Fundamentals of Forensic Photography.

1. Fundamentals of Photography:-
Photographs are more than just snapshots. When taken the right w
ay, they become dramatic personal statements with the power to la
st forever………………..
1

2. In Photography it is call “Previsualisation”
The first and most important lessons you learn in Fundamentals of Photography involve seeing and
thinking just like the professionals who make taking perfect shots seem like second nature.
Great lighting
Solid visual composition
An interesting perspective on your subject
By paying attention to these aspects, you'll be better able to take the kinds of photographs that surpass
their original situation and actually mean something to you and others.

3. History of Photography
It could be said that photography was not “invented”…
but that it evolved over time.
The word photography came from two Greek words that mean "writing with light." The firs
t time the word "photography" was used was in 1839, the year the invention of the photogr
aphic process was made public, by Sir John Herschel.

4. The Chinese were the first people that we know of to write about the basic idea of the pinhole c
amera or "camera obscura" (Latin words meaning "dark room"). About 2,500 years ago (5th Ce
ntury B.C.) they wrote about how an image was formed upside down on a wall from a pinhole o
n the opposite wall.

5. In the 1500s many artists, including Michelangelo and Leonardo da Vinci, used the "camera obscura" to
help them draw pictures. A person or object would be outside the dark room and their image was reflect
ed on a piece of paper and the artist would trace it.

6. The Phoenicians came from the eastern shore of the Mediterranean Sea in land we now call Lebanon.
Extremely important to the invention of photography was knowledge of how sensitive to light certain
materials were. More than 2,000 years before the invention of the camera obscura, the ancient Phoe
nicians (the first civilized nation in the world) knew that a certain snail left a yellow slime that turned p
urple in sunlight.

7. "View from the Window at Le Gras, France“
The birth of photography happened in 1826 when a French scientist, Joseph Nicephore Niepce, put a plat
e coated with bitumen (an asphalt used in ancient times as a cement or mortar) in a camera obscura. He
put the camera obscura facing his house for eight hours and made a photograph. It is the earliest camer
a photograph that we still have today.
Here is that first photograph

8. They became partners three years later.
Daguerre's most important discovery came in 1835, two years after Niepce died.
Niepce Louis Jacques Mande Daguerre
Here is one of the first daguerreotypes that was taken in 1839. It is a picture of Port Ripetta, Rome in Ital
y.
Daguerre's process, which he named the daguerreotype, was announced to the world on
January 7, 1839. Half a year later the French government gave Daguerre and Niepce's s
on, Isidore, lifetime pensions in exchange for all rights to their invention. The daguerreoty
pe was to become France's gift to the world.
Daguerreotypes

9. Portraits of people were the most popular type of photographs taken in the 1800's.
Photographic portraits were much less expensive than painted ones, they took less time and were more acc
urate. People who painted people’s portraits quickly went out of business or became daguerreotypists them
selves.

10. George Eastman, was only 24 years old when he set up his Eastman Dry Plate Compan
y in New York in 1880 and the first half-tone photograph appeared in a daily newspaper.
In 1888 he introduced the first Kodak camera that cost $25.00 (a great deal of money th
en). It had a 20 foot roll of paper, (enough for 100 pictures) already put in it. To get the fil
m developed you had to return the camera to the Eastman Dry Plate Company in Roche
ster, New York. For $10.00 they would develop the photographs, put more film in your c
amera and mail everything back to you. One year later an improved Kodak camera with
a roll of film instead of a 20 foot roll of paper appeared.
Kodak Cameras
Mr. Eastman wanted everybody to be able to take photographs. He worked hard to deve
lop a camera that everybody could afford to buy. He did it in 1900. It was the Kodak Bro
wnie box roll-film camera. It cost $1.00. Now everyone could take photographs, not jus
t professional photographers.

11. People had tried to make color photographs since 1860.
It wasn't until 1906 that a film sensitive to all colors called "panchromatic film" was produced. You had to take
three separate negatives and then use a special viewer so you could see all three slides layed on top of each
other..
The first color plates were invented in 1907 by Auguste and Louis Lumiere. They named it Autochrome. The c
olors appeared in delicate pastel.
Color Photographs

12. The cameras that we had used film with "sprockets" (holes along both sides of film). This film was
developed in 1914 by Oscar Barnack.
Oscar Barnack.
Oscar Barnack, the inventor of the world-renowned Leica camera was the first to utilize the new
35mm format with the production of the Ur-Leica in 1924.

