Crime Scene Photography 3rd Edition Robinson Test Bank
Test Bank for Crime Scene Photography 3rd Edition Edward Robinson, ISBN: 9780128027684, ISBN: 9780128027646
Table of Contents
Chapter 1. History of Forensic Imaging
Chapter 2. Composition and Cardinal Rules
Chapter 3. Crime Scene Photography
Chapter 4. Basic Exposure (Nonflash) Concepts
Chapter 5. Focus, Depth of Field, and Lenses
Chapter 6. Electronic Flash
Chapter 7. Ultraviolet, Infrared, and Fluorescence
Chapter 8. Photogrammetry
Chapter 9. Special Photography Situations
Chapter 10. Digital Imaging Technologies
Chapter 11. Digital Image Processing of Evidentiary Photography
Chapter 12. Legal Issues Related to Photographs and Digital Images
Chapter 2
Composition and Cardinal Rules
Exam/ Quiz Questions
1. It is said that the photographer has shadow responsibility. What do we mean by this and how
can it be controlled?
In large areas there is nothing you can do about ambient shadows. In smaller areas,
though, you can block the sun so everything is shadowed to remove a partially sunny
region that would result in a less than ideal exposure. If using flash, we can also hold it to
minimize any distracting shadows that it would create.
2. Briefly explain the photographer’s “Full Field-of-View Responsibility.”
The photographer is “responsible” for what appears in the photo: 1) prime subject, 2)
background, 3) foreground, 4) area at right edge, 5) area at left edge, and sometimes 6)
shadows.
3. How does rain or snow affect the composition of a photograph? How can we remove it? Is
removing it legal?
Since rain and snow can obstruct the view of a crime scene using a long shutter speed will
blur the rain/snow so it is hardly visible. This works because when using long shutter
speeds the camera only captures items that are present in the scene for a long period of
time. This technique is legal.
4. If an item is longer than it is wide how should the photograph be composed?
The camera should be composed as to fill the frame the best. To do this the camera should
be held so the longer axis of the frame is parallel to the longer axis of your subject.
5. Photographing the closed, numbered, front apartment door at a crime scene requires what kind
of camera/flash considerations?
Both camera and flash need to go vertical. If the door is painted with a very glossy paint,
direct flash will cause a bad hot-spot. Stand at a slight diagonal to the door, and/or remove
the flash from the hot-shoe and hold it as far to the left as possible.
6. With daylight (non-flash) photography, when composing a close-up photo, if you can’t seem
to eliminate your own partial shadow from appearing in the field-of-view, what should you do?
Totally cover the area in the field-of-view with your shadow, and meter on the shadow
area.
7. When taking an interior overall of a wall what angle should you compose the photograph?
Why? What if there was a window directly across from your location? Why?
You should be parallel to the wall and minimize all foreground, in doing so you can use a
wide angle lens to capture the entire wall. You also want to minimize side wall and ceiling
from the photograph. If there is a reflective surface across from you take the photograph at
a slight angle to remove your reflection from the photo.
8. How do we compose midrange photographs?
Film plane should be parallel to an imaginary line drawn between the item of evidence and
a fixed feature in the scene. It should be set high, medium, and low in the frame to
determine which eliminates the most distracting features.
9. With daylight (non-flash) photography, when composing a close-up photo, if you can’t seem
to eliminate your own partial shadow from appearing in the field-of-view, what should you do?
Totally cover the area in the field-of-view with your shadow, and meter on the shadow
area.
10. List the three Cardinal Rules of crime scene photography and give a brief explanation of
each.
Fill the frame- when photographing any subject, it is important so make it as big as
possible in the viewfinder before taking the picture.
Maximize DOF- Have as much information in focus as possible. Utilize small apertures
whenever possible. Use focusing techniques which provide more of the scene in focus.
Film Plane Parallel- have the back of the camera parallel to your subject matter as much as
possible. With midrange photos, have the evidence and a fixed feature of the scene
equidistant to you and your camera. Another way of expressing the same concept is to
create an imaginary line between the evidence and the fixed feature, and have the film
plane parallel to that line.
11. Name two ways a camera can “see” differently than the eye:
a. all objects on the same plane are in focus; the eye only focuses on one item at a time.
b. long DOF from front to back possible is possible with a camera.
c. motion freezing ability possible with camera exposure variables (fast shutter speeds
or short flash durations).
d. creative blur possible with slow shutter speeds.
e. camera filters can darken the sky
f. camera filters can eliminate reflections from glass/water.
g. Changes in perspective w/ different lenses are possible.
