FORENSIC PHOTOGRAPHY
THOMAS WEDGEWOOD (1820)- made the
first reliably documented although
unsuccessful attempt.
.(Discovered “SILVER CHLORIDE” )
1839 SIR JOHN HERSCHEL-developed the
first glass negative as opposed to metal.
• -He coined the term Photography deriving
from the Greek "fos"(phos) meaning light and
"grafo"(grapho) - to write.
•He pointed out images with a solution of
”Hyposulfite of Soda”.
HENRY FOX TALBOT “( FATHER OF
MODERN PHOGRAPHY)”-Introduced the
paperbased calotype negative and salt print
processes.
Camera Obscura (13-14 centuries)-
Latin for the Dark Room
CAMERA OBSCURA- is essentially a dark,
closed space in the shape of a box with a
hole on one side of it.
CAMERA LUCIDA-IN 1807, SIR
WILLIAM HYDE WOLLASTON- patented
the camera lucida and brought life-drawing to
a whole new level.
-allows you to trace what you see. -it’s
portable, easy to use.
PHOTOGRAPHY- is an art or science which
deals with the reproduction of images through
the action of light.
POLICE PHOTOGRAPHY- deals with the
study of the principles of photography, the
preparation of photographic evidence.It is
application of Police Work.
FORENSIC PHOTOGRAPHY- documenting
a crime scene and evidence for laboratory
examination and analysis for purposes of
court trial.
PHOTOGRAPH- A mechanical and chemical
result of photography.
PHOTOMICROGRAPHY – photographing
minute objects when magnified by means of
a microscope and enlarged from 10 times and
up.
PHOTOMACROGRAPHY – directly enlarged
on the negative and magnified from one to
nine times.
MICROPHOTOGRAPHY – The process of
reducing big objects or things of minute
objects.
CRIME SCENE PHOTOGRAPHY
– photographing the scene of the crime.
SURVEILLANCE PHOTOGRAPHY –
photographing individuals without his
knowledge, such as the same in clandestine
photography.
INFRARED PHOTOGRAPHY –
photographing of objects visible, divisible,
and invisible even with haze.
ULTRA-VIOLET PHOTOGRAPHY –
photographing objects or markings which are
invisible using reflected or fluorescent.
X-RAY PHOTOGRAPHY –photographing hidden
objects or things.
TRAFFIC ACCIDENT PHOTOGRAPHY –
photographing of traffic incidents or occurrence
especially in a vehicular accident.
INVESTIGATIVE PHOTOGRAPHY – application
to law enforcement or investigation process and
the preparation of photographic evidence for
court presentation.
MUG-SHOT PHOTOGRAPHY –photographing
individuals for identification purposes.
thermo photography –use laser beam radiation
using laser beam film.
AERIAL PHOTOGRAPHY–for photo mapping.
Taking a photograph above the subject.
 FORENSIC PHOTOGRAPHY
UNDERWATER PHOTOGRAPHY – finally concluded that silver nitrate is sensitive to
photographing things under water.
FINGERPRINT PHOTOGRAPHY –produces an
enlargement of finger print for comparison
purposes.
FIREARM IDENTIFICATION
PHOTOGRAPHY photographing of firearm shells
and bullets. It is also where photomicrography is
applied.
QUESTION DOCUMENT PHOTOGRAPHY-
photographing document for purposes of
examination and as a substitute for duplicate
copy when original is lost .
ARSON AND QUESTIONABLE FIRE
PHOTOGRAPHY – It is the willful and malicious
burning of property, usually a building or dwelling
unit.
ARISTOTLE- A famous Greek philosopher
who invented the first pinhole camera that was
later known as camera obscura (Italian work for
darkroom chamber) which literally translated to
Darkened fox.
-He was the one who succeeded in recording the
principle that the light entering through a small
hole produces an inverted image or figure.
ALHAZEN (965-1039)- He was considered as
the one who invented the camera.
-An Arabian scholar who found out that light
entering a small hole on the wall or shuttered
window of a darkened room cast an upside down
picture of the scene outside onto the opposite
wall.
JEAN BAPTISTE FORTA- An artist and a
scientist who, in his Pseudo Science Magic, had
made use of the Camera Obscura And replaced
the hole with a lens which made the image
brighter and sharper. -He was the first person
who introduced the lens.
JOHANN HENRICH SCHULZE-A german
scientist (Anatomist) discovered the silver Nitrate
when he exposed it to light turns to purple.-He
light and capable of producing images .
THOMAS WEDGEWOOD (1802) -He
discovered that silver chloride is more sensitive
than silver nitrate and thus, more capable of
recording and producing images.
JOSEPH NICEPHORE NIEPCE OF FRANCE
(1816)- He experimented with combining
photosensitive materials with lithography to
facilitate his endeavor in printmaking.
-In 1822, he claimed some success, achieving
what he called “POINTS DE VUE” Smart
images made by the Camera Obscura with more
than eight hours of exposure.
-He took the world’s very first photograph called
“Heliography” LOUISE JACQUES MANDE
DAGUERRE (18381839)
-He invented the principle for the silver plate
photograph and using the Daguerre type that
produces one kind of picture on metal which was
presented by French Scientific Academy.
-He invented the Daguerreotype in Paris.
MATHEW B. BRADY - When the American Civil
war broke out, he was able to preserve the scene
with the use of a camera.
WILLIAM HENRY FOX TALBOT (1839)
He is the Father of modern Photography He
invented the Calotype, which produces a negative
picture on a paper, the lights on the image were
recorded as darks, the darks as lights.
He presented it before the royal family in
England.
JOHN W. HERSCHEL
He coined the word photography.
He then suggested negative and positive in the
following years.
He pointed out images with a solution of
Hyposulfite of Soda (hypo or sodium thiosulfate)
which had been discovered in 1819.
 FORENSIC PHOTOGRAPHY
FREDERICK SCOTT ARCHER - He pioneered
the wet Collodion process which took place of the
collotype known as colodian type process.
DANIEL BARBARO -He introduced the use of
lenses in the camera.
SIR ISAAC NEWTON (1666) - An English
Philosopher, Mathematician, and Physicist who
discovered and proved that the strongest light is
white light.
He defended his theory by allowing a white light
(sunlight) to pass through a prism thus refracting
and reflecting the light into its component parts.
MAXILL (1863) - He discovered the different
effects with this application, when colored
photography was discovered.
MADDAOX (1884)-He successfully introduced
the plate with gelatin.
-The roll film came and new brands of cameras
with different lenses and mechanisms were
placed in the market.
GEORGE EASTMAN (1889) - He introduced the
use of roll film made of celluloid materials for use
by a portable camera.
WILHELM ROENGENT (1895) - He discovered
Xray Photography which later became the basis
of RADIOGRAPH used by the doctors in
measuring the heartbeat and to see the other
structure of the body.
MAXILL (1863) -He discovered the different
effects with this application, when colored
photography was discovered.
MADDAOX (1884) - He successfully introduced
the plate with gelatin.
-The roll film came and new brands of cameras
with different lenses and mechanisms were
placed in the market.
GEORGE EASTMAN (1889)- He introduced the
use of roll film made of celluloid materials for use
by a portable camera.
WILHELM ROENGENT (1895) -He discovered
Xray Photography which later became the basis
of RADIOGRAPH used by the doctors in
measuring the heartbeat and to see the other
structure of the body.
EDWIN H. LAND (1947) - Introduced
“polaroid” the one step photography.
STEVE SASSON (1975) - An American Electrical
Engineer who invented the digital camera.
LAB TECHNICIAN- darkroom expert. They are
responsible for all film development, both black
& white and color. They also produce black &
white and color enlargements, as well as 1:1. In
addition, they are responsible for all copy work
and the logging and filing of all negatives.