13. Types of Camera
Analogue

14. Digital

15. Photography will continue to evolve…
We Salute to all the inventors right from pin-hole to today’s digital techn
ology for their contributions.

16. Basics of photography teach us, the kinds of photos that people commonly take-and how to take them
better than ever.
Camera Equipment—What You Need

17. Katsuhiko Tokunaga
Aviation photography (Japan)
"Orchestrating dynamic moments at 30,000 feet"

18. On a typical flight, I bring two camera bodies: a D4 and a D800. If the plan involves inverted flight with
an aerobatic team, I only bring one camera body, because the negative g-force causes my equipment t
o float around. I normally use an AF-S NIKKOR 24-70mm f/2.8G ED and an AF-S NIKKOR 14-24mm f/
2.8G ED. I also bring along an AF-S NIKKOR 85mm f/1.8G and an AF Fisheye-NIKKOR 16mm f/2.8D i
f necessary.
Katsuhiko Tokunaga

19. Sergey Gorshkov
On wildlife shoots, I use two Nikon D4 cameras with different lenses.
1. AF-S NIKKOR 24-70mm f/2.8G ED
2. AF-S NIKKOR 70-200mm f/2.8G ED VR II
3. AF-S NIKKOR 200-400mm f/4G ED VR II
4. AF-S NIKKOR 300mm f/2.8G ED VR II
5. AF-S NIKKOR 600mm f/4G ED VR
My lens choice usually depends on the mission. With this set of lenses, I can cover any distance needed.

20. Matthias Hangst
Cameras are not a religion for me. I'm a photographer, and I need the tools that will best help me do my
job.
There are a lot of inherent risks to my equipment during many of my assignments, but when
I am on the job, my gear has to work. It's important for me to know how my equipment is trea
ted.
The right camera….............................the right image

21. Benjamin Antony Monn
Architecture (Germany)
Space, Sharpness and Symmetry
Form and function Depth and detail
What interests me most about this project is the form and function that i
ndustrial architecture has. Most of the buildings that I'm shooting for thi
s project relate to our energy supply, as water, wind, sun and other for
ms of renewable energy are the topics that interest me.
We were working at the Bibliothèque Nationale de France and then at
the Hôtel de Ville. In terms of sharpness, you could really see the detai
ls even in the small books across a huge room. There were
hundreds, possibly thousands of books, and I could see details in each
of them. This makes the image become so much more real

22. Bill Frakes - (U.S.A.)
Photojournalism/Commercial
I've always been moved by images.
She was constantly teaching me about shapes, textures, colors, emotions, an
d how to use them to communicate visually. There was nothing specifically ab
out photography in these lessons, but she truly taught me how to see, and th
at's where it began.
The power and responsibility of photojournalism
I'm a photojournalist, pure and simple.
Whether it's a sporting event or an advertising assignment, I'm always a photojournal
ist.
That's my background and my passion.
When I cover athletic events, I may be trying to incorporate my own artistic sense or
make a statement about the sport, but I also need to do the reportage.
I need to show the outcome.
I need to show what is important and why it's important. Of course I want to make the
big picture of the big play, but I'm also trying to tell the complete story.

23. What Kind Of Photographer Do I Want To Be?
Photography is a very rewarding field, no matter what specialization you choose.
While some photographers decide to focus on just one specialty, others offer services in multiple
photography disciplines. Before you dive headlong into the photography field, ask yourself “What
kind of photographer do I want to be?”
Portraiture –
Wedding –
Fashion –
Architecture –
Preventive & Investigative -
Each discipline need different types of lens & Accessories
Now we see basic science of Photography as follows……………………

24. To create image with light and shadow what we need ?
we see image through our eye and save it in the brain.
The Eye has crystalline lens, Iris, Retina, Eyelids and Brain

25. To crate and save image what we have ?
1-Light
Daylight Artificial light 2 – Image capturing device
3 – Image storage device
Analog media
Digital media

26. We need a device which has a controllers like our eye i.e.
1 – Lens
2 – Irish
3 – Retina
4 – Eyelid
5 - Brain
A Camera has
1 – Lens
2 – Irish e.g. Aperture
3 – Retina e.g. focal plain where the image form
4 – Eyelid e.g. shutter speed
5 – Brain e.g. Memory Card

27. “Format Size”
Different size of film has different size of negative e.g.
Sheet film has 1- 8”x10”, 2- 4”x5” etc.
120 film has 2 1/4” x 2 1/4” or B2 size
35mm film has 24mm x 36mm
In photography it is to say
“Format Size”
What it effect on Lens ?

