Transcript: The Man Who Shot Tutankhamun | May 31, 2018

Aerial views show images of desert hills.

Margaret Mountford is in her sixties, with short wavy white hair and wears a white shirt.

Margaret says EGYPT'S VALLEY
OF THE KINGS, THE ANCIENT
BURIAL PLACE OF THE
PHARAOH TUTANKHAMUN.
THE DISCOVERY OF HIS TOMB IN
1922 MADE THE ARCHAEOLOGIST
HOWARD CARTER A GLOBAL
CELEBRITY.
BUT IT WAS ANOTHER MEMBER OF
CARTER'S TEAM WHO PLAYED THE
CRUCIAL ROLE IN TELLING HIS
STORY TO THE WORLD.
HE DOESN'T APPEAR IN THE
EXCAVATION PHOTOGRAPHS BECAUSE
HE WAS THE MAN WHO TOOK THEM.
HIS CAMERA MADE THE WORLD FALL
IN LOVE WITH THE BOY KING,
TUTANKHAMUN, AND HELPED FUEL MY
OWN ENDURING FASCINATION WITH
THIS REMOTE AND
MYSTERIOUS CULTURE.
I WANTED TO FIND OUT MORE ABOUT
THIS PHOTOGRAPHIC PIONEER WHO
CREATED SUCH WONDERFUL PICTURES
IN THE MOST TESTING
CONDITIONS IMAGINABLE.
TO HELP ME, I ENLISTED A
PHOTOGRAPHER WHO USES
SIMILAR TECHNIQUES.

Harry Cory Wright is in his fifties, with short curly red hair and wears jeans and a pale blue shirt.

He takes pictures on ruins and says HOLD STILL.
(SHUTTER CLICKING)
IT'S FINE.
YES!

Margaret says TOGETHER, WE'LL INVESTIGATE
THE WORK OF AN UNSUNG HERO OF
BRITISH PHOTOGRAPHY AND TRAVEL
BACK TO THE SITE OF HIS
GREATEST ASSIGNMENT.
WE'LL DISCOVER HOW HE PUSHED
THE LIMITS OF 1920S TECHNOLOGY
IN THE GRIT AND HEAT OF THE
DESERT AND CREATED A REMARKABLE
TREASURE STORE OF IMAGES.

Harry looks at a negative on a negative viewer and says THIS IS A BEAUTIFULLY LAID
OUT PICTURE, WELL THOUGHT OUT.
IT'S LIKE AN OLD MASTER,
IN A WAY.

Margaret says WE'LL RECREATE HIS DARKROOM
IN THE DEPTHS OF AN
ANCIENT TOMB...

Harry develops photographs and says AND TO THINK WE'RE RIGHT,
LITERALLY, EXACTLY WHERE BURTON
WOULD HAVE DEVELOPED HIS
OWN NEGATIVES.

Margaret says AND REVEAL THE ENDURING
LEGACY OF HIS WORK.

A woman with curly brown hair says THEY'RE ONE OF THE BASIC,
GO-TO SOURCES FOR US.
ANYONE WHO'S STUDYING
TUTANKHAMUN USES THOSE.

Margaret says AND WE'LL LEARN WHY HIS
TECHNIQUES ARE STILL USED TODAY
TO UNPACK THE SECRETS OF
EGYPT'S ANCIENT PAST.
THIS IS THE STORY OF THE MOST
FAMOUS PHOTOGRAPHER YOU'VE
PROBABLY NEVER HEARD OF.
HIS NAME WAS "HARRY BURTON."

The name of the show appears against a picture of Harry Burton in a white shirt and a bow tie. It reads "The man who shot Tutankhamun."

(music plays)

(BIRDS CHIRPING)

Margaret says 3,000 YEARS AGO, A STATELY
PROCESSION OF PRIESTS AND
MOURNERS MADE THEIR WAY THROUGH
THESE DESERT HILLS, A FEW MILES
WEST OF THE ANCIENT CITY OF
THEBES, OR LUXOR, AS IT'S
CALLED TODAY.
THEY CAME TO BURY A YOUNG MAN
WHO'D DIED SUDDENLY AND
MYSTERIOUSLY, NINE YEARS INTO
HIS REIGN AS PHARAOH.
TUTANKHAMUN'S BODY, AND THE
PRECIOUS ARTEFACTS BURIED WITH
IT, LAY UNDISCOVERED
FOR CENTURIES.
IN THE EARLY YEARS OF THE 20TH
CENTURY, BRITISH ARCHAEOLOGIST
HOWARD CARTER WAS DETERMINED TO
FIND THEM.

A portrait of Howard Carter appears. He has short straight brown hair and a moustache.

Margaret says THIS DIG HOUSE IN THE
VALLEY OF THE KINGS WAS
HEADQUARTERS FOR HIS LONG
QUEST, BANKROLLED BY THE
WEALTHY ARISTOCRAT
LORD CARNARVON.

A black and white picture shows Lord Carnarvon sitting on a lounge chair reading.

Margaret says THEY EMPLOYED A SMALL ARMY OF
LOCAL WORKMEN, WHO SHIFTED
THOUSANDS OF TONNES OF SAND
AND STONES.
BUT AFTER EIGHT YEARS OF
SEARCHING, THEY'D FAILED TO
FIND ANYTHING OF SIGNIFICANCE.
AND CARTER'S TIME WAS
RUNNING OUT.

A caption reads "Margaret Mountford."

Margaret says LORD CARNARVON WAS ABOUT TO CUT
OFF CARTER'S FUNDING.
BUT EVERYTHING CHANGED WHEN ONE
OF THE WORKMEN BRUSHED AWAY THE
SAND TO REVEAL A HIDDEN
STAIRCASE LEADING TO AN
UNDERGROUND TOMB.
THE DATE?
4TH OF NOVEMBER, 1922.
TWO WEEKS LATER, AT THE
WINTER PALACE HOTEL IN LUXOR,
CARTER AND CARNARVON ANNOUNCED
THEIR NEWS TO THE WORLD.
THEY'D SOLVED ONE
OF ARCHAEOLOGY'S
GREATEST MYSTERIES.
THEY'D UNCOVERED THE TOMB OF
THE PHARAOH TUTANKHAMUN.
AND THAT WAS JUST THE START OF
THE STORY.

(BIRDS CHIRPING)

Margaret says CARTER KNEW THAT HE NEEDED A
CRACK TEAM TO HELP HIM EXCAVATE
THE SITE AND TO TELL THE STORY
OF THE TREASURES IT CONTAINED.
SO, HE SENT OUT A CALL FOR
ARCHAEOLOGY'S BRIGHTEST AND
BEST: DIGGERS,
CONSERVATION EXPERTS,
PROFESSORS OF HIEROGLYPHICS,
AND A PHOTOGRAPHER CALLED
"HARRY BURTON."

Pictures of the excavation site appear.

(SHUTTER CLICKING)

Margaret says FOR THE NEXT TEN YEARS,
BURTON HAD A FRONT SEAT AS THE
GREATEST STORY IN THE HISTORY
OF ARCHAEOLOGY UNFOLDED IN THE
EGYPTIAN DESERT.
HIS CAMERA RECORDED IN
EXQUISITE DETAIL THE
EXTRAORDINARY ARTEFACTS FROM
THE TOMB...
AND CAPTURED EACH CHAPTER IN
THIS DRAMATIC STORY
OF REVELATION.
HE CREATED IMAGES THAT GRIPPED
THE WORLD'S IMAGINATION AND
PLAYED A CRUCIAL ROLE IN
CREATING THE LEGEND
OF TUTANKHAMUN.
THE SEARCH FOR THIS MASTER OF
BRITISH PHOTOGRAPHY BEGINS A
WORLD AWAY FROM THE HEAT AND
DUST OF THE DESERT.
MOST OF CARTER'S WONDERFUL
THINGS ARE STILL IN EGYPT.
BUT FOR ANYONE WITH A PASSION
FOR ANCIENT HISTORY, THERE'S A
STORE OF OTHER TREASURES FROM
HIS EXCAVATION MUCH CLOSER
TO HOME.
THIS IS THE GRIFFITH INSTITUTE
IN OXFORD.
TUCKED AWAY IN THE BASEMENT ARE
HOWARD CARTER'S METICULOUS
ARCHIVES OF HIS TEN-YEAR
ADVENTURE IN THE
VALLEY OF THE KINGS.
LIKE SO MANY GREAT ADVENTURES,
IT ALL BEGAN WITH A MAP.

The caption changes to "Liam McNamara. Director, The Griffith Institute, University of Oxford."

Liam is in his forties, with short wavy light brown hair and wears a blue suit and a blue shirt.

He says THIS IS CARTER'S ORIGINAL MAP
OF THE VALLEY OF THE KINGS.

Margaret says SO, THERE'S A SORT OF GRID
SYSTEM THAT HE DREW?

Liam says THAT'S RIGHT.
HE DIVIDED THE
VALLEY OF THE KINGS INTO A
SERIES OF GRID SQUARES.
AND HE WORKED THROUGH THEM
SYSTEMATICALLY IN THE SEARCH FOR
TUTANKHAMUN'S TOMB UNTIL THERE
WAS JUST ONE GRID SQUARE
REMAINING, CLOSE TO THE ENTRANCE
OF THE TOMB OF KING RAMSES VI.

Margaret says THIS IS WHERE THEY FOUND
TUTANKHAMUN'S TOMB?

Liam says THIS IS WHERE HE FOUND THE
FIRST STEPS LEADING TO A TOMB.
AT THIS POINT, THEY DIDN'T KNOW
THAT IT WAS
KING TUTANKHAMUN'S TOMB.

Margaret says WELL, HE MUST HAVE BEEN
TERRIBLY EXCITED.
WAS HE?

Liam says YES, CERTAINLY.
THIS IS CARTER'S ORIGINAL DIARY
FROM 1922.
AND IF WE TURN TO THE PAGE FOR
SATURDAY THE 4TH OF NOVEMBER,
WE SEE HE WRITES, ACROSS THE
PAGE, "FIRST STEPS OF
TOMB FOUND."
THIS IS QUITE UNUSUAL
FOR CARTER.
NORMALLY, HE STUCK VERY TIGHTLY
AND NEATLY TO THE LINES.
BUT HERE HE...

Margaret says THIS WAS JUST EXCITING!

Liam says YES, THIS IS ABOUT AS EXCITED
AS CARTER GETS.

Margaret says ONE OF THOSE PIVOTAL MOMENTS,
ISN'T IT?
IT'S PASSED INTO
POPULAR FOLKLORE.
EVERYONE KNOWS CARTER FOUND
WONDERFUL THINGS.

(music plays)

Margaret says CARTER WAS NO MERE
TREASURE HUNTER.
HE WAS A NEW BREED OF
ARCHAEOLOGIST WHO WANTED TO
EXCAVATE AND RECORD HIS FINDS
WITH SCIENTIFIC RIGOUR.
WITHIN DAYS OF UNCOVERING THE
STAIRWAY, HE BEGAN
TAKING PHOTOGRAPHS.
BUT HE WASN'T HAPPY WITH
THE RESULTS.

Liam says CARTER WAS A TRAINED ARTIST.
HE WAS A GREAT PAINTER, ALSO A
SKILLED PHOTOGRAPHER.
BUT I THINK HE REALISED THAT HE
WOULD NEED A REAL PROFESSIONAL
IN ORDER TO TAKE PHOTOGRAPHS
INSIDE THE TOMB, IN WHAT WERE
GOING TO BE VERY, VERY
DIFFICULT CONDITIONS.
IT WAS VERY DARK,
PACKED WITH OBJECTS.
AND SO, HE NEEDED A REAL
PROFESSIONAL TO DO THE WORK.

Margaret says AND I SUPPOSE HE HAD TO DO
OTHER THINGS TOO, DIDN'T HE?

Liam says HE HAD AN AWFUL LOT ON HIS
PLATE, OF COURSE, DURING THE
EXCAVATION OF THE TOMB.

Margaret shows a black and white picture of the team and says THIS WAS CARTER'S ORIGINAL
TEAM, INCLUDING THE MAN WHO
STAYED BY HIS SIDE THROUGH
EVERY TWIST AND TURN OF
THE EXCAVATION.
WHICH ONE'S BURTON?

