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Guide to SEPE Recording System:
The following five sections (I-V) provide a detailed guide to the SEPE
recording system, beginning with the excavation unit record books (see section I), the
ceramicist's record sheets (section II), the registrar/artist's record sheets (section
III), the photographer's log book (section IV), and further readings (section V) to
provide more detailed background for sections I-IV.
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I. EXCAVATION UNIT RECORD BOOK:
The following discussion gives various tips and advice about excavation, stratigraphy,
and recording following each entry of information printed in the SEPE spiral-bound site
book. For Page 1/12 (locus sheet), the guide starts
with the left-hand column (nos.1-15), continues with the right-hand column (nos.16-23),
and ends with the bottom of the page (no.24). The guide continues with Page 2/12 (observations; no.25), Page 3/12 (to-scale drawings; no.26), Page 4/12 (sequential top plan; no.27), Page 5/12 (catalogue of artefacts; no.28), Page 6/12 (catalogue of intact/virtually intact pottery;
no.29), Page 7/12 (catalogue of samples; 30), and Page 8/12 (Harris matrix; no.31).
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 Page 1/12
(a) SEPE excavation units, which often measure 8 x 8 metres or 10 x 10 metres,
are initially divided into "trenches" labelled with Roman numerals I, II, III,
and IV. The orientation of excavation units and trenches will be in accordance to the
topography, while the sequential trench system will be maintained only in areas of
broader, homogenous strata. Trench "I" will be excavated first, extending down
until one reaches discernable features, distinct changes in layers, or architecture. After
this, the internal section (Trench I/II interface) will be drawn and the site supervisor
will then peel-back stratigraphically to each trench interface (i.e., II/III and III/IV),
drawing each stratigraphic section. Once underlying features and/or architecture are
found, the trench system will be abandoned to allow the optimum placement of stratigraphic
sections perpendicular to the orientation of the architecture or features.
(b) Each definable area within an individual excavation unit should be provided
a unique locus number, starting with the first area of excavation (locus 1: usually the
surface layer), and continuing with subsequent areas of excavation (loci 2, 3, 4, etc.).
SEPE uses the term "locus" to represent any discrete, definable,
three-dimensional area of any size (usually bounded artificially by the edges of trenches,
excavation units, or spaces within these artificial areas) with boundaries that range from
sharp to indistinct. Some examples of what might constitute a locus, include: a layer, the
interface between layers, a floor, a hearth, a pit, the interface between a pit wall and
the layer(s) filling the pit, a foundation trench for a wall, the fill within a foundation
trench, a mud brick wall, the clay walls of an oven, and numerous other three-dimensional
spaces.
The assignment of loci needs some restraint, however, such as in avoiding assigning a
locus number to each brick and the mortar within a mud brick wall. During the dismantling
of walling systems to uncover underlying architectural phases, it is sufficient to assign
a single locus number to a wall or wall segment that has been installed at one time. It is
important to assign separate locus numbers to distinct walls and walling areas (i.e., not
bonded together), such as later, added-on walls, door-blockings, window blockings, wall
repair areas, etc.; the diagnostic pottery refuse from the clay material composing such
wall modifications can assist in providing date-ranges for construction (or at the very
least, an indication that the wall or addition cannot predate the pottery). One should
note details, such as the re-plastering of wall surfaces, and the number of visible
re-plasterings. If wall re-plasterings are separated by soot staining, this should be
noted and carbon can be sampled for possible radiocarbon-dating (despite a +/- range of
100 or so years).
(c) The main idea behind defining and excavating such discrete areas is to
reconstruct true temporal sequences of depositions and their artefact contents in order to
form a relative typology of artefact and pottery types through time. Ideally, such
relative sequences and artefact typologies might be tied into historical events or at
least be better placed in time. On the other hand, there may be special occasions when it
is not necessary to excavate every stratigraphic layer (first consult with the area
supervisor and/or director). For instance, large areas containing multiple, thin layers of
wind-blown sand, that are otherwise devoid of any human artefacts, should not be cleared
stratigraphically: this would waste precious financial resources and time at the expense
of the broader research goals of the project and archaeology. Detailed section drawings,
photographs, samples, and observations can provide sufficient information to reveal the
history of the abandonment and in-filling of structures with sand.
(d) The artificial subdivision of a space or deep layer (locus) into an
arbitrary area/level can be adopted as a control mechanism in various instances. The first
trench is always the hardest to excavate since one is continuously excavating downwards
"blindly". However, one must always scrape and check the baulks, trench
sections, and surface of each arbitrary level of picking to ensure that one defines and
excavates separately each series of successive distinct and definable areas. Are sloping
layers appearing in the section walls/baulks? One can follow the projected slope line by
digging down in a series of steps first, and then scraping down the sloping surface.
Although patterns will emerge, always stay alert since situations can change at any
time, even within a 5-10 cm level of picking. Some layers can be thinner than 1 mm; layers
can undulate and slope; layers can end abruptly at the edge of a pit, stairway, etc. Some
discrete changes to look out for, and to define as loci, include: areas of discolouration,
areas with denser concentrations of pottery (pit? refuse pile?), harder areas (floor?),
softer areas (pit?), areas of mud brick debris (wall erosion?), mud brick architecture
(bins; ovens; walls), and sloping layers (visible in baulks/sections). Always scrape and
observe the entire surface and side sections/baulks of each horizontal picking/sweeping
before initiating picking in the initial sondage trench. Use your trowel and eyes to feel
and see any differences.
Provide all different, discrete areas with a separate locus number and plot these areas
(to-scale) on the current top plan, showing its relationship to contiguous loci and
features. If in doubt, provide a locus number to merging boundaries between two areas, or
areas that may be different. These blurred border areas can be excavated separately and
assigned a different locus number to ensure that one maintains the integrity of two
distinct, adjacent areas. This more arbitrary control can "weed" out temporal
intrusions of artefacts into either area from the blurred border area (e.g., merging ash
and sherd layers). It is possible to collapse loci together within a single layer, whereas
it is impossible to subdivide artefacts from multiple layers excavated and recorded as one
locus. While earlier material and artefacts may occur in later loci as refuse, one must
strive to keep out intrusive artefacts through careful excavation (including the isolation
of rodent holes, pits, and other intrusive features that might otherwise introduce later
artefacts into earlier stratigraphic phases).
(e) Before opening a new locus, remember to label all tickets fully
(date; excavation unit; trench; locus; initials) and affix the ticket (on a nail) into the
vertical earth section at the top of the locus to be excavated. Use three or more tickets
per locus top, indicating the "true" starting point of your excavation. There
should be a baulk-ticket every few metres if one is excavating loci horizontally (i.e.,
arbitrary, non-stratigraphic levels) within deep layers, or more baulk-tickets in the
excavation of sloping layers. The accurate placement and recording of locus ticket
positions will later assist in assessing stratigraphic accuracy and circumstances where a
layer interface was difficult to follow. This will also allow any mixed strata to be noted
in the excavation and pottery records.
