Handouts in
FORENSIC PHOTOGRAPHY
Mr. Leandro T. Cobacha
Instructor
PHTOGRAPHY- 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 the camera and its accessories, and the chemical
processes involved therein.
HISTORICAL DEVELOPMENT OF PHOTOGRAPHY
Equipment - 1700 - Camera Obscura was designed by Leonardo da Vinci for accurate perspective and scale
Chemicals - 1726 - 1777 - light sensitivity of silver nitrate and silver chloride solution had been discovered and
investigated by Johann Heinrich Schuize, a German physicist.
1800 - Thomas Wedgewood and Humphrey Davy produced photo grams.
True photography accomplished by:
Joseph Nicephore Niepce - 1816 - was able to obtain camera images on papers sensitized with silver chloride
solution. Fixation was partial.
Louis Jacques Mande Daguerre - 1837 - “Daguerreotype” – the first practical photography process. Image was
made permanent by the use of this type. Samuel B. Morse - introduced “Daguerreotype” to America in 1839.
William Henry Fox Talbot - 1839 - (considered as the birth year of photography) he patented “Calotype”process negatives on paper sensitized with silver-iodine and silver nitrate.
Friedrich Scott Archer – 1851 - develops a method of focusing glass as negative by treating it with collodian,
which is a solution of gun cotton.
James Clark Maxwell - 1861 - (discovery of colored photography) discovered that that the different colored
objects have different effects with his application (discovery of colored photography).
1856 - Sir John F.W. Herschel coined the word “Photography”.
1854 - Maddox introduced the plate with gelatin.
1884 - the roll film was invented and new brands of camera with different lenses and mechanism were placed in
the market.
1889 - George Eastman introduced the use of roll film made of celluloid material for use on portable camera.
1895 - Peogent discovered the X-ray photograph, which later become the basis of radiograph used by doctors in
measuring heartbeat and to see the other structure of the body.
1907 - Lumiere color process was introduced. A panchromatic film was used but with blue, green, and red filter.
1914 - US Eastman Kodak introduced two- (2) color subtractive process called Kodachrome. Twenty-one years
later, three- (3) color process came out.
1935 - Colored Film sensitized materials and different brands of camera and types were sold in the market.
- Electronic flash unit came out.
1960 - Laser was invented making “Holography” possible.
PRINCIPLES OF PHOTOGRAPHY
A photograph is both the mechanical and chemical result of photography. To produce a photograph, light
is needed aside from sensitized materials (films or papers). Light radiated or reflected by the subject must reach
the film while all other lights are excluded. The exclusion of all other lights is achieve 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 the 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.
CAMERAA camera is basically nothing more than a light box with a pinhole or a lens, shutter at one side and a
holder of sensitized material at the other. While there are various kinds of camera from the simplest (Box-type) to
the more complicated, all operates on the same principle. The exposure of the sensitized material to light is
controlled by the lens and its aperture, and the shutter through its speed in opening and closing of lens to light.
ESSENTIAL PARTS OF A CAMERA:
1. Body or light tight box- suggests an enclosure devoid of light. An enclosure which would prevent light
from exposing the sensitized material inside the camera. With an opening to allow a controlled amount of
light to enter and strike the film.
2. Film advancer- a mechanism for advancing the film flat and in positioning for light image to hit
properly.
3. Lens- the function of the lens is to focus the light coming from the subject. It is chiefly responsible for the
sharpness formed through which light passes during the exposure.
4. Diaphragm / Aperture- is like the iris of the eyes and has the same function to admit an exact amount of
light each moment the shutter is open.
5. Shutter- is used to allow light to enter through the lens and reach the film for a pre-determined interval of
time, which light is again blocked off from the film.
6. 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.
7. View-finder or Viewer- it is a means of determining the field of view of the camera or the extent of the
coverage of the lens. Some are ground glass, some are simple windows, some have there own lenses,
some are area wire frames and uses no lenses.
CAMERA ACCESSORIES:
1. Tripod- it is a triple leg device, which is adjusted to any reasonable extension.
2. Cable Release- this is attached to the shutter release of the camera and used in releasing the shutter to prevent
accidental movement of the camera during the exposure period especially when longer exposure is made.
3. Flash Units/Flash Bulbs or Electronic Flash- which is synchronized with the opening and closing of the
shutter.