Lim points at a man with a moustache and says SO, THIS IS HOWARD CARTER IN
THE CENTRE.

He points at a man in a suit and a hat on the back and says AND JUST OVER HIS SHOULDER IS
THE PHOTOGRAPHER HARRY BURTON.

Margaret says ANCIENT EGYPT HAS INTRIGUED
ME FOR YEARS.
BUT I'D NEVER HEARD
BURTON'S STORY.
HE SHUNNED THE LIMELIGHT.
ALTHOUGH HIS PICTURES MADE
CARTER A STAR.
I WANT TO FIND OUT MORE ABOUT
THIS ELUSIVE MAN.
HOW DID HE CREATE THE WONDERFUL
PHOTOGRAPHS THAT EGYPTOLOGISTS
STILL STUDY TODAY?
AND LIKE CARTER, I'VE RECRUITED
A PHOTOGRAPHER TO WORK WITH ME.

Harry takes a glass plate out of an envelope and says JUST FANTASTIC.

Margaret says HARRY CORY WRIGHT STILL
SHOOTS TODAY WITH A LARGE
FORMAT CAMERA, LIKE THE ONE
BURTON USED TO MAKE PICTURES
LIKE THESE.

Harry says WHAT A BEAUTIFUL THING.

Margaret says BUT THERE'S ONE CRUCIAL
DIFFERENCE BETWEEN HARRY'S
CAMERA AND BURTON'S.
HARRY SHOOTS ON FILM.
WHEREAS BURTON USED AN EARLIER
TECHNOLOGY CALLED
"GLASS PLATE."
HIS ORIGINAL NEGATIVES ARE
ANOTHER TREASURE IN THE ARCHIVE
OF THE GRIFFITH INSTITUTE.
AND THEY ARE FULL OF CLUES TO
HIS PHOTOGRAPHIC METHODS.

Harry says LOOK, MARGARET.
LOOK AT THESE.
SO, THESE ARE THE GLASS PLATES
THEMSELVES, THAT WOULD HAVE BEEN
IN THE CAMERA AT THE TIME.

Margaret says WHY DID HE USE GLASS PLATES?
WASN'T THERE FILM?

The caption changes to "Harry Cory Wright."

Harry says WELL, I THINK THERE WAS
FILM AROUND.
BUT I DON'T THINK IT WAS IN ANY
WAY AS STABLE.
THE TECHNOLOGY OF FILM WAS JUST
DEVELOPING AT THE TIME.
BUT I THINK THAT GLASS WAS THAT
MUCH MORE PREDICTABLE, REALLY.

Margaret says GLASS PLATE NEGATIVES HAD
BEEN USED SINCE THE EARLY DAYS
OF PHOTOGRAPHY.
A THIN GLASS SHEET WAS COATED
WITH SILVER NITRATE EMULSION,
WHICH REACTED TO LIGHT WHEN THE
SHUTTER WAS RELEASED.
(SHUTTER CLICKING)

Margaret says THE NEGATIVES WERE THEN
DEVELOPED TO MAKE PRINTS.
BURTON'S EXPERTISE WITH THIS
PROCESS IS EXTRAORDINARY.
HOW DID HE MAKE THESE DELICATE
MASTERPIECES IN HOSTILE
DESERT TERRAIN?

Harry says IT'S INCREDIBLY FRAGILE.
IMAGINE YOU'RE DEVELOPING THIS.
AND IT'S DUSTY.
AND ALSO, I CAN'T TELL YOU...
WHEN IT'S WET, WET EMULSION,
IT JUST GATHERS DUST,
GATHERS EVERYTHING.
IT'S EXTRAORDINARY HOW GOOD NICK
THESE THINGS ARE IN.

Margaret says WHAT I THINK'S SO AMAZING
ABOUT THESE IS THAT THIS TELLS
THE WHOLE STORY OF
THE EXCAVATION.

Harry says THIS IS WHAT PHOTOGRAPHY AT
ITS BEST CAN DO, WHICH IS SHOW
HIGH DRAMA.
THEN, ALSO, IT CAN BE LYRICAL
AND SWEET, YOU KNOW, HIS HEAD
COMING THROUGH IT AND THE
GENTLEMAN AT THE BACK HERE,
ALL THESE OTHER
INCIDENTAL THINGS.
I WANT TO GET DOWN AND HAVE A
LOOK CLOSELY IN HERE AND SEE
WHAT CUFFLINKS HE WAS WEARING.

Margaret says AND HIS RING.

Harry says HIS RING, YEAH, EXACTLY.

Margaret says AND WHAT DO YOU FEEL, CISCO,
WHEN YOU'RE WORKING WITH
THIS MATERIAL?

The caption changes to "Doctor Francisco Bosch-Puche. The Griffith Institute, University of Oxford."

Francisco is in his thirties, clean-shaven and with short brown hair. He wears jeans and a black sweater.

He says FIRST OF ALL, THAT YOU HAVE
TO BE VERY CAREFUL.
THESE ARE VERY IMPORTANT
DOCUMENTS, VERY FRAGILE.
BUT IT'S NICE TO SEE PEOPLE
AT WORK.
WE READ ABOUT CARTER, ABOUT THE
DIFFERENT MEMBERS OF THE TEAM.
SO, YOU GET TO KNOW THEM BETTER.

Harry says AND THERE'S SOMETHING VERY,
VERY EXCITING, I THINK,
ABOUT HOW WHAT WE'RE LOOKING
AT-- WE'RE LOOKING AT
THE ORIGINALS.
SO, THEY HAVE THE CHEMICALS THAT
REACTED TO THE LIGHT THAT
WAS THERE.
AND IT'S AN EXTRAORDINARY THING
ABOUT PHOTOGRAPHY IS THAT LIGHT
CAN JUST KIND OF KEEP SOMETHING
CHARGED AND HELD FOR A LONG TIME
AND, IN THIS CASE, YOU KNOW,
FOR NEARLY 100 YEARS.

(music plays)

Margaret says I'VE ASKED HARRY TO COME WITH
ME TO EGYPT AND TAKE
PHOTOGRAPHS THERE USING
BURTON'S METHODS AND EQUIPMENT.
TOGETHER, WE'LL INVESTIGATE HOW
HE CREATED SUCH FLAWLESS IMAGES
USING ANALOGUE TECHNOLOGY THAT
HE MUST HAVE PUSHED TO
ITS LIMITS.

They look at a negative of two people analyzing a piece with a priest on the back looking out a window.

Harry says THIS IS A BEAUTIFULLY LAID
OUT PICTURE, WELL THOUGHT OUT,
VERY MUCH ABOUT THE PEOPLE AND
THE HUMAN SIDE OF IT.
IT'S LIKE AN OLD MASTER, IN A
WAY, THE WAY HE'S KIND OF
COMPOSED THAT.

They look at another picture where two men unroll a cloth roll as another man on the back holds a stick-like element. Behind him, two guardian statues stand against a wall.

Harry says I MEAN, THIS ONE HERE, THIS HAS
A SORT OF JOURNALISTIC QUALITY
TO IT, WHICH IS VERY DIFFERENT
TO THOSE OTHERS.

Margaret says BY THE TIME CARTER CAME
CALLING, HARRY BURTON HAD
WORKED IN EGYPT FOR MORE THAN
TEN YEARS.
IT WAS A LONG WAY FROM HIS
MODEST CHILDHOOD IN
STAMFORD, LINCOLNSHIRE.

The caption changes to "Doctor Christina Riggs. University of East Anglia."

Christina is in her forties, with long wavy brown hair and wears a pale blue shirt and a pendant necklace.

She says HIS FATHER WAS A CABINET
MAKER OR A CARPENTER, SO,
A PRETTY HUMBLE BEGINNING.
BUT BURTON SEEMS TO HAVE
BEEN CLEVER.
HE SEEMS TO HAVE BEEN GOING
TO SCHOOL.
AND AT SOME POINT, AS A
TEENAGER-- WE DON'T KNOW HOW...
HE CAME INTO CONTACT WITH A MAN
FROM A PROMINENT LOCAL FAMILY,
A MAN NAMED
ROBERT HENRY HOBART CUST.

Margaret says CUST'S PATRONAGE OPENED NEW
DOORS FOR BURTON.
HE LEFT STAMFORD TO WORK AS
PERSONAL ASSISTANT TO THIS
WEALTHY ART ENTHUSIAST, WHO HAD
A HOME IN ITALY.

Christina says HE INVITES BURTON,
WHEN BURTON'S ABOUT 17, TO JOIN
HIM IN FLORENCE, AS A
SECRETARY, BASICALLY,
A SECRETARY AND A COMPANION.
AND IT'S THERE THAT BURTON
ENTERS A WHOLE NEW WORLD.
THEY WIND UP LIVING IN THE
CENTRE OF FLORENCE, RIGHT NEAR
THE PONTE VECCHIO, IN A
BEAUTIFUL APARTMENT, AND THREW
WONDERFUL PARTIES AND KNEW ALL
THESE BRITS WHO WERE FLOODING
INTO FLORENCE AND SOAKING UP THE
ATMOSPHERE OF RENAISSANCE ITALY,
AND A WARMER CLIMATE.
WE DON'T KNOW EXACTLY HOW BURTON
PICKED UP PHOTOGRAPHY OR HOW HE
LEARNED IT.
BUT AT THIS TIME, IN THE 1880S,
1890S, IT WOULD HAVE BEEN REALLY
USEFUL FOR HIM, AS CUST'S
ASSISTANT, TO BE ABLE TO TAKE
PHOTOGRAPHS WHEN THEY WERE
VISITING MUSEUMS,
VISITING PRIVATE COLLECTIONS,
VISITING CATHEDRALS FOR
CUST'S RESEARCH.
AND IT CLEARLY BECOMES A REAL
PASSION FOR HIM.
AND HE SEEMS TO START TO GET A
REPUTATION FOR IT.

Margaret says IN FLORENCE, BURTON MET AN
AMERICAN CALLED
"THEODORE DAVIS,"
A MULTIMILLIONAIRE WITH A
PASSION FOR EGYPT.

A black and white picture of a man with a prominent moustache appears.

Christina says HE'D MADE A MINT IN,
POSSIBLY, SOME DODGY DEALS IN
NEW YORK CITY.
HE HAD A HUGE HOUSE THAT HE'D
BUILT IN NEWPORT, RHODE ISLAND.
AND HE HAD RETIRED AND LIKED TO
SPEND HIS WINTERS IN EGYPT AND
IN ITALY.
DAVIS COULD AFFORD TO DO WHAT
THE EGYPTIAN GOVERNMENT AT THAT
TIME COULDN'T.
THE EGYPTIAN GOVERNMENT WAS FLAT
BROKE AFTER BANKRUPTCY IN
THE 1870S.
AND SO, TO HAVE DAVIS'S MONEY
WAS PERFECT.
AND DAVIS WAS GIVEN THE PLUM
CONCESSION OF EXCAVATING IN THE
VALLEY OF THE KINGS.

Margaret says DAVIS RECRUITED BURTON TO
HIS TEAM.
HE WORKED AS AN ARCHAEOLOGIST
AT FIRST BUT SOON BEGAN TO
FOCUS ON PHOTOGRAPHY INSTEAD.

An old clip shows Harry Burton at work with the caption "Harry Burton. The Valley of the Kings, Egypt."

Margaret says WHEN DAVIS RETIRED HOME TO
AMERICA IN 1914, BURTON STAYED
ON TO WORK FOR THE
NEW YORK METROPOLITAN MUSEUM,
WHO HAD THEIR OWN TEAM IN THE
VALLEY OF THE KINGS.
BY 1922, HE WAS KNOWN AS THE
BEST EXCAVATION PHOTOGRAPHER
IN EGYPT.
BUT HE WAS ABOUT TO BEGIN THE
ASSIGNMENT THAT WOULD EARN HIM
INTERNATIONAL RECOGNITION
BECAUSE HOWARD CARTER HAD JUST
MADE THE DISCOVERY OF
THE CENTURY.

The caption changes to "Professor Salima Ikram. American University in Cairo."

Salima is in her late forties, with short wavy brown hair and wears beige trousers, a blue shirt, a yellow scarf and sunglasses over her head.

