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Join The Studio Collective

We are looking for people to help us create amazing things in one of our new spaces planned for 2018: The Studio.

The 10 people chosen will become part of our Studio Collective and help us create exhibitions and events alongside an artist and Horniman staff.

What is The Studio?

The Studio is a new space which will be opening at the Horniman in 2018. This new space has given us an opportunity to run an exciting engagement project where the Horniman will work in collaboration with artists, partners and the local community.

What are the criteria?

You need to be over 18 years old, involved in a community organisation and be based in south London to take part. You would need to be available once or twice a month for a period of four months, for a minimum of two hours per session.

What are the benefits?

Successful applicants will receive a partnership allowance equivalent to £12.50 per hour to attend meetings, and expenses to attend meetings will be covered. You will also receive training and support along the way, as well as a unique insight into the Horniman.

Why are we doing this?

The Horniman has an excellent track record in building community partnerships, as well as expertise in creating well-regarded exhibitions and public programmes.

We want to take this a step forward to create challenging and thought-provoking exhibitions and event programmes with artists and our communities.

Learn more about The Studio and The Collective:

How do I apply?

Download and complete the application form below and return this to communitylearning@horniman.ac.uk or give us a call on 020 8291 8690.

Places will be awarded based on the answers you give in the application form.

Deadline for applications is 9am Monday 27 February 2017. 

Storytelling in a flash

This week is National Storytelling Week (28 Jan - 4 Feb 2017), a time to celebrate tales and yarns from the around the world. 

Stories come in all shapes and forms. They might appear when you have a conversation with a friend. They can be conjured up when cosying down with a new book. They can be told around campfires. They can even be created on Twitter.

Wait.... Twitter? With only 140 characters? 

Yes! Flash fiction, twitterature, 140-character stories, six-word-stories. Whatever you want to call it, telling a story in just a few words is a test in brevity and ingenuity.

Short stories have a long history from ancient times right through to the modern era and they are often seen as powerful things as they often hint at a larger story.

  • Japanese Fairy Tales, Japanese Fairy Tales in the Horniman Library
    Japanese Fairy Tales in the Horniman Library

To put the idea of short stories to the test, we asked children's author Margaret Bateson-Hill to come up with just six words that describe traditional fairy tales and nursery rhymes. 

Margaret rose to the challenge brilliantly. Here are her six-word fairytales:

Sleeping Beauty:

Centenarian princess receives kiss of life

Snow White:

Red blood, red apple, red shoes


Lost glass slipper is perfect match

Frog Prince

Frog in golden ball kiss swap

The Princess and the Pea:

Pea'd off at loss of sleep

 Humpty Dumpty:

Humpty cracks up over wall fall

Can you think of any six-word-stories? Share yours with us on Twitter

Book now for a special storytelling workshop in our Hands on Base this Sunday with Margaret Bateson-Hill, where we will help families discover their inner writing talents with inspiration from our Handling Collection. 

Volunteer cross-pollination with The Hive

If you think in terms of a year, plant a seed; if in terms of ten years, plant trees, if in terms of 100 years, teach the people. Confucius

My name is Sandra Bogdanova and I have been a volunteer at the Horniman Museum and Gardens since March 2016. As January marks the start of a new year I am extremely happy to share the most memorable trip of our Engage Volunteer Team in December 2016.

  • Volunteer cross-pollination with The Hive, Horniman Museum and Gardens Engage Volunteer Team, Sandra Bogdanova
    Horniman Museum and Gardens Engage Volunteer Team, Sandra Bogdanova

We went to visit The Hive at the Royal Botanical Gardens at Kew to understand why plants matter and how The Hive tells the story of the crucial role played by bees. I come from Lithuania, where since time immemorial we have had a bee god called Bubilas and a goddess, Austėja. Growing up surrounded with great respect and mythology about bees made me especially happy about this trip.

Our relationship with the honey bee goes back thousands of years, to the dawn of human history. According to the Collins Beekeeper's Bible, bees represent vital principles and embody the soul. The bee also symbolises the soul that flies away from the body in the Siberian, central Asian and South American traditions. The bee to this day remains the symbol of immortality and eternity, diligence, wealth and kindness.

