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What a beautiful thing.
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'But there's one crucial difference between Harry's camera and Burton's.
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'Harry shoots on film,
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'whereas Burton used an earlier technology called glass plate.
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'His original negatives are another treasure
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'in the archive of the Griffith Institute.
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'And they are full of clues to his photographic methods.'
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Look, Margaret, look at these.
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So these are the glass plates themselves,
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that would have been in the camera at the time.
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Why did he use glass plates? Wasn't there film?
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Well, I think there was film around,
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but I don't think it was in any way as stable.
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The technology of film was just developing at the time,
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but I think glass was that much more predictable, really.
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Glass plate negatives had been used since the early days of photography.
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A thin glass sheet was coated with silver nitrate emulsion,
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which reacted to light when the shutter was released.
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CAMERA CLICKS
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The negatives were then developed to make prints.
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Burton's expertise with this process is extraordinary.
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How did he make these delicate masterpieces
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in hostile desert terrain?
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It's incredibly fragile.
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Imagine you're developing this, and it's dusty, and also...
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I can't tell you, when it's wet...
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Wet emulsion, it just gathers dust, gathers everything.
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It's just extraordinary how good nick these things are in.
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What I think is so amazing about these
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is that this tells the whole story of the excavation.
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This is what photography at its best can do,
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which is show high drama.
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Then, also, it can be lyrical and sweet.
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You know, his head coming through it,
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and the gentleman at the back here. All these other incidental things.
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I want to get down and have a look closely in here,
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and see what cufflinks he was wearing.
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- And his ring.
- His ring. Yeah, exactly.
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And what do you feel, Cisco, when you're working with this material?
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First of all, that you have to be very careful.
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These are very important documents.
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Very fragile.
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But it's nice to see people at work.
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We read about Carter, about the different members of the team,
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so you get to know them better.
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And there's something very, very exciting, I think,
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about how what we are looking at, we're looking at the originals.
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So they have the chemicals
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that reacted to the light that was there.
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And the extraordinary thing about photography is that light can just,
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kind of, keep something charged and held for a long time.
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And in this case, you know, for nearly 100 years.
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I've asked Harry to come with me to Egypt and take photographs there
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using Burton's methods and equipment.
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Together, we'll investigate how he created such flawless images
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using analogue technology that he must have pushed to its limits.
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This is a beautifully laid out picture. Well thought out.
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Very much about the people and the human side of it.
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It's like an old master, in a way, the way he's kind of composed that.
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I mean, this one here, this has a sort of journalistic quality to it,
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which is very different to those others.
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By the time Carter came calling,
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Harry Burton had worked in Egypt for more than ten years.
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It was a long way from his modest childhood in Stamford, Lincolnshire.
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His father was a cabinet maker or a carpenter.
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So a pretty humble beginning.
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But Burton seems to have been clever,
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he seems to have been going to school,
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and at some point, as a teenager, we don't know how,
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he came into contact with a man from a prominent local family,
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a man named Robert Henry Hobart Cust.
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Cust's patronage opened new doors for Burton.
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He left Stamford to work as personal assistant
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to this wealthy art enthusiast, who had a home in Italy.
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He invites Burton, when Burton's about 17, to join him in Florence.
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As a secretary, basically. A secretary and a companion.
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And it's there that Burton enters a whole new world.
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They wind up living in the centre of Florence,
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right near the Ponte Vecchio, in a beautiful apartment,
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and threw wonderful parties and knew all these Brits
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who were flooding into Florence and soaking up the atmosphere
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of Renaissance Italy, and a warmer climate.
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We don't know exactly how Burton picked up photography,
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or how he learned it.
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But at this time, in the 1880s, 1890s,
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it would have been really useful for him as Cust's assistant
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to be able to take photographs when they were visiting museums,
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visiting private collections,
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visiting cathedrals for Cust's research.
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It clearly becomes a real passion for him,
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and he seems to start to get a reputation for it.
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In Florence, Burton met an American called Theodore Davis,
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a multimillionaire with a passion for Egypt.
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He'd made a mint, and possibly some dodgy deals, in New York City,
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he had a huge house that he'd built Newport, Rhode Island,
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and he had retired and liked to spend his winters in Egypt
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and in Italy.
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Davis could afford to do
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what the Egyptian government at that time couldn't.
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The Egyptian government was flat broke after bankruptcy in the 1870s.
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And so to have Davis's money was perfect.
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And Davis was given the plum concession
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of excavating in the Valley of the Kings.
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Davis recruited Burton to his team -
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he worked as an archaeologist at first,
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but soon began to focus on photography instead.
253
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When Davis retired home to America in 1914,
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Burton stayed on to work for the New York Metropolitan Museum,
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who had their own team in the Valley of the Kings.
256
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By 1922, he was known as the best excavation photographer in Egypt.
257
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But he was about to begin the assignment
258
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that would earn him international recognition.
259
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Because Howard Carter had just made the discovery of the century.
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So this is the real entrance, and, in fact, right here,
261
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Carter would have been coming down, and underneath -
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you can't see because there are these metal stairs -
263
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but that's the real step that he saw.
264
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4th of November 1922.
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This one step change the course of Egyptological history.
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For Carter and Carnarvon, this was a time of triumphant vindication.
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Day by day, step by step,
268
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they dug their way down to the Pharaoh's tomb.
269
00:15:10,120 --> 00:15:13,440
So this, you have to imagine, when Carter came here,
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was actually filled with dust and limestone chipping and sand...
271
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Why...why was it full of all that stuff?
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Ah, because when you re-bury, you actually fill it all up,
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so thieves don't get through.
274
00:15:25,800 --> 00:15:27,280
Except of course, the thieves did,
275
00:15:27,280 --> 00:15:30,320
because there was a little passageway, a tunnel,
276
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that the thieves had made through all of this limestone,
277
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and so, of course, when Carter was looking at this,
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he was probably...there was foreboding in his heart, thinking...
279
00:15:40,280 --> 00:15:41,720
The thieves might have emptied it?
280
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"What will happen when we get down?
281
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"Will there be anything? Will there not be anything?"
282
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This was where Carter peered into the darkness,
283
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and saw a chamber packed to overflowing with wonderful things.
284
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- So this is the antechamber.
- Yep. Here it is.
285
00:15:55,760 --> 00:15:59,000
With, now, a false floor. Presumably it was lower down, wasn't it?
286
00:15:59,000 --> 00:16:01,400
- Yes.
- And this, the mummy...
287
00:16:01,400 --> 00:16:03,400
'Many things have changed here
288
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'since the great Pharaoh was laid to rest all those centuries ago.
289
00:16:08,400 --> 00:16:11,520
'His remains have been taken from the sarcophagus
290
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'and placed in a climate-controlled glass case.
291
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'And all the extraordinary objects buried with him
292
00:16:18,000 --> 00:16:20,960
'were removed long ago for safekeeping in museums.
293
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'It's hard to imagine what this empty space looked like
294
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'when Carter discovered it full of the Pharaoh's treasures.
295
00:16:29,560 --> 00:16:34,080
'But at least we have Burton's images to turn back time.'
296
00:16:34,080 --> 00:16:37,760
So this is one of Burton's photographs of this end of the room.
297
00:16:37,760 --> 00:16:41,400
- Mm-hm. Yeah.
- And there's the chariot wheels...
298
00:16:41,400 --> 00:16:43,400
Right, these ones over there.
299
00:16:43,400 --> 00:16:44,440
And these are very nice,
300
00:16:44,440 --> 00:16:47,160
because you've got the little stools that Tutankhamun sat on.
301
00:16:47,160 --> 00:16:48,240
He actually sat on?
302
00:16:48,240 --> 00:16:50,600
Or they were there for him to sit on in the afterlife?
303
00:16:50,600 --> 00:16:53,480
No, I think they were actually things that he used.
304
00:16:53,480 --> 00:16:56,040
And what's nice is that, even in the Burton picture,
305
00:16:56,040 --> 00:16:58,160
sometimes you get the sense of scale,
306
00:16:58,160 --> 00:17:00,280
you get small things and big things.
307
00:17:00,280 --> 00:17:03,000
When he was a child, when he was grown up.
308
00:17:03,000 --> 00:17:04,800
And that's the back wall.
309
00:17:04,800 --> 00:17:07,720
Yes, which had more chariotry and a little bit of...
310
00:17:07,720 --> 00:17:09,800
you know, smaller boxes.
311
00:17:09,800 --> 00:17:12,280
You can see nearly all of two couches. Can't you?
312
00:17:12,280 --> 00:17:13,960
Yes, the hippo couch is there,
313
00:17:13,960 --> 00:17:16,840
and then you've got the big curved tail on this one here.
314
00:17:16,840 --> 00:17:19,280
- What are these things?
- These are the food boxes.
315
00:17:19,280 --> 00:17:20,760
Ah, the picnic!
316
00:17:20,760 --> 00:17:23,560
His picnic, so he could not be hungry in the afterlife.
317
00:17:23,560 --> 00:17:26,760
And then some of the boats and coffers up there.
318
00:17:26,760 --> 00:17:29,160
And you can see the walls are still the same, can't you?
319
00:17:29,160 --> 00:17:30,600
Mm-hmm. Absolutely.
320
00:17:30,600 --> 00:17:32,960
Just, sort of, this big, blank, room.
321
00:17:32,960 --> 00:17:35,880
But what gave it its sort of excitement
322
00:17:35,880 --> 00:17:37,480
was all of the stuff in it.
323
00:17:37,480 --> 00:17:39,600
It really was chock-a-block.
324
00:17:39,600 --> 00:17:42,040
Right and then this is the other end of the room,
325
00:17:42,040 --> 00:17:46,360
with those two guardian statues, so over there...
326
00:17:46,360 --> 00:17:49,320
There's one here, this one here,
327
00:17:49,320 --> 00:17:52,440
and then that one flush to that wall.
328
00:17:52,440 --> 00:17:54,240
But not symmetrical to this one?
329
00:17:54,240 --> 00:17:56,440
No. They're a little bit off centre.
330
00:17:56,440 --> 00:17:59,800
Because the opening wasn't actually completely centred.
