1. Senior Capstone Photography Presentation
Hollie Rawl
University of Dayton 2007
B.F.A Photography,
B.A. Criminal Justice Studies
Sociology Minor

2. Nothing has such power to broaden the mind as the
ability to investigate systematically and truly all that
comes under thy observation in life.
-Marcus Aurelius

3. H o l l i e R a w l

5. Marcus Aurelius once said [Slide 2]:
Nothing has such power to broaden
the mind as the ability to
investigate systematically and
truly all that comes under thy
observation in life.
When it comes to my reasons for photographing,
his statement could not hold truer. An extremely curious
person at heart, and also one who cannot accept change
without difficulty, my life seems to center around the
necessity to capture as many moments of time as
possible with my camera. I most definitely agree that
developing a greater understanding about the world in
which we live can only be achieved through intense
observation and investigation; thus, documentation in
this form is, for me, key. Photographic documents
13

6. +provide everlasting proof of the essential who, what,
where, when, and how. So, although the famous
statement "seeing is believing" can be debated, I whole-
heartedly believe that "seeing is truly understanding."
Staring endlessly at produced images I can
simultaneously visually compare the past and present,
for each one holds its own secret, its own record of both
the positive & negative and personal & public aspects of
life, waiting to be discovered. But, perhaps even more
importantly, I can use the photographs to show others
what I've seen, experienced, and learned during my
compulsive observation of the world. This is the
fascination.
So, regardless of whether I'm photographing [Image
1] family, [Image 2] friends, or [Image 3] the intricacies
of the inner [Image 4] city, it is all done with a [Image 5]
distinct purpose and style. However, there is neither end
nor limitation to what and where I will photograph. For
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Image 2
Image 1
Image 3
Image 4
Image 5

7. example [Image 6], one night, quite perturbed by loud
noises emanating from the hallway at 3am during a
midterm week, and unable to fall back asleep, I decided
to make the most of the moment and grabbed my camera.
[Image 7] Like a spy, I held it up to the door's peephole
and started snapping photographs. Eventually contented
by the quirky photographs and the random stories I
heard and fights I witnessed, I crawled back into bed
[Image 8].
Providing the ability to figure out who was outside
my apartment door and why there was so much
commotion was my camera [Image 9]with its now more
than 60 images from this venture. An interesting
experience, it was one that most definitely demonstrates
my curiosities towards social interaction [Image 10] and
my love for investigation and the solving of mysteries.
My photographing of unique spur of the moment
events does not stop there. I have been known to
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Image 6
Image 7
Image 8
Image 9
Image 10

8. photograph car accidents as I drive by, or [Image 11] the
occasional burning cars found on the side of the road. I've
also scouted out more catastrophic events [Image 12],
such as the house fire that occurred on the 100 block of
Stonemill just a few months ago. That night, intrigued
by a thick cloud of smoke that consumed the Dayton
skyline, I rushed to my house, grabbed my camera, and
raced down the street. [Image 13] While the event was
nothing I would ever wish upon anyone, witnessing a
home being consumed by flames in below freezing
temperature was a beautiful, yet horrifying sight that
spurned emotions of loss, bewilderment, determination,
strength, and survival among all those present [Image
14]. Observing such beautiful devastation either first
hand or through photographs truly broadens the mind
and reminds us of the fragility of life; [Image 15] yet
another reason as to why I find it so imperative to
photograph.
Image 11
Image 12
Image 13
Image 14
Image 15
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9. [Blank Slide]
It is this love for life combining with my passion
for justice that has driven me to pursue a double degree
here at the University of Dayton, one being the Bachelor
of Fine Arts in Photography, the other being a Bachelor
of Arts in Criminal Justice accompanied by a sociology
minor. The knowledge derived from these two
drastically different degree programs offer the unique
opportunity to pursue a career as a visual criminologist
and/or as a forensic photographer for a local PD CSI unit
and later the FBI. [Image 16]
One grand opportunity I took full advantage of in
order to expand my knowledge more in the direction of
these future career goals was enrollment in classes at
Chaminade University of Honolulu, the center of the
nation's top ranked forensic science and criminal justice
degree programs. The classes I took that semester
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Image 16

