ROCK ART RECORDING

      General Principles

 
      Recording is a 3-step procedure: measuring, describing, and
      drawing the  rock art on a recording form, photographing it and
      mapping it.
      The most efficient recording involves a 3- person team:
      artist-recorder, mapper, photographer.    
    
      Large rock art clusters are most efficiently recorded by being
      subdivided into mappable recording units (called "proveniences")
      that may then be recorded by several different teams.

      The ideal recording is an objective, systematic record of what was
      seen. It  should be detailed enough to allow other investigators to
      locate the panel and do preliminary analyses of images seen at a site.

      1. Recording

      *Photo Data Sheets are basic for systematic recording.
       Each sheet is identified by site, (LA) Lab of Anthropology number,  
       (NMCRIS) NM Cultural Recourses Index system, and provenience
       number, date, and names of recording team members. Each
       photograph is identified by a unique photo number and each panel,
       boulder, or other recording unit that is separately mapped is given
       its own Locus letter. A locus with two or more faces or panels is
       shown only once on a map but each panel or face is recorded
       separately with its own photo number and Locus letter (Example:
       Locus L has three faces or panels that are recorded as L1, L2, and L3)
 
      *Drawings of human-made marks actually seen by the recorder
       supplement photographs and are most important when images are
       difficult to photograph - both should be done from the same
       viewing position.

      *Condition statements include notes on depth and quality of
       patination, method of manufacture, depth of line (for petroglyphs),
       quality and condition of paint (for pictographs) and condition of rock 
       surfaces. Image categories are described and identified by
       category numbers taken from the Design Element Inventory Key.
       Measurements are metric, in meters and centimeters and, except
       for maps, are made only for those parts of a panel that have images.
 

2. Photography

*All photographs should include a "Mug Board" on which are included

 Site, Provenience, Photo number and date information.

*The best archival quality is obtained with black-on-white prints. The

 most consistent photographs are usually done with ISO 400 black and

 white film using a 35mm SLR cameras with manual over-ride and

 interchangeable lenses. A polarizing filter, lens-shade, and umbrella

 are suggested.
 

*A digital image is taken and stored in TIFF format.
 
*Avoid bright sunlight and high contrasts. Use the umbrella or a

 polarizer to create even light conditions on the rock art which is often

 most visible when shaded. If a background is in bright sunlight, set

 your light meter on the shaded portion and underexpose sun-lit area. When

 in doubt take several pictures.
 
*Photo numbers are consecutive for each provenience. If it takes more

 than one day to record a site the mug board shows a change of date
 but continues the numerical sequence from the last photograph.
 
 
3. Mapping

*UTM coordinates in easting and northing are determined by taking a

GPS readings for each loci with a GPS unit that is capable of

averaging, so as to locate the image in the provenience with the

greatest accuracy. Mapping information should be given so that

future investigators can find each provenience in a site and each

locus in a provenience.
Additionally, the distance and compass direction of each locus is

measured from the previous locus to aid in relocation.
 

*Absent GPS technology, this is done by measuring metric distances

and compass directions from either an existing mapped datum point

or by measuring at right angles from a base line already located on

a map.
 
RARP ASNM July 2006

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