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National Geographic : 2005 Jun
Contents
ON ASSIGNMENT WORLDWIDE KING TUT Judging from the new CT scans of the famous pharaoh, Tutankhamun had quite a dis tinctive look. To translate the scanning data into a likeness of the boy king, senior editor for art Chris Sloan turned to a team of specialists that included Jean-Noel Vignal, a forensic anthropologist. Jean Noel used measurements of Tut's cranial features to cal culate the tissue depth of his cheeks, nose, lips, and chin. It seems the boy king had a major overbite, a mildly cleft palate, and a long, flat head. But the data only tell part of the story. The evidence "is insufficient to determine if Tut's eyes were green or brown, the hair short or long," says paleo-artist Elisabeth Daynes (above, with the model she created for this month's cover). First, using the data, a cast was made of Tut's skull. Elisabeth PHILIPPEPLAILLY,EURELIOS then fleshed out his features with clay before crafting the final silicone model. To style his make up, she relied on two wooden statues found in his tomb and a limestone bust of Queen Nefertiti. Egyptologists suggested the pieces because they believe the sculptures convey the elaborate makeup worn by ancient Egyptian royals more accurately than do their highly stylized portraits. Elisabeth and photographer Kenneth Garrett also adorned the bust of the young pharaoh with jewelry inspired by the pieces found in Tut's tomb. Another team has made its own model of Tut using the same CT-scan information Elisabeth used. See how the models compare at nationalgeographic .c om/magazine/0506. CSANGOS "I saw cows trying to cover their ears with their hooves," says pho tographer Tomasz Tomaszewski of his impromptu violin perfor mance. He'd traded his camera for a violin during a festival in the village of Somusca while covering Romania's Csang6 people. Tomasz was drawn to the Csang6s' rich folk music traditions but found gaining access to their daily lives difficult. "A mile from the highway you enter something that looks like a scene from the 18th century. They are not used to foreigners at all," he says. He spent days simply hanging around, talking with villagers, and not taking pictures. "The challenge," he says, "was to create trust." WEATHER FORECASTING Shooting a story on weather can have its sunny side. In Turin, Italy, photographer Jay Dickman visited vineyards in the name of work. Later Jay, an avid skier, found himself schussing down an Austrian mountain accompanied by members of the Italian wom en's ski team. "I found out that it's hard to look cool on skis, heading down a near-vertical drop, when you've got a neck full of camera equipment," he notes. Jay also went looking for men acing weather-and found it. Covering blizzard preparations at Denver International Airport, he perched 40 feet up on a cherry picker to photograph airplane de-icing sprayers through cur tains of blowing snow. "One of my cameras got de-iced by the spray," says Jay. The chemicals decommissioned the camera, he adds, "but we got the shot." It's on pages 106-107. TALES FROM THE FIELD Find more stories from our contributors, including their best, worst, and quirkiest experiences, in Featuresat nationalgeo graphic.com/magazine/0506. NATIONAL GEOGRAPHIC * JUNE 2005
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