10. exposed me to the methodology and practice of forensic
photography more quickly and proficiently than a local
Ohio internship program.
[Image 17] We covered various camera and lighting
techniques, including how to photograph [Image 18]
green and [Image 19] blue ultraviolet rays as well as
[Image 20] infrared light; a skill that becomes helpful in
the investigation of security sensor breech crimes [Image
21], as well as bullet trajectory tracking.
Our access to the chemicals Luminal and BlueStar
[Image 22, 23] allowed us the possibility to photograph
bloodstain patterns on clean surfaces where blood is not
otherwise visible.
And, due to our professor's active employment
with the Honolulu Police Department, we learned how to
properly identify and document actual evidence from
past cases, such as [Image 24, 25, 26] ammunition,
[Image 27, 28] blood splatter, [Image 29, 30]
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Image 17
Image 18
Image 19
Image 20
Image 21
Image 22, 23
Image 24, 25, 26

11. fingerprints, [Image 31, 32] guns, [Image 33, 34] human
thumbs and [Image 35, 36] fingers, and [Image 37]
knives.
Other days we set up mock crime scenes, such as
this one [Image 38, 39], in order to learn how to
photograph such specific crimes and scenes as: arson and
fire scenes, autopsies, [Image 40, 41] drug labs, [Image
42, 43, 44] gunshot and stab wounds, homicides, [Image
45, 46] injuries from domestic violence and assault,
property crime, traffic collisions, and suicides.
Needless to say, this course solidified my interest
in the field.
[Blank Slide]
Whilst photographing crime scenes prepares us to
dutifully uphold justice and confirm the innocence, or
perhaps guilt, of suspects, studying past cases proves
crucial in understanding current day motivations for
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Image 27, 28
Image 29, 30
Image 31, 32
Image 33, 34
Image 35, 36
Image 37
Image 38, 39
Image 40, 41
Image 42, 43, 44
Image 45, 46

12. criminal behavior. Thus, in order to investigate the
various facets of past societal life and death through
photography, we must rely on processes that do not
require access to current day events.
For example, I am quite intrigued by criminality and
the deviant behavior of serial killers [Image 47]. I have
found that the best way in which to then study the lives
of serial killers post-conviction is through highlighting
key aspects of each [Image 48] convict's case using the
alternative Van Dyke Brown photographic process. This
way, I could form a visual image depicting [Image 49]
information about them without using a camera. The men
whose criminality I investigated through this process
were [Image 50] “The Boston Strangler,” Jack the
Ripper, “The Son of Sam,” and Ted Bundy.
[Blank Slide]
A successful career most definitely relies on
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Image 47
Image 49
Image 48
Image 50

13. vigorously studying knowledge pertaining to the defined
field of interest, such as I have done through those
forensic and criminal portfolios, yet we must realize that
although intensely observing the world at large in this
way most evidently broadens the mind as Aurelius
suggested in his quotation, "Nothing has such power to
broaden the mind as the ability to investigate
systematically and truly all that comes under thy
observation in life," it is essential to remember that
opening ones mind must also rely on one's ability to
carefully observe personal weakness. For not finding
fault in oneself and proceeding to muster the courage to
do everything possible to improve this weakness, denies
oneself the ability to truly accept the faults of others and
thus observe the world unconditionally.
For this reason I devoted an entire semester to the
development of a [Image 51] portfolio that exemplified
the strengthening of weak technical photography skills.
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Image 51