She walks down the tomb’s entrance and says SO, THIS IS THE
REAL ENTRANCE.
AND, IN FACT, RIGHT HERE,
CARTER WOULD HAVE BEEN
COMING DOWN.
AND UNDERNEATH-- YOU CAN'T SEE
BECAUSE THERE ARE THESE
METAL STAIRS.
BUT THAT'S THE REAL STEP THAT
HE SAW.
4TH OF NOVEMBER 1922, THIS ONE
STEP CHANGED THE COURSE OF
EGYPTOLOGICAL HISTORY.

Margaret says FOR CARTER AND CARNARVON,
THIS WAS A TIME OF
TRIUMPHANT VINDICATION.
DAY BY DAY, STEP BY STEP,
THEY DUG THEIR WAY DOWN TO THE
PHARAOH'S TOMB.

Salima goes down a staircase and says SO, THIS, YOU HAVE TO
IMAGINE, WHEN CARTER CAME HERE,
WAS ACTUALLY FILLED WITH DUST
AND LIMESTONE CHIPPING
AND SAND...

Margaret says WHY-- WHY WAS IT FULL OF ALL
THAT STUFF?

Salima says AH, BECAUSE WHEN YOU RE-BURY,
YOU ACTUALLY FILL IT ALL UP SO
THIEVES DON'T GET THROUGH.
EXCEPT OF COURSE, THE THIEVES
DID BECAUSE THERE WAS A LITTLE
PASSAGEWAY, A TUNNEL, THAT THE
THIEVES HAD MADE THROUGH ALL OF
THIS LIMESTONE.
AND, SO, OF COURSE, WHEN CARTER
WAS LOOKING AT THIS, HE WAS
PROBABLY-- THERE WAS FOREBODING
IN HIS HEART, THINKING...

Margaret says THE THIEVES MIGHT HAVE
EMPTIED IT?

Salima says "WHAT WILL HAPPEN WHEN WE
GET DOWN?
WILL THERE BE ANYTHING?
WILL THERE NOT BE ANYTHING?"

Margaret says THIS WAS WHERE CARTER PEERED
INTO THE DARKNESS AND SAW A
CHAMBER PACKED TO OVERFLOWING
WITH WONDERFUL THINGS.
SO, THIS IS THE ANTECHAMBER.

Salima says YEP, HERE IT IS.

Margaret says WITH, NOW, A FALSE FLOOR.
PRESUMABLY, IT WAS LOWER DOWN,
WASN'T IT?

Salima says YES.

Margaret says AND THIS, THE MUMMY...
MANY THINGS HAVE CHANGED HERE
SINCE THE GREAT PHARAOH WAS
LAID TO REST ALL THOSE
CENTURIES AGO.
HIS REMAINS HAVE BEEN TAKEN
FROM THE SARCOPHAGUS AND PLACED
IN A CLIMATE-CONTROLLED
GLASS CASE.
AND ALL THE EXTRAORDINARY
OBJECTS BURIED WITH HIM WERE
REMOVED LONG AGO FOR
SAFEKEEPING IN MUSEUMS.
IT'S HARD TO IMAGINE WHAT THIS
EMPTY SPACE LOOKED LIKE WHEN
CARTER DISCOVERED IT FULL OF
THE PHARAOH'S TREASURES.
BUT AT LEAST WE HAVE BURTON'S
IMAGES TO TURN BACK TIME.
SO, THIS IS ONE OF BURTON'S
PHOTOGRAPHS OF THIS END OF
THE ROOM.
THERE'S THE CHARIOT WHEELS.

Salima says RIGHT, THESE ONES OVER THERE.
AND THESE ARE VERY NICE BECAUSE
YOU'VE GOT THE LITTLE STOOLS
THAT TUTANKHAMUN SAT ON.

Margaret says HE ACTUALLY SAT ON?
OR THEY WERE THERE FOR HIM TO
SIT ON IN THE AFTERLIFE?

Salima says NO, I THINK THEY WERE
ACTUALLY THINGS THAT HE USED.
AND WHAT'S NICE IS THAT, EVEN IN
THE BURTON PICTURE, SOMETIMES,
YOU GET THE SENSE OF SCALE.
AND YOU GET SMALL THINGS AND
BIG THINGS, WHEN HE WAS A CHILD,
WHEN HE WAS GROWN UP.

Margaret says AND THAT'S THE BACK WALL.

Salima says YES, WHICH HAD MORE
CHARIOTRY AND A LITTLE BIT OF,
YOU KNOW, SMALLER BOXES.

Margaret says YOU CAN SEE NEARLY ALL OF
TWO COUCHES, CAN'T YOU?

Salima says HIPPO COUCH IS THERE.
AND THEN YOU'VE GOT THE BIG
CURVED TAIL ON THIS ONE HERE.

Margaret says WHAT ARE THESE THINGS?

Salima says THESE ARE THE FOOD BOXES.

Margaret says AH, THE PICNIC!

Salima says HIS PICNIC, SO, HE COULD NOT
BE HUNGRY IN THE AFTERLIFE,
AND THEN SOME OF THE BOATS AND
COFFERS UP THERE.

Margaret says AND YOU CAN SEE THE WALLS ARE
STILL THE SAME, CAN'T YOU?

Salima says MM-HMM, ABSOLUTELY, JUST SORT
OF THIS BIG, BLANK, ROOM.
BUT WHAT GAVE IT ITS SORT OF
EXCITEMENT WAS ALL OF THE STUFF
IN IT.
IT REALLY WAS CHOCK-A-BLOCK.

Margaret says RIGHT, AND THEN THIS IS THE
OTHER END OF THE ROOM,
WITH THOSE TWO GUARDIAN STATUES.
SO, OVER THERE...

Salima says THERE'S ONE HERE, THIS ONE
HERE, AND THEN THAT ONE FLUSH TO
THAT WALL.

Margaret says BUT NOT SYMMETRICAL TO
THIS ONE?

Salima says NO, THEY'RE A LITTLE BIT OFF
CENTRE BECAUSE THE OPENING
WASN'T ACTUALLY
COMPLETELY CENTRED.

Margaret says BUT THEY ARE GUARDING
THE OPENING?

Salima says MM-HMM, YEAH.

Margaret says AND IT WASN'T AS WIDE AS
THIS, EITHER, WAS IT?

Salima says NO, NO, OF COURSE, THIS HAS
BEEN BROKEN OPEN BECAUSE,
ULTIMATELY, THEY HAD TO EXTEND
IT SO THEY COULD TAKE THE
SHRINES APART AND BRING
THEM OUT.

Margaret says IT'S ONLY BECAUSE OF THIS
PHOTOGRAPH THAT WE CAN ACTUALLY
SEE THE WALL BACK IN POSITION.

Salima says YES, SADLY, WITH ARCHAEOLOGY,
YOU HAVE TO DESTROY IF YOU'RE
GOING TO DISCOVER ANYTHING.
BUT YOU NEED A METICULOUS RECORD
LIKE BURTON'S PHOTOGRAPHS IF
YOU'RE GOING TO BE SUCCESSFUL.

(music plays)

Margaret says THIS WAS AN UNPARALLELED
DISCOVERY, AN ALMOST COMPLETELY
INTACT ROYAL BURIAL.
IT TOOK MONTHS TO RECORD THE
TIGHTLY-PACKED TREASURES IN
THE ANTECHAMBER.
FIRST, BURTON TOOK ESTABLISHING
SHOTS TO RECORD THE POSITION OF
OBJECTS, LIKE THE EXTRAORDINARY
ANIMAL-SHAPED COUCHES.
THEN HE TOOK CLOSE-UPS OF EACH
CAREFULLY NUMBERED ARTEFACT.
THIS IS ONE OF THE GREAT
TREASURES OF THE TOMB, A THRONE
MADE OF TIMBER,
OVERLAID WITH GOLD.
ON THE BACKREST: AN IMAGE OF
THE PHARAOH AND HIS QUEEN,
BATHED IN THE SUN'S RAYS.
WHEN BURTON WAS WORKING,
COLOUR PHOTOGRAPHY WAS STILL IN
ITS INFANCY.
HIS METICULOUS BLACK-AND-WHITE
IMAGES WERE SUPPLEMENTED BY
CARTER'S DETAILED NOTES
AND DRAWINGS.
THEY RECORD THE COLOURS
BURTON'S CAMERA
COULDN'T CAPTURE.
IT WAS ONLY WHEN THE
ANTECHAMBER WAS FULLY RECORDED
AND EMPTIED THAT CARTER COULD
ADDRESS THE MYSTERY OF WHAT LAY
BEHIND THIS SEALED ENTRANCE.
DID THIS WALL HIDE THE
PHARAOH'S BURIAL CHAMBER?
PHOTOGRAPHER HARRY CORY WRIGHT
HAS ARRIVED IN EGYPT.
AND HE'S READY TO START WORK.
HE'S TAKEN SOME WONDERFUL
PICTURES WITH HIS LARGE FORMAT
CAMERA OVER THE YEARS.
BUT THIS WILL BE HIS FIRST
ATTEMPT TO SHOOT IN DESERT
CONDITIONS, USING THE SAME
TECHNIQUES BURTON EMPLOYED
ALMOST 100 YEARS AGO.
(BIRDS CHIRPING)
MEDINET HABU IS THE MORTUARY
TEMPLE OF THE
PHARAOH RAMSES THE THIRD, WHO RULED
IN EGYPT AROUND 150 YEARS AFTER
TUTANKHAMUN'S DEATH.
IT'S A LOCATION BURTON ALSO
PHOTOGRAPHED BEFORE HE WORKED
WITH CARTER.
(BIRDS CHIRPING)

Harry says GOSH, WHAT A PLACE.
SO, HERE WE ARE, JUST INSIDE THE
DEFENSIVE WALLS.
AND JUST LOOK AT THE WAY IT'S
JUST SORT OF CRUMBLING AWAY.
YOU CAN SEE EVERY BRICK THERE,
SORT OF MADE, AND NOW JUST
TUMBLING DOWN.
WHEN BURTON BEGAN WORK WITH
CARTER, HE'D ALREADY TAKEN
THOUSANDS OF PICTURES IN
CONDITIONS LIKE THESE.
IT'S A GOOD PLACE TO BEGIN MY
OWN EXPERIMENTS USING BURTON'S
METHODS AND EQUIPMENT.

Harry sets up his vintage camera in the location.

Harry says MY GANDOLFI CAMERA IS ALMOST
IDENTICAL TO BURTON'S 1920S
ORIGINAL, APART FROM THE
ADDITION OF A MODERN LENS
AND SHUTTER.
I'VE ADAPTED IT TO USE GLASS
PLATE NEGATIVES,
LIKE BURTON DID.
SO, HERE IS THE HEART OF THE
THING, WHICH IS THE GLASS
NEGATIVE THAT'S IN HERE.
THIS IS JUST AN EXTRAORDINARILY
INTOLERANT ENVIRONMENT TO KIND
OF HAVE SOMETHING AS DELICATE
AS THIS.
HOW BURTON DID IT, I CAN'T
UNDERSTAND IT, BECAUSE HE HAD
BOXES OF THESE THINGS.
BURTON WORKED IN AN AGE BEFORE
LIGHT METERS WERE
COMMERCIALLY AVAILABLE.
HE KNEW FROM EXPERIENCE HOW TO
JUGGLE THE VARIABLES OF
APERTURE AND SHUTTER SPEED TO
GET GOOD EXPOSURE IN THIS
INTENSE LIGHT.
IT'S CONFUSING TO ME.
IT FEELS SO MUCH BRIGHTER THAN
WHAT I'M USED TO WORKING WITH
IN OUR TEMPERATE CLIMATE
AT HOME.
ABOUT THERE, SO, A SPOT READING
ON HERE, ON THE ROCK THERE.
AND WE'RE GOING TO GO ONE SECOND
AT 45.
(BIRDS CHIRPING)

(SHUTTER CLICKING)

Harry takes the picture and says I ALWAYS FIND THIS AMAZING,
THIS MOMENT, AFTER THAT RATHER
BEAUTIFUL PAUSE OF ONE SECOND,
WHICH SORT OF DRANK IN ALL OF
THAT SCENE THAT WE'VE GOT
OUT THERE.
NOW ALL OF THAT INFORMATION IS
SITTING IN THIS SLIVER OF
EMULSION THAT SITS ON TOP OF THE
GLASS SLIDE.