  • Volunteer cross-pollination with The Hive, Bumblebees at Kew. There are over 270 different types of bees. It is estimated that 90 percent of these bee species are solitary, like bumblebees, but honeybees are communal and live in hives, Sandra Bogdanova
    Bumblebees at Kew. There are over 270 different types of bees. It is estimated that 90 percent of these bee species are solitary, like bumblebees, but honeybees are communal and live in hives, Sandra Bogdanova

There are around 680 volunteers at Kew and 60 of them are volunteer tour guides. They have been given the Queen’s Award for their guiding and have undertaken over 1,600 tours since 1992 when the program started! Volunteer guide Leslie took us on a bee focused tour and he was incredibly patient and knowledgeable. Leslie talked to us about pollination and the two types from flowering plants and coniferous trees. He also told us how insects and birds see a different spectrum of colour to humans, so they notice plants differently to us. It also helps them to see which ones they have visited for pollen.

  • Volunteer cross-pollination with The Hive, Cross-pollination between the Kew and Horniman volunteers, Sandra Bogdanova
    Cross-pollination between the Kew and Horniman volunteers, Sandra Bogdanova

Kew Gardens is over 320 acres. The Broad Walk and The Hive are the two latest areas to be developed with more than 27,000 flowering plants, most relevant to our group because of their relation to bees. We started our tour in the Melon Yard, and then continued to the Alpine Nursery and Scientific Research Nursery. When we came to the wildflower meadow that surrounds The Hive, we got to know that it is made up of 30 different species all of which support honeybees. The meadow is part of the installation too.

Ever since 1851 and The Great Exhibition there have been Expos planned around the world to share knowledge. In 2015, there was an Expo in Milan focused on the theme of Feeding the Planet, Energy for life. This spectacular 17m-tall sculpture formed the centerpiece of the multi-award-winning UK pavilion.

  • Volunteer cross-pollination with The Hive, The Hive was designed to look as though it could be a swarm of bees from afar, Sandra Bogdanova
    The Hive was designed to look as though it could be a swarm of bees from afar, Sandra Bogdanova

It all began when, in search of inspiration, the artist behind The Hive Wolfgang Buttress went to see Martin Bencsik at Nottingham Trent University, who undertakes research into how bees communicate. This planted a seed in Wolfgang’s mind for an installation that celebrated the bee, while immersing the visitor in a sensory experience.

  • Volunteer cross-pollination with The Hive, Horniman Volunteer Coordinator Kate Cooling listening to the vibrations of the Hive, Sandra Bogdanova
    Horniman Volunteer Coordinator Kate Cooling listening to the vibrations of the Hive, Sandra Bogdanova

Bee’s wings beat in a specific pattern (oscillation) which makes the note of C minor and this note is played in The Hive. The floor has hexagonal plates, which echo a real hive and and these vibrate too. There are lights on the walls of The Hive which are lit by the electricity generated from the vibrations.

  • Volunteer cross-pollination with The Hive, These hives at Kew give vibration to the Hive and can be felt on the base of the installation. For the Milan Expo in 2015, they had to run wires underneath the channel to transport the vibrations from the hives in England. The hives at Kew are only a few hundred meters away, so much easier, Sandra Bogdanova
    These hives at Kew give vibration to the Hive and can be felt on the base of the installation. For the Milan Expo in 2015, they had to run wires underneath the channel to transport the vibrations from the hives in England. The hives at Kew are only a few hundred meters away, so much easier, Sandra Bogdanova

The Hive will be at Kew until December 2017.

It goes without saying that it was creative and inspiring, yet unforgettable. As for myself, lately I got enrolled to a beekeeping course with Wimbledon Beekeeping Association and can not put down Steve Benbow‘s book The Urban Beekeeper. A Year of Bees in the City.  I invite you all to visit our Nature Base at the Horniman Museum and Gardens for a closer look at the world of bees.

Specimen of the Month: The Cheetah (Acinonyx jubatus)

Our Deputy Keeper of Natural History, Emma-Louise Nicholls, tells us all about the cheetah.

‘Cat. With. Spots’

The image below is of the Horniman’s Accession Register in 1910, when the cheetah was first acquired by the Museum. It reads ‘Hunt.g leopard’. I have a Ph.D in sharks; I am definitely qualified to say that what we have is a cheetah, not a leopard. Wondering whether it could have been a mistake, I started digging into the original taxonomy* and common names of the cheetah and discovered something interesting…

Back in the day when the British were trying to colonise the world and India was temporarily renamed British India, cheetahs were kept in captivity as feline ‘hunting dogs’ by elite members of Indian society. So the hunting part of the name ‘hunting leopard’ makes sense but as Asia also has leopards why they mixed the common names is anyone’s invitation to research. As our cheetah arrived at the Horniman in 1910, when India was yet to kick the British out, I suppose it is reasonable that the specimen was recorded as ‘hunting leopard’ rather than ‘cheetah’, however confusing that was going to be for future Deputy Keepers of Natural History. Tsk.