(f) When you complete or temporarily halt excavating in the first trench
(ideally having left all contemporary architectural features and walls intact, and having
removed each layer of debris down to a floor surface), you will have a full vertical earth
section of layers of debris within a room or area, which must be scraped smooth and drawn.
In the subsequent "peeling-back" of the layers in the second trench you are no
longer digging "blindly". Your exploratory first trench has revealed the nature
of the stratigraphy within a room or area, and you can now more easily, albeit still
carefully, excavate each layer, recording the actual relationships between loci in
trenches I and II (i.e., loci in Trench II represent an extension of the same
natural areas/layers or arbitrary levels in Trench I, but are given different numbers,
continuing on from the last locus number in Trench I). Note where you have missed natural
areas/layers in Trench I. It is important to look for and point out all occasions where
you missed boundaries between layers/areas. This will happen, even to the most experienced
of excavators, especially in the first exploratory trench. It is better to be aware of
mistakes and factor such error into the reconstruction of temporal sequences (i.e.,
Harris matrixes).
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Provide length, breadth, and depth measurements for each locus excavated. This will
assist in determining relative ratios of artefact and pottery densities to the volume of
loci, and may assist in spatial, temporal, and contextual analyses. For instance, does one
area, or phase of occupation, yield an abnormally high density of pottery refuse.
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This entry is intended to contain a list of the numbers of all loci/areas that lie
above the current locus being excavated, whether it be open air, the top layer of humus,
loose topsoil, or a series of different features (e.g., a wall, floor, and pit) in
the excavation unit. On occasions when the layer you are about to excavate has been
"sealed" in antiquity, by a plaster layer, pavement, wall, or a continuous layer
of material (e.g., black ash), it is very important to note this.
"Sealed" areas are wonderful and crucial for separating earlier and later
deposits of artefacts since there are no "missed pits" or later intrusive
materials (excepting perhaps horizontal rodent holes originating beyond the locus
boundaries). In cases where areas are only partly sealed (e.g., a pavement or
plaster surface with missing flagstones or pitting), it is very important to map
(to-scale) the sealed and unsealed areas. A later pit may extend down into lower layers.
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This entry is usually filled in after you have defined and excavated areas/loci below
it (remember to return to this entry and fill it in). You need to write in all the loci
and parts of loci that underlie each locus. A sketch of stratigraphic relationships is
often helpful for more complex situations (e.g., several sloping layers that are
truncated by and lie below a horizontal layer).
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The above example of matching the loci/layers between trenches reveals the concept
behind indicating all areas/loci that are contiguous to the current locus being excavated.
Basically most contiguous loci are at the same approximate horizontal level as the current
locus. You must indicate the situations where neighbouring loci are only at the same level
but may be different time periods. For example, a debris layer within a bin (e.g., HF
II-11) is contiguous to a contemporary debris layer within the room (HF II-32; HF I-10),
but postdates the contiguous brick wall of the bin (HF I-12), and the contiguous walls of
the room (HF II-32 and I-16 = walls A-B). The relationship between an area of horizontal
layers and an adjacent area of sloping layers (e.g., terracing, mound edge) is more
complex, and is best illustrated by section drawings and sketches. Sketches of strata is
an invaluable tool and are highly recommended.
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In many cases it may be possible to indicate which loci represent either the same layer
(e.g., a continuation of the same layer in Trenches II, III, IV, or beyond a pit), or the
same phase of deposition (e.g., the floor area in an adjacent room, albeit separated by a
wall).
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It is important to define the type of area/locus you are currently excavating, whether
it be a debris layer, pit, hearth, wall, surface layer, foundation trench, arbitrary level
within a deep debris layer, wall plaster, multiple layered surface (with ultra fine
layering), burial, or other areas.
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The nature of the soil composition should be described, whether it is fairly
homogenous (e.g., sand) or mixed (sand, soil, brick debris, and artefacts and other
inclusions).
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(8a) COLOUR: (Dark; Light; mottled): see
example
Descriptions of soil colour will vary (even for the same soil) depending upon the time
of day and relative moisture within the soil (i.e., soil is damper when first
excavated, but dries out quickly, especially after 9:00 am). Try to make your observations
at the point of excavation of the locus' soil to get consistent descriptions. Loci
materials and soil may be homogeneous in colour or mottled in colour (Light, medium, or
dark colours; browns, grays, black ash). Either use the Munsell book to identify colours
at consistent times of day (4:00 pm is a good time), or when the locus is first excavated
(before it dries out). Some soil descriptions can be more complex, especially where layers
contain different types of debris such as (1) ochre-coloured, sandy clay mudbrick debris,
(2) gray, silty clay mudbrick debris, (3) medium brown soil, (4) some patches of gray ash
and black flecks of charcoal, and (5) some intrusive rodent holes with brown soil and
humus. (Separate any intrusive sherds or artefacts found in rodent holes going through
earlier layers/loci).
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(8b) MUNSELL: see example
Munsell book colour readings are important in that they provide a more objective
description of soil colours than a written description. Pick the closest match you can
find on a page from this book, but do not spend too much time trying to get an exact
match. The texture of the soil and mottling will make it hard to obtain an exact match to
the uniform colour chips on each page. Look for the general range, you will find
identifications get easier as many of the colours are repeated, especially when you stand
back and examine a vertical soil section. If the Munsell book is unavailable, you can
postpone taking readings until the afternoon when you can examine the vertical soil
sections/baulks.
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(8c) TEXTURE: (FEEL OF SOIL: smooth and fine; coarse/rough; sharp; is it water
or wind laid; artificial fill): see example
The three main soil types are sand, silt, and clay. Texture basically indicates the
feel of the soil between your fingers: Is it (1) smooth and fine, (2) coarse/rough, or (3)
filled with sharp fragments, and (4) is the soil water or wind laid (natural sorting of
grains), or (5) is it artificially laid (e.g., fill).
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(8d) GRAIN (mm): (Granules 2-4; Very coarse sand 1-2; Coarse sand 1/2-1; Medium
sand 1/4-1/2; Fine sand 1/8-1/4; Very fine sand 1/16-1/8; Silt less than 1/16; Clay less
than 1/256): see example
The terms for the different sizes of grains of soil include: (a) granules 2-4 mm, (b)
very coarse sand 1-2 mm, (c) coarse sand 1/2-1 mm, (d) medium sand 1/4-1/2 mm, (e) fine
sand 1/8-1/4 mm, (f) very fine sand 1/16-1/8 mm, (g) silt less than 1/16 mm, and (h) clay
less than 1/256 mm.
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(8e) STRUCTURE: (when soil is picked is it: chunky; rubbly; loose): see example
When soil is first picked is it (1) chunky, (2) rubbly, or (3) loose. Observe its
structure when picked. Sandy soils are looser than soils with clay, which are more
compact. Chunky and rubbly structures often indicate the presence of clay and mudbrick
debris.