28. Diagonal length of the format size is the Focal length of the Normal lens.
36 mm
24 mm
50mm Focal length’s lens is “Normal lens for 24x36mm format/negative/f
ull format in digital e.g. FX format Camera.
If, focal length of the lens is more than it’s format diagonal
than it is a “Telephoto lens”.
It’s angle of view is narrow.

29. If, focal length of the lens is smaller than
it’s format size than it is called “Wide Angle lens”
It’s angle of view is wide.
Combination of various focal length is called
“ Zoom lens”
It has variable angles

30. Focal Length :-
Distance between center of focal plain and length of the lens is called
“Focal length”

32. Speed of the Lens
Often time you hear photographers say that a lens is fast or slo
w. Lens speed can be a difficult concept.
So, let’s take a closer look at what we mean when we call a len
s fast or slow
• A fast lens lets in more light to the sensor.
• A slow lens lets in less light.
Focal length----------
Diameter of the lens
= Speed of the lens & that is maximum opening of the aperture.
The aperture of a lens is the diameter of the open circle or diaphragm inside a lens.
This diameter is expressed as an f-number, such as f/2.8 or f/16.

33. Camera’s Controls
Shutter as controller of Light & Motion
Shutter speed denotes the duration of time for which the
shutter curtain remains open and allows light to stream i
n. This length of time varies in different situations

34. Aperture & Depth of field
From f/4 to f/5.6, the amount of light passing through the lens is cut in half.
Likewise, if you change from an aperture opening of f/11 to f/8, the volume of light entering the lens doubles.

35. ISO means International Standards Organisation.
The ISO camera settings will tell the camera how much light it needs to be able to
produce an image.
In other words, it is the amount of light needed to create a photo.
It also means that the higher the ISO number, the faster the shutter speed or mor
e aperture you can use in low light situations.
ISO :-

36. When you take a photograph, the photo sensors are exposed to the light.
There are three parts to exposure: The ISO, shutter speed and the aperture.
• The ISO controls the amount of light by the sensitivity of the sensor.
• The shutter speed controls the amount of light by the length of time.
• The aperture (the size of the lens opening) controls the amount of light by the intensity via a series of
different sized openings.
Exposure

37. Aperture: controls the area over which light ca
n enter your camera
Shutter spe
ed: controls t
he duration o
f the exposur
e
ISO speed:
controls the
sensitivity of
your camera
's sensor to
a given amo
unt of light
Exposure Golden
Triangle

38. Achieving balance between all three elements of the exposure triangle is key, and this is exactly what the meter in y
our camera helps you do. When you see that the light meter says the picture has too much light, it means that you
have to adjust the aperture, shutter speed, or ISO in order to get a correct exposure.

39. Demo Tutorials:-

41. BUILDING THE PICTURE

42. THE RANGE OF CHOICE
Learning to operate the controls of a camera involves the mechanical side of taking pictures and tell us
nothing about what to take. In turning to the more creative aspects of photography , the first thing to rem
ember is that the selection of a subject is only a starting point. It will affect the picture`s final impact .

43. ORGANIZATION
The reason for trying to organize a picture so that it makes a single statement will become clea
rer if you think about the difference between the human eye and the camera.
When we look at any scene we tend to concentrate on what interests us and ignore the detail t
hat does not seem relevant.

44. CONCENTRATING THE INTEREST
The more complicated your subject , the more vital it becomes to select a viewpoint and an angle of
view that will clarify the picture and convey the impression you want to give. Whenever you take a photogr
aph , you should ask yourself what point you are trying to make , and try to analyze your intentions conscio
usly rather than leaving such matters to chance.

45. CONVEYING DEPTH
The most familiar method , liner perspective , uses principles of geometry to achieve the right proportions
among objects as they diminish in apparent size with increasing distance , and to make lines that are paral
lel in reality appear to converge as they recede. These effects are produced automatically by the camera.

