10/24/2015

PowerPoint is available on-line

 ecampus.matc.edu/policetraining

 Required Equipment: Students need to bring

their digital camera (digital SLR preferred),
Instructor lens, batteries, digital media, off camera flash
with remote cord, tripod (if available),
Scott Campbell flashlight and note taking materials.
 Instruction manuals for their specific camera
and flash are suggested if available.
07-22-15

Guidelines & Best Practices

Introductions  For current Guidelines and Best Practices utilize
 Name /Title/Years of Service the website for The International Association for
 Department / Dept Size Identification (theiai.org)
 Experience with Photography  SWGIT Guidelines (Scientific Working Group on
 What are your Responsibilities with Evidence and Imaging Technology)
Crime Scene photography  Some of the information available
 What do you want out of this class  Equipment
 Image capture, processing, archiving &
authentication
 Photography of latent, tire and footwear
impressions

Introduction Introduction
 Crime scene photography tells a story to those who  Ensures accurate representation of the evidence for a
were not present at the scene. thorough investigation and successful prosecution of
 Provides visual preservation of the scene, location the case.
and condition of evidence, and creates a permanent  Documents the location and condition of evidence
record
 Photographs can help make or break a case.
 Aids in the reconstruction of events
 Refreshes the memory of investigators and witnesses

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Why do you need to spend so

Introduction much time learning photography?
 Remember, prosecutors, judges, juror’s, witnesses
and victim’s families may view the photographs you  Not every scene will require you to:
take. Your work is not only a reflection upon your
 Dust for prints
department, but a reflection upon you.
 Collect blood or DNA
 Photos should always be fair and accurate so they
can be used in court  Cast shoe or tire impressions
 Collect other trace evidence

However, all scenes require quality photographs

before any processing occurs!!!!!

Can’t I just use the camera’s Camera was on automatic – image too dark
automatic setting?
 Quality modern camera equipment will produce very
good photos most of the time. However, you can
take better photos yourself if you understand basic
principles and make manual adjustments.
 The camera doesn’t know what your goal is and can
produce a photo that is too light, too dark or out of
focus.

Camera on “automatic” may not expose properly

What creates this shadow?
creating either a too dark, or too light image

By using the camera’s meter, you can decide the

proper exposure and adjust for it

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Has this happened to you? The objects of

This was corrected by simply locking the focus sensor
on the object of interest by pressing the shutter
interest are on halfway, then re-composing and capturing the image
the table but are
blurry & dark
due to the
default setting in
the camera. The
focus sensor
picked up the
closest object
instead.

What is needed to create proper exposure? Body Nomenclature

 Memory card slot cover
ISO  Located on the side of the camera, allows you to
place digital media into camera.
 Keep closed to prevent dirt and moisture out.
Noise
 Use caution when inserting your digital media into
the slot to prevent damage to the metal contacts
Proper that are inside, and always have camera turned off.
Exposure Contact points
Depth
Motion Blur of Field
Shutter Speed Aperture

Damaged CF Memory Card Body Nomenclature

Diopter Auto Exposure/
Auto Focus Lock

Command Dial

Viewfinder Multi Selector

Monitor
Delete

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Single or
Body Nomenclature Body Nomenclature
Continuous Single or
Shooting Mode Continuous
Shooting Mode
Playback Playback

Menu
Menu
ISO/Thumbnail ISO/Thumbnail

White Balance/ White Balance/

Help/Protect Help/Protect
Image Quality Image Quality

Body Nomenclature Body Functions

Menu Zoom/Thumbnail/
Zoom Playback/Help  Hot Shoe / PC Socket
(Optical vs Digital)  Hot shoe is on top of camera
Flash Mode  PC socket is usually on the side
Self-Timer Multi Selector or front of camera body
Macro  Self Timer
Delete  Pentaprism
Playback
 is a five-sided optical glass
Auto/Scene/
Flash Lamp – Movie element that reflects light
Indicates Ready
Status

Body Functions
Body Functions •Shutter
• Traditional type was a curtain made of cloth.
Modern cameras use blades made of aluminum
alloy, carbon fiber or titanium that blocks the light
that comes through the lens. The shutter opens and
closes at a preset amount of time called shutter
 Mirror speed. Usually found at the back of the camera, just
 Directly behind the end of the lens that attaches to in front of the film.
the camera body. Covers the shutter or sensor and
allows camera user to see through the eye piece •With digital, you may have an electronically
and look directly through the lens for a “what you controlled shutter or a combination of mechanical
see is what you get.” shutter and electronic sensor that turns on for a
specific amount of time.

