Forensics Guidelines, From the FBI Handbook posted online Options

[usafmedic45]

A crime-scene search is planned, coordinated, and executed by law enforcement officials to locate physical evidence.

Basic Premises
The best search options are usually the most difficult and time-consuming.

Physical evidence cannot be overdocumented.

There are two search approaches.
A cautious search of visible areas, avoiding evidence loss or contamination.

A vigorous search of concealed areas.


Preparation
Discuss the search with involved personnel before arriving at the scene, if possible.

Ensure that personnel are aware of the types of evidence usually encountered and the proper handling of the evidence.

Person In Charge
Ensure scene security.

Prepare administrative log.

Conduct preliminary survey (initial walk-through).

Prepare narrative description.

Resolve problems.

Make final decisions.

Photographer
Photograph and log evidence and scene.

Sketch Preparer
Sketch and log scene.

Evidence Recorder
Evidence custodian and log evidence.

Establish communication among laboratory personnel and scene investigators so that questions arising during the scene search can be resolved.

Accumulate evidence collection and packaging materials and equipment.

Prepare the paperwork to document the search.

Provide protective clothing, communication, lighting, shelter, transportation, equipment, food, water, medical assistance, and security for search personnel.

In prolonged searches, use shifts of two or more teams. Transfer paperwork and responsibility in a preplanned manner from one team to the next.

Approach
Be alert for evidence.

Take extensive notes.

Secure and Protect
Take control of the scene immediately.

Determine the extent to which the scene has been protected. Obtain information from personnel who have knowledge of the original condition.

Designate one person in charge for final decision making and problem resolution.

Continue to take extensive notes.

Keep out unauthorized personnel.

Record who enters and leaves.
Preliminary Survey
The preliminary survey is an organizational stage to plan for the search.
Cautiously walk through the scene.

Maintain administrative and emotional control.
Select a narrative technique (written, audio, or video).
Take preliminary photographs.

Delineate the extent of the search area. Usually expand the initial perimeter.

Organize methods and procedures.

Recognize special problem areas.

Identify and protect transient physical evidence.

Determine personnel and equipment needs. Make specific assignments.

Develop a general theory of the crime.

Take extensive notes to document the scene, physical and environmental conditions, and personnel movements.
Evaluate Physical Evidence Possibilities
This evaluation begins upon arriving at the scene and becomes detailed in the preliminary survey stage.
Ensure that the collection and packaging materials and equipment are sufficient.

Focus first on evidence that could be lost. Leave the least transient evidence last.

Ensure all personnel consider the variety of possible evidence, not only evidence within their specialties.

Search the easily accessible areas and progress to out-of-view locations. Look for hidden items.

Evaluate whether evidence appears to have been moved inadvertently.

Evaluate whether the scene appears contrived.
Narrative
The narrative is a running description of the crime scene.
Use a systematic approach in the narrative.

Nothing is insignificant to record if it catches one's attention.

Under most circumstances, do not collect evidence during the narrative.

Use photographs and sketches to supplement, not substitute for, the narrative.

The narrative should include the following:
Case identifier.

Date, time, and location.

Weather and lighting conditions.

Identity and assignments of personnel.

Condition and position of evidence.
Photography
Photograph the crime scene as soon as possible.

Prepare a photographic log that records all photographs and a description and location of evidence.

Establish a progression of overall, medium, and close-up views of the crime scene.

Photograph from eye level to represent the normal view.

Photograph the most fragile areas of the crime scene first.

Photograph all stages of the crime-scene investigation, including discoveries.

Photograph the condition of evidence before recovery.

Photograph the evidence in detail and include a scale, the photographer's name, and the date.

Take all photographs intended for examination purposes with a scale. When a scale is used, first take a photograph without the scale.

Photograph the interior crime scene in an overlapping series using a normal lens, if possible. Overall photographs may be taken using a wide-angle lens.
Photograph the exterior crime scene, establishing the location of the scene by a series of overall photographs including a landmark.

Photographs should have 360 degrees of coverage. Consider using aerial photography, when possible.

Photograph entrances and exits from the inside and the outside.

Photograph important evidence twice.
A medium-distance photograph that shows the evidence and its position to other evidence.

A close-up photograph that includes a scale and fills the frame.
Prior to entering the scene, acquire, if possible, prior photographs, blueprints, or maps of the scene.
Sketch
The sketch establishes a permanent record of items, conditions, and distance and size relationships.
Sketches supplement photographs.

Sketch-number designations should coordinate with the evidence log number designations.

Sketches are normally not drawn to scale. However, the sketch should have measurements and details for a drawn-to-scale diagram, if necessary.

The sketch should include the following:
Case identifier.

Date, time, and location.

Weather and lighting conditions.

Identity and assignments of personnel.

Dimensions of rooms, furniture, doors, and windows.

Distances between objects, persons, bodies, entrances, and exits.

Measurements showing the location of evidence. Each object should be located by two measurements from nonmovable items (e.g., doors or walls).

Key, legend, compass orientation, scale, scale disclaimer, or a combination of these features.
Crime-Scene Search, Record, and Physical-Evidence Collection
Use a search pattern (grid, strip or lane, or spiral).

Search from the general to the specific for evidence.

Be alert for all evidence.

Search entrances and exits.

Photograph all items before collection and notate the photographic log.

Mark evidence locations on the sketch.

Complete the evidence log with notations for each item of evidence. If possible, have one person serve as evidence custodian.

Two persons should observe evidence in place, during recovery, and being marked for identification. Mark directly on the evidence when necessary, but first attempt to place identifying marks on evidence containers.

Wear latex or cotton gloves to avoid leaving fingerprints.

Do not excessively handle the evidence after recovery.

Seal all evidence packages at the crime scene.

Obtain known standards (e.g., fiber samples from a known carpet).

Make a complete evaluation of the crime scene.

Constantly check paperwork, packaging, and other information for errors.
Final Survey
The final survey is a review of all aspects of the search.
Discuss the search with all personnel.

Ensure all documentation is correct and complete.

Photograph the scene showing the final condition.

Ensure all evidence is secured.

Ensure all equipment is retrieved.

Ensure hiding places or difficult access areas have not been overlooked.
Release
Release the crime scene after the final survey.

Crime-scene release documentation should include the time and date of release, to whom released, and by whom released.

Ensure that the evidence is collected according to legal requirements, documented, and marked for identification.

Consider the need for specialists (e.g., a blood-pattern analyst or a medical examiner) to observe the scene before it is released.

Once the scene has been released, reentry may require a warrant.

The scene should be released only when all personnel are satisfied that the scene was searched correctly and completely.

Only the person in charge should release the scene.


ANTHROPOLOGICAL SPECIMENS

Clean and air-dry bones, if possible. Pack in paper bags and wrap in protective material such as bubble wrap or paper. If tissue is present on the skeletal material, refrigerate until mailing, and then ship in a Styrofoam cooler.
Collect insect samples found on the remains in leakproof containers such as film canisters or plastic pill bottles.
Submit hairs in clean paper or an envelope with sealed corners.

Documenting, Collecting, Packaging, and Preserving DNA Evidence
If DNA evidence is not properly documented, collected, packaged, and preserved, it will not meet the legal and scientific requirements for admissibility in a court of law.
If DNA evidence is not properly documented, its origin can be questioned.

If it is not properly collected, biological activity can be lost.
If it is not properly packaged, contamination can occur.

If it is not properly preserved, decomposition and deterioration can occur.
When DNA evidence is transferred by direct or secondary (indirect) means, it remains on surfaces by absorption or adherence. In general, liquid biological evidence is absorbed into surfaces, and solid biological evidence adheres to surfaces. Collecting, packaging, and preserving DNA evidence depends on the liquid or solid state and the condition of the evidence.

The more that evidence retains its original integrity until it reaches the Laboratory, the greater the possibility of conducting useful examinations. It may be necessary to use a variety of techniques to collect suspected body fluid evidence.

Blood Examinations
Examinations can determine the presence or absence of blood in stains. Examinations can also determine whether blood is human or not. Blood examinations cannot determine the age or the race of a person. Conventional serological techniques are not adequately informative to positively identify a person as the source of a stain.

Blood on Surfaces or in Snow or Water
Absorb suspected liquid blood or blood clots onto a clean cotton cloth or swab. Leave a portion of the cloth or swab unstained as a control. Air-dry the cloth or swab and pack in clean paper or an envelope with sealed corners. Do not use plastic containers.

