POLICE

PHOTOGRAPHY
NESSIL SHANDY J. VILLARDO
Photography is an invaluable aid to
modern day scientific crime
detection and investigation as well
as crime prevention. Perhaps it
could be stated that without
photography our law enforcement
officer in the so-called modern day
scientific crime detection would still
be lagging a hundred years.
1839 is considered generally as the
birth year of photography. Its first
landmark in police history is
generally confined to its application
to the problem of personal
identification. In those days the
Bertillon system of the facial features
of the criminal were measured, as
well as the bone structures of the
various parts of the body.
These measurements were worked
into a classification system and the
photograph of the criminal was
used to supplement the
classification. Later, the Bertillon
system was superseded by the
fingerprint system of personal
identification.
Under the fingerprint system the
photograph of the subject is still
placed on his finger print chart, not
to supplement the identification
system but to have available
photograph if needed for
investigation purposes.
The usefulness of Forensic
Photography in criminal
investigation is very extensive.
Small objects but of great
importance in a crime committed
may escape in the first phase of
examination by the investigator
but may be seen and recovered,
only after closed examination of
the photographs of the crime
scene.
Investigators are sometimes compelled to
reconstruct or describe in court some of
the details of the crime scenes they
investigated several months ago. With the
bulk of cases the investigator handle,
perhaps he would be confused or may not
exactly recall some of these details or
exact location of objects. However, with
the aid of photographs taken from the
crime scene, investigator will not find hard
time to refresh in their minds and will be
able to describe or explain exactly the
details in court.
A good photograph of the scene is a
permanent record, which is always
available, especially in court
presentation. In court proceedings,
judges, prosecutors and defense
lawyers have generally never visited
the scene of the crime. Therefore,
photographers should bear in mind to
obtain a normal, sharp and free of
distortion photograph. As a general
rule, take many photograph of the
crime scene and select the best.
A photograph of the crime scene is
a factual reproduction and accurate
record of the crime scene because
it captures TIME, SPACE AND
EVENT. A photograph is capable of
catching and preserving the:
1.SPACE - the WHERE of the crime
(Locus Criminis)

2.TIME – the WHEN of the crime

3.EVENT – the WHAT of the crime –

what is the nature or character of
the crime?
Identification files
Criminals missing persons, lost
property, licenses, anonymous
letters, bad checks, laundry
marks, and civilian of personal
fingerprint IF In the case of
atomic attack or a catastrophe
such as an airplane crash, the
fingerprints from a civilian file
are proving helpful in making
positive identification
Communication and microfilm
files
Investigative report files, Accident files
transitions of photos (Wire Photo)
Photographic supplements to reports.
With modern day electro photography
machines accident reports can be made
in seconds and sold to insurance
adjusters for nominal fees. An excellent
source of revenue for department is the
sale of photographs of traffic accidents
to insurance companies and lawyers.
Evidence
Crime scenes, traffi c accidents,
homicides suicides, fires,
objects of evidence, latent
fingerprint traces. Evidence can
be improved by contrast
control, by magnification and
by visible radiation.
Offender detection
Surveillance, burglar traps,
confession, reenactment of crimes
intoxicated driver test. One of the
newest applications of police
photography is to record on motion
picture film arrests in which the
suspect offers resistance. The practice
has been instituted by at least one
metropolitan law enforcement agency
to counter charges of police brutality.
Court exhibits
Demonstration enlargements,
individual photos, projection
slides, motion pictures.
Reproduction or Copying
Questionable checks and
documents, evidential papers,
photographs, offi cial records
and notices.
Personnel training
Photographs and films relating
police tactics, investigation
techniques, mob control, and
catastrophe situations.
Crime and Fire
prevention

Hazard lectures, security clearance,

detector devices, photos of
hazardous fire, conditions made
when fire prevention inspection are
made.
Public relations

Films pertaining to safety

programs, juvenile delinquency,
traffi c education, public
cooperation, and civil defense.
Four primary ways of using
photography in Police Work:

1.As means of identification.

