|
Tuesday, June 19, 2007
Jules Angel demonstrates techniques of
crime scene photography.
Today we began learning about
ways to visually record and capture a crime scene with lectures from
Jules Angel and Cindy Gaillard. Jules’s lecture was on crime scene
photography, a field she was in professionally with Scotland Yard in
London. She covered many different aspects of crime scene photography,
including the mechanics of a camera. She taught about different stops
with shutter speed, aperture and film speed, as well as more general
aspects such as context and composition. One of the biggest problems in
crime scene photography, and photography in general, is setting your
camera properly to deal with the light at the scene. Different types of
film are designed to compensate for different types of light, from
natural daylight to indoor tungsten or fluorescent lights. There were
some pictures that required lighting by a slave flash unit that is set
up to detect the initial flash from the camera and provide a second
flash from a different location. She also talked about the technique of
painting with light, where she would run a long exposure at night and
use multiple flashes around the scene to light it properly. In addition
to crime scene photography, she also demonstrated proper technique and
procedure for photographing bones, skulls, and individual pieces of
evidence. After the break, Jules walked through a mock crime scene with
several teams, explaining how she would analyze and photograph the scene
were it real.
Analyzing the mock crime scene. Cathy Kirk from the Columbus Police
Division explains the steps in interpreting the scene.
Cindy Gaillard, of
WOSU-TV34, introduced us to forensic
videography. The main topics that were covered where, how video is used
in police and forensic work today; what video can and cannot be used;
and how to operate a video camera successfully. There are several
different ways in which video can be integrated into police work. The
most frequent use of video is in patrol cars. Following that (and
reducing in frequency/importance) are, surveillance cameras,
interrogations, scenes of crime, police academy training, and finally,
terrorism targets. Within many of these categories so much raw material
is collected, that to archive it all is extremely time consuming. An
important thing to remember when using videography in patrol cars is to
make sure there is a time code stamp, to ensure a point of reference.
When it comes to surveillance videos, it is essential to have a point of
reference, which is created by lighting (where the sun is coming from)
and other landmarks, such as buildings or street signs. Also, in order
to get the narrative via surveillance cameras, proper placement is
crucial. Video in the interrogation room provides for a very objective
record of the interview, if used properly. Videography within crime
scenes has a limited use for multiple reasons, including that close-up
lenses are not available, there is limited exposure latitude, and
resolution is not as good as it is with still film. When
discussing forensic video enhancements, one must recognize that
“enhancement” is not adding anything; rather, it is only sharpening the
image. We discussed all of the necessary materials needed in case one
wants to video a crime scene, and also what type of shots are expected.
Such as, the first shot being a wide shot, and then several medium
shots, and finally, several close up shots. We closed this lecture on
the “dos and don’ts” of forensic videography. The most important “do”
was to have the proper white balance; this should be the first thing to
do after the equipment has been set up and the light source on the scene
has been properly evaluated. We finished today’s lesson with a practical
application of video work within our mock crime scene.
Forensic videography in action: Alison, Katelyn and James.
Cindy Gaillard of WOSU TV 34 demonstrating the use of a video camera and
accessories to the students.
The 2007 OSU/PAST Foundation Forensic
Archaeology Field School is sponsored by:
|
