FORENSIC

PHOTOGRA
PHY
LESLIE M. SAPICO
RCRIM
 TABLE OF SPECIFICATIONS

Explain the scientific and technical principles of forensic

photography
■ Identify the types of photography and their application to
law enforcement operations e.g. surveillance, crime scene,
etc
■ Distinguish analog and digital photography and the
operation of various photographic equipment, its parts &
functions in forensic investigation
■ Process photographic exhibits i.e. fingerprint, ballistic,
questioned documents, etc.
■ Examine the legal aspects of photographic evidence, write
DEFINITION OF
PHOTOGRAPHY:
LITERAL DEFINITION

Derived from the Greek word “Phos”

or “Photos” which means “light” and
“Grapho” means “Writing” or
“Graphia” meaning “to Draw”.
MODERN DEFINITION:

Photography is an art of science which deals with the

reproduction of images through the action of light,
upon sensitized materials, with the aid of a camera and
its accessories and the chemical processes involved
therein.

TECHNICAL DEFINITION:

Photography defined as any means for the chemical,

thermal, electrical or electronic recording of the
images of scenes or objects formed by some type of
radiant energy including gamma rays, X rays, ultra violet
 PHOTOGRAPH PICTURE
Is the mechanical and Is a generic term is
chemical result of refers to all kinds of
Photography. An image formed image
that can only be a
product of photography
 POLICE
PHOTOGRAPHY
an art or science which
deals with the study of the
principles of photography,
the preparation of
photographic evidence, and
its application to police
work. FORENSIC PHOTOGRAPHY
an art or science of photographically
documenting a crime scene and
evidence for laboratory examination
and analysis for purpose of court
trial.
 USES OF
PHOTOGRAPHY
■ Personal identification
■ For communication
■ For record purposes
■ For preservation
■ For discovering and proving
■ For court exhibits
■ Crime prevention
■ Police training
■ Reproducing and copying
 USES OF
PHOTOGRAPHY
PERSONAL IDENTIFICATION
■ Personal Identification is considered to be the first
application of photography in police work.
Alphonse Bertillion was the first police who utilized
photography in police work as a supplementary
identification in his Anthropometry system

FOR COMMUNICATION
■ Photograph is considered to be one of the most
universal methods of communication considering
that no other language can be known universally than
photograph
FOR RECORD PURPOSES
■Considered to be the utmost used of
photography in police work

FOR PRESERVATION
■Crime scene and other physical evidence
requires photograph for preservation
purposes. Crime scene cannot be retain as
is for a long period of time but through
photograph the initial condition of the scene
of the crime can be preserved properly
 Different Views in photographing

■ General View = taking an over–all view of the scene

of the crime. It shows direction and location of the crime
scene.
■ Medium View = Is the taking of the photograph of the
scene of the crime by dividing it into section.
This view will best view the nature of the crime.
Close-up View = Is the taking of individual photograph of
the evidence at the scene of the crime. It is design to show
the details of the crime.
■ Extreme Close-up View = Commonly designed in
laboratory photographing using some magnification
FOR DISCOVERING AND PROVING
Photography can extend human vision in
discovering and proving things such as:
a. The use of magnification
• Photomicrography
• Photomicrography/Macrophotography
• Microphotography
• Telephotography
b. Used of artificial light such as x-ray, ultra-violet
and infra-red rays to show something which may
not be visible with the aid of human eye alone.
FOR COURT EXHIBITS
■Almost all evidence presented in court before
formally be accepted requires that they satisfy
the basic requirements for admissibility which is
relevancy and competency. A question of
relevancy is usually proved by proving the origin
of the evidence and its relation to the case and
this is usually supplemented by photograph of
the evidence giving reference as to where it
came from.
■Evidence presented in court once accepted
became known as Exhibit. Either Exhibit 1,2,3
etc. for the defense or Exhibit A, B, C etc for the
CRIME PREVENTION
■With the used of video camera (hidden camera) and
other advanced photographic equipment crimes are
being detected more easily and even to the extent
of preventing them from initially occurring.
POLICE TRAINING
■Modern facilities are now being used as instructional
material not only in police training as well as in
other agencies.
REPRODUCING AND COPYING
■With the use of photography any number of
reproduction of the evidence can be made those
giving unlimited opportunity for its examination and
 ESSENTIALS OF PHOTOGRAPHY
LIGHT - is an electromagnetic energy that travels in a form
of a wave with the speed of 186, 000 miles per second.
CAMERA - a light tight box designed to block unwanted or
unnecessary light from reaching the sensitized material
LENS - is the light gathering mechanism of the camera that
collect the reflected light coming from the object to form the
image.
SENSITIZED MATERIAL - composed of a highly sensitized
chemical compound which is capable of being transformed
into an image through the action of light and with some
chemical processes. ( Film and Photo Paper).
■ CHEMICAL PROCESS - is the process necessary for
reducing silver halides into a form so as a latent image
 SPECIAL USES OF
PHOTOGRAPHY
INFRARED PHOTOGRAPHY
Recording images formed by infrared radiation. It can penetrate haze
that scatters the waves of visible light.

USES IN LAW ENFORCEMENT

• Questioned documents - Even crossed-out words or writings on a

charred piece of paper can be read if photographs of them are taken
with infrared rays.
• Aerial photography - Infrared photography can enhance the contrast
of the terrain
• Surveillance photography
• Detection of gunshot-powder burns, stains and irregularities in cloth
• It can differentiate inks, dyes, and pigments that
appears visually the same
• Fabrics that appear to be similar but have been dyed
differently can be identified by infrared
• It may also reveal the contents of sealed envelopes
• It is also valuable in detecting stains on cloth, including
blood stains that are not visible to the eye; and
• Powder residues surrounding bullet holes in cloth, even
when the fabric is dark in color or bloodstained, may be
made visible by infrared
ULTRAVIOLET PHOTOGRAPHY
Art or process of photographing or recording
UNSEEN objects by means of ultra violet light.