FORENSIC PHOTOGRAPHER- is an expert in
the photo sciences field.
CRIME SCENE SPECIALIST (CSSS)- Is
trained in a variety of subjects, including
photography. Their mission is to cover all crime
scenes by photographing it, gathering and
packaging evidence, dusting and lifting of
fingerprints, making measurements, and
drawing the crime scene to scale.
LIGHT - is one of number of known form of
radiant electromagnetic energy which travel in
wave motion. WAVELENGHT -Wavelength is
the distance from crest (highest point) to the
wave of the next succeeding crest.
FREQUENCY -is the number of waves passing in
a given point in one second.
WAVELENGTH THEORY (JAMES MAXWELL)
The series of wave which travels outward from
the center point are just like light waves that
travels in all direction from a source with equal
velocity.
The theory maybe used to illustrate reflection,
interference, refraction, diffraction and
polarization.
QUANTUM THEORY -IN 1900 MAX PLANK-
theorized that light might be made up of little
bundles of energy named Quanta. A quantum of
 FORENSIC PHOTOGRAPHY
light is called photon. When a photon strikes a
light sensitive surface, it gives energy of
electrons within a metal explain the photoelectric
current. It is used to explain X-radiation and
photo electricity. X-RAY – radiation having a
wavelength between 01 to 30 nanometer or
milli-microns.
ULTRA-VIOLET RAYS-It is used to photograph
fingerprints on multi-colored background,
documents that are altered chemically or over
writings and detection of secret writings.
VISIBLE LIGHT RAYS OR WHITE LIGHT –
rays having a wavelength of 400 to 700 milli-
microns.
INFRA-RED RAYS-It is used in taking
photographs of obliterated writing, burnt or dirty
documents or blackout photography.
VISIBLE LIGHT - Light with a wavelength of
400700 nm
INVISIBLE LIGHT -Lights with shorter of longer
wavelength
WHITE LIGHT-White light is the sum total of all
colors of the rainbow while Black is the absence
of colors.
PRIMARY COLORS
RED-GREEN-BLUE
SECONDARY COLORS
RED+GREEN=YELLOW
RED+BLUE=MAGENTA
GREEN+BLUE=CYAN
REFLECTION- It is the deflection or bouncing
back of light when it hits a surface. Regular
Happens when light hits a flat, smooth and shiny
surface efraction The bending of light when
passing from one medium to another.
DIFFRACTION- The bending of light when it
hits a sharp edge opaque object.
RECTILINEAR The nature of light that normally
travels in straight line.
INTERFERENCE- Color can be produce by
interference of lightwaves in thin film like in soap
bubbles or a film of oil floating in water6.
Absorption The nature of light to be absorbed in
the process of dark surface.
FILTRATION -The character of light to be
altered from its colorless into visible state
POLARIZATION -The process by which the
vibration of light are confined to a definite plane,
and the speed of light can be measured.
FLUORESCENCE- These happen when
molecules of the fluorescent material absorb
energy at one wavelength and radiate it at
another wavelength. NATURAl- from nature like
the sun, moon, stars, other heavenly bodies,
lightning. BRIGHT SUNLIGHT - A lighting
condition where objects in open space cast a
deep and uniform or distinct shadow.
HAZY SUNLIGHT -Objects in open space cast a
transparent shadow.
DULL SUNLIGHT - Objects in open space cast
no shadow.
CLOUDY BRIGHT- Objects in an open space
cast no shadow but objects at far distance are
clearly visible.
CLOUDY DULL -Objects in an open space cast
no shadow and visibility of distant objects are
already limited.
ARTIFICIAL LIGHT -sources of this category
are man-made and are divided into the
continuous radiation and short duration.
CONTINUOUS RADIATION- Those that can
give continuous illumination.
SHORT ILLUMINATION (FLASH UNIT) - It
gives a brief flash of light produced by a burning
metallic wire (flash bulb) or an electrical
discharge through a gas-filled tube.
PINHOLE CAMERA – a camera of simple
design and construction usually home-made
consisting of a box having a small aperture
functioning as lens at one end, the image being
projected on the film at the other end.
BOX CAMERA -is little more than a pinhole
camera. It has a lens and shutter. In the box
camera, the pinhole is replaced by the lens to
enable the photographer gather light to be
recorded.
SINGLE LENS REFLEX (SLR) CAMERA -The
term “Single lens” means that only one is used
for both viewing the scene and taking
photographs of it, thereby preventing parallax. It
has a detachable lens and is mostly used in
police photography.
PARALLAX - The difference between what is
seen through the viewfinder and what is exactly
recorded on the film.
TWIN LENS REFLEX CAMERA -Employs 2
separate lenses – one for viewing and one for
 FORENSIC PHOTOGRAPHY
focusing, and the second is usually mounted
under the first, transmitting the light to the focal
plane recording.
POLAROID STILL - This camera is restricted in
its uses but ideal in instant photograph when
there is no requirement for enlargements.
DIGITAL CAMERA- A digital camera (or
digicam) is a camera that encodes digital images
and videos digitally and stores them for later
reproduction.
BODY OR LIGHT TIGHT BOX – suggest an
enclosure devoid or light. An enclosure, which
would prevent light from exposing the sensitized
material inside the camera.
LENS – the function of the lens is to focus the
light coming from the subject. responsible for the
sharpness of the image
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.
HOLDER OF SENSITIZED MATERIAL –
located at the opposite side of the lens. Its
function is to hold firmly the sensitized material in
its placed during exposure to prevent the
formation of a multiple or blurred image of the
subject.
VIEW-FINDER – it is a means of determining
the field of view of the camera or the extent of
the coverage of lens.
CREATED IN 1975 BY STEVE SASSON, AN
ENGINEER AT KODAK, the first ever digital
camera was a fairly rudimentary affair compared
to what we use today.
1994 APPLE QUICKTAKE 100 The first digital
cameras for the consumer-level market that
worked with a home computer via a serial cable
were the Apple Quick Take 100 camera.
PRESS CAMERA- loaded with a sheet of
film.traditional folding bellows designs with a lens
standard in an extendable baseboard.
UNDERWATER CAMERA -Designed for
underwater photography.
WIDE VIEW ANGLE CAMERA-A camera with a
wide angle lens that produces a rectangular
image that is designed for landscape
photography and architectural photography.
PANORAMIC CAMERA- Used for landscaping
photography.
STILL VIDEO CAMERA -Images can be stored
in video tapes equipment with a floppy disc, a
disc that can hold about 50 images or more.
LENS - "gather" light rays from a subject, form
and focus those rays into an image, project this
image onto film inside the camera.
CONVERGENT/POSITIVE/CONVEX LENS -It
is always thicker at the center and thinner at the
sides. Light passing through it are bended toward
each other on the other side of lens meeting at a
point. It produces a real image on the opposite
side of the lens or where light is coming from.
DIVERGENT/NEGATIVE/CONCAVE LENS- It
is always thinner at the center and thicker at the
sides. Light passing through it are bended away
from each other as if coming from a point.
It produces a virtual image on the same side of
the lens or where light is coming from.
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.
WIDE-ANGLE LENS – a lens with a focal length
of less than the diagonal of its negative material.
NORMAL LENS – similar to the human eyes
which have a focal length of approximately equal
or more but not more than twice the diagonal of
its negative material.
LONG OR TELEPHOTO LENS – a lens with a
focal length of more than twice the diagonal of
its negative material.
RELATIVE APERTURE – the light gathering
power of the lens is expressed in the F-number
system. It is otherwise called the relative
aperture. By increasing or decreasing the F-
number numerically, it is possible to:
control has the amount of light passing through
the lens control the depth of field control the
degree of sharpness due to the 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.
 FORENSIC PHOTOGRAPHY
Hyper focal distance – is the nearest distance
at which a lens is focused with a given particular
diaphragm opening which will give the maximum
depth of field.