14. By improving these skills I am not only improving my
photographs, but am further increasing the impacting
effect of my images on others by providing them with a
clearer view of those things which I find crucial to
visually share.
[Slide 44] Photographer Bill Brandt was once
quoted as saying, "A photographer must be prepared to
catch and hold on to those elements which give
distinction to the subject or lend it atmosphere." [Image
52] However, at the time of this project, perhaps, for
me, the most challenging aspect of photography, and my
greatest weakness, was exactly that which Brandt
specifies as important during any photographic session,
[Image 53] the act of grasping such elements as ambient
light and space to distinctly and graphically transform a
possibly otherwise dull subject. [Image 54]
These old windows had an interesting, aesthetic
quality that I found quite intriguing, yet how to visually
Image 52
Image 53
Image 54
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15. disclose this opinion to others was a challenge that
demanded the ever-present necessity of perfecting my
weakness. Thus, focusing on the graphic qualities of line
in composition as well as taking Brandt's advice and
considering other "elements which give distinction to the
subject or lend it atmosphere" became key in meeting this
challenge. [Image 55]
Since the completion of my windows project I have
continued taking full advantage of all opportunities that
have leant themselves as outlets for improving my
imperfections, [Image 56] for as Robert Louis Stevenson
also once advised, "You cannot run away from weakness;
you must some time fight it out or perish." [Image 57]
[Blank Slide]
Keeping this in mind, I began to wonder, “What
have I not done that could further advance the connection
between my criminological and photographic knowledge
Image 55
Image 56
Image 57
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16. that would greatly benefit not only my future career, but
society as a whole?” And then I remembered Bob
Dylan’s ever present rhetorical question, one that seems
to correlate perfectly with Marcus Aurelius’ quote on
the importance of observation [Slide 52]: “How many
times can a man turn his head, pretending he just doesn’t
see?”
Re-inspired by the lyrics I’ve loved all my life, I
decided it was imperative to finish my undergraduate
career by completing a portfolio that highlighted [Image
58] those injustices which foster crime and incivility in
our own neighborhoods. For, as I’ve come to realize,
photography, if used correctly [Image 59], can do much
more than look appealing on a wall; photography can
provide the power to promote awareness and transform
societal opinions by disclosing the unexpected [Image
60].
Concentrating on the factors identified by Kelling
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Image 58
Image 59
Image 60

17. and Wilson’s 1982 Broken Windows theory, the resulting
photographs depict overlaying themes that include social
and racial inequality [Image 61], the deterioration of the
inner city, and crime rates, while further identifying the
underlying effects of such psychological [Image 62] and
physical casual factors as litter, graffiti, a declining
economy, and perceived risks of victimization.
This Capstone portfolio as a whole is important not
only because it directly compliments my published
[Image 63] criminal justice senior synthesis entitled “An
Ex-Post-Facto Study: Correlating Crime Rates and The
Degradation of Urban Society,” but because it aims to
promote the criticality of investigating causes of urban
deprivation [Image 64] as it is experienced by the
citizens of Dayton, Ohio and others throughout the
nation.
Only by directly observing the world around us
[Image 65] can we expect to broaden our minds in an
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Image 61
Image 62
Image 63
Image 64

18. attempt to ensure all persons are granted the opportunity
to experience the freedoms and justices promoted in the
United States Constitution.
[Blank Slide}
Image 65
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19. 27