331
00:18:01,080 --> 00:18:03,880
- But they are guarding the opening?
- Mm-hmm. Yeah.
332
00:18:03,880 --> 00:18:05,880
And it wasn't as wide as this, either, was it?
333
00:18:05,880 --> 00:18:08,040
No, no. Of course, this has been broken open,
334
00:18:08,040 --> 00:18:10,200
because ultimately they had to extend it
335
00:18:10,200 --> 00:18:13,760
so they could take the shrines apart and bring them out.
336
00:18:13,760 --> 00:18:15,600
It's only because of this photograph
337
00:18:15,600 --> 00:18:18,200
that we can actually see the wall back in position.
338
00:18:18,200 --> 00:18:19,880
Yes. Sadly, with archaeology,
339
00:18:19,880 --> 00:18:22,960
you have to destroy if you're going to discover anything,
340
00:18:22,960 --> 00:18:26,480
but you'd need a meticulous record like Burton's photographs
341
00:18:26,480 --> 00:18:28,400
if you're going to be successful.
342
00:18:29,400 --> 00:18:32,040
This was an unparalleled discovery -
343
00:18:32,040 --> 00:18:35,760
an almost completely intact royal burial.
344
00:18:35,760 --> 00:18:38,440
It took months to record the tightly-packed treasures
345
00:18:38,440 --> 00:18:40,000
in the antechamber.
346
00:18:41,560 --> 00:18:43,760
First, Burton took establishing shots
347
00:18:43,760 --> 00:18:45,680
to record the position of objects,
348
00:18:45,680 --> 00:18:48,080
like the extraordinary animal-shaped couches.
349
00:18:49,200 --> 00:18:53,400
Then he took close-ups of each carefully numbered artefact.
350
00:18:53,400 --> 00:18:56,200
This is one of the great treasures of the tomb,
351
00:18:56,200 --> 00:18:59,520
a throne made of timber overlaid with gold.
352
00:18:59,520 --> 00:19:02,920
On the backrest, an image of the Pharaoh and his queen,
353
00:19:02,920 --> 00:19:04,800
bathed in the sun's rays.
354
00:19:09,120 --> 00:19:10,920
When Burton was working,
355
00:19:10,920 --> 00:19:13,920
colour photography was still in its infancy.
356
00:19:13,920 --> 00:19:17,040
His meticulous black-and-white images were supplemented
357
00:19:17,040 --> 00:19:19,960
by Carter's detailed notes and drawings.
358
00:19:19,960 --> 00:19:23,400
They record the colours Burton's camera couldn't capture.
359
00:19:29,040 --> 00:19:33,080
It was only when the antechamber was fully recorded and emptied
360
00:19:33,080 --> 00:19:34,920
that Carter could address the mystery
361
00:19:34,920 --> 00:19:37,680
of what lay behind this sealed entrance.
362
00:19:37,680 --> 00:19:40,760
Did this wall hide the Pharaoh's burial chamber?
363
00:19:48,240 --> 00:19:51,480
Photographer Harry Cory Wright has arrived in Egypt,
364
00:19:51,480 --> 00:19:53,120
and he's ready to start work.
365
00:19:55,400 --> 00:19:57,280
He's taken some wonderful pictures
366
00:19:57,280 --> 00:20:00,360
with his large format camera over the years,
367
00:20:00,360 --> 00:20:04,040
but this will be his first attempt to shoot in desert conditions
368
00:20:04,040 --> 00:20:08,360
using the same techniques Burton employed almost 100 years ago.
369
00:20:15,800 --> 00:20:21,200
Medinet Habu is the mortuary temple of the Pharaoh Ramses III,
370
00:20:21,200 --> 00:20:25,320
who ruled in Egypt around 150 years after Tutankhamun's death.
371
00:20:28,680 --> 00:20:31,360
It's a location Burton also photographed
372
00:20:31,360 --> 00:20:33,080
before he worked with Carter.
373
00:20:37,760 --> 00:20:39,320
Gosh!
374
00:20:39,320 --> 00:20:40,440
What a place!
375
00:20:40,440 --> 00:20:44,560
So, here we are, just inside the defensive walls,
376
00:20:44,560 --> 00:20:47,120
and just look at the way it's sort of crumbling away.
377
00:20:47,120 --> 00:20:50,040
You can see every brick there, sort of made,
378
00:20:50,040 --> 00:20:51,800
and now just tumbling down.
379
00:20:54,920 --> 00:20:57,880
BIRDS CHIRPING
380
00:21:02,240 --> 00:21:04,560
When Burton began work with Carter,
381
00:21:04,560 --> 00:21:08,840
he'd already taken thousands of pictures in conditions like these.
382
00:21:08,840 --> 00:21:12,000
It's a good place to begin my own experiments
383
00:21:12,000 --> 00:21:14,360
using Burton's methods and equipment.
384
00:21:22,960 --> 00:21:26,040
My Gandolfi camera is almost identical
385
00:21:26,040 --> 00:21:28,280
to Burton's 1920s original,
386
00:21:28,280 --> 00:21:31,920
apart from the addition of a modern lens and shutter.
387
00:21:31,920 --> 00:21:35,640
I've adapted it to use glass plate negatives, like Burton did.
388
00:21:38,320 --> 00:21:41,080
So here is the heart of the thing,
389
00:21:41,080 --> 00:21:43,880
which is the glass negative that's in here.
390
00:21:43,880 --> 00:21:46,800
This is just an extraordinarily intolerant environment
391
00:21:46,800 --> 00:21:49,160
to have something as delicate as this.
392
00:21:49,160 --> 00:21:51,680
How Burton did it, I can't understand it,
393
00:21:51,680 --> 00:21:54,640
because he had boxes of these things.
394
00:21:54,640 --> 00:21:59,240
Burton worked in an age before light meters were commercially available.
395
00:21:59,240 --> 00:22:02,920
He knew from experience how to juggle the variables of aperture
396
00:22:02,920 --> 00:22:06,400
and shutter speed to get good exposure in this intense light.
397
00:22:09,480 --> 00:22:12,640
It's confusing to me, it feels so much brighter
398
00:22:12,640 --> 00:22:16,360
than what I'm used to working with in our temperate climate at home.
399
00:22:16,360 --> 00:22:18,760
About there. So a spot reading on here.
400
00:22:18,760 --> 00:22:21,600
On the rock there.
401
00:22:21,600 --> 00:22:23,880
And we're going to go one second at 45.
402
00:22:36,280 --> 00:22:37,880
CAMERA CLICKS
403
00:22:44,920 --> 00:22:46,960
I always find this amazing, this moment,
404
00:22:46,960 --> 00:22:50,960
after that rather beautiful pause of one second,
405
00:22:50,960 --> 00:22:54,400
which, sort of, drank in all of that scene that we've got out there.
406
00:22:54,400 --> 00:22:58,560
Now all of that information is sitting in this sliver of emulsion
407
00:22:58,560 --> 00:23:00,720
that sits on top of the glass slide.
408
00:23:00,720 --> 00:23:02,440
So I'm going to tuck it away...
409
00:23:04,760 --> 00:23:06,600
..and then, er... Can't wait.
410
00:23:06,600 --> 00:23:10,840
But it's held in this sort of tension until it's developed.
411
00:23:10,840 --> 00:23:12,240
Let's see what happens.
412
00:23:14,840 --> 00:23:18,320
Glass plate photography is no job for the impatient.
413
00:23:19,440 --> 00:23:23,320
Every shot must be carefully considered and executed.
414
00:23:24,640 --> 00:23:29,120
Harry Burton went through the same rigmarole thousands of times.
415
00:23:29,120 --> 00:23:30,680
Because Carter wanted a complete
416
00:23:30,680 --> 00:23:33,000
photographic record of his excavation.
417
00:23:34,560 --> 00:23:39,040
Once the antechamber was emptied, he moved on to other areas of the tomb.
418
00:23:39,040 --> 00:23:43,360
This fearsome statue of Anubis, the Egyptian god of mummification,
419
00:23:43,360 --> 00:23:45,960
stood sentinel over the Pharaoh's treasury.
420
00:23:48,840 --> 00:23:52,000
Inside, Carter discovered a gilded shrine
421
00:23:52,000 --> 00:23:54,680
containing Tutankhamun's embalmed organs,
422
00:23:54,680 --> 00:23:56,440
protected by four goddesses.
423
00:23:57,680 --> 00:24:02,920
"It was," said Carter, "the most beautiful monument I have ever seen.
424
00:24:02,920 --> 00:24:06,640
"It made one gasp with wonder and astonishment."
425
00:24:09,360 --> 00:24:12,400
Burton's photographs are a wonderful record for us
426
00:24:12,400 --> 00:24:14,400
of how the tomb was when they found it,
427
00:24:14,400 --> 00:24:17,960
and they're beautiful to look at. But are they still any use?
428
00:24:17,960 --> 00:24:20,080
- Do you still use them?
- Oh, absolutely.
429
00:24:20,080 --> 00:24:23,560
I mean, they're one of the basic, go-to sources for us.
430
00:24:23,560 --> 00:24:26,880
Anyone who's studying Tutankhamun uses those.
431
00:24:26,880 --> 00:24:28,680
I'm working with a group of other people
432
00:24:28,680 --> 00:24:30,800
on the sticks and staves of Tutankhamun.
433
00:24:30,800 --> 00:24:34,120
The sticks and staves have two purposes, one of course is,
434
00:24:34,120 --> 00:24:38,080
if you need it, but it is also very much a symbol of authority.
435
00:24:38,080 --> 00:24:40,440
And it's part of your royal regalia.
436
00:24:40,440 --> 00:24:45,280
Plus, certain sticks and staves have importance and significance
437
00:24:45,280 --> 00:24:47,480
in the transition to the afterlife.
438
00:24:47,480 --> 00:24:50,160
So the Medu staff, and the Dis staff et cetera,
439
00:24:50,160 --> 00:24:52,360
and there are various spells associated with them.
440
00:24:52,360 --> 00:24:55,760
And it was extraordinary, because with the Burton photographs,
441
00:24:55,760 --> 00:24:58,120
some of his close-ups are so meticulous
442
00:24:58,120 --> 00:25:01,360
you can see even the materials that things were made out of.
