Mastering Crime Scene Photography: A Step-by-Step Guide

Crime Scene Photography: A Step-by-Step Guide

In the sequence of crime scene photography, the order of taking different types of shots (long shots, mid-range shots, and close-ups) can vary based on the specific circumstances of the crime scene and the investigator's judgment. However, a common approach is to start with an overall view and then gradually move closer to capture finer details. Here's a suggested sequence:

1.Long Shots: (Crime Scene Overview, Final Scene Overview)

·    Begin by taking wide-angle shots that provide an overall view of the entire crime scene. These shots establish context and orientation, helping viewers understand the layout and positioning of evidence.

·    Imagine a burglary scene at a jewelry store. In the initial overview, the crime scene photographer captures wide-angle shots from outside the store. These shots encompass the entire storefront, including shattered windows and potential entry points. This initial view provides investigators with a clear understanding of how the crime unfolded and where the breach occurred.

2.Mid-Range Shots: (Key Points of Interest, Interactions and Clues)

·   After capturing the initial long shots, move closer to capture mid-range shots. These shots focus on specific areas of interest within the crime scene. Mid-range shots can help highlight relationships between evidence items and their surroundings.

·     Moving inside the store, the photographer focuses on mid-range shots. They document the shattered display cases and specific areas where valuables were stolen. These shots reveal the damage and help investigators assess the extent of the crime. Mid-range shots also capture any potential footprints or tool marks left by the perpetrators.

3.Close-Ups: (Evidentiary Details, Trace Evidence, Injury or Damage, Alternative Lighting)

·    Once mid-range shots have been taken, proceed to capture close-up shots of individual pieces of evidence. These shots are essential for documenting detailed information, such as fingerprints, blood spatter patterns, or tool marks. Use reference markers (scale cards, rulers) to provide a size reference.

·  To gather intricate details, the photographer takes close-up shots of individual pieces of evidence. In this case, they zoom in on a broken display case. The close-ups reveal tiny glass fragments, fibers from the thief's clothing caught on the glass, and even a partial fingerprint on a piece of jewelry. These close-ups provide crucial clues for identifying the suspect and linking them to the crime.

4. Alternate and Detail Shots: (Contextual Relationships)

·    In addition to the primary sequence, consider taking alternate angles and detail shots. These shots might capture evidence from different perspectives or showcase unique features that contribute to the investigation.

·    For instance, they capture the shattered display case from above and from the side, revealing the spatial relationships between evidence items. Detail shots might focus on specific items left behind by the thief, such as a discarded tool or a dropped glove

5. Specialized Shots (if applicable): (Alternative Lighting)

·     Depending on the nature of the crime scene and the evidence involved, you might need to incorporate specialized photography techniques, such as ultraviolet (UV) or infrared (IR) photography, to reveal hidden or latent evidence. 

.  However, imagine a crime scene involving an arson investigation. In this case, the photographer might use infrared (IR) photography to identify hidden fire accelerants that are invisible to the naked eye. IR photography could reveal the presence of these substances even after the visible flames have been extinguished.

The rationale behind starting with long shots and progressing to close-ups is to ensure that the overall context is captured before diving into finer details. This approach allows investigators and legal professionals to understand how evidence is situated within the scene and aids in the process of reconstructing events.