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Body Functions - Image Sensor Size

Film has been replaced by
a microchip with microscopic
Field of view/Perspective
transistors. Millions of
transistors create the chip that Full size sensor vs. Smaller digital sensor
is the image sensor. The larger 35mm or higher end on most of the DSLRs
the sensor, the better
DSLR
the quality.

As the sensor is made smaller,

a multiplier is used to
replicate a normal (cropped)
view or normal perspective.
APS-C is multiplied by approx
1.5x.

50mm lens with Full Frame camera If you don’t compensate for the smaller
sensor, you will have a cropped effect
50mm lens with Full Frame camera

In order to replicate a “normal” view or perspective, a “full

frame” camera would use a 50mm lens as shown above

With a digital camera that has a smaller sensor, you would use about 50mm lens with smaller sensor.
a 35mm lens as shown below. 35mm x 1.5 = 52.5 (close to 50mm) Notice the cropped, or enlarged image

35mm lens with APS-C smaller sensor

Body Functions
Body Functions
 Camera modes
 Different cameras have different modes available
 Scenes (could be programs for action or portraits  Lens Release Button
indicated by icons of a runner or woman’s face)
 Shutter Priority
 Aperture Priority  Focus
 Manual  Auto
 Automatic
 Manual
 Program

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Lens Functions
 Lens
 Serves to focus light rays / image so it is crisp and clear
on the sensor.
 Focal Length (affected by the size of the camera’s sensor)
 The smaller the sensor, the more magnification (crop)
 Measured in millimeters
 Wide angle Digital APS-C less than 35mm
 Normal Digital APS-C @ 35mm (Full frame DSLR, then 50mm)
 Telephoto Digital APS-C greater than 35mm
 Zoom – multiple focal lengths incorporated into same lens 28-
200mm
 With most “point and shoot” cameras it’s not easy to figure
out what focal length the lens is set at

Lens Functions Lens Distortion

Focal length can distort normal perspective
18mm 35-50mm 200mm
24 mm lens 50 mm lens 200 mm lens

Auto/Manual
Lens Designations & Controls Focus Selection
Focal Length Settings 18-70 mm Manual Focus Adjustment

Zoom

Focus

Vibration Reduction
Lowest F-Stop Settings available with this
Zoom Adjustment Known as VR, IS, OS
lens, F3.5 @ 18mm, F4.5 @ 70mm

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Common types of flash memory

Auto Focus vs. Manual Focus cards for digital cameras:
Compact Flash Secure Digital (SD)
 Auto focus works well and quickly in bright areas
 In limited lighting, the camera may not let you take
the photo if the camera can’t focus
 Manual focus will generally be best for close up work
and especially where limited light is available Size of memory
 Manual also works well for moving objects if you can xD-Picture Card Memory Stick
pre-focus on an area then take the photo as the
person or object moves into the area, such as
surveillance and sporting events

How many photos can a card hold? In addition to resolution, the capacity also depends on
the combination of image quality and image size
Memory cards come in different storage capacities, ranging
from 8MB all the way up to 64GB and beyond. Using a 1 GB card in a 6.1 megapixel Nikon D50
camera, the following chart indicates the photo capacity
•How many digital photos the card can store depends on
the resolution (megapixels) of your camera, the quality of Printed image size: Large Medium Small
image, and file size you choose. 15”x10” 11.5”x7.5” 7.5”x5”
•The higher the resolution or megapixels, the larger the  RAW 135 N/A N/A
file size and the more memory each photo uses.  JPEG Fine 285 495 1000
• Many SOP’s recommend using the highest quality
 JPEG Norm 552 940 1800
images for crime scene and evidence such as RAW
 JPEG Basic 1000 1700 3100
•Some labs require RAW files for comparison work
•Otherwise use higher quality JPEG images  RAW + Basic 119 N/A N/A

The combination of image quality and image size can be

selected in the menu or external buttons Exposure compensation
 Causes camera to under or over expose your
subject to match lighting conditions

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Exposure Compensation
EV -2 EV -1
Please turn your exposure
EV 0 compensation back to the
zero setting for future exercises
EV +1 EV +2