443
00:25:01,360 --> 00:25:03,400
Could you take photographs like that today?
444
00:25:03,400 --> 00:25:05,880
It's really difficult, because we've been trying,
445
00:25:05,880 --> 00:25:10,760
even with our really hi-tech digital cameras, we do get the colour,
446
00:25:10,760 --> 00:25:15,040
but the resolution is never quite as crisp, one feels,
447
00:25:15,040 --> 00:25:17,680
as Harry Burton's glass plate negatives.
448
00:25:17,680 --> 00:25:19,960
So, have you got any favourites?
449
00:25:19,960 --> 00:25:22,680
- I like this one, with Carter...
- Working.
- Yeah.
450
00:25:22,680 --> 00:25:26,040
With the lamp and the props and everything they had to put in,
451
00:25:26,040 --> 00:25:28,720
cos they couldn't just work in the space, could they?
452
00:25:28,720 --> 00:25:31,880
They had to make sure everything stayed in position.
453
00:25:31,880 --> 00:25:33,640
And then move it one at a time.
454
00:25:33,640 --> 00:25:37,840
And, I mean, in a way this is a great testament to Carter's work,
455
00:25:37,840 --> 00:25:39,080
as an archaeologist.
456
00:25:39,080 --> 00:25:42,720
The hours he must have spent, sort of sitting there,
457
00:25:42,720 --> 00:25:46,760
in the hot...sort of swelteringness of the tomb,
458
00:25:46,760 --> 00:25:50,440
meticulously recording every tiny piece of information.
459
00:25:50,440 --> 00:25:54,880
And really, between Burton's photographs and Carter's notes,
460
00:25:54,880 --> 00:25:57,800
this really does tell you how archaeology should be done.
461
00:25:59,200 --> 00:26:02,400
In the ten years it took to excavate the tomb
462
00:26:02,400 --> 00:26:06,040
Burton created an archive of more than 1,400 images.
463
00:26:07,560 --> 00:26:09,240
And after each shot,
464
00:26:09,240 --> 00:26:12,440
the exposed negative had to be removed from the camera
465
00:26:12,440 --> 00:26:14,840
and swapped for a new glass plate.
466
00:26:14,840 --> 00:26:18,040
Which is more complicated than you might imagine.
467
00:26:18,040 --> 00:26:22,440
It's obviously a light, tight tent. I've got the glass negative,
468
00:26:22,440 --> 00:26:25,480
and I've got to take it out of the dark slide and put it into a box,
469
00:26:25,480 --> 00:26:26,520
and put a new one in.
470
00:26:27,480 --> 00:26:31,000
And I'm not very good at doing two things at once,
471
00:26:31,000 --> 00:26:33,320
so I've got to really concentrate.
472
00:26:33,320 --> 00:26:35,920
I've done this in a few strange places,
473
00:26:35,920 --> 00:26:37,920
but not quite with a view like that.
474
00:26:40,560 --> 00:26:43,040
Harry's not the only photographer on site.
475
00:26:44,120 --> 00:26:47,080
Archaeologists from the University of Chicago
476
00:26:47,080 --> 00:26:50,560
have been studying this temple complex since the 1920s,
477
00:26:50,560 --> 00:26:52,840
when Carter and Burton worked close by.
478
00:26:55,480 --> 00:26:58,200
Like Burton, the Chicago House unit
479
00:26:58,200 --> 00:27:01,560
pioneered the use of cameras in archaeology.
480
00:27:01,560 --> 00:27:05,520
Yarko Kobylecky and Sue Lezon keep that tradition alive today.
481
00:27:05,520 --> 00:27:07,520
- We'll measure that again.
- Yep.
482
00:27:07,520 --> 00:27:12,360
- Sue.
- Hi.
- Hi. How you doing?
- Gosh, now, tell me, what are you doing?
483
00:27:12,360 --> 00:27:15,200
Well, we're going to attempt to photograph
484
00:27:15,200 --> 00:27:18,640
- this huge block of Nubians.
- Yes.
485
00:27:18,640 --> 00:27:21,640
And the first thing we have to do is make sure
486
00:27:21,640 --> 00:27:23,720
we have some reference,
487
00:27:23,720 --> 00:27:25,440
- which is these scales.
- Right.
488
00:27:25,440 --> 00:27:29,960
- So...
- Importantly, to me, you are using the 10x8 plate camera.
489
00:27:29,960 --> 00:27:31,560
- That's right.
- Now, why?
490
00:27:31,560 --> 00:27:35,400
Why? Because it's the largest resolution that's possible.
491
00:27:35,400 --> 00:27:40,720
But even so, I mean, here we are in 2016, and we've got,
492
00:27:40,720 --> 00:27:42,960
you know, all sorts of digital equipment available,
493
00:27:42,960 --> 00:27:44,800
- but this is still...
- Still the best.
494
00:27:44,800 --> 00:27:46,680
- And it's not just because you love it?
- No, no.
495
00:27:46,680 --> 00:27:49,040
It still completely does the job better than anything else?
496
00:27:49,040 --> 00:27:53,360
At some point, it will come, but as of yet, no.
497
00:27:53,360 --> 00:27:55,040
So this does go right back...
498
00:27:55,040 --> 00:27:58,800
- You know, you can put yourself in Burton's place very easily.
- Yeah.
499
00:27:58,800 --> 00:28:01,800
The Chicago House team is driven by the same ideal
500
00:28:01,800 --> 00:28:04,200
that motivated Burton and Carter.
501
00:28:04,200 --> 00:28:06,800
..on the level. Yeah.
502
00:28:06,800 --> 00:28:09,160
- OK.
- Got it? Great.
503
00:28:09,160 --> 00:28:12,000
This is perfectionism with a purpose.
504
00:28:13,960 --> 00:28:15,200
Now we're level.
505
00:28:16,560 --> 00:28:20,520
The photographs they take today will be collated with hand-drawn plans
506
00:28:20,520 --> 00:28:26,040
and other data to help create a completely accurate record
507
00:28:26,040 --> 00:28:29,280
of an extraordinary and fragile historical site.
508
00:28:34,360 --> 00:28:39,440
The vast majority of Burton's images record artefacts from the tomb.
509
00:28:39,440 --> 00:28:42,080
But he also photographed the archaeologists at work.
510
00:28:44,440 --> 00:28:48,160
In this image, Carter's colleagues examine one of six chariots
511
00:28:48,160 --> 00:28:49,720
discovered in the tomb.
512
00:28:50,840 --> 00:28:54,560
It was a symbol of Egyptian kingship, decorated with gold,
513
00:28:54,560 --> 00:28:56,160
coloured glass and stone.
514
00:28:59,680 --> 00:29:02,680
Harry hopes to create a similar picture today.
515
00:29:08,920 --> 00:29:11,520
What I'm after here is a picture
516
00:29:11,520 --> 00:29:15,080
that has some of the finesse and the elegance
517
00:29:15,080 --> 00:29:16,920
of what Burton was able to do.
518
00:29:16,920 --> 00:29:18,680
I'm looking at a photograph that, perhaps,
519
00:29:18,680 --> 00:29:20,920
gives a little bit of that structure,
520
00:29:20,920 --> 00:29:23,760
of where he's orchestrated the picture a little bit.
521
00:29:23,760 --> 00:29:27,000
I want to try and find a picture that's got...
522
00:29:27,000 --> 00:29:30,800
just some quiet process of everybody at work.
523
00:29:35,960 --> 00:29:37,040
Hello.
524
00:29:43,840 --> 00:29:45,080
Aha!
525
00:29:46,960 --> 00:29:48,400
That's what we're after.
526
00:29:52,120 --> 00:29:54,560
'Photographing people with a camera like this
527
00:29:54,560 --> 00:29:58,800
'brings challenges that you don't come up against with digital.'
528
00:29:58,800 --> 00:30:00,160
If we can get you into position.
529
00:30:00,160 --> 00:30:03,280
Can I ask you to kind of, lean...? I'm thinking sort of just here.
530
00:30:03,280 --> 00:30:04,600
Keep your shoulder...
531
00:30:04,600 --> 00:30:06,400
'Because they're less sensitive to light,
532
00:30:06,400 --> 00:30:08,800
'glass plates need a longer exposure.
533
00:30:08,800 --> 00:30:13,520
'And a patient subject, like Badawi, who works with the Chicago team.'
534
00:30:13,520 --> 00:30:16,080
For four seconds. We'll go for four seconds.
535
00:30:16,080 --> 00:30:19,160
OK, fantastic. If you could just look at me, that's it.
536
00:30:20,480 --> 00:30:22,720
Can you just, kind of,
537
00:30:22,720 --> 00:30:25,800
get a little bit so you're facing me just a tiny bit more.
538
00:30:25,800 --> 00:30:27,160
That's it, yeah.
539
00:30:27,160 --> 00:30:30,080
'Recreating Burton's methods reveals an important secret
540
00:30:30,080 --> 00:30:32,520
'about his pictures of people at work.'
541
00:30:32,520 --> 00:30:35,360
A little more to your left, please. That's it, perfect.
542
00:30:35,360 --> 00:30:38,800
Just kind of look a tiny bit more this way. That's it.
543
00:30:40,360 --> 00:30:43,520
'They may look like the snapshot of a moment in time,
544
00:30:43,520 --> 00:30:46,400
'but Burton must have stage-managed these images -
545
00:30:46,400 --> 00:30:49,400
'asking the archaeologists to stop what they were doing,
546
00:30:49,400 --> 00:30:51,480
'and hold a pose for the camera.'
547
00:30:51,480 --> 00:30:52,520
OK, hold still.
548
00:30:53,520 --> 00:30:55,080
Here we go.
549
00:30:55,080 --> 00:30:59,720
'For a few brief moments, they were acting the part of archaeologists,
550
00:30:59,720 --> 00:31:02,080
'rather than doing the job itself.'
551
00:31:02,080 --> 00:31:05,960
One, two, three, four.
552
00:31:05,960 --> 00:31:08,000
CAMERA CLICKS
553
00:31:08,000 --> 00:31:09,840
Yes!
554
00:31:09,840 --> 00:31:11,920
How exciting. That is so cool.