46. USING PERSPECTIVE
The power of liner perspective to suggest distance can sometimes be i
ncreased by changing your camera angle

47. EXPLORING TONE
The replacement of colour by black and white and gray tones not only helps to simplify a photograph
but also forces the photographer to be constantly alert to the subtleties of tone and contrast in the sc
ene he is taking.

48. STUDYING SHAPE
Shape, form , texture and colour are all different aspects of an
object's physical character. When they all are present in a photograph they
tell you everything about the object .

49. AWARENESS OF PATTERN
Pattern is a vital ingredient of nearly every picture , contribut
ing to the visual harmony of the picture as a whole

50. REVEALING FORM
The shape of the outline is , as we see is quite suffici
ent to identify the object .

51. COMBINING THE ELEMENTS
Shape , color , pattern , texture and form –
are brought together in these picture , which illustrate the
crucial importance of lighting and its ability to transform the
appearance of the object .

52. How to start ?
The real truth is that just about anyone can take better pictures. It’s really easy to press that shutter
button. But there are some steps you can take that will make your images better, even if you are an
absolute beginner…………..

53. These are some of the ideas for beginning photographers to keep in mind whether your goal is to take pic
tures of your family, landscapes, sports, close-ups, street journalism, or even if you plan to become a pro–
in which case, you have to start somewhere!
Get to know your camera.
It really doesn’t matter if you have one of the least expensive digital point and shoot cameras or an extremel
y expensive DSLR camera. If you aren’t familiar with the camera’s capabilities and settings, you will be unab
le to take advantage of that camera’s best qualities. Read the manual. Practice getting shots with your came
ra. You don’t need National Geographic type settings to practice; your living room, backyard, or a local parki
ng lot will do. Just get familiar with that wonderful image recording device.
Familiarize yourself with the most basic photography concepts
such as composition and light. Even a little knowledge about composition and lighting will give you a huge
advantage when it comes to taking pictures that have interest.

54. Use your camera at every opportunity
Having the best equipment available will not help if it’s sitting at home in the closet. Get used to carrying the cam
era with you at all times. If you have the resources, you can have more than one camera, a small camera that fit
s into your pocket and a larger “more professional” camera that you take for special photo ops. Even a cell phon
e can produce great images these days if you are aware of its capabilities.
Above all, do some soul searching
Convince yourself that you can do this thing called photography. You can take better pictures, no matter what w
as your previous pictures look like

55. You will get better as time goes on and you become more familiar with how to take photos and use
your camera, but if you learn a few basics, it will make a world of difference in your picture quality.

56. Prevention:-

57. Prevention:-
10 principles of crime prevention in order to achieve a good standard of security advice.
Whatever you are thinking about securing, whether it be your home, car, garag
e, farm or business, use these ten principles as a checklist.
Think of your survey as peeling through the layers of an onion. Start at the per
imeter of the premises and work your way in to the center of the building, consi
dering all ten principles at each layer.

58. One - Target hardening
Target hardening means: "Making targets more resistant to attack or more difficult to remove or dama
ge.
A target is anything that an offender would want to steal or damage. It could be an object, property, p
erson or in some cases an animal.
Here are some examples of Target Hardening.
fitting better doors, windows or shutters
window or door locks
alarms
screens in banks and building societies
fencing systems
repairing damaged and derelict property
fitting a wheel lock to a vehicle.

59. Two - Target removal
Target Removal is: "Permanent or temporary removal of vulnerable persons or property".
Quite simply this means making sure that any object in which a potential offender might be intereste
d is not visible.
Examples include:
• removing radios from parked cars
• keeping car keys out of sight, in a pocket or draw
• placing valuable items in a secure location
• demolishing derelict property
• removing jewellery from shop windows at night
• moving small vulnerable items nearer to cash tills in shops
• re-housing vulnerable people.
Target Removal can be quite a simple process. Simply putting the car into the garage and l
ocking it up is a good example of target removal.