4. Light Meter- a device used in determining the intensity of light that strikes the subjects and affects the film.
5. Extension Tube- a device used in photographing minute objects.
6. Filter- a transparent medium that transmits and absorbs different wavelength of lights.
7. Camera Grip- device used to hold the camera firmly so as to prevent the vibration or movement of the
camera during the exposure period.
8. Lens Hood- a device used to eliminate some reflections of light which might destroy the image cast by the
objects especially when the light is coming from the top or side portion of the camera.
CAMERA CLASSIFICATION
1. Format- the size and shape of image produced on the film.
a) 110 and 126 cartridge loading snapshots camera
b) 35mm- all purpose camera
c) 2 ¼ x 2 ¼ - larger format camera
2. Viewing Systema) View Camera- large camera that is mostly used for portrait pictures. It is also used for
advertising, architecture, and commercial work.
b) Graphic Camera- similar to a view camera but is simpler and smaller and is designed to folded
up when not in use.
c) Single Lens Reflex Camera (SLR)- in this type of camera, the photographer looks through the
lens and actually takes the picture by means of a mirror. When he takes the picture, the mirror
moves up out of the way a fraction of a second before the shutter opens. Most single lens reflex
camera are in 35mm size.
d) Twin Lens Reflex Camera (TLR)- this is a roll film camera which uses two (2) lenses- the
taking lens and the viewing lens.
DIFFERENT PHOTOGRAPHIC RAYS:
1. X-rays- radiation having a wavelength between .01 to 30 nanometer or milli-microns. 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 milli-microns. It is used to photograph
fingerprints on multi-colored background, documents that are altered chemically, or over writings, and
detection of secret writings.
3. Visible light rays- rays having a wavelength of 400 to 700 milli-microns.
a) Blue- 400-500 NM
b) Green- 500-600 NM
c) Red- 600-700 NM
4. Infrared rays- radiation having a wavelength of 700 to 1000 milli-microns. It is used in taking
photographs of obliterated writings, burnt or dirty documents, or blackout photography.
TYPES OF LIGHTING CONDITION:
1. Natural (Sunlight or moonlight)
a) Bright- object 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) Continuous radiation- incandescent lamps, fluorescent lamps, photoflood lamps, etc.
b) Short duration- chemical flash (flash bulb), electronic flash.
TYPES OF FILM ACCORDING TO SPECTRAL SENSITIVITY:
Perhaps the most important characteristics of film is the response to the different wave length source
which is called spectral sensitivity.
1. Blue sensitivity- sensitive to ultra-violet rays and blue color only.
2. Orthochromatic- sensitive to ultra-violet rays, to blue and green color. It is not sensitive to red color.
3. Panchromatic- sensitive to ultra-violet rays, to blue, green and red colors.
4. Infrared sensitive to ultra-violet rays, to all the colors, and also to infrared.
EMULSION SPEED
The extent to which an emulsion is sensitive to light is referred to as emulsion speed. The general types of
speed ratings are:
1. ASA (American Standards Association) ratingThis is expressed in arithmetical value system. The speeds in numbers are directly proportional to the
Sensitivity of the materials. A film with arithmetical value of 400 is four (4) times as fast as one with a speed
of 100.
2. DIN (Deutchi Industri Normen) ratingThis is expressed in logarithmic value system. In this system, an increase of three (3) degrees double the
sensitivity of the film.
3. ISO (International Standard Association) rating- combination of ASA and DIN
TYPES OF PHOTOGRAPHIC PAPERS:
1. According to chemical contents- Chloride papers, bromide papers, chloro-bromide papers.
2. According to contrast- 0, 1, 2, 3, 4, 5, 6
a) Very high contrast- uses paper with low contrast
(Negative)
Soft paper
Grades- 0, 1, 2, 3
b) Low contrast
- uses paper with high contrast
(Negative)
Hard paper
Grade- 4, 5, 6
3. According to physical characteristicsa) Thickness
1) Single weight
2) Double weight
b) Surface
1) Glossy
2) Semi-matte
3) Matte
c) Color
1) White
2) Cream
4. According to printing methods
a) Contact printing- which is slower or less sensitive to light.
b) Projection- which is faster and more sensitive to light.
LENSES AND “F/NUMBER”
When parallel light rays go through the lens of a camera, they come together of focus at the same point
behind the lens. The distance from center of the lens to this point is called the “Focal Length”. This is
determined by the shape of the lens and it never changes.
