Course Outline for

Special Crime Investigation with Legal Medicine

(CDI 2)

Professor: PAUL DICK C. VALENCIA

Area/Module: CRIMINAL DETECTION INVESTIGATION (CDI 2)

Course description:

COURSE DESCRIPTION: This course covers the special study of modern technique in
the investigation of crimes involving crimes against persons, and other related offenses.
The application of medical science in crime investigation with emphasis on the
medicolegal aspects of physical injuries, death, abortion, infanticide, burn and poisoning.
Develop framework of investigating crimes, crime scene processing, and report writing.
Lesson 1: Overview of the Course
Week Topics Intended Learning Outcomes
No.
1 Things to Remember in the At the end of the learning period, the
conduct of Homicide (Generic) students should be able to:
Investigation a. Understand the conduct of
Homicide (Generic) Investigation.
2 Scene of Crime Operations of a. Discuss the Scene of Crime
cases involving dead body infant Operations
or adult, human body parts, and
fetus.
3 Kinds of Crime Scene Sketching a. Know the kinds of Sketching
and
4 Kind/Types of Crime Scene a. Identify the types of Crime Scene
Photography. Photography
Mid-term Examination

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Lesson No. 1 THINGS TO REMEMBER IN THE CONDUCT OF HOMICIDE (GENERIC)
INVESTIGATION.

Homicide

Any person who shall kill another without the attendance of any of the
circumstances enumerated in the crime of murder. (Under Art 249 RPC)

Homicide Investigation

Homicide Investigation is the official inquiry made by the police on the facts and
circumstances surrounding the death of a person which is expected to be unlawful.

Places of Importance

• The crime scene. Make a methodical and thorough search.

• Avenues of approach. How did the killer(s) arrive?
• Avenues of escape. Investigate and search along this route.
• Places where victim was seen immediately prior to his death. Who was with
him/her? What was he doing? Was this customary? Get the time.
• Places where suspect claims he was; places where he was seen before, during
and after the crime was committed for the purpose of checking his alibi.
• Places where evidence can be found. Weapons or poison, etc. – Where can they
be obtained? Where can they be hidden?
• Places where the suspect and the victim were frequently seen before the
commission of the crime.
• Place/s of suspect/s lairs.
Times of Importance

• Time of death
• Time crime was reported
• Time of arrival of police at the scene
• Time victim was last known to be alive
• Time relative to victim’s movement preceding death
• Time relating to suspect(s) movements.
• Time the crime scene was turned over by the first responder to the investigator.
• Time the investigator arrived at the crime scene.
• Time started/terminated processing of the crime scene by the investigator and the
SOCO.
Time the recovered evidence was turned to evidence custodian.
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• Time the investigator was dispatched.
• Time of the arrival of SOCO team at the Crime Scene.
Persons of Importance

• Victim – victim’s personal background/history and his/her relationship with other

people.
• Witnesses - Get their statements without delay.
• Suspects - Isolate them if there is absolute evidence against them.
• Person who reported the crime - Remember that he probably has key information.
Check out his statement.

• Persons who stand to gain by the death. This is a sensitive matter. Be circumspect
in your approach.
• Relatives and other sources of information.
Things of Importance

• Body of the deceased.

• Properties or belongings of the deceased. Here, we may find motive.
• Weapons – what in particular? Locate, list, and record them as evidence.
• Means of transportation
• Sounds, shots, screams, arguments, or falling objects.
• Odors – gunpowder, distinctive smell of poison, etc.
• Items of evidence should be legally obtained and carefully preserved.
Handling the suspect

Obtain the following evidence from the suspect:

• The suspect’s clothing should be photographed, marked, and sent to the crime
laboratory for examination.
• Any scratches on the suspect should be photographed.
• Fingernail scrapings should be obtained.
• Take blood samples from the suspect in a medically approved manner and with
proper legal justification.
• Take hair samples.
• Have the fingerprint technician check the paper money which may have been
taken from the victim’s house for the victim’s fingerprints.
• Check the suspect’s personal effects very closely for items of evidentiary value.
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• Obtain teeth mark impressions when appropriate.
• Semen samples in rape or rape with homicide cases should be obtained medically.

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Consider polygraph examinations.

Never take a suspect or a subject to the crime scene in the clothing he was wearing
at the time he was arrested. (This includes shoes.) The accused lawyer may later claim
that the clothing was contaminated at the scene of the crime.

Attempt to ascertain the following:

• The suspect’s mode of living as compared to the amount of his income.

• The suspect’s mode of living before the crime as compared to his mode of living
after the crime. (Compare his financial condition before the crime with his financial
condition after the crime).
• Compare his behavior before the crime with his behavior after t the crime.

• Make a methodical and complete check of the suspect’s alibi.

Body and Post-Mortem

• Designate a member of the investigating team to secure the cadaver from the
scene up to the place where the autopsy will be conducted.
• An investigating officer should remain at the autopsy area to prevent the
embalming of the cadaver and to prevent anyone from touching or removing any
of the clothing from the said cadaver until the medico-legal officer arrives.
• Obtain a copy of the autopsy report.
• Make a detailed report to the Chief of Office regarding the findings of the
medicolegal officer.

Follow-up Investigation

• Look for possible witness/es, who may be close friends or relatives of the victim,
past pictures of the victim with anyone, or even relatives that can possibly help in
the solution of the case.
• Methodically interview residents in the area and record the interviews by using a
tape recorder or taking notes.
• Re-enact the crime to possibly establish what transpired at the crime scene.
• Return to the crime scene during the time of day the crime was committed. (As we
are all creatures of habit, possible witnesses and suspects can be located through
this technique).
• Conduct case conference for regular updates.

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 • Check the victim’s and the suspect’s toll calls. (Records of toll calls are usually
retained for approximately three months by the telephone companies).
• Present photographs and crime reports to several psychiatrists to ascertain what
type of person would commit such a crime, including the motives.
If there is/are already witnesses, keep them separated so that they will give what
they personally observed and not just corroborate what others are saying.

Court Preparation

• Have a diagram of the crime scene and the location of all evidence.
• Make a list of the evidence on hand and what you hope to prove with it.
• Be prepared to show the following:
o Relationship existed between the victim and the suspect. o Indications
that the suspect threatened to harm the victim. o Possible witnesses to the
threats. o A photograph of the crime scene (before and after processing) can
be very helpful.
o Review everything, including testimony, with the prosecutor before trial. o
Review with witnesses their testimony to refresh their memory.

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WORKSHEET No. 1 (Practical Exercise)

Special Crime Investigation with Legal Medicine
(CDI 2)

Name: _______________________________

Professor: ___________________________

Date Submitted: ______________________

Direction: Please answer the following questions

1. What are the Places of Importance in Homicide (Generic) Investigation?

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2. What are the Times of Importance in Homicide (Generic) Investigation?

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3. In your own idea what is the importance of Follow-up Investigation

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4. In your own understanding how important the Handling of suspect/s?