60. Three - Remove the means to commit crime
The previous techniques are aimed at reducing the risks directly associated with the target. Remo
ving the Means to Commit Crime looks at the problem from a different point of view.
Removing the means to commit crime means: "Making sure that material capable of being used t
o help an offender commit a crime is not accessible."
Look at this photograph. What could be changed to reduce the chance of a crime taking place?
The dustbins could provide an easy access to the open
window. Removing these dustbins and locking them awa
y in a shed would remove the means to commit crime. T
hink about how many times you have seen large wheely
bins around industrial premises. These can easily be use
d as mobile platforms. To remove this threat they could b
e chained or locked up so that they cannot be moved.

61. Four - Reduce the payoff
Reduce the payoff means: "Reducing the gain for the criminal if a crime is committed"
Examples of this include:
using known and common places should not be used to keep valuable. Making identifiable mark on
goods/property will help to recognize in case of theft.
Bear in mind that even though adequate insurance will not reduce the gain to the criminal, it w
ill reduce the loss to the individual or organisation.

62. Five - Access control
Access control means: "Restricting access to sites, buildings or parts of sites and buildings."
There are many forms of Access control. Some of them are quite complex, but some are relatively s
imple.
Examples include:
• door locks (and making sure doors are shut)
• identity cards
• entry card systems
• entry phones
• baggage screening
• separate entries and exits
• combination locks.

63. Six - Visibility / Surveillance
This principle is defined as "Making sure that offenders would be visible if they carried out a crime."
Unlike any of the other principles, there are three types of surveillance, these are:
Natural
Formal
Informal.
Like all the other principles there is a range of methods and techniques that can be applied.
Natural surveillance
• Involves modifying the existing surroundings to increase visibility. It can include:
• pruning or removing shrubbery
• improving or installing lighting
• changing the height of fences
• placing a playground area so that it overlooks nearby homes (and is overlooked by those homes).
Low level dusk to dawn lights will improve natural survei
llance.

64. Formal surveillance
Uses technology or specialist staff who are employed or tasked to deter and identify actual or potential off
enders.
Formal surveillance methods include:
• deploying police and security staff
• store detectives
• alarm systems
• caretakers tasked with a security role
• closed circuit television (CCTV) systems.
Some formal surveillance systems can be on a small scale, for example individual shops and premises. O
n the other hand, there are some large scale systems, such as city Centre CCTV systems.
Informal or employee surveillance
This involves residents, employees and the community being encouraged to be vigilant and knowing what
to do when they see a potential risk. For example receptionists, counter staff and office staff can be trai
ned to spot potential problems. Procedures should be put in place to tell individuals or staff what to do i
f they see anything suspicious.

65. Seven - Environmental design
Crime prevention using Environmental design is a large topic. It involves: "Changing the environment of a buildi
ng, a site, an estate or a town to reduce opportunities for committing crime."
The emphasis is on putting a range of preventive measures in place at the planning stage. Crime Prevention T
hrough Environmental Design (CPTED) can be used in existing environments, or in new developments. It can i
nclude a whole range of features, such as:
1- Visibility/Surveillance 2- Target Hardening 3- street and pathway layout 4- lighting.
Crime prevention can be built into a new housing development at the planning stage.
On this estate there are several features:
• All doors and windows have good quality locks.
• Planting has been kept to a minimum to increase surveillance.
• The estate has an open design which also increases surveillance.
• There are parking spaces outside each house which deter possible offences b
y providing more surveillance of the cars.
Opposite the row of houses there is seating and a park which encourages people
to circulate.
• The driveway paving is a different colour and texture to the public spaces. Thi
s lets any potential offenders know that they are on private land.
• There is good street lighting and lighting outside each front door.
• The whole approach to crime prevention on this estate was considered at the
planning stage and crime prevention measures are used in a co-ordinated way
.

66. Eight - Rule setting
Rule setting means: "The introduction of legislation, by-laws and codes of conduct, which set out what is acc
eptable behaviour.“
There are many types of Rule setting, here is just a few:
• Wearing ID badges.
Internal rules within businesses.
• Local by-laws, such as those limiting consumption of alcohol in public places.
• Signs prohibiting access to buildings or certain areas in buildings.
• Requests to report to reception.
• Laws enacted by Parliament.