FOCUSING – is the setting of the proper
distance in order to form a sharp image a lens of
a camera except those fixed focused requires
focusing.
FOCUSING SCALE OR SCALE BED To focus
the lens of the camera, the distance of the object
to be photographed is measured, estimated, or
calculated and the pointer or maker on the lens
barrel is adjusted to the corresponding number
on the scale. RANGE-FINDERS – is a
mechanism that measures the angle of the
convergence of light coming from a subject as
seen from two apertures.
SPLIT-IMAGE- through the rangefinder, 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
CO-INCIDENT IMAGE – through the eyepiece,
a single image is seen double when the subject is
out of focus. Make the image coincide and lens is
in focus.
ASTIGMATISM - The inability of the lens to
bring to focus both vertical and horizontal lines
on the
same plane
COMA - Coma causes parallel oblique rays
passing through a lens to be imaged (focused)
not as a point, but as a comet shaped (oval)
image. Coma can be improved by stopping down
the lens.
CURVATURE OF FIELD - The plane of sharpest
focus becomes curved, not flat.
LONGITUDINAL CHROMATIC ABERRATION
- The inability of a lens to focus all colors
(wavelengths) at the same plane.
LATERAL CHROMATIC ABERRATION - lateral
displacement of color images at the focal plane.
SPHERICAL ABERRATION - Inability of all rays
to focus at the same point. This causes the focus
to drift as you stop down the lens.
FLARE - Flare is non-image forming light.
Reduces contrast and color saturation.
Flare is caused by very bright subject areas and
produces internal reflections in the lens.
SIMPLE MENISCUS LENS - It is an
uncorrected lens and therefore suffers from
inherent defects of lenses.
RAPID RECTILINEAR LENS -This is a
combination of two achromatic lenses with
almost the same focal length. This is corrected
from some kind of lens defect but not to
astigmatism defects.
ACHROMATIC LENS- A lens which is partly
corrected for achromatic aberration.
ANASTIGMATIC LENS-Lens free from
astigmatic and other types of lens defect. It has
the ability to focus vertical or horizontal lines at
the same time.
PROCESS LENS -A saucer-corrected lens for
astigmatism. It has a better color correction and
has the ability to produce the best definition of
image in the photographs.
FIXED FOCUS LENS -A lens used in all fixed
focus cameras. Basically, it has short focal length
and greater depth of field.
MACRO LENSES
⮚ The word “macro” is derived from Greek
word which means “to enlarge”.
ZOOM LENSES -Allow quick adjustment to give
a wide or narrow field of vision.
SHUTTER- A device that opens to uncover the
film to make an exposure for an accurately timed
intervals then close automatically. The action of
the shutter is expressed in the different shutter
speeds which corresponds to the length of time
or duration of the opening to the closing of the
shutter.
 FORENSIC PHOTOGRAPHY
CENTRAL SHUTTERS – 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 toward the side then
closes back to the center.
FOCAL PLANE SHUTTER – is located near the
focal place or the sensitized material. It is usually
made of cloth curtain. Its action starts on one
side and closes on the opposite sides.
EXPOSURE-is the action of recording radiant
energy that produces a change on a material or
substances sensitive to such energy.
EXPOSURE – is the product of illumination and
time. Exposure is computed by any of the
following methods.
USE OF LIGHT OR EXPOSURE METER- The
amount of light coming from a source or the
amount of light being reflected by the subject is
measured by the light meter.
FLASH PHOTOGRAPHY
Brief flash of light produced by burning metal
wires (flash bulb) or an electric discharge
through a gasfilled tube (electronic flash) is the
most common supplemental light for still
photography.
SHUTTER SPEED- both electronic flash unit and
flash bulb provides light in a relatively high
illumination level in a short period of time.
Because it is important for the camera shutter to
be open for this brief period of time.
ON- CAMERA FLASH- flash on camera or held
close to the camera with a bracket provides a
direct, hard light. Because it puts the maximum
level of light on the subjects, it creates a problem
of the “red eye” in a human subject, harsh
shadow of subjects with a near background, and
reflections from shiny spots in the background.
OFF-CAMERA FLASH- with this unit, the flash
can be moved away from the camera at arm’s
length or more. When the flash unit is used in
this manner, the photographer can improve the
effectiveness of the flash lighting like:
MULTIPLE FLASH- more than one flash unit is
used. One is concerned with the camera with a
flash cord while the other is attached to a
“slave” unit.
FILL-IN-FLASH- when you want to eliminate or
add illumination to shadow areas or subject so
detail that otherwise will not appear clearly in the
final picture.
OPEN FLASH- the shutter speed is set “B” and
once the shutter is open, the flash is activated or
fired manually. Then the shutter is released or is
closed.
BOUNCE FLASH, it is bounced on light colored
ceilings or walls near the subject. This will give a
softer effect on the subject, and also diminish or
reduce harsh shadow that will be casted by the
subject.
UMBRELLA FLASH- a modified type of bounce
flash by using an umbrella lined with silver,
white, blue or amber colored especially made for
photography..
RING FLASH- this is a round or circular flash
unit usually placed around the outer end of the
camera lens. This is used for taking close-ups or
macro photography especially in medical
photography.
OPTICAL FILTER- are made either of glass or
acetate. Optical filters are used primarily to
control exposing energy (visible wavelength,
ultraviolet, infrared rays) and the composition of
working illumination in areas where sensitized
materials are handled.
PARTICLE OR SOLUTION FILTER- is used in
special photographic procedures like in infrared
luminescence.
LIGHT BALANCING FILTER-A filter used to
change the color quantity of the exposing light in
order to secure proper color balance for artificial
light films.
COLOR COMPENSATING FILTER -It is used t
o change the overall color balance of
photographic results obtained with color films and
 FORENSIC PHOTOGRAPHY
to compensate for deficiencies in the quality of
exposing energy.
NEUTRAL DENSITY FILM -It is being used
when the light is too bright to allow the use of
desired fnumber of shutter speed with a
particular film.
POLARIZING FILTER- reduce or minimize
reflection on subjects like water glass, and highly
polished surfaces.
POLARIZING FILTER AND NEUTRAL
DENSITY FILTER
⮚ Use to cut down light transmission. ⮚ They do
not otherwise affect the color or tonal quality of
the scene.
⮚ Polarized reflected light from a non-metallic
surface such as water and reduced reflection in
the photograph.
⮚ It is the only filter that can increase the blue
saturation in the sky in color photograph.
PHOTOGRAPHIC FILM
Is a chemically reactive material that records a
fixed or still image when exposed to light.
PHOTOGRAPHIC PAPERS
A type of light sensitized material that produces a
positive result or photographs after development
which is the final result of photography. A
material suspended with an emulsion.
PHOTOGRAPHIC FILTERS- A transparent
colored medium employed to regulate either the
color or the intensity of light used to expose the
film.
ORDINARY/PANCHROMATIC FILM- It is
sensitive to all colors especially to blue and
violet. It is suitable for general use in the
preparation of black and white photographs.
PROCESS PANCHROMATIC FILM OR SHORT
SCALE- Low in speed and high in contrast.
FINE GRAIN PANCHROMATIC FILM OF
LONG SCALE-Permit short exposures under
average lighting conditions and has the
advantage of fine grain structure.
HIGH SPEED PANCHROMATIC FILM-It was
originally intended for photographing and object
or subject under adverse lighting conditions.
BLUE SENSITIVE FILM-A film especially
treated that makes it more sensitive too blue rays
of light.
ORTHOCHROMATIC/KODALITH FILM
Sensitive to all colors except red.
MINICOPY FILM -with limited enlargement
capability.
POLAROID FILM -Contains chemicals for
developing and fixation.
COLOR FILM -All film end in ‘color’.