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 5. Give your own idea about the importance of Special Crime Investigation in
conducting investigation regarding major crimes.
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Reference/s:

CRIMINAL INVESTIGATION MANUAL (REVISED) 2011 Published by:

Directorate for Investigation and Detective Management Philippine National Police
Lesson No. 2 SCENE OF CRIME OPERATIONS OF CASES INVOLVING DEAD BODY
INFANT OR ADULT, HUMAN BODY PARTS, AND FETUS.

Scene of Crime Operations (SOCO)

The mandated functions and activities of police forensic personnel such as the
scientific collection, handling, preservation, and processing of evidence in the crime
scene.

Scene of Crime Operations Team (SOCO Team)

The forensic evidence response team engaged in the evidence collection process
who should be the only persons allowed to enter the crime scene to prevent the
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destruction, alteration, or contamination of evidence. The team is composed of forensic
specialists/experts including the forensic photographer, evidence custodian, among
others.

Crime Scene Security and Preservation

Protect and collect evidence

The main duty of the first responder is, after giving first aid if necessary, to protect
the scene. Protecting and collecting trace evidence involves a number of different
measures that will vary from one scene to another. The first responder should primarily
protect the crime scene and preserve evidence and, secondly, collect evidence that might
otherwise be destroyed. One important measure when it comes to ensuring that evidence
is not lost is to avoid contamination.

Avoid contamination

When two objects come into contact there is always a risk of contamination, i.e.
exchange of materials between them. The objects do not even have to be in contact, since
materials such as fibers and hair may be suspended in the air.

The best way of avoiding contamination at the initial stage is to leave the crime
scene untouched. The persons involved, for example victim and suspect, must on no
account be allowed to enter the crime scene and must always be kept apart. Such persons
should be dealt with by different police officers and transported in different vehicles. If it
is necessary to recover something at the crime scene, this must always be done by an
officer who has not been in contact with the persons involved.

Contamination must be avoided throughout the material handling chain, from

collection at the crime scene to the examination in the laboratory. The following rules
should be followed to avoid contamination:

• Never let suspects and victims be in the same room or be transported in the
same car (not even at different times).
• Use protective clothing (overalls, caps, gloves, and disposable shoe
coverings) when entering a crime scene and collecting trace evidence (hair,
fibers, blood, secretions, small particles etc.).

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 • Plan out the gathering of on-scene evidence such that each specific source
is handled separately, if possible. As such, one person should carry out the
crime scene investigation; another should examine the suspect’s clothes,
car etc., a third- the suspect himself, a fourth- the victim, etc.

• Cars should preferably be examined on site.

• If a car must be moved, it should be towed. Avoid using the seats. If that is
unavoidable, use protective clothing. If the car must be driven, the only
person in it should be the driver, who should wear protective clothing. A list
of the clothes worn by the driver should be given to the investigating officer.

Cordons

The purpose of cordons is to make sure that unauthorized persons do not enter
the crime scene. Guarded cordons are always the best. The area should be cordoned off
with tape or rope and warning signs should be put up. Make sure that the cordoned off
area is sufficiently large. (It is better if the area is sufficiently large).

Witnesses

Do not allow witnesses or suspects to return to or enter the crime scene. Persons
at the scene who are to be questioned should be taken to separate premises in the vicinity
and kept apart from each other, since they may, for example, have valuable information
or evidence on their bodies that must be transmitted to other persons.

Persons taken to hospital

If any involved person (suspect or victim) has been taken to hospital, a police
officer should go the hospital immediately and take the following measures:

• Seize/retrieve the person’s clothes and put all pieces of clothing in a separate
paper bags properly marked as to the time/date and place of retrieval, and
description of contents.

• If the clothes have been taken off, question the hospital staff on who took off the
person’s clothes and what has been done with them.

• Make sure that all trace evidence on victim or suspect are collected and preserved.
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 • Make sure that suspects and victims are subjected for alcohol and drug test.

• If shots have been fired, request the PNP Crime Laboratory to conduct paraffin test
to collect primer particles/gunpowder residue from the person’s hands.

Checklist of Procedures at the Crime Scene

First Responder

• Save and preserve life. Immediately request support from medical experts.
• Provide emergency first aid for those injured at the scene and evacuate them to
hospital.
• Prepare to take the “Dying Declaration” of severely injured person if any. Arrest,
detain, and remove any suspect present, if more than one (1), isolate them.
• Cordon the area to secure and preserve the crime scene.
• Prevent entry of persons into the cordoned area. Record information gathered and
the arrival time.
• Conduct preliminary interview of witnesses to determine what and how crime was
committed.
• Prepare to brief the investigator on the initial data gathered upon his arrival.
• Turn-over the crime scene to investigator-on-case

Investigator-on-Case (IOC)

• Assume responsibility over the crime scene upon arrival.

• Conduct assessment of the crime scene
• Organize and establish the On-Scene Command Post (OSCP)
• Conduct interviews and gather information. Jot down important facts and maintain
record
• Conduct Crime Scene Investigation. Look for other witnesses
• Request for technical assistance in crime scene processing from CL SOCO thru
the TOC
• Brief the SOCO Team Leader (TL) on the initial information gathered about the
crime incident.
• Documentation (Photography, sketching note taking, videography)
• Collection handling of evidence by SOCO or Forensic Investigator
• Evaluate evidence and interrogation results at the Crime Scene
• Custody and Transport of pieces of evidence by designated Evidence Custodian
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 • Request laboratory examination of evidence as necessary
• Examination of the recovered physical evidence by PNP Crime Laboratory SOCO
• Ensure that appropriate inventory is maintained and provided.
• Release or lifting of the cordon at the crime scene is accomplished only after
completion of the final survey and proper documentation.
• Release of the crime scene shall be in writing with the notion that there is only one
chance to perform the job correctly and completely.

SOCO Team of Crime Laboratory / Forensic Investigator

• Coordinate with the Investigator-on-case (IOC)

• Require written request for SOCO from the Investigator-on-case
• Preparation prior to the conduct of SOCO
• Crime Scene approach
• Preliminary Crime Scene Survey by the SOCO Team Leader with Investigator-
oncase
• Narrative description of the Crime Scene
• Crime scene photography/videography
• Sketch of Crime Scene
• Detailed Crime Scene Search
• Physical evidence recording and collection
• Collection and evaluation of physical evidence with the IOC
• Brief the investigator-on-case on the result of the SOCO (for possible operational
use).
• Final Crime Scene Survey by the Investigator-on-case and SOCO Team Leader
• Submit result of SOCO/Inventory of seized evidence to Investigator-on-case.
• Certify conclusion of SOCO and lifting of cordon by the IOC.

