Rock art in Ireland can be classed into three distinct categories: cup-and-ring rock art, a style of petroglyphs generally found amongst erratic rock outcrops and earthfast boulders along the ‘fringe’ areas of the islands, megalithic tombs, of which passage tombs and dolmens are most common, and protohistoric rock art, which is comprised of Pictish, Ogham, and cross-inscribed stones. These categories, roughly dating to the late Neolithic, and early Bronze Age (c. 4000-2,500 BCE), Middle Neolithic (c. 3600 BCE), and early Christian, or Early Medieval Ireland respectively (c. 400-800 CE), have been the subject of extensive research in terms of stylistic typology within non-figurative rock art, and more peripherally, Prehistoric landscape usage (Bradley, 2001, p. 494; Cochrane, Jones, and Sognnes, 2014, pp. 4, 7; Cochrane and Jones, 2012, p. 9; Purcell, 2002, pp. 73-4). Unfortunately, the exterior nature of these elements has left them vulnerable to millennia of environmental and anthropogenic forces, severely damaging surface inscriptions, and subsequently data concerning relative chronology, processes of making, tool use, and social geography—a situation which has only been amplified by the residual stagnation of Irish rock art documentation, and an overwhelming biases towards both representational approach, and to post-Bronze Age megalithic remains (Dessì et al., 2015, p. 132; Purcell, 2002, p. 74). Recent projects in Great Britain such as the Rock Art Pilot Project (RAPP) (2000), and the Northumberland and Durham Rock Art Project (NADRAP) concluded that, in light of considerable environmental and anthropogenic threat, and a relative lack of publicly available rock art records, there is a critical need for greater documentation and recording of rock art on both regional and national scales (Purcell, 2002, p. 73; Williams and Shee Twohig, 2015, p. 125). Scholars have since recognised the relevance and potential for digital archaeology technology within archaeological recording and illustration, although practical application of these techniques has been slow to be adopted by professionals in the field (Dessì et al., 2015, p. 133; Williams and Shee Twohig, 2015, p. 125). New approaches in 3D digital imaging and spatial analysis present an ideal opportunity for Irish rock art analysis, documentation, and digital preservation. In this project, possibilities for the use of reflectance transformation imaging (RTI), photogrammetry, and geographic information systems (GIS) are assessed within the context of prehistoric rock art sites in Co. Donegal. Specifically, this research is focused on the use of RTI, photogrammetry, and GIS for the spatially informed 3D digital recording of rock art and enhancement of surface inscription to bridge the gap within rock art recording and to inform new knowledge of motif use, trend distribution, and rock art production during the Irish prehistoric.