2.As a method of discovering,
recording and preserving
evidence.
3.As a way to present, in the
courtroom, an impression of the
pertinent elements of a crime.
4.As a training and public relations
medium for police programs.
Photograph is a mechanical result
of photography. To produce a
photograph, light is needed aside
from sensitized material (films and
photographic papers).
Light radiated or reflected by the
subject must reach the sensitized
material while all other lights must
be excluded. The exclusion of all
other lights is achieved by placing
the sensitized material inside a
light tight box. The light maybe
visible or invisible.
The effect of light on the sensitized
material is not visible in the
formation of images of objects. The
effect could be made visible with
the aid of chemical processing of
the exposed sensitized material
called development.
PHOTOGRAPHY

The word photography was derived

from two Greek terms PHOTO which
means light and GRAPHY which
means to write. Thus, literally,
photography means to draw with
light.
SOURCES OF LIGHT

NATURAL LIGHT
The source of all daylight is the sun.
The combination of color and contrast
ascertains the quality of the daylight.
The lighting contrast depends upon the
sunlight available in the daylight, when
clouds do not cover the sun. Then, the
contrast is high on the contrary; if
clouds cover the sun the contrast is low.
ARTIFICIAL LIGHT

Almost all artificial light sources

can be used in photographing of
objects, as long as the light is
capable of exposing the sensitized
materials (film). Some of the
artificial lights are electronic flash,
photoflood lamp, fluorescent lamp,
and Infrared and Ultra-Violet lamp.
Visible Spectrum

a small part of the electromagnetic

spectrum where the visible light is
found, the portion of the
electromagnetic spectrum that
affect the human sense of sight.
Visible light includes all those
radiation having a wavelength
ranging from 400 – 700 mu.
Primary Colors Approximate
Wavelength

Red (longest wavelength) 700

mu
Blue 450 mu
Green 550
mu
Complementary Colors

A. Magenta (shortest wavelength) 400

B. Cyan 500
C. Yellow 590

Neutral Color
1. Gray
2. White
3. Black
TRANSPARENT OBJECTS

mediums that merely slow down

the speed of light but allow to pass
freely in other respects, transmit
90% or more of the incident light.
TRANSLUCENT OBJECTS

mediums that allow light to pass

through it in such a way that the
outline of the source of light is not
clearly visible, transmit 50% or less
of the incident light.
OPAQUE OBJECTS

A medium that divert or absorb

light, but does not allow lights to
pass though, they absorb most of
the light while reflecting some of it.
THE RAT LAW

• Reflected
• Absorbed
• Transmitted
THE PINHOLE CAMERA

The simplest camera is a pinhole

camera, which consists of a box
with a small hole in one of its sides.
To produce a sharp image, the hole
must be very small and this
restricts the amount of light
entering the camera.
CAMERA OBSCURA

Is a box used for sketching large objects?

The term means dark chamber. The box
contains a mirror set at 45-degree angle.
Mounted in the front end of the box is a
double convex lens like that in a
photographic camera. Light from the object
or scene is transmitted through the lens.
The mirror reflects this light upward to
ground glass screen on the top of the box.
There the light forms an image of the
object or scene that can be sketched easily.
FIXED FOCUS CAMERA

The most basic of all camera, have a

non-adjustable lens. Most models
have a single diaphragm setting and
only one or two shutter speeds.
Most fixed focus cameras, including
many inexpensive, pocket-sized
models, use 110 or 126 size film.
The negative of such film require
considerable enlargement, which
may produce a fuzzy image.
POINT AND SHOOT
CAMERA

Have many automatic features that make them

easy to use. Electronic devices inside the
cameras automatically adjust the focus, set the
light exposure and the shutter speed and
advance and rewind the film. A built in
electronic flash automatically supplies light
when too little light reflects from the subject.
The cameras are equipped with high quality
lenses that produce a sharp image. Some of
them have a zoom lens. Point and Shoot
cameras use films that measure 35 mm. Since
their introduction in 1970’s theses cameras
have gained wide popularity among amateur’s
SINGLE LENS REFLEX
CAMERAS
Appealed to skilled amateur photographers and
to professional photographers. The camera’s
name refers to its viewing system. The
photographer views the subject through the
camera lens rather than through a separate
viewing lens. A mirror between the lens and
the film reflects the image onto a viewing
screen. When the shutter release button is
pressed to take a picture, the mirror lifts out of
the way to allow the light to expose the film.
Thus the photographer sees almost the exact
image that is recorded on the film. SLR
cameras use 35 mm film. The photographer
can adjust the focus, select the shutter speed,
TWIN LENS REFLEX
CAMERAS