STANDARD CSI FORMS:

a. CSI Form “1” – (First Responder’s Report Form) To be

accomplished by the FR detailing among other things, his rank, name, initial
information gathered and anything that was moved in the crime scene prior to
the arrival of the investigator. Further,
Form 1 should be signed by a witness. Form 1 should always be included as part of the
FR’s kit.

b. CSI Form “2”– (Request for the Conduct of SOCO) To be

accomplished
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by the IOC and submitted to the SOCO Team Leader at the crime scene.

c. CSI Form “3” – (Turn- over of Collected Evidence from IOC to

SOCO Team) To be accomplished by the IOC certifying that the items/physical
evidence found, collected and initially marked and inventoried by the
investigator at the crime scene were properly turned-over to SOCO Team
Evidence Custodian.

d. CSI Form “4” – (SOCO Report Forms 1-4) The initial findings of
the SOCO Team shall be contained in the SOCO Report Forms 1 to 4 which
shall be accomplished immediately after completion of the SOCO. A copy of
the said reports shall be provided to the IOC within 24-hour after the release of
the crime scene. The IOC may also use those forms in the absence of a SOCO
Team.

e. CSI Form “5” – (Release of Crime Scene Form) This shall be

accomplished by the IOC or the COP and witnessed by the SOCO Team
Leader and confirmed by the owner of the property or representative of the
local authority. A copy of the crime scene release form shall be provided to the
owner.

f. CSI Form “6” – (IOC/Investigator’s CSI Form) This shall be

accomplished
by the IOC at the OSCP prior to the lifting of the security cordon.

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 WORKSHEET No. 2 (Practical Exercise)

Special Crime Investigation with Legal Medicine

(CDI 2)

Name: _______________________________

Professor: ___________________________

Date Submitted: ______________________

Direction: Please answer the following questions

Discuss the Procedures at the Crime Scene

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Discuss the Crime Scene Investigation Flow Chart
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Reference/s:

CRIMINAL INVESTIGATION MANUAL (REVISED) 2011 Published by:

Directorate for Investigation and Detective Management Philippine
National Police

Standard Operating Procedure Number ODIDM – 2011 – 008

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Lesson No. 3 KINDS OF CRIME SCENE SKETCHING AND

https://forensictrainingunlimited.teachable.com/blog/10220/crime-scene-sketches

Sketching is the third element in properly documenting a crime scene

(remembering that notes and photography are the other two elements). Sketching should
both support and complement the photographs and notes. One might ask the question,
“If the scene is photographed, why create a sketch as well.” Photographs do show spatial
relationships, however, would require multiple photographs of an area to properly show
those spatial relationships. Sketches make it easier to show relationship of an item of
evidence within a scene. The sketch makes a clearer picture of the incident for the
investigators, the attorneys, juries, etc.

Rarely is the camera lens of sufficient width to capture the entire room in a single
photograph. Therefore, multiple photographs are required to adequately photograph the
room or rooms. A sketch on the other hand can be easily drawn to depict the entire room,
an entire house, or an apartment to an outdoor scene that may extend over several
blocks. Photographic evidence cannot lawfully be altered to remove detail. There are
minor enhancements (a more appropriate term would be processing rather than
enhancements) that are permissible in photography. The courts have allowed film to be
“processed” in the area of color and lightening and darkening photographs. The courts
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acknowledge that digital images can be enhanced or processed to the same level as film
photographs. These include color enhancements and lightening and/or darkening the
image. Sketches can be created that may document specific details within the scene,
such as bloodstains or shooting incidents. If the fact that the sketch may or may not be
an accurate representation of the scene, then photographs can be used to verify the fact
that the scene sketch is actually an accurate representation of the scene

USES OF SKETCHES AND FORENSIC MAPS

It seems everywhere you go; we encounter some form of sketches to assist us.
Most of our encounters are in the form of sketches showing our location in a particular
building or where the exits are in relation to our location within the building. These are not
crime scene sketches but are one example of how we use sketches in our daily lives.
Sketches do have several law enforcements uses such as vehicular crashes, crime scene
diagrams, and bomb blast or explosive events. Sketches may also be used in disaster
responses to illustrate the overall scene, show where agencies set up their command
posts, show routes into and out of the scene, etc. A blueprint of a building where a highrisk
search warrant is about to be served serves to provide the response team some
information as to the layout of the interior of the building.

Sketches also serve to assist in public events such as parades, sporting events,
and demonstrations. In these instances, sketches are used to map emergency routes to
move large numbers of citizens as quickly and efficiently out of the area as possible. Take
for example a demonstration in a local shopping mall. The demonstrators should be
directed out of the area in the quickest and most direct route out of the building.

Fire departments also often create sketches on buildings where they conduct fire
inspections. If your agency utilizes in car computers, consider a method of archiving the
fire department’s and building evacuation route sketches in a format for patrol officers to
access. Considering several patrol officers conducting a building search, being able to
view the layout of the interior of the building prior to the building search offers an
enormous amount of information that would not have been available prior to conducting
the building search.

DETERMINING WHEN TO CREATE A SKETCH OR FORENSIC MAP

Under ideal circumstances, a sketch would be completed on each crime scene

processed by a crime scene investigator. This is, however, an unrealistic expectation for
several reasons. First, the actual creation of a sketch is very time consuming. There are
other circumstances where a sketch will provide no more clarification than what can be
provided by photographs. Under these circumstances, departments would prefer to utilize

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their resources and manpower in other more productive endeavors. Therefore, not every
crime scene will get a sketch. It should be left up to the discretion of the crime scene
investigator as to whether or not a sketch should or should not be drawn. Circumstances
that will require a sketch should include.

• All homicides
• All officer-involved shootings
• All suicides
• All suspicious deaths

At a minimum, a rough sketch should be completed on the suicides and suspicious

deaths. In this event, there may be circumstances that develop during the processing of
these scenes that may require a final sketch be completed. A sketch generally will not be
generated on burglary scenes. However, there may be circumstances that may suggest
a sketch be created.

Sketches are not to be substituted for photographs, reports, or field notes.

Remember from our discussion on notes; notes, photographs, and sketches are to
support and complement each other.

CATEGORIES OF SKETCHES

There are two categories of sketches:

1. Rough

2. Final

Rough Sketch

A rough sketch is completed at the scene. It should be created in pencil. A pencil

is the ideal instrument because of all the editing that is necessary during the creation of
the sketch. Using a pen makes it difficult to correct minor mistakes. The more you edit the
rough sketch with a pen, the messier the rough sketch becomes. Eventually, this may
result in pertinent measurement and/or other details of the sketch being altered or lost.
The rough sketch can be created several ways. It may be done free handed or using
commercially available crime scene templates. The paper used may be a large tablet of
drawing paper or graph paper. Notebook paper will suffice if that is all you are able to
obtain each sketch, a header, legend, scales, and orientation indicators.

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 Rough sketches should include pertinent measurements of the scene and items
within the scene such as furniture, cabinets, shelves, and fixtures as well as evidence.
The walls, doors, and windows should all be documented, and measurements obtained.
The sketch should also include important measurements for proper analysis of
bloodstains and shooting scenes. If the final sketch is intended to be viewed in 3D, height
measurements become extremely important.

