Centro de Documentação da PJ
Monografia
 CD259 |
Forensic photography [Documento electrónico] : a practitioner's guide / Nick Marsh.- 1st ed.- West Sussex : John Wiley & Sons, 2014.- 1 CD-ROM ; 12 cm
Ficheiro de 61 MB em formato PDF (417 p.).
ISBN 9781119975823
FOTOGRAFIA CIENTÍFICA, FOTOGRAFIA POLICIAL, CIÊNCIA FORENSE, LOCAL DO CRIME, RECOLHA DA PROVA, PROCESSAMENTO DE IMAGEM, DACTILOSCOPIA, PEGADA
Foreword. Preface. Acknowledgements. About the Companion Website. 1 Image Processing. 1.1 Introduction. 1.2 The digital image. 1.3 Image acquisition. 1.4 Colour images. 1.5 The imaging chain and workflow. 1.6 White balance. 1.7 Image histogram. 1.7.1 Levels and grey-picker tools. 1.8 Image processing terminology. 1.9 Digital image processing operations. 1.9.1 Image cropping. 1.9.2 Image resampling (resizing). 1.9.3 Image flipping and rotation. 1.9.4 Linear scales. 1.10 Classes of operations. 1.10.1 Point processing. 1.10.2 Addition. 1.10.3 Subtraction. 1.10.4 Multiplication and division. 1.10.5 The bad news: artefacts. 1.10.6 The good news: versatility. 1.11 Noise reduction. 1.12 Sharpening filters. 1.13 History log. 1.14 Layers. 1.14.1 Adjustment layers and layer masks. 1.14.2 Composite images. 1.15 Bit depth and dynamic range. 1.16 File formats. 1.17 Image compression. 1.18 Image processing at image capture. 1.19 Properties of common formats. 1.20 Image archiving and the audit trail. 1.20.1 Best practice and the audit trail. 1.21 Printing images. 1.22 Image storage. 1.23 Summary. 2 Cameras and Lenses. 2.1 Overview. 2.2 Cameras. 2.3 Exposure. 2.4 ISOs. 2.5 The shutter. 2.6 F-stops and apertures. 2.7 So what is the correct exposure?. 2.8 Metering modes. 2.8.1 Measuring the light. 2.8.2 Camera meters. 2.8.3 Incident light meters. 2.9 Getting the right exposure. 2.10 Dynamic range. 2.11 Depth of field and focus. 2.11.1 Lens choice. 2.11.2 Distance to the subject. 2.11.3 The rule of thirds. 2.11.4 Focus. 2.11.5 Manual focus. 2.12 Lenses. 2.12.1 Focal lengths. Reference. 3 The Use of Flash. 3.1 How does it work?. 3.2 Guide numbers. 3.2.1 What is the guide number?. 3.3 Flash modes. 3.3.1 Manual mode. 3.4 The inverse square law (ISL). 3.4.1 The ISL (long version). 3.4.2 The ISL short version. 3.4.3 Automatic. 3.4.4 Through The Lens metered flash (TTL). 3.4.5 Other settings. 3.5 The practical application of flash. 3.5.1 Flash only. 3.5.2 Open flash. 3.5.3 Fill in flash. 3.6 Types of flash. 3.6.1 Hammerhead units. 3.6.2 Ring flash. 3.6.3 Semi ring flashes. 3.6.4 Studio flash. 4 Crime Scene Photography. 4.1 Overview. 4.1.1 What are we being asked to photograph?. 4.1.2 When do I take photographs?. 4.1.3 How will I take the photographs?. 4.2 Personal protective equipment (PPE). 4.2.1 Stepping plates. 4.3 The generics of scene photography. 4.3.1 Sunshine. 4.3.2 Rain. 4.3.3 Wind. 4.3.4 Fog. 4.3.5 Snow. 4.3.6 Cold. 4.4 Photographic equipment. 4.5 Composition. 4.5.1 Interiors. 4.6 Specific types of scenes. 4.6.1 Motor vehicles. 4.6.2 Assault victims. 4.6.3 Prisoners. 