Have a viewing lens directly above the

picture - taking lens. The image in the
viewfinder appears on a flat screen on top of
the camera. Photographer found such a
viewing screen helpful in composing a
picture. Photographers do not hold the
viewfinder to the eye, as they do with a
fixed focus, point and shoot, and single lens
reflex camera. They usually hold the camera
at the chest or waist and look down into the
viewfinder. The image appears reversed
from left to right.
VIEW CAMERAS

It is the largest and most adjustable

type of camera. Most have
accordion like body, with a
replaceable lens in front. They have
a large viewing screen instead of a
viewfinder. Most models have an
adjustable diaphragm and shutter
speed. View cameras must be
mounted on a stand for efficient
operation.
INSTANT CAMERAS

Use film that provides a print without first

being developed into a negative. The cameras
produce a print 15 seconds to 2 minutes after
the photographer takes a picture. The time
varies according to the camera and to the type
of film. Instant camera use film that provides
pictures ranging in size from 73 by 94 mm to
508 by 610 mm. Special types of film for
instant camera also provide negatives. Some
instant cameras can take flash pictures and
focus automatically as the photographer lines
up a subject in the viewfinder.
ELECTRONIC CAMERA

Create pictures that can be viewed on a

television screen. The lens in most
electronic cameras focuses light on light
sensitive mechanism called CHARGED
COUPLED DEVICE OR CCD. The CCD
changes the light into electronic signals.
The electronic pictures can then be stored
on small magnetic discs similar to those
I=used in computers. With additional
equipment, electronic images can also be
sent over telephone lines or printed on
paper.
FILM CAMERAS

These cameras convert light

reflected by the subject into
electronic signals that are recorded
on magnetic tape. Most film
cameras and camcorders can
record sound at the same as they
record images. Most of them also
have a zoom lens.
STEREO CAMERAS

Have two identical picture taking lenses

with matched shutter. When a stereo
camera takes a picture, each lens
photographs the same subject, but from
a slightly different angle. When shown to
a device called a stereoscope or seen
through glasses that polarize light, the
two images blend in one picture that
seems to have depth. Stereo cameras
are made for taking photographs or for
making films.
SPECIAL PURPOSE
CAMERA

Have been designed for industrial,

medical, military, and scientific
uses they include aerial cameras
used in space and underwater
cameras.
Folding cameras

favored for their compact design and

movable bellows, have been in use
for many years. The camera’s lens is
incorporated into the bellows, which
is slid back and forth along a rail to
change focus. The dark clothe
covering the photographer and the
box body of the camera blocks out
undesirable light, which might
otherwise interfere with the picture.
Box cameras

like this “Brownie” were the earliest

cameras used by the general public.
Relatively simple in design and
operation, they consisted of a wooden or
plastic box, a drop-blade shutter, and a
holding device for the film. Modern box
cameras are similar to early models,
generally featuring only one shutter
speed and one opening; the very easy
operation makes it a popular camera
among casual photographers.
The Polaroid

or instant, camera delivers a finished

print directly following exposure.
Although most models are somewhat
larger than the standard personal
camera, the advantage of this system is
the convenience and speed of the
results. Special film used in conjunction
with the camera is designed to develop
itself, and represents one of the more
recent chemical revolutions in
photography.
Reflex cameras

use mirrors to form an image of the

scene to be photographed in the
viewfinder. The 35-mm single-lens
reflex (SLR) camera is one of the most
popular cameras on the market today
because of its compact size, speed,
and versatility. Most models offer a
combination of automatic and manual
options.
LENS
The lens of a camera consist of one or more
glass or plastic disk with flat, concave, or
convex surfaces, each disk is called
element. The purpose of the lens is to focus
light on the film. The focal length of the
lens is the distance between the optical
center and the film. For any given film size,
the shorter the focal length is, the greater
the field of view – that is, the greater the
area covered in the picture. Focal length
also affects depth of field – the amount of
the foreground and background that will be
in sharp focus in the picture. The shorter
SHUTTER

The shutter is a device that

prevents light from reaching the
film until the photographer is ready
to take a picture.
DIAPHRAGM

The diaphragm controls the size of the

aperture in the same way as the iris of
the eye, if you look at a cat’s eye when
it comes in out of the darkness you will
that the irises have contracted to make
the pupils bigger. After a few moments
in a bright light the irises expand and
cause the pupils to become much
smaller. The aperture of the camera
must also be larger in dim light and
smaller in bright light.
VIEWING AND FOCUSING
DEVICES

