Acquisitions Editor: Jennifer Soucy fssistant Editor’ ‘Kelly Weaver Marketing Manager: Diane Jones Project Managers Jeff Freeland Cover Designer Alisa Andreola Compositor SPi Technologies India Pt Lid Cover Printer Phoenix Color Corp ‘Text Printer/Binder= RR Donnelly Academic Pressis an imprint of Elsevier ‘Corporate Drive, Suite 400, Burlington, MA 01803, USA, 525 B Street, Suite 1900, San Diego, California 92101-4195, USA, SM Theobald’s Road, London WCIX SRR, UR ‘This book is printed on acid-free paper: Copyright © 2007, Ekevier Ine hts reserved, No part ofthis publiation may be reproduced or wanswitted in any form or byany means, electronic or mechanical, nclucing photocopy, recording, or any information storage and retiieval system, without permission in writing fiom the publisher. Permissions may be sought drcetly from Elsevier's Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843880, fax: (+44) 1865 8535 E-mail: permissions@elesicream. You may ako complete your request on-hn sia the Ehevier homepage (htp:/ elseviercom), by selecting “Support & Conta then "Coprright and Permission” and then “Obtaining Permissions Library of Congress Cataloging in-Publicaton Data Robinson, Fawatd M. ‘Crime scene photography/ Edvard M. Robinson, pen Includes bibbographiesl references and index ISBN-18 O78 123603839(0Nk. paper) ISBN-10-0-12:369585-7ialk. paper) 1 Legal photography. Lite “TRAz2,Ro9 2007 THY. 986825-e22 26051910 [British Library Cataloguingin Publication Dat ‘Aveatalogue record for this book i available from the British Library ISBNS; 978.0-12-5693839 BNO; 012 8603837 For information on all Academie Press publications visit our Web ste at won bookecleeicrcom Printed in the United States of America osm WI S 7654521 Working together to grow libraries in developing countries srvmialevieccom | wirmbockaidong | warwasbeeongTABLE OF CONTENTS FOREWORD ACKNOWLEDGMENTS. INTRODUCTION CHAPTER 1 COMPOSITION AND CARDINAL RULES 1 Learning Objectives Use-Once (Or, Use One Time) Camera Versus Professional Camera System 1 ‘Composition and Cardinal Rules 4 Cardinal Rules of Crime Scene Photography 25 Chapter Summary 25 Discussion Questions 27 Practical Excercises 27 Further Reading 28 CHAPTER 2 BASIC EXPOSURE (NON-FLASH) CONCEPTS 29 Learning Objectives 29 Key Terms 29 The Proper Exposure Triangle 30 Shutter Speed as Motion Control 61 Reciprocal Exposures 67 The Reflective Light Meter R “Normal” and “Non-Normal” Scenes 76 Tools for Determining “Proper” Exposures with Tricky Scenes 85 Bracketing 92 The F/16 Sunny Day Rule 7 Causes for Complete Rolls of Film with Exposure Errors 102 Common Filters 103 The Eye Cup Cover 113 Summary 15 Discussion Questions 117 Exercises 117 Further Reading 118 Additional Reading 118TABLE OF CONTENTS CHAPTER 3 CHAPTER 4 CHAPTER 5 CHAPTER 6 FOCUS, DOF, AND LENSES Learning Objectives Key Terms Focus Depth of Field Lenses Summary Discussion Questions Exercises (All Non-Flash Shots) Further Reading ELECTRONIC FLASH Learning Objectives Key Terms Guide Numbers Flash Sync Speeds Set the Flash for the Film Used Manual Flash Mode The Inverse Square Law Automatic and Dedicated Flash Exposure Modes Built-In Flash Units Filln Flash Oblique Light, Both Flash and Non-Flash (Flashlight) Bounce Flash Painting with Light Summary Discussion Questions Exercises Further Reading CRIME SCENE PHOTOGRAPHY Learning Objectives Key Terms Photo Documentation Forms Overall Photographs Midrange Photographs Close-Up Photographs The Photographic Documentation of Bodies and Wounds summary Discussion Questions Exercises Further Reading ULTRAVIOLET, INFRARED, AND FLUORESCENCE Learning Objectives Key Terms The Electromagnetic Spectrum (EMS) Ultraviolet Light (UV) 119 119 120 120 157 168, 212 212 213 213 215 215 216 216 218 224 224 245 253 261 261 269 295 302 318 318 319 320 321 321 321 321 331 344 352 357 380 381 381 382 383 383 383 384 391CHAPTER 7 CHAPTER 8 CHAPTER 9 