of a project photographer who has to work on an archae-

ological site, part of which may be under water.

A project will require photographs and video footage

for a variety of purposes. However, it is advised that all

images are taken with each specific purpose in mind.

Working closely with the archaeologist, the task of devel-

oping the photographic archive is the responsibility of the

project photographer. Together they should generate a

task- or shot-list. To manage the task-list efficiently, it is

advisable to categorize the shots under headings – for

example: activities, people, techniques, processes, struc-

ture, artefacts, education, interpretation, enjoyment and

sponsors.

To this end, it is essential to have a good idea of the

reason behind the photograph or video sequence that

is being taken, though without suffocating the artistic

merit and spontaneity of a shot. For example, is it for

documentary purposes or publication? With these ideas in

mind, the first step would be to work out a rough script

and from this produce a shot-list of both surface and under-

water sequences to be taken.

Before taking a photograph, always consider why the

image is being taken and whether the main subject is clear.

By this simple act, the value of the image can be improved

and the time and money spent processing, recording and

storing images can be reduced. Once the photograph or

video sequence has been captured to an acceptable stand-

ard the photographer can move on to another subject.

P

hotography, both still and video, is among the

most useful recording techniques available to the

archaeologist. Photography can be used for gen-

erating a record of a site at a known time, and is also

an effective tool for education and public outreach.

Technological advances in cameras and digital image

processing, combined with cheaper, user-friendly equipment

and software, has resulted in the increased popularity

of both still and video photography. The internet and

computer processing of images have led to faster and

wider dissemination of information and ‘virtual’ access

to archaeological sites. However, despite such technical

developments, it is still the end result – a good illustra-

tive photograph or piece of video footage – which mat-

ters most. Figure 10.1 is a good example of a photograph

showing the frames of a ship and it is visually enhanced

by the presence of a diver sketching them.

This chapter aims to introduce the reader to a number

of techniques, disciplines, and items of equipment that will

enable the photographer to achieve acceptable results

during an archaeological project, both on the surface and

under water.

Although some basic issues and techniques will be dis-

cussed here, complete newcomers to photography are

advised to refer to specialized books and to consult

experienced photographers for a better understanding of

the subject. This chapter is mainly intended to illustrate

the additional thought processes and procedures required

Photography

Contents

u Photographic theory

u Digital photography

u Surface photography

u Photographing finds

u Underwater photography

u Underwater photographic techniques

u Digital darkroom

u Mosaics – photo or video

u Video cameras

u Video technique

u Video editing

10

Underwater Archaeology: The NAS Guide to Principles and Practice Second Edition Edited by Amanda Bowens
© 2009 Nautical Archaeological Society ISBN: 978-1-405-17592-0