The viewfinder shows the photographer

the scene being photographed. It maybe
a viewing screen, a miniature lens
system, or a sample wire frames.
LENS APERTURE

Adjustable cameras are equipped

with an iris diaphragm, a device
located in or near the lens and
consisting of thin overlapping
leaves that fold together to create
a hole of continuously variable size.
In this way the aperture or lens
opening, can be adjusted to admit
more or less light as required.
DEPTH OF FIELD

The lens aperture not only controls the

amount of light entering the camera, it also
affects another fundamental aspect of the
photograph – depth of field. Depth of field is
the range in front of and behind a sharply
focused subject in which details also look
sharp in the final photographic image. It
depends on lens aperture, the focused
distance, and the focal length of the lens. A
small lens aperture, great camera to subject
distance, and focal length result in greater
depth of field.
SHUTTER SPEED DIAL

Controls the opening and closing of

the shutter, regulates the quantity
of light that reaches and affects the
sensitized material, a dial which
sets the length of time in which
the light is allowed to enter the
camera.
SHUTTER RELEASE
BUTTON

The “click” of the camera that

releases the shutter
FOCUSING MECHANISM

The mechanism that estimates the

appropriate objects distance from
the camera to form a sharp or clear
image on the photograph.
FOCUSING RING

The outer ring of the lens which is

rotated or adjusted to obtain a
clear and sharp photograph and it
enables the photographer to adjust
focal range.
CONVEX LENS – DIVERGING
LENS

A convex lens causes light rays to

converge, or come together, and is called
a positive lens. A positive lens focuses
light form a distant source into visible
image that appears on then opposite side
of the lens to the object.
A convex lens is thicker in the middle
than at the edges. When parallel rays of
light pass through this type of lens, they
are bent inward and meet at a point
called the focus.
CONCAVE LENS – DIVERGING
LENS

Concave lens or negative lens spreads the

light depends on the amount of curved on the
faces of the lens. The distance between the lens
and the image it produces is called the FOCAL
LENGTH. The shorter the focal length, the smaller
the image. The greater the curvature of the faces
of the lens, the shorter its focal length will be.
A concave lens is curved inward; it is shaped
like two dishes placed back-to-back. Light
passing through a concave lens bends outward,
or diverges. Unlike convex lenses, which produce
real images, concave lenses produce only virtual
images.
COMPOUND LENSES

Simple lenses generally produce

aberrated (imperfect) images. This
imperfection in image formation
can be reduced using compound
lenses.
Types of Lens Speed

FAST LENS – Lens with high lens

speed, a high lens speed is
used during nighttime or in
dark room.

SLOW LENS – lens with low lens

speed, used during daytime or
where the room is very bright.
Normal Lens

CHARACTERISTICS:
• Optimum area coverage than any
lens type.
• Minimum distortion and fewer
common lens defects.
• Angle of view equal to 75 degrees
but not less than 45 degrees.
Wide Angle Lens

CHARACTERISTICS:
• Reduced scale but increases area
coverage compared with any lens at the
same distance.
• Increased deep perception at a given
scale.
• Increased distortion toward the edges of
the negative material.
• Reducing illumination from the center
toward the edges of the negative
material.
• Angle of view exceeds 75 degrees.
Telephoto Lens

Or long focus lens has a longer focal

length and provides a close up image of
a distant object. In contrast to the wide-
angle lens, the telephoto lens covers a
small field of view and a shallower depth
of field. Because of shallow depth of
field, there will be lack of sharpness of
the subject focus areas in the
photograph to be produced.
Super wide Angle Lenses

In this category are fish eye lenses with

a 180 degrees angle of view. Focal
lengths run from an amazing 6 mm to
about 18mm. F stop ranges begin at F
1.8 but average f 3.5 and f 4.
Macro Lenses
The word macro is derived from the
Greek word and means, “ to enlarge “. In
photographic terms, a macro lens is
designed with extended focusing
capabilities to shoot a few inches from a
subject. A lens used for close up
photography particularly in taking
pictures in minute objects. Using a
macro lens, the subject being
photographed will appear bigger than its
actual size. This group of lens is most
helpful in fingerprint work, in recording
Two Main Types of MACRO LENS:
1. One is meant to be used on a held tripod
mounted camera and ranges from 40 mm
to about 90 mm with the average about 25
mm.