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(8f) CONSISTENCY: (dry; damp; wet; saturated; compact; hard; firm; sticky; binds
together when rolled): see example
What is the consistency of the soil when picked? Is it dry, damp, wet, or saturated?
This situation may change depending upon the time of day (i.e., morning versus the
heat of the day), and/or your current proximity to the local water table. Is the soil
compact, hard, firm, sticky, binding together when rolled between your hands, or does it
pour between your fingers (e.g., loose sand)?
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(9) STONES: (SIZE: Boulders 26 cm+; Cobbles 6-25 cm;
Pebbles 0.5-6 cm; AMOUNT: none; some; common; many; numerous): see example
Note whether stones are present or absent within each locus. Patterns emerging across
large excavation areas can often help connect separated strata. For instance, at certain
levels of excavation, one may find particular types of debris within the soil that can
help linkages to layers found further away that are not joined by a continuous (excavated)
soil section. It is important to note the absence or relative intensity of stone within
each locus: rare, sporadic, some, common, many, numerous, and continuous stone/gravel
surface. Examine all stones in case they represent tools or tool fragments.
Remember many stones are basically foreign to the delta region (unless small enough to
be transported by the carrying capacity of the Nile in flood). Stones are often introduced
by humans and represent the remnants of tools or other items that are older (i.e.,
debris) or contemporary with the locus you are digging. Plot the find spot ("x"
on your top plan) of all such items on your map, giving it a field/sample number unless
you are certain that it is only a non-descriptive fragment of stone (e.g.,
flint-working debitage) without a determinable function. On the other hand unaltered
stones, e.g., pebbles and cobbles, can be used as hammers to hold crucibles, etc.
Stone sizes include: boulders 26 cm+, cobbles 6-25 cm, and pebbles 0.5-6 cm. Noting the
relative frequency of stones in the locus is also very useful.
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(10) CHARCOAL: (e.g., none, rare, some, common;
flecks, twigs, ash/burn layer): see example
Note whether charcoal is present or absent within each locus. Once again, patterns
emerging across large excavation areas can often help in connecting separated strata
together. Note the types and sizes of charcoal or carbonized materials present, such as
small flecks, twigs, branches, or, especially, burnt wood (the latter examples are very
important for radiocarbon dating and should be mapped and collected; e.g., fallen
roof, etc.). Note the absence or intensity of charcoal flecks: rare, sporadic, some,
common, many, numerous, or a continuous ash or soot burn layer. Plot charcoal
concentrations on your sequential top plan of each locus.
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(11) SHELLS: (e.g., none, rare, some, common; numerous;
continuous; types): see example
Noting the presence, quantities, and types of shell is very useful. For instance, some
shells (molluscs) represent local food sources. Other shells represent imported food
sources, either land or water-based (maritime and riverine). Some shells may have been
used as beads; other shells may reflect the natural presence of molluscs.
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You need to note, map, and collect any isolated fragments of bone in brown paper bags
(labelled with your square; trench; locus; date; initials). It is often better to leave
something in-situ (i.e., not removing it) until you can determine whether it is the
beginning of a larger deposit of bones, a burial, etc., and plot it in on your top plan.
Also note if you find no bone. (it is often a good idea to sieve at least one in ten
baskets of earth being removed from the square to see what smaller items are being missed
by visual observations: e.g., small beads and bones).
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(13) ARTICULATED BONES: (leave in-situ;
map, plan, photograph): see example
All articulated bones must be left in-situ for planning, drawing, photographing, etc.
For isolated patches of bone as debris in layers, note whether they are rare, sporadic,
some, common, many, numerous, or a continuous layer of bone debris.
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(14) (OTHER) SAMPLES (e.g., soil): see example
Specific circumstances may require the collection of soil samples for flotation. All
floor areas should be gridded (20 cm squares) and soil collected from spatially identified
grid-squares (e.g., E-W: A-Z+; N-S: 1-26+) to allow the spatial analysis of seed and
pollen distributions, lithic debitage, etc. Such careful analysis of living surfaces may
allow the determination of activity areas, concentrations of grain spills (i.e., walking
through a courtyard carrying grain sacks), and other traces of human activities on a
microscopic scale.
It is important to take samples of different materials for analysis, such as soil and
ash from floors, pits, ovens, bins, individual pot contents, and within the stomach area
in burials. Other samples include all bones, shells, larger pieces of charcoal (in
tin foil). Many Isotrace laboratories can now use Carbon 14 samples that have been stored
in plastic ziploc® bags.
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(15) ARTEFACTS: Nos. and types: (i.e.,
for all human-altered or used items, plot distribution in-situ, get ASL-levels, sketch,
photograph, ascertain context(!), and maintain list at back of site book). see example
It is important to catalogue all the artefacts found on the locus page as well as
in the table at the back of the site book. This will make later analysis of records much
easier. All items used, modified, or artificially made by humans can be considered as
"artefacts" and are assigned a sequential field number in your site book. Keep a
running catalogue at the back of your book to avoid duplicating or missing numbers for
small finds. A sketch of each item in your book can also be very helpful in case of a
future question arising about the identity of an artefact (mistakes do occasionally
happen: e.g., miss-labelled artefacts in photographs, artist drawings, and registry
books). It is important to plot the distribution of all items on the running top plan of
your square/trench and note their local levels and above-sea-level readings (using a bench
mark/local datum point, string, string level, and measuring tape).
If an item has popped out from its original context while digging, plot in its
approximate location and context, indicating that its location is approximate. Some
artefacts will require more than just a locational "x" on the top plan, such as
deposits of intact pottery, large inscribed blocks, etc. (see you supervisor for
clarification if you are uncertain). It is extremely important to sketch, plan/map, and
photograph (larger) artefacts in-situ (especially deposits or items on altars, benches,
floors, bins, or other contexts that are more meaningful than ex-situ loose debris within
a refuse layer). Smaller artefacts are also important for plotting in-situ, such as beads
found in a burial at the neck or wrists of a skeleton, i.e., necklace and
bracelets. Always stay alert (as the sun gets hotter it is easy to become lethargic).
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(16) DATE:___/___/___ (dd/mm/yy): see example
Date the beginning of work within the locus. Note subsequent dates in which work is
done in this locus, either at the top of the page, or in the observation sheet section.
The date is also very helpful for those rare times when an artefact is mislabelled, or
simply to locate something in the site book when you have mainly the date as a reference
point.
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(17) VOLUME: see
example
As mentioned in the section discussing the provision of area measurements, calculating
the volume of a locus is useful for comparing the densities of artefacts and pottery
across different loci.
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(18) PHOTOGRAPHED: yes / no: see example
It will be helpful for later analysis to know whether or not an in-progress
"work" photograph or a formal photograph has been taken of a particular locus.