555
00:31:11,920 --> 00:31:13,120
Thank you very much.
556
00:31:15,200 --> 00:31:18,400
The Chicago House team have this place to themselves.
557
00:31:19,440 --> 00:31:23,040
It was a different story for Burton and Carter in 1922.
558
00:31:24,400 --> 00:31:26,360
Within days of the discovery,
559
00:31:26,360 --> 00:31:30,040
crowds of tourists and journalists descended on the Valley,
560
00:31:30,040 --> 00:31:33,240
eager to glimpse the Pharaoh's treasures.
561
00:31:33,240 --> 00:31:35,960
The media scrum that surrounded the tomb every day
562
00:31:35,960 --> 00:31:38,640
must have come as a real shock to the system
563
00:31:38,640 --> 00:31:41,640
to men more accustomed to dusty anonymity.
564
00:31:41,640 --> 00:31:45,760
In fact, according to Arthur Mace, one of Carter's colleagues,
565
00:31:45,760 --> 00:31:48,680
"The archaeologist usually spends his time
566
00:31:48,680 --> 00:31:51,040
"quietly and unobtrusively enough -
567
00:31:51,040 --> 00:31:53,880
"half the year burrowing, mole-like, in the ground,
568
00:31:53,880 --> 00:31:58,040
"and the other half writing dull papers for scientific journals.
569
00:31:58,040 --> 00:31:59,600
"And now, suddenly,
570
00:31:59,600 --> 00:32:02,120
"he finds himself in the full glare of limelight,
571
00:32:02,120 --> 00:32:05,800
"with newspaper reporters lying in wait for him at every corner
572
00:32:05,800 --> 00:32:09,840
"and snapshotters recording his every movement."
573
00:32:09,840 --> 00:32:14,280
The excitement of the discovery also resonated with Egyptians.
574
00:32:14,280 --> 00:32:16,680
This was, after all, THEIR story.
575
00:32:18,240 --> 00:32:20,800
The discovery of the tomb is international news.
576
00:32:20,800 --> 00:32:23,240
Europeans are quite excited by this piece of news,
577
00:32:23,240 --> 00:32:25,840
Egyptians are very excited by this piece of news as well,
578
00:32:25,840 --> 00:32:30,240
because the discovery of this almost unknown boy king,
579
00:32:30,240 --> 00:32:33,560
who was going to be brought back to life through archaeology,
580
00:32:33,560 --> 00:32:36,760
really echoes with Egyptian politicians
581
00:32:36,760 --> 00:32:40,680
and writers and artists at the time, with what their hope is for Egypt
582
00:32:40,680 --> 00:32:42,640
now that it's earned its independence -
583
00:32:42,640 --> 00:32:44,640
that Egypt itself is reawakening.
584
00:32:46,560 --> 00:32:50,920
One of the Egyptians excited by the discovery was a young photographer
585
00:32:50,920 --> 00:32:55,240
from Luxor, just across the river from the Valley of the Kings.
586
00:32:55,240 --> 00:32:57,040
Attaya Gaddis made a living
587
00:32:57,040 --> 00:32:59,960
by selling his photographs to tourists.
588
00:32:59,960 --> 00:33:05,520
His grandson still owns the premises where Attaya worked in the 1920s.
589
00:33:05,520 --> 00:33:09,480
Thank you for letting us come into this wonderful place.
590
00:33:09,480 --> 00:33:11,560
How long have you been in business here?
591
00:33:16,600 --> 00:33:17,840
More than 100 years.
592
00:33:17,840 --> 00:33:20,360
And, of course, your grandfather was a photographer,
593
00:33:20,360 --> 00:33:23,840
- and these are some of his cameras.
- Yes, it is.
594
00:33:23,840 --> 00:33:27,200
Attaya was apprenticed to an Italian photographer
595
00:33:27,200 --> 00:33:29,160
called Felix Beato.
596
00:33:29,160 --> 00:33:34,560
When Beato died in 1909, Attaya took over the business.
597
00:33:34,560 --> 00:33:37,160
I'd love to see some of the photographs he took with these,
598
00:33:37,160 --> 00:33:40,120
- especially of the Tutankhamun excavation.
- Yes, we have it.
599
00:33:42,040 --> 00:33:43,920
Right, so this is outside the...
600
00:33:45,880 --> 00:33:47,720
Carrying on a stretcher.
601
00:33:51,560 --> 00:33:53,080
Oh, so they built a special...?
602
00:33:54,320 --> 00:33:55,880
Look at all the people involved.
603
00:33:55,880 --> 00:33:58,760
- You realise what a big operation it was, don't you?
- Yeah.
604
00:34:00,160 --> 00:34:02,200
What have we got here? More things.
605
00:34:02,200 --> 00:34:05,480
- Oh, look, that must be a chariot wheel.
- Yes.
606
00:34:05,480 --> 00:34:08,760
Carter's actually in this photograph, I think, isn't he?
607
00:34:08,760 --> 00:34:11,320
With these wonderful Edwardian gentleman
608
00:34:11,320 --> 00:34:13,080
- in their English suits!
- Yes.
609
00:34:16,640 --> 00:34:18,080
Oh, look, that's one of the coffins.
610
00:34:21,880 --> 00:34:23,920
They're really good, aren't they?
611
00:34:23,920 --> 00:34:26,520
And this is what the Valley of the Kings was like then.
612
00:34:33,400 --> 00:34:36,480
Yes. Guards even then, of course.
613
00:34:36,480 --> 00:34:37,920
Wonderful photographs.
614
00:34:39,600 --> 00:34:43,520
Lord Carnarvon soon grew tired of the media free-for-all.
615
00:34:43,520 --> 00:34:48,600
In January 1923, he sold exclusive rights to the story to The Times
616
00:34:48,600 --> 00:34:52,560
for £5,000 - a small fortune in today's money.
617
00:34:54,240 --> 00:34:58,760
The deal alienated rival newspapers, and many Egyptians who felt,
618
00:34:58,760 --> 00:35:02,840
understandably, that their history had been hijacked by foreigners.
619
00:35:04,280 --> 00:35:07,040
But it was big news for Burton.
620
00:35:07,040 --> 00:35:09,360
This was a watershed moment in his career.
621
00:35:09,360 --> 00:35:12,960
He was no longer simply an archaeological photographer.
622
00:35:12,960 --> 00:35:15,880
His images made front-page news.
623
00:35:18,320 --> 00:35:21,000
The spotlight fell on Carter,
624
00:35:21,000 --> 00:35:23,960
but Burton's pictures reveal other characters
625
00:35:23,960 --> 00:35:26,560
who were crucial to the work.
626
00:35:26,560 --> 00:35:30,400
When we look at them now, we can see that those photographs fill a gap,
627
00:35:30,400 --> 00:35:34,040
an absence, that in the written record -
628
00:35:34,040 --> 00:35:36,640
both the newspaper coverage of the time,
629
00:35:36,640 --> 00:35:39,640
the accounts that Carter wrote - and also in the archives,
630
00:35:39,640 --> 00:35:41,240
those sort of records and diaries.
631
00:35:41,240 --> 00:35:42,840
Because what we see in the photographs
632
00:35:42,840 --> 00:35:45,320
are the Egyptians who worked at the site.
633
00:35:45,320 --> 00:35:48,160
Who are never named in the press,
634
00:35:48,160 --> 00:35:51,000
and I think the photographs are all the more important for that.
635
00:35:53,600 --> 00:35:57,880
Burton's images fuelled a fascination for all things Egyptian.
636
00:36:00,200 --> 00:36:03,840
We don't know if Tutankhamun's golden funeral mask
637
00:36:03,840 --> 00:36:07,240
is an accurate likeness, but the iconography of treasures
638
00:36:07,240 --> 00:36:09,760
like this inspired designers and artists.
639
00:36:13,600 --> 00:36:16,720
Meanwhile, audiences flocked to theatres
640
00:36:16,720 --> 00:36:20,320
to hear Carter tell the story of their discovery.
641
00:36:20,320 --> 00:36:24,000
And whenever Carter travelled, Burton's pictures came too.
642
00:36:25,160 --> 00:36:29,520
Here we have his original glass lantern slides, in his wooden chest.
643
00:36:29,520 --> 00:36:32,720
- Cor, he took all that with him?
- Yes, this is his travelling set.
644
00:36:32,720 --> 00:36:34,160
And if we open the drawers,
645
00:36:34,160 --> 00:36:37,640
you can see there are hundreds of glass lantern slides inside here.
646
00:36:37,640 --> 00:36:39,680
They don't make them like that any more, do they?
647
00:36:39,680 --> 00:36:42,120
No and here we have some of Harry Burton's photographs
648
00:36:42,120 --> 00:36:45,400
of the road leading to the Valley of the Kings.
649
00:36:45,400 --> 00:36:48,480
And are these all from Burton's original plates?
650
00:36:48,480 --> 00:36:50,960
They are, yes. These are all based upon
651
00:36:50,960 --> 00:36:53,640
Harry Burton's original glass plate negatives.
652
00:36:53,640 --> 00:36:57,880
Here we have Carter and others peering inside the golden shrines.
653
00:36:57,880 --> 00:36:59,960
So they must have become stars, almost, did they?
654
00:36:59,960 --> 00:37:02,680
- Yes, they were celebrities in their own right.
- Oh.
655
00:37:02,680 --> 00:37:06,480
We also have some hand-tinted glass lantern slides.
656
00:37:06,480 --> 00:37:10,360
Again, you get the sense that Carter's really trying to convey
657
00:37:10,360 --> 00:37:14,240
the sense of the original colours of the objects to his audiences.
658
00:37:14,240 --> 00:37:18,840
So these were painted onto Burton's original black and white?
659
00:37:18,840 --> 00:37:20,720
- Yes.
- The colour is amazing.
660
00:37:20,720 --> 00:37:22,760
So this is one of the arms of the throne
661
00:37:22,760 --> 00:37:24,480
that we were looking at earlier.
662
00:37:24,480 --> 00:37:26,800
Where we saw that Carter had actually made a note
663
00:37:26,800 --> 00:37:29,680
of what the different materials were, and the different colours.
