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Digital Technology in Research and Documentation of Hunter-Gatherer Rock Art in South Africa

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Abstract

The use of digital technology to enhance and manipulate photographs of rock paintings affords researchers insights into imagery that was formerly invisible or obscure. Image enhancement and manipulation software have greatly increased the data set available for study. There is a wide range of techniques available in the digital repertoire, depending on the aim of the research. Here, three South African case studies are discussed in which hunter-gatherer rock paintings are enhanced and manipulated to create digital “tracings” using the computer programmes Adobe Lightroom, Adobe Photoshop and DStretch. The results obtained with these simple techniques are presented here, because they might prove useful for rock art research elsewhere in the world. It must be noted, however, that these technological developments do not eliminate the subjective nature of recording and interpreting rock art or the necessity of a theoretical framework in which to understand the imagery.

Résumé

Les technologies de traitement des images numériques, appliquées aux photographies d’art rupestre, offrent aux chercheurs de nouveaux moyens de voir ce qui, auparavant, était invisible ou difficile à identifier à l’œil nu. Il existe en effet une grande palette d’outils numériques adaptés à la recherche et les logiciels photographiques ont ainsi considérablement accru les bases de données susceptibles d’être analysées. Nous étudierons ici trois exemples de peintures rupestres de chasseurs-cueilleurs localisées dans des sites sud-africains, où le recours aux logiciels Adobe Lightroom, Adobe Photoshop et DStretch a permis de créer des «tracés» digitaux. Les résultats présentés montrent toute l’utilité de techniquesassez simples d’usage et qui peuvent être mises en œuvre pour l’étude de l’art rupestre ailleurs dans le monde. Il importe néanmoins de garder à l’esprit que ces avancées technologiques n’éliminent ni la dimension subjective de l’analyse et de l’interprétation de l’art rupestre, ni la nécessité de disposer d’un cadre théorique permettant la compréhension de ces images.

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Acknowledgements

The National Research Foundation of South Africa (NRF), Grant 104644 funds this ongoing work as part of its Incentive Funding for Rated Researchers (IFRR). Previous research was carried out on a post-doctoral research grant from the NRF. I thank my colleagues and companions who have taken part in the research and documentation processes discussed here. My special thanks go to the organisers of the Conference at the British Museum and their publication of this volume. Comments by two reviewers improved this paper, for which I am grateful.

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Authors and Affiliations

  1. Division of Archaeology and Rock Art Research Institute, School of Geography, Archaeology and Environmental Studies, University of the Witwatersrand, Private Bag 3, Wits, Johannesburg, 2050, South Africa

    Jeremy C. Hollmann

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  1. Jeremy C. Hollmann
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Correspondence to Jeremy C. Hollmann.

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The National Research Foundation of South Africa (NRF) funded this study. Grant 104644 funds this ongoing work as part of its Incentive Funding for Rated Researchers (IFRR). Previous research was carried out on a post-doctoral research grant from the NRF.

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The author declares that he has no conflict of interest.

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Hollmann, J.C. Digital Technology in Research and Documentation of Hunter-Gatherer Rock Art in South Africa. Afr Archaeol Rev 35, 157–168 (2018). https://doi.org/10.1007/s10437-018-9296-0

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