[Skip to content] [Skip to main navigation] [Skip to user navigation] [Skip to global search] [Accessibility information] [Contact us]

Previous Next
of 597 items

The Collective meets the objects

Learn about the Studio Collective's visit to the Study Collections Centre to inspect objects that may feature in their exhibition later this year.

The Collective spent a lot of time in our meetings talking about objects from the collection and looking at pictures of them. But nothing compares to seeing objects in real life, so our visit to the Study Collection Centre, where the Horniman stores everything that isn’t on display, was much anticipated.

Collective member Julia says ‘Sometimes you can be really surprised when you “meet the objects” – things which didn't seem so special on the database can really shine and some objects which we thought would be huge turned out to be tiny!’

Horniman staff at the Study Collections Centre had laid out our selection of objects on large tables, and there was plenty to catch the eye, and keep our interest.

Collective member Dom (the Horniman’s Community Engagement Coordinator) says ‘I enjoyed the cabinet of curiosities vibe of seeing such a range of objects. I particularly liked the small, ordinary-seeming objects we looked at, like the piece of bark which is actually a fragment of a much larger object used for divination.’

Several of the Collective were particularly fascinated by this figure of a donkey, made up of other interlocking animals including swans, fish, a monkey and a lion (and a man’s face, see if you can spot it). It’s from India, was made before 1837 and is part of a set of 12 similar figures including two people also made of animals.

Seeing our longlist of objects ‘in the flesh’ was the next step towards deciding what will be included in the first Studio exhibition, opening in autumn. Will the horse figure make it into a display case? You’ll just have to wait and see but in the meantime, the last word goes to Julia…

‘Seeing all the objects together, outside of a glass box, gets your imagination going. They conjure worlds. It's a lot to take in but it's very special.’

The Mini-Museum of Travel

Helen Merrill fills us in on how our volunteers went about putting together their latest Engage Discovery Box, a mini-museum in itself.

In the run-up to the opening of the World Gallery later this year, many of us here at the Horniman have been trying to answer the question, What does it mean to be human?

As a part of this project, the volunteers from our Engage Discovery Box Project took the lead in creating new discovery boxes that will be used in conjunction with the World Gallery by visitors and groups for years to come. Discovery boxes act like mini-museums, containing objects that follow a theme chosen by the group.

A thirteen strong team was organised and a theme of 'travel' agreed upon to complement the vision of the museum's Founder, Frederick, J. Horniman – Tea trader, Collector, Philanthropist and Anthropologist. The team needed to search for Museum objects in the Horniman collection that considered this theme while taking into consideration a broad target audience of young families, outreach venues and other community groups.

The objects had to incorporate sight, colour, smell, sound, and touch. The catalogue of available objects was vast but the objects not only had to represent the theme but they needed to be the right size and shape to fit into the Discovery Box. Safe handling was also a key factor. Eventually, the list was whittled down to 8-10 suitable objects.

  • Saddled camel model
  • Horniman tea tin
  • Bike gear 
  • Compass 
  • Yugoslavian slippers 
  • Image of Dorothy’s shoes 
  • Indbanas head piece 
  • Masai milk gourd 
  • African head scarf
  • London tube map
  • Range of other maps
  • Monarch butterfly
  • Three smell pots out of a choice of cinnamon, nutmeg, curry, and coffee.

Once the objects were chosen, the next stage was trial and evaluation with visitors. A special session was run in the Hands on Base to gauge visitor perception. Questions and feedback focused on discovery, adventure, travel, transport, and nostalgia, giving a picture of how the objects fit into the theme of travel while some objects were potentially not so relevant.

On the whole, the experience was extremely positive and thought-provoking, and it was great to know that a whole host of specialist groups would benefit from the mini-museum. For their efforts the team were nominated for the London Volunteers in Museums Awards which took place in September 2017 at City Hall. The team were declared runners-up in the award for 'Best Team Contribution', clearly recognising the enthusiasm and hard work of this dedicated team.

The accolade proved that the Horniman Volunteer Teams certainly know what it takes to engage, inspire and enrich visitor experience.

The thoroughly modern Annie Horniman

Annie Horniman was the daughter and eldest child of Frederick John Horniman and his first wife Rebekah.

