Introduction to Crime Scene Photography

Edward M. Robinson

• Publisher: Academic Press
• Year: 2012
• Print ISBN:
  9780123865434
• eBook ISBN:
  9780123865441
• Topic: Law
• Subtopic: Forensic Science
• Index: Law

Introduction to Crime Scene Photography acquaints the reader with the essentials of basic crime scene photography techniques. It looks at the concepts related to composition and relates them to the types of photographs captured by crime scene photographers. It explains how to capture images based on the exposure settings chosen to produce the effect desired. It considers the techniques used needed to control and maximize Depth of Field (DOF), and reviews how the different lenses will affect an image. Organized into seven chapters, the book begins with an overview of crime scene photography and composition, including the three cardinal rules of good photography. It then proceeds with a discussion of the benefits of bounce flash and how to utilize this technique to properly compose the subject of interest. It also explains how to capture any image necessary at the crime scene by combining the concepts of composition, nonflash exposure, DOF, flash exposure, and the use of various types of lenses. In addition, the reader is introduced to various energy sources and filters, digital processing of evidentiary photography, and legal issues related to photographs and digital images. Examples and illustrations are provided throughout to demonstrate how the concepts examined tend to form a sort of symbiotic relationship. This text will benefit scene investigators and photographers, forensic consultants, forensic scientists, undergraduate students in forensic and/or criminal justice programs, law enforcement professionals, and anyone who wants to acquire the skills needed to be a successful crime scene photographer. - Contains over 350 high-quality 4-color images - Rules of Thumb are included to highlight key concepts

Chapter 1

An Overview of Crime Scene Photography and Composition

Contents

Photo Documentation Forms

Composition and Full Field of View Responsibility

Chapter Summary

Learning Objectives

Upon completion of this lesson, you will be able to:

Explain the three cardinal rules of good photography

Explain how the same subject can be composed differently in various images

Explain why “fill the frame” has two aspects: both a positive and a negative connotation

Explain why good composition partly depends on the point of view of the photographer

Explain why the careful written documentation of each photograph is necessary

Explain three techniques by which photographs are documented

Explain how overall photographs relate to the general crime scene area

Explain how exterior overall photographs are to be taken

Explain how interior overall photographs are to be taken

Explain how midrange photographs are best taken

Explain the four types of close-up photographs

Explain additional types of photographic concerns related to documenting the wounds of suspects and victims

Explain the complete photographic documentation of a homicide victim

Key Terms

Cardinal Rule I: Fill the Frame

Cardinal Rule II: Keep the Film Plane Parallel

Cardinal Rule III: Maximize the Depth of Field (DOF)

Close-up photographs

Composition

Depth of field (DOF)

Examination-quality photographs

Exterior overalls

Full-body panorama

Full field of view responsibility

Hard shadows

Interior overalls

Isosceles triangle

Labeled scale

Lens distortion

Lens flare

Midrange photographs

Natural perspective

Overall photographs

Perspective distortion

Photo identifier

Photographic

Photo memo form

Scales on the same plane

Shadow control

Soft shadows

SWGs

SWGIT

SWGFAST

SWGTREAD

Wagon wheel ellipse

Crime scene photography is very different from many other types of photography. Creative and artistic photography often follow very different rules, which is perfectly fine. But crime scene photography differs from other variations of photography because the crime scene photographers usually have a very specific purpose for capturing each image. There is a specific job to be done and specific types of images that have to be captured. Nevertheless, the crime scene photographer, at times, has to be very creative to successfully get the shot. But instead of the creativity being the purpose of the shot, the creativity necessary to capture a crime scene image should almost be unnoticed.

Crime scene photography serves several purposes. For those who were at the original crime scene, these images will help refresh their memory after a period of time has gone by. For those who could not be present at the original crime scene, it provides them with the opportunity to see the crime scene and the evidence within the crime scene. This purpose can apply to other law enforcement professionals who will become involved with the case and will later apply when the case goes to trial. The judge, jury, attorneys, and witnesses can all benefit from seeing the original crime scene images. And sometimes the images captured at the crime scene may be one way to actually walk away from the crime scene with the evidence. Often, photography is the only way to actually collect the evidence. Therefore, crime scene photography is a method to:

Document the crime scene and the evidence within the crime scene,

Collect the evidence. These images can then be later used as examination-quality photographs by experts/analysts from the forensic laboratory.

This book will help the reader not only to understand what images should be taken but will also explain how a digital SLR (single-lens reflex) camera system should be used to optimally capture these required images.

The authors have extensive experience with crime scene photography. We will, of course, use our experience to convey to the reader both the photographic principals and techniques we have successfully used in the field. Perhaps even more important, this text will base much of its information on the recommendations of the various Scientific Working Groups (SWGs) as they apply to crime scene photography. In particular, we will rely on the Scientific Working Group on Imaging Technology (SWGIT¹), the Scientific Working Group on Shoeprints and Tire Tracks (SWGTREAD²), and the Scientific Working Group on Friction Ridge Analysis, Standards, and Technology (SWGFAST³)—latent print examiners. These SWGs maintain their recommendation on their websites, which can be updated and revised as necessary.

The authors will rely on the SWG documents that were current as this text was written. Therefore, you need not rely on the experience of just the three authors; you will be able to also rely on all the professionals involved with the SWGs, whose members include working crime scene photographers, researchers, and academics.

Photo Documentation Forms

Because crime scene images can be offered in court as evidence, they are subject to normal chain-of-custody rules and eventually must be offered to the court as evidence by an individual who will have to swear that they are a “fair and accurate representation of the scene.” In order to establish that individual images meet these standards, three types of documentation have traditionally been used.

The Photo Identifier

At the beginning of every series of photographs of a crime scene, the very first image captured is usually of the photo identifier after it has...

Table of contents

• Cover image
• Title page
• Table of Contents
• Please visit the Companion
• Copyright
• Dedication
• Acknowledgments
• Introduction
• Chapter 1. An Overview of Crime Scene Photography and Composition
• Chapter 2. Exposure
• Chapter 3. Focus, Depth of Field, and Lenses
• Chapter 4. Electronic Flash
• Chapter 5. Energy Filters and Sensors
• Chapter 6. Digital Processing of Evidentiary Photography
• Chapter 7. Legal Issues Related to Photographs and Digital Images
• Glossary
• Index