Shutter Speed Shutter Speed

 Controls Motion
 The AMOUNT of TIME the shutter is open or the
digital sensor is on, allowing light to strike the sensor  Fast shutter speeds “freeze” motion
 Combined with aperture & ISO for proper exposure  Bullet being shot from a gun
 Generally measured in fractions of a second  Race car “stopped” on the track
 1/60th (indicated by the number 60, or 1/60)  Sporting events
 1/125th (indicated by the number 125, or 1/125)  Slow shutter speeds “blur” motion
 May be seconds or even several minutes long
 Car’s taillights shown at night as a long red streak
 1 second (usually indicated by 1” or different behind the car
color)
 30 seconds (usually indicated by 30”)
 “Bulb” is used for time longer than 30 seconds

Shutter Speed Shutter Speed

 On bright sunny days, you have the chance to over-
expose your photos, or wash them out
 In order to reduce the amount of light getting to the
digital sensor, use a faster shutter speed
 Change from 1/60 or 1/125 of a second, to a faster
speed of 1/500 or even 1/1000th of a second • May be set by a dial or combination of
 Flash Synchronization Speed buttons and/or dials
 Generally about 1/60th Second • 60 actually means 1/60th of a second
 May be higher depending on camera (1/125, 1/250)
• Shutter speeds will be displayed in the control
 Too fast of a shutter speed can cause part
of the photograph to be cut off
panel, viewfinder, on the monitor or a
combination of these

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Slower shutter speed allows more light (exposure)

Shutter Speed – 1/60
F4 F8 Camera held still, But too slow for vehicle

1/125 1/60
F16 F22

1/30 1/15

Shutter Speed – 1/250 Shutter Speed – 1/250

Camera and vehicle movement Camera panned with vehicle

Shutter Speed – 1/1000

Camera hand held Standard Full Shutter Speed Stops
 1/2000 ” indicates full seconds
 1/1000  1”
 1/500  2”
 1/250  4”
 1/125  8”
 1/60  Speeds continue up to 15-30”
 1/30 Tripod  Bulb after 30”
 1/15 suggested
below this
 1/8
speed
 1/4
 1/2

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Some speeds can get confusing

between 1/8 second and 2 seconds
8
6
=
=
1/8
1/6
=
=
.125
.166
Seconds
Seconds
Aperture
5 = 1/5 = .20 Seconds  F/stops
4 = 1/4 = .25 Seconds  A specific sized hole that is controlled w/in the
3 = 1/3 = .33 Seconds camera lens
2.5 = 1/2.5 = .4 Seconds  Allows a specific amount of light through the lens
Shutter
2 = 1/2 = .5 Seconds to the sensor
Speed
shown on 1.6 = 1/1.6 = .625 Seconds  The larger the opening, the more light gets in
camera 1.3 = 1/1.3 = .77 Seconds  Controls Depth of field
1” = 1” = 1.0 Seconds
1.3” = 1.3” = 1.33 Seconds
1.6” = 1.6” = 1.6 Seconds
2” = 2” = 2.0 Seconds

Larger opening (lower number) allows more light

F4 F8

F16 F22

Depth of Field F-4.8

 The area of the photograph before and after the
point of focus that is clear and sharp
 Controlled by the aperture
 The larger the opening, the less depth of field F-8
 The smaller the opening, the greater depth of field
 It becomes more critical on close up photography
such as fingerprints on a curved surface such as a
light bulb or door knob
F-16

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The closer to the object, the more

Depth of Field important depth of field becomes
 The point of focus can also affect the depth of field
 Balance depth by using the “rule of thirds” which means
to focus one third of the way through the scene

F-5.6 F-36

Close up of fingerprint on light bulb

F-4.8 F-40 Film/Digital Sensitivity
ISO – Film speed or the digital equivalent
 Film speed/ISO is the sensitivity to light
 The lower the ISO number, the less sensitive to
light
 The higher the ISO number, the more sensitive to
light
 100 speed film is less sensitive to light and needs
MORE light to be properly exposed than does 200
speed film
•The more sensitive to light , the more grainy it gets,
generally lowering quality
•ISO 100 produces better quality than ISO 1600