COLOR NEGATIVES – for prints, ends in word
“COLOR”
COLOR TRANSPARENCY – for slides, ends in
the word “CHROME”
COLOR INFRARED FILM -A special type of film
which is sensitive to infra-red radiation. It is also
sensitive to violet and blue-green. In is useful in
penetrating haze because of its longer
wavelength. In investigative photography, it is
useful in
laboratory analysis of questionable documents
X-RAY FILM -A material which is sensitive to x-
ray region of electromagnetic spectrum.
MONOCHROMATIC FILM - Because of its
limited color sensitivity, has no use in regular
photography.
It is used primarily for recopying.
ORTHOCHROMATIC FILMS - These are
sensitive to ultraviolet, violet, blue, green and
yellow portions of the spectrum. They do not
accurately reproduce the relative brightness
of the subject of a subject as seen by the
naked eye.
PANCHROMATIC FILMS -These are sensitive
to all colors of the visual spectrum to assist in the
selection of the correct film for any kind of work.
 FORENSIC PHOTOGRAPHY
These are divided based on color sensitivity.
EMULSION SPEED- The different indicators of
emulsion speed are as follows:
ASA (American Standard Association) Rating.
This is expressed in arithmetical value.
DIN (Deutche Industri Normen) Rating. This is
expressed in logarithmic Value
ISO (International Standards Organization)
rating. This is expressed in the combined
arithmetical and logarithmic values.
SLOW FILMS -These range from ASA 25 (or
lower) to approximately ASA 80. Slow black-and-
white films, because of their fine grain structure,
can be enlarged considerably without showing
graininess., a slow film is an assurance of
medium-high contrast, and a capacity for greatly
enlarged negatives or slides.
MEDIUM-SPEED FILMS -From about ASA 100
to 250, a film falls between slow and fast, has
good grain structure, medium inherent contrast,
and is appropriate for many subjects and
conditions. There are color-negative and slide
films, plus black-andwhite-films, in this speed
range.
FAST FILMS- From ASA 250 to 400 is the fast
speed range, and in this range Kodak Tri-X is the
favorite of many professionals. Rated at ASA 400,
Tri-X produces slightly less contrast in a given
situation, compared with slower films such as
Plus-X and Panatomic-X. This means it is slightly
easier to achieve shadow detail in bright sunlight
with Tri-X, though of course much depends on
exposure and development. In enlargements
greater than about 8 x 10, graininess is more
pronounced in fast compared with slower films,
but with proper exposure and development, grain
should not be a problem. In actual practice, I feel
that if grain shows in a print, it belongs there
because lighting conditions, development, or
degree of enlargement made it so.
SUPERFAST FILMS- There are only a few
superfast films in the ASA 1000 to 3200 range,
and these are for special purposes. Superfast
films are designed for use in very poor lighting
conditions when you can’t or don’t want to add
artificial light, or they are used for obvious grain
effects. Eastman Kodak says in a booklet about
films approximately what I said above, “grain is
usually acceptable in the type of pictures for
which the film is designed.” In other words, if you
need a fast or superfast film, or must make huge
enlargements that accentuate grain, it will appear
appropriate to the photograph. Blue Sensitive
Film – Sensitive to ultra-violet rays and blue light
only. b.Orthochromatic Film - Sensitive to
ultra-violet rays and blue light only.
Panchromatic film – sensitive to ultra-violet
radiation to blue, green or all colors. Infra-
red Film – sensitive to ultra-violet rays, to
blue, green red light and infra-red rays.
GRANULARITY OR GRAININESS - This
refers to the size of the metallic silver grains
that are formed after the development of an
exposed film.
-The sizes of the metallic silver grains are
dependent on the emulsion speed of the film
and the type of developing solution that is
used in the processing.
-The rule is: the lower the emulsion speed
rating, the finer the grain and conversely, the
higher the emulsion speeds rating of the film,
the bigger the grains.
-Likewise a film developer will produce a finer
grain than a paper developer when used for
film processing.
Gelatin Anti-Halation Layer- this layer
prevents light from passing back through the
emulsion layer once it has already passed
through.
Anti-Curl Backing- this layer stabilizes the
laminate to prevent it from curling.
3. Adhesion Layer-this layer is used to
bond different layers together.
4. Film Base- this is a transparent layer that
supports the image.
5. Emulsion- this is the most important
layer; it contains the silver halide crystals that
react when the film is exposed to light,
causing a latent (unseen) image.
 FORENSIC PHOTOGRAPHY
6. Gelatin Protective Coating- also known
as the anti-scratch layer. They serve as a
support to the emulsion.
COLOR FILMS -is a multi-layer emulsion
coated on the same support or base. The top
emulsion
is sensitive to blue light oNly . Since green
and red light passes through it without effect,
the blue light alone makes the exposure. A
yellow filter layer above the middle emulsion
absorbs any unused blue light and prevents it
from reaching the two lower emulsion layers.
The yellow color in the filter layer has no
permanent effect on the appearance of the
film because it is destroyed during processing.
The middle emulsion is sensitive to green light
but not to red light. Like emulsions, the
middle layer is also sensitive to blue light but
the blue light cannot reach it.
EMULSION- A thin layer of light-sensitive
material, usually silver halide; emulsion is
coated on a transparent base for film, and on
a paper base for printing papers.
SILVER HALIDES- Tiny crystals or grains of
silver which darken when exposed to a
sufficient amount of light. Shades of gray are
produced in the emulsion according to its
sensitivity, the size of the halide crystals, the
thickness of the layer, and the amount of light
that affects it.
ANTI HALATION BACKING- A dye coating
on the back of the film base which helps
prevent light rays from reflecting back
through the emulsion.
HALATION- Dispersal of intense light rays
around bright areas of an image, the effect of
which is to decrease image sharpness .
GRAIN- Individual, microscopically small
particles of silver which give film its sensitivity
to light and ability to form an image. Larger
particles of silver, sensitized by light first, are
characteristic of “fast” films..
GRAININESS- A fine, granular texture that
appears in a negative, print, or slide resulting
from the clumping of silver grains during
development of the film. Graininess is also
influenced by film speed, negative density,
and degree of enlargement.
LATENT IMAGE- The invisible image left by
the action of light on photographic film or
paper. When processed, the latent image
becomes a visible image, either as a negative,
or as a positive black-and-white print or color
transparency.
FILM SPEED- A number, usually an ASA
rating or an exposure index (EI) rating, that
indicates the relative light sensitivity of a
specific film. The higher the number, the
more sensitive or “faster” the film.
Fog- The darkening of a negative or print, or
lightening of a slide caused by:
exposure to light leaking into film containers
or any light other than the image-forming
light that comes through the lens,
overdevelopment, aging or outdated film or
paper, or
storage of film or paper in a hot humid place.
CONTRAST- It is the degree of difference
between the darkest tone and the lightest
tone in a negative, print, or slide. The darkest
tone may be black, and the lightest may be
pure white, depending on the subject,
lighting, exposure, and development.
DENSITY- In a negative or slide density
relates to the amount of developed silver (or
dye) in any area, and is a measure of the
“light-stopping power” of that area.
TRANSMISSION- The amount of light that
gets through a given negative or slide area
divided by the total amount of light that hits
that area is referred to as transmission. Thus
a transmission of 85 percent means that 85
percent of the light hitting any specific part of
a negative or transparency gets through it.
 FORENSIC PHOTOGRAPHY
OPACITY- This term turns transmission
upsidedown, and refers to the total amount of
light that hits a given area divided by the
amount of light that gets through that area.
Opacity relates directly to density; the words
actually describe the same thing, but are
written in different ways or math formulas.
GAMMA- The relative contrast in a negative
due to development is described as gamma .
It is easy to become tangled in terminology
that describes the quality of a negative.