2. The other type is either a wide angle or a

lens with a focal length with 100 mm or
more and is designed with a close up
bellows attachment to the camera. The
longer lenses give a larger image and are
most suitable for static subjects and
painstaking photography.
Zoom Lenses
The macro zoom is relatively new in both
long and short-range classes. By turning
a ring on the lens barrel, you are able to
focus as close as three four inches and
still use zoom capability. Such lens gives
you close – ups as well as variable focal
lengths. and the macro zoom is taking
this field. A final zoom category is the
variable- focal length lens that operates
in the same manner as the zoom.
Special Purpose Lenses
Two special- purpose lenses in
particular should be familiar to you.
The first is adjustable through
movement of the front portion up
and down for perspective control
(PC). Architectural photographers
benefit using a PC lens that offers
some control of perspective similar
to the using the tilting front and
back of a view camera.
The other lens, a guide-number (GN)
lens, includes a diaphragm
mechanism that changes aperture
as the lens is focused to synchronize
exposure and distance with specific
flash attachment on the camera. A
GN lens can be handy, but the use
of automatic electronic flash unit
would make the GN lens
unnecessary.
Add – On Teleconverter
Lenses
Add-on lenses. Principal among
add- on lenses is the fishnet lens
that is screwed into the front of a
normal 35 mm camera lens,
offering a super wide effect for less
cost than a separate fisheye lens.
ABERRATION

optical imperfection responsible for

image distortion. It can be avoided
by combining several lenses and by
elimination of marginal rays
refracted through the outer edges
of the lens.
There are six ( 6 ) types of optical
aberrations:

1.Spherical Aberration
2.Chromatic Aberrations
3.Astigmatism
4.Coma
5.Curvature of Field
6.Distortion
Spherical Aberration
Spherical aberration is the focusing at
the different parts of spherical lens.
This aberration occurs because light
hitting the outer parts of the lens is
bent more sharply and comes to a
focus sooner than that passing through
the middle. In spherical aberration, the
image is blurred because different parts
of a spherical lens or mirror have
different focal lengths.
CHROMATIC ABERRATION
The failure of different colored light rays to focus
after passing through a lens, focusing of light of
different colors at different points resulting in a
blurred image. When white light, which consists of
colors, passes through a lens, the lens bends the
rays. The rays then cross one another on the other
side. The violet rays bend more than the other
colors and focus close to the lens. The red rays
bend the least and focus farther from the lens.
Rays on the other colors focus at points between
these two points. In chromatic aberration the
image is surrounded by colored fringes, because
light at different colors is brought to different focal
points by a lens.
Astigmatism
The defect in which the light coming
from an off-axis object point is spread
along the direction of the optic axis. If
the object is a vertical line, the cross
section of the refracted beam at
successively greater distances from the
lens is an ellipse that collapses first into
a horizontal line, spreads out again, and
later becomes a vertical line.
COMA
The result of differences in lateral
magnification for rays coming from
an object point not on the optic
axis is an effect
Distortion
Arises from a variation of
magnification with axial distance
and is not caused by a lack of
sharpness in the image.
STRUCTURE OF WHITE and
BLACK FILM

1. TOP COATING (TOP LAYER) –

scratch resistant coating also called
gelatin coating, an over coating
composed of a thin transparent layer
of a hard gelatin which help protect
the silver halide emulsion from
scratches and abrasions. The hard
gelatin, which is derived from cows,
contains SULFUR. The SULFUR is very
much compatible with silver halides.
2. EMULSION LAYER – SILVER SALT
+ GELATIN – A layer composed of
silver compounds which are light
sensitive and halogens (such as
bromide, chloride and iodide
bromide in fast film emulsion). A
silver compound when combined
with a halogen becomes SILVER
HALIDE. Silver Halides are rare
compound that are responsible in
forming the so called the LATENT
3. FILM BASE – commonly made of
cellulose or other material such
as paper, plastic, or glass, which
supports the emulsion layer and
is coated with a non-curling
antihalation backing.
4. ANTIHALATION BACKING – a black dye
applied on the rare surface of the film.
Its function is to absorb light that may
penetrate the emulsion thus making the
image sharper since it suppresses
double image. It prevents halo formation
in the photograph. The black dye is
removed during processing by one of the
chemicals in the developer. Its second
function is to control the film from
curling inwards. (Towards the emulsion
surface).
STRUCTURE OF COLOR FILM
1.TOP LAYER – sensitive to blue light only,
green and red light passes through it
without exposing the color halide.
2.EMULSION LAYER