He puts the plate in a bag and says SO, I'M GOING TO TUCK IT AWAY
AND THEN, UHH, CAN'T WAIT.
BUT IT'S HELD IN THIS SORT OF
TENSION UNTIL IT'S DEVELOPED.
LET'S SEE WHAT HAPPENS.

Margaret says GLASS PLATE
PHOTOGRAPHY IS NO JOB FOR
THE IMPATIENT.
EVERY SHOT MUST BE CAREFULLY
CONSIDERED AND EXECUTED.
HARRY BURTON WENT THROUGH THE
SAME RIGMAROLE THOUSANDS OF
TIMES BECAUSE CARTER WANTED A
COMPLETE PHOTOGRAPHIC RECORD OF
HIS EXCAVATION.
ONCE THE ANTECHAMBER WAS
EMPTIED, HE MOVED ON TO OTHER
AREAS OF THE TOMB.
THIS FEARSOME STATUE OF ANUBIS,
THE EGYPTIAN GOD OF
MUMMIFICATION, STOOD SENTINEL
OVER THE PHARAOH'S TREASURY.
INSIDE, CARTER DISCOVERED A
GILDED SHRINE CONTAINING
TUTANKHAMUN'S EMBALMED ORGANS,
PROTECTED BY FOUR GODDESSES.
"IT WAS," SAID CARTER,
"THE MOST BEAUTIFUL MONUMENT
I'VE EVER SEEN.
IT MADE ONE GASP WITH WONDER
AND ASTONISHMENT."
BURTON'S PHOTOGRAPHS ARE A
WONDERFUL RECORD FOR US OF HOW
THE TOMB WAS WHEN THEY FOUND IT.
AND THEY'RE BEAUTIFUL TO
LOOK AT.
BUT ARE THEY STILL ANY USE?
DO YOU STILL USE THEM?

Salima says OH, ABSOLUTELY.
I MEAN, THEY'RE ONE OF THE
BASIC, GO-TO SOURCES FOR US.
ANYONE WHO'S STUDYING
TUTANKHAMUN USES THOSE.
I'M WORKING WITH A GROUP OF
OTHER PEOPLE ON THE STICKS AND
STAVES OF TUTANKHAMUN.
THE STICKS AND STAVES HAVE
TWO PURPOSES.
ONE, OF COURSE, IS IF YOU NEED
IT, BUT IT IS ALSO VERY MUCH A
SYMBOL OF AUTHORITY.
AND IT'S PART OF YOUR
ROYAL REGALIA.
PLUS, CERTAIN STICKS AND STAVES
HAVE IMPORTANCE AND SIGNIFICANCE
IN THE TRANSITION TO THE
AFTERLIFE, SO, THE MEDU STAFF
AND THE DIS STAFF, ET CETERA.
AND THERE ARE VARIOUS SPELLS
ASSOCIATED WITH THEM.
AND IT WAS EXTRAORDINARY
BECAUSE, WITH THE BURTON
PHOTOGRAPHS, SOME OF HIS
CLOSE-UPS ARE SO METICULOUS.
YOU CAN SEE EVEN THE MATERIALS
THAT THINGS WERE MADE OUT OF.

A picture of two goddesses with long fish tails bending upwards appear.

Margaret says COULD YOU TAKE PHOTOGRAPHS
LIKE THAT TODAY?

Salima says IT'S REALLY DIFFICULT BECAUSE
WE'VE BEEN TRYING, EVEN WITH OUR
REALLY HI-TECH DIGITAL CAMERAS.
WE DO GET THE COLOUR.
BUT THE RESOLUTION IS NEVER
QUITE AS CRISP, ONE FEELS,
AS HARRY BURTON'S GLASS
PLATE NEGATIVES.

Margaret says SO, HAVE YOU GOT
ANY FAVOURITES?

Salima shows Margaret a picture on a tablet and says I LIKE THIS ONE,
WITH CARTER...

Margaret says WORKING.

Salima says YEAH.

Margaret says WITH THE LAMP AND THE PROPS
AND EVERYTHING THEY HAD TO PUT
IN, 'CAUSE THEY COULDN'T JUST
WORK IN THE SPACE, COULD THEY?
THEY HAD TO MAKE SURE EVERYTHING
STAYED IN POSITION AND THEN MOVE
IT ONE AT A TIME.

Salima says AND, I MEAN, IN A WAY,
THIS IS A GREAT TESTAMENT TO
CARTER'S WORK AS AN
ARCHAEOLOGIST, THE HOURS HE MUST
HAVE SPENT, SORT OF SITTING
THERE, IN THE HOT SORT OF
SWELTERING-NESS OF THE TOMB,
METICULOUSLY RECORDING EVERY
TINY PIECE OF INFORMATION.
AND, REALLY, BETWEEN BURTON'S
PHOTOGRAPHS AND CARTER'S NOTES,
THIS IS-- IT REALLY DOES TELL
YOU HOW ARCHAEOLOGY SHOULD
BE DONE.

(music plays)

Margaret says IN THE TEN YEARS IT TOOK TO
EXCAVATE THE TOMB,
BURTON CREATED AN ARCHIVE OF
MORE THAN 1,400 IMAGES.
AND AFTER EACH SHOT,
THE EXPOSED NEGATIVE HAD TO BE
REMOVED FROM THE CAMERA AND
SWAPPED FOR A NEW GLASS PLATE,
WHICH IS MORE COMPLICATED THAN
YOU MIGHT IMAGINE.

Harry says IT'S OBVIOUSLY A
LIGHT-TIGHT TENT.
I'VE GOT THE GLASS NEGATIVE.
AND I'VE GOT TO TAKE IT OUT OF
THE DARK SLIDE AND PUT IT INTO A
BOX AND PUT A NEW ONE IN.
AND I'M NOT VERY GOOD AT DOING
TWO THINGS AT ONCE.
SO, I'VE GOT TO
REALLY CONCENTRATE.
I'VE DONE THIS IN A FEW STRANGE
PLACES, BUT NOT QUITE WITH A
VIEW LIKE THAT.

Margaret says HARRY'S NOT THE ONLY
PHOTOGRAPHER ON SITE.
ARCHAEOLOGISTS FROM THE
UNIVERSITY OF CHICAGO HAVE BEEN
STUDYING THIS TEMPLE COMPLEX
SINCE THE 1920S, WHEN CARTER
AND BURTON WORKED CLOSE BY.
LIKE BURTON, THE CHICAGO HOUSE
UNIT PIONEERED THE USE OF
CAMERAS IN ARCHAEOLOGY.
YARKO KOBYLECKY AND SUE LEZON
KEEP THAT TRADITION
ALIVE TODAY.

Yarko is in his fifties, with short wavy gray hair and a beard. He wears khaki trousers, a blue shirt and a black sweater wrapped around his shoulders.

Sue is in her fifties, with short straight blond hair and wears jeans, a striped blue and gray sweater, a white scarf and sunglasses.

Yarko says WE'LL MEASURE THAT AGAIN.

Harry says SUE.

Yarko says HI.
HOW YOU DOING?

Harry says GOSH, NOW, TELL ME, WHAT ARE
YOU DOING?

The caption changes to "Yarko Kobylecky. The Epigraphic Survey, Chicago House, Luxor."

Yarko says WELL, WE'RE GOING TO ATTEMPT
TO PHOTOGRAPH THIS HUGE BLOCK
OF NUBIANS.

Harry says YES.

Yarko says AND THE FIRST THING WE HAVE
TO DO IS MAKE SURE WE HAVE SOME
REFERENCE, WHICH IS
THESE SCALES.

Harry says RIGHT.
BUT, IMPORTANTLY, TO ME, YOU ARE
USING A 10X8 PLATE CAMERA.

Yarko says THAT'S RIGHT.

Harry says NOW, WHY?

Yarko says "WHY?"
BECAUSE IT'S THE LARGEST
RESOLUTION THAT'S POSSIBLE.

Harry says BUT EVEN SO, I MEAN,
YOU KNOW, HERE WE ARE IN,
YOU KNOW, 2016.
AND WE'VE GOT, YOU KNOW,
ALL SORTS OF DIGITAL
EQUIPMENT AVAILABLE.
BUT THIS IS STILL...

Yarko says STILL THE BEST.

Harry says AND IT'S NOT JUST BECAUSE YOU
LOVE IT?

Yarko says NO, NO.

Harry says IT STILL COMPLETELY DOES THE
JOB BETTER THAN ANYTHING ELSE?

Yarko says AT SOME POINT, IT WILL COME,
BUT AS OF YET, NO.

Harry says SO, THIS DOES GO RIGHT BACK.
YOU KNOW, YOU CAN PUT YOURSELF
IN BURTON'S PLACE VERY EASILY.

Margaret says THE CHICAGO HOUSE TEAM IS
DRIVEN BY THE SAME IDEAL THAT
MOTIVATED BURTON AND CARTER.

Yarko says ON THE LEVEL.
YEAH.

Harry puts a level on the block and says OKAY.

Yarko says GOT IT?
GREAT.

Margaret says THIS IS PERFECTIONISM WITH
A PURPOSE.

Yarko says NOW WE'RE LEVEL.

Margaret says THE PHOTOGRAPHS THEY TAKE
TODAY WILL BE COLLATED WITH
HAND-DRAWN PLANS AND OTHER DATA
TO HELP CREATE A COMPLETELY
ACCURATE RECORD OF AN
EXTRAORDINARY AND FRAGILE
HISTORICAL SITE.
THE VAST MAJORITY OF BURTON'S
IMAGES RECORD ARTEFACTS FROM
THE TOMB.
BUT HE ALSO PHOTOGRAPHED THE
ARCHAEOLOGISTS AT WORK.
IN THIS IMAGE,
CARTER'S COLLEAGUES EXAMINE ONE
OF SIX CHARIOTS DISCOVERED IN
THE TOMB.
IT WAS A SYMBOL OF EGYPTIAN
KINGSHIP, DECORATED WITH GOLD,
COLOURED GLASS AND STONE.
HARRY HOPES TO CREATE A SIMILAR
PICTURE TODAY.

Harry says WHAT I'M AFTER HERE IS A
PICTURE THAT HAS SOME OF THE
FINESSE AND THE ELEGANCE OF WHAT
BURTON WAS ABLE TO DO.
I'M LOOKING AT A PHOTOGRAPH
THAT, PERHAPS, GIVES A LITTLE
BIT OF THAT STRUCTURE, OF WHERE
HE'S ORCHESTRATED THE PICTURE A
LITTLE BIT.
I WANT TO TRY AND FIND A PICTURE
THAT'S GOT JUST SOME QUIET
PROCESS OF EVERYBODY AT WORK.
HELLO.

He spots a man on a ladder watching hieroglyphics on a wall and says A-HA!
THAT'S WHAT WE'RE AFTER.
PHOTOGRAPHING PEOPLE WITH A
CAMERA LIKE THIS BRINGS
CHALLENGES THAT YOU DON'T COME
UP AGAINST WITH DIGITAL.
IF WE CAN GET YOU INTO
POSITION-- CAN I ASK YOU TO
KIND OF LEAN-- I'M THINKING SORT
OF JUST HERE.
KEEP YOUR SHOULDER...
BECAUSE THEY'RE LESS SENSITIVE
TO LIGHT, GLASS PLATES NEED A
LONGER EXPOSURE, AND A PATIENT
SUBJECT, LIKE BADAWI, WHO WORKS
WITH THE CHICAGO TEAM.

A man in a tunic poses for him by a wall.

Harry says FOR FOUR SECONDS, WE'LL GO FOR
FOUR SECONDS.
OKAY, FANTASTIC, IF YOU COULD
JUST LOOK AT ME.
THAT'S IT.
AND CAN YOU, YEAH, JUST KIND OF
GET A LITTLE BIT MORE...
SO YOU'RE FACING ME A TINY
BIT MORE.
THAT'S IT, YEAH.
RECREATING BURTON'S METHODS
REVEALS AN IMPORTANT SECRET
ABOUT HIS PICTURES OF PEOPLE
AT WORK.
A LITTLE MORE TO YOUR LEFT,
PLEASE.
THAT'S IT, PERFECT.
CAN YOU JUST KIND OF LOOK A TINY
BIT MORE THIS WAY?
THAT'S IT.
THEY MAY LOOK LIKE THE SNAPSHOT
OF A MOMENT IN TIME.
BUT BURTON MUST HAVE
STAGE-MANAGED THESE IMAGES,
ASKING THE ARCHAEOLOGISTS TO
STOP WHAT THEY WERE DOING AND
HOLD A POSE FOR THE CAMERA.
OKAY, HOLD STILL.
HERE WE GO.
FOR A FEW BRIEF MOMENTS,
THEY WERE ACTING THE PART OF
ARCHAEOLOGISTS, RATHER THAN
DOING THE JOB ITSELF.
ONE, TWO, THREE, FOUR.