664
00:37:29,680 --> 00:37:32,120
So I suppose they'd have used that as a guide.
665
00:37:32,120 --> 00:37:35,320
Yes. And this is obviously a much more effective way
666
00:37:35,320 --> 00:37:37,440
of conveying those colours to the audience.
667
00:37:37,440 --> 00:37:40,880
That's terribly detailed work, to paint on something that size.
668
00:37:40,880 --> 00:37:42,360
It's incredible. And, of course,
669
00:37:42,360 --> 00:37:45,640
you have to imagine these being projected in a darkened auditorium,
670
00:37:45,640 --> 00:37:47,920
and really recreating that sense of discovery
671
00:37:47,920 --> 00:37:50,000
that the original excavators must have felt.
672
00:37:50,000 --> 00:37:52,000
- State-of-the-art.
- For the time, for sure.
673
00:37:52,000 --> 00:37:54,160
And described by the man who'd actually made them.
674
00:37:54,160 --> 00:37:56,000
So the world-famous Carter,
675
00:37:56,000 --> 00:37:58,720
who'd been on the front page of The Times with his discovery,
676
00:37:58,720 --> 00:38:01,320
and there he is, and you see all this in colour.
677
00:38:01,320 --> 00:38:02,440
Wow!
678
00:38:07,520 --> 00:38:09,360
This must have caused a sensation.
679
00:38:09,360 --> 00:38:13,680
I remember, when the Tutankhamun exhibition came around in the 1970s,
680
00:38:13,680 --> 00:38:17,240
queueing all day outside the British Museum and not getting in.
681
00:38:17,240 --> 00:38:18,920
Presumably this had the same impact.
682
00:38:18,920 --> 00:38:21,200
Carter must have been a real celebrity by this point.
683
00:38:21,200 --> 00:38:24,200
And the discovery had made its way around the world,
684
00:38:24,200 --> 00:38:26,960
and so I think we should imagine people queueing around the block
685
00:38:26,960 --> 00:38:28,320
to hear Carter give his lectures.
686
00:38:28,320 --> 00:38:31,880
And to see Burton's photographs, because without the photographs,
687
00:38:31,880 --> 00:38:34,720
the lecture wouldn't have been remotely as interesting, would it?
688
00:38:34,720 --> 00:38:38,240
No, Burton's photographs are really at the centre of Carter's lectures.
689
00:38:38,240 --> 00:38:41,960
This, I suppose, is what inspired that genre
690
00:38:41,960 --> 00:38:45,120
for having Egyptian-ised things - some our buildings,
691
00:38:45,120 --> 00:38:47,080
and in the States as well.
692
00:38:47,080 --> 00:38:50,480
They've got Egyptian pillars and heads, and all the rest of it.
693
00:38:50,480 --> 00:38:53,160
Yeah, these types of images must have really inspired
694
00:38:53,160 --> 00:38:56,880
that craze for Tut-mania that ensued following the discovery.
695
00:38:56,880 --> 00:39:00,120
- Did they actually call it Tut-mania?
- They did, yes.
- Oof.
696
00:39:00,120 --> 00:39:01,800
MUSIC: Old King Tut by Stephen DeRosa
697
00:39:01,800 --> 00:39:04,960
# 3,000 years ago, in history we know
698
00:39:04,960 --> 00:39:09,480
# King Tutankhamen ruled a mighty land
699
00:39:09,480 --> 00:39:14,200
# Why, they opened up his tomb the other day and jumped with glee
700
00:39:14,200 --> 00:39:18,680
# They learned a lot of ancient history
701
00:39:18,680 --> 00:39:20,000
# In old King Tut's... #
702
00:39:20,000 --> 00:39:23,760
While the West danced along to the tune of Tut-mania,
703
00:39:23,760 --> 00:39:26,440
Harry Burton was continuing his work in Egypt.
704
00:39:28,000 --> 00:39:31,560
Capturing his images took immense skill and patience.
705
00:39:31,560 --> 00:39:33,920
But that was just part of the challenge.
706
00:39:33,920 --> 00:39:36,840
He also had to develop them, and fast...
707
00:39:38,080 --> 00:39:41,520
..because Carter would only move onto the next stage of excavation
708
00:39:41,520 --> 00:39:43,440
once he'd approved the pictures.
709
00:39:45,400 --> 00:39:49,480
The closest proper darkroom was several miles down the Valley,
710
00:39:49,480 --> 00:39:51,080
at Carter's house.
711
00:39:51,080 --> 00:39:54,520
So Burton had to improvise instead.
712
00:39:54,520 --> 00:39:57,600
One of the things that strikes you first you about this place
713
00:39:57,600 --> 00:39:59,720
is just how many tombs there are.
714
00:39:59,720 --> 00:40:02,280
The hills are absolutely full of them.
715
00:40:02,280 --> 00:40:06,440
And they're so close together - there, behind me, over there,
716
00:40:06,440 --> 00:40:08,840
just absolutely everywhere.
717
00:40:08,840 --> 00:40:12,960
And, of course, for Carter and his team working around here,
718
00:40:12,960 --> 00:40:14,880
that had unexpected benefits,
719
00:40:14,880 --> 00:40:17,640
because there's another tomb right over there.
720
00:40:19,360 --> 00:40:21,960
This subterranean chamber
721
00:40:21,960 --> 00:40:25,480
is the place Burton chose for his makeshift darkroom.
722
00:40:25,480 --> 00:40:28,080
And Harry has persuaded the authorities
723
00:40:28,080 --> 00:40:31,720
to let him develop his negatives in exactly the same place.
724
00:40:33,080 --> 00:40:36,600
He'll be working with Sue Lezon from the Chicago House team...
725
00:40:36,600 --> 00:40:38,400
- Sue.
- Harry.
726
00:40:38,400 --> 00:40:40,320
..who's agreed to lend him some equipment.
727
00:40:40,320 --> 00:40:41,400
Welcome.
728
00:40:41,400 --> 00:40:46,280
- So we can set you up with well-used trays.
- Well-used, yes.
729
00:40:46,280 --> 00:40:47,960
I find it extraordinary
730
00:40:47,960 --> 00:40:51,040
that the pristine glass plates we admired in Oxford
731
00:40:51,040 --> 00:40:54,000
weren't developed in a well-equipped darkroom like this.
732
00:40:54,000 --> 00:40:57,960
And we'll get you some beakers, and we'll bring a lot of water.
733
00:40:57,960 --> 00:41:00,680
That looks like it goes back to 1920.
734
00:41:00,680 --> 00:41:05,600
Instead, Burton worked in a hot and dusty desert tomb,
735
00:41:05,600 --> 00:41:08,160
just a few metres from the excavation site.
736
00:41:08,160 --> 00:41:11,040
A walk he must have made hundreds of times.
737
00:41:11,040 --> 00:41:13,000
OK. So I'm imagining I've got
738
00:41:13,000 --> 00:41:17,880
one of these exposed glass negatives in my hand, and I'm...
739
00:41:17,880 --> 00:41:21,000
- It's just there.
- It's right... It's a few feet away.
740
00:41:21,000 --> 00:41:24,440
God, isn't that mad? I kind of imagined it was much further away,
741
00:41:24,440 --> 00:41:27,400
but that's literally just a kind of stone's throw, isn't it?
742
00:41:29,240 --> 00:41:31,560
- Look at this.
- That is steep.
743
00:41:31,560 --> 00:41:33,640
And, you know, there's not been anybody
744
00:41:33,640 --> 00:41:35,400
in this tomb for years and years.
745
00:41:35,400 --> 00:41:38,440
- Is that right?
- Yeah.
- Come on, let's go and have a look.
746
00:41:38,440 --> 00:41:40,120
So which tomb is this one?
747
00:41:40,120 --> 00:41:42,160
- This is number 55.
- Yeah, OK.
748
00:41:42,160 --> 00:41:44,200
This is called the Amarna cache.
749
00:41:44,200 --> 00:41:46,560
- HE GASPS
- That is steep! Heavens above.
750
00:41:46,560 --> 00:41:50,160
Yes, it is. Imagine him carrying these things down there.
751
00:41:50,160 --> 00:41:52,040
- Yeah, exactly.
- Take care.
752
00:41:52,040 --> 00:41:55,600
And he would have been in a rush too, wouldn't he?
753
00:41:55,600 --> 00:41:59,720
Yeah. Everybody's waiting for him to get that film processed.
754
00:41:59,720 --> 00:42:02,600
- OK, so I'm carrying slides...
- Easy to slip.
755
00:42:02,600 --> 00:42:06,320
He'd have slowed down a little bit as he got down to this bit.
756
00:42:06,320 --> 00:42:08,520
- Whoa. Look, here we go.
- Whoa.
757
00:42:09,880 --> 00:42:13,120
This is a unique privilege for Harry and Sue.
758
00:42:13,120 --> 00:42:15,560
It's the first time anyone's been given permission
759
00:42:15,560 --> 00:42:19,520
to develop photographs here since Burton did it in the '20s.
760
00:42:19,520 --> 00:42:21,520
It's a big step.
761
00:42:21,520 --> 00:42:23,320
That's a hard act to follow.
762
00:42:23,320 --> 00:42:27,080
It looks like there's some water that's comes through these cracks.
763
00:42:27,080 --> 00:42:30,280
When this tomb was surveyed in the 1990s,
764
00:42:30,280 --> 00:42:34,440
archaeologists discovered fragments of glass in the sand.
765
00:42:34,440 --> 00:42:36,640
They were the remains of negatives
766
00:42:36,640 --> 00:42:39,040
that must have slipped from Burton's grasp
767
00:42:39,040 --> 00:42:42,160
as he worked here nearly 100 years ago.
768
00:42:42,160 --> 00:42:44,080
Here's the tomb itself.
769
00:42:44,080 --> 00:42:45,520
Boy, look, Sue.
770
00:42:45,520 --> 00:42:46,920
I've been in smaller darkrooms,
771
00:42:46,920 --> 00:42:52,640
but I've never seen any with pots in it before, look down to the right.
772
00:42:52,640 --> 00:42:55,440
- No, no.
- Can you make this work, do you think?
773
00:42:55,440 --> 00:42:58,760
Well, I think so. You know, all we need is a table that we set up.
