Archaeology Magazine - May/June 1984 - 65

Since the 8x10 and 4x5 formats are
the oldest and most "accurate" formats
in photography, the adding of refined
technical advancements assures the precision minded archaeologist a wonderful tool to record the precious artifacts
at a site in all their original detail.
The high tech accessories available
for the Sinar P and F cameras are
designed to work as portable components, each having a special contribution
to the composition, viewing and light
readings of the subject matter. A highly
accurate light meter can be attached to
the ground glass viewing screen and
thru-the-lens meter readings can be made
with 4x5 and 8x10 cameras. In very low
light or mixed light situations such as
gas-lit tombs or vaulted chambers, or in
bright afternoon sidelight in an open
field, exact light readings which most
reflect the true detail and color of the
scene are essential.
Specially constructed ground glass
viewing systems have been designed so
as to see the image on the glass right
side up (normally with view cameras
the image is upside down) to make
accurate adjustments for focusing on
minute details in imperfect lighting
conditions on items such as small terracotta figures, bas-reliefs, paintings, and
jewelry.
Photographs such as the death mask
of King Agamemnon and the golden
funerary mask of Tlitankhamun come to
mind when large format photography
is thought of since this format best records in color the vivid duplication of
the fine ancient metal work.
Extra bellows can be attached to
correct for distortion of parallel lines
when working up close, or with a combination of lenses for extremely tight shots
of quality larger-than-life images of very
small subjects such as coins and precious gems. For example, the clarity of
photographs of hieroglyphics drawn on
papyrus will illustrate not only the
texture of the coarse paper, but reveal on
film the brush strokes of the artist.
Technically speaking, the ability to
work on archaeological sites located in
every imaginable climate around the
world is enhanced for the photographer
by the durability and consistency of the
electronicshutter, which is made to withstand the elements (within reason- no
snow storms, dust storms or thunderstorms). These difficult working conditions (deserts, jungles, mountains,
tombs, and cisterns) each pose unique
problems for the photographer. Working
in these environments makes great demands on the equipment, so the assurance of electronic precision controlling
any number of exposures with exacting
results is an added boon.
Sincethe subjects being photographed
require accurate reproduction and alignment (the reproduction ratio of the
subject-to-camera working distance is
critically important when doing close-up

work), the introduction of a new generation of Polaroid film, both color and black
& white, and Polaroid adapter backs for
use on view cameras, have made it possible to do reproduction photography on
the spot, no matter where that location
is. These "giant" 8x10 Polaroids can be
used as guides to make perfect exposures
as tests or for on-the-spot records. An
area or wall can be photographed with
Polaroids in scientifically measured
sections, which can then be pieced together at the site for study. This eliminates making prints from negatives and
then sizing them up independently,
which usually has to be done away from
the location and is time consuming and
less critical for detail. Now, complete
and detailed copies can be made and
developed in minutes, and with flawless
scientific precision and professional
photographic quality.
Since the studio view camera has been
made both electric and portable, it's only
reasonable that Sinar/Bron, Inc. would
come out with a superb high quality
portable studio strobe unit that can
accompany the photographer to the
location, ready for any lighting problem.
The new Broncolor Impact 41 and 21
series location strobes bring studio
quality lighting to the scene with small
but powerful flash heads that assure
bright light for rich color reproductions
of artifacts and the rooms or tombs they
are situated in. A small space is all that
is required to set up the Impact strobes
and view camera, and the archaeologist/
photographer has at his or her disposal
the most advanced location photographic
view camera and lighting system on the
market.
This trimmed down studio equipment
makes photography on a dig as competent as if it were a set-up shot in a modern
studio. One just has to think of the photographs of Carter and Carnarvon at the
tomb of Tlitankhamun, surrounded by
their over-sized view camera, awkward
spotlights and wires. They were determined to record every step of the way,
and to document under the most primitive conditions the treasures they had
just-uncovered. Obviously,these pioneers
realized the importance of high quality
photography on the scene.
The image of those two early archaeologists with their circa 1920equipment,
compared to the modular, self-contained,
compact high tech hardware in use
today, illustrates just how far things
have come in such a short time- and
how, in turn, the documentation of the
"finds" of the future will be influenced
by the breakthroughs in the photographic industry during the digital
decade.
Joseph Marvullo is an international
travel photographer whose work has appeared in many magazines and books.
He has also served as photography consultant for major camera companies.
June1984
May/

65
Archaeology Magazine - May/June 1984

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