He takes a picture of the man on the ladder.

(SHUTTER CLICKING)

Harry says YES!
HOW EXCITING, THAT IS SO COOL.
THANK YOU VERY MUCH.

Margaret says THE CHICAGO HOUSE
TEAM HAVE THIS PLACE
TO THEMSELVES.
IT WAS A DIFFERENT STORY FOR
BURTON AND CARTER IN 1922.
WITHIN DAYS OF THE DISCOVERY,
CROWDS OF TOURISTS AND
JOURNALISTS DESCENDED ON THE
VALLEY, EAGER TO GLIMPSE THE
PHARAOH'S TREASURES.
THE MEDIA SCRUM THAT SURROUNDED
THE TOMB EVERY DAY MUST HAVE
COME AS A REAL SHOCK TO THE
SYSTEM TO MEN MORE ACCUSTOMED TO
DUSTY ANONYMITY.
IN FACT, ACCORDING TO
ARTHUR MACE, ONE OF CARTER'S
COLLEAGUES, "THE ARCHAEOLOGIST
USUALLY SPENDS HIS TIME QUIETLY
AND UNOBTRUSIVELY ENOUGH,
HALF THE YEAR BURROWING
MOLE-LIKE IN THE GROUND,
AND THE OTHER HALF WRITING DULL
PAPERS FOR SCIENTIFIC JOURNALS.
AND NOW, SUDDENLY, HE FINDS
HIMSELF IN THE FULL GLARE OF
LIMELIGHT, WITH NEWSPAPER
REPORTERS LYING IN WAIT FOR HIM
AT EVERY CORNER AND
SNAPSHOTTERS RECORDING HIS
EVERY MOVEMENT."
THE EXCITEMENT OF THE DISCOVERY
ALSO RESONATED WITH EGYPTIANS.
THIS WAS, AFTER ALL,
THEIR STORY.

Christina says THE DISCOVERY OF THE TOMB IS
INTERNATIONAL NEWS.
EUROPEANS ARE QUITE EXCITED BY
THIS PIECE OF NEWS.
EGYPTIANS ARE VERY EXCITED BY
THIS PIECE OF NEWS AS WELL
BECAUSE THE DISCOVERY OF THIS
ALMOST UNKNOWN BOY KING WHO IS
GOING TO BE BROUGHT BACK TO LIFE
THROUGH ARCHAEOLOGY REALLY
ECHOES WITH EGYPTIAN POLITICIANS
AND WRITERS AND ARTISTS AT THE
TIME, WITH WHAT THEIR HOPE IS
FOR EGYPT, NOW THAT IT'S EARNED
ITS INDEPENDENCE, THAT EGYPT
ITSELF IS REAWAKENING.

Margaret says ONE OF THE EGYPTIANS EXCITED
BY THE DISCOVERY WAS A YOUNG
PHOTOGRAPHER FROM LUXOR,
JUST ACROSS THE RIVER FROM THE
VALLEY OF THE KINGS.
ATTAYA GADDIS MADE A LIVING BY
SELLING HIS PHOTOGRAPHS
TO TOURISTS.
HIS GRANDSON STILL OWNS THE
PREMISES WHERE ATTAYA WORKED IN
THE 1920S.

The caption changes to "Ehab Gaddis OBE."

Ehab is in his sixties, clean-shaven and with short receding white hair. He wears jeans, a white shirt and a black blazer.

Margaret says THANK YOU FOR LETTING US COME
INTO THIS WONDERFUL PLACE.
HOW LONG HAVE YOU BEEN IN
BUSINESS HERE?

Ehab says "My grandfather started in 1907, so we’re talking about more than 100 years."

Margaret says "MORE THAN 100 YEARS."
AND, OF COURSE, YOUR GRANDFATHER
WAS A PHOTOGRAPHER.
AND THESE ARE SOME OF
HIS CAMERAS.

Ehab says YES, IT IS.

Margaret says ATTAYA WAS APPRENTICED TO AN
ITALIAN PHOTOGRAPHER CALLED
FELIX BEATO.
WHEN BEATO DIED IN 1909,
ATTAYA TOOK OVER THE BUSINESS.
I'D LOVE TO SEE SOME OF THE
PHOTOGRAPHS HE TOOK WITH THESE,
AND ESPECIALLY OF THE
TUTANKHAMUN EXCAVATION.

Ehab says YES, WE HAVE IT, YES,

RIGHT, SO, THIS IS
OUTSIDE THE...

Ehab says "Outside the tomb."

Margaret says CARRYING ON A STRETCHER.

Ehab says "And here is the small railway station up to the Nile."

Margaret says OH, SO THEY BUILT A SPECIAL—

Ehab says "A very small one, yes."

Margaret says LOOK AT ALL THE PEOPLE INVOLVED.
YOU REALISE WHAT A BIG OPERATION
IT WAS, DON'T YOU?

Ehab says YEAH.

Margaret says WHAT HAVE WE GOT HERE?
MORE THINGS.
OH, LOOK.
THAT MUST BE A CHARIOT WHEEL.

Ehab says YES.

Margaret says CARTER'S ACTUALLY IN THIS
PHOTOGRAPH, I THINK, ISN'T HE?
WITH THESE WONDERFUL EDWARDIAN
GENTLEMAN IN THEIR
ENGLISH SUITS.

Ehab says "And we have also inside the tomb."

Margaret says OH, LOOK.
THAT'S ONE OF THE COFFINS.

Ehab says "IT’s scary. It’s a little bit eerie."

Margaret says BUT THEY'RE REALLY GOOD,
AREN'T THEY?
AND THIS IS WHAT THE
VALLEY OF THE KINGS WAS
LIKE THEN.

Ehab says "That’s the early time of the discovery, because of the guards and the tents, so it was an area still busy."

Margaret says YES, GUARDS EVEN THEN,
OF COURSE.
WONDERFUL PHOTOGRAPHS.

(music plays)

Margaret says LORD CARNARVON SOON GREW TIRED
OF THE MEDIA FREE-FOR-ALL.
IN JANUARY 1923, HE SOLD
EXCLUSIVE RIGHTS TO THE STORY
TO THE TIMES FOR 5,000 POUNDS,
A SMALL FORTUNE IN
TODAY'S MONEY.
THE DEAL ALIENATED RIVAL
NEWSPAPERS AND MANY EGYPTIANS,
WHO FELT, UNDERSTANDABLY,
THAT THEIR HISTORY HAD BEEN
HIJACKED BY FOREIGNERS.
BUT IT WAS BIG NEWS FOR BURTON.
THIS WAS A WATERSHED MOMENT IN
HIS CAREER.
HE WAS NO LONGER SIMPLY AN
ARCHAEOLOGICAL PHOTOGRAPHER.
HIS IMAGES MADE FRONT-PAGE NEWS.
THE SPOTLIGHT FELL ON CARTER.
BUT BURTON'S PICTURES REVEAL
OTHER CHARACTERS WHO WERE
CRUCIAL TO THE WORK.

Christina says WHEN WE LOOK AT THEM NOW,
WE CAN SEE THAT THOSE
PHOTOGRAPHS FILL A GAP,
AN ABSENCE THAT-- IN THE WRITTEN
RECORD, BOTH IN THE NEWSPAPER
COVERAGE OF THE TIME,
THE ACCOUNTS THAT CARTER WROTE
AND ALSO IN THE ARCHIVES,
THOSE SORT OF RECORDS AND
DIARIES-- BECAUSE WHAT WE SEE IN
THE PHOTOGRAPHS ARE THE
EGYPTIANS WHO WORKED AT THE
SITE, WHO ARE NEVER NAMED IN
THE PRESS.
AND I THINK THE PHOTOGRAPHS ARE
ALL THE MORE IMPORTANT FOR THAT.

Margaret says BURTON'S IMAGES FUELLED A
FASCINATION FOR ALL
THINGS EGYPTIAN.
WE DON'T KNOW IF TUTANKHAMUN'S
GOLDEN FUNERAL MASK IS AN
ACCURATE LIKENESS.
BUT THE ICONOGRAPHY OF
TREASURES LIKE THIS INSPIRED
DESIGNERS AND ARTISTS.
MEANWHILE, AUDIENCES FLOCKED TO
THEATRES TO HEAR CARTER TELL
THE STORY OF THEIR DISCOVERY.
AND WHENEVER CARTER TRAVELLED,
BURTON'S PICTURES CAME TOO.

Liam says HERE WE HAVE HIS ORIGINAL
GLASS LANTERN SLIDES, IN THIS
WOODEN CHEST.

Margaret says HE TOOK ALL THAT WITH HIM?

Liam says YES, THIS IS HIS
TRAVELLING SET.
AND IF WE OPEN THE DRAWERS,
YOU CAN SEE THERE ARE HUNDREDS
OF GLASS LANTERN SLIDES
INSIDE HERE.

Margaret says THEY DON'T MAKE THEM LIKE
THAT ANYMORE, DO THEY?

Liam says NO, AND HERE WE HAVE SOME OF
HARRY BURTON'S PHOTOGRAPHS OF
THE ROAD LEADING TO THE
VALLEY OF THE KINGS.

Margaret says AND ARE THESE ALL FROM
BURTON'S ORIGINAL PLATES?

Liam says THEY ARE, YES.
SO, THESE ARE ALL BASED UPON
HARRY BURTON'S ORIGINAL GLASS
PLATE NEGATIVES.
HERE WE HAVE CARTER AND OTHERS
PEERING INSIDE THE
GOLDEN SHRINES.

Margaret says SO, THEY MUST HAVE BECOME
STARS ALMOST, DID THEY?

Liam says YES, THEY WERE CELEBRITIES IN
THEIR OWN RIGHT.

Margaret says OH.

Liam says WE ALSO HAVE SOME HAND-TINTED
GLASS LANTERN SLIDES.
AGAIN, YOU GET THE SENSE THAT
CARTER'S REALLY TRYING TO CONVEY
THE SENSE OF THE ORIGINAL
COLOURS OF THE OBJECTS TO
HIS AUDIENCES.

Margaret says SO, THESE WERE PAINTED ONTO
BURTON'S ORIGINAL BLACK
AND WHITE?

Liam says YES.

Margaret says THE COLOUR IS AMAZING.

Liam says SO, THIS IS ONE OF THE ARMS
OF THE THRONE THAT WE WERE
LOOKING AT EARLIER.

Margaret says AND WHERE WE SAW THAT CARTER
HAD ACTUALLY MADE A NOTE OF WHAT
THE DIFFERENT MATERIALS WERE,
AND THE DIFFERENT COLOURS.
SO, I SUPPOSE THEY'D HAVE USED
THAT AS A GUIDE.

Liam says YES, AND THIS IS OBVIOUSLY A
MUCH MORE EFFECTIVE WAY OF
CONVEYING THOSE COLOURS TO
THE AUDIENCE.

Margaret says THAT'S TERRIBLY DETAILED WORK
TO PAINT ON SOMETHING THAT SIZE.

Liam says IT'S INCREDIBLE.
AND, OF COURSE, YOU HAVE TO
IMAGINE THESE BEING PROJECTED IN
A DARKENED AUDITORIUM AND REALLY
RECREATING THAT SENSE OF
DISCOVERY THAT THE ORIGINAL
EXCAVATORS MUST HAVE FELT.

Margaret says STATE-OF-THE-ART?

Liam says FOR THE TIME, FOR SURE.