Rough sketches can become very detailed very quickly. One method to alleviate
this is to create separate sketches for each room or wall containing bullet defects and/or
bloodstain patterns. No matter how many sketches are created within a scene, the
following information should appear on each sketch.

Final Sketch

The final sketch must be completed in ink. The final sketch may also be computer
generated since most crime scene investigators are not architects or licensed surveyors,
and thus, the final sketch will not be an architectural drawing. Thus, the courts only require
that the final sketch be a true and correct representation of the scene and not a scaled
architectural drawing.

SKETCH VERSUS FORENSIC MAP

A sketch only depicts the scene in an only visual reference. That is, measurements
cannot be made directly from a sketch. A sketch may include dimension lines to show
room size

A sketch will lack a reference scale that is used to obtain measurements directly
from the sketch. A forensic map on the other hand includes a scale (e.g., 1″ = 10′) that
may be used to obtain approximate measurements directly from the forensic map. Please
understand this does not make the forensic map an architectural drawing simply by
including the scale.

SKETCH INFORMATION AND FORMAT

When a sketch or forensic map is created, the primary area should be the contents
of the sketch or forensic map. That is, make the contents as large as possible. If the
drawing were all that is produced, then some confusion will eventually be made, let alone
trying to determine which case the sketch belongs to. This can be eliminated by including
information broken down into three areas. These areas include:

1. Header
2. Legends
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 3. Scales and direction indicator

Header

The information in this section includes the case number, the type of crime or
incident, the location of the incident, the date, and the person creating the sketch. The
date used is actually the date the sketch or forensic map was actually created, which may
differ from the actual date of the crime.
Legends

The sketch should also include a minimum of two legends: one for the evidence and the
other for nonevidence items such as furniture, appliances, shelves, cabinets, and fixtures.
It is imperative that the evidence legend correspond with the evidence placards your
agency uses. If your agency uses number placards for evidence, the nonevidence items
should be identified by letter. If your agency uses letter placards for evidence, then the
nonevidence items should be numbered. Whatever system your agency uses, it is
imperative that the evidence depicted in the sketch, photographs, and notes bare the
same numbering system in all three areas of documentation. This will hold true when
completing the final report and additional documentation (such as an evidence logbook)

Once the final sketch has been created, the author will often give it to some
unfamiliar to the scene. If there is something, they identify that needs further clarification,
then create a legend and/or add to the current legend to clarify these areas. Oftentimes,
this will be of furniture and other non-evidentiary items. Obviously, there will be a legend
for the evidence. You may also need to create a legend for bloodstains. Consider making
each of these legends separate from each other by physically placing them in separate
areas on the sketch. Legends should be small so that it does not distract the viewer from
the overall sketch. Large legends result in the actual sketch being reduced in size, since
the normal 8 × 11″ paper can only contain so much information.

You should also create a sketch that shows the room dimensions for each room or
area in the scene; You may consider providing several views, such as one that just shows
the dimensions lines, one that shows just the evidence, and one that shows just the
legend that defines the other items. In the event several sketches are created, a label for
each sketch may be necessary to reduce confusion between the different types of
sketches.

Legends may be customized in several ways, especially if a color sketch and maps
are created. Take, for example, an officer-involved shooting where there are two officers
and one suspect shooting. One officer’s evidence and corresponding legend may be
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colored with one color, the second officer’s information another color, the suspects
information a third color, and the evidence you are unable to associate to any of the three
a fourth color. This may make the color sketch easier to follow.

Scales and Orientation Indicators

Each sketch must include an orientation indication; generally, this is in the form of a north arrow.
The scene dimensions may also be included in one view of the sketch. Include the words “Not to Scale”
on the sketch simply because it is not an architectural drawing. A scale may be included in the sketch. A
scale does not make it a scaled drawing; it simply transforms the sketch into a forensic map. Remember
from the definitions of a sketch and forensic map: a sketch is only a visual representation of the scene. A
forensic map allows for distances and dimensions to be taken directly from the map.

TYPES OF SKETCHES

Here are the types of sketches:

• Overview: Floor plan—bird’s-eye view

• Elevation view
• Cross projection: exploded view
• 3D drawing (perspective)

Overview: Floor Plan—Bird’s-Eye View

This type of sketch is the most common and is essentially a 2D drawing of the
scene. This view is drawn as though the viewer was looking down on the scene from
above, thus the term “bird’s-eye view.” This view also resembles an architectural floor
plan drawing. It is being viewed from a single plane, the horizontal plane. In this type of
sketch, all the evidence appears as though it is on a single plane, when in actuality it is
on different levels. For example, there may be a cartridge casing on the floor, a bloodstain
on the top of the table, and a pistol on the seat of a couch. This type of sketch gives the
viewer the most overall visual reference of the entire scene. Figure 5.2 shows an
illustration of a “bird’s-eye view” of a crime scene.

Elevation

There may be situations where a bloodstain or a pattern or bullet defect may

require further documentation. An elevation sketch is ideal for this situation. Like the
bird’s-eye view sketch, the evidence on an elevation sketch is on a single plane. This
plane is the vertical plane rather than the horizontal plane. This type of sketch provides
the viewer with a vertical reference of some specific aspect of the scene. The elevation
41
sketch generally shows a single wall or surface but may show more than one surface if
necessary.
This type of sketch is also ideal not only for documenting bloodstains or bullet
defects on walls but also for documenting clandestine graves. Elevation sketches can
illustrate the different layers in the grave as well as the grave walls. This sketch will easily
show the evidence within the grave and its relationship with the top and bottom of the
grave. Figure 5.3 illustrates an elevation view from a crime scene. In this view, you are
better able to see the bullet defects and bloodstains on the north wall of the living room
wall than from the bird’s-eye view shown in Figure 5.2.

42
Cross Projection: Exploded View
43
 This view combines the bird’s-eye view and the elevation view into a single sketch.
The main area of the sketch is the bird’s-eye view. The walls in the room are then laid flat.
This gives the viewer the best of both worlds; it allows them to see the overall relationship
of the scene in the bird’s-eye view with the evidence on the walls and nonevidence items
near the walls shown in the elevation view. This makes for an easy visual relationship
between the evidence on the walls and the evidence on and near the floors. This view
gives the crime scene investigator creating the sketch several options, from laying down
a single wall to laying down all the walls within the scene.

Most software programs do not have a process where a wall, evidence, and other items
may simply be laid on their side. In this case, the wall must be drawn and the evidence is
then placed on the wall or other item in order to make the cross-projection view. Figure
5.4 shows an illustration of a cross-projection view of a crime scene. Here, the north living
room wall has been laid down, making the surface of this wall, windows, door, and
fireplace more visible. It also shows the relationship the items have with the rest of the
living room.