  • Specimen of the Month: the cheetah (Acinonyx jubatus), This photocopy of the original Horniman Accession Register from 1910 shows the cheetah specimen listed as a Hunting leopard
    This photocopy of the original Horniman Accession Register from 1910 shows the cheetah specimen listed as a Hunting leopard

So many cheetahs, and so few

Scientists have proposed that the cheetah is split into five different subspecies. However, genetic analyses haven’t yet been used to confirm, or deny, their differences. One fairly confident split is between the Asiatic/Iranian cheetah (Acinonyx jubatus venaticus), and the African cheetah, which encompasses all four remaining, potential, subspecies:

Northwest African cheetah (A. j. hecki)

East African cheetah (A. j. fearsoni)

Southern African cheetah (A. j. jubatus)

Northeast African cheetah (A. j. soemmerringi)

(Apologies for the lack of catchy common names. Please feel free to write to the cheetah specialists of the world and demand they get on this immediately.)

Although the Asiatic and African cheetahs have had around 100,000 years to change their appearance and try something new, the two cheetah types still look pretty much identical. Pretty lazy for the fastest land mammal in the world. Just because I know you’re wondering, our specimen hails from South Africa. So until a rigorous genetic test is put in place, which subspecies it is will be anyone’s guess.

  • Specimen of the Month: the cheetah (Acinonyx jubatus), Is this an Asiatic or an African cheetah? Who knows!
(Probably the photographer does, as it's likely he knew what country he was in when he took the picture...) 
− © Peter Chadwick
    Is this an Asiatic or an African cheetah? Who knows! (Probably the photographer does, as it's likely he knew what country he was in when he took the picture...)

Deadly in life after death

Cheetahs are excellent predators and so it seems fitting then that even in death, our cheetah could still cause serious harm. A few years ago our cheetah specimen was tested for harmful chemicals and traces of arsenic were found on the fur. The taxidermist who prepared the skin (pre-1910, which is when we acquired it) would have used arsenical soap to protect the specimen from pest damage. Arsenic was a common pesticide used in taxidermy from the 1800s up until quite recently when health and safety departments became more health and safety conscious and started testing things more rigorously. Our cheetah poses no threat whatsoever to the public in the gallery, but curators have to wear PPE (Personal Protective Equipment) when handling historic specimens.

  • Specimen of the Month: the cheetah (Acinonyx jubatus), Our hunting leopard/cheetah is on display in the Natural History Gallery
    Our hunting leopard/cheetah is on display in the Natural History Gallery

*Acinonyx jubatus (see blog title) is the most recent and up to date taxonomic genus and species for the cheetah.


ARKive. Cheetah (Acinonyx jubatus)

ARKive. Leopard (Panthera pardus)

Wilson, D. E. and Mittermeier, R. A. (2009). Handbook of the Mammals of the World. Volume 1. Carnivores. Barcelona, Lynx Edicions pp.154-156.

IUCN Red List. Acinonyx jubatus

IUCN Red List. Acinonyx jubatus ssp. hecki

IUCN Red List. Acinonyx jubatus ssp. venaticus.

Mammal Species of the World. Genus Acinonyx

Marte, F., Pé Quignot, A., and Von Endt, D. W. (2006). Arsenic in Taxidermy Collections: History, Detection, and Management. Collection Forum 21 (1-2) pp.143-150

Why do we need specialist logistics for collections?

As part of the exciting refurbishment and redisplay of two of our Galleries, Constantine Ltd was asked to move the existing collection of objects on display. We asked Sascha Hurrell from Constantine why we need specialists to help move our collections.

Constantine Ltd has remained a family business for over four generations. With our longstanding heritage and expertise in fine art logistics, we hold the necessary knowledge and skills to move many intriguing objects that included the striking Uvol headdresses from New Britain, the largest island of the Bismarck Archipelago.

  • Constantine moving our objects, Packing objects, Constantine Ltd
    Packing objects, Constantine Ltd

The most well-renowned object the team handled was the famous painted papier-mâché figure of Kali, the mother goddess, which was part of Frederick Horniman’s original collection.