  • Annie Horniman, Annie Horniman standing on the left with her mother, father and brother
    Annie Horniman standing on the left with her mother, father and brother

A liberal start

The house she grew up in was fairly liberal and her father’s interests in the natural world, anthropology and the arts undoubtedly left an impression on Annie. When young she had heard her father’s support for Jacob Bright, a liberal who was promoting a Parliamentary Bill that would give women the vote and, according to author Shelia Gooddie, Annie “resolved that one day she would have the vote.”

Annie she was in a privileged position. The family business and the progressive attitude of the Horniman family meant that she was able to enrol in the Slade School of Art when she was 22 in 1882, along with her bother Emslie, who was 19.

It was the first fine art school to open its doors to both sexes and Slade allowed Annie Horniman an element of freedom. She cut her long hair short, smoked in public, and entered into a romantic relationship with another student, Mina Bergson.

  • Annie Horniman, Annie (standing) with Emslie and a seated woman who may be Laura Plover, Emslie's wife to be
    Annie (standing) with Emslie and a seated woman who may be Laura Plover, Emslie's wife to be

On her bike

Annie also discovered the bicycle during this time. It was an important mode of transport for women, granting them a level of independence, if they could afford one. The American suffragette Susan B Anthony said, ''I think [the bicycle] has done more to emancipate women than anything else in the world.’’

Annie preferred the men’s bikes over the ladies cycles according to Gooddie, saying “ladies bicycles are mere hen-roosts – the gears are so low that any serious traveling on them is ridiculous.” Her actions provoked mockery and anger from men. Unsurprising, when the ladies bikes of the day were lambasted for showing ankles and bloomers.

She remained undaunted. When Annie grew tired of hearing insults about her legs she started wearing trousers, which did not become commonplace in the UK until the early 20th century. Her bicycle opened up the world of London and surrounding counties to Annie, and she didn’t stop there. She also took her bike around Europe, journeying twice over the Alps. Her love of cycling didn’t diminish as she grew older.

When she bought her apartment in London's Portman Square she would carry the bicycle up three flights of stairs.

An artistic set

Her admission to Slade included a reader’s ticket to the British Museum and it was while she was studying art in reading room, that she met several important figures, including Bernard Shaw, WB Yeats and Florence Farr. She joined the Hermetic Order of the Golden Dawn with them in 1890, an occult society that admitted both men and women.

  • Annie Horniman, An illustration of Annie Horniman at her brother's wedding
    An illustration of Annie Horniman at her brother's wedding

Their friendships would prove important for all parties. Annie financed Farr’s first venture as a director, as well as the first plays by Yeats and Shaw. She did so anonymously, as despite their liberal leanings, the Horniman family did not approve of the theatre.

Annie worked with Yeats for years and established the Abbey Theatre in Dublin with him, running the financial and business side until she cut her ties in 1910 after a falling out with Yeats. However, she is remembered by many for her role in developing the first regional repertory theatre company in Britain at the Gaiety Theatre in Manchester.

A supporter of suffrage

Harking back perhaps to some of those earlier conversations overheard in Forest Hill, Annie supported the suffrage movement.

Annie spoke at numerous meetings. At a meeting of suffragettes in the Free Trade Hall in Manchester, Annie had been on the platform. She had spoken in London at the Queen’s Hall. She helped to raise funds for a new Women’s Union Building for Manchester University, by holding a special matinee performance at the Gaiety Theatre. The aim was to provide facilities for use by both sexes.

Her work was recognised by Emmeline Pankhurst, who told Annie, “You have done so much for dramatic art in this country that you have won our gratitude. It is an added pleasure to me that you are a woman”.

Annie thought the best way to prove the quality of the sexes was for women to show by their own achievements that they could do as well and better than men. And the money she inherited enabled her to do this, an avenue which was not available to most women.

  • Annie Horniman, A studio portrait of Annie Horniman in her Golden Dawn gown, Reproduced with the permission of Michael Horniman
    A studio portrait of Annie Horniman in her Golden Dawn gown, Reproduced with the permission of Michael Horniman

Annie was made a Companion of Honour a few years before she died in 1937 at her home in Shere, Surrey.

If you are interested in learning more about Annie Horniman you can:

How an idea becomes a gallery

Have you ever wondered how we put together a brand new gallery? Well, Sarah Watson from Collections Management tells us how.

This year the Horniman has been preparing for the opening of a new gallery which will show around 4,300 objects from our anthropology collection. The new World Gallery will redisplay a number of objects previously found in the Centenary and African Worlds Galleries, and importantly will include many more objects - some of which have never before been on display.