LATITUDE- Latitude is the ability of a film to
compensate – within somewhat narrow limits
– for mistakes of exposure and/or
development.
FILM LATITUDE- Film latitude refers to the
ability of a film to compensate for exposure
errors – to be improperly exposed and still
provide an acceptable negative or slide.
SLIDE FILMS- These are much less stable
than negative materials, and should be stored
in a refrigerator almost until the time they are
to used.
PAPER-This can include thin sheets of plain
paper, like that used to create office
documents, or thick, multi-layered paper.
Image-forming Materials-These are the
colorants that make up the picture. Image
forming materials include dyes pigments.
CHLORIDE PAPER - Has a slow speed and
is suited for contact printing.
BROMIDE PAPER - Has fast speed and is
recommended for projection printing or
enlarging.
CHLORO-BROMIDE PAPER - A multi-
speed and could be used in both contact
printing and enlarging.
Exposure Latitude -Generally,
photographic papers do not have a wide
range of photographic latitude so exposure
must be critical at all times. Development
Latitude - Papers that do not change
appreciably in contrast and image tone with
reasonable variations in development has
good latitude. For best quality the developing
time should be as near as those prescribed by
the manufacturer.
Contrast Range or Grade - In black and
white printing, it is often necessary to adjust
the paper contrast so they can yield a
natural scene result from negatives with
density range that are either too high or too
low. Some papers are available in several
contrast ranges or grades while others have
builtin contrast control affected by the use of
a filter on the enlarging lens or one the
enlarger light source.
Silver Chloride [AgCl] Emulsions. They are
very slow (low sensitivity to light) and mainly
used for contact printing works with long
exposure times. Their sensitivity is limited to
UV light and violet.
Silver Bromide [AgBr] Emulsions. They are
very fast (very sensitive to light). Their
sensitivity widens almost up to green light.
Their tonal range is shorter and cannot rival
the one offered by Silver Chloride emulsions.
They print with a neutral to cold cast.
Chlorobromide Emulsions. They are
sensitive enough to allow working under the
enlarger which requires relatively short
exposure times.
Silver Chlorobromide- Used in most
definitely not up to red light. modern photo
paper that have sensitivity to light that may
go from violet, blue up to cyan, but not
necessarily up to green
and
Glossy Paper-Amongst all the different types
of photo paper, glossy paper is the only one
that tends to reflect light in a way that the
photo becomes unclear.
Matte-They produce greater contrast largely
because the colour black shows up well in
 FORENSIC PHOTOGRAPHY
them. You should use matte photo paper if
you foresee reflection and fingerprints being a
problem.
Canvas-The only flaw of canvas paper is that
it is textured. This means that in certain types
of lighting and angles, bumps can become
evident on the surface.
Pearl or Lustre-Pearl or lustre as these
photo papers are often known as semi glossy
photo papers except for the fact that they
have a textured feel. Pearl photo papers are
high quality products that combine the
qualities of matte and satin photo papers.
Metallic- produce the glossy look albeit with
a metallic tinge to them. These photo papers
often give chrome like appearance and can
provide high quality sharpness and clarity to
the image being printed.
Chemical Processing -After the exposure of
the film to light in the picture taking or the
photographic paper during printing, the next
step would generally be chemical processing.
In black and white processing, the steps are
development, stop-bath, and fixation. In
color processing, the steps are color
development, stop fix and stabilizer.
Development- is the process by which an
invisible latent image in an emulsion is made
visible
Stop-bath- it halts the developer action in
appropriate moment. It also prevents the
contamination of the developer and fixer from
each other.
Fixation- a fixer makes the developed image
permanent when it is followed by a through
washing
Dark room Photography Darkroom – A
light tight room used for developing film
making contact print and enlargement. - A
room protected from rays of light harmful to
sensitized materials, plates and papers.
A Darkroom -is used to process
photographic film, to make prints and to carry
out other associated tasks. It is a room that
can be made completely dark to allow the
processing of the light-sensitive photographic
materials, including film and photographic
paper. Dry Side – Enlarger side and
materials that must be kept away from water.
Wet Side – Processing area, chemical, stock
solutions, trays and other materials.
DEVELOPING PROCESS OF FILM – the
latent image becomes permanent and visible
in a reverse way thus producing a negative.
Developing process of photo paper – the
permanent and visible image produces
positive print, image or photographs.
Density – is the degree of darkness of the
image developed – too dark or to light.
Contrast – is the difference of tone from
another.
Development – processes of reduction,
exposed silver halides are reduced into
metallic silver.
Stop-bath – it is an intermediate bath
between development and fixer - To prevent
contamination of the chemical.
Fixation – the process of removing
unexposed silver halides remaining in the
emulsion after the first stage of development
of the latent image.
Washing – use of running water.
Reducers or developing agents – Elon,
Hydroquinone
Preservative – sodium sulfite
Accelerator – sodium carbonate Restrainer
or fog preventer – potassium bromide
Dissolving Agent – Hypo or
sodium thiosulphite
Preservative – Sodium sulphite
Neutralizer – boric and acetic acid
Hardener – Potassium alum
Repeated use system – after each
development the solution is poured in a
container for use again.
One shot system - after development the
solution is poured into the sink.
a
Intensification – under-exposed negative
Reduction – over exposed negative
 FORENSIC PHOTOGRAPHY
Intensification – the addition of minute part
of another metal usually chromium or
mercury on the top of the metallic silver
formed to strengthen contrast to obtain good
density.
Under exposed negatives.
Reduction – the reducing of density in the
negative-overexposed negatives potassium
ferricyanide and sodium thiosulphate or Hypo
or Farmer’s Reducer.
Water Rinse Bath- helps retard the action
of the developing agent and remove the
excess developer from the film, thus
preventing contamination of the fixing bath.
prints.
Acid Rinse Bath -is sometimes referred to
as Stop Bath, and is more effective than
water rinse as it instantly neutralizes the
action of the developer and stops further
development. It also neutralizes the alkalinity
of the developer and prolongs the life acetic
acid in 32 oz. of water. Hardening Rinse
Bath- is used only when it is impossible to
control the temperature of the solutions,
particularly the wash water, or when
development is done in the high temperature
or under tropical conditions.
A typical hardening rinse bath contains
the following: 32- oz. water; 1 oz.
potassium chrome alum; and 1 oz. sodium
bisulfate. A solution containing potassium
chrome alum is
very unsuitable and becomes exhausted
quickly
Printmaking – the final stage in making
photographs.
Enlarger – It is a machine used in making
enlargement. -is a specialized transparency
used to produce prints from film or glass, or
from film or glass negatives, or from
transparencies. Contact Printing – evenly wet.
photograph is made through direct negative
and paper contact.
Contact Printing -The procedure of
exposing photographic print materials while it
is pressed in contact with the negative being
reproduced.
Projection Printing or Enlarging - This is
the type of printing where the image in a
negative is optically or enlarged onto a print
material for exposure to produce a picture
image. The main equipment used is the
enlarge.
Enlarger Head – the main working part of
enlarger contains: Light, condenser, lens,
negative holder, the lens itself.
Lamp – light that passes through the
negative that exposed photo paper.
Condenser Lens – lens that spread the light
coming from the lamp of the enlarger.
Negative carrier – hold the negative flat
and level.
Lens Aperture – the opening of the lens
that controls rays of light passing through it.
Lens – it is the one responsible in forming
the image coming from the negative.
Focusing Mechanism – it moves the lens
up and down to focus the projected image.
Enlarger Column – it is the holder of the
enlarger head and commonly serves as a rail
in controlling the height of enlarger head.
Elevating Control Knob – control size of
image by raising or lowering the enlarger
head. Base Board – the support of the
entire unit of the enlarger.
Cropping -Excluding or omitting some
images on the negative from the final print. -
Local exposure control is achieved by either
burning or dodging.