ISO Changes: How Much Does It

Affect Quality
ISO 200 ISO 1600

ISO 200 ISO 400

ISO 800 ISO 1600

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ISO 200 ISO 400

Changing ISO settings
External buttons Menu selection

1 Second Shutter – No Flash

ISO 800 ISO 1600

What is the Sum of the Equation? Exposure

 Determined by Through The Lens metering or “TTL”
Exposure!  In camera (TTL) metering is accomplished by using
the meter you see inside the camera’s view finder (or
on the monitor) to adjust exposure
 May be a series of vertical or horizontal lines with a
+ or – at opposite ends.
 May be a series of numbers such .3, .7, 1.0, 1.3 etc.
 Exposure is the combination of shutter speed, ISO
with a + or - on the side or bottom of the view
and aperture (F-Stop) to allow the proper amount of
finder.
light to strike the sensor. This is needed to properly
record what you see for later reproduction

Control Panel, Viewfinder or Monitor Metering

 Camera may have different metering modes
 Overall or Matrix
 Meters 90-100% of the scene
 Center weighted
 Meters about 10-30% of the
center of the frame
 Spot
 Meters about 1-9% of the frame
 “Manual”
 Camera operator moves to about one foot away from
object of photography and sets the f/stop and/or shutter
speed
 Then moves away, composes and takes photos at that
0.0 -.3 +3.0 setting
 Can be used to obtain proper exposure in darkened areas

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Metering can be adjusted with an

Canon Metering Modes external button or in the menu
Evaluative: All around
Nikon
averaging

Partial: Good for

backlighting

Spot: Specific small

Canon
area

Center-weighted:
Metered at center then
averaged

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Where’s the
gun?

There it is!

Some cameras have histograms

Camera used with
viewed on the rear monitor
automatic setting is Dark tones on left Light tones on right
fooled by the light sky in missing
the background and
creates a dark subject.

Instead, use the

camera’s meter to sense
the area in the shadows
for proper exposure

Information available about the captured

Some cameras will have
image during review or playback
only a brightness histogram
shown in white. Others
will have a histogram for
each of the red, green
and blue color channels

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White Balance
Metadata or shooting data and “Highlights” Computer generated settings to compensate for
lighting conditions
 Incandescent (approx. 2700 Kelvin)
 Fluorescent (approx. 4000 Kelvin)
 Sunlight – noon (approx. 5400 Kelvin)
 Cloudy or Shade (6500-8000 Kelvin)
 Flash
 Custom (preset)

Light Temperature
•Different sources of light have different light temperature
•Measured in degrees Kelvin
•Warmer temperatures are orange
•Cooler are blue

White Balance
Incandescent Bulb – Auto Setting Incandescent Bulb – Incandescent Setting

Incandescent Bulb – Fluorescent Setting Incandescent Bulb – Custom Setting

Nikon
Flash SB-900
 Dedicated
 Is camera brand, make, model specific
 Provides “automatic” exposure functions by
communicating with the camera to find distance from
subject and calculate amount of light for proper
exposure.
 Can need specific equipment such as flash
synchronization cord
 Generally more versatile but can be more expensive
 Non-Dedicated
 Is brand generic and usually less expensive
 Works with most camera’s
 May have to adjust settings manually

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Flash Modes Flash

 Front-Curtain Sync: used for most  The further an object is from the flash, the less light
situations. In “P” and “A” modes, shutter will the object will receive to be properly exposed
be set automatically between 1/250 and  Light intensity drops off very quickly
1/60.
 Slow Sync: used with slow shutter speeds up
to 30 seconds. Captures both subject and
background at low light.
 Rear-Curtain Sync: Flash fires just before
shutter closes.
 Red-Eye Reduction: Flash pre-flashes before
main flash.
 Red-Eye w/Slow Sync: Combines both.

Flash Technique Best if flash is off camera

The angle of incidence is
equal to the angle of
reflection. If slightly angled,
there is little or no glare or
wash out reflection in the
photograph. Bounce flash can
also be used.