USES IN LAW ENFORCEMENT

• Try ultraviolet photography after visible light

techniques and infrared light techniques fail
(questioned documents, etc.).
• Fingerprints on multicolored surfaces
• Body secretions such as urine, semen and
perspiration often glow when illuminated by
ultraviolet light
• Money and other valuables can be dusted or
marked to identify thief’s.
• Photographing “invisible ink”.
X-RAY PHOTOGRAPHY
Widely used in medicine, industry
and science. It is quite different
from ordinary photography. X-rays
are invisible electromagnetic
waves.
MUG-SHOT PHOTOGRAPHY
Use for personal identification
which is the first use of
photography in police work.
TELEPHOTOGRAPHY
Is the process of taking photograph
of a far object with the aid of a
long focus and Telephoto lens.
PHOTOMICROGRAPHY
Taking a magnified photograph of
small object through attaching a
camera to the ocular of a
compound microscope so as to
show a minute details of the
physical evidence.
PHOTOMACROGRAPHY/
MACROPHOTOGRAPHY
Taking a magnified (enlarged)
photograph of small object by
attaching an extended tube lens
(macro lens) to the camera.
MICROPHOTOGRAPHY/ MICRO-
FILMING
Is the process of reducing into a
small strips of film a scenario. It is
 PRINCIPLES OF PHOTOGRAPHY
A photograph is the mechanical and chemical result of photography.
To produce a photograph, light is needed aside from sensitized materials.
Lights reflected or radiated by a subject must reach sensitized material inside
a camera.
The amount of light on the sensitized material after exposure is not
immediately visible to the eyes.
To make the formed image visible, it must undergo the development
process(chemical process).
The visual effect that results from the chemical processing is dependent on the
quantity and quality of the exposing light.
More light will yield an opaque or black shade on the sensitized material after
development.
If the light is too little, it will produce a transparent or white shade.
■ The exclusion of all other lights to be recorded on the sensitized material
 LIGHT
THE WAVE THEORY
(CHRISTIAN HUYGENS)
It is the theory that was
transcribed from the motion of
the water that if we observe a
piece of log floating in the ocean
and with the force of the air
would naturally will make the
log move up and down.

CORPUSCULAR THEORY
(NEWTON)
This later opposed the wave
theory stating that light has
its effect by the motion of
MODIFIED WAVE
/ELECTROMAGNETIC THEORY
(MAXWELL AND HERTZ)
All these theories are still
considered to be of little
lacking that law
enforcement need not to be
very focus on this but rather go
along with the accepted
conclusion that light is a form of
energy, which is
electromagnetic in form.

QUANTUM THEORY (ALBERT

EINSTEIN)
Electrons attached to a metal
can absorb specific light, thus
 LIGH
T
Light is defined as an electromagnetic energy with the
speed of 186,00 miles per second.
The speed of light, measured in a vacuum is 299, 792.5
km/sec (approximately 186,281 miles/sec)
Light wavelength is the distance measured between two (2)
successive crest or through of wave and it is expressed in
either Millimicron (nanometer) or Angstrom.
Millimicron is the units of light wavelength which is
equivalent to one millionth part of a millimeter
• Angstrom is relatively smaller for it has an equivalent
measurement of ten (10) millionth part of a millimeter
ISAAC NEWTON IN 1666 proved that the light
which men see as white light is actually a mixture
of all colors of the spectrum. This is produced
when we allow light to hit a glass prism (Sharp
Edge of the Glass)
 TYPES OF
LIGHT
LIGHTS CAN LARGELY BE CLASSIFIED INTO VISIBLE AND
INVISIBLE LIGHT:

VISIBLE LIGHT
Is the type of light that produces different sensation
when reach the human eye. It is the type of light,
which is capable of exciting the retina of the human
eye.

INVISIBLE LIGHT
Lights in which their wavelength are either too short
or too long to excite the retina of the human eye i.e.
 PHOTOGRAPHIC RAYS/ELECTROMAGNETIC SPECTRUM

X-RAY
Light with the wavelength between 1 to 30 millimicrons. It is produced by
passing an electric current through a special type of vacuum tube. It was
incidentally discovered by Conrad Welhelm Roentgen. This type of light works in the
principle of shadow photography.
ULTRA-VIOLET RAY (BEFORE THE VIOLET)
Radiation having a wavelength of 30 to 400 nanometers designed to photograph
fingerprints in multi colored background, documents that are altered, decipherment
of erase writing and developing invisible writing. It is commercially known as “black
Light”.
VISIBLE LIGHT
It refers to the type of radiation having a wavelength of 400 to 700 millimicrons
designed for ordinary photographing purposes
INFRA-RED (BEYOND THE RED)
Considered as the photographic rays with the longest wavelength ranging from 700
to 1000 millimicrons. It is designed to take photograph of over-written
 COLORS OF
LIGHT FOUND
IN VISIBLE
SPECTRUM PRIMARY COLORS
NEURTRAL COLORS
BLUE
GRAY GREEN
RED
WHITE

BLACK
SECONDARY COLORS

WHITE – PRESENCE OF ALL CYAN

COLOR YELLOW
MAGENTA
BLACK – ABSENCE OF ALL
PAINTED OBJECTS do not produce their own light, they
reflect light, when objects look red, because it is reflecting
only red light to our eyes. To do this, it absorbed the other
primary colors in the white light it is reflecting. It absorbed
green and blue and reflects red.
 MEDIUMS OF LIGHT

TRANSPARENT OBJECTS – mediums that

merely slow down the speed of light but allow
to pass freely in other respects, transmit
90% or more of the incident light.