Once the World Gallery is open you will see inspiring and exciting objects from across the world highlighting different themes and cultures. Sounds enticing, doesn’t it? Before you rush to the Museum though there is still a lot of challenging work taking place behind the scenes in order for the doors of the World Gallery to open for the first time. 

Before any of the Museum's objects can be installed there needs to be decisions made about how they will be arranged and how these displays can be made possible physically. Considering how to arrange objects in a new exhibition is no easy task and one which our curators have been focused on for the last six or so years.

Some of these decisions are made at layouts when objects are set out in a mock-up of how a showcase might eventually look. Conservators, curators, collections management, documentation, and workshop staff all attend to discuss the practicalities and challenges of displaying particular objects. 

Prior to a layout, all of the required objects must be retrieved from the Horniman’s very own TARDIS - the Study Collections Centre (SCC) - our offsite storage facility which houses the majority of the museum’s collection.

Retrieving objects is carried out by the Collections Management Team who are responsible for the care, storage, and documentation of the collection. As part of this team, I work with my colleagues prior to each layout to identify the location of selected objects, collect them, and arrange them according to a design planned by curators. 

This process of retrieving objects from the SCC can be quite time-consuming, usually taking between one and four days depending on the number of objects needed and the complexity of moving them. One of the largest layouts we have done so far featured over two hundred objects. One of the challenges we encounter when retrieving objects is if they are heavy or large, or both, making them more difficult to move. This adds to the amount of preparation and time needed, and will often require the assistance of additional colleagues and lifting equipment to move them safely. 

So, what happens after the layout has finished I hear you ask. After the curators, conservators, and workshop staff have met and agreed on which objects can be displayed and how collections management carefully pack all the selected objects so they are ready to transport from the SCC to the Museum. Objects that haven’t been chosen will be packed away and go back into storage. As with retrieving objects, packing them also takes time, often as many as four days as we need to ensure that objects are packed as to not sustain damage while in transit. 

To get to the point where we start retrieving objects to the moment they are packed and ready to transport can take the best part of two weeks, particularly if there are a lot of objects involved. Once the layouts are complete we will begin the process of installing objects in the refurbished exhibition space for the World Gallery to open in 2018. In the meantime, we are getting very good at packing, and are delighted to see so many fascinating and unusual objects going on display from the collection.

Farmers' Market Focus: Wise Owl Tea

This month we caught up with Farmers' Market regulars Wise Owl Tea to learn about how they're making tea infusions that are delicious and healthy.

Hi, can you introduce yourself to our readers?

Wise Owl Tea is based in Crystal Palace. We specialise in organic herbal tisanes and all of our blends have a delicious taste with added health benefits. Our blends are caffeine, sugar, and preservative free.

How long have you been creating infusions and what attracted you to the trade?

I have been creating infusions for about 10 years. Wise Owl Tea was founded in 2014 and in our first year we won three Great Taste awards. I was attracted to the tea trade mainly because of all the nice people within the industry. The fact that it is natural, sustainable, and cost-effective was also appealing and inspired me to form the Wise Owl Tea company.

  • Wise Owl Tea, Louise Kamara
    , Louise Kamara

What does a working week look like for you?

The day normally starts at 7am with processing online orders. We aim to dispatch orders on the same day they are received which is all part of our fast reliable service to UK and European customers.

Running my own business I must always be looking for ways to improve the product and service we provide for all our customers and be innovative in looking at different ways to expand the business. We are always busy trying new infusions. Currently, we are working on several new ideas for Summer Ice tea.

How do you ensure your business is organic and sustainable?

We aim to source as much product as we can locally, working with farms that have Soil Association certification. Our teabags are also all environmentally friendly as they are made from natural corn starch. This means they are bio-degradable and compostable in soil within 18 months.

What makes trading at the Horniman special for you?

The diversity of customers is appealing at the market. From regular locals to tour groups visiting the museum and market there's a real mix.

  • DSC03961, Wise Owl Tea
    , Wise Owl Tea

What do you feel sets you apart from other infusion businesses?

As well as delicious tastes, our blends also provide health benefits. Our most popular blend is Bamboo Leaf and Nettle which has won a Great Taste award from the Guild of Fine Foods. Bamboo leaf has a high amount of the mineral silica which is great for healthy looking skin, hair, and nails. Two other blends, Cinnamon Spice and our Night Night Sleepy Tea have also won Great Taste awards and are popular at the market.

Can you tell us your personal favourite blend?