Margaret says AND DESCRIBED BY THE MAN
WHO'D ACTUALLY MADE THEM, SO,
THE WORLD-FAMOUS CARTER,
WHO'D BEEN ON THE FRONT PAGE OF
THE TIMES
WITH HIS DISCOVERY.
AND THERE HE IS.
AND YOU SEE ALL THIS IN COLOUR,
WOW.
THIS MUST HAVE CAUSED
A SENSATION.
I MEAN, I REMEMBER WHEN THE
TUTANKHAMUN EXHIBITION CAME
AROUND IN THE 1970S,
QUEUEING ALL DAY OUTSIDE THE
BRITISH MUSEUM AND NOT
GETTING IN.
PRESUMABLY, THIS HAD THE
SAME IMPACT.

Liam says CARTER MUST HAVE BEEN A REAL
CELEBRITY BY THIS POINT.
AND THE DISCOVERY HAD MADE ITS
WAY AROUND THE WORLD.
AND SO, I THINK WE SHOULD
IMAGINE PEOPLE QUEUEING AROUND
THE BLOCK TO HEAR CARTER GIVE
HIS LECTURE.

Margaret says AND TO SEE BURTON'S
PHOTOGRAPHS BECAUSE, WITHOUT THE
PHOTOGRAPHS, THE LECTURE
WOULDN'T HAVE BEEN REMOTELY AS
INTERESTING, WOULD IT?

Liam says NO, BURTON'S PHOTOGRAPHS ARE
REALLY AT THE CENTRE OF
CARTER'S LECTURES.

Margaret says THIS, I SUPPOSE, IS WHAT
INSPIRED THAT GENRE FOR HAVING
EGYPTIAN-ISED THINGS, SOME OF
OUR BUILDINGS, AND IN THE STATES
AS WELL.
THEY'VE GOT EGYPTIAN PILLARS AND
HEADS AND ALL THE REST OF IT.

Liam says YEAH, THESE TYPES OF IMAGES
MUST HAVE REALLY INSPIRED THAT
CRAZE FOR TUT-MANIA THAT ENSUED
FOLLOWING THE DISCOVERY.

Margaret says DID THEY ACTUALLY CALL IT
"TUT-MANIA"?

Liam says THEY DID, YES.

An old song says 3,000 YEARS AGO, IN HISTORY,
WE KNOW
KING TUTANKHAMEN RULED A
MIGHTY LAND
WHY, THEY OPENED UP HIS TOMB
THE OTHER DAY
AND JUMPED WITH GLEE
THEY LEARNED A LOT OF
ANCIENT HISTORY
IN OLD KING TUT'S

Margaret says WHILE THE WEST DANCED ALONG
TO THE TUNE OF TUT-MANIA,
HARRY BURTON WAS CONTINUING HIS
WORK IN EGYPT.
CAPTURING HIS IMAGES TOOK
IMMENSE SKILL AND PATIENCE.
BUT THAT WAS JUST PART OF
THE CHALLENGE.
HE ALSO HAD TO DEVELOP THEM,
AND FAST, BECAUSE CARTER WOULD
ONLY MOVE ONTO THE NEXT STAGE
OF EXCAVATION ONCE HE'D
APPROVED THE PICTURES.
THE CLOSEST PROPER DARKROOM WAS
SEVERAL MILES DOWN THE VALLEY,
AT CARTER'S HOUSE.
SO, BURTON HAD TO
IMPROVISE INSTEAD.
ONE OF THE THINGS THAT STRIKES
YOU FIRST YOU ABOUT THIS PLACE
IS JUST HOW MANY TOMBS
THERE ARE.
THE HILLS ARE ABSOLUTELY FULL
OF THEM.
AND THEY'RE SO CLOSE TOGETHER:
THERE, BEHIND ME, OVER THERE,
JUST ABSOLUTELY EVERYWHERE.
AND, OF COURSE, FOR CARTER AND
HIS TEAM WORKING AROUND HERE,
THAT HAD UNEXPECTED BENEFITS,
BECAUSE THERE'S ANOTHER TOMB
RIGHT OVER THERE.
THIS SUBTERRANEAN CHAMBER IS
THE PLACE BURTON CHOSE FOR HIS
MAKESHIFT DARKROOM.
AND HARRY HAS PERSUADED THE
AUTHORITIES TO LET HIM DEVELOP
HIS NEGATIVES IN EXACTLY THE
SAME PLACE.
HE'LL BE WORKING WITH SUE LEZON
FROM THE CHICAGO HOUSE TEAM...

Harry says SUE?

Sue says HARRY?

They shake hands.

Margaret says WHO'S AGREED TO LEND HIM
SOME EQUIPMENT.

The caption changes to "Sue Lezon. The Epigraphic Survey, Chicago House, Luxor."

Sue says SO, WE CAN SET YOU UP WITH
WELL-USED TRAYS.

Harry says "WELL-USED," YES.

Margaret says I FIND IT EXTRAORDINARY THAT
THE PRISTINE GLASS PLATES WE
ADMIRED IN OXFORD WEREN'T
DEVELOPED IN A WELL-EQUIPPED
DARKROOM LIKE THIS.

Sue says AND WE'LL GET YOU
SOME BEAKERS.
AND WE'LL BRING A LOT OF WATER.

Harry says THAT LOOKS LIKE IT GOES BACK
TO 1920.

Margaret says INSTEAD, BURTON WORKED IN A
HOT AND DUSTY DESERT TOMB,
JUST A FEW METRES FROM THE
EXCAVATION SITE, A WALK HE MUST
HAVE MADE HUNDREDS OF TIMES.

Harry says OKAY, SO, I'M IMAGINING I'VE
GOT ONE OF THESE EXPOSED GLASS
NEGATIVES IN MY HAND.
AND I'M-- IT'S JUST THERE.

Sue says THAT'S RIGHT.
IT'S A FEW FEET AWAY.

Harry says GOD, ISN'T THAT MAD?
I MEAN, I KIND OF IMAGINED IT
WAS MUCH FURTHER AWAY.
BUT THAT'S LITERALLY JUST A KIND
OF STONE'S THROW, ISN'T IT?
LOOK AT THIS.

Sue says THAT IS STEEP.
AND, YOU KNOW, THERE'S NOT BEEN
ANYBODY IN THIS TOMB FOR YEARS
AND YEARS.

Harry says IS THAT RIGHT?

Sue says YEAH.

Harry says COME ON, LET'S GO AND HAVE
A LOOK.
SO, WHICH TOMB IS THIS ONE?

Sue says THIS IS NUMBER 55.

Harry says YEAH, OKAY.

Sue says THIS IS CALLED THE
"AMARNA CACHE."

Harry says THAT IS STEEP, HEAVENS ABOVE.

Sue says YES, IT IS.
IMAGINE HIM CARRYING THESE
THINGS DOWN THERE.

Harry says YEAH, EXACTLY.

Sue says TAKE CARE.

Harrys ays AND HE WOULD HAVE BEEN IN A
RUSH TOO, WOULDN'T HE?

Sue says YEAH, EVERYBODY'S WAITING FOR
HIM TO GET THAT FILM PROCESSED.

Harry says OKAY, SO,
I'M CARRYING SLIDES.

Sue says EASY TO SLIP.

Harry says SLOWED DOWN A LITTLE BIT AS
HE GOT DOWN TO THIS BIT.
WHOA, LOOK.
HERE WE GO.

Sue says WHOA.

Margaret says THIS IS A UNIQUE PRIVILEGE
FOR HARRY AND SUE.
IT'S THE FIRST TIME ANYONE'S
BEEN GIVEN PERMISSION TO
DEVELOP PHOTOGRAPHS HERE SINCE
BURTON DID IT IN THE '20S.

Harry says IT'S A BIG STEP.

Sue says THAT'S A HARD ACT TO FOLLOW.

Harry says IT LOOKS LIKE THERE'S SOME
WATER THAT'S COMES THROUGH
THESE CRACKS.

Margaret says WHEN THIS TOMB WAS SURVEYED
IN THE 1990S,
ARCHAEOLOGISTS DISCOVERED
FRAGMENTS OF GLASS IN THE SAND.
THEY WERE THE REMAINS OF
NEGATIVES THAT MUST HAVE
SLIPPED FROM BURTON'S GRASP AS
HE WORKED HERE NEARLY
100 YEARS AGO.

Harry says HERE'S THE TOMB ITSELF.
BOY, LOOK, SUE.

Sue says I'VE BEEN IN
SMALLER DARKROOMS.
BUT I'VE NEVER SEEN ANY WITH
POTS IN IT BEFORE.
LOOK DOWN TO THE RIGHT.
CAN YOU MAKE THIS WORK,
DO YOU THINK?

Harry says WELL, I THINK SO.
YOU KNOW, ALL WE NEED IS A TABLE
THAT WE SET UP.
I MEAN, THAT'S WHAT HE HAD TO
DO, AFTER ALL.

Sue says YEAH, WE CAN MAKE THIS WORK.

Harry says YEAH, DEFINITELY.
NO, NO, ABSOLUTELY.
COME ON, LET'S GO AND GET
OUR STUFF.

Sue says ALL RIGHT.

Margaret says THIS IS WHERE HARRY WILL
DISCOVER IF HIS EXPERIMENTS
HAVE WORKED.
WITH ANALOGUE PHOTOGRAPHY,
YOU ONLY FIND OUT IN THE
DARKROOM IF YOU'VE TAKEN THE
PICTURE YOU PLANNED.

They set up their working table.

Harry says THREE BATHS, DEV, WASH, FIX,
THE FAMILIAR SMELL OF FIX.

Sue says IN HARRY BURTON'S TOMB.

Harry says EXTRAORDINARY.

Sue says WELL, NOT HARRY BURTON'S
TOMB, BUT YOU KNOW WHAT I'M
SAYING, HIS DARKROOM.
ONE, JUST WATER, I NEED THAT.

Harry says THANK YOU.

Sue says THANK YOU.

Harry says GOSH, HERE, LISTEN.

Sue says NOTHING.

Harry says THAT IS REALLY QUIET,
ISN'T IT?

Sue says YEAH.

Harry says EXTRAORDINARY.
AND TO THINK, YOU KNOW,
WE'RE RIGHT, LITERALLY, EXACTLY
WHERE BURTON WOULD HAVE
DEVELOPED HIS OWN NEGATIVES.
THAT'S AN EXTRAORDINARY IDEA,
ISN'T IT?
ALL THE NONSENSE GOING UPSTAIRS,
ALL OF-- CARTER GOING,
"COME ON, HURRY UP!
WE NEED TO GET ON.
WE NEED TO START DOING...
GOING TO THE NEXT STAGE."

Sue says AND PACING, AND ALL THE
GOVERNMENT OFFICIALS
HERE WAITING.

Harry says YEAH, OF COURSE.

Sue says I BET HE WAS DOWN HERE
BY HIMSELF.
I BET HE DIDN'T WANT TO KNOW
ANYTHING ELSE UP THERE.

Harry says THAT'S VERY TRUE.
RIGHT, WE BETTER GET ON WITH IT.

Sue says YEP, LET'S GO.
I'M GOING TO SHUT...

Harry says TURN THE LIGHTS OFF.
THERE IT IS, OKAY.
ARE WE READY FOR THIS?

Sue says READY AS WE'RE GOING TO BE.

Harry says PLEASE, PLEASE, NOW,
THAT'S GOING IN.

They soak the plate in developer.

Sue says THIS IS IT.
THIS IS WHAT HE DID.

Harry says I KNOW.
YES, SOMETHING.
YES, DEFINITELY.
OH, YES.
HAVE YOU GOT THAT LITTLE WAND-Y
TORCH THING?

Sue says YES.

Harry says THERE IT IS.

Sue says OH, MY GOD!

Harry says I MIGHT JUST TURN THIS AROUND
FOR THE CAMERA, LIKE THAT.

Sue says PERFECT.

Harry says SO, THAT'S THE RIGHT WAY.
SO, THIS IS ALL THE
FOREGROUND HERE.
AND THAT'S THE SKY UP HERE.
OKAY, SO, SHALL WE PUT THAT IN
THE WASH?

Sue says YEAH, LET'S.

Harry says RIGHT, LITTLE BIT OF WASH.
OKAY, SO, LET'S HAVE A LOOK,
SHALL WE?
HEY.
GO ON.
GIVE IT A YANK.

Sue says THERE YOU GO.
WOW!

Harry says OOH, LOOK.
HERE WE GO.
BUT THIS IS ALL FINE.

Sue says LOOK AT THAT DETAIL.