Constantine’s Technical Manager, Laurence Burley, could see what a unique project this was, “The objects that we packed were varied in size, weight and age, which proved quite challenging. This was especially true of the headdresses and masks, which were designed to be ceremonial and so not made to last. Our technicians worked very closely with the Horniman Museum and Gardens staff, and our relationship was essential to ensure we completed the work on time to the highest standard”.

What happens when a museum wants to move or change a display? It is vital to have specialists with relevant skills and expertise to complete the task efficiently with the upmost care and attention to detail.

  • Constantine moving our objects, Making sure objects are safe for transportation, Constantine Ltd
    Making sure objects are safe for transportation, Constantine Ltd

Before any artwork or object can be moved, it needs to be assessed by the technical team in charge of the project. Here are 10 factors that need to be taken into consideration for each object:


If the objects are fragile they will require additional preparation from the museum team and expert technicians, to ensure the safety of the piece for future generations. In some cases, bespoke equipment and forms of support must be created to complete the task. The structure of an object determines the method of handling and moving.


This will determine how many technicians are required and if the object can be moved manually, or whether a lifting operator is required with specialist lifting equipment.


Knowing the history of an item is crucial in determining how it should be moved. In many cases, objects could be on display in the same location for many years, so any movement could unsettle the object and may cause lasting damage. The museum’s own archives can be an invaluable source of information.

Assessing location

Before any work can begin, the Technical Manager must confirm what part of the building the objects are currently placed and whether it is easily accessible. They must work out how the objects can be removed from its current position. Knowing what existing lighting is available in each room is incredibly important when deciding how any item or collection is moved. In many cases, additional conservation lighting is required to ensure the safe movement of the objects.


It may sound obvious, but a big part of the technician’s job is to assess where the objects are being moved to. The final destination can affect the quote of the project, the timescale, the number of staff and crate preparation.

  • Constantine moving our objects, Removing objects from the galleries, Constantine Ltd
    Removing objects from the galleries, Constantine Ltd

Bespoke crating and packaging

Are the objects staying in the museum or are they being shipped nationally or internationally? If they are staying in the museum, the technicians must determine whether they are being placed in short-term or long-term storage, as each requirement entails a different method of packing and conservation. Careful planning and precise handling is vital, with the safety of the object being paramount.


Efficient planning to ensure work is completed by a specific deadline is of great importance to contractors and the museum. Possible challenges which may occur during a project must be taken into consideration. Completing a project on time is also crucial to developing a strong relationship with the museum team.

Surrounding space

Rooms holding collections of paintings or objects vary greatly in size, so it is important to access the area before work can begin. This can have an impact on the overall timescale of the project and can greatly determine what equipment can be used. It is very important to have a clear work area and sufficient transporting space to enable work to be moved freely from other objects and displays. Once large objects are removed it is often surprising how much space can be made available. This is most obvious when packing and crating component parts of a larger piece.

Building structure

Any building with listed status means the protection of the fabric of the building is of specific concern. The team would usually proceed with guidance from Historic England. This can dramatically affect the way a collection is moved or re-installed.

Expect the unexpected

Technicians must be prepared for any challenges that arise. Every project is different and requirements can change at any moment. It is of great importance that the team complete the work to the client’s deadline, so any unexpected challenges must be resolved quickly.

Any of these 10 factors can be challenging for technicians and museum staff. They highlight the many logistical stages that must be considered when relocating collections, and the importance of detailed planning and research before a project begins.

Find out more about Constantine Ltd's work on Twitter and Instagram.

How to empty a Gallery

Our Collections and Documentation team take us behind the scenes during the decant of our Galleries. 

Hello, my name is Sarah and I’m one of the two Collections Management and Documentation Trainees at the Horniman. Thomas, the other trainee, and I started working at the Horniman in July 2016.

Usually, we are based at the Horniman’s Study Collections Centre where many of the fascinating objects in the Museum’s collection are kept. We work in the Collections Management and Documentation departments to care for these objects and make them accessible for current and future generations of Museum visitors.

Thomas and I have spent some of the last six months working directly on one of the Museum’s major projects, the Anthropology Redisplay. Funded by the Heritage Lottery Fund (HLF) the project re-evaluates the incredible objects in the extensive Anthropology collection in preparation for a new permanent exhibition opening in 2018.

  • How to empty a gallery, The Centenary Gallery during the decant process
    The Centenary Gallery during the decant process

In readiness for the new exhibition two of the Museum’s previous exhibition spaces - African Worlds and the Centenary Gallery - have closed and will be refurbished over the course of the next year. Along with other colleagues from the Collections Management team, Thomas and I spent eight weeks decanting the numerous objects in these galleries, packing them up to travel back to the Study Collections Centre.  

