POLICE PHOTOGRAPHY – is an art or science that deals with the study of principles of

photography, the preparation of photographic evidence, and its application to police work.

PHOTOGRAPHY IN CRIMINAL INVESTIGATION:

Photography is an essential tool for the law-enforcement investigator. As a tool it enables

him to record the visible and in many cases, the invisible evidence of crime. Special techniques
employing infrared, ultra-violet, and x-ray radiation enable him to record evidence which is not
visible. The photographic evidence can then be stored indefinitely and retrieved when needed.
There is no other process, which can ferret, record, remember, and recall criminal evidence as
well as photography.

Photographs are also means of communication. It is a language sometimes defined as

“the most universal of all languages”. Photography has an advantage as a language because it
does not rely upon abstract symbols / words. Photography, thus, is more direct and less subject
to misunderstanding. As a communication medium – has few, if any equal.

A. FUNCTIONS OF PHOTOGRAPHY IN INVESTIGATIVE WORK.

1. Identification
a) Criminal b) Missing Person c) Lost and Stolen Properties d) Civilian

2. Communication and Microfilm Files

a) Transmission of Photos (wire or Radio) b) Investigative Report Files

3. Evidence
a) Recording and Preserving
1. Crime Scenes 5. Fires and Arson
2. Vehicular Accidents 6. Objects of Evidence
3. Homicide or Murder 7. Evidential Traces
4. Robbery Cases

b) Discovering and Proving

1. By Contrast Control (lighting, film and paper, filter)
2. By Magnification (Photomicrography, Photomacrography)
3. By Invisible Radiation (infrared, ultraviolet, x-ray)

4. Action of Offenders (Recording)

a) Surveillance b) Burglary Traps c) Confessions d) Re-enactment

5. Court Exhibits
a) Demonstration Enlargements c) Projection Slides
b) Individual Photos d) Motion Pictures

6. Crime Prevention
a) Security clearance

7. Public Relations

8. Police Training
a) Prepared Training Films (police tactics, investigation techniques)
b) Traffic Studies
c) Documentaries (riots and mob control, disasters, prison disorders)

9. Reproduction and Copying

a) Photographs
b) Official Records

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B. PHOTOGRAPHY DEFINED

It is an art or science, which deals with the reproduction of images through the action
of light, upon sensitized materials (film or paper) with the aid of a camera and its accessories,
and the chemical processes involved therein.

PRINCIPLES OF PHOTOGRAPHY
A photograph is both the mechanical and chemical result of photography. To produce
a photograph, light is needed aside from the sensitized materials (film or papers). Light
radiated or reflected by the subject must reach the film while all other lights are excluded.
The exclusion of all other light is achieved by placing the film inside a light tight box
(Camera).
The effect of light on the film is not visible in the formation of images of objects. To
make it visible, we need or require a chemical processing of the exposed film called
development.
The visual effect of light on the film after development varies with the quantity or
quality of light that reached the emulsion of the film. Too great in amount of light will
produce an opaque or very black shade after development. Too little will produce a
transparent or white shade after development.
The amount of light reaching the film is dependent upon several factors like lighting
condition, lens opening used, shutter speed used, filter used, etc.

C. DIFFERENT PHOTOGRAPHIC RAYS

1. X- rays – radiation having the wavelength between .01 to 30 nanometer or millimicrons,
they are produced by passing an electric current through a special type of vacuum tube.
2. Ultra-Violet Rays - radiation having a wavelength of 30 to 400 millimicrons. It is used
to photograph fingerprints on multicolored background, documents that are altered
chemically, or over writings, and the detection of secret writings.
3. Visible light rays – rays having a wavelength of 400 to 700 millimicrons.
4. Infrared – rays – radiation having a wavelength of 700 to 1000 millimicrons. It is used in
taking photographs of obliterated writings, burnt or dirty documents, or blackout
photography.

D. TYPES OF LIGHTING CONDITION

1. Natural – (Sunlight)
A) Bright – objects in open space cast a deep and uniform shadow
B) Hazy – objects in open space cast a transparent shadow
C) Dull – objects in open space cast no shadow

2. Artificial
a) Continous radiation – incandescent bulb, fluorescent lamp, photoflood lamp, etc.
b) Short Duration – Chemical flash (flash bulb), electronic flash

E. TYPES OF FILM ACCORDING TO SPECTRAL SENSITIVITY

Perhaps, the most important characteristics of a film is its variation in response to the
different wavelength of light source which is called spectral sensitivity.