The photographer will provide a roll and frame number to the site supervisor to add to the
locus page. If many photographs are taken, this information may be added to the
observations' page (with a reference under this heading).
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(19) SIEVED: All; 1/5; 1/10; Sample: see example
Sieving, with a variety of fine to coarse meshes, is essential for recovering small to
tiny items and must be done according to the specific requirements of each locus. For
instance, "sterile" wind-blown sands may provide little material of apparent
value, but sample fine-sieving may yield important pollens and other microscopic evidence
for the past environment around the site. Should some large debris/fill layers yield a few
artefacts, it would be wise to sieve one in ten, or one in five baskets of earth being
removed from the locus. All surfaces and good contexts should be sieved entirely. Even a
seemingly non-productive locus should have at least a sample sieving.
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(20) ASSOC. FEATURES: see example
While excavating within a distinct area/locus (e.g., burial shaft, debris layer,
pottery deposit) you will often come across another internal, distinct area within your
initial locus designation. It is better to designate this new area with a new locus number
(indicating the relationship to-scale on the top plan and in a sketch) and to record the
associated feature on your initial locus sheet page (e.g., a hearth [locus 5] on a floor
[locus 4]). When you excavate the new locus (using a new locus sheet), you can refer back
to the original locus under this category (associated features). Duplication of
information is not a waste of time, but is often invaluable in answering questions later
(especially if conflicting information arises from an error). It is better to get in the
habit of recording consistently and continuously rather than putting things off until
later.
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(21) BOUNDARIES (Loci & nature): see example
The boundaries between loci may be (1) well-defined (e.g., walls, a sharp edge,
different colours and textures, well-sealed areas such as paving or a plaster floor), (2)
somewhat blurred (e.g., not a sharp boundary, undulating layers, homogenous versus
mixed debris), (3) gradually merging (i.e., different soils mixing together or
lensing out), or (4) an arbitrary area assigned as a control mechanism within a deep layer
or (a control zone encompassing an area where a boundary is only partly evident but not
fully certain). It is important to indicate which of these boundaries is present and what
type(s) of boundaries separate the current locus from loci above, beside, and below the
locus in question. It is important to indicate all the boundary types between the current
locus and all the loci adjoining it to allow a (re)assessment of the spatial relationships
of loci, artefacts, and architecture.
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(21a) ABOVE (Loci): Sealed; Well-def.; Blurred; Merges; Arbitrary: see example
List the adjacent locus/loci and type(s) of boundary between it and the current
locus.
(21b) N. SIDE (Loci): see example
Sealed; Well-def.; Blurred; Merges; Arbitrary
List the adjacent locus/loci and type(s) of boundary between it and the current locus.
(21c) E. SIDE (Loci): see example
Sealed; Well-def; Blurred; Merges; Arbitrary
List the adjacent locus/loci and type(s) of boundary between it and the current locus.
(21d) S. SIDE (Loci): see example
Sealed; Well-def.; Blurred; Merges; Arbitrary
List the adjacent locus/loci and type(s) of boundary between it and the current locus.
(21e) W. SIDE (Loci): see example
Sealed; Well-def.; Blurred; Merges; Arbitrary
List the adjacent locus/loci and type(s) of boundary between it and the current locus.
(21d) BELOW (Loci): see example
Sealed; Well-def.; Blurred; Merges; Arbitrary
List the adjacent locus/loci and type(s) of boundary between it and the current locus.
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(22) SPATIAL LOCATION: see example
In order to analyze the loci and reconstruct their precise placement in relation to one
another, it is absolutely essential to provide above sea level (ASL) readings (or depth
measurements at least) from a set datum point. Four points spaced evenly around the
periphery of a locus and one central point should cover its top/base locations. Providing
the depth is also very helpful too, and may assist in cases where a wrong ASL reading is
entered. One can never over-duplicate recording. It is far worse to record insufficiently.
(22a) NE CORNER: see example
Depth:________cm
Top ASL:______ Base ASL:______
(22b) NW CORNER: see example
Depth:______cm
Top ASL:______ Base ASL:______
(22c) SE CORNER: see example
Depth:_______cm
Top ASL:______ Base ASL:______
(22d) SW CORNER: see example
Depth:_______cm
Top ASL:______ Base ASL:______
(22e) CENTRE: see example
Depth:__________cm
Top ASL:______ Base ASL:______
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(23) SECTIONS/BAULKS: (in which locus
appears): see example
It is important to note in which section drawings (i.e., North, East, South,
and/or West Baulks) each locus appears. If you have internal section drawings along trench
lines (e.g., trench sections I/II, II/III, III/IV), note which sections contain
this locus. Section drawings are extremely important, and are indispensable for showing a
cross-section of the stratigraphy within rooms, bins, and pits, and between features,
walls, and structures. A finely defined and drawn soil section can tell you the exact
temporal sequence and stratigraphic relationship between various things that may not be
apparent to the casual observer. For instance, a bin against a wall may have been built on
a later floor level rather than the original floor level associated with the first period
of construction of a building. Section scraping and drawing provides invaluable training
and helps keep you alert to the changing strata within your excavation unit.
Stratigraphic sections within chambers in First Intermediate Period
house, with tops of loci, replication of brick debris, sherds, charcoal, bone, rodent
holes, surfaces,, ash layers, etc. (postdoctoral research: G. Mumford).
Location of loci top-levels against wall faces of chamber 2 in First
Intermediate Period house (postdoctoral research: G. Mumford).
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(24) POTTERY: (leave intact/virtually intact
vessels in-situ: plot distribution in-situ, get ASL-levels, sketch, photograph,
context!): see example
(REMINDER: Draw and label basket locations and boundaries on top plan)
Noting the nature of the pottery is very important. Flat-lying, worn, and small pieces
of pottery can indicate the likelihood of a living surface which has been trampled
frequently. Larger potsherds with sharper breaks usually indicate refuse dumps of pottery
which have been covered more quickly and had less exposure to foot and hoof traffic.
It is equally important to plan, photograph, label, and catalogue deposits of pottery
from surfaces for later analysis. ASLs should be taken of the top and bottom levels of
each vessel, while all vessel contents should be bagged and labelled with each pot’s
designation (a, b, c, d, etc.). Mark the vessel number on the top plan and place the
details for each intact/ virtually intact vessel in the catalogue at the back of the site
book. Number all baskets of potsherds collected within each locus from 1, onwards. If only
one basket is collected, it still needs to be labelled as basket no.1. Note the quantity
of potsherds in a basket, whether it be a few sherds, or a 1/4, ½, 3/4, or full basket of
sherds.
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Page 2/12
One's observations are essential for summing up what one witnesses during the
excavation of each locus; describe relationships observed between loci. Remember, "to
dig is to destroy." What you write will usually be the only record by which someone
else can reconstruct what has happened in your excavation unit through time. You should
excavate and record sufficiently (using stratigraphic techniques and written descriptions,
sketches, plans, and diagrams indicating stratigraphic relationships) so that someone else
could look through your site book and reconstruct a three-dimensional image and temporal
sequence of the history of occupation in your excavation unit.
