Robinson Crime Scene Photography

1. Auflage 2010
ISBN: 978-0-08-047692-6
Verlag: Elsevier Science & Techn.
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 696 Seiten, Web PDF

Crime Scene Photography is a book wrought from years of experience, with material carefully selected for ease of use and effectiveness in training, and field tested by the author in his role as a Forensic Services Supervisor for the Baltimore County Police Department.While there are many books on non-forensic photography, none of them adequately adapt standard image-taking to crime scene photography. The forensic photographer, or more specifically the crime scene photographer, must know how to create an acceptable image that is capable of withstanding challenges in court. This book blends the practical functions of crime scene processing with theories of photography to guide the reader in acquiring the skills, knowledge and ability to render reliable evidence. - Required reading by the IAI Crime Scene Certification Board for all levels of certification - Contains over 500 photographs - Covers the concepts and principles of photography as well as the 'how to' of creating a final product - Includes end-of-chapter exercises

Edward M. Robinson began his career in law enforcement in 1971, with the Arlington County (Virginia) Police Department (ACPD). After 25 years with the ACPD, Mr. Robinson created the Crime Scene Investigation concentration at The George Washington University for their Master of Forensic Science degree program, and continues there today.

Autoren/Hrsg.

Robinson, Edward M.

Inhaltsverzeichnis

1;Front cover;1
2;Title page;4
3;Copyright page;5
4;Table of contents;8
5;FOREWORD;12
6;ACKNOWLEDGMENTS;14
7;INTRODUCTION;18
8;1 COMPOSITION AND CARDINAL RULES;26
8.1;LEARNING OBJECTIVES;26
8.2;USE-ONCE (OR, USE ONE TIME) CAMERA VERSUS PROFESSIONAL CAMERA SYSTEM;26
8.3;COMPOSITION AND CARDINAL RULES;29
8.4;CARDINAL RULES OF CRIME SCENE PHOTOGRAPHY;50
8.5;CHAPTER SUMMARY;50
8.6;DISCUSSION QUESTIONS;52
8.7;PRACTICAL EXERCISES;52
8.8;FURTHER READING;53
9;2 BASIC EXPOSURE (NON-FLASH) CONCEPTS;54
9.1;LEARNING OBJECTIVES;54
9.2;KEY TERMS;54
9.3;THE PROPER EXPOSURE TRIANGLE;55
9.4;SHUTTER SPEED AS MOTION CONTROL;86
9.5;RECIPROCAL EXPOSURES;92
9.6;THE REFLECTIVE LIGHT METER;97
9.7;"NORMAL" AND "NON-NORMAL" SCENES;101
9.8;TOOLS FOR DETERMINING "PROPER" EXPOSURES WITH TRICKY SCENES;110
9.9;BRACKETING;117
9.10;THE F/16 SUNNY DAY RULE;122
9.11;CAUSES FOR COMPLETE ROLLS OF FILM WITH EXPOSURE ERRORS;127
9.12;COMMON FILTERS;128
9.13;THE EYE CUP COVER;138
9.14;SUMMARY;140
9.15;DISCUSSION QUESTIONS;142
9.16;EXERCISES;142
9.17;FURTHER READING;143
9.18;ADDITIONAL READING;143
10;3 FOCUS, DEPTH OF FIELD, AND LENSES;144
10.1;LEARNING OBJECTIVES;144
10.2;KEY TERMS;145
10.3;FOCUS;145
10.4;DEPTH OF FIELD;182
10.5;LENSES;193
10.6;SUMMARY;237
10.7;DISCUSSION QUESTIONS;237
10.8;EXERCISES (ALL NON-FLASH SHOTS);238
10.9;FURTHER READING;238
11;4 ELECTRONIC FLASH;240
11.1;LEARNING OBJECTIVES;240