Chapter 2
Cardinal Rules & Composition
2.1 Use Once Camera v Professional Camera System
2.2 Composition & Cardinal Rules
2.2.1 Fill-the-Frame
2.2.1.1 Get Closer to the Primary Subject
2.2.1.2 Eliminate the Irrelevant
In the Background
In the Foreground
In Areas to the Left and Right
2.2.1.3 Shadow Control
2.2.1.4 Lens Flare
2.2.2 Maximize Depth of Field
2.2.2.1 Reciprocal exposure
2.2.2.2 Hyperfocal focus
2.2.2.3 Zone focus
2.2.2.4 Prefocus
2.2.3 Keep the Film Plane Parallel
2.2.3.1 Overall Photographs
2.2.3.2 Midrange Photographs
2.2.3.3 Close-up Photographs
2.1 Use Once Camera v Professional Camera System
It is said that the photographer has shadow responsibility. What do we mean by this and how can it be controlled?
In large areas there is nothing you can do about ambient shadows. In smaller areas, though, you can block the sun so everything is shadowed to remove a partially sunny region that would result in a less than ideal exposure. If using flash, we can also hold it to minimize any distracting shadows that it would create.
Briefly explain the photographer’s “Full Field-of-View Responsibility.”
The photographer is “responsible” for what appears in the photo: 1) prime subject, 2) background, 3) foreground, 4) area at right edge, 5) area at left edge, and sometimes 6) shadows.
________________________________________________________________________
2.2 Composition & Cardinal Rules
2.2.1 Fill-the-Frame
2.2.1.1 Get Closer to the Primary Subject
2.2.1.2 Eliminate the Irrelevant
How does rain or snow affect the composition of a photograph? How can we remove it? Is removing it legal?
Since rain and snow can obstruct the view of a crime scene using a long shutter speed will blur the rain/snow so it is hardly visible. This works because when using long shutter speeds the camera only captures items that are present in the scene for a long period of time. This technique is legal.
If an item is longer than it is wide how should the photograph be composed?
The camera should be composed as to fill the frame the best. To do this the camera should be held so the longer axis of the frame is parallel to the longer axis of your subject.
Photographing the closed, numbered, front apartment door at a crime scene requires what kind of camera/flash considerations?
Both camera and flash need to go vertical. If the door is painted with a very glossy paint, direct flash will cause a bad hot-spot. Stand at a slight diagonal to the door, and/or remove the flash from the hot-shoe and hold it as far to the left as possible.
With daylight (non-flash) photography, when composing a close-up photo, if you can’t seem to eliminate your own partial shadow from appearing in the field-of-view, what should you do?
Totally cover the area in the field-of-view with your shadow, and meter on the shadow area.
2.2.2 Maximize Depth of Field
2.2.3 Keep the Film Plane Parallel
2.2.3.1 Overall Photographs
When taking an interior overall of a wall what angle should you compose the photograph? Why? What if there was a window directly across from your location? Why?
You should be parallel to the wall and minimize all foreground, in doing so you can use a wide angle lens to capture the entire wall. You also want to minimize side wall and ceiling from the photograph. If there is a reflective surface across from you take the photograph at a slight angle to remove your reflection from the photo.
2.2.3.2 Midrange Photographs
How do we compose midrange photographs?
Film plane should be parallel to an imaginary line drawn between the item of evidence and a fixed feature in the scene. It should be set high, medium, and low in the frame to determine which eliminates the most distracting features.
2.2.3.3 Close-up Photographs
With daylight (non-flash) photography, when composing a close-up photo, if you can’t seem to eliminate your own partial shadow from appearing in the field-of-view, what should you do?
Totally cover the area in the field-of-view with your shadow, and meter on the shadow area.
List the three Cardinal Rules of crime scene photography and give a brief explanation of each.
Fill the frame- when photographing any subject, it is important so make it as big as possible in the viewfinder before taking the picture.
Maximize DOF- Have as much information in focus as possible. Utilize small apertures whenever possible. Use focusing techniques which provide more of the scene in focus.
Film Plane Parallel- have the back of the camera parallel to your subject matter as much as possible. With midrange photos, have the evidence and a fixed feature of the scene equidistant to you and your camera. Another way of expressing the same concept is to create an imaginary line between the evidence and the fixed feature, and have the film plane parallel to that line.
Name two ways a camera can “see” differently than the eye:
a. all objects on the same plane are in focus; the eye only focuses on one item at a time.
b. long DOF from front to back possible is possible with a camera.
c. motion freezing ability possible with camera exposure variables (fast shutter speeds or short flash durations).
d. creative blur possible with slow shutter speeds.
e. camera filters can darken the sky
f. camera filters can eliminate reflections from glass/water.
g. Changes in perspective w/ different lenses are possible.