We see in Figure 5.4 this version was reduced to just the rooms and areas that were
involved in the crime. When Figures 5.1, 5.2, and 5.4 are compared, we are able to see
more scene detail in Figure 5.4. If there is a large amount of evidence in the three rooms
shown in Figure 5.4, you may consider creating three additional sketch views: one from
the kitchen, one from the dining room, and one from the living room. These three
additional sketches will complement the sketch in Figure 5.4.

Three-Dimensional Drawing (Perspective)

The final view is the 3D drawing or perspective view, which is the most difficult to
draw without the aid of a computer-aided program. This view is, however, the most
realistic view of all the other types. Remember that during the rough sketching process of
a 3D drawing that is going to be created as one of the final sketches, the height
measurements of evidence and nonevidence items must be obtained.

A 3D drawing from a computer program may allow the jury or viewer to “see” what
the suspect or victim may or may not been able to see. Some computer software allow
for the walls to be colored preventing the viewer from seeing through the walls. The 3D
image can be rotated and/or adjusted to the approximately eye level of the suspect, victim,
or witnesses. The 3D view can also be moved to show the viewer what would have been
visible as the viewer “walks” through the scene in the 3D mode.
Most computer sketching programs have snapshot capabilities. The snapshot will
allow a photograph to be taken from various angles of the 3D view. The snapshot is

44
generally saved in the JPG format. This easily allows the images to be imported into a
PowerPoint™ program for courtroom presentations. Another option is utilizing a laptop
computer that is attached to a projector. The program is then projected onto a screen
allowing the jury to view the sketch. Figure 5.5 is a view of a 3D sketch. In the 3D mode,
the forensic map may be turned or rotated allowing for numerous views possible.

MEASURING DEVICES

The ultimate choice of the individual measuring device used is primarily a matter
of personal preference and convenience for the crime scene investigator. Whatever the
device the crime scene investigator chooses, they should be aware of the various errors
associated with the measuring techniques employed. The error is derived from the
difference in the measuring marks on the device as compared to a known standard
(National Institute of Standards and Technology, which is a division of the U.S.
Department of Commerce), which regulates commercial measurements. No measuring
device will measure “exactly” the distance of the known standard. The issue here is to
use measuring devices that have the smallest reported error. Some of the devices
available to obtain the necessary measurements are

• Steel tape measure

• Fiberglass or cloth tape
• Roller tape
• Laser measuring device
• Electronic distance-measuring device (total stations)
• Global positioning system (GPS) devices

A steel tape is good for measuring short distances. A steel tape with a sag in the
middle will give a different measurement than one that is taught. A roller tape going over
a hilly terrain will give a different measurement than it would if used on a flat surface. If
you are measuring the distances between two points, a steel tape, a fiberglass or cloth
tape, a laser measuring device, etc., will suffice. However, if you need to know the
distance someone may have traveled while fleeing the area, the laser measuring device
or total station is more appropriate. Most laser and electronic measuring devices have a
bubble level on one side. Using these devices without leveling the bubble will result in
erroneous measurements. These measurements will be larger than they are.

45
 WORKSHEET No. 3 (Practical Exercise) Special Crime Investigation with Legal
Medicine (CDI 2)

Name: _______________________________

Professor: ___________________________

Date Submitted: ______________________

Direction: Please answer the following questions

What are the Differences of the CATEGORIES OF SKETCHES?

What’s the differences sketches? To begin, we must recognize that a rough sketch has
been completed at the scene. It should be drawn with a pencil. Because of all the editing
that must be done during the production of the sketch, a pencil is the perfect tool. most
crime scene investigators are not architects or licensed surveyors, and thus the final
sketch will not be an architectural drawing, using a pen makes it difficult to correct minor
mistakes. However, the final sketch may be computer generated.

Explain the SKETCH INFORMATION AND FORMAT

______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
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______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________

Reference/s:
Everett Baxter Jr, 2015, Complete Crime Scene Investigation Handbook
Lesson No. 4 KIND/TYPES OF CRIME SCENE PHOTOGRAPHY

CRIME SCENE PHOTOGRAPHY

Crime scene photography serves many functions in the documentation role. The
primary function is that to document the crime scene. Crime scene photograph also
serves to clarify points within the scene or issues that may arise during the investigation.
Crime scene photography may also be utilized for additional investigations during cold
case investigations. Finally, crime scene photography is utilized by analysts during crime
scene reconstruction.

CATEGORIES OF PHOTOGRAPHS

We have already talked about the fact that crime scene photography records the scene
as well as illustrates the scene. Crime scene photography can be divided into two main
categories. These categories are:

• Documentation photographs
• Evidence photographs

Documentation Photographs

Most of the photographs taken by a crime scene investigator are documentation

photographs. We document the scene as we found it, we document damage to the scene,
47
we document the evidence, etc. The general overall, midrange, and close-up photographs
that will be discussed later in the chapter will primarily fall into this category of
photographs.

Evidence Photographs

The other type of photograph is the evidence photograph. In this case, the
photograph itself is what the analysts will use to make their analysis from. That is, the
photograph is the actual item of evidence. This may occur on impression evidence where
the impression was only photographed. Fingerprints using colored powders or chemical
enhancements may not be able to be lifted and, therefore, must be photographed.

Documentation versus Evidence Photographs

As we examine both types of photographs, we see that the documentation

photographs do not actually become evidence until they are admitted into court during the
trial or other court proceedings. The evidence photograph is already evidence because it
was submitted as such. Take, for example, the photograph of a developed latent
fingerprint that was on a surface and an actual lift of the fingerprint that was not possible;
under the Federal Rules of Evidence, the photograph of the developed latent fingerprint
is the “best evidence” due to the fact that the original developed latent fingerprint cannot
be submitted for analysis.

SUCCESSFUL PHOTOGRAPHS

A successful photograph is dependent on two factors: setting a correct exposure and

creating a well-balanced and compelling composition. Obviously, the knowledge, skill,
and talent of the photographer have a large impact on these factors. We have already
discussed exposure in previous chapters.

Composition

What is composition? When we look at things, our eyes compose what we see and
then send that image to our brain. In photography, we must learn to “see”
photographically. The images must be properly composed. Composition is based in part
on order and structure. Tension and balance are two of the most important elements in
photography composition. Tension is the interaction among the picture elements that
affects the viewer’s emotions. Tension should not be confused with some of the grotesque
images a crime scene investigator may photograph at a scene. Tension here refers to the
composition elements of the photograph; here when one looks at the photograph, it just

48
does not look right. Balance organizes those visual elements and keeps the viewer from
tripping over the photograph’s intent or meaning.

What to look for in a photograph depends on the specific crime committed. Some
general guidelines include objects that would establish the fact that a crime has taken
place. Photographs of evidence may indicate how the crime was committed, may lead to
the identity of those involved, and may place the victim and/or suspect in the scene.
Photographs of other items at the scene may also have a bearing on the crime, which
may include bloodstains, drug use, alcohol, and fingerprints.