11.2;KEY TERMS;241
11.3;GUIDE NUMBERS;241
11.4;FLASH SYNC SPEEDS;243
11.5;SET THE FLASH FOR THE FILM USED;249
11.6;MANUAL FLASH MODE;249
11.7;THE INVERSE SQUARE LAW;270
11.8;AUTOMATIC AND DEDICATED FLASH EXPOSURE MODES;278
11.9;BUILT-IN FLASH UNITS;286
11.10;FILL-IN FLASH;286
11.11;OBLIQUE LIGHT, BOTH FLASH AND NON-FLASH (FLASHLIGHT);294
11.12;BOUNCE FLASH;320
11.13;PAINTING WITH LIGHT;327
11.14;SUMMARY;343
11.15;DISCUSSION QUESTIONS;343
11.16;EXERCISES;344
11.17;FURTHER READING;345
12;5 CRIME SCENE PHOTOGRAPHY;346
12.1;LEARNING OBJECTIVES;346
12.2;KEY TERMS;346
12.3;PHOTO DOCUMENTATION FORMS;346
12.4;OVERALL PHOTOGRAPHS;356
12.5;MIDRANGE PHOTOGRAPHS;369
12.6;CLOSE-UP PHOTOGRAPHS;377
12.7;THE PHOTOGRAPHIC DOCUMENTATION OF BODIES AND WOUNDS;382
12.8;SUMMARY;405
12.9;DISCUSSION QUESTIONS;406
12.10;EXERCISES;406
12.11;FURTHER READING;407
13;6 ULTRAVIOLET, INFRARED, AND FLUORESCENCE;408
13.1;LEARNING OBJECTIVES;408
13.2;KEY TERMS;408
13.3;THE ELECTROMAGNETIC SPECTRUM (EMS);409
13.4;ULTRAVIOLET LIGHT (UV);416
13.5;INFRARED LIGHT (IR) ON THE ELECTROMAGNETIC SPECTRUM;423
13.6;VISIBLE LIGHT FLUORESCENCE;431
13.7;SUMMARY;442
13.8;DISCUSSION QUESTIONS;442
13.9;EXERCISES;443
13.10;FURTHER READING;444
14;7 PHOTOGRAMMETRY;446
14.1;LEARNING OBJECTIVES;446
14.2;KEY TERMS;446
14.3;INTRODUCTION TO PHOTOGRAMMETRY;446
14.4;PERSPECTIVE GRID PHOTOGRAMMETRY;450
14.5;PERSPECTIVE DISC PHOTOGRAMMETRY;466
14.6;NATURAL GRID PHOTOGRAMMETRY;471
14.7;REVERSE PROJECTION PHOTOGRAMMETRY;479
14.8;RHINO PHOTOGRAMMETRY;481
14.9;SUMMARY;487
14.10;DISCUSSION QUESTIONS;487
14.11;EXERCISES;488
14.12;FURTHER READING;489
15;8 DIGITAL IMAGING;490
15.1;LEARNING OBJECTIVES;490
15.2;KEY TERMS;490
15.3;IN THE BEGINNING;491
15.4;EXPOSE YOURSELF TO DIGITAL IMAGING CONCEPTS: BITS, BYTES, PIXELS, AND DOTS;503
15.5;TAKE A PICTURE ... IT LASTS LONGER. OR, DOES IT?;516
15.6;IMAGE S&M ... STORAGE AND MANAGEMENT OF YOUR DIGITAL IMAGES;523
15.7;SUMMARY;536
15.8;FURTHER READING;536
16;9 SPECIAL PHOTOGRAPHY SITUATIONS;538
16.1;LEARNING OBJECTIVES;538
16.2;KEY TERMS;539
16.3;ACCIDENT PHOTOGRAPHY;539
16.4;SURVEILLANCE PHOTOGRAPHY;558
16.5;AERIAL PHOTOGRAPHY;571
16.6;UNDERWATER PHOTOGRAPHY;578
16.7;SUMMARY;590
16.8;DISCUSSION QUESTIONS;590
16.9;EXERCISES;591
16.10;FURTHER READING;592
17;10 LEGAL ISSUES RELATED TO PHOTOGRAPHS AND DIGITAL IMAGES;594
17.1;LEARNING OBJECTIVES;594
17.2;KEY TERMS;594
17.3;CRITERIA OF PHOTOGRAPHS AND DIGITAL IMAGES AS EVIDENCE;594
17.4;THE PURPOSE OF CRIME SCENE PHOTOGRAPHS;607
17.5;PHOTOGRAPHS OF SUSPECTS AND EVIDENCE;608
17.6;LEGAL IMPLICATIONS OF DIGITAL IMAGING;610
17.7;INTERNATIONAL ASSOCIATION FOR IDENTIFICATION (IAI) RESOLUTION 97-9;622
17.8;CASE LAW CITATIONS RELEVANT TO FILM PHOTOS AND DIGITAL IMAGES;623
17.9;SUMMARY;649
17.10;DISCUSSION QUESTIONS;650
17.11;FURTHER READING;651
18;APPENDIX TIPS, TRICKS, AND MACGYVERS;652
18.1;EVIDENCE ON VERTICAL WALLS;652
18.2;COAXIAL LIGHTING;654
18.3;MIRRORS;656
18.4;DISTORTION CORRECTION, REDUX;657
19;GLOSSARY;660
20;INDEX;680