An Egyptian Odyssey
By Shelton Muller
My eyes adjusted to the sun and my face to the sudden reminder of desert heat as I climbed out of the Red Pyramid in Dashur, trying to straighten my back after an upward climb through a narrow tunnel. Preventing your lenses and camera bodies from scraping and banging against stone walls is difficult under such confined conditions, so, checking my Nikons for new signs of abuse, I descended to meet the others. We were all there to photograph one of the most fascinating places in the world and we had already come to know and love the faces of Egypt…
I had earlier decided that it was to be those very faces upon which I would place my attention. I had already photographed the Pyramids and the temples along the Nile, but upon returning from my first assignment, I realised that Egypt is best captured at its heart.
Opportunity
There is no shortage of photo opportunities in Egypt. Its people are relatively poor and there is a heavy reliance upon tourism. With the centuries of tourism, there has developed a savvy among its people based solely upon survival. They will happily allow themselves to be photographed, but many will ask for tips. They call it “baksheesh”. It is simply a case of using what you have to survive, even if it is your weathered face smiling through worn teeth and wise old eyes.
Expect to pay an Egyptian pound for the privilege. As you enter temple sites and other popular tourist places, the locals who are employed to care for them make the most of their opportunities, beckoning to you as they smile and point to themselves. Dressed elegantly in galibayas and turbans, they position themselves in front of carved reliefs and ancient columns. The photographic opportunities are irresistible, but you will rarely escape without paying.
While a pound or two here or there is not a concern, it is the posed nature of the photographs that can soon become tiring. It is for this reason that my 80-200 f2.8 was invaluable for the more candid photographs of the faces of Egypt. Being autofocus, it was quick to capture such moments sharply, relying on the aperture priority mode to allow me to set at f2.8 for minimal depth of field. In this manner, I was able to photograph people being themselves, going about their daily lives without interruption or contrivance. It was in these situations where flash was unwise as it alerts the subject. Sometimes, I had to rely upon the combination of experience and Nikon’s accurate metering systems.
One of the most enjoyable experiences was the Camel Market, about an hour’s drive from Cairo. Seldom visited by tourists, this interesting place was filled with culture and tradition and the most interesting variety of faces I had yet seen collected in one location. Egyptian locals in galibayas sat calmly drinking Shy Baladi (local tea) with gentlemen from the Sudan whose dark skin contrasted impressively with the spotlessness of their flowing white robes. In the entire time there, not one of us was asked for a single pound. We were made welcome, offered tea, permitted to photograph whatever we desired and given a momentary glimpse of Egyptian culture and hospitality beyond the tourist wall.
Capturing the faces of Egypt is an absolute pleasure. In context, those faces are the heart of Egypt in a visual sense. There is an honesty in their expressions and one can almost know a person by simply examining their features. There were many occasions wherein I would find myself engaged in a conversation with a local, swinging like a pendulum between my limited Arabic and their knowledge of English, only to find myself forgetting to ask for a photograph.
Antiquities
While there is no shortage of faces, there is similarly no shortage of places. The pyramids and temples are phenomenal photographic subjects. The engineering skills of the ancients leave you awestruck and the artwork that remains is magnificent despite the millennia of wear.
Often, these sites are inundated with busloads of tourists and the photographs used in brochures and books, which depict them deserted and empty, are somewhat erroneous. No doubt they were taken under special arrangements with local authorities. Remember, however, that people add scale and frame of reference to such photographs and so it is not such a bad idea to include at least some. Nevertheless, there is hardly a time of day in which tourists are being led by guides through these ancient sites. If possible, it is best to arrive early in the day or late in the afternoon as the light is warmer and adds dimension while the temperature too is slightly more bearable.
Shooting low and up often excludes people and adds an added sense of magnificence to these already awesome structures. Wide-angle lenses further add to this effect. Placing yourself behind foreground objects will often exclude people completely and where this is impossible, it is sometimes a matter of patience. By waiting for that exact moment you may be able to photograph entire areas without a single person in the frame.
Whenever you travel, be sure to carry a bottle of water. Dehydration is rapid and catches you unaware as you go about grabbing photographs in your enthusiasm. On my first assignment through Egypt, I personally experienced the effects of this cunning adversary, collapsing in Karnak temple and being attended to by an elderly local gentlemen who had seen it happen too many times. This little episode cost me two days of photography as I recuperated from the dreaded sickness that resulted from my body’s resulting weakness. Like many photographers, I become entranced in the moment and often forget my own needs or the risks that may present themselves. It is sometimes a costly distraction.
The Land
Egypt is a desert through which the Nile runs. For a few kilometers either side of its banks are fertile areas where most of the people live. This has been the way of the land since ancient times. There are some beautifully verdant regions like Memphis and Dashur where lush, green groves of date palms grow and farmers cultivate fields of wheat, sugarcane and a variety of fruits and vegetables. In these areas, there are some fascinating villages where a day trip by taxi to photograph the people and the region itself makes for a worthy expedition.
Then, as if by a line drawn in the sand, the date palms finish and the desert begins. With little variation, that is about it. Travelling east, however, across the Suez and into the Sinai, is worth the time and effort.
For Muslim, Jewish and Christian cultures alike, Sinai is a holy place. It is the site where all three cultures believe Moses received the Law and where the Israelites got down and boogied with a Golden Calf. Today, St Catherine’s monastery rests at the base of the mountain itself as it has done for the last 1,400 years. But there is no “getting down” going on in there – at least, not that I know of!
But apart from its historical and religious significance, Sinai is filled with photographic opportunities. From the peak of Mt Sinai itself, the sunrise is breathtaking and a welcome warm change from the freezing climb to the summit. We began our ascent from 2:30 am, many of us opting to travel halfway in the pitch black of night by camel and walking the rest. It is not an easy climb, but the rewards make it worthy of the icy winds, the lack of sleep and the sore and tired muscles which result. As the sun illuminates the tips of the peaks it affords some spectacular photographs of the desert mountain range which could only be obtained for a few precious moments at that time of day from that unique position. They are moments not soon forgotten. Climbing down the Steps of Penance towards St Catherine’s there are even more photographic opportunities as you pass tiny old churches and descend toward the ancient monastery so visible at the bottom.
For the photographer, Egypt is a feast for the senses. It is an experience, an adventure, an education and an unforgettable opportunity. I fell in love with Egypt the moment I saw her. I have twice had the privilege to photograph her. Insha Allah I will have it again.
Shelton Muller is a Melbourne-based professional photographer and the editor of Total Image magazine. He can be contacted via his website at www.photographybyshelton.com
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