A second unchanging characteristic of any lens is its “F” number. This is the ratio between the diameter
of the lens and its focal length. The “F” stands for focal length and the number indicates what fraction the
diameter is of that focal length. For example; an F/4 lens has a diameter of ¼ of its focal length, and F/2 has a
diameter of ½ its focal length.
As the diameter of an F/2 lens is twice that of an F/4 lens of the same focal length, its area is four (4)
times as great. It admits four times as much light; it is four times as fast as the F/4 lens.
Every camera with a diaphragm/aperture is marked with lens f/number. Here are major stop numbers
most often seen: 2, 2, 8, 4, 5, 6, 8, 11, 16, and 22.
LENS CHARACTERISTICS
1. Focal length- is the distance measured from the optical center of the lens to the film plane when the lens
is set or focused at infinity position. As 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 its negative material.
(less than 50mm)
b) Normal lens- a lens with a focal length of approximately equal or more but not more than twice
the diagonal of its negative. (Equivalent to 50mm)
c) Long or Telephoto lens- a lens with a focal length of more than twice the diagonal of its negative
material. (more than 50mm)
d) Zoom lens- lens of variable focal length.
2. Relative Aperture- the light gathering power of the lens expressed in F/stop number system. It is
otherwise called the relative aperture. By increasing F/number numerically, it is possible to:
a) Control the amount of light passing through the lens
b) Control the depth of field
c) Control the degree of sharpness due to lens defects.
DEPTH OF FIELD- 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. In short, it is the near and far limit of clear focus.
FOCUSING POINT- the correct way to focus is on a point that is 1/3 of the distance between the near and the
far objects.
Near distance x Far distance x 2
Focusing Point= --------------------------------------Near distance + Far distance
= 6 x 22 x 2 = 264 = 9.4 ft. and 6 inches
6 + 22 = 28
HYPER FOCAL DISTANCE- this is a place where everything from half that distance to as far as the eyes can
see be in clear focus.
TYPES OF FOCUSING:
1. Focusing Scale or Scale Bed- a scale is usually found at the barrel of the lens indicating pre-setted
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 pointer or marker on the lens barrel is adjusted
to the corresponding number on the scale.
2. Range Finders- is the mechanism that measure the angle of the convergence of light coming from a
subject as seen from two (2) apertures.
Types of Range Finder (focusing)
a) Split Image- through the range finders, the image of a 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 images of the
lines are aligned, the lens is in focus.
b) Co-incident Image- through the eyepiece, a single image is seen double when the subject is out
of the focus. Make the image coincide and the lens is in focus.
3. Ground Glass- is focused by directly observing the image formed at the ground glass, screen placed
behind the taking lens. If the image formed is out of focus, it is blurred, fuzzy, or not clear. Make the
image sharp, the lens is in focus.
4. Zone- this is possible in wide-angle lenses only. There are only three (3) setting for focusing. One for
close distance (approximately 3-6 ft.), another for medium distance (approximately 6-15 ft.), and finally
for distance objects (15 ft.-infinity).
POSITIVE AND NEGATIVE LENS:
1. Positive Lens- is a concave lens, which is characterized by the fact that it is thicker on the middle than the
edge and formed the real image on the opposite side of the lens.
2. Negative Lens- is a concave lens, which is characterized by the fact that it is thinner on the middle than
the edge and formed a virtual image on the same side of the lens.
INHERENT DEFECTS OF LENSES
1. Spherical Aberration- photographic rays passing through the edges of a 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 the lens comes to a sharper focus on curved surface than
on a flat surface.
4. Distortion- outer parts of the image produced by the lens will be magnified either less or more than the
center image.
a) Barrel distortion- diaphragm is placed in front of the lens.
b) Pincushion distortion- diaphragm is placed behind the lens.
5. Chromatic Aberration- inability of the lens to focus all the colors in the same place.
6. Astigmatism- inabilities of the lens to focus lines running in different directions like, for example, a
cross.