Burning-in -Adding of exposure time on a
specific area to bring out details.
TRAY METHOD OF FILM DEVELOPMENT
The developer is placed on a tray.
⮚ In total darkness, remove the film from the
cartridge then hold the end of the film and
immerse the film in the developer in the tray
making, make sure that the film is thoroughly
dipped until the whole length of the film is
⮚ Timer will start.
⮚ With a see-saw of pulling up or down
motion, move the film from the one end to
the other then back, continuously until the
developing time of 4-5 minutes is done.
 FORENSIC PHOTOGRAPHY
⮚ Then transfer it to the stop-bath for 10-15
seconds with the same motion.
Thereafter, place the film in the fixer and
execute the same motion for about 5 minutes
then you can now open the white light.
Continue the fixing until the required time is
finished.
Next will be the washing and drying of the
negative.
This developing procedure is actually not
recommended because the film has long
contact with air during the procedure which
can cause aerial fog. Besides it is more
tedious and tiring especially with a 36-
exposure film.
Crime Scene - A place where the crime was
perpetrated and physical evidence found
thereat.
WHAT IS CRIME SCENE PHOTOGRAPHY?
-Photographs taken at a scene of the crime or crime
scene which allow investigators to recreate that scene
for later analysis, and for courtroom use.
IMPORTANCE OF PHOTOGRAPS
It provide investigators and others with a permanent
visual record of the scene that can be analyzed or
examined for later use. It provides accurate
measurements and distances among objects, which is
lacking with sketches.
WHY PHOTOGRAPHY CONSIDERED AS
EXCELLENT AID TO THE INVESTIGATOR. WHY?
-Because, investigator could not just rely on his
memories only, therefore they need an artificial
recorder or Camera to remember all facts that had
been investigated.
PHOTOGRAPHY
-The first application of photography in law
enforcement was confined to the problems of personal
identification.
-Alphonse Bertillon, (born April 23, 1853, Paris,
France—died February 13, 1914, Paris),
-chief of criminal identification for the Paris police
(from 1880)
-who developed an identification system known as
anthropometry, or the Bertillon system, that came
into wide use in France and other countries. -Alphonse
Bertillon (1853–1914), the son of medical professor
Louis Bertillon, was a French criminologist and
anthropologist who created the first system of
physical measurements, photography, and
recordkeeping that police could use to identify
recidivist criminals.
BASIS OF BERTILLION SYSTEM Bertillon's system
was based on five primary measurements: head
length; head breadth; length of the middle finger;
the length of the left foot;
the length of the "cubit" (the forearm from the elbow
to the extremity of the middle finger)
Anthropometry, designed by Alphonse Bertillon,
began in 1890 and lasted approximately 20 years
before being replaced by fingerprint identification- sir
francis galton
CRIME SCENE OR SCENE OF THE CRIME
-latin word” locus criminis”
A venue or place where the alleged
crime/incident/event has been committed.
-A place where the crime was perpetrated, and
physical evidence found thereat.
OBJECTIVES OF CRIME SCENE PHOTOGRAPHY
1.To produce a pictorial record of everything
regarding the crime.
2.To help in keeping the police officer’s memory
accurately as possible as to where he finds
things. 3. To help in securing or obtaining
confession, description, and information to the
case. Photography- types of photography overall,
mid range, close up and extreme close up.
Sketching – 2 types of sketching rough sketch-
done on the actual crimes. Finish sketch- is for
court presentation but the has the same details with
rough sketch.
Notes taking or description- investigators
AN
logbook Manikin method- molding/casting – molding
ex. shoe prints on sand.
Preservation in the mind of the witness. Ex.
interview on witness
1.General/Overview or long range view-Include
photos leading up to the crime scene. (ex. From
exterior to interior of a structure, and also include the
entrance/exit(s). The purposes of the overview
photograph is to show the scene exactly as it was
when you first saw it.
(ex. If the crime took place inside,
overviews include photos of the outside of the
building, its entrances and exits as well as
images that place the building in relation to its
surroundings.
Overviews also include images of all rooms, taken
from overhead and from each corner.)
Medium view or mid-range view-Shows
relationships between evidence. Relationship of
internal structures. (ex. These mid-range photos
might picture a piece of evidence, like a knife, but at
enough of a distance to show its relation to furniture,
a blood stain or the rest of the room. Mid-range
 FORENSIC PHOTOGRAPHY
images establish the distance of object from
surrounding objects.)
Close-up view (ex. Close-ups include identifying
marks like scars on a corpse or serial
bloodie numbers on a piece of electronic
d equipment.
A photographer will often include a ruler in the shot to
establish scale but always takes a duplicate image
without the measuring device. Because In court, the
defense could claim the device covered something
important.) Extreme close up. (ex. Commonly
designed in laboratory photographing using
some magnification such as Photomacrography
and photomicrography.
GUIDELINES IN TAKING PHOTOGRAPHS AT THE
CRIME SCENE
Establish Shot ⮚ This is an overall view from
extreme to the other, it shows where we are, a busy
intersection, a far, a residential area, an airport, a
factory, or even at the middle of the jungle.
The Building ⮚ The next photograph should show
the building in which the crime was committed. This
shows whether it is a private home, a factory, a small
shop, a hotel, a garage, usually two photographs will
be needed of the front and back of the building.
The Entrance ⮚ This is usually the door, but maybe a
window in a house breaking robbery. If there is a gate
and a door, take a photograph one for each entrance.
The Hallway ⮚ The camera now shows us what we
would observe immediately after we enter the
building. It should show the location of the other
rooms or doors through which we must pass to get to
the room in which the crime was committed.
The Room ⮚ This may be a bedroom, an office or a
bathroom. The most difficult problem is to include the
entire scene sometime like in a building shot, two
photographs from the opposite corners will be enough.
A wide lens is used. However, the investigator’s note
should also be carefully marked with the information.
Close Up ⮚ The number and types of close-up
photographs will of course depend upon the kind of
crime. In general, close up should be made on:
Object Attacked ● This may be a person, safe cash
box or a display counter. The purpose of these
pictures is to show the amount and kind of damage,
and the method of attack.
The Weapon or Tools Used ● The photographer must
be careful here to show a reference point in every
picture, it shows which are right, left, up and down,
north and south, etc.
Significant Clues ● These may be fingerprints, blood
stains, foot prints, skid marks, tool marks, broken
glass, or any other physical evidence, fingerprint in
particular case should be photographed after dusting
but before lifting
FUNCTIONS AND CAPABILITIES OF
FORENSIC PHOTOGRAPHY DIVISION
Photographs criminals, suspects and crime victims
for personal identification.
Photograph evidence submitted to the laboratory
before examination.
Provide photography assistance during Scene of
Crime Operation (SOCO) and Field Laboratory
Work (FLW).
Conduct seminar and lectures to police personnel,
forensic examiners or criminalists and civilians
undergoing ON-the-Job training to the laboratory.
Sketch facial identification of suspect/s upon
actual description of the victim or witness. Process
color and monochrome films and prints and
reduce the enlarge photographs.
Reproduce photographs and other printed
matters.
Provides photographic intrusion detection devices.
Maintain crime Laboratory “Rogues Gallery”
TAKING PHOTOGRAPHS OF SPECIFIC CRIME
SCENE
SUICIDE BY HANGING -Strangulation
(PAGKUGA) is the most common type of suicide.
But investigator must not assume that the victim
found hanging is due to suicide.
PROCEDURES:
-Photograph the subject at a distant at four views,
showing the full body, and then move in close to
show the knot, and the bruises marks.
Note: do not untie the knot, just cut it.