1. Blue Sensitive – sensitive to ultraviolet rays and blue only

2. Ortochromatic – sensitive to ultraviolet rays, to blue and green color. Not sensitive to red
color.
3. Panchromatic – sensitive to ultraviolet rays, to blue, green and red color (all colors).
4. Infrared – sensitive to ultraviolet rays, to all the colors, and infra red rays.

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F. EMULSION SPEED
The extent to which an emulsion is sensitive to light is referred to as its emulsion speed. Two
general types of speed ratings are:

1. ASA (American Standards Association) rating – This is expressed in arithmetical value

system. The speed in numbers is directly proportional to the sensitivity of the material.
A film with an arithmetical value of 400 is four times as fast as one with a speed of 100.
Sample: ASA 400
2. DIN (Deutche Industri Normen) rating – This is expressed in logarithmic value system.
In this system an increase of 3 degrees souble the sensitivity of the film.
Sample: 27º DIN
3. ISO (International Standards Organization) rating – Combination of ASA and DIN
Sample : ISO 400 / 27º

G. TYPES OF PHOTOGRAPHIC PAPERS

1. According to Chemical Contents
a) Chloride Papers – suitable for enlargement printing
b) Bromide Papers – best for contact printing
c) Chloro-Bromide Papers – either enlargement or contact printing

2. According to Contrast - #0, #1, #2, #3

3. According to Physical Characteristics

a) weight – single or double
b) surface – (glossy, semi-matte, matte)
c) color – white or cream

H. CAMERA
A camera is basically nothing more than a light tight box with a pinhole or a lens,
shutter at one end and a holder of sensitized material at the other. While there are various
kinds of camera from the simplest in construction (box-type) to the most complicated, all
operate in the same principle. The exposure of sensitized material to light is controlled by
the lens and its aperture, the shutter through its speed in opening and closing of lens to light.

The essential parts of the camera are a light tight box, a lens, a shutter, a holder of
sensitized material, and a viewfinder. All other accouterments of any camera merely make
picture taking easier, faster and convenient for the operator is called accessories.

1. Body or Light Tight Box – suggest an enclosure or devoid of light. An enclosure which
would prevent light from exposing the sensitized material inside the camera. This
does not necessarily mean that the box or enclosure is always light tight at all times
because if it does, then no light could reach the sensitized material during exposure.
It means that before and after the extraneous light which is not necessary to form the
final image.
2. Lens - The function of the lens is to focus the light coming from the subject. It is chiefly
responsible for the sharpness of the image formed through which light passes during
exposure.
3. Shutter – is used to allow light to enter through the lens and reach the film for a pre-
determined intervals of time, which light is again blocked off from the film.
4. Holder of sensitized material – located at the opposite side of the lens. Its function is to
hold firmly the sensitized material in its place during exposure to prevent the
formation of a multiple or blurred image of the subject.
5. Viewfinder – it is a means of determining the field of view of the camera or the extent of
the coverage of the lens.

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INHERENT DEFECTS OF LENSES

1. Spherical Aberration – Photographic rays passing through the edges of the lens are bent
or refracted more sharply than those passing through the central part of the lens, thus they
come to a focus nearer the lens than those of the central rays.
2. Coma – sometimes known as lateral spherical aberration. It concerns with rays entering
the lens obliquely.
3. Curvature of field – when the image formed by a lens comes to a sharper focus on curved
surface than on flat surface.
4. Distortion – outer parts of the image produced by the lens will be magnified either less or
more than the center image.
5. Chromatic aberration – inability of the lens to focus all the colors in the same place.
6. Astigmatism – inability of the lens to focus lines running in different direction like for
example a cross.
7. Chromatic difference of magnification – inability of the lens to produce image sizes with
different colors.
8. Flares – a) optical or b) mechanical

Types of Lenses as according to their degree of correction

1. Achromatic lens – a lens corrected for chromatic aberration
2. Rapid Rectilinear lens – lens corrected for distortion
3. Anastigmat lens – lens corrected for astigmatism
4. Apochromat lens – lens corrected for astigmatism but with a higher correction to
color.