Fill the Frame

Filling the frame” is another composition technique. In this technique, the subject
of the photograph should be as large as possible, from side to side and top to bottom.
This concept is generally applied to close-up and examination quality photography. When
we talk about close-up photographs, we must devote some time discussing the fill the
frame concept. The concept of fill the frame is quite simple; compose the photograph such
that the intended subject of the photograph is as large as possible in the picture. Minimize
any unnecessary background while at the same time make the subject as large as
possible.

This is especially necessary when we discuss examination quality photographs.

Obviously, the larger the image is in the photograph, the more detail that will be shown.
In an examination quality photograph, this detail is what other analysts will use to make
the analysis. It only goes to show that the less detail you put into your photographs, the
less the analysts will be able to say about that aspect of the scene. Figure 4.6 shows
images of the concept of fill the frame. Figure 4.6a shows an image that failed to fill the
49
frame, while Figure 4.6b utilizes the fill the frame concept very well. Note the difference
in the amount of detail visible between the two images.

Consider the term impact when filling the frame. If you ordered a glass of iced tea,
and it was delivered half full, your impact would be less than desirable, especially if you
were being charged full price for the glass and the glass does not come with refills.

When filling the frame with action photographs, you must leave room for the action;
otherwise, the action may move out of the frame prior to the image being taken. When
you fail to properly fill the frame, there ends up being a lot of empty space around your
subject. This empty space is the “impact” of your image. This can easily be accomplished
by using the first two-thirds of the frame with composing the action. With this said, some
cameras will limit how much you are able to fill the frame, especially on small objects such
as the headstamp of a cartridge casing. In these cases, using the camera and getting as
close as the camera will allow to fill the frame as much as possible.

PHOTOGRAPHIC PSYCHOLOGY
There are times when one looks at a photograph, and they are confused about the
intended subject of the photograph, or something in the photograph just does not look
right. Some of these issues may result in unnecessary questions that may arise during
trial. Some of these issues include identification issues, orientation issues, confusion
issues, and incomplete documentation.

Identification

When you take a photograph, you understood very well what you were trying to
photograph; when someone else looks at the photograph, they may be unable to decide
or determine what the subject of the photograph was intended to be. In Figure 4.7, we
see two bottles, three cartridge casings, and three projectiles in the photograph. In this
photograph, we see evidence on both sides and nothing in the center of the image.
Problems arise when one tries to determine what the photographer intended to mean
about this photograph. If this were a midrange photograph, confusion will be generated
in the close-up photograph, especially if it were one of the cartridge casings or projectiles.

50
The center of the
image shows a
carpeted area. Is the
photographer trying to
bring your attention to
this open area or was
the intended subject
of the photograph
intended to be another
area? This issue may
easily be minimized
by placing the
intended subject of
the photograph in
the center of the
frame. In Figure 4.7, a
total of eight pairs of
midrange and close-
up photographs of the items are shown.

Orientation
This issue arises when one fails to use markers and/or the appropriate midrange
photographs (discussed later in this chapter) depicting the surrounding area. Which way
is up, left, right, north, etc. This may be eliminated by using appropriate midrange
photographs and markers or scales indicating up, north, right, left, etc. Figure 4.7 shows
a carpeted area of a scene. It provides the viewer no direction at all. There are two ways
to overcome this issue; first, the proper midrange photographs (Figure 4.8a) of the scene
must be taken. These midrange photographs should show more of the surrounding area
of the room. Another way is to include a north indicator (as shown in Figure 4.8b) or some
other reference arrow.

The same type of issue commonly arises when photographing footwear

impressions on doors or other vertical surfaces. Figure 4.9a shows a muddy footwear
impression on a door. From this image, we are unable to determine up or even a direction.
Figure 4.9b utilizes a north arrow, while Figure 4.9c utilizes an up arrow. Figure 4.9d
properly places the scale in the image. An additional technique would be to take a series
of midrange and close-up photographs, one series without the scale properly placed and
the other with the scale properly placed.
51
Confusion

This issue may arise several ways, first by contaminating the scene by bringing
outside drinks in and setting them in the scene. As crime scene investigators, we must
stay hydrated and fed especially when processing a scene over an extended period.
Figure 4.10 shows the same carpeted area as shown in Figures 4.8 and 4.10; however,
there is now a drink cup seen in the center left side of the image. Care MUST be taken to
avoid this issue. The crime scene investigators and detectives should ensure that after
rest and meal breaks are finished, those drink and food containers remain outside and
well away from all evidences.

Another way a confusion issue may arise is when moving something in an area
where the overall photographs have been taken but prior to the midrange and close-up
photographs of this area. In this case, the midrange and close-up photographs will show
items in a different location from the overall photographs. This issue is avoided by simple
communication with the photographer to ensure that the evidence has been properly and
thoroughly documented prior to being moved. If there is an issue that requires an item to
be moved prior to proper photographs being taken, this issue must be documented in the
notes as well as the report. Some reasons why evidence may be moved include
impending weather and collection of fragile trace evidence to prevent loss or destruction.

Incomplete Documentation
This issue arises when one begins to document one aspect of the scene and then
must go to another area prior to completing the task at hand. The photographer then fails
to return to the previous task and complete it. One should always attempt to complete the
documentation of the current task before moving on. Recall the note taking chapter and
create a reminder list to go back and complete the task. Another issue that arises is when
other investigators are searching at a faster pace than the photographer can keep up. In
this case, the searchers must slow down and keep pace with the photographer. When we
examine Figure 4.11, we see that simply changing the camera orientation, we get four
different views.

52
53
 Figure 4.11a
looks like the bottles are all
stacked together. Figure 4.11b
makes it look as though all the
bottles are the same height.
Figure 4.11c appears that the
bottles are evenly spaced
apart. Figure 4.11d shows the
actual orientation of the bottles. There
may be times when a photograph
such as depicted in Figure 4.11a and
b or c due to something on the
bottles must be documented. By

54
first taking overall photographs of the scene, one will be able to locate other photographs
that show the true orientation of the items being photographed.

Visual Clues

Objects that are in two dimensions are easier to illuminate in order to photograph.
However, in the third dimension, height is added; there must also be a change in lighting
techniques in order for our brain to recognize this third dimension. These lighting
techniques allow our brains to recognize certain visual clues that assist our brains in
recognizing depth. Interpreting these visual clues is necessary for this third dimension to
be photographed. Our brains perceive depth by using visual clues such as perspective
distortion and tonal variation.

Perspective Distortion

Objects that are further away appear to be smaller. Consider an object such as a
coffee table. If you are looking across the table at one opposite corner, the corner that is
closest to you appears to be larger than the opposite corner. This perspective distortion

55
is used by our brains to recognize depth. This perspective distortion is the primary visual
clue our brain uses to perceive depth.