TRANSLUCENT OBJECTS – mediums that

allow light to pass through it in such a way
that the outline of the source of light is not
clearly visible, transmit 50% or less of the
incident light.

OPAQUE OBJECTS – A medium that divert

or absorb light, but does not allow lights to
 Once light hits a certain medium, its
action can be characterized as either:

REFLECTED once the light hits a

mirror and it bounce back

ABSORBED when the light hits a dark

colored object and prevents it from
either bouncing or passing through.

TRANSMITTED when the light hits a

transparent glass which would allow
the light to pass through its medium
 MANNER OF BENDING OF
LIGHT
REFLECTION – the rebounding or
the deflection of light as it hits the
surface

REFRACTION – bending of light

when passing from one medium to
another

DIFFRACTION – bending of light

when it strikes the edge of an
opaque object.
 SOURCE OF LIGHT
NATURAL LIGHT
Are those light which come
to existence without the
intervention of man.
Example: Sunlight, moonlight
and starlight.

TYPES:
• BRIGHT SUNLIGHT
• HAZY SUNLIGHT
• DULL SUNLIGHT
BRIGHT SUNLIGHT

Object in an open space casts a deep and uniform

shadow and the object appears glossy
HAZY SUNLIGHT

Object in an open space casts a transparent or bluish

shadow. This is due to thin clouds that cover the sun.
DULL SUNLIGHT

Object in an open space cast no shadow due to thick clouds

covering the sun.

CLOUDY BRIGHT – objects in open space cast no shadow

but objects at far distance are clearly visible.
CLOUDY DULL – objects in open space cast not shadow
and visibility of distant objects are already limited.
ARTIFICIAL LIGHT
Otherwise known as man-made
light e.g. Fluorescent bulb,
incandescent bulb and photoflood
lamp.

CONTINUOUS RADIATION

PHOTOFLOOD LAMP
Is likewise known as Reflectorized
light or Spot light. It is a light with
a reflector at the back which focus
the light to the object the
common wattages of this lamp is
FLUORESCENT LAMP
Are tube lamps in which the walls are
coated with fluorescent powders with
both ends is mounted with a holder
that serves as the reflector. This is
commonly used by everybody more
than it is used in photographing.
INCANDESCENT BULB
Are bulb with a wire filament
connecting two wires which sustain the
electrical charge that produces the
light. Everybody likewise commonly
uses this although it is more expensive
in terms of electrical consumptions.
INFRA-RED LAMP
 SHORT DURATION TYPE

FLASH BULB
Are chemical lamps, as it generate lights by the rapid
combination of metal in oxygen. The bulb can be
used only once as the bulb is busted when fired
electrically. There are thin filaments inside the bulb
with two electrical contacts. When the current flows
through the filament, it becomes incandescent and
ignites the explosive primer that ignites the
aluminum foil that burns, giving flash of tense light.
ELECTRONIC FLASH
Produces light by an instantaneous electrical in
charges between two electrodes in a gas filled glass
bulbs. The electrical energy for the discharge is kept
in capacitor or condenser. It usually ranges from
1/300 second and 1/5000 second, and because of
CONCURRENT LIGHT
Light that is scattered

COHERENT LIGHT
Light that is aligned as LASER
LIGHT “Light Amplification by
Stimulated Emission of
Radiation”
HOLOGRAM The formation of
image through the use of laser
light
DENNIS GABOR – who invented
the hologram, explained his
 CAMER
IsA
a light tight box with light gathering device and a means of
blocking unwanted or unnecessary light from reaching the
sensitized material

Basically, camera can produce image with its four-(4) basic

parts such:
• LIGHT TIGHT BOX
• LENS
• FILM HOLDER (HOLDER OF SENSITIZED MATERIAL)
• SHUTTER
*All other accessory of any camera merely makes picture
taking easier, faster and convenient for the operator and is
 ESSENTIAL PARTS OF A CAMERA
1. LIGHT TIGHT BOX – a box designed to keep light out
and serve as a frame to hold other parts.
2. LENS – designed to collect or to focus the reflected
light from an object to form an image on the film.
3. SHUTTER – designed to control the time during which
the light reaches the film
4. FILM HOLDER (HOLDER OF THE SENSITIZED
MATERIAL) – located at the opposite side of the lens
designed to hold firmly the sensitized material to prevent
the formation of the multiple or blurred image
5. VIEW FINDER – designed to determine the field of
view of the camera or the extent of the coverage of the
 OTHER PARTS OF A CAMERA

VIEWING SYSTEM
Is that part of the camera which provides the means of
showing to the photographer the entire scene coverage
that can be recorded in the sensitized material.

FILM ADVANCER (FILM ADVANCE LEVER OR KNOB)

Designed to transfer the exposed film to the other side or
to the take up spool and the unexposed film will be the
opposite side of the lens for another exposure.
SHUTTER SPEED
Is that part of the camera which regulates the time exposure
of the film thus, affecting the amount of light reaching the
sensitized material. It is usually expressed in a fraction of a
second.
1/1 ½ ¼ 1/8 1/15 1/30 1/60 1/125 1/250
1/500 etc.