Direct - can result in wash out

Bounce Technique Bounce flash

Flash Technique Bounce flash – with reflector
 Bounce Direct flash ceiling card
 May bounce off of ceiling, wall, floor, any object
 Must allow for one stop correction
 Light fall off occurs due to the distance that the
light has to travel. You will probably have to adjust
by an F-Stop and or increase the power of the flash

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Flash Technique
 Diffused
 A translucent filter is placed over the flash to diffuse or
break up the light and give it a softer look
 Fill Flash
 Used to add light to shadows

No Flash
Fill
Fill Flash
Flash
used

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No Flash, Flash Compensation

Just Over-Exposed Flash power/output can be adjusted

-2 -1

+0

+1 +2

Adjusting Output - Built-In Flash

Can be done in the menu on many cameras Adjusting Output - Built-In Flash

Adjusting Flash Power Levels Adjusting Flash Power Levels

Nikon SB-900 TTL
Adjusting Standard TTL exposure Adjusting Manual 1) Press the Function button
usually by 1/3 stops mode exposure to highlight the Flash Output Adjusting Standard TTL exposure
level usually by 1/3 stops

2) Rotate the sector dial by

1/3 steps up to +3.0 or down
to -3.0

3) Press the “OK” button to

set

4) To cancel, turn the selector

back to “0”. It will not return
just by turning it off.

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Flash Technique –
Impression Evidence
 Use flash at different angles/heights
 3 Dimensional footwear and tire impressions
generally require from 0 to 45 degrees of angle
 The deeper the impression, the higher the angle
 Take multiple photos with low, medium and high
flash positions from all four sides
 Can be used for tool impressions, latent prints, bite
marks and injuries

3 Dimensional Footwear
Flash directly above impression

More detail just by moving the flash position

3 Dimensional Footwear 3 Dimensional Footwear

Flash from bottom Flash from top

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Heal section Front of shoe impression

How to create shade

Camera set up

Scale must be at
the correct depth

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Some equipment that

Camera set up can make it easier
 Camera back parallel to the impression tread
 Fill the frame with impression and scale
 Scale placed at same depth as tread
 Add label/document impression information
 Use highest quality settings such as RAW
 Use a normal lens such as 35mm or 50mm
 Use flash from all four sides and three different
heights: low, medium and high

Some equipment that

can make it easier 2 Dimensional Footwear
Flash directly above impression

2 Dimensional Footwear 2 Dimensional Footwear - EDL

Flash at very low angle from right

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2 Dimensional Footwear 2 Dimensional Footwear

Add Golf
Ball Marker
Notice
shadow
From
marker

Photos through glass

Use of a polarizer filter

Position camera and flash on glass

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Time Exposure
 Equipment needed
 Camera
 Digital media
 Lens
 Shutter release cable (optional) or remote
Bottom photos are better with no glare from flash  Tripod
 Procedure
 Focus 1/3 of the way through the scene
 Take a metered reading and take a photograph as such
 Next, take photographs of varying time lengths.
 Good rule of thumb is 15, 30, 60 seconds
 Time may vary depending on lighting
 May need more or less time

2.5 Seconds 5 Seconds

Scene using flash

All photos shot at ISO 200/F-5.6/18mm lens.

10 Seconds

Time Photography
F4.8/120 sec/ISO 1600

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Time Exposure
 Fluorescent photography
 Same basic equipment and procedure
 Times will vary
 Use small f/stops
 I.e.: f/11 or f/16

 Use a scale that does not wash out, but shows in

the photograph

Forensic light source Forensic light source

Photo with Microblue w/o filter
Normal flash photography

Forensic light source Forensic light source

Photo with Microblue w/ filter Normal flash photography

Exposure:
20 sec. @ F-
11

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Forensic light source

Photo with Microblue w/o filter
Forensic light source
Urine with Microblue Exposure: 13 sec @ F-7.1

RSAI

Forensic light source

Normal flash photography Photo with Microblue w/ filter 10 second exposure

Fluorescent powder – F5.6/ISO 200/5 seconds

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Luminol
Time Exposure
 Luminol
 Same basic Time Exposure set up
 Exposures greatly vary depending on strength of “glow” from
the suspected blood and how much you can cause it to
fluoresce without diluting the sample
 Photograph in “normal” light with and without a scale
 Use caution and protective gear when using any luminol type
chemicals
 Use larger (more open) f/stops to gather more light
 You may need to increase the ISO setting

Luminol Time Exposure

TV screens, monitors or even cell phones.
1/80th second 1/20th second

Painting with Light

 Procedure
 Focus 1/3 of the way through scene
 Set flash at highest power setting
 Use a partner if possible
 Set camera to “bulb” setting to lock shutter open
 The person with the flash signals the camera operator to lock
open the shutter.
 The flash operator then holds the flash away from their body
and at a slight angle away from the camera and into the
scene.
 The flash is then manually discharged about every fifteen to
twenty feet for the length of the scene.
 DO NOT flash back at the camera
 The same procedure is then performed, only the flash
operator comes back toward the camera on the opposite side
of the scene