Blue filter
Yellow filter – CAREY LEA silver suspended
in gelatin, it is coated between the top and
second layer to absorb any penetrating blue
light but allowing green and red light to pass
through.
Green filter – a layer that is
orthochromatic, the layer sensitive to
blue light (which can not reach it) and
green, but not to red light pass on to the
bottom of the emulsion layer.

Red filter – a panchromatic layer,

sensitive to blue (which can’t reach it)
and red. It is also sensitive to green light
but to a slight degree that is
3. ANTIHALATION BACKING /
COATING

4. FILM BASE – Plastic film base

Emulsions
are thin, gelatinous, light-sensitive
coatings on film that react
chemically to capture the color and
shadings of a scene. The four
layers pictured above show the
same image as it would appear on
different emulsions in photographic
film after the first stage of
developing. For black-and-white
photographs, only one emulsion is
Film
Films maybe classified according to
their forms and types. Basically,
films that are available in the
markets today are in various forms.
They can be in rolls, in cartridges
and cut sheets. Light sensitivity of
the film can be ascertained through
its various types.
Classification according to
USE
1.BLACK and WHITE FILM – for B and W
Photography
2.COLOR FILM – films that have names
ending in COLOR
- Color negatives for
prints
3.CHROME FILMS – films with names ending
in CHROME
- For color transparency
(slides); films that are exposed by slides,
mounted in a cardboard for slide projectors:
reversal type.
MONOCHROMATIC FILM
film that is sensitive to a single color of
light (for white and black)

• BLUE SENSITIVE FILM – a film

specially treated that makes it more
sensitive to blue rays of light
• ULTRA-VIOLET SENSITIVE FILM –
sensitive to UV rays only
PANCHROMATIC FILM
sensitive to ultra-violet rays, and all
light found in the visible spectrum,
especially to blue and violet light. It
is suitable for general use in the
preparation of black and white
photography because it produces
the most natural recording of
colors.
ORTHOCHROMATIC FILM
film that is sensitive to UV rays,
blue and green colors, but not to
red. Red portions are recorded as
dark tones, while green and blue
parts appear as light tones when
printed. This type of film is popular
in the market as the KODALITH
FILM.
INFRARED FILM
a special type of film that is sensitive to
infrared and ultra-violet radiation (radiation
beyond the human eye’s sensitive). It is also
sensitive to all the colors found in the visible
spectrum. Although the infrared film is
sensitive to blue color, a red filter can exclude
the blue color. The red filter transmits only long
red and infrared radiation. IR film is useful in
penetrating haze because of its longer
wavelength. In Investigative Photography, it is
useful in laboratory analysis of questioned
documents, in discovering old ( or faded )
tattoos under the skin, and in the construction
of camera types.
EMULSION SPEED
the sensitivity of the film to light; the
extent to which emulsion is sensitive
to light.
The light sensitivity of the film is also
known as the FILM SPEED. Speed of
the film is determined through the
numerical film speed labels given by
the film manufacturer. There are two
classical speed ratings that became
popular:
ASA (American Standard Association)
rating

This is expressed in arithmetical

value system. The speed in
numbers is directly proportional to
the sensitivity of the material. A
film with an arithmetical value of
400 is four times as fast as one
with a speed of 100.
DIN (Deutche Industrie Norman)
rating

This is expressed in logarithmic value

system. In this system, an increase of 3
degree doubles the sensitivity of the
film.