In your observations, it is also important to note how many baskets of pottery you are
retrieving. Number your baskets sequentially and indicate (on your top plan) the area from
which each basket originates within each locus (if a pit is later found to have intruded
into part of the excavation unit, baskets of pottery collected outside the disturbed area
can help minimize some of the intrusive mixing). Also record the nature of the potsherds
within the soil. Are sherds found at all angles (i.e., within a debris layer)? Are
they mostly flat-lying (i.e., coming down upon a probable surface)? Do some/all the
sherds have worn edges (i.e., exposed to the elements), or do sherds have
relatively fresh breaks (i.e., not exposed to the elements, possibly destruction
debris or a refuse heap quickly covered over)? Are the sherds various sizes (tiny, medium,
large sherds, and mostly intact vessels) or mostly tiny/small sherds (i.e., an area
constantly trampled, reducing sherds to smaller pieces)? Are sherds soot-coated (i.e.,
destruction of area by fire, a broken cooking pot, etc.)? Note the number of full baskets
to non-full baskets (e.g., 1/4 1/2, 3/4 full) so that it may be possible to
calculate later the density of sherds to the volume of each locus, or, more significantly,
between different phases (i.e., destruction layers across the site). Every piece of
information helps in reconstructing the larger picture. The emergence of patterns from
many similar features may help in relative sequence dating of widely separated excavation
areas.
If you come across individual or large deposits of intact/virtually intact pottery
vessels it is important to leave them in-situ, define the area, plan and photograph the
area, catalogue all pots (e.g., HF II-5 pot #1, #2, #3), take top and bottom
Above-Sea-Level readings on all pots within the deposit, be careful to check for clay
plugs at the mouths of closed/ restricted vessels (e.g., bottles, jars), collect all
contents in ziploc® bags (labelled with HF II-5 pot #1, #2, etc.), and bag and send all
broken albeit restorable pottery to the house for processing (make sure not to mix
identifying labels from the pot). You could use a fine black marker to write the pot
designation and locus, etc., information (e.g., HF II-5 pot #1) in an unobtrusive
location on the pot .
Sketch views and top plan of large pit with pottery cutting into First
Intermediate Period house (postdoctoral research: G. Mumford).
Helpful hints:
During your work day on-site, you will be busy trowelling, scraping, recording,
planning, and labelling tags and placing them on baskets, sample bags, and in
baulks/sections. To alleviate this work load, try to organize things ahead of time to
remove certain tasks from your work day in the field.
(1) Pre-label and place wire on tickets for baskets, baulk/section tags, and samples.
(2) Make sure you have an adequate supply of stamped pages, sample bags, wires,
tickets, etc. for the day (or at least until breakfast when you return to the supply
cabinet).
(3) On your sequential top plan, draw in the boundaries or features that you know will
not change for a while (e.g., walls bounding fill in a room).
(4) Place sequentially numbered tickets at one level around each side of your square (e.g.,
1, 2, 3, ... 10 m.) to assist in the consistent measurement of artefact locations on each
sequential top plan/locus. You can triangulate the item's location using the distance from
two constant locations.
(5) As you get deeper, you can place a nail and ticket with the same above-sea-level
elevation in each corner of the square, stretching some strong twine between each ASL
marker to obtain a quick ASL-reading for artefacts found throughout the square. This will
alleviate the frequent setting-up and taking-down of the transit.
(6) Return to the site after work to draw/plan in any features that need to be removed
the next day. Remember that the crew should not stand idle while you plan something that
could have been done the previous evening without interrupting the work schedule. On the
other hand, if you come across something that requires planning during the course of the
day, either have a back-up plan concerning another area that can be excavated, or, if
necessary, ask the director or nearest supervisor what you can do with your crew. There is
usually always some work elsewhere that could adopt extra crew members. Note: The quality
of excavation and recording is the first priority: let your crew stand idle if time is
required for careful work and recording.
(7) Bring a hat and sufficient water to your square.
(8) Use the mobile sunshades to cover your work area.
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The blank page provided is often good for illustrating the artefacts found in each
locus, but may be used for drawings showing the relationships between loci, layers, walls,
features, etc. One can never overestimate the value of sketch drawings. Sketches can often
explain relationships far better than dozens of pages of notes. A combination of sketches
and labels is ideal for describing the locus, but must be used in conjunction with the
locus sheet and observations (not in place of them).
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Detailed top plan (postdoctoral research: G. Mumford).
See also Sequential
top plans of room in First Intermediate Period house, with locations of loci,
artefacts, pottery, charcoal, bone, and stone (postdoctoral research: G. Mumford).
A sequential top plan showing all loci (walls, bins, layers, etc.) at the same
approximate level, is absolutely essential for the later analysis of each excavation unit
and the spatial relationship(s) between loci. These plans should be to-scale and must show
surrounding loci (come back to each top plan to fill in loci that are excavated later).
Page 5/12
A separate sequence of artefact numbers (Small find nos.1, 2, 3, etc.) will be kept
throughout each excavation unit. The catalogue at the back of each site book provides a
quick reference to these artefacts and their basic details.
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A separate sequence of intact/virtually intact pottery vessel numbers (pot nos.1, 2, 3,
etc.) will be kept throughout each excavation unit. The catalogue at the back of each site
book provides a quick reference to these vessels and their basic details.
Page 7/12
A catalogue of samples (numbered in sequence within each locus; e.g., a, b, c, d, etc.)
will be kept for each excavation unit. The catalogue at the back of each site book
provides a quick reference to the samples and their basic details.
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This is also an indispensable tool and should be compiled on a daily basis, See above
for a simple example. During the season consult with the director about compiling this
matrix.
Since you will usually be recording data for someone who will not have seen your
excavation unit in person, this person will need all the help they can get in trying to
reconstruct the temporal, stratigraphic relationships and sequences within your square.
Hence, it is very helpful if you maintain a schematic diagram (Harris matrix; back of site
book) showing the temporal sequence of stratigraphic relationships within your square. The
temporal sequence will be in reverse order as you dig, but will, in essence, show
something like the following "ideal" sequence of events:
A (Earliest) layer below floor (Trench I locus 18; Trench II locus 34),
B Foundation trench interface for structure cutting into earlier layer (Trench I
locus 17; Trench II locus 33),
C Walls of structure placed in trenches (Trench I locus 16 wall A; Trench II
locus 32 wall B),
D Back-fill in foundation trenches (Trench I locus 15; Trench II locus 31),
E Floor/surface between walls of structure, sealing foundation trenches (Trench
I locus 14; Trench II locus 30),
F Plastering of structure's walls (Trench I locus 13; Trench II locus 29),
G Oven/bin in structure's room, on the floor and against plastered walls (Trench
I locus 12; not matched in Trench II).