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Single flash ISO 400, F-8, 80

used with ISO seconds –
400, F-5.6, 1/60 painted with
second multiple flashes

Painting with Light

ISO 400, F-8, 30 seconds – painted with
multiple flashes

Use accurate scales

Scales
 Proper scales MUST be used for comparisons
by the crime lab
 Used for fingerprints
 Tool marks
 Foot and tire impressions
 Bite marks
 Blood spatter

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Placards/Evidence Markers
Good
 Numbered or lettered scene markers
 Used to show items of evidence in the scene
 May be “tent markers”
 Cones
 Paper cups if necessary
 All placards should face the same direction in order
Bad
to be viewed from the same direction

Lay out markers in a logical order

Fields of View/Scene Photos
Use the “Rule of Three”
 Overall Photos (orientation) – establishes
location
 Medium Photos (relationship) – relationship
of evidence to location and other evidence
 Close Up Photos (identification) – of evidence
Additional when needed:
 Macro Photo – examination quality

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Fields of View/Scene Shots

Fields of View
 Medium
Overall Photograph  Shows more detail of the scene and items while still being
 Shows a general overall view of the scene from the able to place them within the scene
investigator’s view starting in proper event sequence  Close up
 May be used to show a witness viewpoint and  Shows great detail of specific items, not able to place it in
confirm or deny their “eye witness account.” the scene by the photograph alone
 Macro
 Wide angle lens can be used if needed
 Shows very fine details of wounds, tools, tool marks,
 Overlap photos of walls, ceilings and floors to “stitch” impressions, fingerprints, bite marks
or connect them together later
 Scale required for comparison work

Medium Photograph
 Shows more detail of the scene and items within the
scene
 Over-lapping of photos needed to show relationship
of different pieces of evidence and their locations
 With and w/o scene marker if appropriate

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Close up Photograph
 Shows great detail of specific items, but not able to
place item in the scene by the photograph alone
 Most likely with scene placard / marker
 Shows object of interest in great detail
 Accurate scale required for comparison work
 Latent, footwear and tire impressions
 Tool and bite mark impressions
 Blood pattern evidence
 Any small evidence to indicate actual size

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VIN Through Glass – may shoot flash through the glass or put flash
inside the windshield and point down Close up - Macro
 Film plane should be parallel to object being
photographed
 Must be done for proper comparison by crime lab
 Effective use of flash techniques is very important
for macro work
 Camera should be steady, a tripod helps
 Depth of field is very shallow
 Must correct for this
 Correct this by using a smaller f/stop
 f/11, f/16, f/22

Macro photo of latent Latent on knife blade

Serious Accident Photos In addition to taking medium and close ups,

take over-all towards scene and 8 directions
away from scene. For night photos open the
Take photos down all sides of vehicles and at each F-stop up (smaller number such as F-4 or F-2).

corner. Use a 35mm lens for APS-C digital sensor or

50mm for full size to replicate what the eye would see

100-125’ 50-75’ 25-35’

When taking photos from an

eyewitness point of view, take
photos from the witness to the
scene and from the scene back
to the witness.

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Accident Scene Accident Scene

 Scene location identifiers  Contributing factors to accident
 Street signs  Snow / ice
 Major identifiers  Anything that blocks vision of drivers
 Landmarks  Drug or alcohol usage
 buildings  Roadway signage
 Evidence of speed
 Length of scene

Accident Scene Yaw

 Accident evidence
 Gouges / scrapes
 Skid / yaw marks
 Roadway signage
 Seatbelt usage
 Interior damage or operation
 Interior contents
 Seat / Steering wheel positions

Anatomy
 Treat injury photos just like any other evidence
 Photograph a sequence using all three views such as: Shin, calf,
 Person – overall view arm or ?
 Face and upper body with injury to elbow
 Elbow injury with and without scale
 Knees and Elbows can look the same with only a
close up photo
 Use caution so you don’t over-expose or wash out
with flash too close or too much power