• The speed number in the left is always two times powerful

in terms of light gathering than that of the right number
• Slow shutter speeds are basically used for low light while
fast shutter speeds are used in bright lighting conditions.
• You have to control both shutter speed and lens opening to
achieve correct exposure.
Using a fast shutter speed the photographer
can stop or “freeze” the action of a person
provided that necessary adjustment on the
lens opening be made in order to maintain
normal exposure
 TYPES OF
SHUTTER
BETWEEN THE LENS OR CENTRAL SHUTTER
A type of shutter that is usually located between the elements
of the lens made of metal leaves and its action starts from the
center toward the side, and then closes back to the center.

FOCAL PLANE SHUTTER

Located near the focal plane or the sensitized material, this type of
shutter is usually made of cloth curtain, its action starts on one side and
closes to the opposite side

Camera shutters often include one or two other settings for making very
long exposures:
B (FOR BULB ) – keep the shutter open as long as the shutter release is
LENS APERTURE
The ratio between the diameter of the whole lens in
relation to the focal length of the lens. It is the light
gathering power of the lens. Otherwise known as lens
opening or relative aperture and it is expressed in F-
number.
f 2.8 f-4 f-5.6 f-8 f-11 f-16

Diaphragm – a device made of thin overlapping metal

leaves within a lens or camera which can be adjusted to
specific apertures of f-stops to control the amount of light
that strikes the film.
■ The lower the f-number, the bigger the lens opening and the bigger
the lens opening the greater the volume of air that will passed
through the lens and reach the sensitized material.
■ If the objective of a photographer is obtain the widest possible
coverage of the lens in which objects are all sharp, It will be
advisable to used a smaller lens opening.
Depth of Field – It is the remoteness or distance measured
from the nearest to the farthest object in apparent sharp focus
when the lens set of focus is at a particular distance.
Depth of Focus – It is the distance toward and away from the
film that the lens can be moved at a given f-value and the
object still appears in focus
Hyperfocal Distance – The nearest distance at which a lens
is focused with a given diaphragm opening, which will give the
maximum depth of field.
FOCUSING
Is that mechanism of a camera designed to control the
degree of sharpness of the object to be photograph. It is
usually obtained by estimating the distance from the camera
and that of the object that will make a sharp or clear image.

TYPES OF FOCUSING DEVICE:

RANGE FINDER (e.g. Viewfinder, instamatic camera and 35mm

cameras)
COINCIDENCE otherwise known as superimposed image focusing. In
this type of focusing a single object will appeared double once the
object is not in focus, but moving the focusing adjustment this double
image will coincide or superimposed to form a single object.
SPLIT IMAGE FOCUSING on the other hand will show an image in
split or two parts once the object in not in focus once the two parts of
GROUND GLASS (e.g. twin-lens reflex camera and
digital camera)
This is observed from the viewing system
of the camera, once the object is not in focused the
object will be viewed to be blurred and will turn
sharp and clear once adjusted. It is focused directly
observing the image formed at the ground glass
screen, placed behind the taking lens.

SCALE BED/FOCUSING SCALE (e.g. press and

view camera, and Polaroid Evidence Camera).
Estimating the distance of the object and adjusting
the camera control based on his estimation do this.
 CAMERA
ACCESSORIES
■ TRIPOD – a stand consisting three
legs and mounting head for a camera;
used to support and stabilize the
camera.

■ CABLE-RELEASE – a cable with a

button or plunger attached to a
camera to prevent accidental
movement and eliminate camera
shake.

■ FLASH UNIT – An aartificial ssource

synchronized with the opening and
■ LIGHT METER – a device used in
determining the intensity of light
that strikes the subjects and affects
the film
■ EXTENSION TUBE – a tube inserted
between the lens and camera body
to provide increased mmagnification
for macrophotography.
■ CAMERA GRIP – a device used to
hold the camera firmly so as to
prevent vibration or movement
■ LENS HOOD – a plastic, metal or
rubber device that attaches to the
front of a lens to shield it from
extraneous light and eliminate
reflection that might destroy the
image cast by objects especially
when the light is coming from the
SIMILARITY OF A CAMERA TO
THE
HUMAN EYE
 TYPES OF THE CAMERA
■ VIEW FINDER TYPE – it is considered as
the smallest and the simplest type of
camera. Its view finder framed the objects
that will be recorded on the film.
■ SINGLE LENS REFLEX CAMERA – it is a
type of camera best suited for police work
due to its interchangeability of the lens. The
best way to determine the entire coverage
of the camera is to look directly behind lens
of the camera. These types of camera will
eliminate the parallax error.
■ TWIN LENS REFLEX CAMERA – A type of
camera with dual lens, one for focusing and
the other for forming the image.
■ VIEW OR PRESS TYPE – is considered the
biggest and expensive type of camera, used
■ PINHOLE CAMERA cconsist of a box
with a small hole in one of its side.

■ FIXED FOCUS CAMERA the most

basic of all camera, have a
nonadjustable lens. Most model have
a single diaphragm setting and only
one or two shutter setting.

■ POINT AND SHOOT CAMERA have

many automatic features that make
them easy to use. Electronic devices
inside the camera automatically
■ DIGITAL CAMERA a camera that takes
video or still photographs, or both,
digitally by recording images on light
sensitive sensor (not film). A type of
camera that is electronic and does not
require light sensitive materials (film)
for recording images, it either uses a
memory card, disc (hard disc, floppy or
compact disc) as storage.
■ 35MM CAMERA any class of cameras
designed to use 35-mm film, the same
film used in commercial motion picture
production.
■ FOLDING CAMERA lens and shutter
mounted to camera body by means of
 LENS
An essential part of the
camera which is used to focus the
light coming from the subject, it is
mainly responsible for the
sharpness of the image formed
through which light passes during
exposure.
A medium or system which
converge or diverge light rays
passing through it to form an
image.