Collect suspected blood in snow or water immediately to avoid further dilution. Eliminate as much snow as possible. Place in a clean airtight container. Freeze the evidence and submit as soon as possible to the Laboratory.

Bloodstains
Air-dry wet bloodstained garments. Wrap dried bloodstained garments in clean paper. Do not place wet or dried garments in plastic or airtight containers. Place all debris or residue from the garments in clean paper or an envelope with sealed corners.

Air-dry small suspected wet bloodstained objects and submit the objects to the Laboratory. Preserve bloodstain patterns. Avoid creating additional stain patterns during drying and packaging. Pack to prevent stain removal by abrasive action during shipping. Pack in clean paper. Do not use plastic containers.

When possible, cut a large sample of suspected bloodstains from immovable objects with a clean, sharp instrument. Collect an unstained control sample. Pack to prevent stain removal by abrasive action during shipping. Pack in clean paper. Do not use plastic containers.

Absorb suspected dried bloodstains on immovable objects onto a clean cotton cloth or swab moistened with distilled water. Leave a portion of the cloth or swab unstained as a control. Air-dry the cloth or swab and pack in clean paper or an envelope with sealed corners. Do not use plastic containers.

Saliva and Urine
Absorb suspected liquid saliva or urine onto a clean cotton cloth or swab. Leave a portion of the cloth unstained as a control. Air-dry the cloth or swab and pack in clean paper or an envelope with sealed corners. Do not use plastic containers.

Submit suspected small, dry saliva- or urine-stained objects to the Laboratory. Pack to prevent stain removal by abrasive action during shipping. Pack in clean paper or an envelope with sealed corners. Do not use plastic containers.

When possible, cut a large sample of suspected saliva or urine stains from immovable objects with a clean, sharp instrument. Collect an unstained control sample. Pack to prevent stain removal by abrasive action during shipping. Pack in clean paper. Do not use plastic containers.

Hair
Pick up hair carefully with clean forceps to prevent damaging the root tissue.
Air-dry hair mixed with suspected body fluids.
Package each group of hair separately in clean paper or an envelope with sealed corners. Do not use plastic containers.
Refrigerate and submit as soon as possible to the Laboratory.

Tissues, Bones, and Teeth

Call the Laboratory at 703-632-7572 prior to submitting suspected tissues, bones, or teeth to ensure that the evidence will be accepted for examination. The communication accompanying the evidence must reference the telephone conversation accepting the evidence.
Pick up suspected tissues, bones, and teeth with gloved hands or clean forceps.

Collect 1-2 cubic inches of red skeletal muscle.
Collect 3-5 inches of long bone such as the fibula or femur.
Collect teeth in the following order:
nonrestored molar.

nonrestored premolar.

nonrestored canine.

nonrestored front tooth.

restored molar.

restored premolar.

restored canine.

restored front tooth.
Place tissue samples in a clean, airtight plastic container without formalin or formaldehyde. Place teeth and bone samples in clean paper or an envelope with sealed corners.
Freeze the evidence, place in Styrofoam containers, and ship overnight on dry ice.

Developing Latent Prints at Crime Scenes
The Laboratory is the best place to develop latent prints; however, it is sometimes necessary to develop latent prints at crime scenes. Caution should be taken to prevent destroying latent prints. The following are measures to ensure that crime scene latent prints are protected:
Photograph latent prints prior to any processing.

Examine all evidence visually and with a laser or an alternate light source before using any other latent print development process.

When using latent print development processes, refer to the manufacturer's instructions and the Material Safety Data Sheets. Use personal protective equipment (e.g., safety glasses, masks, gloves, smocks).

The Processing Guide for Developing Latent Prints is a comprehensive list of latent print processes and protocols. Refer to this document so that proper processes are applied in the recommended order. Following this guide will maximize the potential to develop latent prints and will preserve evidence if other forensic examinations are required. The guide is available at www.fbi.gov/hq/lab/fsc/backissu/jan2001/lpu.pdf. Law enforcement personnel may request a field manual format of the Processing Guide for Developing Latent Prints by telefaxing a request on agency letterhead to 703-632-8374.
Photographing Latent Prints
Use a tripod and cable release when photographing latent prints.

Use a 35mm or medium-format camera with a macro lens capable of half-size to full-size reproduction.

Photograph latent prints at each step in the processing sequence before moving to the next process.

Photograph latent prints developed with fingerprint powders before lifting them.

Use T-Max 400 film. Set the f-stop to f/11. Adjust the shutter speed setting to correspond with the f/stop setting by using the camera's metering system.

Take three exposures of each latent print by bracketing.
Original exposure.

One stop underexposed image.

One stop overexposed image.
Photograph latent prints individually. This ensures that the target latent print is in focus.

For reference purposes, photograph latent prints close to each other in one frame, if possible.

Fill the frame completely.

Photograph latent prints with an identification label that includes a scale, reference number, date, collector's initials, and location of the latent prints. The identification label should be placed on the same plane as the latent prints.

Maintain a photographic log that records each shot, reference number, date, collector's initials, location of prints, and other pertinent information.
Lifting Latent Prints
Photograph latent prints developed with fingerprint powders before lifting them.

Apply black, gray, or white powder to the surface with a long hair brush. The color of the powder should contrast with the color of the surface (e.g., black for light surfaces or gray or white for dark surfaces).

Use a short hair brush to remove excess powder. Use caution when powdering. Avoid overbrushing a latent print and losing clarity.

Use transparent tape or black-and-white rubber lifts to lift latent prints.

When transparent tape is used, the color of the backing card should contrast with the color of the powders (e.g., white backing card for black powder).
Questions concerning latent print evidence should be directed to 703-632-8443. Follow the Evidence Submission directions including Requesting Evidence Examinations and Packaging and Shipping Evidence.
Stabilize the evidence to avoid movement or friction during shipping.

Place nonporous evidence (e.g., nonabsorbent, hard surfaces) in separate protective coverings such as thick transparent envelopes or suspend in a container so that there is minimal surface contact. Friction will destroy latent prints on this type of surface.

Place porous evidence (e.g., paper, cardboard) in separate protective coverings. Friction will not generally destroy latent prints on this type of surface.

Submit known fingerprints and palm prints of everyone who may have handled the evidence including suspects, victims, those who had legitimate access, and investigative personnel. All fingerprint cards must include pertinent biographical and/or demographical information.

Palm prints should be taken on only one side of a separate card, not on the reverse side of a fingerprint card or on the reverse side of a card that has a recorded impression on the other side.

Fingerprint cards and/or major case prints should include, at a minimum, the name of the person printed, the name of the person recording the prints, date, case identification number, and a brief statement of facts relating to the case. The fingerprint card should bear an arrest offense.

The notation "elimination prints" should be included if the person printed is not a suspect.

When known prints are submitted separately from evidence, reference previous communications and case-identifying numbers and other pertinent information.


Photographing Shoeprint and Tire Tread Impressions
General crime scene photographs must be taken to relate the impressions to the crime scene. Examination-quality photographs must then be taken to obtain maximum detail for forensic examination and include a scale. All impressions must be photographed using both methods. General Crime Scene Photographs
General crime scene photographs of shoeprint or tire tread impressions must include close-range and long-range photographs. ISO 400 color film should be used. The photographs must show the relationship of the impressions to the surrounding area. General crime scene photographs are not suitable for footwear or tire examinations.
Examination-Quality Photographs
Examination-quality photographs must be taken directly over the impressions using a tripod and lighting. A scale must be in every photograph. The purpose of these photographs is to produce a detailed negative that can be enlarged to natural size. Examination-quality photographs must be taken as follows:
Place a linear scale such as a ruler next to and on the same plane as the impression. Place a label in the picture to correlate the impression with crime scene notes and general photographs.

Images should be taken using a 35mm or medium-format film camera. Low-cost digital cameras do not provide sufficient image detail for examination-quality photographs. Use a manual focus camera. If the shoeprint is made from a colored substance (e.g., blood), color film may be preferable to black-and-white. In most ambient light situations, use 100 ISO film. Use 200 or 400 ISO film, if necessary.

Place the camera on a tripod and position it directly over the impression. Adjust the height of the camera and if possible use a normal lens (50mm for a 35mm camera). Fill the frame with the impression and scale. Position the camera so the film plane is parallel to the impression.

Set the f-stop on f/16 or f/22 for a greater depth of field.

Attach an electronic flash with a long extension cord to the camera.

Block out bright ambient light with a sunscreen to maximize the light from the flash.