H/I Contents of oven/bin within the room and occupation
layer/destruction debtris covering floor of structure & oven/bin (Trench I loci 10 and
11; Trench II locus 28).
J Later wall collapse debris layers above floor but still within structure
(Trench I loci 6-9; Trench II loci 24-27),
K Surface capping the destruction of the structure and its wall collapse debris
(Trench I locus 5; Trench II locus 23),
L Intrusive pit cutting down into the destruction debris from the later surface
(Trench I locus 4; Trench II locus 22),
M Later layers filling pit & lying above the surface from which the pit cuts
(Trench I loci 2-3; Trench II loci 20-21)
N Uppermost layer of topsoil covering earlier layers (Trench I locus 1; Trench
II locus 19).
Please note: Your contiguous loci in trenches I and II will seldom match up so
nicely in numeric sequence. The potential missing of layer interfaces in the Trench I
sondage means, for example, that the excavation of layers 6-11 in Trench I do not match
exactly layers 24-28 in Trench II (stratigraphic peel-back). You will often find different
numbers of distinct features in both trenches, and Trench II will represent an area of
finer stratigraphic control and have a greater number of loci through the advantage of
visible stratigraphic section. A Harris matrix of the above information would be as
follows:
Schematic section of layers (dotted lines indicate arbitrary level excavation). (G.
Mumford).
For more information on compiling stratigraphic matrixes, please consult
E. Harris, 1989 Principles of Archaeological Stratigraphy. London: Academic
Press Ltd.
II. CERAMICIST'S RECORD SHEETS:
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SEPE ceramicist's sample description sheet for intact/virtually intact pottery.
The category "special pottery" normally includes intact and virtually
intact pottery vessels, but can also include decorated pottery, such as Blue Painted
pottery.
NUMBER TP:
This refers to the next available special register number for the Tebilla Pottery (TP)
vessel/sherd in the series of numbers assigned to the special pottery found at Tell
Tebilla since excavations began in 1999.
DATE:
Fill in the date on which the special pottery vessel was entered into the TP register
book.
PROVENANCE:
Enter the field/area (e.g., Water Plant; North mound), excavation unit
designation (H-13), locus number (e.g., 5), pottery basket number (e.g., #1), and
excavator's assigned number (e.g., pot-3). This would be written as follows:
E.g., North mound, H-13, locus 5, basket-1, pot-3.
CONTEXT:
Write in the context provided by the excavator (e.g., occupation surface, refuse pile,
burial assemblage).
INTACT ___; RESTORED ___; PARTIALLY RESTORED ___; FRAGMENT___:
Indicate the nature of the pottery vessel, whether it is intact, fragmented (albeit
containing all its pieces), partially intact (but missing some pieces), or only a fragment
(or several fragments).
FORM:
Enter the form, or type, of pottery vessel (e.g., jar, bowl, lid, juglet, amphora,
bread mould, lamp, crucible).
PORTION:
For fragments of pottery vessels, enter the diagnostic portion(s) surviving (e.g., rim,
handle, base, body).
EGYPTIAN _______; FOREIGN________:
Indicate whether the vessel is locally derived (i.e., Egyptian) or foreign (i.e.,
non-Egyptian). Specify whenever the form is of foreign derivation, but made of local
fabrics. For example, many Phoenician, Canaanite, Mycenaean, Cypriot, and other
foreign vessels were made within Egypt of local fabrics. Indicate whenever you are
uncertain whether the fabrics are Egyptian or foreign.
RIM/BASE DIAMETER:
Measure the diameter of the pottery vessel's rim, base, and maximum (preserved) portion
of the body. Use the diameter chart for rim, base, and body fragments.
HEIGHT:
Measure the height of the pottery vessel, distinguishing between the height of fully
preserved vessels (i.e., intact) and partially preserved vessels: E.g., 25 cm (intact), 20
cm (preserved). Estimate the original height of the partially intact vessel if
possible (e.g., possibly 28 cm high).
FABRIC:
The ware and fabrics of pottery vessels are the most difficult to describe and require
experience (consult the chief ceramicist). For vessel fragments that are
sufficiently large and contain non-essential portions (i.e., non-decorated), take a pair
of pliers to remove a small chip from an area that runs parallel to the rim (or another
area if necessary). Examine the freshly chipped interior section with a magnifying glass
of at least 10x magnification. Is the fabric Nile silt? Desert marl? other?
COLOUR:
Note the colour of the pottery fabric directly under the surface. Do not confuse
the colour of the fabric with surface treatment/slips. Obtain a reading for the
fabric colour from the Munsell book.
DENSITY (1-5):
The estimation of the density of the fabric is relative and will vary somewhat
according to the experience of the ceramicist. In this system, on the scale of 1-5
(fine to coarse), a fabric density of 1 incicates a very fine and dense fabric (like
Greek amphorae), a density of 3 refers to a medium density (similar to Nile silt B2), and
a density of 5 is applied to very coarse fabrics (such as silt bread moulds).
Densities of 2 and 4 represent the transitional densities between the finest (1) and
medium (3), and medium (3) and coarsest (5) fabrics, respectively.
CORE/ZONE:
The often broken section displaying the interior of the pottery vessel is termed the
core. Where the core is visible describe if it is solid (i.e., one colour),
made up of distinct bands (e.g., black central core, purple bands beside the central core,
and outer brown bands), or blended bands (i.e., bands of colours merging from the center
outwards to the interior and exterior surfaces of the pottery vessel. If the
interior section of the pottery vessel/sherd is zoned, list the colours (e.g., black,
purple, brown from inner to outer core).
HARDNESS:
Is the pottery vessel/sherd relatively soft, medium, or hard. Provide a relative
scale for the relative hardness of the fabric. Is the pottery vessel/sherd very
soft, soft, medium-hard, hard, or very hard.
INCLUSIONS:
List and describe frequency and size of the mineral and organic particles found within
the section of the pottery vessel/sherd: (a) occurrences: rare, sporadic, some, many, and
numerous (b) sizes: specks, flecks, nodules, angular pieces, straw hollows/pockets (e.g.,
0.5 mm, 1 mm, 2 mm, 3 mm), and (c) materials: e.g., mica, limestone, straw (impression),
"black stone" (i.e., unidentified materials to be described).
SURFACE:
Mention the treatment(s) applied to the surface of the pottery vessel/sherd interior,
exterior, and rim. Note slips, washes, glazes, incising, scraping, painted
decoration, burnishing (types: wheel-burnishing, hand burnishing, pebble burnishing,
etc.), and any other visible treatment or decoration on the exterior and interior.
TECHNOLGY:
Describe whether the vessel, or portions of the vessel, are hand-made, wheel-made,
coil-built, knife-scraped, mould-produced, etc.