My favorite blend is the Tahitian Night-Night Sleepy Tea. It is a nice relaxing evening blend consisting of chamomile, lavender, limeflower, and valerian root. It is a great way to help give you the good night's sleep you have long been waiting for. January is our healthy-detox month though so we will be featuring a new blend of turmeric and ginger infusion.

Reef Encounters: Yi-Kai Tea

As part of International Year of the Reef, we're speaking to people who work with coral reefs, from filmmakers to fish taxonomists. In this post, we hear from Yi-Kai Tea, a fish taxonomist at the University of Sydney, currently studying under Dr. Anthony Gill as a graduate student in taxonomy and systematics.

  • Yi-Kai Tea at work, Yi-Kai Tea photographing specimens in a tank on the shore, Yi-Kai Tea
    Yi-Kai Tea photographing specimens in a tank on the shore, Yi-Kai Tea

What is your typical day?

I'm always working on something. If I’m not doing research, I’m writing articles or researching up on future things to tackle.

If I’m at the lab, I mostly do counts and take measurements of various fish specimens. Otherwise I’m at the museum looking through the literature.

There's always something to do.

When did you first know you wanted to work in this area, and how did you get into your work?

I spent many years in high school and college writing for various fish magazines and blogs. I was offered a little writing gig after being picked out from a local forum. In the years of writing about reef-fish I’ve noticed so many undescribed species go by without a name for years, often wondering why scientists didn't want to do anything about it.

Years later I decided to become a fish taxonomist myself, and the first species I ever named was the very fish I wrote about on a blog years ago, the same species that made me ponder about the short comings of taxonomy!

I now realize that there aren't many taxonomists around these days, certainly not enough to keep up with the rate at which we're discovering new species.

The first step to conserving anything is to first give something a name. Without a valid scientific name, you technically cannot put a species on a conservation list, even if its habitat is threatened. That is why, to me, taxonomy and systematics is so important.

  • Cirrhilabrus isosceles fish, The Cirrhilabrus isosceles fish, Yi-Kai Tea
    The Cirrhilabrus isosceles fish, Yi-Kai Tea

What inspires you in your work?

This is going to sound really cliché but I am inspired by so many things. I often have periods where I’m totally obsessed with something, and I’ll think to myself, that would make a great name for a fish someday.

I had a moment where I was very into Doctor Who, and I named my second new species of fish after the Sycorax Warriors from the show! A group of lesser known warriors that wore red capes and robes. I've also named a species of anthias after the alcoholic beverage tequila sunrise.

  • Synchiropus sycorax , Synchiropus sycorax, named after Doctor Who creatures the Sycorax Warriors , Yi-Kai Tea
    Synchiropus sycorax, named after Doctor Who creatures the Sycorax Warriors , Yi-Kai Tea

What would your message for the future of reefs be?

Coral reefs are such incredibly wonderful, diverse, awe inspiring ecosystems. I simply cannot think of anything else comparable.

To lose something as precious and valuable as this would certainly be a tragedy. They are resilient but they cannot do it without our help, and everyone has to do their part. Be mindful of the little things you do every day.

You may not think that you alone cannot make a difference, but if everyone thought like that, there would be no future for the reefs. It is a collective effort, and everyone should do their part. 

What’s your favourite creature on the reef, and why?

My favourite creature on the reef would most certainly have to be the clownfish. There is nothing more picturesque than a perfect little orange clownfish bobbing in her anemone home.

There is something so simplistic yet instantly iconic about this relationship, and I find the relationship so interesting and complex.

It really is the emblem of the reef I think.

  • Clown fish, A clown fish in the Horniman Aquarium, Connie Churcher
    A clown fish in the Horniman Aquarium, Connie Churcher

What’s the oddest thing you’ve seen at sea?

I once saw a decapitated Barbie doll floating out in the middle of nowhere whilst on a boat in Hawaii.

Odd, but a grim reminder not to litter!

What kit do you use?

I use a Nikon D7200 with a 150 mm Nikon macro lens. The camera body is equipped with a Nikon SB 900 fill flash.

I keep my photography set up very simple, but it gets the job done! I wouldn't consider myself a professional photographer by any means, but the photos I take do help a lot with my work and hobby.

  • Navigobius kaguya fish, Navigobius kaguya, Yi-Kai Tea
    Navigobius kaguya, Yi-Kai Tea

What’s the next big thing for your work?