Focus on the bottom of the impression, not on the scale. Take an existing or reflected light photograph.

Position the flash at a very low angle (10-15 degrees) to the impression. This will enhance the detail of the impression. For consistent exposure, hold the flash at least 5-7 feet from the impression. Shoot several exposures, bracketing toward overexposure to obtain maximum image detail. Move the flash two or more angles to the impression.

Take the exposures, move the light to another position, adjust the sunscreen, and repeat Steps 7 and 8.

Photographing Impressions in Snow
Impressions in snow are difficult to photograph because of lack of contrast. First attempt to photograph the impressions as if in soil. To increase the contrast, snow impressions can be lightly sprayed with Snow Print Wax, a material used for casting snow impressions, or with colored spray paint. The spray can must be held at least 2-3 feet from the impression so the force of the aerosol does not damage the impression. A light application of spray must be directed at an angle of about 30-45 degrees so the colored paint only strikes the high points of the impression. Highlighted impressions will absorb heat from the sun and must be shielded until photographed and cast to prevent melting.

Recovering the Original Evidence
Submit the evidence bearing the original impression to the Laboratory, whenever possible. If the evidence cannot be submitted to the Laboratory, use the following techniques to recover the evidence.

Casting Three-Dimensional Impressions
Casting a three-dimensional impression in soil, sand, or snow is necessary to capture detail for examination. Dental stone, with a compressive strength of 8,000 psi or greater, must be used for casting all impressions. The compressive strength is listed on the container along with the proper ratio of powder to water used for mixing. Dental stone is available through local dental supply houses. Colored dental stone is preferred.

Plaster of Paris, modeling plasters, and dental plasters are not sufficiently hard, do not resist abrasion when cleaned, and must not be used.

Mixing Dental Stone in a Bag
Store dental stone in resealable plastic bags. An 8-by-12-inch resealable plastic bag can store two pounds of dental stone powder. With premeasured bags, casting impressions at the crime scene involves only adding water. The bag containing the dental stone powder can be used to mix and pour the dental stone.

To make a cast, add the appropriate amount of water to the bag and close the top. Mix the casting material by vigorously massaging it for 3-5 minutes through the bag. Ensure that the material in the corners of the bag is also mixed. After mixing, the material should have the consistency of pancake batter or heavy cream.

Mixing Dental Stone in a Bucket or Bowl
If the impressions are numerous or large, it may be necessary to mix larger quantities of dental stone in a bucket or bowl. The dental stone should be slowly added to the water and continuously stirred for 3-5 minutes. After mixing, the material should have the consistency of pancake batter or heavy cream.

Pouring Dental Stone
Casting material has sufficient weight and volume to erode and destroy detail if it is poured directly on top of the impression. The casting material should be poured on the ground next to the impression, allowing it to flow into the impression. The impression should be filled with casting material until it has overflowed.

If the mixture is too viscous to flow into the impression, vibrate a finger or a small stick on the surface to cause the dental stone to flow into the impression. Do not put the stick or finger more than 1/4 inch below the surface of the casting material because it can damage the impression.

Before the cast completely hardens, write the date, collector's initials, and other identifying information onto it. The cast should be left undisturbed for at least 20-30 minutes in warm weather. In cold weather, the cast should be left undisturbed longer. Casts have been destroyed or damaged when lifted too soon. If the cast is in sand or loose soil, it should lift easily. Casts in mud or clay may require careful treatment and excavation when being removed.

Allow the cast to air-dry for at least 48 hours. Package the cast in paper, not in plastic. A Laboratory examiner must clean the cast.

Lifting Two-Dimensional Impressions
Lifting an impression allows for the transfer of a two-dimensional residue or dust impression to a lifting film. It also allows the impression to be shipped to the Laboratory for photography and examination.

Lifting Materials
Electrostatic: Can be used on porous and nonporous dry surfaces. Nondestructive. Useful for searching for latent impressions.

White Adhesive: Can be used on nonporous wet and dry surfaces. Also used with chemical-enhancement methods and dark fingerprint powder.

Transparent Adhesive: Can be used on nonporous wet and dry surfaces that have been treated with black or fluorescent powder. Do not use on an original impression.

White Gelatin: Can be used on all porous and nonporous wet and dry surfaces as long as it contrasts with an impression. Also used with some chemical methods and with fluorescent powder.

Black Gelatin: Can be used on all porous and nonporous wet and dry surfaces. Offers good contact with most residue.

Air-dry and package evidence separately in bubble wrap; clean, smooth quality paper or laminated folders; or paper bags.

[usafmedic45]

We keep debating over how to collect evidence.....I figured we should know how the big dogs run their scenes and follow their lead. That way no one can question why we do something a certain way.

[usafmedic45]

Here are some notes on photo and video documentation that I found:

GETTING THE EVIDENCE INTO COURT
Any picture an officer takes may wind up in Court. You will be safe if you keep this in mind for every photo you shoot. Experience has shown that attention to a few simple rules can make pictures acceptable to most judges.
Rule 1 - Do Not Disturb the Scene
This is the cardinal rule of crime scene photography. Both later investigators and jurors need to see the scene as it was when the police arrived.
Some Courts have held that a scene is disturbed by the addition of even such simple things as measuring scales and labels. Leave them out of your first series of pictures.
As far as possible, plan your pictures before you shoot. Make sure to cover the whole scene before it is touched or altered in any way. After the scene has been photographed in its original state, you may shoot a second series of pictures with minor changes. You can add measuring scales, remove obstacles blocking the view or do anything else which will make the scene clearer. If you are working with a partner, take pictures of him moving objects or adding them to the scene. This will show the jury exactly what was done and why.
Rule 2 - Get a Complete Series of Pictures
You must move around the scene to see everything. So must the camera. Generally speaking, each important object in the scene should appear in at least three pictures: an overview; a mid range shot; a close-up.
The overview should cover the entire scene to bring out the relationships between the objects. The mid range shot shows and important object and its immediate surroundings. Finally, each close-up shows a key detail clearly.
All of these pictures are important. A close-up alone does not indicate where the object was located. an overview alone does not bring out all items sharply enough to permit a detailed examination.
Rule 3 - Pay Attention to Camera Angles
Relationships of size and distance may be distorted by the wrong viewpoint. Examine the scene in the view finder. This shows the scene as your camera will see it.
Ask yourself questions such as:
Does this picture reveal the true position of the witness to the crime?
Do the skid marks seem longer or shorter in the viewfinder than they are in real life?
How large is the lead pipe used as a weapon?
Shoot most pictures with the camera at eye level. This is the height from which people normally see things and that makes it easier to judge perspective.
One practical way to assure complete coverage and to provide correct perspective is to follow the FOUR CORNER APPROACH. (Fig.1)
Rule 4 - Record all Data
You will often want to stress key details in a picture. If you do that by marking on the print itself, a defense lawyer may accuse you of altering it. For this reason, it is wise to do your marking on a transparent overlay which can be removed to show the untouched print.
Another way to avoid possible objections is to label the negatives from which your prints were made and take them with you to Court.
Finally, you may want to support your prints with a "sketch map" of the crime scene and indicate the camera position for each shot. This is not a must; however, in your first few cases this procedure may be useful. In our Canadian Judicial System another member who was present and accompanying the photographer at the time the photographs were taken may enter the photographs as exhibits. Surely, you can attest to the question imposed by the Courts, "Do these photographs truly depict the scene as you saw it that day?" An answer, "Yes" is all that is required to enter the photographs as evidence.
If you follow these guidelines, you should have no trouble in getting your photographs accepted as legal evidence. But in order to be useful, pictures must also be: Sharp, Focused and Properly Exposed.

SHARPNESS
Taking sharp pictures is easy; but it is also important. A photograph that is not sharp can be less useful than a NEAR SIGHTED WITNESS! The following are some causes of photographs that are not sharp and suggestions as to how to remedy the matter.
Movement:
Research has shown that camera movement is the chief cause of pictures that are not sharp. If you keep your camera steady, you will probably keep your pictures sharp.
A heavy tripod is your best aid in keeping your camera steady. Use one whenever you can. However, if you do not have a tripod, there are other things you can do. For example, you can use any solid object such as a table top, a tree trunk or the roof of a car(not running) to brace the camera.
Always squeeze the shutter release as you do the trigger on your gun. If you jerk it, the camera may wobble even on the sturdiest tripod.
Be on the lookout for other methods that will help you keep your camera steady. Everything you learn and apply will make your pictures that much sharper.
Dirt:
Pictures that are not sharp are often due to foreign materials on the lens. This may be dirt. It may also be condensation which formed when you moved your camera from a cool area to a warm one. Either problem can be cured quickly by cleaning the lens with tissues made especially for the purpose. Always use LENS CLEANING SOLVENT to soften the tissue and the dirt, otherwise, you may scratch the lens.