• ISO rating (International Standards

Organization) – combination of ASA and
DIN rating. The higher the ISO number,
the more sensitive the film to light and
the pictures can be taken indoors or in
dim light condition.
ISO
 ISO – 25 – slowest speed that natural
condition will permit, for best color and
sharpness.
 ISO – 100 to ISO – 200 – for general purpose
 ISO – 100 – slow speed film; needs sufficient
light and low shutter speed; has fine grains
of silver halides; produce sharp image.
 ISO – 200 – twice as fast and as sensitive as
ISO – 100; has large grains; produce large
sharp image.
 ISO – 400 – for dim light or with moving
subject
Film Size
1.110 – for cartridge loading pocket
cameras
2.126 – for older and larger cartridge
loading type
3.120 – variation of the 2.25 inch-wide roll
film that was first introduced for box
cameras a decade ago and now used in
professional medium format cameras
like the Hasselbald or Mamiya.
4.135 – commonly known as the mm. so
named because the film is 35 mm wide
COLOR FILTERS
1. Blue Filters – A blue filter can be
used effectively when photographing
blood in black and white. When used
outdoors as blue filters will make the
sky, or any blue object appears white
in photograph.
2. Green Filters – Are now used in
place of blue filters for photographing
blood.
3. Yellow Filters – Yellow filters cut
through haze to certain extent and
VIEWING FILTER
Are designed to show by direct
observation the relative values in
which colors will be reproduced by
a particular type of sensitized
without or with a given filter.
NEUTRAL DENSITY FILTER
Are used to reduce the light
intensity to prevent over exposure.
POLARIZING FILTER
Are used primarily to control light
reflected from highly polished
surfaces, metallic objects and
others.
TYPES OF PHOTOGRAPHIC PAPERS

BASED ON EMULSION USED

1. SILVER CHLORIDE PAPER –

contains silver chloride emulsion;
grained and produce deep black
images; used for contact
printing. Its sensitivity to light is
low. Generally, the size of the
positive print is the same as the
size of the negative used and
2. SILVER BROMIDE
PAPER
contains silver bromide emulsion.
Light sensitivity of this type is faster
than the silver chloride paper. This
photographic paper is used for
projection printing or enlarging
process wherein the negative image
is projected or enlarged. If properly
developed, the silver bromide paper
will give a black tone.
3. SILVER CHLOROBROMIDE
PAPER

contains a combination of silver

chloride emulsion; its emulsion
speed lies between that of chloride
and bromide papers; used both for
contact and projection printing. The
sensitivity of this paper is either
slow or fast. The slow emulsion is
used for contract printing while the
fast emulsion is used for projection
printing.
4. VARIABLE CONTRAST
PAPER
combines the contrast ranges in
one paper, it uses a special
Chlorobromide emulsion that
produces varying contrast
responses upon exposure to
different colored light.
ACCORDING TO PHYSICAL
CHARACTERISTICS

1. WEIGHT

• Light Weight – are used when the thickness of

the paper is not a consideration and high degree
of flexibility is necessary. Intended for purposes,
which involve folding.
• Single Weight – are paper used for small print
or print which need to be mounted on solid and
fine details are necessary in the production. Used
only for ordinary photographic purposes.
• Double Weight – generally used for large prints
because they stand up better under rough
2. SURFACE TEXTURE

A.Glossy Papers – are preferred where

fine detail and brilliant images are
required.

B.Semi – mate Papers – are with decided

textures which obscure fine details

C.Rough Papers – used for large prints

or where breadth rather than detail is
necessary.
3. COLOR

A.White – are preferred for cold

effect

B.Cream – are preferred for pictorial

effect, portraits, landscapes or
when warmth effect is desired.

C.Buff Papers – are preferred for

tone prints.
GRADE OF PRINTING PAPERS
 VELOX No. 0 – used for printing
from extremely contrast
negatives, the low contrast in the
paper sensitizing counteracts the
high contrast in the negative to
give a new print.
 VELOX No. 1 – used for high
contrast negative
 VELOX No. 2 – a paper for normal
contrast used with normal
VELOX No. 3 – used for negatives
that have weak contrast
VELOX No. 4 – provides for
sufficient contrast to compensate
for very thin or weak negatives. It
is useful in printing pictures which
high contrast is desired
VELOX No. 5 – for flat negative
that is unprintable
Degree of Enlargement or Size of a
Photographic Exhibits

1.A large print which will easily

show the judge, the lawyers’
detailed attributes of a subject
being testified to by a witness.
Forensic experts like document
examiners or fingerprint experts
use this to provide a dramatic
impact on their testimony. Prize
size of 11”x14” or even 16”x24”
2.A more widely used and easier to
accomplish is the handheld print
of persons, objects, place or
incident. The usual size may be
4”x5”, or 5”x7”
THE END