I'm currently working on revising a group of wrasses with anti-tropical distributions.

It's an unusual distribution, from a biogeographic stand point. Interestingly, there are multiple groups of fish, all apparently unrelated and from different families and orders that share the same pattern.

I'm interested in seeing how this all fits in a broader context, perhaps temporally and spatially through biogeographic and evolutionary changes.

  • Pseudanthias bartlettorum fish, Pseudanthias bartlettorum, Yi-Kai Tea
    Pseudanthias bartlettorum, Yi-Kai Tea

Who is your ‘reef hero’ – someone doing great work or advocacy for the future of reefs?

David Attenborough.

I don't think I have anything to say about him that hasn't been echoed by the millions of hearts and minds that he has touched in his career. I just love him.

British Wildlife Photography Awards 2017 - Your Winner

You voted for your favourite photo in our British Wildlife Photography of the Year Exhibition and now we can reveal the winner of the public vote.

Sadly our exhibition of the British Wildlife Photography Awards 2017 has now come to an end but we're delighted to say it proved incredibly popular.

Although the gongs had been handed out before our exhibition opened, visitors were given the chance to vote for their own winners and leave their comments.

Clearly, the breadth of talent and photography impressed our visitors as competition was fierce, but we are delighted to say we can now announce the three most popular photographs from our exhibition...


In third place, Grumpy Mountain Hare by David Walker

  • Grumpy Mountain Hare, 'Grumpy Mountain Hare', Dan Walker
    'Grumpy Mountain Hare', Dan Walker

In second place, Balancing Act by Ian Watson

  • 02.24_PORTRAITS_P_609.6_x_406, 'Balancing Act', Ian Watson
    'Balancing Act', Ian Watson

And your Horniman public vote winner is, Peeking Red Fox Cub by Luke Wilkinson

  • Red Fox Cub, Peeking Red Fox Cub, Luke Wilkinson
    Peeking Red Fox Cub, Luke Wilkinson

Congratulations to Luke, whose shot of this young cub was clearly too cute for our visitors to ignore.

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

Free talks: Welcome to the Horniman

Join one of our Visitor Hosts for a short introduction to the Horniman. Great for first-time visitors, or as a general overview if you haven’t been to visit for a while.

These short talks are suitable for everyone and will help you get the most out of your visit.

Talks take place weekly, and you can meet by the Ticket Desk at the following times:

  • Wednesdays, 4pm
  • Saturdays, 4pm
  • Sundays, 11am

Booking information

The talks are free, but are on a first come, first served basis with a maximum of 10 visitors per tour.

If you would like to bring a group, please contact us on 020 8699 1872 x 183.

A Blank Canvas

Joe from the Studio Collective updates us on their work on our exciting new Studio project.

It seems like an age since I joined the Studio Collective as a community partner representing St Christopher’s Hospice, basically not knowing what to expect. Whilst traveling to the first meeting, I felt a nervous anticipation of what was to come. I knew I was an open book, a blank canvas, and would be bringing to the table my organisational skills from running businesses, but I also hoped that my basic love for art and a musical background would be an added bonus.

So the journey begins. My early days in the collective were like being a fish out of water, struggling to think where and how I would fit into the process but I sat, listened patiently, and soaked up what extra information I could from my more knowledgeable colleagues.

Personally I think it could be true to say that this fantastic journey has been a massive learning curve thus far and still is for many of us on the project. We are all feeling a certain degree of excitement and anticipation, and this could well be because this is the first time that the Horniman has embarked on creating a studio exhibition in this way.

The process so far has had its twist and turns, with incredibly lively debates along the way but with a respectful tone. We had to select an artist from a shortlist that we felt would be the ideal fit as a partner to the Collective going forward.

The process of selecting an artist was a simple one - it was done by a selection of different colour post-it notes for our first, second, and third choice. Simple, clever and effective. When the post-it notes were counted the successful artist was announced as Serena Korda.

I felt we had selected an artist who would be a welcome addition to the Collective. The prospect of collaborating with her and the ideas she would bring to the table was exciting. I felt a real connection with her, her love of sound creation, and the linking of sounds to various objects. As a musician, this seemed right up my street. Since Serena’s appointment, she has introduced the Collective to a range of her ideas for the studio exhibition. I was especially drawn to Mike - he’s adorable - you may have read about him in another blog, a wonderful bodiless head that records sound all around him. Hopefully, he might find his body soon and could make an appearance in the exhibition.