Harry says LOOK AT THAT DETAIL.
SO, LET'S THINK ABOUT BURTON.
BURTON WOULD HAVE BEEN LOOKING
AT HIS NEGATIVES RIGHT HERE,
UNDER A LIGHT PRETTY MUCH THE
SAME AS THIS, AND HE MUST...

Sue says BEFORE HE SAID, "OKAY,
LET'S MOVE TO THE NEXT ONE."

Harry says I MEAN, HE COULD HAVE TAKEN
IT OUTSIDE.
BUT, YOU KNOW, LET'S NOT FORGET
THIS IS A WET NEGATIVE THAT IS
ABSOLUTELY AT ITS MOST
SUSCEPTIBLE TO DUST.
HE WOULDN'T HAVE BEEN CHARGING
OUT THERE, GOING "LOOK,
I'VE GOT IT!
IT'S FINE.
CARRY ON."

Sue says HE WOULD HAVE KEPT THEM
WAITING FOR A LOT LONGER.

Harry says YEAH, HAD THAT LITTLE MOMENT
WHERE HE WOULD HAVE GONE "OH,
THAT'S A VERY BEAUTIFUL THING."

Sue says YES, YES.
CONGRATULATIONS.

Harry says YEAH, WE'VE DONE IT,
HAVEN'T WE?
IT'S OKAY.
IT'S OKAY.
IT REALLY IS.
RIGHT, COME ON THEN.

Sue says OKAY.

Harry says ALL THE DARKROOMS, YOU KNOW,
ANY PHOTOGRAPHER IN THE PAST,
YOU'D LOVE TO GO AND LOOK IN
THEIR DARKROOM,
WHETHER ANSEL ADAMS'S DARKROOM
WOULD BE A THING.
CARTIER-BRESSON'S DARKROOM IN
PARIS, WHAT A THING.
BUT I DON'T THINK ANYTHING BEATS
HARRY BURTON'S DARKROOM IN
A TOMB.
RIGHT, LET'S PUT THAT IN
THE BOX.

(music plays)

Margaret says CARTER AND BURTON MUST HAVE
DONE THIS QUITE OFTEN,
MUSTN'T THEY?
STANDING SOMEWHERE LIKE THIS?

Harry says SIDE-BY-SIDE.

Margaret says COME ON, LET ME SEE IT.
I'M CARTER, REMEMBER.

Harry says OKAY.

Margaret says GIVE ME YOUR PRINT.

Harry says THIS ONE'S WET.
SO, THIS IS JUST-- WE'VE JUST
DEVELOPED THIS.
SO, THIS IS BRETT, WHO IS THE
EGYPTOLOGIST AT CHICAGO HOUSE.
AND HE'S INSIDE THE TEMPLE HERE.
AND THERE'S A RATHER
GHOSTLY IMAGE.
IT'S A NEGATIVE.
SO, IT'S THE WRONG WAY AROUND.

Margaret says WRONG WAY ROUND, YES.

Harry says BUT, I MEAN, SO, OKAY,
I'VE DONE THIS QUITE CRUDELY,
THIS ONE.

Margaret says EXCUSES?

Harry says I'LL GIVE YOU LOADS OF
EXCUSES, YOU KNOW, FIRST ONE AND
ALL THAT.
BUT WHAT IT THROWS UP IS,
YOU KNOW, I MEAN, THIS IS A FAT
PIECE OF GLASS.
LOOK AT THAT.

Margaret says THEY WERE VERY THIN,
WEREN'T THEY, THE OTHERS?

Harry says TINY, THEY WERE WAFER THIN.
HAVE A FEEL.
THAT'S A BIG CHUNK.
IT STILL FEELS QUITE...

Margaret says OH, IT IS, ISN'T IT?

Harry sasy I MEAN, I'VE SLIGHTLY
UNDEREXPOSED THIS.
BUT HE WOULD HAVE, YOU KNOW...
THEY'D HAVE COME OUT OF THE
THING EVERY TIME, SIT THERE LIKE
YOU AND I ARE NOW, ASSESSED IT.

Margaret says "IS THIS GOOD ENOUGH?"

Harry says "IS THAT OKAY?"

Margaret says "CAN I NOW MOVE THE OBJECT?
CAN WE GET ON WITH OUR WORK?"

Harry says AND A LOT OF THAT WOULD HAVE
BEEN NOT JUST-- YOU KNOW, HERE,
WE'RE LOOKING AT A PICTURE,
KIND OF ASSESSING IT BECAUSE I'M
TELLING YOU THAT THAT'S BRETT.
AND THAT'S SOMEBODY ELSE
AND WHATEVER.
BUT HE WOULD HAVE BEEN LOOKING,
OBVIOUSLY, FOR EVERY-- YOU KNOW,
IN THE HIEROGLYPHICS,
THAT EVERYTHING SHOWED,
IN AN ARCHIVING...

Margaret says YEAH, BECAUSE IT WAS
IMPORTANT TO KNOW THAT
PARTICULAR OBJECT WAS IN THAT
PARTICULAR PLACE.

Harry says ABSOLUTELY, IT WAS A RECORD,
WASN'T IT?

Margaret says DISTINGUISHING FEATURE.

Harry says EXACTLY.
BUT, ANYWAY, LET ME SHOW YOU
ANOTHER ONE HERE.
SO, THIS IS ONE WE DID EARLIER...

Margaret says CAREFUL WITH THAT.

Harry says WHICH HAS DRIED, EXCEPT IT'S
GOT A COUPLE OF SPOTS OF WATER
ON IT.

Margaret says FROM THE OTHER ONE.

Harry says SO, THIS IS QUITE FUN.

Margaret says OH, LOOK AT THAT!

Harry says THIS IS THE LANDSCAPE IN
THE TEMPLE.
AND THIS IS THE KIND OF...
THE WALL.
IT LOOKS LIKE IT'S TAKEN
AT NIGHT.
BUT THAT'S DUST SPOTS 'CAUSE,
ACTUALLY, NEGATIVE SKY WOULD
BE WHITE.

Margaret says WHAT, THOSE LITTLE SPOTS
ARE DUST?

Harry says THEY ARE DUST.
YOU KNOW, AND...

Margaret says BURTON MANAGED NOT TO GET
DUST ON HIS.

Harry says I DON'T UNDERSTAND THAT.

Margaret says I'LL HAVE TO SEND YOU BACK
DOWN THERE TOMORROW.

Harry says I'M SO SORRY.
IT'S JUST A KIND OF MADNESS HOW
EXQUISITE HIS THINGS WERE.

Margaret says YEAH, BUT THAT'S PRETTY GOOD.

Harry says IT'S PRETTY GOOD.
IT'S ALL RIGHT, ISN'T IT?

Margaret says I'LL GIVE YOU FIVE OUT OF TEN
FOR THAT.

Harry says THANK YOU, I'LL TAKE IT.
I'LL TAKE IT.
THE THING IS, I'VE NEVER SEEN
ONE OF BURTON'S NEGATIVES THAT
WAS BADLY EXPOSED, EITHER
OVEREXPOSED OR UNDEREXPOSED.
I MEAN, IT'S EXTRAORDINARY.

Margaret says NOW, WE MAY NOT HAVE SEEN ALL
OF THEM.
THERE MAY HAVE BEEN A FEW DUDS
THAT GOT THROWN AWAY.

Harry says WELL, AND ONES HE PROBABLY
DROPPED ON THE WAY BACK OR
SOMEONE DROPPED.
YOU KNOW,
THEY'RE FRAGILE THINGS.

(music plays)

Margaret says THE TECHNICAL PERFECTION OF
BURTON'S IMAGES INSPIRES
EGYPTOLOGISTS TODAY,
INCLUDING THE TEAM BASED HERE,
WHO USE HIGH-TECH IMAGING TO
RECORD ANCIENT SITES.
WHAT AN INCREDIBLE IMAGE.
WHERE'S THIS FROM?

The caption changes to "Aliaa Ismail. Factum Arte."

Aliaa is in her thirties, with long straight light brown hair and wears a printed green shirt.

She says THIS IS FROM THE TOMB OF
SETI I, IN THE
VALLEY OF THE KINGS.
IT IS THE WEST WALL OF THE
HALL OF BEAUTIES.

Margaret says BURTON TOOK PHOTOGRAPHS IN
SETI I'S TOMB, AS WELL,
DIDN'T HE?

Aliaa says YES, HE HAS TAKEN
AMAZING PHOTOGRAPHS.
ACTUALLY, I WAS SCANNING HIS
ENTIRE-- THE BOOK THAT HAD HIS
PHOTOGRAPHS FOR THE TOMB,
TO HELP US IN PLANNING WHICH
PART WE'RE GOING TO DO FIRST AND
WHICH PART INCLUDES WHAT.
SO, WE DECIDE WHICH KIND OF
TECHNOLOGY WE USE FOR WHAT.
I CAN SHOW YOU HOW DETAILED
IT IS.

Margaret says SOME IGNORANT PEOPLE HAVE
WRITTEN THEIR NAMES.
I THINK THAT'S SHOCKING.

Aliaa says YES, THAT'S GRAFFITI THAT WAS
FOUND THERE.
AND AS YOU CAN SEE, IT SAYS HERE "1876."

Margaret says BUT WOULD YOU SEE THAT WITH
THE NAKED EYE?

Aliaa says NO, YOU CAN'T SEE IT.
IT'S IMPOSSIBLE.

Margaret says TELL ME HOW YOU'VE ACHIEVED
THIS CLARITY.

Aliaa says WELL, THIS IMAGE HAS BEEN
ACHIEVED BY LUCIDA, A 3D SCANNER
THAT WE DEVELOPED IN
FACTUM ARTE.
IT'S BASICALLY BASED OUT OF TWO
CAMERAS AND A LASER DIODE.
AS THE LASER REFLECTS AND MOVE
OVER THE SURFACE, THESE TWO
CAMERAS CAPTURE ITS MOTION.

Margaret says IT'S JUST SO REAL.

Aliaa says IT IS.
AND LET ME SHOW YOU SOMETHING
EVEN-- YOU MIGHT LIKE MORE.
HERE YOU CAN SEE A 3D OF THE
TOMB, THE HALL OF BEAUTIES.

Margaret says HOW DO YOU DO THAT?

Aliaa says IT IS A COLLAGE OF SO MANY
PHOTOGRAPHS WITH A LOT
OF OVERLAP.
IT'S CALLED PHOTOGRAMMETRY.

Margaret says THE FACTUM ARTE TEAM PLAN TO
USE THESE 3D IMAGES TO CREATE A
LIFE-SIZE REPLICA OF THE SITE.
SO, TOURISTS WOULDN'T HAVE TO
ACTUALLY GO IN TO THE ORIGINAL?
THEY COULD GO INTO A REPLICA.

Aliaa says EXACTLY, AND KNOW THEY ARE
NOT HARMING IT.

Margaret says BURTON'S AIM WAS TO PRODUCE A
VERY CLEAR RECORD OF WHAT
WAS THERE.
HE'D HAVE BEEN AMAZED BY THIS.
HE'D HAVE BEEN ENVIOUS,
I SHOULD THINK.

Aliaa says I KNOW.
LOOKING AT HIS PICTURES, I WOULD
ASSUME, IF HE HAD THE TECHNOLOGY
AND THE MEANS, HE WOULD HAVE
DEFINITELY DONE THIS AT
THE TIME.

(music plays)

Margaret says BURTON'S LENS CAPTURED EVERY
STAGE OF CARTER'S EXCAVATION.
NONE WAS MORE DRAMATIC THAN THE
GRADUAL REVELATION OF THE
PHARAOH'S BURIAL
CHAMBER ITSELF.
WHEN HE WAS LAID TO REST
3,000 YEARS AGO,
TUTANKHAMUN'S REMAINS WERE
ENCLOSED BY ORNATE WOODEN
SHRINES, PACKED ONE INSIDE THE
OTHER, LIKE RUSSIAN DOLLS.
BURTON'S STRIKING CLOSE-UP OF
THE SEALED DOOR WAS PROOF THAT
THE SHRINES HAD NOT BEEN
TOUCHED BY ANCIENT
TOMB RAIDERS.
UNCOVERING WHAT LAY WITHIN TOOK
MONTHS OF PAINSTAKING LABOUR IN
CRAMPED CONDITIONS.
ACCORDING TO CARTER, THEY HAD
TO SQUEEZE IN AND OUT LIKE
WEASELS AND WORK IN ALL KINDS
OF EMBARRASSING POSITIONS
UNTIL, FINALLY, THE COFFIN
COULD BE HOISTED CAREFULLY FROM
INSIDE THE STONE SARCOPHAGUS.
AND CARTER CAME FACE-TO-FACE
WITH THE PHARAOH.