LIGHTING
Lighting is critical in photography. The direction from which the light comes determines where shadows fall. Sometimes these shadows completely obscure details in the picture. On the other hand, shadows may reveal details which would otherwise be invisible. Here are basic rules that will help you to understand lighting and judge how each scene should be lit:


Direction:
The most important consideration is the angle from which the light comes. Light may be directed from the front, the side or the back. Other lighting arrangements are variations and combinations of these.


Back lighting:
This has little value in crime scene photography. A light directly behind the subject creates a silhouette. The subject may be entirely concealed by its own shadow. Furthermore, any light shining directly into the lens can cause "FLARE". This may make the whole picture foggy, streaked or spotty in appearance.
Avoid back lit situations when you can. If you are forced to shoot toward a light, try to keep it from shining into the lens. Place the lens in the shadow of the subject or shade it with a notebook or any other hand held object. Shade the lens as well as possible without actually blocking the camera's view.
Side Lighting:
This may be very good or very bad, depending on the situation. Side lighting puts shadows on the unlit side of the subject. These shadows are often essential to bring out the fine texture that is found in a cloth sample, a footprint or a tool mark. Try to use side lighting in all such situations.
On the other hand, when you shoot into a subject, the shadows obscure important interior details. When subjects such as automobiles, handbags and closets are side lit, even large objects inside them may not appear on the negative. You usually want to avoid side lighting in these situations.
When you need side lighting, you can obtain it by detaching the flash from your camera and moving it one side of the subject. If your flash is not removable, you can often dispense with it entirely and place another light source such as a table lamp or an automobile headlight where it will shine light from one side.


Front Lighting:
This is essentially shadowless. It, therefore, gives the best representation of most crime scenes. When you do not have a specific need for shadows in a scene, you will normally be wise to light it from the front. In daylight, be sure that the sun is behind you or at least over your shoulder-- Right or Left, it does not matter.
Watch for one special problem that arises when using flash. A highly polished surface in a scene can cause strong reflections which you may not see until after the film is processed. The bright reflection of the flash shining directly back into the lens causes some of the same problems that back lighting does. You can tip the head of the flash unit up sometimes to an angle of 45 degrees. and bounce the light off the ceiling. This technique may require you to use a different "f" stop on the camera lens or different Auto Flash setting. More on this matter on the next page(cf. "Using a Flash").
Reflection problems can usually be avoided by shooting at an angle of 45 degrees. to the reflective surface. If, on the other hand, you must shoot directly toward a highly polished surface, try an extra picture without the flash(this may require the use of a tripod since you will be using lower shutter speeds).

EXPOSURE (with available light)
In addition to the direction of the light, you must also consider the amount of light. This is governed by the "exposure".
Modern cameras with automatic metering systems can greatly simplify exposure problems, especially when you have to shoot quickly. Nevertheless, no camera can "think" for you. The photographer is ultimately responsible for the exposure.
Your Pentax K1000 camera has a built-in exposure meter. In most cases, "centering the exposure needle" is all that is required. Do not take photographs looking into the sun. The exposure meter will be fooled by all the light.

STEPS TO FOLLOW TO OBTAIN PROPER EXPOSURE
(using Available Light Photography, i.e. No Flash)
1) When inserting a roll of film in the camera, you must always set your ASA dial according to the film speed as stated on the film cartridge. This adjusts your built-in light meter to the film's light sensitivity.
2) For crime or accident scenes, the shutter speed on the camera should be set at 1/125 sec. This is usually a good starting point for the shutter speed. Your shutter speed could change from a slower speed to a faster one depending on the light intensity at the time the photograph is taken.
3) Adjust your light meter needle as seen in the viewfinder by turning the aperture ring located on the barrel of the lens until the needle is properly lined up. When the needle is properly lined up, this tells the photographer that the light entering the camera will produce a properly exposed photograph.
4) Your final step in available light photography is to COMPOSE your shots and FOCUS.
NB: Use a shutter speed faster than 1/30 of a second for all hand held photographs. The camera must be supported(tripod, etc) for shutter speeds of 1/30 of a second or slower.

EXPOSURE USING A FLASH (artificial light)
Your flash will be so important to you that it deserves special consideration. The flash is your light. It is with you at all times. You can, therefore, learn to control it more predictably than you can the available light that you happen to find on the spot. With experience, you may be able to learn to use the flash to duplicate almost any type of natural lighting.
Even without experience, the flash can help improve crime scene photography a great deal. You normally need front lighting and the flash mounted on the camera will provide that automatically.
Steps to Follow to Obtain Properly Exposed Photographs in Artificial Light (i.e. FLASH) Photography
NB: When using a flash as the light source, adjustment must be done to both the camera and the flash unit in order to obtain a properly exposed photograph.
1) Your flash unit, now being your main light source, must be adjusted to the proper ASA setting according to the speed of the film being used-for the same reasons you adjusted the camera light meter to the film speed being used.
2) The Vivitar 283 has four AUTOMATIC settings as well as the MANUAL MODE.
3) These AUTOMATIC settings are indicated via COLOUR codes(yellow, red, blue, mauve) on the flash scale dial on the side of the flash unit. These colour codes will indicate the maximum distance capability as well as the required corresponding "f" stop(lens aperture setting).
4) Once you have decided on the most appropriate setting, note the colour. You must now adjust the the Thyristor Sensor on the front of the flash so that the colour code on it corresponds to the one on the flash scale.
5) When choosing a setting you must keep in mind both the distance requirement and the desired DEPTH OF FIELD (DOF). That is to say, colour code yellow used to shoot objects about 40 feet away requires "f" 2.8, but there is little DOF. Colour code mauve which requires an "f" stop setting of "f" 11 will give you the greatest DOF, but the light from the flash will only properly expose objects up to 10 feet. You will have to come to some sort of compromise here.
6) When using the MANUAL MODE, always ensure your Aperture setting corresponds with the distance indicated on your flash scale. Also, check the Thyristor Sensor to ensure that you have set it "M" position.
LAST BUT NOT LEAST, THE SHUTTER SPEED OF THE PENTAX K1000 MUST BE SET AT 60X AT ALL TIMES WHEN USING FLASH!!!!
For those of you who understand how a thyristor controlled flash functions, you need not follow my instructions. However, if you have never used a flash before and you follow the above instructions, I will guarantee that you will get a very acceptable photograph.
Unusual Lighting Depth Problems encountered with Flash:
You will sometimes need to take a picture in which there are important details both near and far from the camera. These situations can be particularly troublesome because the near objects get too much light while the far objects get too little. That creates OVEREXPOSURE and UNDEREXPOSURE in the same picture. One solution to this problem might be to remove the flash from the camera and take an extra picture using only the available light found at the scene and metering it with the camera's light meter. Again, you will probably have to use a tripod because you will be using very slow shutter speeds(less than 1/30 of a second in dim lighting).

EQUIPMENT MAINTENANCE
Even the simplest camera is a precision tool. Like your gun, it will do its job for you only when you take care of it.
Case: The best maintenance for your camera is protection. If you have a camera case, put your camera inside it when not in use. If you have no case, at least keep the lens covered. Also, avoid the common mistake of leaving the camera open when the film is removed--this will let in dust.
Lens: Take great care of the lens. As even cleaning causes some damage, clean your lens only when there is a genuine need. On the other hand, when the lens does need cleaning, never put it off. Fingerprints, exhaust fumes and ocean salt will permanently damage the coating on many lenses if they are left uncleaned.
Mirror: NEVER! EVER! touch the mirror you see inside the camera body when the lens is removed--it is extremely delicate. Although the mirror may be filthy, the mirror flips out of the way when you take a photo and none of the dust on it will show up in your photos.
Contacts: Corrosive environments can also damage the electrical contacts in the camera and in the flash. This may be puzzling if you do not realize that it can happen. The solution is easy - just polish the electrical contacts with an ordinary pencil eraser.
Film and
Batteries: Keep fresh film and fresh batteries on hand. You can no more afford to have expired film and batteries in your camera than you can to have outdated bullets in your gun.
Kit: Finally, keep your photographic equipment TOGETHER as a kit and READY to use. If you have any sort of a carrying case, it will not only protect the equipment, but will help you to avoid misplacing anything. You may have heard stories about professional photographers who have reported for an assignment with a load of elaborate equipment and NO FILM! Some of these stories are true. You can escape this sort of embarrassment by keeping your kit together.