SUICIDE IS LEGAL IN OUR COUNTRY BUT IN
OTHER NATION ITS ILLEGAL, IT WILL BE
ILLEGAL WHEN THERE IS AN ACCESORY TO
SUICIDE
SUICIDE BY SHOOTING
-Photographs both entrance and exit wounds. -In
most case Exit wound is larger than entrance
wound. -If possible, photograph close-up of the
wound in color to show various discoloration. -
Take note of the color of the body (discoloration).
-Usually, the hair surround the entrance is
singeing and the skin is burned to a reddish or
grayish-brown. If it is fired from range of less than
eight inches, black residue maybe evident.
HOMICIDE CASE
-When photographing the scene, the Forensic
photographer relates what he has seen and
defends before the court during trial-Through
photograph he has to show the manner by which
the homicide occurred, views the room with all
possible entrance and exit.
 FORENSIC PHOTOGRAPHY
-He must to show whether there are any evidence
of struggle and try to show what happen prior to
the crime scene. Obvious evidence such as
cigarette butts, blood stains or broken glass
should not be overlooked.
The circumstances of death can be illustrated by
various views of the body. Take close-up shots of
the wounds, bruises, weapon used and the place
where it was taken.
PHOTOGRAPHING CORPSE
-In photographing corpse on the scene, several
pictures of the conditions at the time of discovery
including the environment of the corpse must be
taken from various photographic directions. -Show
the general condition of the corpse, if as being
deformed as a whole.
-When photographing the damage parts, consider
the range of photographing to the damage part
clearly; take close-up shots on the several
directions, if possible so as to clarify their relation.
ROBBERY CASE – with violence, force
intimidation
-Photograph the general view of the crime scene. -
The point of entry begins with a distant shot, and
works into.
-Take close-up shots on the possible entry and
exit to include the pathways.
-Each room in house or a building which was
disturbed should be photograph.
-Take some shots of all furniture or articles which
show as evidence of being ransack.
-Determine the possible point of exit. Usually burglar
may leave something at the crime scene especially
when she is surprised by someone, such as hat,
gloves, and scarf or cigarette butts, etc…
SEX OFFENSES
-The crime of rape may be taken as typical type of
offense. There must be a written permission from the
victim, the photograph must be taken in the presence
of their parents or guardian or medico legal officer.
The indication of the victim’s effort to resists bruises
and blue marks and evidence of the presence of either
or both parties at the scene.
TO THE VICTIM: Verify the head, neck including
marks and discoloration of the body and genital, the
conditions of specifically affected parts, and the
presence of foreign hairs, fibers, and biological stains.
Bite marks wounds should be photographed at twelve
to 24 hours intervals for the proceeding days.
TO THE SUSPECT: the suspect’s body may show
evidence of struggle, such as scratches or bruises,
foreign hairs that maybe discovered by the physician.
The garments of the suspects may reveal blood stains,
semen, hair strands etc.
ARSON
-The PHOTOGRAPHER should be the first man to
arrive at the scene so that he will be able to begin
photographing the scene, before the fire trucks arrive
he should have his photographic equipment ready to
start shooting immediately.
-Be sure to photograph as many speculators as you
can. It is a common knowledge that most or the
arsonist get their kicks out of watching the fire and
maybe in the crowd.
-After the fire is extinguished, take interior views
of the scene from diagonally opposite corners of the
buildings. Also get up a high ladder and take more
photographs of the ruins of the fire to show the entire
extent of fire.
-To the immediate vicinity of the fire should also be
photographed after the fire to show the location of the
building in relation to other building of the
neighborhood.
⮚ PROBLEMS:
The greatest scourge to the fire photographer is lens
fogging, produced by contact with heat and steam.
The photographer must wait for the air to cool
somewhat because attempting to photograph indoor
damages. Smoke also forms a barrier which light
sometimes cannot penetrate.
ROAD/TRAFFIC ACCIDENTS
a. Avoid unnecessary surroundings/objects that
are not pertinent to the case. / NOT RELEVENT OR
APPLICABLE
b. “See through driver’s eye”. Photography
should be taken from the eye level of the driver. If
there are witnesses, photographs should be taken at
their level from the spot where they have seen the
incident.
c. Shots should be taken from our points of the
compass and 25 feet from point of impact to show the
approach and terrain.
d. Take close-up shots of the damage area in
two angles from a distance of 8 to 10 feet. e. Takes
shots in order and properly noted at the photographer
notes so it will guide him and the investigator how the
accident occurred.
PREPARATION OF PHOTOGRAPHIC EVIDENCE
RULES ON ADMISSIBILITY OF PHOTOGRAPHIC
EVIDENCE
 FORENSIC PHOTOGRAPHY
PHOTOGRAPHS AS EVIDENCE
The principal requirements to admit a photograph
(digital or film-based) into evidence are relevance and
authenticationUnless the photograph is admitted by
the stipulation of both parties,
the party attempting to admit the photograph into
evidence must be prepared to offer testimony that
the photograph is an accurate representation of
the scene.
This usually means someone must testify that the
photograph accurately portrays the scene as viewed
by that witness. BASIC RULES IN ADMISSIBILITY
It is an established fact that a photograph offered in
evidence should be a true and faithful representation
of the scene or subject matter. The person viewing
should get an impression of the scene or object which
does not mislead in any of the important aspects. It
should be free from unusual distortion of lines,
shapes, and color or any deceptive tone relationship.
Important subjects should be in sharp focus. S
In the Philippines, the admissibility of a
photograph as evidence was ruled in the case of
City of Manila vs. Cabangis 10 Phil. 151, a
photograph is admissible evidence upon proof of
exactness and accuracy. “That the photograph is a
true and faithful representation of the subject as seen
by the naked eye”.
As a matter of fact, the court have taken judicial
notices of the photographic process as being capable
of producing an accurate representation because as
Justice Sison of the Supreme Court has ruled “that the
process by which the lens of a camera form an image
are dependent upon or governed by the same natural
las as an image is formed by the human eye”.
However, the photographic image can also be
manipulated to become misleading. It is for this
reason that before the photograph being offered in
evidence is admitted, it must undergo verification as
to its exactness and accuracy. In one judicial system,
those qualified to show proof of faithfulness are: 1.
Photographer who took the photograph 2. Any other
persons who have personal knowledge of the taking of
the photograph and have seen the subject.
The requirement on the law on “accuracy” is not
mathematical but substantive.
Evidence photograph may be divided into two
parts:
1. That which represents an object of evidence
and simply serve in plac e of an object or verbal
description of it.
2. Those which are designed to prove a point
bearing an issue in a case such as a comparison chart
of a fingerprint, handwriting or test bullets or shells.
What to be Photograph?
All vehicles in their original position.
All victims
Debris is the best indication that the photographer can
show off where the first impact was occurred.
License plate of vehicles. These should be clear on
at least one photograph of each vehicle. All skid
and tire marks, patches of oil or water. If the
vehicle had gone off the road and has made any
marks on the soil, these should be photographed.
They may give indication of the speed of the
vehicle. A close mark made in asphalt roadway
should be taken to indicate the texture of the
road. Photograph the vicinity of the accident that
does not include the accident itself for reference
point. In photographing a hit-and run case, a
special care should be taken.
WHAT MUST BE INCLUDED AND
CONSIDERED
IN THE PHOTOGRAPH FOR ITS
ADMISSIBILITY.
Photographs must be taken under certain
conditions and must meet specific criteria to be
admissible in court.
A material photograph relates to a specific case
and subject.
Material Evidence is relevant and forms a
substantive part of the case presented or has a
legitimate and effective influence on the decision
of the case. A relevant photograph helps explain
testimony. A competent photograph accurately
represents what it purports to represent, is
properly identified, and is properly placed in the
chain of evidence and secured until court
presentation.
Testimony- reports the exact conditions under
which the photographs were taken, and the
equipment used.
Photographs must be accurate and free of
distortion. If nothing has been removed from or
added to the scene, the photograph will be
accurate.