774
00:42:58,760 --> 00:43:00,440
That's what he had to do, after all.
775
00:43:00,440 --> 00:43:03,040
- Yeah, we can make this work.
- Yeah, definitely.
776
00:43:03,040 --> 00:43:06,040
- No, no, absolutely. Come on, let's go and get our stuff.
- All right.
777
00:43:06,040 --> 00:43:09,960
This is where Harry will discover if his experiments have worked.
778
00:43:09,960 --> 00:43:13,160
With analogue photography, you only find out in the darkroom
779
00:43:13,160 --> 00:43:15,040
if you've taken the picture you planned.
780
00:43:15,040 --> 00:43:17,360
Three baths - dev, wash, fix.
781
00:43:17,360 --> 00:43:21,120
- The familiar smell of fix.
- In Harry Burton's tomb.
- Extraordinary.
782
00:43:21,120 --> 00:43:23,600
Well, not Harry Burton's TOMB, but you know what I'm saying.
783
00:43:23,600 --> 00:43:24,960
- Yeah.
- His darkroom.
784
00:43:29,680 --> 00:43:31,760
Just water. I need that.
785
00:43:31,760 --> 00:43:33,880
- Thank you.
- Thank you.
786
00:43:33,880 --> 00:43:35,160
Gosh!
787
00:43:35,160 --> 00:43:36,200
Here, listen.
788
00:43:40,240 --> 00:43:41,400
(Nothing.)
789
00:43:41,400 --> 00:43:44,080
- That is really quiet, isn't it?
- Yeah.
- Extraordinary.
790
00:43:44,080 --> 00:43:46,120
And to think, you know...
791
00:43:46,120 --> 00:43:48,960
we're right, literally, exactly where Burton
792
00:43:48,960 --> 00:43:52,080
would have developed his own negatives.
793
00:43:52,080 --> 00:43:54,880
That's an extraordinary idea, isn't it?
794
00:43:54,880 --> 00:43:57,880
All the nonsense going upstairs, all of...
795
00:43:57,880 --> 00:44:01,000
Carter going, "Come on, hurry up! We need to get on.
796
00:44:01,000 --> 00:44:04,240
"We need to start going to the next stage."
797
00:44:04,240 --> 00:44:08,600
And pacing, and all the government officials here waiting.
798
00:44:08,600 --> 00:44:11,320
- Yeah, of course.
- I bet he was down here by himself.
799
00:44:11,320 --> 00:44:13,960
I bet he didn't want to know anything else up there.
800
00:44:13,960 --> 00:44:17,280
- That's very true. Right, we better get on with it.
- Yep. Let's go.
801
00:44:17,280 --> 00:44:19,400
- I'm going to shut...
- Turn the lights off.
802
00:44:19,400 --> 00:44:20,560
There it is.
803
00:44:20,560 --> 00:44:21,720
OK. Are we ready for this?
804
00:44:23,440 --> 00:44:25,920
Ready as we're going to be.
805
00:44:25,920 --> 00:44:28,120
Please, please, now. That's going in.
806
00:44:29,800 --> 00:44:32,320
- This is it. This is what he did.
- I know.
807
00:44:34,040 --> 00:44:35,680
Yes, something. Yes, definitely.
808
00:44:35,680 --> 00:44:37,880
- Ha-ha!
- Oh, yes.
809
00:44:37,880 --> 00:44:41,840
- Have you got that little wandy torch thing?
- Yes.
810
00:44:43,160 --> 00:44:46,400
- SHE GASPS
- There it is.
- Oh, my God!
811
00:44:46,400 --> 00:44:52,000
- I might just turn this around for the camera, like that.
- Perfect.
812
00:44:52,000 --> 00:44:54,360
So that's the right way.
813
00:44:54,360 --> 00:44:57,000
So this is all the foreground here, and that's the sky up here.
814
00:44:57,000 --> 00:44:58,640
- That's the sky.
- OK.
815
00:44:58,640 --> 00:45:00,920
- So shall we put that in the wash?
- Yeah, let's...
816
00:45:00,920 --> 00:45:03,080
Right, little bit of wash.
817
00:45:10,400 --> 00:45:12,680
OK. So let's have a look, shall we?
818
00:45:14,200 --> 00:45:15,360
Hey.
819
00:45:16,480 --> 00:45:18,160
Go on, give it a yank.
820
00:45:20,080 --> 00:45:21,600
- There you go.
- Yeah.
821
00:45:21,600 --> 00:45:23,400
- Wow!
- Ooh, look here we go.
822
00:45:23,400 --> 00:45:25,240
- But this is all fine.
- Look at that detail.
823
00:45:25,240 --> 00:45:27,400
Look at that detail. So, let's think about Burton.
824
00:45:27,400 --> 00:45:30,680
Burton would have been looking at his negatives right here,
825
00:45:30,680 --> 00:45:33,440
under a light pretty much the same as this, and he must have...
826
00:45:33,440 --> 00:45:36,000
Before he said, "OK, let's move to the next one."
827
00:45:36,000 --> 00:45:37,880
I mean, he could have taken it outside,
828
00:45:37,880 --> 00:45:40,640
but let's not forget - this is a wet negative
829
00:45:40,640 --> 00:45:45,040
- that is absolutely at its most susceptible to dust.
- Mm-hm.
830
00:45:45,040 --> 00:45:47,120
He wouldn't have been charging out there going,
831
00:45:47,120 --> 00:45:48,960
"Look, I've got it! It's fine, carry on."
832
00:45:48,960 --> 00:45:51,000
He would have kept them waiting for a lot longer.
833
00:45:51,000 --> 00:45:53,280
Yeah, had that little moment where he would have gone,
834
00:45:53,280 --> 00:45:56,400
- "Oh, that's a very beautiful thing."
- Yes. Yes.
835
00:45:59,680 --> 00:46:00,800
Congratulations.
836
00:46:00,800 --> 00:46:03,080
- Yeah, we've done it, haven't we?
- Yes.
- It's OK.
- Yes.
837
00:46:03,080 --> 00:46:05,960
- It's OK. Yes. It really is. Right, come on then.
- Wow, OK.
838
00:46:08,120 --> 00:46:10,880
All the darkrooms, you know, any photographer in the past,
839
00:46:10,880 --> 00:46:12,800
you'd love to go and look in their darkroom,
840
00:46:12,800 --> 00:46:15,080
whether Ansel Adams's darkroom would be a thing.
841
00:46:15,080 --> 00:46:17,720
Cartier-Bresson's darkroom in Paris, what a thing.
842
00:46:17,720 --> 00:46:22,720
But I don't think anything beats Harry Burton's darkroom in a tomb.
843
00:46:24,160 --> 00:46:26,040
Right, let's put that in the box.
844
00:46:31,920 --> 00:46:34,720
Carter and Burton must have done this quite often, mustn't they?
845
00:46:34,720 --> 00:46:36,760
- Standing somewhere like this?
- Side-by-side.
846
00:46:36,760 --> 00:46:39,400
- So, come on, let me see it. I'm Carter, remember.
- OK.
847
00:46:39,400 --> 00:46:41,440
- Give me your prints!
- So this one's wet.
848
00:46:41,440 --> 00:46:43,520
So we've just develop this,
849
00:46:43,520 --> 00:46:46,400
and, er...so this is Brett,
850
00:46:46,400 --> 00:46:49,560
who is the Egyptologist at Chicago House,
851
00:46:49,560 --> 00:46:52,440
and he's inside the temple here,
852
00:46:52,440 --> 00:46:54,080
and there's a rather ghostly image.
853
00:46:54,080 --> 00:46:57,080
- It's a negative, so it's the wrong way around.
- Yes.
854
00:46:57,080 --> 00:47:00,640
OK, so I've done this quite crudely, this one.
855
00:47:00,640 --> 00:47:01,880
Excuses?
856
00:47:01,880 --> 00:47:05,680
I'll give you loads of excuses. Oh, um, all you know...
857
00:47:05,680 --> 00:47:09,440
First one and all that, but what it throws up is,
858
00:47:09,440 --> 00:47:12,360
you know, this is a fat piece of glass. Look at that.
859
00:47:12,360 --> 00:47:14,600
- The others were very thin, weren't they?
- Tiny.
860
00:47:14,600 --> 00:47:16,640
They were wafer thin. Have a feel.
861
00:47:16,640 --> 00:47:18,720
That's a big chunk. It still feels quite...
862
00:47:18,720 --> 00:47:19,760
It is, is it.
863
00:47:20,920 --> 00:47:22,800
I slightly underexposed this.
864
00:47:22,800 --> 00:47:24,240
But he would have, you know,
865
00:47:24,240 --> 00:47:26,520
they'd have come out of the thing every time,
866
00:47:26,520 --> 00:47:28,920
sit there like you and I are now, assessed it.
867
00:47:28,920 --> 00:47:30,920
- Had a look.
- "Is this good enough?"
- "Is that OK?"
868
00:47:30,920 --> 00:47:33,600
"Can I now move the object? Can we get on with our work?"
869
00:47:33,600 --> 00:47:35,560
A lot of that would have been not just...
870
00:47:35,560 --> 00:47:37,840
Here, we're looking at a picture, kind of assessing it,
871
00:47:37,840 --> 00:47:40,600
because I'm telling you that that's Brett and that's somebody else
872
00:47:40,600 --> 00:47:42,960
and whatever, but he would have been looking, obviously,
873
00:47:42,960 --> 00:47:45,440
you know, in the hieroglyphics, that everything showed.
874
00:47:45,440 --> 00:47:47,240
In an archiving...sense...
875
00:47:47,240 --> 00:47:49,680
Yeah, because it was important that that particular object
876
00:47:49,680 --> 00:47:51,200
was in that particular place.
877
00:47:51,200 --> 00:47:54,080
- Absolutely, it was a record, wasn't it?
- So had a distinguishing feature?
878
00:47:54,080 --> 00:47:56,520
Exactly. But, anyway, let me show you another one here.
879
00:47:56,520 --> 00:47:59,520
- So this is one we did earlier...
- Careful with that.
880
00:47:59,520 --> 00:48:01,120
..which has dried.