IDEAS TO CONSIDER
If you practice the basics contained in these notes, you will be able to get usable evidence on film in most crime scenes. After you master these basics, however, you may want to seek out ways of using your ability to obtain even better results.
Pictures need not be pretty or artistic to supply convincing evidence. Nevertheless, a higher degree of technical competence will occasionally secure convincing pictures in situations where you might otherwise get nothing.
Flash - Try experimenting with different ways of placing your flash. Sometimes, lifting the flash high overhead and pointing at a spot just behind the most distant subject will enable you to light a large area evenly. Also, try pointing the flash at the ceiling. By doing this, the whole room is used as a flash reflector--but you needs lots of flash power and a light coloured, low ceiling to do this.
By experimenting with your procedures, you can discover numerous techniques. As you get into more varied situations, you will find problems in police photography which civilian photographers seldom encounter. You will have to invent ways of dealing with them. Just remember that any experimental technique must be backed up with the conventional approach until it has proven itself in practice.

POINTS TO REMEMBER
1) Always take preliminary photographs before the scene is altered in any way.
2) Take a complete set of pictures (Overall Mid Range & Close - up). Shoot from different angles and distances. Film is cheaper than lost cases.
3) Use fresh film and keep it away from heat.
4) Keep your pictures sharp. Use a tripod if possible. Focus carefully. Be sure your lens is clean.
5) Avoid back lighting. It creates silhouettes and may cause flare. If you must shoot toward a light, shade the lens as best you can.
6) Use side lighting to bring out texture, accident damage, tool marks and any other irregularities on a surface. Avoid it when shooting recesses, containers and closets.
7) Front lighting is normally the best in police work. Use it unless three dimensional details need to be recorded(then use side lighting).
8) The flash provides portable and easily controlled light. In sunlit scenes, it fills in the shadows and brings out details that they might otherwise hide.
9) Aiming your flash at a highly polished surface may cause "glare". Point the camera/flash at the surface from a 45 degree. angle.

10) Cover the flash with a clean white handkerchief for close subjects to prevent the flash from "burning" the subject in with overexposure or harsh light.
11) When some important objects are near you and others are far away, use your flash but expect those objects closer to you to be overexposed and those further away to be underexposed. Try taking an extra shot without a flash if there is some "available" light but you will most likely have to use a tripod or rest the camera on some solid stationary object to prevent a blurred or unclear image.
12) Keep all your equipment in good condition and readily available. It will then give maximum usefulness and minimum trouble.

BEFORE SHOOTING: A CHECKLIST
Every photographer, even a skilled professional, occasionally makes careless mistakes, like shooting with an empty camera or forgetting to remove the lens cap. To avoid such fundamental errors, experienced photographers have developed mental checklists to run through before putting the camera to use. Here is one such list, suggested by veterans of the photographic staff of LIFE magazine:
1) Is the camera already loaded?
Many a photographer has lost precious exposures because he opened the back of his camera to put in new film without checking to see that the camera was empty. Check the film window in the back of the camera or the automatic frame counter. If there is any doubt, test the film advance; if there is film in the camera you should be able to feel a slight resistance to turning. On cameras with rewind knobs, the knob should revolve if there is film in the camera.
2) How many exposures are left?
If there are only a few frames remaining and you expect to be shooting rapidly, wind the film through and put in a new roll.
3) Is the camera free of dust and film chips?
Before loading up with fresh film, look for loose fragments of film which sometimes are broken off by the windup spool and jam the camera mechanism. Both chips and dirt can leave long scratches on new film as it moves through. Dust on the film or the back of the lens can spot or blur pictures. To clean out the inside of your camera, use a soft brush or special blower brush; you can do a good job simply by blowing into the camera and then gently wiping out any remaining dirt with a clean, wadded handkerchief which has been laundered enough times to be free of lint.
Never try to brush off any dirt or dust on the mirror inside the camera body. It is very delicate and merely touching it can damage it. It swings out of the way when the photo is being taken so any dirt on it will not show up in your photo anyway. You can blow on it to try to remove dust.
4) Are you loading the film in subdued light?
Instant loading film cartridge and 35mm film cassettes are light tight, BUT with regular roll film such as you use with the Pentax K1000, load it in subdued light since light can actually travel down the sides of the film and back into the unexposed film in the cartridge thereby ruining it.
5) Is the film moving properly to the take-up spool?
When you load a fresh roll of film, make certain that the film's tapered beginning(leader) is firmly inserted in the take-up spool. Then advance the film at least one full frame while the camera back is open. If you use 35mm film, make sure that the sprockets remain engaged in the holes along with the edges before closing the camera back.
6) Is the camera back tightly latched?
After closing and latching the camera back, try to open it without releasing the locking mechanism.
7) Is the take-up spool turning?
To be certain that the film is advancing properly, work the film-advance mechanism at least once, feeling for resistance. If the camera has a rewind knob, it should revolve. If it does not, open the camera and repeat step five.
8) Is the lens securely in place?
If you are using a camera with interchangeable lenses(such as the Pentax K1000, the standard RCMP camera across the nation), try to wiggle the lens barrel; if it moves at all, take the lens off and remount it properly.
9) Is the lens clean?
Do not try to clean the lens with an ordinary cloth which may scratch the glass. Do not use silicone treated eyeglass tissues which may damage the special coatings on the lens. Liquid eyeglass cleaners can get down into the barrel of the lens and dissolve the cements used in there. The BEST WAY to clean a lens is to blow away dust and then "fog" the glass with your breath or a special photographic lens cleaner. Then wipe the lens very gently with special photographic lens tissue(they are provided in your camera case at Depot).
10) Is your light meter set correctly for the speed of the film you are using?
11) Is your light meter battery fully charged? Keep spares.
12) Have you removed your lens cap or lens filters?
With single lens reflex cameras such as this Pentax K1000, the lens cap poses no problem since you are actually viewing the scene through the lens. If the cap were on, you would see nothing. But with other cameras, you should always check to see if the lens cap is on. Other colleagues in your office may have been using the camera for special assignments and might have used special light filters which they left on the lens and which may ruin your photos. It's always a good idea to have a quick look at the lens before you start shooting.
GOOD LUCK!


Crime Scene Response Guidelines
Documentation Procedures
Many law enforcement agencies use a variety of preprinted documents or forms, designed to record certain aspects of crime scene investigation. These documents normally have resulted from a trial-and-error approach based on actual case experiences. Despite variations in the design of these documents, the purpose and goals behind their use are usually identical from one agency to another.

There is an important point to consider when forms, are being drafted for routine use. Often, there is a tendency to regard forms as means to cover every possibility that personnel may confront, such documents normally serve only as reminders of the minimum pertinent information needed to perform a task. Each scene will require some ?l of deviation from the norm, based on the complexities at hand. Forms are not substitutes for thinking; they are merely tools to assist personnel to fully exercise training and experience to meet the needs of a given situation.

There are normally six important categories of documentation that are considered applicable to any search:


Administrative Worksheet
Documentation of major events, times and movements relating to the search efforts; documentation of initial and continuing management and administrative steps which are taken to insure that an organized search is accomplished.


Narrative Description
Documentation of the general appearance of the scene as first observed; extreme detail regarding evidence or actual collection of evidence, is normally beyond the scope of the Narrative Description


Photographic Log
Documentation of the process of scene photography which records the overall, medium, and close-up views of the scene; a log is produced representing the technical and descriptive information concerning the photographic task.


Diagram/Sketch
Documentation of physical evidence locations, as well as measurements showing pertinent size and distance relationships in the crime scene area.


Evidence Recovery Log
Documentation of the recognition, collection, marking, and packaging of physical evidence for administrative and chain of custody purposes.


Latent Print Lift Log
Documentation of the recognition, collection, marking, and packaging of lifts made of latent prints discovered at the scene.


Hair
An examination of human hair can occasionally reveal the possible race of the individual from whom it came and the part of the body from which it originated.

Human hair can be compared to determine whether or not two samples could have had a common origin. The value of the Laboratory examinations of such specimens will depend upon the amount of hair recovered and the characteristics found in the examinations.

Recover all hair present. If possible, use the fingers or tweezers to pick up hair, place in paper bindles or coin envelopes which should then be folded and sealed in larger envelopes. Label the outer sealed envelope.