7. Chronic Difference of Magnification- inability of the lens to produce image sizes of objects in colors.
8. Flaresa) Optical
c) Mechanical
TYPE OF LENS ACCORDING TO THEIR DEGREE OF CORRECTION:
1. Achromatic Lens- a lens corrected for chromatic aberration.
2. Rapid Rectilinear Lens- lens corrected for distortion.
3. Anastigmatic Lens- lens corrected for astigmatism.
4. Apochromatic Lens- lens corrected for astigmatism but with higher degree of correction to color.
5. Process Lens- a super corrected lens for astigmatism. It has a better color corrected and has the ability to
produce the best definitions of image in the photographs.
6. Fixed Focus Lens- is used in all fixed focus cameras. It has a short focal length and greater depth of field.
SHUTTER- contraption or device used to allow light to enter through the lens and reach the film for predetermined intervals of time, which light is again blocked off from the film. Generally, there are two (2) types
of shutters:
1. Central Shutter- 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 Shutter- located near the focal plane or the sensitized material. It is usually made of cloth
curtain. Its action starts on one side and closes on the opposite side.
SHUTTER SPEED
The amount of light that reaches the film depends also upon the how long the shutter is open. The slower
the shutter speed the more light enters. Most cameras have fixed shutter speed- about 1/60 seconds.
Shutter speed range from: 1/1000, 1/500, 1/250, 1/125, 1/60, 1/30, 1/15, 1/8, 1/4, 1/2, 1/1, and B.
EXPOSURE- is the product of illumination and time. Exposure is computed by any of the following method:
1. Use of Light or Exposure Meter- the amount of light coming from the 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 factor like: emulsion speed or film sensitivity, light condition,
kind of subject.
Example: When using a film with an ASA rating of 100 for a normal subject, set the shutter speed at 1/25 of
a second and adjust the diaphragm opening in accordance with the following lighting condition:
a) Bright sunlight- F/11
b) Hazy sunlight – F/8
c) Dull sunlight - F/5.6
Exposure error affects:
a) Detail
b) Tone reproduction
c) Contrast
FILTERS- It is a homogenous medium, which absorbs and transmits differentially light rays passing through it.
A color filter works 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 difference for visibility, emphasis, and other effects. With
color film, 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 subtracts some of the 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”
TYPES OF FILTERS 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 value seen by the eye.
2. Contrast Filter- used to change the relative brightness value so that two (2) colors which would
otherwise be recorded as nearly the same will have decidedly different brightness in the picture.
3. Haze Filter- used to eliminate or reduce the effect of aerial 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 surface.
CHEMICAL PROCESSING
1. Development- is the process of reduction. Exposed silver halides are reduced into metallic silver. There
is a separate developer for film (D-76) and another for paper (Dektol). The factors that affects developing
time are:
a) Agitation
b) Temperature
c) Concentration of chemicals
d) 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 (2)
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 solvent silver
halide known as “hypo”, an anti-staining agent like acetic acid, a preservative like sodium sulfate, and a
hardening agent like potassium alum.
Processing Method:
1. Negative-Positive Method
2. Reversal Method
CHEMICAL COMPOSITION OF A DEVELOPER:
1. Reducer or developing agents- Elon, Hydroquinone
2. Preservative- Sodium sulphite
3. Accelerator- Sodium carbonate
4. Restrainer or fog preventer- Potassium bromide
CHEMICAL COMPOSITION OF A FIXER:
1. Dissolving agent- Hypo or Sodium thiosulphate
2. Preservative- Sodium sulphite
3. Neutralizer- Boric acid, Acetic acid
4. Hardener- Potassium alum
FACTORS THAT AFFECT DEVELOPING TIME:
1. Characteristics of negative material
2. Strength and composition of the developer
3. Temperature of the developing solution
4. Agitation or stirring during the development
ENLARGER:
Essential parts of an enlarger:
1. Base and stand
2. Lamp house
3. Condenser or diffuser
4. Lens
ENLARGING TECHNIQUE:
Accessories of enlarger
1. Negative holder
2. Easel (paper holder)
After processing an exposed film into a negative, the next step would be to turn the negative into a
positive print or copy. This could be done by either contact printing or projection printing. For contact printing, a
contact printer is used while in projection printing an enlarger is needed. The following are the steps in enlarging:
1. Preparation of the dark room, chemicals and the enlarger.
2. Put off white light, switch on red light.
3. Place the negative in the negative holder with the dull side of the negative facing down.
4. Insert the negative holder into the enlarger.
5. Switch o0n 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 the
image has been focused, and the density of the negative permits, the lens of the enlarger must be stooped
down a little bit.