DANIEL BARBARO
First to introduce the use of
 CLASSIFICATION OF LENSES
ACCORDING TO THE TYPE OF IMAGE TO BE PRODUCED

• POSITIVE OR CONVEX LENS (CONVERGING LENS)

Characterized
by the fact that it is thicker at the center and thinner at the
side which is
capable of bending the light together and forms the image
inversely.
(ZOOM IN)

• NEGATIVE OR CONCAVE LENS (DIVERGING LENS)

Characterized
by the fact that it is thinner at the center and thicker at the
 INHERRRENT
LENS DEFECTS
■ ABERRATION
Is the failure of light rays to focus properly
after they pass through a lens or reflect from
a mirror. Proper focus occurs when the light
rays cross one another at single point.
ABERRATION also defined as an optical
imperfection responsible for image
distortion.

■ SPHERICAL ABERRATION
Inability of the lens to focus light passing the
side of the lens producing an image that is
sharp in the center and blurred at the side.
■ COMA (Also known as lateral
aberration)
Inability of the lens to focus light that
travels straight or lateral, thus making
it blurred while the light reaching the
lens oblique is the one the is
transmitted sharp. it is a lens defect in
which the rays enter the lens obliquely
1. POSITIVE COMA – A kind of lens
coma results in a star image near
the outer edges of the viewing filed
seeming to have comet – style tail
scattering radially towards its
optical axis (center)
2. NEGATIVE COMA – Scattering
radially away from its optical axis
The term Coma was coined 1733 by
■ CURVATURE OF FIELD
The relation of the images of the
different point are incorrect with
respect to one another. (Circular
dome like image)

■ DISTORTION
Is a defect in shape not in sharpness.
It can either be Pincushion or Barrel
Distortion
PINCUSHION – there is straight lines
near the edges of the frame bow
toward the center of frame. The
curving is inward
BARREL – straight lines near the
edges of the frame bow outward from
■ CHROMATIC ABERRATION
Inability of the lens to bring
photographic rays of different wave
lengths to the same focus.
Is the failure of different colored light
rays to focus after passing through a
lens, focusing of light of different
colors at different points resulting in a
blurred image. This is the most
difficult lens aberration to correct.

■ FLARES
Condition of the lens producing
multiple images. Flare is non-image
forming light. Reduces contrast and
color saturation. Flare is caused by
very bright subject areasband
■ ASTIGMATISM
Is a form of lens
defects in which the
horizontal and vertical
axis are not equally
magnified. Inability of
the lens to focus both
horizontal and vertical
lines.

■ CHROMATIC
DIFFERENCE OF
MAGNIFICATION
The inability of the lens
to produce images
 CLASSIFICATION OF LENS ACCORDING TO
DEGREE OF CORRECTIONS
■ MENISCUS LENS - Lens that has no correction.
■ RAPID RECTILINEAR LENS(AKA APLANAT) - Lens corrected of
distortion. It was introduced by John Henry Dallmeyer in 1866
■ ANASTIGMAT/ANASTIGMATIC LENS - Correcting astigmatism
■ ACHROMATIC/ACHROMAT LENS - Correcting chromatic aberration
■ APOCHROMATIC/APOCHROMAT LENS - Correcting both
astigmatism and chromatic aberration
■ PROCESS LENS - A super-corrected lens for astigmatism. It has a
better color correction and has the ability to produce the best
definition of image in the photographs.
■ FIXED FOCUS LENS - A lens use in all fixed focus camera. Basically,
it has a short focal length and greater depth of field.
 FOCAL LENGTH
The distance between the lens
and the film plane when the
lens is focused on infinity.
Focal length controls
magnification (the size of the
image formed by the lens). A
lens is also described in terms
of its view angle, the mount of
the image shown on the film.
Focal lengths are usually
specified in millimeters (mm),
but older lenses marked in
 CLASSIFICATION
OF LENSES
ACCORDING TO
ITS FOCAL
■ WIDE ANGLE OR SHORT FOCUS
LENGTH
With focal length not longer than
the diagonal half of the negative.
Useful in taking photograph at short
distance with wider area coverage.
■ NORMAL OR MEDIUM FOCUS
With focal length approximately
equal but not longer than twice the
diagonal half of the negative.
■ LONG OR TELEPHOTO LENS
With focal length longer than
twice the diagonal half of the
negative. Best used in long
distance photographing but with
narrow area coverage.

■ MACRO LENS
Lens with the ability to focus
from infinity to extremely closely,
allowing it to capture images of
tiny objects in frame-filling,
■ FISHEYE LENS – Describes
an extreme wide angle lens
that has an angle of view
exceeding 100° - sometimes
more than 180° - and that
renders a scene as highly
distorted.

■ VARIABLE FOCUS LENS – A

zoom lens – one in which
focal length is variable.
Elements inside a variable
focus lens shift their
positions, enabling the lens
to change its focal length – in
 FILTERS
Homogeneous medium (plastic or glass) which absorbs and transmits
different light rays passing through it. Its basic purpose is to subtract
(control) light rays of varying wavelengths.
TYPES OF FILTERS
■ CORRECTION FILTERS – used to change the response of the film so
that all colors are recorded at approximately the relative brightness
values by the eye.
■ CONTRAST FILTERS – used to change the relative brightness so that
two colors which would otherwise be recorded as nearly the same will
have decidedly different brightness in the picture.
■ HAZE FILTER – used to eliminate or reduce the effect of serial haze.
■ NEUTRAL DENSITY FILTER – used for recording the amount of light
transmitted without changing the color value.
■ POLARIZING FILTER – used to reduce or eliminate too much
SENSITIZED
MATERIAL
It refers to the film
and photographic paper
that basically composed of
emulsion containing Silver
Halides suspended in
gelatin and coated on a
transparent or reflective
support.
 PARTS OF FILM
STRUCTURE OF WHITE AND BLACK FILM
■ TOP COATING (TOP LAYER) – scratch resistant coating
also called gelatin coating, an over coating composed of a
thin transparent layer of a hard gelatin which help protect
the silver halide emulsion from scratches and abrasions.
The hard gelatin, which is derived from cows, contains
SULFUR. The SULFUR is very much compatible with silver
halides.