67. Nine - Increase the chance of being caught
"Anything that slows down an offender or increases their risk of being caught."
Preventive methods are more effective if the offender risks being caught. Anything that slows down an offend
er or increases the chance of detection is an effective method of prevention. This means that good Target
Hardening increases the time it takes to enter a building and increases the chances of being spotted. The
longer it takes to commit an offence, the more vulnerable the offender feels.
Increasing the chance of an offender being caught can be achieved by:
• proper management of CCTV systems
• lighting that makes offenders more visible
• making sure security equipment works properly
• putting several preventive methods in place, which slows an offender down even further
• alerting offenders to the fact that CCTV systems and alarms are being used
• publicizing successes in detecting offenders.

68. Ten - Deflecting offenders
This is the final principle of crime prevention and means: " Diverting the offenders and potential offenders f
rom committing crime."
This involves agencies working with young people and offenders to influence standards, thinking and attitu
des. The aim is to prevent potential offenders turning to crime.
Examples include:
• education programs & schools programs
• drug action teams
• youth groups and organizations
• providing training and work experience.
This method of preventing crime is increasing and the introduction of Crime and Disorder Reduction Partn
erships has encouraged multi-agency working.
Safety in your home
Make sure that any security measures (such as window locks) don't block your escape route - and
that you can get out of the house as quickly as possible. Fit a smoke alarm and test it regularly. Ma
ke sure you have an escape plan and that everyone in your household knows it

70. 3
Crime Scene Photography:-
Action Plan 1
2
3
4
5
6
7
Action
Follow - Up
Identification
Evaluation
Investigation
Analysis

71. Purpose of Crime Scene Photography
1. To record the original scene and related areas
2. To record the initial appearance of physical evidence
3. It will provide investigators and others with this permanent visual record of
the scene for later use
4. Photographs are also used in court trials and hearings

72. Action Plan - 1
Select & check the required Photographic Equipment according to the scene of crime:-

73. To show the scene exactly as it was when you first saw it
(1) If something was moved before you arrived, don't try to reconstruct the scene
as it was.
(2) The photographs should show the scene as you found it
Action - 2
Purpose
• First discuss the crime, evidence and photographs needed with other investigators at
the scene
• Be careful not to destroy any evidence while taking the photographs
At a scene of crime:-

74. Follow the instruction given by expert/ I/O
(1) Exterior of the building where the crime occurred and in some cases the whole location from all
directions.
(2) Aerial photographs of the scene and the surrounding area can be useful in some types of cases
(3) Original series of photographs should also show all doors, windows and other means of entrance
Outside the scene
The photographic record should be comprehensive and include general lay out of the location

75. Inside the scene
(1) Begin with a view of the entrance
(2) Then photograph the scene as it appears when you first step into the room
(3) Next, move around the room to get photographs of all the walls
(a) These photographs should also show the positions of any potential items of
evidence
(4) Include photographs of other rooms connected with the actual crime scene

76. Photographs to record items of evidence
1. Take two photographs of each item of evidence
a. One should be an orientation (midrange) shot to show how the item is related to its surroundings
b. The second photograph should be a close-up to bring out the details of the
object itself
2. Measuring and marking devices
Take two photographs if a marking or measuring device is used
(1) One photograph without the device, the other with the device
(2) So the defense can't claim that the scene was altered or that the device was concealing
anything important

77. PHOTOGRAPHING SPECIFIC CRIME SCENES
Each crime scene has unique characteristics and the type of photographs needed will be determined at t
he scene by the investigator familiar with the crime.
Homicide 1. Record in color
2. Photographs (example: homicide inside a residence)
a. Exterior of the building
b. Evidence outside the building
c. Entrance into the scene
d. Room in which the body was found
e. Adjoining rooms, hallways, stairwells
f. Body from five angles
g. Close-up of body wounds
h. Weapons
i. Trace evidence
j. Signs of activity prior to the homicide
k. Evidence of a struggle
l. View from position witness had at of the crime, use a normal lens
Suicide, other dead body calls
If there is any doubt, photograph the scene as a homicide

78. Burglaries
1. Photographs (residential or commercial burglaries)
a. Exterior of building
b. Point of entry
c. Entrance into scene
d. Interior views
e. Area from which valuable articles were removed
f. Damage to locks, safe, doors, tool marks
g. Articles or tools left at the scene by the suspect
h. Trace evidence
i. Other physical evidence