4.6.4 Property. 4.6.5 Fire damaged scenes. 4.6.6 RTC (Road Traffic Collisions). 4.6.7 Homicides and postmortems (PM). 4.7 Appendix 1: Trouble-shooting. References. 5 Light as a Forensic Photographer’s Tool. 5.1 Overview of alternative light sources (ALS). 5.2 The Electromagnetic Spectrum (EMS). 5.3 Fluorescence. 5.4 Alternative light sources. 5.4.1 Ultraviolet (UV) light sources. 5.4.2 LASERs (Light Amplification by Stimulated Emission of Radiation). 5.4.3 Crime-lites. 5.4.4 Tuneable light sources. 5.5 Filters. 5.6 Infrared (IR). 5.7 White light. 5.7.1 White light types. 5.8 Conclusion. References. 6 The Photography of Injuries. 6.1 Overview. 6.2 The nature of injuries. 6.2.1 Bruises. 6.2.2 Burns. 6.2.3 Cuts and abrasions. 6.2.4 Bites. 6.3 The photography. 6.4 Before we start. 6.5 Techniques and equipment required. 6.5.1 Camera. 6.5.2 Illumination. 6.5.3 Polarising filters. 6.5.4 Forensic rulers. 6.6 The colour reference. 6.6.1 Cross-polarised photography. 6.7 Reflected Ultraviolet (UV). 6.8 Lenses. 6.9 Lighting. 6.10 Capturing the image. 6.10.1 Induced fluorescence. 6.10.2 Induced fluorescence for cadavers only. 6.10.3 Infrared (IR). 6.10.4 Summary. References. Further useful reading. 7 Finger and Shoe Mark Photography. 7.1 Overview. 7.2 The nature of finger marks. 7.3 Shoe marks. 7.4 Equipment. 7.5 Lighting techniques. 7.5.1 Copy lighting. 7.5.2 Bright field illumination. 7.5.3 Dark field illumination. 7.5.4 Oblique lighting. 7.5.5 Specular or coaxial illumination. 7.5.6 Photography of specular marks. 7.5.7 Transillumination or backlighting. 7.6 Chemically enhanced marks. 7.6.1 Treated marks on porous surfaces. 7.6.2 Non porous surfaces. 7.7 Latent marks. 7.7.1 Fluorescence. 7.7.2 Painting with light. 7.8 Shoe marks. 7.8.1 Latent dust marks. 7.8.2 Contaminated marks. 7.8.3 Physical shoe mark impressions. 7.8.4 Photography of shoe marks. 7.9 Tyre marks. 7.10 Blood enhancement techniques. 7.10.1 Acid yellow 7. 7.10.2 Acid violet 17. 7.10.3 Amido Black (acid black 1). 7.10.4 LCV. 7.10.5 Huffing and dead sets. References. 8 The Proactive Use of Light in Forensic Photography. 8.1 Overview. 8.2 The detection of body fluids using an alternative light source. 8.3 Inks. 8.4 Sign writing. 8.5 The detection of blood. 8.6 Luminol. 8.7 Other uses of Infrared (IR). 8.7.1 Vein patterns. 8.7.2 Clothing. References. 9 Specialist Equipment and Techniques. 9.1 Peripheral cameras. 9.2 Object modeling. 9.3 Multi-spectral imaging camera. 9.4 High speed imaging. 9.5 UVC photography. References. 10 Panoramic (Immersive or 360º) and Elevated imaging. 10.1 Overview. 10.2 Spheron. 10.3 Digital Single Lens Reflex 360º. 10.4 Elevated imaging. Reference. Appendix 1 Tripods and Camera Supports. A.1 Tripods. A.2 Scene tripods. A.2.1 The 058 Triaut Tripod. A.2.2 Manfrotto 055 fitted with the Manfrotto 322RCE head. A.2.3 Benbo. A.2.4 Studio type stands. A.3 Other types of camera platforms. A.3.1 Gorilla pods. A.3.2 Monopods. A.4 Video tripods. A.5 Other types of clamps. Index.