If hair is attached, such as in dry blood, or caught in metal or a crack of glass, do not attempt to remove it but rather leave hair intact on the object. If the object is small, mark it, wrap it, and seal it in an envelope. If the object is large, wrap the area containing the hair in paper to prevent loss of hairs during shipment.

Latent Fingerprints
Marking of Latent Fingerprint Evidence
All such evidence should be marked in some distinctive manner, such as is the case with any other type of physical evidence. Precautions should be taken, when marking evidence, not to damage or destroy potential latent fingerprints.

Lifted, developed latents should also be marked or sealed in marked envelopes.

Photograph-developed latents with and without identifying markings and scale.
Preservation of Fingerprint Evidence
The primary precaution in all cases is the prevention of adding fingerprints to evidence, or of destroying those already present.

Most fingerprints submitted will be on paper, glass, metal, or other smooth surfaced objects. When articles containing latents must be picked up, touch as little as possible, and then only in areas least likely to contain identifiable latents, such as rough surfaces.

While gloves or handkerchiefs may be used to pick up such exhibits, any unnecessary contact should be avoided. Although using a cloth to pick up exhibits prevents leaving additional prints on the articles, the cloth will frequently wipe off or smear any prints originally present, unless great care is taken.

Large articles containing latents such as glass, metal articles, and firearms should be placed on wood or heavy cardboard and fastened down with string to prevent shifting and contact with other objects in transit. Where such evidence is to be examined frequently, a pegboard should be obtained on which wooden pegs can be moved as desired to support exhibits and keep them from moving. Bottles and glasses may be placed vertically on a board and placed in the bottom of a box. The base of the bottle or glass can be surrounded with nails to hold it in place, and the top can be either inserted through a hole in a piece of cardboard or held in position with a wooden board nailed to the container's lid.

Papers and documents containing latent prints should be placed individually in a cellophane or manila envelope. Such a container can be sandwiched between two sheets of stiff cardboard, wrapped, and placed in a box for mailing.



There are three basic categories or types of impressions that may be deposited, detected, developed if need be and recovered at a crime scene.

1. Latent
The skin has deposits of oil and perspiration that normally coat the surface. When the hand touches the surface, some of the moisture is transferred from the hand to the object, leaving an impression of the friction ridge detail. These are referred to as latent impressions. On most surfaces the latent impressions are not readily visible. The word latent is defined as not visible. That does not mean that it is actually invisible. Using available or oblique lighting on most surfaces will reveal the impression. The impression must be enhanced or developed to be seen fully and collected.
2. Patent
A patent impression occurs as the result of transferring a foreign material coating the skin of the fingers. Examples of the foreign material would be substances like paint, tar, grease, blood, or ink. The best example of a patent impression would be the ink standards or elimination's that we as investigators collect from individuals. After the ink is applied it becomes the foreign material coating the hands of the individual. A card is used as a transfer medium, thus becoming the object touched and a transferring of the patent impression takes place. The word patent means obvious or evident. Patent impressions are visible and usually need no enhancement. They are simply photographed and the item that they are deposited on is collected if necessary. The photograph and or object actually becomes the investigators lift.
3. Plastic or Molded
A plastic or molded impression is deposited when the hands, fingers, or feet is pressed into a soft rubbery type material that will retain the impression of the ridge detail. Where a latent impression is deposited on the surface, a plastic or molded impression would be deposited into the surface. Examples of the materials where a plastic impression would be deposited are clay, wet paint , blood, or tar. Plastic or molded impressions are visible and usually need no enhancement. They are simply photographed and if necessary the item is collected and may have the ability to be caste.
As a further example; If we were to ask the question, "Is a bloody print the same as a print in blood" ? The answer to this question would be, "NO". The print in blood would be an example of depositing a plastic or molded impression into the surface of blood. The bloody print would be an example of having a foreign substance, such as the blood, coating the hand and depositing an impression from the blood coating to another surface.

Discovery
The discovery process or visual search for a latent impression starts at a point of entry and works the way into and surrounding the crime scene. The search is to discover items that have been handled, moved or anything that appears out of place. The most suitable surfaces are smooth, hard, non-absorbent and non-porous surfaces. Patience, common sense, and experience are needed to assure that all latent impressions are collected. Continued practice will give the confidence needed to collect all types of impressions from different surfaces.

Recovery
In recovering latent impressions there are numerous products available for the task. The techniques can be broken down into four simple areas. The conventional methods consist of mechanical and chemical development. The more modern techniques applied today in recovering latent impressions are florescent die stains or powders (aided with some type laser or light source), and superglue fuming. It should be noted that latent impressions on some surfaces may be fragile.

Mechanical Development
Mechanical development is the use of a brush and powder to physically dust the surface. This technique allows the particles of the powder to adhere to the contaminates which causes the ridge deposits. The mechanical development is for nonporous items and surfaces.
There are three types of brushes manufactured for the use of mechanical ridge detail development:
Fiberglass
Camel hair
Feather brush
There are an assortment of powders, lifters and tapes that are specially formulated and manufactured for the use of impression recovery.

Chemical
For protection and safety reasons these methods are applied in the laboratory under well ventilated conditions. A variety of chemicals are produced to react to certain components that make up the ridge deposits. More than a general knowledge of the chemicals as well as the contaminates in the deposits are needed to perform these tasks. The chemical processing techniques are for porous, absorbent items such as paper, untreated wood, and matte, semi-porous finished items.
Superglue Fuming
Cyanoacrylate ester is the active ingredient in superglue. It creates a vapor that polymerizes (creates a white residue) on contaminates such as latent impression deposits. Superglue is sold in a liquid or pouch form and comes in a variety of viscosity's. As documented by the US Army Crime Lab, superglue fumes are strongly irritating to the eyes and respiratory system. Personal Safety and caution are the keys to this development technique. The primary purpose of superglue in the field is to fix the impression on items where the latent impression may be fragile, so that it is less destructible during processing or transport. It does not make the impression indestructible. Without the proper caution the impression can still be wiped away or destroyed.

Contributing factors and conditions for deposit & recovery
These conditions contribute not only to the depositing of the ridge detail but also to the development and recovery stages.
Nature and cleanliness of surface
Environment
Weather conditions
Amount of contaminant
Pressure applied
Movement during transfer
Condition of the friction ridge detail

Documentation
After developing the latent impression it is lifted with a clear tape or lifting medium and placed on a backing card with a contrasting background. The area where the lift was taken from is documented on the back of the card along with the case number designating it to a particular investigation, the name and identification number of the investigator lifting the impression, and the date of the lift. The integrity of the lift is maintained by the investigator's/technician's initials, a seal is created by the initials placed half on the tape that contains the lift and half on the card itself. To show no tampering has occurred.
Many Departments have a policy that each latent impression be photographed before being recovered. This is done mainly as an orientation to show the item the latent impression was recovered from, and as a safeguard just incase the latent impression is lost or destroyed during the recovery stages. The investigator/technician should follow his/her departments particular policies in this action.

Safety and Do's and Don'ts
Remove any excess powder from the surface of the developed impression before applying the lifting tape. This can be done by blowing on the surface, using a small can of compressed air or brushing lightly in the opposite direction over the area . This assures a clean lift with no air pockets (fish eye). Air pockets are the tiny bubbles of air that hinder the tape from being smoothly applied over the surface. The air pockets are caused by excess powder and other debris on top of the surface.
Wear a respiratory (dust) mask, gloves and eye protection when working with powders of any kind for a prolonged periods. It is important that the investigator/technician be aware of the tools that they are using in the field as well as in the lab. The Manufacturer Safety Data sheet (MSDS) is available with all products and should be read on any items used by the technician/investigator. This will assure that the investigator is aware of any potential safety hazard that might exist with the products being used. Safety should be the top priority for the investigator.
Never hold the bristle part of the brush. The brush should be free of any oil or contaminates. This assures the technician/investigator does not have a brush with hardened bristles that will rub out or destroy the print.
Never reach up to apply powder to an item above you. Use a ladder or step stool to keep the processing procedure below eye level.