Infrared Light (IR) on the Electromagnetic Spectrum Visible Light Fluorescence Summary Discussion Questions Exercises Further Reading PHOTOGRAMMETRY Learning Objectives Key Terms Introduction to Photogrammetry Perspective Grid Photogrammetry Perspective Disc Photogrammetry Natural Grid Photogrammetry Reverse Projection Photogrammetry Rhino Photogrammetry Summary Discussion Questions Exercises Further Reading DIGITAL IMAGING Contributed by David “Ski” Witzke Learning Objectives Key Terms In The Beginning Expose Yourself to Digital Imaging Concepts: Bits, Bytes, Pixels, and Dots Take a Picture....It Lasts Longer. Or, Does It? Image S&M...Storage and Management of Your Digital Images summary Further Reading SPECIAL PHOTOGRAPHY SITUATIONS Learning Objectives Key Terms Accident Photography Surveillance Photography Aerial Photography Underwater Photography summary Discussion Questions Exercises Further Reading 398 406 a7 417 418 419 421 421 421 421 425 441 446 454 456 462 462 463 464 465 465 465 466 478 491 aoa 511 511 513 513 514 514 533 546 553 565 565 566 567 TABLE OF CONTENTSTABLE OF CONTENTS CHAPTER 10 APPENDIX GLOSSARY INDEX LEGAL ISSUES RELATED TO PHOTOGRAPHS AND DIGITAL IMAGES Learning Objectives Key Terms Criteria of Photographs and Digital Images as Evidence ‘The Purpose of Crime Scene Photographs Photographs of Suspects and Evidence Legal Implications of Digital Imaging International Association for Identification (IAl) Resolution 97-9 Case Law Citations Relevant to Film Photos and Digital images summary Discussion Questions Further Reading TIPS, TRICKS, AND MACGYVERS. Evidence on Vertical Walls Coaxial Lighting Mirrors Distortion Correction, Redux 569 569 569 569 582 583 585 597 598 624 625 626 627 627 629 631 632 635 655aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.ACKNOWLEDGMENTS ‘This text had its origin in 1989, when I decided it was necessary to write a *how- to” pamphlet on police photography for the Arlington County Pi Department, Virginia. They gave me the time to write the Basic Police Photography for Police Agents Handbook, so my list of acknowledgements must begin with the ACPD. At that time, I had no idea those 59 pages would lead to this text. Within the last year, as this book began to materialize, | realized I would need. more images than I currently had at the time, I returned to the AGPD and requested images from three of my past working buddies Mare Hackett, Lisa Haring, and Keith Ahn. They came through for me again, and their images make this a much better book. With one of the intended target readers of this text being students in an educational environment, it made sense to me to utilize the resources | had. available, Since I was currently teaching a course on forensic photography at GWU, I decided to use the local talent: my students. I provided them with early drafts of this book, and charged them with forcing me to make the concepts easier for them to understand, Itold them if it wasn’t currently written in a way that made concepts clear, point it out, and make me explain it a different way. This was risky: asking for criticism! But the students were up to the task. My sug- gestion to would-be authors is to avoid asking for criticism unless you have very thick skin. In addition to asking students to “proofread” my early chapter drafts, I asked them to cross reference my text with other photography books in my library. Some were asked to create the PowerPoint™ slides of extra images, now located on the companion website, which accompanies this text. Some students provided images, for the text to exemplify concepts or principals needing a visual aid. Some wrote discussion questions. These now appear in the main text, and some appear in the Instructor's Manual These students we : Kim Atkinson, Naila Bhatri, Jackie Britton, Tom Bush, Heather Calloway, Brian Carroll, Michelle Cobb, Cliff Cook, Ryan Costello, Daniel