As trainees, decanting these gallery spaces and moving over one thousand objects has been an amazing experience as well as a very good opportunity to test our skills. 

With many different types of objects across two galleries, we were able to try out various methods for packing. We often spend lots of time trialling and experimenting with packaging to ensure it provides adequate protection to each object, therefore preventing any potential damage that could occur while in transit.

Certain methods of packing are more suitable for some objects than others, many objects we worked with during the decant required bespoke packaging to be specially made for them.

One of the most challenging objects Thomas and I worked on was a Naga headdress from north-east India. The headdress was delicate and had a number of large feathers which could be detached.

  • How to empty a gallery, Sarah and Thomas look at the Naga headdress
    Sarah and Thomas look at the Naga headdress

Advised by project conservator Natalie we removed the feathers and packed them separately from the rest of the headdress.

  • How to empty a gallery, Thomas separates the feathers of the Naga headdress ready for packing
    Thomas separates the feathers of the Naga headdress ready for packing

Some other really exciting objects we worked on during the decant where the Museum’s Mummies. Moving them was a real challenge and quite different from the Naga headdress we had previously worked on. Being so large and yet extremely fragile meant that many hands were needed in order to transfer the Mummies from the display case and into a packing crate. It took a team of seven to move each one safely.

We finished the decant in November so Thomas and I are now based back at the Study Collection Centre working to find space for many of the objects that will be staying in storage.

Every day is different and poses new challenges for us to solve. We’ll be continuing to write about our experience as trainees at the Horniman over the next year and a half so keep an eye out for updates on our progress.

Find out more about the Anthropology Redisplay and World Gallery

Wildlife photography - your winner

You voted for your favourite photo from our European Wildlife Photographer of the Year exhibition and we reveal the winner...

Our European Wildlife Photographer of the Year exhibition was really popular this winter. 

When coming to see the exhibition, visitors were asked to pick which photo was their favourite and leave their comments on a card. 

It was a close call. All of the photographs received at least one vote from the public and there were only a few votes between the top winners. 

We can now exclusively reveal the top three most popular photographs as chosen by our visitors are...

*atmospheric pause*

In third place, the graceful 'Wild European Lynx' by Laurent Geslin.

  • Wildlife photography - your winner, 'Wild European Lynx', Laurent Geslin
    'Wild European Lynx', Laurent Geslin

Here is what some people said about this photograph:

I was drawn to those big eyes and can just imagine him on his long prowls in the night. 

I really like the way the deep sky is captured in the background and how the photographer spent a long time to capture this. 

The contrast, the composition, the elusiveness of the subject. 

In second place, the characterful 'Lightness' by Matteo Lonati. 

  • Wildlife photography - your winner, 'Lightness', Matteo Lonati
    'Lightness', Matteo Lonati

Here is what some people said about this photograph:

It is simple and yet still beautiful.

I like the way the owl is standing to attention like a soldier.

A very arresting photo.

It looks like Hedwig. 

The winner of the public vote is the excellent 'Shadow Walker' by Richard Peters. 

  • Wildlife photography - your winner, 'Shadow Walker', Richard Peters
    'Shadow Walker', Richard Peters

Here is what some people said about this photograph:

It has a beautiful atmosphere.

It reflects the nature in London.

It says so much about the life of the fox - not in shot, he is the hidden king of the urban jungle. 

Because it captures wildlife in an urban setting and reminds us of its presence and beauty. 

Congratulations Richard for winning the public vote as well as the overall competition. 

You can read more about wildlife photography in our interviews with the photographers from this exhibition on our blog

The Badger at Burgh House

Hello, I’m Becky Lodge the Curator at Burgh House, an historic house with a local history museum, based in Hampstead.

We borrowed the Object in Focus taxidermy badger from the Horniman last year and the staff all became very fond of her. We have no natural history specimens in our own collection, and the badger is super cute.

The badger featured in an exhibition of picture postcards of Hampstead called 'Hello from Hampstead! Discovering a History through Postcards'.

Hampstead is a suburb of London that has been a popular visitor destination for centuries, especially for its vast and famous Heath. Not only is the Heath an incredible place to explore, it is host to a wonderful variety of plants and animals.

The badger helped us to show this, complementing our postcards beautifully.