79. Assaults injuries
1. Photographing injuries
a. Face of victim in the photographs
b. Bruises
c. Bite marks
(1) Orientation shot
(2) Close-up at 90 degree angle to avoid
distortion
(3) Ruler in same plane as bite mark
(4) Focus care
• Assaulted location from all direction
• Evidence of a struggle like
• Hair
• Cloth
• Button
• Nailed mark
• U.V. Photography if require
All photo with relative location and close up at 9
0 degree angle to avoid distortion with ruler

80. PHOTOGRAPHING EVIDENCE
Fingerprints
1. When to photograph fingerprints
a. Before lifting on major cases or if the latent may be destroyed when lifting
b. To bring out detail in a latent
Impressions
1. Footprints and tire tracks
a. Procedure
(1) Take an orientation photograph to show
where in the scene the impression is located
(2) Take a close-up for detail
(a) Use a scale on the same plane as the impression

81. Bloodstain photography
1. Use color film
2. Orientation photographs to show locations of bloodstain evidence at the scene
3. Close-up photographs to show detail
a. Use a scale on the same plane as the bloodstain
b. Keep the film parallel to the plane of the bloodstain

82. Rule 1 - Do Not Disturb the Scene
• This is the cardinal rule of crime scene photography. Both later investigators and jurors need to see
the scene as it was when the police arrived.
• Some Courts have held that a scene is disturbed by the addition of even such simple things as measu
ring scales and labels. Leave them out of your first series of pictures.
• Make sure to cover the whole scene before it is touched or altered in any way.
• After the scene has been photographed in its original state, you may shoot a second series of pictur
es with minor changes.
• You can add measuring scales, remove obstacles blocking the view or do anything else which will make
the scene clearer.
• If you are working with a partner, take pictures of him moving objects or adding them to the scene.
• This will show the jury exactly what was done and why.

83. Rule 2 - Get a Complete Series of Pictures
• You must move around the scene to see everything was captured in the camera.
• Generally speaking, each important object in the scene should appear in at least three pictures:-
an overview; a mid range shot; a close-up.
• The overview should cover the entire scene to bring out the relationships between the objects.
• The mid range shot shows an important object and its immediate surroundings.
• Finally, each close-up shows a key detail clearly.
• All of these pictures are important.
• A close-up alone does not indicate where the object was located.
• An overview alone does not bring out all items sharply enough to permit a detailed examination.

84. Rule 3 - Record all Data
• Download captured data from your camera memory card as early as possible at two safe drive.
• Open your captured image in Photoshop for Re size image, Auto level, Auto colour and Auto contrast
only.
• Do not manipulate original image.
• You will often want to stress key details in a picture.
• If you do that by marking on the print itself, a defense lawyer may accuse you of altering it.
• For this reason, it is wise to do your marking on a transparent overlay which can be removed to show
the untouched print.
Final Thought
An expert photographer give useful pictures with Sharped Focused and Properly
Exposed.

85. 4
Forensic Photography/Investigative Photograhy
In house(Lab)
Crime scene
Forensic Analysis based on photographic examination

86. In house(Lab)
Forensic Sciences investigate the facts & truths with the helps of various disciplines of Science. Follo
wing are the divisions of the F.S.L.
1- Physics 2- Ballistics 3- Photography 4- Document 5- Chemistry 6- Toxicology
7- Blood Alcohol 8- Prohibition & Possession 9- Narcotics & Explosive10- Biology
11- Serology 12- D.N.A.13- Food posing 14-Finger Print 15. Computer Forensic.
16. Forensic Psychology
Photographing the Exhibits of all above divisions, photographer uses so many
photographic techniques to give faithful reproduction of the object (exhibit). U.V. & I.R.
photography also carried out in some cases.
To identify the person from the ‘Skull ‘a Video Superimposition technique is used.

87. No Division Types of Work
1 Physics Physical Comparison, Currency Notes, Exhibits, U.V. & I.R. Photograph
y
2 Ballistic Fire arms, wound marks, Comparison Microscope, Gun powder pattern
on cloth, I.R. Photography
3 Cyber Crime Exhibits
4 Photography In house all divisions Photography, Crime scene, Analysis & reporting
5 Document Documents reproduction, Clouse Up, Under Microscope, U.V., I.R and C
olour Spectral Range
6 Finger Print At a crime scene, on different object
7 Chemistry, Toxicology, Nar
cotics,
Explosive Objects, Narcotics Exhibit, T.L.C. Plates
8 Biology, Serology, DNA Exhibits, Super imposition, U.V. Photography
9 Forensic Psychology Narco- recording, Behaviour analysis, LVA Interview Recording
In house:- Forensic Photography