Perspective distortion provides the brain the ability to see length, width, and depth.
Figure 4.12 illustrates the concept of perspective distortion very well. If we examine the
vertical lines in each of the three chess boards, we see that in Figure 4.12c, the lines
seem to converge just past the top of the figure, the lines in Figure 4.12b seem to
converge further up, and the lines in Figure 4.12a seem to remain parallel. As we can
see, camera position affects perspective distortion. Another area to examine is the widths
of each box. We can see that the widths of each box in Figure 4.12a are equal from top
to bottom. However, when we look at the image in Figure 4.12c, the widths of the square
at the top of the image appear to be much smaller than the images at the bottom of the
image.

In photography, there are essentially two uses of perspective distortion. The first is
using perspective distortion to provide visual clues about the heights of various objects in
the scene. The other use is to show an object that is closer to another object than it is.
Take, for example, a body on the ground and a gun 10 ft away. You can position the
camera to take a photograph showing the gun appears to be very close to one of the
hands of the body, when it is 10 ft away. This type of perspective distortion is to be
avoided, and it in and of itself is an improper crime scene photograph.

Tonal Variation

When we look at an object such as the coffee table, we see that each side may
contain different shades of shadow. Tonal variation is essentially light and dark areas in
the subject. This is tonal variation that our brain uses to recognize depth. Unlike
perspective distortion where the position of the camera affects the distortion, tonal
56
variation is affected by the size and position of the light source. Hard shadows define
depth more than soft shadows. However, you must be careful not to cause the hard light
to compete with the main subject of the photograph.

Reviewing our previous discussions on light size, the smaller the light source is,
the harder the shadow edges are, and the larger the light source, the softer the shadow
edges are. The further away the light source is from the subject also causes the shadow
edges to be harder as well, and the closer the light source is to the subject, the softer the
shadows are. There are other techniques that may make a small light create soft
shadows. Diffusion screens, umbrellas, and bounce cards are some of those techniques
used to soften light. Clouds also make a very good light diffuser. As the sunlight passes
through the clouds, the light rays work like light passing through a piece of paper; the
clouds cause the light rays to refract in unpredictable directions, therefore making the
clouds a very good natural diffuser.

Tonal Variations versus Perspective Distortion

Less tonal variation produces less sense of depth. More perspective distortion
increases the depth illusion. Thus, when considering situations where less tonal variation
may be necessary, increasing the perspective distortion will offset loss of depth from the
decreased tonal variations. When considering tonal variations and perspective distortions,
do not forget about the surface of the subject and other things that may be on the surface
that may be of more value than showing the shape of the object. Take, for example, a
glass of wine with a special label that was described in detail by a witness. In this instance,
the shape of the glass bottle is of less importance than the actual label.

CRIME SCENE PHOTOGRAPHY: OVERALL PHOTOGRAPHS

Overall photographs are the first set of photographs that should be taken at a crime
scene. This group of images document the scene as the investigator found it. It gives an
overall perspective of the scene. The overall photographs should always begin on the
exterior of the scene and work inward. Overall photographs show how the scene was
protected or the lack of scene security. They should also show the surrounding area. The
overall photographs set the stage; it defines where the scene is and provides an overall
layout of the scene.

In this set of images, you may not be able to see all the intricate details such as
shoe or tire impressions or some of the evidence. This is OK for this first process; this is
not the intent of the overall photographs. The overall photographs are not designed to
show everything. They give an overall perspective of the scene; they set the “stage.”
These photographs should also include photographs of the crowds, especially in arson
57
cases. Arson suspects have been known to stand and watch their handiwork. Overall
photographs should also show the location of the scene, such as an intersection street
sign and/or the address numbers.

Exterior Overall Photographs

The overall photographs should begin at a nearby street intersection. You should
orient yourself so that the street sign is in between you and the actual scene. You should
be able to see the scene in the background. If the actual scene is not visible from the
intersection, then you may need to take a series of photographs as you walk up to the
scene from the intersection. Exterior scenes generally pose an easier situation, where the
overall photographs should be taken in a circular or semicircular fashion around the actual
scene. If the actual scene is inside a house, the exterior overall photographs should also
include the backyard area. Each successive photograph should overlap some from one
to the next.

Whether the scene is an exterior or an interior scene, overall photographs should

be taken prior to any walk-through. The overall photographs are to document the scene
as you the crime scene investigator found it. If these photographs are not taken prior to
the walk-through and some of the evidence is inadvertently moved, you will have no
documentation showing where the evidence originally was.

Interior Overall Photographs

Interior photographs pose additional problems, primarily due to confined spaces

such as closets and bathrooms. There are several approaches a crime scene
photographer can use to accomplish this task. They include the corner-to-corner
approach, the wall-to-wall approach, and the modified approach.

Corner-to-Corner Approach

Interior photographs should be taken from a minimum of all corners in the room.
When taking this set of images, ideally you should be able to see the ceiling, the floor,
and the two walls that make up the corner you are focusing on. You then move around
the room in either a clockwise or counterclockwise direction. There should be some detail
on each wall that overlaps from one image to the next. This allows linking each image
together within all the overall images. The corner-to-corner approach further documents
the interior room by linking it together with the previous photograph.
Wall-to-Wall Approach

58
 Once the corner-to-corner documentation has been done, the room should also be
documented in a wall-to-wall format. The camera should be at a 90° angle to the wall. The
corner to-corner approach may cause some slight distortion along the walls. Items in the
corners of the photographs may also appear to be closer to the wall than they are. The
wall-to-wall approach will help alleviate the distortion. This series of photographs will be
taken from the center of one wall focusing on the wall on the opposite side of the room. If
the wall is too large to fit into the field of view or the room is very small, the wall may have
to be broken down into smaller segments. Again, there must be some detail on each
segment of the wall that overlaps with the images from the previous photograph.

Modified Approach

If the scene contains lots of furniture or other objects, this presents an issue of
perspective distortion. Combining the corner-to-corner approach and the wall-to-wall
approach and adding a few additional photographs will help minimize any perspective
distortion. The additional photographs are taken in each corner and are taken parallel to
each wall. This approach will result in a minimum of 16 photographs for each room.

Camera Orientation: Portrait versus Landscape

When photographing scenes, the camera should be oriented in landscape as much

as possible. It is important that the camera orientation be the same for all the overall
photographs taken in each room. That is, if you orient the camera in a portrait orientation,
then maintain this orientation throughout the taking of the overall photographs within this
room. Do not continuously switch back and forth from the portrait and landscape
orientations. Another point to consider in the taking of overall photographs deals with very
small rooms such as bathrooms. Most bathrooms are so small that no matter how you
hold the camera, you are just unable to take one image that shows the ceiling, the floor,
and at least two walls. In this case, take one photograph showing the ceiling and the two
walls and another photograph showing the floor and the two walls. Remember that the
walls should overlap between the two photographs.

CRIME SCENE PHOTOGRAPHY: MIDRANGE PHOTOGRAPHS

Once the overall photographs have been taken, the next series of photographs are
the midrange photographs. These photographs may also be referred to as
evidenceestablishing photographs. These are referred to as evidence-establishing
photographs because they are the first photographs that show the evidence in relation to

59
where it is inside the scene. It “establishes” the evidence within the scene. This series of
photographs will show more detail than the overall photographs.