881
00:48:01,120 --> 00:48:03,720
- This has got a couple of spots of water on it.
- From the other one.
882
00:48:03,720 --> 00:48:05,640
- So this is quite fun.
- Oh, look at that!
883
00:48:05,640 --> 00:48:09,040
So this is the landscape in the temple,
884
00:48:09,040 --> 00:48:12,000
and this is the, kind of, the wall.
885
00:48:12,000 --> 00:48:14,680
It looks like it's taken at night, but that's dust spots,
886
00:48:14,680 --> 00:48:16,880
cos actually negative sky would be white.
887
00:48:16,880 --> 00:48:20,080
- What, those little spots are dust?
- They are dust.
888
00:48:20,080 --> 00:48:23,000
- You know, and...
- Burton managed not to get dust on his.
889
00:48:23,000 --> 00:48:25,760
I don't understand that. I really, really don't understand that.
890
00:48:25,760 --> 00:48:28,440
- I'll have to send you back down there tomorrow.
- I'm so sorry.
891
00:48:28,440 --> 00:48:31,880
It's just a kind of madness how exquisite his things were.
892
00:48:31,880 --> 00:48:33,560
Yeah, but that's pretty good.
893
00:48:33,560 --> 00:48:35,320
It's pretty good, it's all right isn't it?
894
00:48:35,320 --> 00:48:38,160
- I'll give you five out of ten for that.
- Thank you. I'll take it.
895
00:48:38,160 --> 00:48:40,720
The thing is, I've never seen one of Burton's negatives
896
00:48:40,720 --> 00:48:43,600
that was badly exposed, either overexposed or underexposed.
897
00:48:43,600 --> 00:48:46,160
- I mean, it's extraordinary.
- Now, we may not have seen all of them,
898
00:48:46,160 --> 00:48:48,320
there may have been a few duds that got thrown away.
899
00:48:48,320 --> 00:48:50,520
Well, and the ones he probably dropped on the way back,
900
00:48:50,520 --> 00:48:54,280
or someone dropped, you know, they're fragile things.
901
00:48:54,280 --> 00:48:59,840
The technical perfection of Burton's images inspires Egyptologists today.
902
00:48:59,840 --> 00:49:01,840
Including the team based here,
903
00:49:01,840 --> 00:49:06,280
who use hi-tech imaging to record ancient sites.
904
00:49:06,280 --> 00:49:07,880
What an incredible image.
905
00:49:07,880 --> 00:49:09,880
Where's this from?
906
00:49:09,880 --> 00:49:13,080
This is from the tomb of Sethi I, in the Valley of the Kings.
907
00:49:13,080 --> 00:49:16,680
It is the west wall of the Hall of Beauties.
908
00:49:16,680 --> 00:49:19,760
Burton took photographs in Sethi I's tomb, as well, didn't he?
909
00:49:19,760 --> 00:49:22,280
Yes, he has taken amazing photographs.
910
00:49:22,280 --> 00:49:25,640
Actually, I was scanning his entire...
911
00:49:25,640 --> 00:49:28,680
the book that had his photographs for the tomb,
912
00:49:28,680 --> 00:49:32,280
to help us in planning which part we're going to do first,
913
00:49:32,280 --> 00:49:34,280
and which part includes what.
914
00:49:34,280 --> 00:49:38,360
So we decide which kind of technology we use for what.
915
00:49:38,360 --> 00:49:42,160
I can show you how detailed it is.
916
00:49:42,160 --> 00:49:44,560
Some ignorant people have written their names.
917
00:49:44,560 --> 00:49:45,920
I think that's shocking.
918
00:49:45,920 --> 00:49:48,840
Yes, that's graffiti that was found there.
919
00:49:48,840 --> 00:49:52,240
And as you can see here, it says 1876.
920
00:49:52,240 --> 00:49:54,120
But would you see that with the naked eye?
921
00:49:54,120 --> 00:49:56,680
No. You can't see it. It's impossible.
922
00:49:56,680 --> 00:49:59,360
Tell me how you've achieved this clarity.
923
00:49:59,360 --> 00:50:02,600
Well, this image has been achieved by Lucida,
924
00:50:02,600 --> 00:50:06,160
a 3D scanner that we developed in Factum Arte.
925
00:50:06,160 --> 00:50:10,000
It's basically based out of two cameras and a laser diode.
926
00:50:10,000 --> 00:50:13,320
As the laser reflects and moved over the surface,
927
00:50:13,320 --> 00:50:15,280
these two cameras capture its motion.
928
00:50:15,280 --> 00:50:17,240
It's just so real.
929
00:50:17,240 --> 00:50:21,640
It is, and let me show you something even...you might like more.
930
00:50:21,640 --> 00:50:26,800
Here you can see a 3D of the tomb, the Hall of Beauties.
931
00:50:26,800 --> 00:50:28,040
How do you do that?
932
00:50:28,040 --> 00:50:33,080
It is a collage of so many photographs with a lot of overlap,
933
00:50:33,080 --> 00:50:35,200
it's called photogrammetry.
934
00:50:35,200 --> 00:50:38,880
'The Factum Arte team plan to use these 3D images
935
00:50:38,880 --> 00:50:41,920
'to create a life-size replica of the site.'
936
00:50:41,920 --> 00:50:45,040
So tourists wouldn't have to actually go in to the original?
937
00:50:45,040 --> 00:50:47,120
They could go into a replica.
938
00:50:47,120 --> 00:50:49,600
Exactly, and know that they are not harming it.
939
00:50:49,600 --> 00:50:55,280
Burton's aim was to produce a very clear record of what was there.
940
00:50:55,280 --> 00:50:58,240
He'd have been amazed by this. He'd have been envious, I should think.
941
00:50:58,240 --> 00:51:01,080
I know, looking at his pictures, I would assume,
942
00:51:01,080 --> 00:51:03,240
if he had the technology and the means,
943
00:51:03,240 --> 00:51:05,920
he would have definitely done this at the time.
944
00:51:08,240 --> 00:51:12,040
Burton's lens captured every stage of Carter's excavation.
945
00:51:13,040 --> 00:51:15,800
None was more dramatic than the gradual revelation
946
00:51:15,800 --> 00:51:18,040
of the Pharaoh's burial chamber itself.
947
00:51:20,200 --> 00:51:23,480
When he was laid to rest 3,000 years ago,
948
00:51:23,480 --> 00:51:27,400
Tutankhamun's remains were enclosed by ornate wooden shrines,
949
00:51:27,400 --> 00:51:30,160
packed one inside the other, like Russian dolls.
950
00:51:32,960 --> 00:51:36,560
Burton's striking close-up of the sealed door
951
00:51:36,560 --> 00:51:39,840
was proof that the shrines had not been touched
952
00:51:39,840 --> 00:51:41,640
by ancient tomb raiders.
953
00:51:44,360 --> 00:51:48,280
Uncovering what lay within took months of painstaking labour
954
00:51:48,280 --> 00:51:49,800
in cramped conditions.
955
00:51:51,560 --> 00:51:55,960
According to Carter, they had to squeeze in and out like weasels,
956
00:51:55,960 --> 00:51:59,160
and work in all kinds of embarrassing positions.
957
00:51:59,160 --> 00:52:01,000
Until, finally,
958
00:52:01,000 --> 00:52:03,240
the coffin could be hoisted carefully
959
00:52:03,240 --> 00:52:05,080
from inside the stone sarcophagus,
960
00:52:05,080 --> 00:52:09,000
and Carter came face-to-face with the Pharaoh.
961
00:52:11,000 --> 00:52:12,400
I've got an idea, Margaret.
962
00:52:12,400 --> 00:52:15,240
And what I'd like to do, there's a really beautiful picture
963
00:52:15,240 --> 00:52:17,120
that Burton took of Carter,
964
00:52:17,120 --> 00:52:22,080
where he is looking across the coffin and is lit by a single light.
965
00:52:22,080 --> 00:52:24,480
I mean, it's a beautiful picture.
966
00:52:24,480 --> 00:52:27,960
It's got this fantastic sort of moment of...
967
00:52:27,960 --> 00:52:30,120
where the two are looking at each other, almost.
968
00:52:30,120 --> 00:52:31,840
It's a really, really cool picture.
969
00:52:31,840 --> 00:52:34,200
Just here. And I would love to move you
970
00:52:34,200 --> 00:52:36,280
just into the same sort of place,
971
00:52:36,280 --> 00:52:38,120
and try to take a picture that was similar.
972
00:52:38,120 --> 00:52:39,720
It's going to be a long exposure.
973
00:52:39,720 --> 00:52:42,960
And we'll move a light into the same sort of place. Are you up for that?
974
00:52:42,960 --> 00:52:45,280
- I'll have a go.
- Great, let's give it a try.
975
00:52:50,640 --> 00:52:54,120
You're leaning over a bit, and hand out,
976
00:52:54,120 --> 00:52:57,280
cos obviously he was painting it, or brushing it with a brush,
977
00:52:57,280 --> 00:52:59,040
but we can't do that. I think it's more fun...
978
00:52:59,040 --> 00:53:01,040
Cos, in fact, I see the reflection of your...
979
00:53:01,040 --> 00:53:03,040
- Like that?
- That's it, yes. Just lovely.
980
00:53:03,040 --> 00:53:04,480
Hang on, let's just check that.
981
00:53:04,480 --> 00:53:08,080
'They tell me that Carter was a difficult man to work with.
982
00:53:08,080 --> 00:53:10,280
'He was single-minded and stubborn,
983
00:53:10,280 --> 00:53:13,600
'and fought many battles as the excavation unfolded.'
984
00:53:13,600 --> 00:53:15,440
Hold very still.
985
00:53:15,440 --> 00:53:18,200
'He even called the whole thing off for almost a year
986
00:53:18,200 --> 00:53:20,440
'after a row with the Egyptian authorities.'
987
00:53:20,440 --> 00:53:22,560
- Oof.
- Ugh...
988
00:53:22,560 --> 00:53:23,880
And when you're ready.
989
00:53:24,960 --> 00:53:27,040
'Though he did eventually patch things up
990
00:53:27,040 --> 00:53:28,600
'and return to finish the job.'