Working with Sarah and the conservators from the Horniman on the loan was a really enjoyable experience. The whole process was so well managed, it was a delight for our small team. Thanks, Horniman Museum and Gardens!

Find out more about our Object in Focus loans project. 

Discover more from Burgh House on their website or connect with them on Facebook and Twitter

Wildlife photography - your views

Our European Wildlife Photographer of the Year exhibition has been very popular this winter, with people of all ages coming to see the 84 extraordinary photographs on display. 

Visitors to the exhibition were invited to fill out a card where they voted for their favourite photo and gave a reason why. 

Next week we will be announcing who came first, second and third in our visitor vote, but until then, here are some of our favourite responses so far: 

  • Wildlife photography - your views, 'Dragon Duel', Tom Way
    'Dragon Duel', Tom Way

It is brutal, other worldly, ancient, timeless. Somehow both alien and godlike. 

  • Wildlife photography - your views, 'Lion Love in the Rain', Jon Langeland
    'Lion Love in the Rain', Jon Langeland

The photographer has really captured the lioness's expression and the way the water is spraying is excellent.

  • Wildlife photography - your views, 'Wink', Ingo Arndt
    'Wink', Ingo Arndt

Extremely flirtatious and seductive, like a Spanish dancer or the seducing dance of tango. 

  • Wildlife photography - your views, 'Like from a Fairy tale', Giuseppe Bonali
    'Like from a Fairy tale', Giuseppe Bonali

A magical look into a micro world

  • Wildlife photography - your views, 'Under the water, above the water', Mike Korostelev
    'Under the water, above the water', Mike Korostelev

It tells a story in a really inventive way. Being upside down makes it magical, compelling, mysterious and majestic!

  • Wildlife photography - your views, 'Alien Sighting', David Burtuleit
    'Alien Sighting', David Burtuleit

Sometimes the things on our doorstep can be the most interesting. 

  • Wildlife photography - your views, 'Shadow Walker', Richard Peters
    'Shadow Walker', Richard Peters

It connects you somehow with a night story happening next to you that you don't know about. It's just outside. 

  • Wildlife photography - your views, 'Surprised Newt', Pekka Tuuri
    'Surprised Newt', Pekka Tuuri

There are many amazing photos in this exhibition. This one is my favourite because it is a common animal in an amazing situation and it is the only animal with a mohican hairstyle. 

Read our series of interviews with the photogrpahers from this exhibition on our blog

Send us your own wildlife photography by tagging your photos #horniman on Twitter, Facebook and Instagram. 

About the Art: Marco Urso

As part of our European Wildlife Photographer of the Year exhibition, we chat to Marco Urso about his wildlife photography. 

  • About the Art: Marco Urso, 'Missed', Marco Urso
    'Missed', Marco Urso

Tell us the story behind your photo 'Missed'.

Every summer for the last five years, I have spent time at Kuril Lake in Kamchatka. Year after year my idea is to concentrate my photography on uncommon situations. These only occur when you follow a bear around and watch him in his daily life.

The bear in this photograph was a young one and therefore inexperienced. He caught the salmon but relaxed soon afterwards. The salmon 'felt' that and managed to escape, leaving the bear with a strange expression.

How long did you have to wait for this shot?

Quite a bit, I have seen something similar before but I wanted the salmon parallel to the surface of the water so I tried for almost a day.

Did you use any particular equipment?

Not really, a tripod and my normal 500 mm lens.

What are the difficulties of wildlife photography you face?

The challenges are several. Weather, technical equipment problems and recently the misbehaviour of some photographers that forget they have to respect the environment and the species.

What would you like people to think about when they see your work?

That I was looking for something different, unusual and less stereotyped. I often try to show the feeling and personality in animals’ behaviour.

How long have you been a photographer and how did you get started in your career?

I have been photographing since the age of 14 but only seriously since 2010. I started publishing for magazines, writing articles, organising workshop and participating in competitions.

What would you advise someone wanting to start taking photos of wildlife in their local environment?

That there is a lot to see and take pictures of without travelling a great distance. It is important to have self-assessment, so there is discipline and a selected view.

What projects are you working on now?

I like bears both browns and polar. I like to photograph their interaction and the cubs. I have just published a book on Polar Bear with WWF: the Lord of the Arctic and soon there will be a second book about the brown bear.

See more of Marco's work on his website and see 'Missed' on display at the European Wildlife Photographer of the Year exhibition until 15 January 2017. 

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