In an Organized step by step approach Scene Documentation is one of the stages in the proper processing of a crime scene. The final results of a properly documented crime scene is the ability of others to take our finished product to use in either reconstructing the scene or the chain of events in an incident and our court room presentation. In documenting the scene there are actually 3 functions or methods used to properly document the crime scene. Those methods consist of written notes which will ultimately be used in constructing a final report, crime scene photographs, and a diagram or sketch. Consistency between each of these functions is paramount.
Each method is important in the process of properly documenting the crime scene. The notes and reports should be done in a chronological order and should include no opinions, no analysis, or no conclusions. Just the facts!!!! The crime scene investigator or evidence recovery technician should document what he/she sees, not what he/she thinks. The final report should tell a descriptive story. A general description of the crime scene should be given just as the investigator sees it when he/she does the initial walk through of the scene.
Each department or agency has a method which they use for written documentation of the crime scene. There investigator/technician should follow his/her departments assigned procedures for written documentation. The importance of sharing information can never be over-looked. This article is intended to share ideas in the area of uniform documentation as an example of the format that is used by my department. We use a narrative section of the report divided it into 5 categories. The categories are summary, scene (including a detailed body description if in a death investigation), processing, evidence collected, and pending.
The summary would basically give the details of how we were initiated into the investigation. For an example: " At the request of Robbery Detective J. Doe, this writer was requested to respond to assist in processing the scene of an armed robbery involving 4 unknown masked subjects. Det. J. Doe's preliminary investigation revealed that the subjects startled the victim as she returned home from shopping". For further details of this investigation refer to Det. J. Doe's report.. Our summary is brief and does not include a lot of he said, she said information.
In the scene section of the narrative we give a detailed description of the scene as it is seen upon our approach. The scene description usually includes anything that is unusual and out of place. Any weather or environment conditions are also included. Again this is a description of what we see not what we think. The Evidence observed, its location, condition, or anything remarkable about the item will be included in our scene description section. This would also correspond to any identification markers used to number or label the items of evidence. These remarks would all be consistent with any numbers, letters, or labels indicated in the photographs, or drawn into a sketch of the scene.
The processing section is for our units to describe what we did, if assistance was needed during the processing stages, who we had assisting, and what functions they did.
The evidence collection section is to organize what evidence we and others assisting were able to recover from the crime scene, where the items were recovered from, and what part of the lab the items were directed to for analysis.
The pending section would be for any known tasks that would need to be completed at a later date in the investigation.
Recently I was asked to give an opinion on the crime scene portion of a cold case investigation which had occurred more than 20 years earlier. I agreed to take a look at everything to give my interpretation of the crime scene from the work product. So the reports and pictures were ordered from the original files.
When the items came in the mail the report consisted of a one page, one paragraph narrative. The scene photographs consisted of several overall prospective of a wooded area. I could be of no assistance to my fellow college. But the experience best illustrates how important it is to properly use the tools at hand. We are brought in to assist in the beginning stages of an investigation when very limited information is known. We should realize that our work product may need to be viewed extensively by someone years from now for interpretation. The written documentation, photographs, and simple sketch need to tell the scene story. Hopefully by sharing this simple organized method it will be of some assistance to you.


All evidence collected at the crime scene should be tagged. If the item cannot be tagged then it should be labeled or marked. Consistency should always be adhered to in the information that is used for marking and labeling the evidence.
description of item
police case number or identifier
date
location of collection
collectors name and identifier
brand name
any serial number or garment information

What about the information marking the outside of the evidence package?
Similar information should be labeled are marked on the outside of the packaging mediums.
type of case
date
location of collection
item description
police case number or identifier
serial number or garment identifier
collector's name and identifier information
where item is being routed to for analysis
You will be amazed at how easy and organized these tips will be for your identification of the evidence when it is presented in a court of law.


Footwear impressions can be located in and outside the crime scene. Remember, the suspect had to arrive and depart the scene. The location that will later be photographed in detail should be photographed showing the general crime scene and surrounding areas. When photographing the scene always remember to take overall, medium and close up shots before you begin your comparison photographs. Always use a relationship technique when relating footwear evidence to the crime scene or to other items of evidence. An easy way to do this is to place a numbered marker next to the evidence print and photograph. Make sure the crime scene photographs have been taken prior to altering the evidence with numbered markers. When making quality examination photographs of the evidence prints, be sure to use the same number you used when you were showing relatonship. After this has been done, quality examination photographs can then begin. In order for a footwear examiner to perform a quality examination, high-quality, close-up photographs are required.
This can be easily obtained with a little time and patience. The camera is mounted on a tripod and rotated in such a manner that the plane of the film is parallel to the plane of the print. This will enable the darkroom technician to print a 1 to 1 scale photograph of the impression for comparison. The print, the scale and an information card should fill the frame of the film. When using a flash, the flash should be held at least at a 45 degree angle from the print and fired from three different postions with at least 100 degrees separation. By using this oblique lighting procedure a different amount of light can be reflected from the shadowed and non-shadowed areas providing greater contrast.
This oblique lighting will cause a greater amount of contrast, and detail can be obtained in the photograph. The best way to do that is to fire the flash off at the three different positions of the tripod making sure not to get the legs of the tripod in the way of the flash. A minimum of four photographs are taken for each footprint, one without a scale and three with the scale. A minimum of three photographs are taken for each footprint when not using a flash, one without a scale and two with the scale. The scale should always be placed parallel to the side of the shoe, never in the print itself.
When at all possible, photographs should be taken of prints made by each foot. While there is a minumum number of photographs suggested, there is NO maximum. It is always better to have too many, than too few. Remember to take overall, medium and close-up photographs prior to altering the impressions with a scale.
When the impressions are photographed correctly, they often proved the footwear examiner witha more detailed impressions that lifting or casting thus resulting in a more definate examination and comparison.
In tracking, which is the process of following the footprints of an individual, photograph the scene as you found it and then lace numbers next to each impression. Photograph the scene showing the impressions' numbers, this way you can come back later and relate where each iimpression was found. Then the quality examination photographs can be taken.
Casting an Impression
In the past years, plaster of paris was used for the casting of footwear and tire read impressions; however, it is now recommended that only dental stone be used for casting impressions. Dental stone, like plaster of paris, is a form of gypsum, but provides a superior result. Dental stone has proven to be much stronger, and therefore, does not require that reinforcement material be placed in the cast during the pouring. Most importantly, dental stone is more durable and harder than plaster of paris and can be cleaned in the laboratory with a potassium sulfate solution, with virtually no loss or erosion of detail from the surface. Dental stone is available from local dental supply stores and the overall cost is less than plaster of paris.
Three dimensional impressions should always be cast if there is clarity and the surface will permit.
Why Cast?
The cast gives lifelike and actuall-size molding of the original impression including uneven surfaces and depths.
The cast gives reproduction of microscopic characteristics.
In deep impressions, the cast gives reproduction of characteristics of the side of outsoles and midsoles of the shoe which usually are not reproduced in photographs.
Focus or scale problems are eliminated.
Provides tangible 3-dimensional evidence.
Backs-up the photographs.
How Many Impressions do I Cast?
The way to answer this question is simple. If at a crime scene ou develop 10 latent impressions, you might surmise that some of these impressions have sufficient detail to effect an identification and others may not. Would you still lift five of those ten and leave the other five at the scene? Remember the real possibility that the most valuable evidence might be left behind. Use the same consideration when casting or photographing footwear impression evidence.
Evidence left at the crime scene can never be recovered and will follow you all the way to court.
Making a Cast:
Materials Needed
2-3 pounds of class- 1 dental stone per cast
One-gallon zip-lock plastic bag per cast
One large mixing bowl or coffee can
One spoon or stirring stick
6-9 oz of water per pound of dental stone
One form (not always necessary, but usefull)
One can of Talcum powder
A form, or other material with which a form can be made around the impression to contain the dental stone, gives the cast thickness and is handy, but is not necessary.
Mixing Procedures
Procedure 1: Place the form around the impression. Be careful not to place the form so close to the impression that it risks distorting it. Place 2-3 pounds of dental stone in the mixing container. Add roughly 6-9 oz. of water per pound of dental stone. Mixing usually takes about 5-7 minutes or until "pancake batter" consistency.
Procedure 2: Take the 2-3 pounds of dental stone that is contained in a one-gallon zip-lock plastic bag and add your water accordingly. Close the zip-lock bag and mix by meshing together.
Pouring: Before pouring the mixture onto the impression, very lightly sprinkle talcum powder over the impression, which gives a fixative. Be sure not to over sprinkle. Pour the mixture onto the spoon or stirring stick while holding the spoon or stick to the side of the impression. By pouring the mixture in this manner ou can direct the flow of the mixture and let it flow back into the impression. If you use the plastic bag technique, cut one of the corners off the bag and pour in the same manner. By using the plastic bag technique there is very little mess and no clean up.
DO NOT POUR THE MIXTURE DIRECTLY INTO THE IMPRESSION!!
Since you are using dental stone you do not need to use reinforcement material. Before the cast can harden, scratch the necessary identifying information on the back side. This information may differ from one police department to another.
name or initials
date
case number
other important information
The cast must set undisturbed for at least 30 minutes, after which the cast can be carefully lifted from the surface. Place a knife one inch form the cast and stick it directly into the ground and under the cast. Pry upwards. The cast should break free from the surface. Some soil or dirt may adhere to the cast, however DO NOT attempt to clean it. Allow the cast to air dry at least 24-48 hours before cleaning. After this time the cast can be cleaned and washed VERY GENTLY. Once this is completed the cast can be packaged for impounding.
DO NOT impound or package the cast in plastic. Use porous packaging material, making sure to carefully package the cast so that it will not break during transport.
Replacement Casting Material: You can replace dental stone with plaster of paris (which can be purchased at almost any hardware store). The plaster of paris requires 15 oz. of water to 5 lbs. of plaster and will require a from and reinforcement material.
The pouring procedure is the only difference from the dental stone.
Pouring: Using a form, pour the mixture onto the stirrer while holding the stirrer to the side of the impression. After pouring about half of the mixture onto the impression, add the reinforcement material (i.e.; sticks, small pieces of metal wires) and then complete the plaster pouring.
Casting in Water
Place a form around the impression, making sure the frame is large enough to come above the waterline. Be careful not to place the form so close to the impression that it risks distorting it. Remove any debris from the surface of the water. Lightly sprinkle the dental stone material over the area of the impression, about one (1) inch, allowing it to settle. Prepare a mixture of dental stone that is slightly thicker. Place the mixture into the frame by scooping. Allow 60 minutes for drying. Remove and air dry 48 hours.
Casting in Snow
Place a form around the impression. Spray "Snow Print Wax" over the impression and allow it to set up for about 10 minutes. If "Snow Print Wax" is not available, talcum powder or gray primer spray can be used, but the pouring must be done very carefully. Prepare a mixture of dental stone using very cold water. Pour the dental stone onto the impression very carefully. Cover the impression with a box and allow the cast to dry for about 60 minutes. Remove and air dry for 48 hours.