Harry says I'VE GOT AN IDEA, MARGARET.
AND WHAT I'D LIKE TO DO...
THERE'S A REALLY BEAUTIFUL
PICTURE THAT BURTON TOOK OF
CARTER, WHERE HE IS LOOKING
ACROSS THE COFFIN AND IS LIT BY
A SINGLE LIGHT.
I MEAN, IT'S A
BEAUTIFUL PICTURE.
IT'S GOT THIS FANTASTIC SORT OF
MOMENT OF-- WHERE THE TWO ARE
LOOKING AT EACH OTHER, ALMOST.
IT'S A REALLY, REALLY COOL
PICTURE, JUST HERE.
AND I WOULD LOVE TO MOVE YOU
JUST INTO THE SAME SORT OF
PLACE AND TRY AND TAKE A PICTURE
THAT WAS SIMILAR.
IT'S GOING TO BE A
LONG EXPOSURE.
AND WE'LL MOVE A LIGHT INTO THE
SAME SORT OF PLACE.
ARE YOU UP FOR THAT?

Margaret says I'LL HAVE A GO.

Harry says GREAT, LET'S GIVE IT A TRY.
YOU'RE LEANING OVER A BIT AND
HAND OUT 'CAUSE, OBVIOUSLY,
HE WAS PAINTING IT, OR BRUSHING
IT WITH A BRUSH.
BUT WE CAN'T DO THAT.
I THINK IT'S MORE FUN...
'CAUSE, IN FACT, I SEE THE
REFLECTION OF YOUR...

Margaret leans towards the coffin and puts her hand over it.

She says LIKE THAT?

Harry says THAT'S IT, YES, JUST LOVELY.
HANG ON.
LET'S JUST CHECK THAT.

Margaret says THEY TELL ME THAT CARTER WAS
A DIFFICULT MAN TO WORK WITH.
HE WAS SINGLE-MINDED AND
STUBBORN AND FOUGHT MANY
BATTLES AS THE
EXCAVATION UNFOLDED.

Harry says OLD VERY STILL.

Margaret says HE EVEN CALLED THE WHOLE
THING OFF FOR ALMOST A YEAR
AFTER A ROW WITH THE
EGYPTIAN AUTHORITIES.

Harry says AND WHEN YOU'RE READY...

Margaret says THOUGH HE DID EVENTUALLY
PATCH THINGS UP AND RETURN TO
FINISH THE JOB.

Harry says SO, I'VE GOT YOU, F8,
TWO SECONDS, PLEASE, BASICALLY,
THE SAME POSITION.

Margaret says HARRY BURTON WAS A
PERFECTIONIST TOO.
BUT, IN PERSON, HE WAS
EASY-GOING AND DIPLOMATIC...

Harry says OKAY, HOLD VERY STILL FROM...

Margaret says A GOOD MAN TO HAVE BY YOUR
SIDE WHEN THE GOING GETS TOUGH.

Harry says BRILLIANT, MARGARET,
THANK YOU SO MUCH.

Margaret says I WOULDN'T HAVE THOUGHT THAT
WOULD BE SO DIFFICULT!

Harry says GREAT.

Margaret says THERE MUST HAVE BEEN A BOND
BETWEEN THEM AND GREAT MUTUAL
RESPECT BECAUSE BURTON WAS ONE
OF ONLY TWO MEMBERS OF CARTER'S
ORIGINAL TEAM WHO STUCK WITH
HIM TO THE END.

Christina says BURTON TOOK HIS LAST
PHOTOGRAPHS FOR THE TOMB AT
NEW YEAR, 1933.
HE'D SEEN CARTER AT CHRISTMAS
DINNER AT METROPOLITAN HOUSE.
AND CARTER HAD CLEARLY SAID
"OH, YOU KNOW, WE FORGOT TO
PHOTOGRAPH THE SARCOPHAGUS."
UMM, SO, CARTER GOES...
SO, BURTON AND CARTER GO BACK
INTO THE TOMB.
AND BURTON TAKES SOME
BEAUTIFULLY LIT, VERY CRISP AND
EVOCATIVE SHOTS OF THE
SARCOPHAGUS, WITH THE WONDERFUL
WINGED GODDESSES AT THE
FOUR CORNERS.
AND AFTERWARDS, BURTON WRITES TO
A COLLEAGUE BACK IN NEW YORK.
HE WRITES A LETTER SAYING
"TODAY, I FINISHED THE TUT WORK.
AND DASHED GLAD I AM!
I BEGAN TO THINK I NEVER SHOULD
FINISH IT.
AND IT SEEMS TOO GOOD TO
BE TRUE."

Margaret says HIS GREATEST ASSIGNMENT
WAS OVER.
BUT HE WASN'T READY TO PACK
AWAY HIS CAMERA.
HARRY BURTON CONTINUED TO WORK
IN EGYPT FOR THE NEW YORK MET
UNTIL HIS DEATH IN 1940.

(music plays)

Margaret says BEFORE I STOPPED TO LOOK
CLOSER, I SUPPOSE I'D ALWAYS
TAKEN HARRY BURTON FOR GRANTED.
LIKE MOST PEOPLE INTRIGUED BY
THE STORY OF TUTANKHAMUN,
I'D SEEN MANY OF HIS
PHOTOGRAPHS OVER THE YEARS
WITHOUT EVER THINKING ABOUT THE
MAN BEHIND THE CAMERA.
I WON'T MAKE THAT
MISTAKE AGAIN.
HARRY, I RECOGNISE THESE
TWO PLATES.
I'VE SEEN THEM BEFORE.
BUT WHAT ELSE HAVE YOU GOT?
SHOW ME THE PRINTS YOU'VE MADE.

Harry says OKAY, SO, THIS ONE IS THE
LANDSCAPE ONE THAT I TOOK.

Margaret says THAT'S THE ONE I SAW OF THE
TEMPLE, WITH THE DUST SPECKS.

Harry says LOTS OF DUST SPECKS.
BUT I THINK THERE'S SOMETHING
QUITE FUN ABOUT THE-- ALL THESE
DUST SPECKS MAKE IT FEEL LIKE AN
OLD PICTURE, EVEN THOUGH IT WAS
TAKEN THE DAY BEFORE YESTERDAY.

Margaret says IT COULD ALMOST HAVE BEEN ONE
OF BURTON'S REJECTS.

Harry says WELL, THANK YOU, MARGARET.
AND THEN WE HAVE, UMM, THIS ONE,
WHICH IS QUITE FUN.
SO, THIS IS BRETT UP THE LADDER.
AND IF YOU REMEMBER, I WAS QUITE
WORRIED THAT IT WAS
RATHER UNDEREXPOSED.
BUT, IN FACT, IT WORKS
REALLY WELL.
YOU CAN SEE THE HIEROGLYPHICS UP
HERE AND THEN HERE, THIS RATHER
GHOSTLY FIGURE, AS WELL,
OF BRETT.
YEAH, I MEAN, THAT COULD BE
CARTER, COULDN'T IT?

Margaret says YES, IF YOU PUT A LITTLE
MOUSTACHE IN.

Harry says EXACTLY.

Margaret says LOOKS TO ME LIKE A PHOTOGRAPH
FROM THAT ERA, FROM THE 1920S.

Harry says THAT'S UNDERSTANDABLE IN THAT
IT WAS TAKEN WITH A BIG CAMERA,
WITH THE SAME KIND OF NEGATIVE,
PROCESSED IN PRETTY MUCH THE
SAME SORT OF WAY.

Margaret says WHEN YOU THINK OF THE
BURTON-CARTER RELATIONSHIP,
I MEAN, BURTON COULD BE
DESCRIBED AS A HIRED HAND,
BROUGHT IN BY CARTER TO
PHOTOGRAPH THIS, THAT,
THE OTHER, AS HE WAS DIRECTED.
WASN'T HE, IN A WAY?

Harry says YEAH, BUT I THINK THAT HIS
SKILL WAS THAT HE WAS ABLE TO
TRANSCEND THAT.
AFTER ALL, BURTON HAD HAD
TRAINING IN FLORENCE,
PHOTOGRAPHING THE OLD MASTERS.
SO, HE CLEARLY HAD AN EYE FOR
THE AESTHETIC AND ALSO HIS--
ALL THE TRAINING HE DID HERE
WITH THE AMERICANS.

Margaret says AND I SUPPOSE HE'D BEEN AN
ARCHAEOLOGIST TOO, HADN'T HE?
SO, HE HAD THAT.

Harry says YEAH, EXACTLY, AND THEN ALL
OF THESE THINGS CULMINATING IN
THIS MOMENT WHEN CARTER SAYS,
YOU KNOW, "I NEED YOU.
I NEED YOU TO COME AND HELP ME
REVEAL THIS EVENT TO THE WORLD,
TO MAKE IT INTO SOMETHING VERY,
VERY SPECIAL."
I THINK, ANY GOOD PHOTOGRAPHER,
THAT'S WHAT THEY DO.

Margaret says WELL, IT'S CERTAINLY WHAT
HE DID.

Harry says HE DID IT IN SPADES.

Margaret says HOW HAVE YOU FOUND IT,
WORKING HERE, FOLLOWING THE
MASTER'S FOOTSTEPS, IF I CAN PUT
IT LIKE THAT?

Harry says YEAH, I THINK ONE OF THE MAIN
THINGS TO ME IS BEING ABSOLUTELY
IN THE PLACE.
MY CAMERA IS NOW SET UP IN
PROBABLY EXACTLY THE SAME PLACE
AS BURTON'S WAS WHEN HE TOOK
THAT PICTURE OR THIS PICTURE,
WHETHER IT'S IN THE LANDSCAPE OR
WHETHER IT'S IN THE TOMB ITSELF.
I'VE GOT SOMETHING TO SHOW YOU.

Margaret says OH, THE ONE OF ME!

Harry says THE ONE OF YOU, MARGARET.
NOW, TO ME, THIS IS THE
CULMINATION OF ALL THE THINGS
THAT WE'VE BEEN DOING.
THIS WHOLE PROJECT HAS BEEN
SUMMED UP BY THIS PICTURE,
WHERE IT'S CARTER AND BURTON,
AND YOU AND ME.

Margaret says IF I'D BEEN TAKING THIS WITH
MY BABY CAMERA, I WOULD HAVE
BEEN ON TOP OF THE RAILINGS.
BUT YOU'VE ACTUALLY INCORPORATED
THEM IN THE PHOTOGRAPH.

Harry says WHEN YOU LOOK AT BURTON'S
PICTURE, IT HAS ALL OF THE
PARAPHERNALIA AROUND.
YOU CAN SEE THE PROPS.
YOU CAN SEE ALL THE STRAPS AND
THE ROPES AND THE THINGS.

Margaret says AND THE LIGHTS.

Harry says EXACTLY, AND I WAS TRYING TO
GET EXACTLY THE SAME POSITION AS
BURTON WAS IN.
BUT IN THE MODERN SITUATION THAT
THE TOMB IS IN NOW, THE RAILINGS
ARE A FACTOR.

Margaret says YES, THIS IS A RECORD OF
WHAT'S THERE NOW, JUST AS
BURTON'S WERE A RECORD OF WHAT
WAS THERE THEN.
BUT IT'S ALSO, LIKE HIS, A VERY
BEAUTIFUL PICTURE.

Harry says THANK YOU, MARGARET.

Margaret says THAT'S-- THAT'S VERY GOOD,
THAT ONE.

Harry says GOOD, THANK YOU.

Margaret says I'M NOT JUST SAYING THAT
BECAUSE IT'S GOT ME IN IT.

Music plays as the end credits roll.

Presented by Margaret Mountford.

Executive producer, Lucy Ward.

Produced and directed by Patrick McGrady.

Logo: Wavelength Films.

Logo Mustard.

Logo: BBC.

Copyright 2017, Wavelength Films.

Logo: TVF International.

Watch: The Man Who Shot Tutankhamun