Like the overall photographs, this series may not show all the detail necessary for
identification, such as a shoe or tire impression. However, this series will show that there
are shoe impressions and where the shoe impression is within the scene. For example, a
midrange photograph that shows a cartridge casing in the middle of a large room that
shows a large area of the carpet or tile and the cartridge casing but fails to show walls,
furniture, or other items within the scene may be worthless in establishing a relationship
of the evidence within the scene. You should be able to look at a midrange photograph
and easily see the evidence as well as other items within the scene and easily and quickly
determine exactly where in the scene it is.

CRIME SCENE PHOTOGRAPHY: CLOSE-UP PHOTOGRAPHS

Close-up photography is the final series of photographs that will be taken. This
series shows just the evidence in the scene, using the fill the frame concept. There should
be no other evidence or items visible within the photograph. Close-up photographs will
also show specific damage such as forced entry. All close-up photographs must be taken
at a 90° angle to the surface containing the evidence. These series of photographs may
also be referred to as evidence close-up photographs.

The author recommends that the close-up photograph be taken immediately after
the midrange photograph. That is, the midrange and close-up photographs are taken in
pairs. Remember that the photographs should not only record the scene, but they should
also illustrate the scene. By taking a midrange photograph of an item of evidence followed
by the close-up photograph of the evidence allows your photographs to flow more
smoothly. It also eliminates confusion. If you were to take all the midrange photographs
then go back and take all the close-up photographs, it becomes very difficult and time
consuming to match the close-up photographs with their corresponding midrange
photographs. By taking the midrange photographs immediately followed by the closeup
photographs allows for a smoother flow of all the photographs. In the event new evidence
is located, taking a series of midrange and close-up photographs at the same time is very
easily accomplished.

PHOTOGRAPHS WITH EVIDENCE MARKERS

When the evidence is photographed, it should be clearly identified. This task is

easily accomplished by using evidence markers. It is your choice as to whether you use
numbering or lettering as your evidence markers. If you choose to use the numbering
evidence marker system, then label all nonevidence items with letters. On the other hand,
60
if you choose to use the lettering evidence marker system, then label all your nonevidence
items with numbers. Figure 4.13 shows several of the evidence marker systems available
from Forensics Source. Figure 4.13a shows the typical evidence markers that included
the flat version, which also includes direction markers. The direction markers are a useful
visual tool in photography.

Whatever way you choose, you must be consistent with your system. Placing an
evidence marker next to an item of evidence and then photographing that piece of
evidence next to the marker will forever identify that piece of evidence with that number.
The crime scene investigator must develop a system to keep the numbering system
flowing smoothly. There are times during the processing of a scene that you may identify
an item of evidence but due to some circumstances will not be able to photograph it. Once
you begin using evidence markers, create a “Decon” bag to put the markers in so that
they may be cleaned and decontaminated before the next use. If the crime scene
investigator comes onto this type of situation where an item of evidence has been
identified and assigned it a number but is unable to properly photograph it, simply hold
the next evidence marker number up next to the general area where the item is and
photograph the general area including the marker. Then put that evidence marker in the
“Decon” bag.
There are additional situations where evidence may be deposited over a large
distance. Cones (see Figure 4.13b) make great visual references for photographing this
type of situation. For example, there is a large blood trail that extends down a street. The
cones can easily be placed throughout the trail.

61
62
 The photograph will easily show the cones. The cones also come with reflective markers
that make it easier to see at night when using flash photograph. The evidence markers
may also be sat on top of the cones (Figure 4.13c) in the event evidence around the cone
is to be collected.

Using the cones to mark evidence in a field may be useless, especially when the grass
and other vegetation are taller than the cones. Here, the use of flags makes better sense
(see Figure 4.14a). The shaft of the flag should be anything other than metal. If you are
going to use ground-penetrating radar to assist in the locating of a clandestine grave, the
metal flags will interfere with this process. Fiberglass markers work better and do not
interfere. Small markers, such as the ones in Figure 4.14b, are useful in situations where
you may need to photograph an item among other items. These small markers make it
useful in “pointing out” the subject of your photograph.

Once the scene has been properly documented with the overall, midrange, and close-up
photographs, evidence markers may be placed next to the evidence. Additional midrange
and close-up photographs of the evidence with the markers are then taken. Photographs
that were taken prior to the placement of the evidence markers were done so to document
the fact that nothing has been added to the scene.
Ultimately there should be two complete sets of midrange and close-up photographs.
The first set is essentially an extension of the overall photographs. That is, they show the
relationship of the evidence within the scene as you found it. These photographs show
the scene in its original unaltered state. The second set of midrange and close-up
photographs is made after evidence markers have been placed near each item of
evidence. If the scene is such that evidence markers will not be utilized, the second set
of markers with the scales will not be taken. If only midrange photographs show the scene
with evidence markers already in place, then you have failed to properly document the
fact that you did not alter the scene other than placing the evidence markers in the scene.
By taking the two sets of midrange photographs, you document the fact that there is no
additional evidence underneath the evidence markers.

It generally is not necessary to take another set of overall photographs after the evidence
markers have been placed near the evidence. However, with this set of midrange and
close-up photographs, you will need to either move back or zoom out with the lens in
order to show more of the evidence markers. For example, if there are four evidence
markers spread out in one room, place the center focusing frame on the first item of
evidence, while at the same time ensuring that the other three items can easily be well.
Then take another midrange and close-up photograph showing just that item with items
near this item of evidence. The first set of midrange and close-up photographs shows the
relationship of all the items of evidence within that room. The second set of midrange and
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close-up photograph shows the specific relationship of that marked item within that
specific area of the room.

Other sets of midrange and close-up photographs will be necessary when documenting
bloodstain evidence and shooting scene evidence. No matter how many times you take
a series of midrange and close-up photographs, there will be a set of two for each
instance. One set will be as you found it; the other will be with some form of identification
marker. The difference instances include physical evidence, bloodstain documentation,
and shooting scene documentation. The actual address will be shown in the midrange
photographs. Midrange photographs should also show any damage such as forced entry
or the lack of forced entry.

WORKSHEET No. 4 (Practical Exercise) Special Crime Investigation with Legal

Medicine (CDI 2)

Name: _______________________________

Professor: ___________________________

Date Submitted: ______________________

Direction: Please answer the following questions

Explain the CATEGORIES OF PHOTOGRAPHS

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In your own understanding what are the importance of Photography in the CRIME
SCENE?

Photography in crime scene are the most useful in supplying significant bits and pieces
with exact measurement of the site and evidence where the crime has occurred. The
purpose of crime scene photography is to provide a true and accurate record of the crime
scene and physical evidence present by recording the original scene and related areas.

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Reference/s:
Everett Baxter Jr, 2015, Complete Crime Scene Investigation Handbook

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