I. LENS CHARACTERISTICS

1. Focal Length – is the distance measured from the optical center of the lens to the film
plane when the lens is focused at infinity position. According to focal length, lenses may
be classified as:
a) Wide Angle lens – a lens with a focal length of less than the diagonal of the
negative material.
b) Normal lens – a lens with a focal length of approximately equal or more but
not more than twice of the negative material.
c) Long or Telephoto lens – a lens with a focal length of more than twice the
diagonal of the negative material
d) Zoom – a lens with variable focal length that can be quickly adjusted to
varying subject or image size.
2. Relative Aperture – The light gathering power of the lens is expressed in the ƒ-number
system. It is otherwise called the relative aperture or lens opening. By increasing or
decreasing the ƒ-number numerically, it is possible to:
a) control the amount of light passing through the lens
b) control depth of field
c) control the degree of sharpness due to lens defects

Depth of Field – it is the distance measured from the nearest to the farthest object in
apparent sharp focus when the lens is set or focused at a particular distance.
Hyperfocal distance – is the nearest distance at which a lens is focused with a given
diaphragm opening, which will give the maximum depth of field.

3. Focusing – is the setting of proper distance in order to form a sharp image. The lens of
the camera except those fixed focused, requires focusing. A lens may be focused by any
of the following:

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 a) Focusing Scale or Scale Bed – a scale is usually found at the lens barrel indicating
pre-set distance in feet or in meters. To focus the lens of the camera, the distance of
the object to be photographed is measured, estimated, or calculated and the point or
marker on the lens barrels is adjusted to corresponding number on the scale.

b) Range finders – is a mechanism that measures the angle of the convergence of light
coming from a subject as seen from two apertures. There are two types of range
finders:
1) Split Image – through the range finder, the image of an straight line in the object
appears to be cut into halves and separated from each other when the lens is not in
focus. When the image of the lines are aligned, the lens is in focus.
2) Co-incident Image – through the eyepiece a single image is seen double when the
subject is out of focus. Make the image coincide and the lens is in focus.

c) Ground glass – is focused directly by observing the image formed at the ground glass,
screen placed behind the taking lens. If the image formed is blurry or fuzzy, or not
clear, the lens is out of focus. Make the image sharp and the lens is in focus.
d) Zone – This is possible in wide-angle lens only. There are only three setting for
focusing. One for close distance (approximately 3-6 ft.) another for medium distance
(approx. 6 – 15 ft.) and finally distant objects (approx. 15. ft to infinity)

J. SHUTTER – contraption or device used to block the path of light passing through the lens
and exposing the sensitized material. Generally there are two types of shutters:

1. Central Shutters – one that is located near the lens (usually between the elements of the
lens). It is made of metal leaves and its action starts from the center towards the side,
then closes back to the center.
2. Focal Plane Shutters – is located near the focal plane or the sensitized material. It is
usually made of cloth curtain. It is action starts on one side and closes on the opposite
sides.

K. EXPOSURE – it is the product of illumination and time. Exposure is computed by any of the
following methods.

1. Use of light or exposure meter. The amount of light coming from a source or the amount
of light being reflected by the subject is measured by the light meter. Proper adjustment
therefore becomes simplified.

2. By taking into consideration exposure factors like; emulsion speed or film sensitivity,
lighting condition, kind of subject.

Example: When using a film with an ASA rating of 100, for a normal subject, set the
shutter speed at 1/125 of a second and adjust the diaphragm opening in accordance with
the following light conditions:

Bright Sunlight - ƒ – 11
Hazy Sunlight - ƒ–8
Dull Sunlight - ƒ – 5.6

Exposure error affects: a) Detail

b)Tone Reproduction
c) Contrast

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L. CHEMICAL PROCESSING

1. Development – is the process of reduction. Exposed silver halides are reduced to

metallic silver. There is a separate developer for film (D-76) and another for paper (D-72
Dektol). The factor that affects the developing time are: agitation, temperature,
concentration of chemicals, and exposure.

2. Stop-Bath – an intermediate bath between the developer and the fixer. It is usually a
combination of water plus acetic acid or just plain water. Primarily, its function is to
prevent the contamination of the two chemical solutions.

3. Fixation – The process of removing unexposed silver halide remaining in the emulsion
after the first stage of development of the latent image. The usual composition of an acid
fixing solution are a solvent for silver halide known as hypo, anti-staining agent like
acetic acid, a preservative like sodium sulfite and a hardening agent like potassium alum.