Since then we’ve been discussing exhibition themes. At our latest meeting, the scene was set with three tables awaiting the Collective. Members were seated in even numbers at each table ready to discuss in more detail and to get a better understanding of each of the three concepts. Each table, led by a facilitator, was given approximately ten minutes for discussion.

When the meeting of minds came to an end it was time to decide on the concept for the exhibition, and oh yes you’ve guessed it, it was time to dig out those lovely post-it notes. In our previous vote we had the luxury of three post-its, this time it was just two, we had to choose only our first and second choice. The vote was close and I am pleased to announce that the winning concept is A******. Well you didn’t really think I was going to let the cat out of the bag now, did you? But stay tuned for further blogs from my Studio colleagues and exciting updates on the concept for the fantastic Summer 2018 Studio Exhibition.

About the Art: Mark Thomas

As our blog series highlighting the work of photographers featured in the British Wildlife Photography Awards comes to a close, Mark Thomas tells us why diving with seals can create some unforgettable moments.

Can you tell us the story behind your photo in this exhibition?

The Farne Islands have one of the largest populations of grey seals in the UK with hundreds of pups born each autumn. Diving with these beautiful, gentle creatures is one of the highlights of UK diving. The pups will sometimes approach divers, nibbling on fins, mask straps, and camera gear. Diving with seals can be hit and miss - on occasions the seals keep their distance and watch the strange, cumbersome, bubble-blowing creatures from afar. When you encounter a particularly inquisitive pup, however, the experience is unforgettable and results can be spectacular.

  • OpenWide, 'Open Wide' by Mark Thomas which features in the 'Behaviour' category at this year's British Wildlife Photography Awards, Mark Thomas
    'Open Wide' by Mark Thomas which features in the 'Behaviour' category at this year's British Wildlife Photography Awards, Mark Thomas

How did you go about getting that shot?

I took this photo on a dive club trip to the Farne Islands in May 2017. The pup was one of a trio who joined us in a shallow bay - the other two kept their distance and can be seen in the background. This individual was especially bold, swimming alongside and mouthing the camera housing - perhaps seeing its reflection in the dome port.

Did you use any particular equipment or software?

I was using a Nikon D3 with a 15mm fisheye lens, in a Sea & Sea underwater housing, with twin strobes. I use Photoshop to process the RAW images.

  • Grey_seal_pup_FarneIslands, Mark Thomas
    , Mark Thomas

What are your favourite scenes, species or motivations behind your photographs?

The bulk of my diving is around UK and Ireland - especially Connemara in the west of Ireland, the west coast of Scotland, and North Wales. I have dived further afield, including around the Galapagos Islands, Revillagigado Islands, and Sulawesi Islands, but the thought of lugging expensive, heavy kit on long-haul flights puts me off.

What are the difficulties of wildlife and nature photography that you face?

Diving in the UK and Ireland is often quite challenging - bad weather, tides, and poor visibility together with cold water add to the difficulties for the underwater photographer. Despite this, it is well worth the effort - with wonderful underwater scenery, wrecks and a rich diversity of colourful and strange marine life. Non-divers are constantly amazed at what can be found a few metres beneath our seas and it is a pleasure to be able to showcase the sights we see underwater. 

  • Corkwing-wrasse_Connemara, Mark Thomas
    , Mark Thomas

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

Photography has been a hobby since my teenage years, when a summer job enabled me to buy my first camera - the Pentax ME Super. Rugby was my passion for over 30 years but once the knees gave out I decided to take up a long-standing ambition to dive and in 1998 I joined the local dive club in Northwich - Hartford SAC. Several talented photographers in the club encouraged my interest in underwater photography and in 2002 I bought a secondhand Nikon F90 film camera and housing before joining the digital revolution a few years later. 

  • Lumpsucker_MenaiStraits, Mark Thomas
    , Mark Thomas

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

Underwater photographers should be comfortable in their diving, with good buoyancy control and a healthy regard for the underwater environment.

What projects are you working on now or have coming up?

In the winter months, diving is usually restricted to freshwater quarries and rivers, and recently Liverpool docks. These dives are useful for keeping skill levels up and practising techniques. Again, people are surprised at what can be found in these underwater environments. Next year there are plans to dive in  Donegal and Connemara in Ireland, the Scottish lochs, and the Farne Islands.

  • mauve_stinger_Connemara, Mark Thomas
    , Mark Thomas

Previous Next
of 597 items