■ EMULSION LAYER – SILVER SALT + GELATIN – A layer

composed of silver compounds which are light sensitive
and halogens (such as bromide, chloride and iodide
■ HALIDE. Silver Halides are rare compound that are
responsible in forming the so called the LATENT IMAGE in
the photographic film.

■ FILM BASE – commonly made of cellulose or other

material such as paper, plastic, or glass, which supports
the emulsion layer and is coated with a non-curling ant
halation backing.

■ ANTIHALATION BACKING – a black dye applied on the

rare surface of the film. Its function is to absorb light that
may penetrate the emulsion thus making the image
sharper since it suppresses double image. It prevents halo
formation in the photograph. The black dye is removed
 STRUCTURE OF COLOR FILM
■ TOP LAYER – sensitive to blue light only, green and red light passes
through it without exposing the color halide.
■ EMULSION LAYER
1. BLUE FILTER
2. YELLOW FILTER – silver suspended in gelatin, it is coated between
the top and second layer to absorb any penetrating blue light but
allowing green and red light to pass through.
3. GREEN FILTER – a layer that is orthochromatic, the layer sensitive
to blue light (which can not reach it) and green, but not to red light
pass on to the bottom of the emulsion layer.
4. RED FILTER – a panchromatic layer, sensitive to blue (which can’t
reach it) and red. It is also sensitive to green light but to a slight
degree that is insignificant.
■ FILM BASE – Plastic film base
■ ANTIHALATION BACKING / COATING
 TYPES OF FILM
ACCORDING TO USE
BLACK AND WHITE FILM
Usually represented by a prefix or a
suffix “Pan” or “Ortho” and generally
used in black and white photography.
EXAMPLE : Ortholith film, Tri X-Pan and
Pan X-plus.
COLORED FILM
Can be divided into two:
Negative type - having names ending
in color
Reversal type - having names ending
ACCORDING TO LIGHT SENSITIVITY

■ FAST FILM – contains numerous number of large

grains of silver halides that usually develop in
groups; film that are very sensitive to light.

■ SLOW FILM – film that require longer period to

completely expose their emulsion to light; film
with fine grains of silver halides.
ACCORDING TO SPECTRAL SENSITIVITY
is the responsiveness of the
film emulsion to the different wavelength of
the light course.

■ BLUE – SENSITIVE FILM - Sensitive to

U.V. light and Blue Color.
■ ORTHOCHROMATIC FILM - Sensitive to
U.V. Light up to the green. ( popular in
the marker as KODALITH FILM)
■ PANCHROMATIC FILM - Sensitive to
U.V. Light up to red (sensitive to all colors
of the visible light)
■ INFRA-RED FILM - Sensitive to all colors
and to infra-red light.
 FILM SPEED (EMULSION
SPEED)
This refers to the degree of sensitivity of the film to light.
■ ASA (AMERICAN STANDARDS ASSOCIATION)
This is expressed in arithmetic value system. The bigger the number the
more sensitive the film is.
■ ASA 10, 20 , 30 , 40,50, 100, 200, 400, 800, 1000
Note: A film with an arithmetical value of 400 is four times as fast as one
with a speed of 100
■ DIN ( DEUTCHE INDUSTRE NORMEN)
Expressed in Logarithmic value system. The bigger the number the
more sensitive the film is.
■ Din 12, 15, 18, 21, 24, 27, 30, 33 etc.
Note: In this system, an increase of 3 degree doubles the sensitivity of
the film.
 ■ ISO (INTERNATIONAL STANDARD ORGANIZATION)
Expressed as combination of ASA and DIN rating.
1. ISO – 25 – slowest speed that natural condition will permit, for
best color and sharpness.
2. ISO – 100 to ISO – 200 – for general purpose
3. ISO – 100 – slow speed film; needs sufficient light and low
shutter speed; has fine grains of silver halides; produce sharp
image.
4. ISO – 200 – twice as fast and as sensitive as ISO – 100; has large
grains; produce large sharp image.
5. ISO – 400 – for dim light or with moving subject
6. ISO – 1000 and up – for extremely low light conditions or for fast
moving objects
PHOTOGRAPHIC
PAPER
It is that sensitized
material that will record
the visible image in the
final development and
become the
photograph.
 TYPES OF PHOTOGRAPHIC
PAPERS
ACCORDING TO EMULSION USED (SILVER HALIDES
CONTENT)
■ SILVER CHLORIDE PAPER - Used for contact printing,
the size of the positive print is the same as the size of the
negative used. Sensitivity to light is low and give blue-
black tones when properly developed.
■ SILVER BROMIDE PAPER - Used projection, printing and
enlarging process. This is one of the most ideal photo
paper used for police photography. Will give a black tone
when properly developed.
■ SILVER CHLOROBROMIDE PAPER - Used both for
projection and contact printing. Slow emulsion
■ VARIABLE CONTRACT PAPER - Combines the contrast
 ADVANTAGES OF PROJECTION
PRINTING
The main advantage of enlarging over contact printing is
that large prints can be made, but there are several other important
advantages.
THE ADVANTAGES OF PROJECTION PRINTING ARE AS FOLLOWS:
■ DODGING = is the process of eliminating unwanted portion of the
negative during enlarging.
■ CROPPING = is the process of omitting an object during the process
of enlarging and printing.
■ VIGNETTING = is the gradual fading of the image towards the side
through skillful adjustment on the dodging board.
■ DYE TONING = is the process designed in changing the color tone of
the photograph.
■ BURNING-IN = refers to additional exposure on a desired portion of
the negative used for purposes of making a balance exposure.
ACCORDING TO PHYSICAL CHARACTERISTICS

WEIGHT
■ LIGHT WEIGHT = designed for high flexibility and
when paper thickness is not of consideration. Intended
for purposes, which involves folding.