Inaccuracies do not necessarily render the
photograph inadmissible as evidence if they are
fully explained, and the court is not misled about
what the picture represents.IS THE
ADMISSIBILITY OF THE DIGITAL IMAGES
THE SAME WITH THE FILM IMAGES?
The transition from film to digital photography and
the ready availability of software that modifies,
enhances, or otherwise alters digital images, has
raised authenticity issues and concerns regarding
such digital photograph’s originality and integrity.
However, the legal requirements for the
 FORENSIC PHOTOGRAPHY
admissibility of digital images as evidence within
court are the same as that for film images. Most
legal challenges are surrounding digital images.
Most legal challenges surrounding digital images
have been concerned with processed images. To
overcome defense challenges that a digital image
was altered or otherwise tampered with,
investigators must rigorously maintain the chain of
custody and use techniques that safeguard the
authenticity of their photographs. Authenticity
of the photograph can be made by adjusting
the setting of the camera. Setting the date,
time, watermarks are good examples for
authenticity.
RELEVANCE. Evidence must have such relation to the
fact in issue as to induce belief in its existence or
nonexistence.
COMPETENCY. Evidence is admissible when it is
relevant to the fact in issue and not excluded by the
Constitution, the law or these Rules. Note: The
Constitution is herein now enclosed in section 3 of the
Rule 128 of Rules on Evidence.
Proof of authentication opinion evidence. Sec.
48. General Rule. The opinion of a witness is not
admissible except as indicated in the rules.
WHAT IS ITS EVIDENTIARY VALUE?
GENERALLY, OPINIONS ARE NOT ADMISSIBLE
BECAUSE:
The making of an opinion is the proper function of the
court. The witness is supplying the facts and for the
court to form an opinion based on these facts.
Opinions are not reliable because they are often
influenced by his own personal bias, ignorance,
disregard of truth, socio-cultural background, or
religion, and similar personal factors. Thus, there may
be as many diverse opinions as there are witnesses.
The admission of opinions as evidence would open the
floodgate to the presentation of witnesses testifying
on their opinion and not on facts.
EXPERT OPINION. Sec. 49. Opinion of an expert.
The opinion of a witness on a matter requiring special
knowledge, skill, experience or training, which he is
shown to possess, may be received in evidence.
WHO IS AN EXPERT? A person possessing
knowledge or skill not usually acquired or possessed
by other persons, regarding a particular subject or
aspect of human activity. Expertise is acquired through
any of the following manners:
By formal education such as in the case of lawyers,
physicians, engineers, dentists, metallurgists,
chemists; Through special training or seminars as in
the case of ballisticians, weapons experts, fingerprint
experts, questioned-documents expert, masseurs,
pilots;
Through experience based on the exercise of a
profession, trade, occupation, industry such as
carpenters, wielders, machinists or mechanics, deep-
well diggers;
Through hobbies as in the case of stamp collectors,
coin collectors, gun collectors, ornithologists,
photographers, animal breeders;
Through careful study and research as in the case of
those who study old civilizations, or various aspects of
medicine.
WHAT ARE THE QUALIFICATIONS OF AN
EXPERT WITNESS?
1. The degree of learning and academic background.
2. The experience, professional standing and training,
or his being abreast with the latest developments.
COMPOSITE EXHIBITS- this consist of two
photographs placed side by side to show points of
similarities or differences. This is generally used in the
comparison of fingerprint or handwriting.
MATCHING PHOTOGRAPHS- this is another
technique of illustrating similarities. Place a part of one
photograph over and in careful alignment with the
other. Used in toolmarks, shells, pair illustrations or in
matching glass fragments or paint chips.
MATCHING TRANSPARENCIES- this is used to
show objects have identical outlines. A positive
transparency of one is placed over the other, adjusted
so the outline coincides, like in proving traced forgery
BLACK AND WHITE PHOTOGRAPHS-An
oldfashioned black-and-white photograph with a
shiny, almost mirror-like surface is a daguerreotype.
1859- DAGUERREOTYPE was used in a civil case,
Lueo vs. United States, 23 Howard 515 to decide on
the authenticity of photographs in comparing
signatures. 1874- in Criminal case introducing
photograph as identification evidence, Underzook vs.
Commonwealth, 76 PA 340. A black and white
photograph is an image where all color has been
removed (either in the digital process or through the
choice of film). It consists of shades of gray tone that
generally go from dark (black) to light (white).
COLOR PHOTOGRAPHS
1943- Civil Litigations Green vs. City and County of
Denver, 3 Colo 390 142 P.2. D. 277 involving color
photography of spoiled meat in violation of health
ordinance prohibiting the sale of putrid meat to the
public. 1960- in Criminal case, State vs. Conte 157
Comm. 251 A 2. D 81 showing the graphic wound of
the victim. Colors can be used to lead the viewer's
eyes and draw attention to certain parts of the photo.
Color photographs of a crime scene during a mock
 FORENSIC PHOTOGRAPHY
murder trial consistently gave more guilty verdicts digital images. The SOP should not apply just to
than not guilty. digital, but should also include film-based and video
POINTS OF OBJECTION ON THE ADMISSIBILITY applications as well.
OF A PHOTOGRAPH Most importantly, preserve the original digital image.
Accuracy of Color The true color reproduction may be This can be done a variety of ways including saving
a point of contention if color is of critical issue. the image file to a hard drive or recording the image
Questions may be directed on lighting, filters, and file to a CD. Some agencies elect to use image security
processing because they affect color balance. software. Digital images should be preserved in their
Alterations on negatives or on prints Presence of any original file formats. The saving of a file in some file
deliberate attempt to alter photographic evidence. formats subject the image to lossy compression. If
Computer generated image Computer technology lossy compression is used critical image information
brings with it new advancement capabilities to apply may be lost and artifacts introduced as a result of the
to problems photographs. However, it also brings the compression process. If images are stored on a
chance of misunderstanding because images, even computer workstation or server, and several
colors are easily manipulated.Enlargements Size that individuals would have access to the image files, make
will conform with the correct or normal viewing the files read-only for all but your evidence or photo
distance and also in possibility of cropping of crucial lab staff. As an example, detectives could view any
evidence. image files but they would not have rights to delete or
Errors in printing Reverse prints, over-exposure or overwrite those files.
underexposure blurred prints, dodging or burning-in If an image is to be analysed or enhanced the new
efforts. Equipment Camera used, lens used, accessory image files created should be saved as new file
equipment Lighting Lighting procedures and names. The original file must not be replaced
techniques used for artistic purpose can sometimes (overwritten) with a new file.
produce interesting and deceptive results.
Markings on photographs such as lines, circles, arrows,
numbers, etc. are to be avoided except on comparison
charts.
WHAT IS DIGITAL PHOTOGRAPHY?
-Made up of hundreds of thousands or millions of tiny
squares called picture elements (or pixels)
Computer/printer uses the pixels to display or print the
picture.
DIGITAL PHOTOGRAPHY - uses cameras containing
arrays of electronic photo detectors to produce images
focused by a lens, as opposed to an exposure on
photographic film. The captured images are digitized
and stored as a computer file ready for further digital
processing, viewing, electronic publishing, or digital
printing.
ADMISSIBILITY OF DIGITAL PHOTOGRAPHS IN
COURT
-When digital imaging is considered for law
enforcement, the concern of the admissibility of digital
photographic evidence in court is often raised. The
fact that digital photographs are more easily altered
than film-based photographs is usually cited. Some
even believe digital photographs are not admissible in
court.
SGUIDELINES FOR ENSURING DIGITAL
PHOTOGRAPHS ARE ADMISSIBLE
Develop a Standard Operating Procedure (SOP),
Department Policy, or General Order on the use of
digital imaging. The SOP should include when digital
imaging is used, chain of custody, image security,
image enhancement, and release and availability of