I end off my series on using a pole camera for archaeology (check out Parts 1: The Problem, 2: Field Test and 3: Parts list) with some pole photography tips and evaluative notes about the system I made. I also have some ideas for things I might want to try out for later, and the cost of the whole setup.
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You’ve seen the polecam in action in the last post, in this post we’ll take a closer look at the polecam rig, the parts I used and the factors I considered for each part. Hopefully this information will be useful if you need some ideas about how to make a pole camera setup.
In the first post, I wrote about how I got into Pole Aerial Photography, along with the requirements and constraints I was working under. In this post, I’m going to introduce my pole photography setup and how it worked in the field.
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In this series of posts I’ll be blogging about how I put together a pole camera to help me conduct some archaeological work, and how to put together one yourself, if you’re so inclined. 10 months ago, I conducted an archaeological investigation of a rock art site which involved very little excavation, but relied heavily on photography as the primary means of recording. The bulk of the rock art was located on a cliff face 15-35’ above the surface. To access the art up close, I hired a contractor to erect a scaffold in front of the cliff face, which allowed me close access to most of the paintings. On the other hand, the scaffold had a limited time offer (two weeks) and it cost me nearly half the research grant. And it also didn’t cover all the rock art that I needed to record. To cover the other parts of the rock art that wasn’t accessible by the scaffold, I had to rely greatly on zoom photography, but because some of the areas I needed to photograph were so high, quite a few of the images were skewed.
