74 PHOTOGRAPHY
delay between pressing the shutter release button and
the moment the picture is actually taken by the camera.
It is occasionally advisable to use a tripod to hold the
camera steady. There is also a further delay while the
image is processed before the next shot can be taken,
especially if the camera is set to the highest quality
levels.
Surface Photography
The photographer’s duty is to take a range of pho-
tographs to cover all aspects of the project, above as well
as under water. This begins with the project mobilization
and the setting up of the work site (e.g. mooring the
dive support vessel, launching hardware like acoustic
survey transponders, a grid, airlifts etc.). It then con-
tinues throughout the project as diving starts and other
equipment and hardware is deployed. It should also
include photographs of team members carrying out var-
ious aspects of project work, including diving operations,
artefact lifts, artefact recording, data processing, wrapping
and storage of finds. It finishes with putting the site to
bed and demobilizing the project.
Remember, there is a distinct difference between
archaeological shots of the site, the artefacts found, and
the techniques like survey and excavation. The main
difference is in how images are to be used. An image
suitable for a popular journal may not be suitable for
an academic lecture (see chapter 20) while other images,
important for the site archive, will not always be of use
for public presentation. In the past, it was traditional to
take two photographs of everything – a black-and-white
print and a colour slide – for the site archive, but now-
adays this is not necessary, as a colour digital photograph
can be saved in greyscale as a black-and-white image.
It should be remembered that shots taken primarily
for archaeological reasons should normally include an
appropriate scale.
As artefacts are uncovered, recovered and registered
they should all where possible be photographed, in
some cases more than once from different angles. Any
unique features or marks should be highlighted and a
photographic scale and unique artefact number should
be included in the shot. Photographs of artefacts should
be undertaken in situ, before conservation, during con-
servation and after conservation. This can be achieved
using a digital camera and the downloaded images can
then be linked directly to the artefact database or using
a thumbnail image. Database photographs can be taken
at a lower image size and quality, resulting in smaller file
sizes. Alternatively they can be taken at the best quality
for the project archive and a thumbnail version can be
used for the database.
Photographing Finds
A specific area should be set aside for photographing
finds. Preferably, it should be outside and use natural light- but not direct sunlight, so as to avoid harsh shadows.
Ideally a camera on a tripod should be used and shots taken
against a suitable single-tone background that will con-
trast with the object (figure 10.2).
Wherever possible, the macro setting (flower icon)
should be used, but be aware of the physical range of dis-
tance a camera requires to produce the focused image.
Include a scale and artefact number, which includes a site
code and year (see chapter 8). If carefully placed, scales
and identification information can be cropped out when
a ‘glamour’ rather than a record shot is required for use
Figure 10.2 A simple set-up for photographing finds
using a vertical stand. The white clay pipe has been set
on a matt black background, with a scale and reference
number appropriately placed. A single light source has been
augmented by a white card reflector to ‘kick’ light back
into the shadow side so as not to obscure the edge of the
object. A remote release is being used to avoid camera shake.
(Photo: Edward Martin)