■ SINGLE WEIGHT = papers used for small prints or

which are need to be mounted on solid and fine
details necessary in the production. Used in ordinary
photographic purposes.

■ DOUBLE WEIGHT = generally used for large prints

 SURFACE TEXTURE
■ GLOSSY PAPER =designed for fine details and
brilliant image formation.
■ SEMI-MATE PAPER = obscure the fine details
■ ROUGH PAPERS = used for large prints or where
breath rather than detail is necessary.
COLOR
■ WHITE = better used in police photography.
■ CREAM = preferred for pictorial effect, portraits,
landscape or when warmth effect is desired.
■ BUFF PAPERS = prepare for tone prints
 ACCORDING TO CONTRAST (GRADE)

■ VELOX NO. 0 = used for printing extremely contrast

negative or extremely exposed film.
■ VELOX NO. 1 = used for high contrast negative (over
exposed film)
■ VELOX NO. 2 = used for normal exposed film
■ VELOX NO. 3 = used for negative with weak contrast
(under exposed)
■ VELOX NO. 4 = used to provide sufficient contrast to
compensate for very thin or weak negatives. It is useful
imprinting which high contrast is desired.
■ VELOX NO. 5 = for flat negative that are unprintable
 The process of making the latent
image visible and permanent.
CHEMICAL FILM
PROCESS 1. DEVELOPMENT
Is the process necessary for
reducing the silver halides to form
the image.
ELON, HYDROQUINONE = used as
main
developing agents

DEKTOL (1-1/2 min.)

D 76 (5 to 6 min.) Ideal
2. STOP BATH
Normally composed of water with little amount of dilute acetic acid that
serves as a means to prevent contamination between the developer
and the acid fixer
3. FIXATION (20 to 30 min)
Is the process by which all unexposed silver halides are dissolved or
removed from the emulsion surface and making the image more
permanent.
■ DISSOLVING AGENT (HYPO/SODIUM THIOSULFATE) – main fixing agent
■ NEURTRALIZER – ACETIC/BORIC ACID
■ PRESERVATIVE – SODIUM SULPHATE
■ HARDENER – POTASSIUM ALUM
■ ACCELERATOR (SODIUM BICARBONATE)
 ENLARGING
The following are the steps in enlarging:
■ Preparation of the darkroom,
chemicals and the enlarger
■ Put off white light , switch on red light
■ Place the negative in the negative
holder with the dull side of the
negative facing down
■ Insert the negative holder intro
enlarger
■ Switch on the enlarger’ light
■ Adjust the easel to the desired size of
■ Focus the lens of the enlarger
■ Switch off the light of the enlarger
■ Insert the photographic paper in the
easel the shiny side facing up
■ Make the exposure
■ Immerse the exposed photographic
paper in the developer. The usual
developing time for normally exposed
paper is about 1 to ½ min.
■ Transfer the developed print in the stop
bath for about 30 seconds
■ Place the prints in the acid fixer. The
fixing time is about to 30 min.
■ Wash the print in running water for
about 20 to 30 min
■ Drying
 DIGITAL CAMERA
■ The principal attraction with the digital cameras is the
immediacy of the results.
■ As soon as the image is taken, the shot can be viewed
instantly on screen as well as on the computer or TV
screen.
■ There is no processing stage, the image can be printed
at home using a standard desktop printer or
professionally using photographic paper and the
memory can be re-used.
■ Digital cameras can vary in terms of the number of
pixels or the individual elements used by the imaging
sensor.
 TWO TYPES OF DIGITAL
CAMERA
■ THOSE WITH FIXED MEMORY
- has a limited number of image it can capture.
- the use will be forced the image or transfer it to the
computer.

■ THOSE WITH REMOVABLE MEMORY

- it allows the user to load or replace a variety of storage
cards in much the same fashion as film is exposed and
replaced.
 OTHER FEATURES OF A
DIGITAL CAMERA
■ Images taken can be viewed in the computer and
can easily be printed for hard copies.
■ A Liquid Crystal Device (LCD) monitor
■ Flash unit
■ Zoom lens capability
■ Sound Recording
■ Removable lens
 CRIME SCENE
PHOTOGRAPHY
■ A photograph of the crime scene is
a factual reproduction and accurate
record of the crime scene because it
captures TIME, SPACE AND EVENT. A
photograph is capable of catching
and preserving the:
■ SPACE - the WHERE of the crime
(Locus Criminis)
■ TIME – the WHEN of the crime
■ EVENT – the WHAT of the crime –
what is the nature or character of
 ■ Is the one who is tasked to
take photographs of crime
POLICE scene, suspects, witnesses or
any physical evidence found
PHOTOGRAPHER at the crime scene, bring
them to the laboratory for
processing, recording and
filing.
PURPOSE OF CRIME SCENE
PHOTOGRAPHY
■ To record the original scene and areas;
■ To record the initial appearance of physical evidence;
■ Provide investigators the permanent record of the scene
for future use;
■ Used for court trials and hearings.
Two general classifications of crime scene photography:
1. OUTDOOR PHOTOGRAPHY
2. INDOOR PHOTOGRAPHY
 DIFFERENT VIEWS IN
PHOTOGRAPHING THE CRIME
SCENE
■ GENERAL/LONG RANGE VIEW
Taking an over-all view of the scene of the
crime. It shows direction and location of
the crime scene.
■ MEDIUM VIEW
Is the taking of the photograph of the
scene of the crime by dividing it into
section. Showing the 4 angles of the crime
scene including the possible entrance and
exit point of the suspect.
Pinpointing a specific object of evidence or
significant segment of the crime scene
This view will best view the nature of the
■ CLOSE-UP VIEW
Is the taking of individual
photograph of the evidence at
the scene of the crime. It is
design to show the details of the
crime.

