 Kapa Cave is situated in southern Urals, Russia. The Epipolarissi paintings were discovered in 1959. And the archaeological research was conducted by the archaeologist Mardashevinsky and so on. And the Southern Urals archaeological expedition of Lomonasur-Moscow State University started to, again, its work in cave in 2008. Kapa Cave is a limestone-caste cave with three hexometric levels. The length of all chambers and halls is about three kilometers. And the first level is filled with water. The underground should be under water. So the access is restricted now. And it was before. The uncalibrated dates of human attendance in the Epipolarissi are 16,000,000 of years. But the calibrated dates are much older, 19,000,000,000 days, 1,000,000 years. And this radiocarbon date colorates with the results of uranium dating of spilling things. So I would like to pay attention on the most remarkable paintings of Kapa Cave. These are panels with mammoth, bison, horses, and also an anthropomorphic figure in the chamber of house and fish. And panel of Horses and Science will become found last year. So there are 65 mollusco shells with pierced holes. And 152 shells without holes. And about 199 fragments of shells, which are mostly theodoxus shells. And the area that theodoxus inhabited is about 450 kilometers away from the cave. So these perfectly shells, how far they could travel this time. And bird-shaped birds and badans and a small cup made from serpentine were found on the middle level of the cave. And also some serpentine objects were found on this level. So these perfectly shells, the interaction between those groups of people who came there to practice some drawings, to practice some artistic stuff. And also we found some pallets with three sorts of pigment. And actually, the first one would be mammoth. So they were hidden between the stones. And so last year we found this pallet. Our attention was concentrated on the chamber of science. The wall containing images was divided into four parts, north and A wall, north and B, western A and western B. And they were separated by a niche, also contained traces of pigment. So the first and the most remarkable composition under a thousand A wall is a zonomorphic figure, most likely advising, and two geometric signs. So since the discovery of paintings in Copper Cave, they have been made several times to recommend them, provided by archaeologists and specialists in the natural sciences. But there is still a complete catalogue with all the necessary information. And one of the main problems encountered by the Southern Urals Archaeological Expedition of MSU during the catalogue in the wall paintings were the problem in identifying images of poor preservation, determining boundaries for measurement, correlationship of separated stents. The importance of this problem is determined by the need for clear measurement criteria for monitoring of poor images. So this composition, as I said, we have a zonomorphic figure and the geometrical signs, most likely trapezoid, because we can see so-called ears on both sides of trapezoids. So this is why we determine this figure as a trapezoid. So these images seem to present a unified composition because of three criteria. First of all, they are located on a smooth surface on the ledge. They recapture the surface and we see an attempt to write them into the whole available surface. So these criteria will then help us in the work with the images of poor preservation. For example, the object number 37, a stain or a group of stains. And if these blues ever have the clear contour, they will definitely have a connected composition. And the double triangle on the bottom of the wall perfectly shows the same situation. So we change the contrast you can see. But of course, no photo can reflect the situation properly. That's why we need more far more demonstrative examples. So we consider photogrammetry to be a very important part of studying rock art, pedestrian art. Despite some difficulties in making 3D models, poor lightning, problematic emplacements of the time in points. In the end, we can see a very illustrative model, easy to make and to work with. Moreover, it is easier to work with images under the light light, yellow light, rather than light one, because under the white light, the wall glimps pink and that can hinder the time of new paintings. Talking about geometrical signs, it is necessary to work out clear-measuring criteria. So clear-measuring parameters, both bases and lateral sides, and also ESS, the length and width of lines, of course. Some walls were painted with square graffiti left by tourists. And after they were cleaned off, some new fragments of paintings were revealed. But still, they are covered with calcite on the larger area. So sometimes you can see fragments of paintings on those parts of the walls, where there is no calcite. And sometimes their contours emerge, but their boundaries are still undeterminable. There are some stains which can raise questions about their origins, especially considering nearby phrogenations of their deep tone. We can either change the light in the cave, or we can change a contrast of photos to see if they differ in color. The spectrum of ochre turns to grayish-brown or red from brown or orange, as you can see here. There are some stains which can finally feel words about some points found at the distance. They both have a very bright red tint. Unfortunately, I don't have porters. The first one is located on a smooth ledge about one meter high. This is perhaps a fingerprint. The second one is bigger and covered with calcite. During our research, it became quite obvious that the tone of ochre varies from stain to stain from a very bright red to deep crimson. It is still a question which one is more ancient. In conclusion, we would like to demonstrate the difference between red-colored photos of phrogenations from the upper level of the cave where no images were discovered, and red-colored fragments of paintings for short. So the first one is paintings and the second one is phrogenations. In conclusion, we insist on saying that the work was created out of capable or any other cave demands great attention to the details, the relief, the color, the location of stains, the features of geomorphology, proper documenting and fixation of stains, as well as the detailed description. We'll then let us develop a full catalog of full information. So the study of Capra Cave will continue towards searching for new traces of human activity, new paintings and documenting of already known ones, which is especially relevant in the light of the fast-developing technologies. We are wide open for any cooperation and knowledge exchange. So thank you for your attention.