Processing Method – Negative - Postive method, reversal method

Chemical composition of a developer

1. Reducers or Developing Agent – Elon, Hydroquinon
2. Preservative – Sodium Sulphite
3. Accelerator – Sodium Carbonate
4. Restrainer or Fog Preventer – Potassium Bromide

Chemical composition of fixer

1. Dissolving Agent – Hypo or Sodium Thiosulphate
2. Preservative – Sodium Sulphite
3. Neutralizer – Boric Acid, Acetic Acid
4. Hardener – Potassium Alum

Factors that affects developing time

1. Characteristics of the Negative Material
2. Strength and composition of the Developer
3. Temperature of the developing solution
4. Agitation or stirring during development
5. Exposure

M. ENLARGING TECHNIQUE

After processing and exposed film into a negative, the next step would be to turn the
negative into a positive print or copy, either contact printing or projection printing could do this.
For contact printing, a contact printer is used is used while in projection printing an enlarger is
needed. There are four essential parts of an enlarger: a base and stand, a lamp house, a
condenser or diffuser, and a lens. Accessories of the enlarger are: a negative holder, an easel
(paper holder). The following are the steps in enlarging:

1. Preparation of the darkroom, chemicals and the enlarger.

2. Put off white light, switch on the red light (safe light).
3. Place the negative in the negative holder and with the dull side of the negative facing
down.
4. Insert the negative holder into the enlarger.
5. Switch on the enlarger’s light.
6. Adjust the easel to the desired size of the photograph.
7. Focus the lens of the enlarger. Focusing is done by first opening the lens diaphragm
fully. If after image is focused, and the density of the negative permits, the lens must
be stopped down a little bit.
8. Switch off light of the enlarger.

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 9. Insert photographic paper in the easel with the shiny part facing up.
10. Make the exposure.
11. Immerse the exposed photographic paper in the developer. The usual developing time
for a normally exposed paper is about 1 to 1 ½ minutes.
12. Transfer the developed print in the stop bath for about 30 seconds.
13. Place the print in the acid fixer. Fixing time is about 20 to 30 minutes.
14. Wash the print in running water for about 20 to 30 minutes.
15. Dry the prints.

Chemical Remedy for defects in negatives

a) Under developed films – Intensifier
b) Over developed films – Reducer
c) Stains – Stain Remover

Frequent faults in printing

1) Blurred exhibits 6) Harsh exhibits
2) Muddy or mottled exhibits 7) Flat exhibits
3) Yellowish exhibits 8) Fogged exhibits
4) Dark exhibits 9) Blemishes on prints
5) Light exhibits 10) Distorted prints

N. CRIME SCENE PHOTOGRAPHY

In certain types of crime, particularly those involving physical violence, the crime scene,
including the location of relevant objects within it, is of vital importance in establishing points of
proof. A permanent record of such a crime scene is indispensable to a successful presentation of
the case in court. If the scene altered through carelessness or haste, it can never be restored to its
exact original condition; and vital elements of proof may thereby be lost. Moreover, in the initial
stages of investigation, the significance of certain aspects of the same may be evident, although
later they may affect vitally in the issue of the case. Hence, the first step in the investigation of
any crime is to photograph completely and accurately all the aspects of the scene before any of
the objects of evidence are removed or otherwise disturbed. Similar photographs should also be
made after the body or bodies have been removed. It is always wise to take too many
photographs rather than too few.

Since crime scene photographs are designed to provide such views of the area as would
have met the eye of an observer, the procedure of taking crime scene photographs is
straightforward. A set of four photographs is the usual minimum to show a room adequately, and
many more maybe made in case of a major crime. Medium distant views as well as close-up
photographs should be made of important objects. Two lenses are usually sufficient. A wide-
angle lens is used for interior photographs and normal lens for outdoor photographs and other
purpose. Rarely is a telephoto lens is required in crime scene photography.

Occasionally existing room light may be satisfactory for photographic purposes.

However, the photographer will usually have to provide additional illumination for interior shots
like photoflood, photoflash, or electronic flash can be used.

For general view of the scene, use the camera at eye level. These photographs provide a
representation of the scene as an average eye witness might have observed it naturally, if you
wish to show an object not in normal line of vision you must place the camera elsewhere.

Measuring devices such as rulers, yardsticks or tape measures can be used to show the
relative size of and distance between objects or the degree of magnification of an enlargement.
They should not obscure any important part of the evidence. In document and small-object
photographs, a 6-inch or 15 centimeter ruler placed at the bottom or just below the object will
show the relative size of objects in a photographic exhibit.

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 Photography proves itself as a vital necessary aid to the investigation, solution, and
prosecution of a crime. Photography affords a permanent visual record of the crime scenes,
persons, places and things. Therefore, standard procedures are indicated in order to obtain the
desired result. Remember that photographs are often necessary to corroborate testimony of
certain witness and usually add weight and credibility to their testimony.