8. Switch off the light of the enlarger.
9. Insert the photographic paper in the easel with the shiny side 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 minute.
12. Transfer the developed print in the stop bath for about 30 seconds.
13. Place the prints in the acid fixer. The fixing time is about 30 minutes.
14. Wash the print in running water for about 20 to 30 minutes.
15. Drying
16. Mounting
Remedying chemical defects in negatives:
1. Underdevelopment- use Intensifier
2. Overdevelopment- use Reducer
3. Stains- use Stain remover
Frequent faults in printing:
1. Blurred exhibits
2. Muddy and mottled exhibits
3. Yellowish exhibits
4. Dark exhibits
5. Light exhibits
6.
7.
8.
9.
10.
Harsh exhibits
Flat exhibits
Fogged exhibits
Blemishes on prints
Distorted prints
POLICE PHOTOGRAPHY- is an art or science that deals with the study of the principles of photography, the
preparation of the photographic evidence and its application to police work.
PHOTOGRAPHY IN CRIMINAL INVESTIGATION
Photography is an essential tool for the law-enforcement investigation. 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
light, and X-ray radiation enable him to record invisible 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.
FUNCTIONS OF PHOTOGRAPHY IN INVESTIGATIVE WORK
1. Identification
5. Court exhibit
a) Criminal
6. Crime prevention
b) Missing person
a) security clearance
c) Lost and stolen properties
7. Public relations
d) Civilian
8. Police training
2. Communication and Microfilm files
a) prepared training films
a) Transmission of photos (wire or radiophoto)
b) traffic studies
b) Investigative report files
c) documentaries
3. Evidence
9. Reproduction and copying
a) Recording and preserving
a) Photographs
c) Re-enactment of crime reserving
b) Official records
b) Discovering and probing
4. Recording actions of offenders
a) Surveillance
b) Confession
FORENSIC PHOTOGRAPHY- is a branch of Criminalistics techniques, which is composed of a system of
scientific tenets and corresponding technical means and methods of photographing objects under crimi8nal
examination with an aim to detecting a crime.
Two kinds of forensic photography:
1. Impression Photography- designed to reflect material objects and its features, which may be perceived
by the naked eye. It includes the following types of photographs:
a) Panoramic
d) Reproduction
a) Measurement
e) Stereoscopic
b) Identification
2. Research Photography- is used to reveal details which go entirely undetected, or which are barely
visible under normal circumstances. It includes:
a) Microphotography
c) Contrastive Photography
b) Infrared Photography
d) Colour-differentiation
Panoramic- a type of shot which produces a photograph whose length significantly exceeds its width. This
method is used for taking pictures of extended segments of a location, elongated objects, as well as for shooting
crowded conditions on a certain site when it is imperative that one photograph show a group of objects which,
under optimal conditions, would not fit into a normal frame.
Scale Photography- refers to the simplest method of measurement photography, which allows for the
determination of the linear dimensions of objects and their component parts by means of an imprinted scale.
Identification Photography- refers to that form of photography, which is intended to record external features of
living persons as well as of corpses for the purpose of criminal registration. Such photographs are also used for
identification purposes by producing them for identification and submitting them to criminalistics expert
examination.
Reproduction Photography- refers to the preparation of photocopies of flat (one-dimensional images such as
texts, drawings, blue prints and so forth.
Microphotography- refers to the type of photography used to uncover and fix the microstructure and micro-relief
of objects under investigation.
Infra-red Photography- refers to the process of shooting a heat-radiated object. It allows for the detecting of
certain peculiarities, which are due to variations in the absorption of infrared rays by various materials. One such
example is a text, which has been written in pencil and then covered by aniline ink.
Contrastive Photography- refers to the kind of photography used to highlight acute contrast (the variations in
brightness) including shadow contrasts, which are the result of shadows caused by details of the relief. This type
of photography allows revealing unseen and barely visible details (those which have been erased, chemically
removed or have faded) in texts and documents.
Colour Differentiation (Photographing with a Light Filter) - refers to the kind of photography, which uses a
light filter in order to transform variations in the colour of specific parts or details of a given object into variations
in brightness, while simultaneously enlarging or reducing these variations. This method makes it possible to
intensify a barely visible text, to uncover additions written into a document or to read a note, which has been
obscured with some sort of dye.