OTHER CATEGORIES:
At the bottom of the page, enter the pertinent information concerning whether the
vessel has been drawn (name of artist/ceramicist and date), photographed (name of
photographer and date), type of photographs and register number (e.g., colour roll/slide
no.6:22-24; Black-and-white roll no.8:18-20).
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Page 10/12
SEPE ceramicist's sample description sheet-1 for (a) small loci/baskets and (b) large
baskets of pottery.
After all baskets of excavated, unwashed pottery are received by the ceramicists, the
tickets/labels are first checked for instructions and the baskets are then sent to the
pottery washers for cleaning. One basket of pottery will be washed at a time, in
fresh water, ensuring that the basin is totally clear of the previous batch of potsherds.
Before washing any pottery, double check whether the basket contains pieces from a
restorable vessel, which needs to have the interior surface scraped for residue analysis
before any washing occurs.
After washing the pottery will be transferred to the drying/sorting tables, with the
pottery tag attached firmly to the plastic screen of the pottery table. Make
sure that all old pottery locus tickets have been removed and that the current basket of
pottery cannot be mixed with any adjacent drying baskets of pottery (i.e., use basket
dividing rods).
After the pottery has dried, sort all the potsherds, examining both sides, according to
(1) fabric types (e.g., silt, marl, and foreign wares), (2) surface decoration/treatment,
and (3) diagnostic types (e.g., bases, rims, handles, body sherds, and decorated/special
body pieces). Look for incising, ostraca/writing, decoration, etc. Next,
subdivide each pile of silt potsherds into fine, medium, coarse, and red-slipped,
cream-slipped, and decorated sherds. After sorting is completed, the description of
each pottery locus/basket can be entered onto the general pottery sheet (see guide below):
PROVENANCE/LOCUS:
Enter the field/area (e.g., Water Plant; North mound), excavation unit designation
(H-13), locus number (e.g., 5), pottery basket number (e.g., #1), and excavator's assigned
number (e.g., pot-3). This would be written as follows: E.g., North mound, H-13,
locus 5, basket-1, pot-3.
DATE:
Fill in the date on which the pottery basket was processed.
CORPUS SIZE:
Ideally one would get a count of all sherds per pottery basket/locus. The mass of
incoming pottery, however, often dictates that such quantification cannot be done.
In place of counting, one must provide an estimate of the quantity of pottery within each
pottery bucket/basket: Extra-large (i.e., 81-100%/full basket/bucket), large (61-80%),
medium (41-60%), small (21-40%), extra-small (1-20%), and scant (less than 1%). Since the
plastic pottery buckets are standard in size, it is possible to get relatively accurate
volume estimates.
FABRICS/WARES:
Having already sorted the pottery, it is possible to get an estimate on the percentages
of each pile of potsherd fabrics: silt (e.g., 80%), marl (e.g., 18%), Levant (e.g., 1%),
Cypriot (e.g., 1%), and Greek (0%).
QUANTIFICATION:
If no total count is carried out, it would be good to get at least a rough estimate of
the total number of potsherds (e.g., about 200-250).
However, all diagnostic pieces must be counted accurately. Indicate the total
number of rims, bases, handles, and other (e.g., decorated) sherds that appear within each
pottery basket/locus. Some diagnostic pieces may be too small to draw (e.g., tiny
rim sherds).
The nature of the body sherds should be noted. Do they include large sherds,
medium sized sherds, small sherds, crushed sherds, sherds coated with soot, root marks,
and salt/accretions, and sherds with abraded, spalled, and pitted surfaces.
Fill in any other observations in the remarks section.
SURFACE TREATMENT:
Provide an estimate (percentage) for the visible surface different types of surface
treatments within the entire pottery basket/locus. For instance, with silt fabrics,
provide the percentages of sherds that have red slip, red slip and burnishing, cream/white
slip, cream/white slip and burnishing, peach slip, peach slip and burnishing, streaky
cream/pink slip, streaky cream/pink slip and burnishing, and other slips and burnishings.
For marl fabrics, provide estimated percentages as well for red, gray/green, white,
peach, and other slips, with an inclusion of the percentages of burnishings. Remember, the
percentages are always an expression of the total number of potsherds within the
locus/basket.
DECORATION:
Decoration can vary quite widely, and may include painting (e.g., Blue Painted
pottery), incised decoration, impressed decoration, appliqué (e.g., Bes faces), and
diverse other techniques and designs. This needs to be described, while all
decorated pieces require photographing and drawing.
REMARKS:
The remarks section is broad in its scope, but should either refine or add to the
observations provided by the above descriptions. Use this section especially to
elaborate upon observations not covered by the preceding categories.
AFTERMATH:
The non-diagnostic body sherds will be discarded (unless they come from contexts that
may contain restorable pottery vessels --check pottery ticket), while the diagnostic
pottery will be placed on a tray (with the locus/basket ticket) for subsequent drawing,
measuring, selective photograping, or other processing before being sent to the pottery
saw. No decorated pottery will be sawn. The pottery corpus must remain
together until everything is sawn, drawn, photographed, and described. Selective
diagnostic pottery, especially foreign and decorated pieces, should be kept in the
excavation storeroom for future study.
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III. REGISTRAR/ARTIST'S RECORD SHEETS:
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SEPE registrar's sample description sheet for non-pottery small finds.
FIELD:
Depending upon the site (i.e., Tell Tebilla or Markha Plain), there may be a field or
area designation, such as Sites/Areas 345 and 346 (Markha) or North mound, South Mound,
Water Plant, etc., (Tebilla).
UNIT:
This category contains the specific excavation unit designation, such as A-1, B-4,
etc., listed on the small find ticket accompanying the small find (artefact) submitted to
the registrar/artist by each excavation unit supervisor.
TRENCH:
Some excavation units have trench designations, expressed in Roman numerals, such as I,
II, III, IV, and sometimes V.
LOCUS:
The locus number will always be an Arabic number, such as 1, 2, etc. In the case
of a walling system that is excavated, it will have both a locus number and an alphabetic
designation: e.g., Locus 4 (wall A). Include the latter information, or other
descriptions (e.g., surface. hearth, bin, fill) after the locus number.
SF.NO.:
The small find number assigned by an excavation unit supervisor will appear as an
Arabic numeral written inside a triangle. This number should be entered here.
should the supervisor duplicate this number later on, they should be informed immediately
to re-assign a new small find number to the artefact in question. In other words,
each artefact from one excavation unit should have its own, unique identifying
number. If an artefact should appear within the pottery basket, the excavation unit
supervisor should be informed immediately so that they can assign it the next unused
number in their sequence of small find numbers.
DATE:
The date of the discovery of the artefact (i.e., listed on the excavation unit
supervisor's small find ticket) should be entered here for direct
cross-reference with the excavation unit record book.