991
00:53:29,640 --> 00:53:33,040
So I've got you...F8, two seconds, please.
992
00:53:33,040 --> 00:53:34,440
Basically, the same position.
993
00:53:34,440 --> 00:53:37,080
'Harry Burton was a perfectionist too.
994
00:53:37,080 --> 00:53:40,840
'But, in person, he was easy-going and diplomatic.'
995
00:53:40,840 --> 00:53:42,440
OK, hold very still from...
996
00:53:43,720 --> 00:53:47,680
'A good man to have by your side when the going gets tough.'
997
00:53:47,680 --> 00:53:49,880
Brilliant, Margaret, thank you so much.
998
00:53:49,880 --> 00:53:52,840
- I wouldn't have thought that would be so difficult!
- Great.
999
00:53:54,560 --> 00:53:57,720
There must have been a bond between them,
1000
00:53:57,720 --> 00:54:00,320
and great mutual respect.
1001
00:54:00,320 --> 00:54:04,600
Because Burton was one of only two members of Carter's original team
1002
00:54:04,600 --> 00:54:06,400
who stuck with him to the end.
1003
00:54:08,000 --> 00:54:13,120
Burton took his last photographs for the tomb at New Year 1933.
1004
00:54:13,120 --> 00:54:15,920
He'd seen Carter at Christmas dinner at Metropolitan House,
1005
00:54:15,920 --> 00:54:17,120
and Carter had clearly said,
1006
00:54:17,120 --> 00:54:19,920
"Oh, you know, we forgot to photograph the sarcophagus."
1007
00:54:19,920 --> 00:54:21,240
Um, so Carter goes...
1008
00:54:21,240 --> 00:54:24,520
So Burton and Carter go back into the tomb
1009
00:54:24,520 --> 00:54:27,960
and Burton takes some beautifully lit, very crisp
1010
00:54:27,960 --> 00:54:30,560
and evocative shots of the sarcophagus.
1011
00:54:30,560 --> 00:54:34,000
with the wonderful winged goddesses at the four corners.
1012
00:54:34,000 --> 00:54:36,920
And, afterwards, Burton writes to a colleague back in New York,
1013
00:54:36,920 --> 00:54:38,320
he writes a letter saying,
1014
00:54:38,320 --> 00:54:41,440
"Today, I finished the Tut work, and dashed glad I am!
1015
00:54:41,440 --> 00:54:43,760
"I began to think I never should finish it.
1016
00:54:43,760 --> 00:54:45,680
"And it seems too good to be true."
1017
00:54:46,800 --> 00:54:49,360
His greatest assignment was over.
1018
00:54:49,360 --> 00:54:52,560
But he wasn't ready to pack away his camera.
1019
00:54:52,560 --> 00:54:56,280
Harry Burton continued to work in Egypt for the New York Met
1020
00:54:56,280 --> 00:54:59,200
until his death in 1940.
1021
00:55:02,000 --> 00:55:05,160
JAZZ MUSIC PLAYS
1022
00:55:13,000 --> 00:55:15,480
Before I stopped to look closer,
1023
00:55:15,480 --> 00:55:18,520
I suppose I'd always taken Harry Burton for granted.
1024
00:55:20,440 --> 00:55:24,280
Like most people intrigued by the story of Tutankhamun,
1025
00:55:24,280 --> 00:55:27,040
I'd seen many of his photographs over the years,
1026
00:55:27,040 --> 00:55:30,360
without ever thinking about the man behind the camera.
1027
00:55:32,400 --> 00:55:34,320
I won't make that mistake again.
1028
00:55:36,120 --> 00:55:38,680
Harry, I recognise these two plates, I've seen them before.
1029
00:55:38,680 --> 00:55:41,080
But what else have you got? Show me the prints you've made.
1030
00:55:41,080 --> 00:55:44,720
OK, so, this one is the landscape one that I took.
1031
00:55:44,720 --> 00:55:47,840
That's the one I saw of the temple, with the dust specks.
1032
00:55:47,840 --> 00:55:50,240
Lots of dust specks. But I think there's something quite fun
1033
00:55:50,240 --> 00:55:52,120
about the...all these dust specks,
1034
00:55:52,120 --> 00:55:53,840
they make it feel like an old picture,
1035
00:55:53,840 --> 00:55:55,600
even though it was taken yesterday.
1036
00:55:55,600 --> 00:55:58,200
It could almost have been one of Burton's rejects!
1037
00:55:58,200 --> 00:55:59,960
Well, thank you, Margaret.
1038
00:56:01,160 --> 00:56:03,840
And then we have, um...
1039
00:56:03,840 --> 00:56:06,840
this one, which is quite fun, so this is Brett up the ladder.
1040
00:56:06,840 --> 00:56:08,080
And if you remember,
1041
00:56:08,080 --> 00:56:11,400
I was quite worried that it was rather underexposed.
1042
00:56:11,400 --> 00:56:13,440
But, in fact, it works really well.
1043
00:56:13,440 --> 00:56:15,320
You can see the hieroglyphics up here,
1044
00:56:15,320 --> 00:56:17,960
and then here, this rather ghostly figure, as well, of Brett.
1045
00:56:17,960 --> 00:56:20,440
Yeah, I mean, that could be Carter, couldn't it?
1046
00:56:20,440 --> 00:56:23,320
- Yes, if you put a little moustache in.
- Exactly.
1047
00:56:23,320 --> 00:56:27,160
Looks to me like a photograph from that era, from the 1920s.
1048
00:56:27,160 --> 00:56:30,160
That's understandable, in that it was taken with a big camera,
1049
00:56:30,160 --> 00:56:31,680
with the same kind of negative,
1050
00:56:31,680 --> 00:56:33,960
processed in pretty much the same sort of way.
1051
00:56:33,960 --> 00:56:36,400
What do you think of the Burton-Carter relationship?
1052
00:56:36,400 --> 00:56:39,200
I mean, Burton could be described as a hired hand,
1053
00:56:39,200 --> 00:56:43,080
brought in by Carter to photograph this, that, the other,
1054
00:56:43,080 --> 00:56:44,560
as he was directed.
1055
00:56:44,560 --> 00:56:46,120
Wasn't he, in a way?
1056
00:56:46,120 --> 00:56:50,200
Yeah, but I think that his skill was that he was able to transcend that.
1057
00:56:50,200 --> 00:56:53,560
After all, Burton had had training in Florence,
1058
00:56:53,560 --> 00:56:55,120
photographing the old masters.
1059
00:56:55,120 --> 00:56:59,240
So he clearly had an eye for the aesthetic and also his...
1060
00:56:59,240 --> 00:57:01,840
all the training he did here with the Americans.
1061
00:57:01,840 --> 00:57:04,120
And I suppose he'd been an archaeologist too, hadn't he?
1062
00:57:04,120 --> 00:57:05,800
- So he had that.
- Of course. Yeah, exactly.
1063
00:57:05,800 --> 00:57:09,320
And then all of these things culminating in this moment
1064
00:57:09,320 --> 00:57:11,720
when Carter says, you know, "I need you.
1065
00:57:11,720 --> 00:57:16,960
"I need you to come and help me reveal this event to the world.
1066
00:57:16,960 --> 00:57:19,320
"To make it into something very, very special."
1067
00:57:19,320 --> 00:57:22,320
I think any good photographer, that's what they do.
1068
00:57:22,320 --> 00:57:25,160
- Well, it's certainly what he did.
- He did it in spades.
1069
00:57:25,160 --> 00:57:31,160
How have you found it, working here, following the master's footsteps,
1070
00:57:31,160 --> 00:57:32,920
if I can put it like that?
1071
00:57:32,920 --> 00:57:36,200
Yeah, I think one of the main things to me
1072
00:57:36,200 --> 00:57:38,920
is being absolutely in the place.
1073
00:57:38,920 --> 00:57:44,880
My camera is now set up in probably exactly the same place
1074
00:57:44,880 --> 00:57:48,520
as Burton's was when he took that picture or this picture,
1075
00:57:48,520 --> 00:57:54,120
whether it's in the landscape or whether it's in the tomb itself,
1076
00:57:54,120 --> 00:57:55,360
I've got something to show you.
1077
00:57:55,360 --> 00:57:57,680
- Oh, the one of me!
- The one of you, Margaret.
1078
00:57:57,680 --> 00:57:59,960
Now, to me,
1079
00:57:59,960 --> 00:58:03,320
this is the culmination of all the things that we've been doing.
1080
00:58:03,320 --> 00:58:07,240
This whole project has been summed up by this picture,
1081
00:58:07,240 --> 00:58:11,440
where it's Carter and Burton,
1082
00:58:11,440 --> 00:58:13,200
and you and me.
1083
00:58:13,200 --> 00:58:15,880
If I'd been taking this with my baby camera,
1084
00:58:15,880 --> 00:58:18,320
I would have been on top of the railings,
1085
00:58:18,320 --> 00:58:21,200
but you've actually incorporated them in the photograph.
1086
00:58:21,200 --> 00:58:23,440
When you look at Burton's picture,
1087
00:58:23,440 --> 00:58:26,040
it has all of the paraphernalia around.
1088
00:58:26,040 --> 00:58:28,160
You can see the props, you can see all the straps,
1089
00:58:28,160 --> 00:58:30,800
- and the ropes and the things.
- And the lights.
- Exactly.
1090
00:58:30,800 --> 00:58:34,320
And I was trying to get in exactly the same position as Burton was in,
1091
00:58:34,320 --> 00:58:38,360
but in the modern situation that the tomb is in now,
1092
00:58:38,360 --> 00:58:40,400
the railings are a factor.
1093
00:58:40,400 --> 00:58:43,080
Yes, this is a record of what's there now,
1094
00:58:43,080 --> 00:58:46,640
just as Burton's were a record of what was there then.
1095
00:58:46,640 --> 00:58:50,120
But it's also, like his, a very beautiful picture.
1096
00:58:50,120 --> 00:58:51,680
Thank you, Margaret.
1097
00:58:51,680 --> 00:58:53,960
That's...that's very good, that one.
1098
00:58:53,960 --> 00:58:56,760
I'm not just saying that because it's got me in it!
93672
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