In photographing the scene, the photographer should attempt to record all useful
information in series of photographs that will help the viewer to understand WHERE and HOW
the crime was committed. The term crime scene refers not only to the immediate site of the
crime, but also to adjacent areas which may be important in establishing the location and
surrounding of the immediate site.

Each crime has individual features that should be photographed. Keep in mind the nature
of offense and try to show those features that establish the elements of the offense.

Photographic Procedure

1. Camera should be mounted on a sturdy tripod whenever feasible to prevent camera

movement.
2. The camera should be leveled whenever commensurate with the particular photograph to
be taken.
3. Crime scene views include three general classes
a) Long Views, showing general location and conditions
b) Medium views, pinpointing a specific object of evidence or significant
segment of the crime scene.
c) Close-up views, recording position and details.
4. Photographs should be taken progressively as the photographer enters the building or
room to avoid disturbing something that might otherwise remain unnoticed, and to
maintain continuity.
5. Views should be taken to illustrate the general location of the scene of the crime. A large
outdoor scene or a matter involving several buildings may call for an aerial view.
6. Definitely required is a view of the exterior of the building when the crime was
committed inside. It is well to include the street and house number when this is possible.
7. Needed next is the complete photographic coverage of the interior rooms within the
crime area, which show the condition in general and relate the overall scene to specific
items and places.
8. Bodies of victims should be photographed exactly as found, from all angles, and
especially from overhead when this can be done, for identification purposes.
a) Close-up photographs, one to one, if possible, should be taken all wounds,
bruises, discoloration, and abrasions – generally with color.
9. Measuring device such as rulers, yardsticks, and tape measures can be used to show the
relative size of and distance between objects or the degree of magnification of an
enlargement. They should not obscure any important part of the evidence. In
photographing a document for example, a ruler with 6 inch size should be placed on the
bottom or just below the object will show the relative size of objects in a photographic
exhibit.
10. Field notes.
a) Record the date and time of arrival at the scene as well as the time of
departure from scene.
b) Specifically record the location area, house number, street name, building
name, and type of scene.
c) Write down the names and badge numbers of all investigative officers present
during the photographing
d) Total and record the number of exposures, which necessitates the bad
negatives, be saved for the record.

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 e) Record specific information on each exposure. This should include the time
of taking each picture, which can be expressed either using AM or PM or on
military 24-hour scale on which 3:00PM becomes 1500hrs.
11. Additionally.
a) Direction camera pointed
b) General statement of what photographed
c) Exposure and ASA rating
d) Kind of Film
e) The lighting whether available, flood lamps, flash bulbs, etc.

Problems in Fingerprint Photography

1. Black Fingerprint on colored background
2. White Fingerprint on colored background
3. Fingerprint on multi-colored background
4. Fingerprint on glass
5. Fingerprint on polished metal
6. Fingerprint on papers

Problems in Questioned Documents Photographs

a) On hand writings
1) sequence of crossed lines 3) different types of inks and pencils
2) writing over folds 4) Patching

b) On papers
1) Erasures 5) Restoring erased writing
2) Watermarks 6) Stamped out writing
3) Elimination of Paper background 7) Burned papers
4) Faded writing

O. FILTERS - is a homogeneous medium which absorbs and transmits differentially light rays
passing through it.

A color filter will work in such a way that it will transmit its own color and
absorbs all other colors.

By using filters in combination with black and white films, the photographer can
control the tonal values to get a technically correct rendition or to exaggerate, or suppress
the tonal differences for visibility, emphasis and other effects. With color films, filters
are used to change the color quality of the exposing lights to secure proper color balance
with the film being used.

FILTER FACTOR

Because filter subtract some light passing through the lens, an increase in
exposure time or lens opening is necessary. The number of times that the normal
exposure must be multiplied is called “filter factor”.

The filter factor value depends on the film type and light source in addition to the
absorption of the filter.

Types of filter in black and white photography

1) Correction Filter – used to change the response of the film so that all colors
are recorded at approximately the relative brightness values seen by the eye.

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2) Contrast Filters – used to change the relative brightness values so that two
colors which would otherwise be recorded as nearly the same will have
decidedly different brightness in the picture.
3) Haze Filter - used to illuminate or reduce the effect of serial haze
4) Neutral Density filter – used for reducing the amount of light transmitted
without changing the color value.
5) Polarizing filter – used to reduce or eliminate reflections on highly reflective
surfaces.

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