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Flash positioning and power settings

can make a difference with bruises.
Draping
 The use of draping will allow you to take photographs of
injuries near intimate parts of the body w/o exposing
those parts.
 Explain to the victim what photos you will be taking
and why they are needed
 Have hospital staff drape victim using a clean hospital
bed sheet
 It’s a good idea to have a witness present such as
someone from the hospital staff while photos are
taken

One Original and one Back-Up CD-R can be

Documentation created for each assignment. Burn each
Archiving Images on the CD face onto a CD or DVD and label each properly.
 Crime scene photos are evidence
 A standard operating procedure (SOP) should be used ORIGINAL OR
or established to ensure consistent integrity of BACK-UP
photographic evidence
CD-R 700MB/80min Other info that can
 SOP should spell out who takes the photos, by who
be added:
and how the images are uploaded or burned, and CAD Number,
responsibility for storage and retention CAD#06 252 1082
Incident Number,
IR#06 252 0164
 Images should be archived or saved in a combination Type of Case,
of locations such as CD, DVD, Hard Drive, Records BURGLARY J.D. Your Initials
Management System, etc.
Only approved Sharpie CD/DVD
markers should be used

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Permanent markers and adhesive labels can

deteriorate data on CD’s. Only use markers Photographic ID Card
designated safe for CD/DVD surfaces
 Typically should be the first or last shot in the series
Only a thin layer of acrylic or plastic separates
of photos
the label, or top surface, from the aluminum Label
which contains your data  Best if card is pre-made
Aluminum
 It is used to establish a connection/chain of evidence
Dye of the photos to your scene
 Also helps if the photos or CD gets misplaced
Polycarbonate plastic body of a CD-R 1.2mm

Laser reads from the bottom through the polycarbonate plastic

POLICE DEPARTMENT NAME

Photographic ID Card PHOTOGRAPHIC RECORD SHEET

 ID Cards could show (whatever works best for your

department) Sample
LOCATION:______________________________________
 Agency name _______________________________________________
 Photographer DATE:_______/_______/_______TIME:_______________
 Case number TYPE OF INCIDENT:________________________________
 Time _______________________________________________
 Date PHOTOGRAPHER:_________________________________
 Media card number CAMERA BODY:______________ FLASH CARD:__________
 Location / Address
 Case Type

Records – Photographic log

 Record specific information about each photo (could
Records – Photographic log
include):  Can assist those who review the photos to
 Address and/or location within the scene understand what your intent was, or for those that
 Camera, lens, and flash used or not used must use the photo evidence for reconstruction such
 Photo or frame number
as fire scenes, accident scenes or blood patterns
 Describe item photographed, distance from camera  Remember, you can’t always collect all evidence from
and direction camera is pointing your scene such as a tire skid mark. It would be
 Date, time important to know which vehicle it came from, what
 Any other information deemed appropriate by your
direction it was going, and the sequence if more than
department one mark exists.
You should document every photo!!!

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Photography – Safety Issues

 Safety
 Safe from suspects and crowds
 Make sure you re-clear the house after patrol has
done so
 Blood borne pathogens
 Structurally sound
Sample  Especially in cases of fire

Photography – Safety Issues Equipment Care

 Rain / Snow
 Traffic  Use 1 or 2 gallon zip lock bag to cover the camera
 General building construction and lens or flash
 Animals  Cut holes for lens and operate camera from
 Downed wires / electrical hazards opening in the bag

• Digital equipment is much more sensitive to

moisture than manual film cameras so use an
umbrella or improvise with rain gear or a large
piece of cardboard held overhead

 Pro’s
Digital
 Able to see work immediately Digital Terminology
 E-mail other jurisdictions  Zoom
 Able to manipulate (correct mistakes)  Optical
 Cost savings and environmentally friendly
 Enlarges or magnifies using the lens
 Con’s  Better option than digital zoom
 Able to manipulate
 Digital
 Must have STRICT chain of custody
 Software (electronically enhanced) enlargement
 Quality - Enlargements may not be as clear as film of picture
 Comparisons by crime lab are not always possible
 Distorts image causing poor quality
• Use uncompressed or lowest ratio of compression
possible

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How
large is
the
blood
spot?

Hit & Run Accident Scene

WDK-710 OR WCK-710

Center of Striking Vehicle

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Which photo
shows the
What does right side
next to the
the black auto better?
arrow
indicate? Open the F-
Stop and
increase flash
power
manually.

TTL Manual settings When done manually, the results are much better!

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Remember These So you don’t end up one of these

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