80. Image Specs
Image 01 – Untitled Candid from Maine; Digital; Marburty Cottage; 2006.
Image 02 – Untitled Candid from Skydiving; Digital; Cleveland Parachute Center; 2006.
Image 03 – Graffiti. Digital; Epson Premium Luster; Epson Inkjet Print; 8 x10 in.;
University of Dayton; 2006.
Image 04 – Between 3rd
, 4th
, & Main. 35mm; C-print; University of Dayton; 2004.
Image 05 – Between 3rd
, 4th
, & Main 35mm; C-print; University of Dayton; 2004.
Image 06 – Untitled from Maine; Digital; 2006.
Image 07 – Untitled from Peephole; Digital; University of Dayton; 2006.
Image 08 – Untitled from Peephole; Digital; University of Dayton; 2006.
Image 09 – Untitled from Peephole; Digital; University of Dayton; 2006.
Image 10 - Untitled from Peephole; Digital; University of Dayton; 2006.
Image 11 - Untitled from Peephole; Digital; University of Dayton; 2006.
Image 12 - Untitled from House Fire; Digital; University of Dayton; 2006.
Image 13 - Untitled from House Fire; Digital; University of Dayton; 2006.
Image 14 - Untitled from House Fire; Digital; University of Dayton; 2006.
Image 15 - Untitled from House Fire; Digital; University of Dayton; 2006.
Image 16 - “I Love You To Death.” Large Format; Silver Gelatin; Ilford Premium Luster Fiber Paper;
11x14 in. Print; University of Dayton; 2004.
Image 17 – Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 18 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 19 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 20 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 21 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 22, 23 - [WEBSITE]
Image 24, 25, 26 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 27, 28 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 29, 30 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 31, 32 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 33, 34 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 35, 36 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 37 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 38, 39 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 40, 41 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 42, 43, 44 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 45, 46 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005.
Image 47 - Untitled from Serial Killer Series; VanDyke Brown; 2ply board; 11 x 14 in.;
University of Dayton; 2006.
Image 48 - Untitled from Serial Killer Series; VanDyke Brown; 2ply board; 11 x 14 in.;
University of Dayton; 2006.
Image 49 - Untitled from Serial Killer Series; VanDyke Brown; 2ply board; 11 x 14 in.;
University of Dayton; 2006.
Image 50 - Untitled from Serial Killer Series; VanDyke Brown; 2ply board; 11 x 14 in.;
University of Dayton; 2006.
Image 51 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper;
9 x 9 in.; University of Dayton; 2006.
Image 52 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper;
9 x 9 in.; University of Dayton; 2006.
Image 53 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper;
9 x 9 in.; University of Dayton; 2006.
Image 54 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper;
9 x 9 in.; University of Dayton; 2006.
Image 55 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper;
9 x 9 in.; University of Dayton; 2006.
Image 56 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper;
9 x 9 in.; University of Dayton; 2006.
Image 57 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper;
9 x 9 in.; University of Dayton; 2006.
Image 58 - .I. The Investigation: Perpetuation of Psychological Deterioration from Capstone Portfolio;
Digital; Epson Premium Luster; Epson Inkjet Print; 27.093 x 10 in.; 300 DPI;
University of Dayton; 2006.
Image 59 - II. The Investigation: Perpetuation of Physical Deterioration from Capstone Portfolio; Digital;
Epson Premium Luster; Epson Inkjet Print; 27.773 x 10 in.; 300 DPI; University of Dayton; 2006.
Image 60 - III. The Investigation: Vagrancy from Capstone Portfolio; Digital; Epson Premium Luster;
Epson Inkjet Print; 29.083 x 10 in.; 240 DPI; University of Dayton; 2006.
Image 61 - IV. The Investigation: Solicitation from Capstone Portfolio; Digital; Epson Premium Luster;
Epson Inkjet Print; 30.533 x 10 in.; 300 DPI; University of Dayton; 2006
Image 62 - V. The Investigation: Residential Decline from Capstone Portfolio; Digital; Epson Premium Luster;
Epson Inkjet Print; 38.217 x 10 in.; 240 DPI; University of Dayton; 2006
Image 63 – VI. The Investigation: Decadent Lifestyles from Capstone Portfolio; Digital; Epson Premium Luster;
Epson Inkjet Print; 30.000 x 10 in.; 300 DPI; University of Dayton; 2006
Image 64 – VII. The Investigation: Perceived Risk of Victimization; Digital; Epson Premium Luster;
Epson Inkjet Print; 27.080 x 10 in.; 300 DPI; University of Dayton; 2006
Image 65 - VIII. Conclusion from Capstone Portfolio; Digital; Epson Premium Luster; Epson Inkjet Print;
33.733 x 10 in.;300 DPI; University of Dayton; 2006.

101. HOLLIE N. RAWL
Bachelor of Fine Arts Photography
Bachelor of Arts Criminal Justice Studies
University of Dayton 2007
Hollie.Rawl@gmail.com