IDENTIFICATION:
Whenever possible, the specific artefact type should be entered here, such as
Bes-figure amulet, shawabti, New Year's flask. Broader categories may be used when a
specific category cannot be assigned, such as animal figurine, anthropomorphic figurine,
amulet, pendant, bead, etc. When the nature and function of an artefact is not
known, please enter a general descriptive label with a question mark indicating the doubt
concerning its exact nature: e.g., cylindrical metal fitting(?).
MATERIAL:
Material identifications should be identified as precisely as possible. Provide
exact details such as white faience with light green surface glaze, white faience with
medium blue surface, mutli-coloured glass flask (blue; white; yellow). The artefact
drawing should indicate the different colours and areas in which they occur, while the
slide images will illustrate the artefact in colour.
DIMENSIONS:
The exact dimensions must be provided with a fraction of a mm provided. The
measurements include length, breadth, height, and diameter. Include all
measurements, even for "circular" items that may not be exactly circular (e.g.,
11 mm x 10 mm).
DESCRIPTION:
In this section the registrar/artist should provide a more detailed description of the
artefact, including its form (e.g., a brown, baked clay, female figurine), condition upon
discovery (e.g., soot-coated, upper torso and head fragment), and any surface treatment
(e.g., with traces of white pigment in the face area).
PHOTO:
The roll and frame numbers should be obtained from the photographer and entered into
the space provided for the black-and-white photographs (e.g., B&W: roll 5
nos.24-25; Colour: roll 7 nos.18-19).
ARTIST/REGISTRAR:
In this section, it should be noted whether a drawing has been done by the artist
(Yes/No) and the registrar (Yes/No). In cases where the registrar and artist
positions are filled by one person, indicate "Yes" or 'No" in both
spaces.
(DRAWING):
There should be a drawing of all six views (front; back; left side; right side; top;
base) for intricate artefacts (e.g., amulets, seals, etc.), while three views (top; front
side) are required as the minimum for other objects (e.g., grinding stone; pounder
etc.). A general rule to determine how many views are required to be drawn is as
follows: will the omission of a certain view prevent the three-dimensional reconstruction
of an object. In other words, draw all views that contain different information
(which will range from minimal to significant details). The same general rule should
be applied to photography.
All drawings should be done to scale (normally 1:1 [100%]), with each view labelled
(e.g., top, side, etc.), and the scale (cm) provided under the artefact. Large items
may be drawn on the back of the page (8.5" x 11"), while larger items may be
drawn on separate sheets appended to the small find page. Please note, the drawings
may contain appended notes explaining features less easily discernable in
photographs. All artefacts should be drawn (and photographed) since most artefacts
will not be available for study after the end of each excavation season.
FURTHER EXAMPLES:
The following examples show multiple drawings of various types of artefacts, including
clay stoppers, stone tools (blades; flakes), perforated sherds, grinding stones, pounders,
metal fragments, beads, amulets, pendants, and other items found during the course of
excavation work in Egypt. These should be used as a general guide only. For
more detailed guidelines on the conventions and techniques in drawing archaeological
artefacts, please consult the bibliography below.
Site book drawings of pottery (G. Mumford)
Site book drawings of stone tools from a First Intermediate Period
house (postdoctoral research: G. Mumford).
Site book drawings of stone tools, copper slag, and a copper encrusted
sherd (crucible fragment?) from a First Intermediate Period house (postdoctoral research:
G. Mumford).
Site book drawings of copper pieces, beads, scarab, amulets, clay balls,
a stone blade, and a copper encrusted sherd (crucible fragment?) from a First Intermediate
Period house (postdoctoral research: G. Mumford).
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Page 12/12
(1) PHOTOGRAPHER'S LOG BOOK/SHEET: see example
The project utilizes a series of identification sign-boards, linear scale measures,
directional pointers, tripods, copy stands with lighting systems, and traditional and
digital photography in recording images during each excavation season. The
photographer keeps a detailed log book for all photographs taken in black-and-white
(prints), colour (slides), and digital images. A label sticker with the roll type
(B&W versus Colour) and sequential number is placed upon each roll of film. The
sheets from the log book contain the following categories:
DATE: (dd/mm/yy)
The date the photograph was taken is important and can be invaluable in locating
further information within the excavation unit record books (which should contain a
cross-reference to the photographer's log-book).
ROLL:
Each film canister is assigned a unique, sequential roll number (e.g., B&W roll 1,
2, 3, 6, 7 Colour roll 4, 5, 8, 9) to minimize potential confusion and avoid duplicate
roll numbers between black-and-white and colour rolls.
FRAME:
After taking each picture, the frame number reading from the black-and-white and colour
film cameras is entered into the photographer's log book (and provided to the excavation
supervisors and artist/registrar).
FIELD:
All photographs taken of views or items from one or several excavation units should be
accompanied by the identifying designations for these units: E.g., North Mound, Unit B-4,
trench II, locus 5, basket-1.
UNIT:
The unit designation is a vital identification component for artefacts from or views of
an excavation unit, or another image associated with the excavation work.
LOCUS/LOCI:
The locus number unit is a vital identification component for artefacts from or views
of an excavation unit, or another image associated with the excavation work.
SF/TP-NO:
The small find number and pottery number are vital identification components for
artefacts from excavation units. This category is left blank in taking photographs
of excavation units and other images omitting artefacts and pottery.
DETAILS:
For future researchers consulting the excavation records, all additional
information is useful. For instance, record information on the nature of
the photograph: "Pottery scatter on the floor of Room-2"; "C. Gilbert
delineating decorated mummy case", etc.
For more information about archaeological photography by the project photographer
(Patrick Carstens), please consult his website section: http://users.renegadeisp.com/~geecee/archaeology/photobook.html.
SEPE has recently acquired a digital camera (Fujifilm FinePix A.200) and a Fujifilm
FinePix printer NX-500 in order to take digital images in the field and print-out images
on-site. This system will be used alongside traditional photographic techniques
until the cost-effectiveness and quality of digital photography surpasses that of
traditional photography. |
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SEPE Recording System
Guide to SEPE Recording System
Tips and advice
Selected Readings
I. Excavation Unit Record Book
SEPE sample locus record sheet (from excavation book)
SEPE sample locus observation sheet (from excavation book)
SEPE sample locus blank drawing sheet (from excavation
book)
SEPE sample locus section and top plan sheet (from
excavation book)
SEPE sample catalogue of artefacts (back of excavation
book)
SEPE sample catalogue of intact/ virtually intact pottery
(back of excavation book)
SEPE sample catalogue of samples (back of excavation book)
SEPE sample Harris matrix sheet (back of excavation book)
II. Ceramicist's Record Sheets
SEPE sample ceramicist's description sheet for intact/
virtually intact pottery
SEPE sample ceramicist's description sheet-1 for small
loci/ baskets of pottery
SEPE sample ceramicist's description sheet-2 for large
loci/ baskets of pottery
III. Registrar/Artist's Record Sheets
SEPE sample registrar's description sheet for non-pottery
small finds
IV. Photographer Registrar/Artist's Record Sheets
V. Selected Readings
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