Application of Photography to Investigation:
1. Orientation Photography- refers to the type of photography done in order to fix not only the scene of
the crime, but its surrounding as well. An example would be the shot of a store which was the scene of a
robbery, together with the neighboring buildings and the path of approach to the location.
2. Survey Photography (Long view) - refers to the photographing of crime scenes without the surrounding
environment. Under such circumstances the camera is placed, as close as possible, to the point from
which the entire scene is visible, or at least its greater part.
3. Nodal Photography (Medium view)- refers to the type of shot, which shows individual areas of the
scene of the crime where the largest quantity of real evidence is concentrated (for example, the location of
a corpse, the remains of a fire, etc.).
4. Detailed Photography (Close-up view)- shows individual traces and objects usually in large scale and
often with an accompanying measuring scale.
PHOTOGRAPHIC PROCEDURE
1. The 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 (3) 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 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.
9. Measuring devices 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, the ruler (a 6 inch or 15
cm.) placed at the bottom or just below the object will show the relative size of the 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 the scene.
b) Specifically record the location area, street number, and name of building, type of scene.
c) Write down the names and badges numbers of all investigative officer present during
photographing.
d) Total and record the number of exposure, which necessitates that bad negative, be saved for the
record.
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 on a military type 24 hour scale on which
3:00 pm becomes 1500 hours.
11. Additionally:
a) Direction where camera was pointed
b) General statement of what photographed
c) Exposure and ASA rating
d) Kind of film
e) The lighting whether available, flood lamps, flash lamps, etc..
PREPARING THE COURT EXHIBIT:
A picture offered in evidence should be a faithful representation of the subject matter. From the study of
photograph, the viewer should receive an impression of the scene as objects which does not mislead him in any
important respect. It should be free of any unusual distortion of lines or shapes and of any tone relationship.
Important subject matter should be in sharp focus.
Admissibility
Evidence photographs may be divided in two (2) categories:
1. These, which represents objects of evidence and simply served in place of an object or a verbal
description of it.
2. Those, which are designed to prove a point bearing on an issue in the case such as a comparison,
photograph of the evidence (Fingerprint, test bullets, handwriting).
Gruesome Pictures:
Although photographs of severe body injuries may arouse emotions or horror or indignation in the minds
of the observer, they are considered admissible provided the intent is simply to illustrate relevant facts and not to
prejudice the judge against the defendant. The photographer should be interested only in proving portraying the
facts accurately.
The Photographer in Court:
In testifying, his purpose should be to explain, not defend, his photographs. His replies to questions
should be directly responsible at all times. If he does not understand the nature of the question, he should request
clarification. When the nature of the question requires that he consult his notes, he should request permission from
the judge.
Qualification:
Since the photographer is giving opinion evidence, he is technically regarded by the court as an “Expert
Witness”, nevertheless, he need not represent himself as such. He should be presented as an experienced
photographer, proficient in the techniques that were used in producing the evidence photographs.
Relevancy and Materiality:
Test for determining relevancy:
1. Photographs are admissible whenever they assist the court to understand the case.
2. Photographs are admissible when they assist a witness in explaining his testimony.
Necessity of Preliminary Proof of Accuracy:
A photograph taken in the ordinary way usually is an accurate record of the image casts by the lens upon
the film, but as distortion is possible through the manner in which the camera or negative is used, before a
photograph is admitted in evidence, there must always be preliminary proof that it is a correct representation of
the subject.
Judicial Notice:
The principles of photography are derived from science and the images on the plate, made by the rays of
light through the camera, are dependent upon the same general lens which produces images upon the retina
through the lenses of the eye, that courts cannot refuse to take judicial notice of the photographic process as a
proper means of producing correct likeness.
There are several cases recognizing that in experience, trustworthy and disinterested hands, photography
is capable of a very high degree of accuracy of reproduction and acknowledging the indispensability of
photographs as a means of presenting evidence. But the courts also take judicial cognizance of the fact that in
careless, unskilled or interested hands, photography may produce misleading results.
Who may verify Photographs:
1. The better practice is to show the accuracy of the photographs by the photographer who took them.
2. Any other person having sufficient knowledge of the subject, to say that the photograph is a faithful
representation thereof.
“KNOWLEDGE IS THE ESSENTIAL ELEMENT OF SUCCESS”