## 3 Results and Discussion
There are several reasons for this. For example, in arid zones where archaeological research is carried out, vegetation is practically absent; however, in the subtropical zone of the Caucasus, it is the dominant factor, and can visually distort parts of the photographed object. Furthermore, sometimes the elimination of large vegetation, e.g., trees, shrubs, and lianas, is possible through the efforts of the expedition; however, it is not possible to completely free the covered walls and fragments of the structure from ferns, mosses, and lichens. In this case, the human factor makes it possible to accurately capture the contours of architectural details and decorative elements, which is impossible for existing computer programs. For this reason, the resulting projections of architectural forms require an artist's correction and some drawing by hand. Thus, slight differences arise in the final result, namely, the archaeologist and artist's different visions of an object. This factor is familiar to all archeology specialists, and it often leads to protracted and time-consuming modifications. It should be noted that, in general, the skills of an  
Figure 5:4 A 3D model of one of the intermediary excavations in 2021 on the southwestern slope of the Markul settlement. artist using artistic editors significantly surpass the skills of an archaeologist. A factor complicating the final drawing of the architectural objects is that the place of residence of the expedition staff and the location of the field work often do not coincide; thus, at the end of the field season, the expedition members return to their regions, and further work is performed remotely. Graphic editors are a convenient tool for further quick adjustments. Because of the aforementioned factors, the archaeologist must adjust the existing image in an e-mail correspondence until the desired result is obtained. The adjustment stages are now described in a somewhat simplified way. In the first stage, important points of the building's structural elements are marked (Figure 22a). After obtaining the draft drawing, which only reflects the general graphic features (Figure 22b), the adjustment is made, not according to the contrasts of the visual image, but according to the constructive significance of the architectural elements (Figure 22c). Thereafter, the final contrasts are displayed and the pointillism of small elements is performed (Figure 22d). In doing so, the process of adjusting the sketch is carried out in different applications. The archaeologist makes adjustments in any graphic editor, or even by hand with a marker and pencil, and the artist modifies the tools and filters in the Adobe Photoshop program. **Photogrammetry of artifacts**: This method is applicable to small objects that can be placed (or created around them) in a basic studio. The composition of the equipment included can be the same as that proposed in [17]. For shooting, the studio included a turntable, scale bar, a tripod, a Nikon5100 reflex camera, a wired remote control for the camera, white matte fabric in the background, and a white circle on the turntable surface; the artifacts were illuminated using an LED ring lamp (Figure 23). Such a studio greatly simplifies and speeds up the shooting process, since the sharpness of the lens does not change during the series of shots, the artifact is rotated at the same angle, the camera is fixed rigidly, the frames are not blurred, and the white background is easily and quickly removed using masks during the primary processing of photographs. Moreover, the even soft light does not cause glare or shadows, producing a high-quality texture. The necessary direction of the light and the position of the shadows are set during the final rendering by specifying the position of the virtual light source, which allows the shape of the object to be emphasized in the right place. Figure 5:5 Drawing of the northern wall of the temple Markul-2 (Figure 2, No.