■ EXTREME CLOSE-UP VIEW

Used to show the extent damage
on the subject.
Commonly designed in
laboratory photographing using
some magnification such as
Photomacrography and
 PHOTOGRAPHING
EVIDENCE
■ For foot or shoe impression, the imprints of shoes, foot,
slippers or sandals are often found at or near crime
scenes. Before and after reproductions are made by
plasters cast or dental stone, the impressions should be
photographed.
■ In murder and homicide cases, it is necessary to
photograph in detail the pattern and color of bloodstains.
The location area and tapering of the stains may indicate
the positions and action of the assailant or the victim
■ Conduct mug-shot photography to the victim/s and
suspects while undergoing paraffin casting.
■ Photograph other physical evidence submitted to the
laboratory before examination such as suspected drugs,
■ For firearms identification, conduct macrophotography
on the serial numbers, nomenclature and other small
part of the firearm/s submitted as evidence before the
actual examination of the firearm examiner.
■ For fingerprint identification, fine grain panchromatic fil
of medium contrast, along with some high contrast
panchromatic film, may be used to photograph latent
prints.
■ When photographing black powdered latent prints in
colored objects, the photographer must take the colored
background appear as light as possible in order to
provide the greatest possible contrast with the black
fingerprint.
■ When photographing visible latent print found on glass,
■ Dusted and lifted latent prints have been lifted should
be photographed as soon as possible.

■ To photograph the cadaver from head to foot, stand as

high as you can on it, then shoot straight down on the
subject and try to avoid shooting from any angle other
than vertical.

■ Conduct close-up photographs on the entrance and

exit wounds as well as other external wound inflicted
on or suffered by the victims.

■ Genital organ should be covered before taking

 LEGAL FOUNDATION OF PHOTOGRAPHIC
EVIDENCE:

FOR BLACK AND WHITE PHOTOGRAPHY

■ 1859 – Daguerreotype was use in civil case, LUEO
VS US (regarding the authenticity of photographs
in comparing signatures)

■ 1874 – In criminal case introducing photograph as

identification evidence, UNDERZOOK VS.
COMMONWEALTH
 FOR COLORED PHOTOGRAPHS

■ 1943 – CIVIL LITIGATIONS GREEN VS. CITY

COUNTY OF DENVER COLORADO, involving spoiled
meat in violation of health ordinance prohibiting
the sale of putrid meat to the public.

■ 1960 – In criminal case, STATE VS. CONTE,

showing the graphic wound of the victim
 THE BEST EVIDENCE RULE AND
■ Photograph is notPHOTOGRAPH
a legal substitute for the object or
article itself, as Evidence. Nevertheless, all physical
evidence should be photographed.
■ A photograph of revolver will not be accepted as evidence
in court. The weapon itself must be brought to court – this
is an essence of the BEST EVIDENCE RULE.
■ The court recognizes that certain evidence cannot be
brought to the court. Building or roads are examples.
Other evidence change quickly. Vehicles using passing on
it will quickly destroy skid marks on the highway. Wounds
and bruises as evidence of injury will heal and disappear
before the case comes to trial.
■ Such nature or kind of evidence can be preserved by
ADMISSIBILITY OF PHOTOGRAPHIC
EVIDENCE
ELEMENTS OF A PHOTOGRAPH TO BE ADMISSIBLE IN
COURT
1. FAITHFUL REPRESENTATION OR ACCURATE
REPRESENTATION OF THE ORIGINAL OBJECT OR SUBJECT
The photograph must be free from distortion and
must not misrepresent the scene or object. Faithful
representation means the same likeness as the original or as
seen by the naked eye. What is required by law is the likeness
of the original. (In the case of the City of Manila vs. Cabangis,
10 Phil, 151)
2. RELEVANCE
3. MATERIAL
4. COMPETENT
CATEGORIZING PHOTOGRAPHIC
EVIDENCE
The following information should be recorded in
the photographer's note:
■ Location's address, date and time
■ Type of incident & objects photographed
■ Type of film used and number of
■ Type of camera used exposure
■ Name of investigator on-case/photographer
■ Names of victims and witnesses
■ Chain of custody
■ Weather condition
 THE PHOTOGRAPHER IN
COURT
■ In testifying, his purpose should be to EXPLAIN not
to defend his PHOTOGRAPH. His replies to queries
should be directly responsive at all times.

■ If he does not understand the question, he should

request for clarification.

■ When the nature of the question requires that he

consult his notes, he should request permission
from the judge.
 WHO MAY VERIFY
PHOTOGRAPH
■The better practice is to show the accuracy
of the photograph by photographer who
took them.

■Any person having sufficient knowledge of

the subject to say that the photograph is
faithful representation thereof.
 THANK YOU
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