88. Crime scene
Photographer at a scene of crime followed the direction of investigating officer of F.S.L for recording the scene of cri
me. Following points are to be keeping in mind while recording the scene of crime.
1- The photographic record should be comprehensive and should include the general layout of
premises and location of an area
2- The photographic record should illustrate the relative position in relation to the crime scene
investigation.
3- Footprints, tire tracks and tool marks should be photographed in a right angle with a scale.
4- Each photograph should described appearance, physical size, perspective corrected shape
and faithful reproduction.
5- A series of photograph should be taken from the point of entry to the point of exit.
6- Detailed photographs should be taken of potential evidentiary material such as the body,
injuries, weapons, trace material, cartridge cases, damages and other relevant items .

89. At a scene of crime, before recording photographic images,
photographer himself asks following question.
( a ) What am I going to photograph ?
( b) Why should it be photograph?
( c ) What do I want to demonstrate in photograph?
( e ) How can I record it as I see it?

90. What Recorded Image (photo) indicate in
Forensic ?

91. Time ------------------- Place

92. Identity:-

93. Emotion ---------- Expression

94. Motto:-

95. Story in:-

96. Recorded Image Analysis
18th May,2016 dna news

97. Photography Division Analysing Crime cases based on photog
raphic Examination & Reporting.
Photographic Images and Image Acquisition Products
Products Likes
Camera
Negative / Positive
Photograph Black & White, Colour or Digital Images
Video Tap
Compact Disc

98. Recorded Images
Recorded images either visual or with Audio Signals are considered as important evidences in crime cases.
In all image acquisition stages information is more or less lost or distorted and artefacts might be int
roduced.
Basically an image can be defined as a “ Visually Recognizable Pattern “. The human visual system has
the pattern presented on the retina.
The key components used for dealing with visual information are image acquisition, pre- processing a
nalysing, interpretation and visualization of the analysis, storage of recorded result, transmission and datab
ase for search.
The imaging techniques have varied over the years from being artistic to photographic,
magnetic to electronic and digital.

99. Image Analysis Methods
Imaging a – Recording Devices
b – Distribution of Image
Image
Authentication
Technical Alteration and Manipulation
Image
Processing
Enhancement, Enlargement, Restoration, Processing with Multi Frames,
Correction of Moving or Defocused Objects.
Person
Identification
Identification from facial images, Craniofacial Identification and Facial -
Reconstructions.
Object
Recognition
Identification from Images.
Image
Measurement
2D measurement, 3D Reconstructions, Calibrated or Uncalibrated Cameras.
Technical
Investigation
Image information, Physical Features, Electrical signals, Magnetic Fields,
Reconstruction of Damaged Image Media.
Other Methods Image interpretation, Course of event , simulations., Image Transmission and Database S
earch.

100. Methods For Person Identification
Visual comparison.
Comparison using microscopes.
Metric comparison, Manual or Semiautomatic
measurements of the Facial features and geo-metrical distances.
Computer-based methods for 2D facial images.
Automatic face recognition algorithms.
Computer-based methods for 2D and 3D facial image comparison.
Computer-based methods for entirely 3D facial images.
Absolute measurements
Relative measurements
Perspective alignment
2D superimposition techniques
Statistical method
Learning based system

101. Camera Identification

102. Negative/Positive Identification:-

103. Individual Identification

104. Biometric Examination :-

105. Biometric Examination :-

106. Detect and Recognize Faces with Software
• Real-time biometric authentication systems allowing the user to log in by simply looking into a w
ebcam. FaceSDK enables touchless, non-intrusive biometric authentication;
• Time and attendance control systems;
• Video-based subject identification applications with no prior enrolment;
• Video surveillance systems with automatic face identification;
• Image organizers with face-based image search;
• Face animation effects for the entertainment industry;
• Automatic red-eye removal tools empowered with facial feature detection;
• Mobile applications for iOS and Android;
• Image enhancement applications and graphic editors.

107. Analogue Images & Audio Analysis

108. A case of porn C.D. from J & K Police
Analysis of Digital Recorded Images

109. Thank you -----------