Bodziak, William J., Footwear Impression Evidence, Elsevier Series, 1990.
Bodziak, William J., US Department of Justice; FBI, Shoe and Tire Impression Evidence, September 1986.
Cassidy, M.J., Footwear Identification, Canadian Government Printing Centre, 1980.
Grieve, D., Journal of Forensic Identification, International Assosiation for Identification, 1988.
Jaroff, Leon, Reader's Digest, "Mystery of the Iceman," Condensed from Time, April 1993.
Joseh, Alexander and Allison, Harrison C., Handbook of Crime Scene Investigation, Allyn and Bacon, Inc., 1980.
Kirk, Paul, Crime Investigation, Interscience Publishers, Inc., NY 1953.
McDonald, Peter, Tire Imprint Evicence, Elsevier Series, 1989.
Ojena, Stephen M., Law and Order, "New Electrostatic process Recoveres Visible and Invisible Dust Particles at Crime Scenes," July 1988.
Svensson, Arne; Wendel, Otto; and Fisher, Barry A.J., Techniques of Crime Scene Investigation, Elsevier NY, 1984.
A paper written on Put the Suspect at the Scene of the Crime, no dates or other documentation.
US Department of Justice, FBI Law Enforcement Bulletin, "Scientific Aides, Preserving Prints of Shoes and Tires on Hard Surfaces", June 1961.
US Department of Justice, FBI Law Enforcement Bulletin, "Tips on Making Casts of Shoes and Tire Prints", October 1963.


UNDER NO CIRCUMSTANCES SHOULD EVIDENCE CONTAINING MOISTURE BE PACKAGED IN PLASTIC OR PAPER CONTAINERS FOR MORE THAN TWO HOURS.

When to Use Flash Fill
In scenes illuminated by bright sunlight there will usually be dark shadow areas. Detail in the deep shadow areas will be lost when the exposure is based on the overall brightness of the scene. With the use of flash fill, the brightness level in the shadow areas can be raised to the overall brightness of the scene.
Technique
Set the shutter speed to the camera’s flash synchronization speed (usually 1/60 or 1/125 second).

Use the camera’s light meter to determine the correct f/stop for the shutter speed selected. Set that f/stop on your lens.

With the flash on manual, find the flash-to-subject distance for the f/stop that was selected.

Position the flash unit at that distance from the shadow area and take the photograph.

You may wish to use a flash remote cord so you can have more flexibility in choosing the proper angle for the fill flash.

Cameras with dedicated TTL flash systems can provide automatic flash fill. Consult the equipment instruction manual for further instructions.

Crime Scene Photography Kit
Camera

Normal lens (a 50mm lens is considered a normal lens for a 35mm camera)

Wide angle lens (28mm or similar for a 35mm camera)

Close-up lenses or accessories (e.g., macro lens, 1:1 adapter, extension tubes, bellows, reversing ring, or close up filters)

Filters (red, orange, yellow, blue, and green)

Electronic flash

Remote sync cord for electronic flash (to operate flash when not mounted on camera)

Extra camera and flash batteries

Locking cable release

Tripod

Film (color and black and white print film)

Owner’s manuals for camera and flash

Notebook and pen

Rulers

Gray card (to aid in getting accurate exposures)

Index cards and felt pen

Flashlight



Other equipment that should be considered
Telephoto lenses (135mm, telephoto zoom lens for surveillance photography)

Supplementary light meter for low light level readings

Small tools for emergency camera repairs

Blocks of wood, clothespins, and other devices for positioning evidence for close-up photography

White handkerchief or other flash diffusion material

Levels

Tape measure

Color chart or color control patches (injury photography)

ABFO #2 scale (injury photography)

VIDEO GUIDE LINES FOR EVIDENCE SCENES
by Peter William Thomas
Senior Sergeant 4891
Video Support Unit
Maylands
BEFORE SETTING OUT
CONSIDER
Do I have all the equipment I need?
Is camera & lens combination sufficient?
Lights - spare bulbs - correct leads - mounts?
Batteries - fully charged - spares?
Battery charger, if going on a long trip?
Sufficient tapes and labels?
Radio mike, headphones & leads - are they there and working?
Is tripod fitted with correct shoe for camera?
Is there any other non-standard equipment I might need for this particular job?
WHEN ON CALL - CHECK THAT ALL GEAR IS IN THE KITS AND IT IS WORKING PROPERLY!!!)

JOB DETAILS
CONSIDER
Do I have sufficient job details?
Do I know where to go?
What are the circumstances of the scene?
Do I need protective clothing or camouflage?
Do I need to approach with caution?
Is there a meeting point away from the scene - if so when and where?
Who do I report to on arrival?

AT THE SCENE
REMEMBER YOU ARE PART OF A TEAM SO ENSURE YOU INTEGRATE WITH IT EFFECTIVELY. OTHER TEAM MEMBERS COULD INCLUDE:
Forensic personnel.
Investigators.
Police crowd and/or traffic controllers.
Fire Brigade.
Ambulance.
T.R.G.
S.E.S.
B.A.S.I.
IF FORENSIC PERSONNEL ARE IN ATTENDANCE - REPORT TO THEIR SENIOR OFFICER AND FOLLOW HIS DIRECTIONS AT ALL TIMES.
IF THEY ARE ON THEIR WAY - WAIT FOR THEIR ARRIVAL UNLESS COMMON SENSE & CIRCUMSTANCES DICTATE EARLIER ACTION.
UNLESS the scene is still being created, e.g. fire burning, offence still in progress, etc. DO NOT just take out camera and start shooting.
INSTEAD
Get a good and accurate concept of the scene and its history (e.g. how did the scene/crime unfold, what are its boundaries, why is the body a long way from the weapon, is there more than one seat of fire, etc. etc.).
Make written notes in an official notebook showing:
Time & date of arrival.
Location details.
Victim details (name, etc.)
Names of other team members.
Times of new events.
Brief details of these events.
PLAN THE APPROACH
Plan how you will record your evidence, using a systematic approach.
Is it safe to enter scene - will that wall collapse, the ceiling fall in, the charred boat hull give way, is it booby trapped, etc. etc.?
Am I appropriately dressed - hard hat, overalls, safety boots, gloves, camouflage, etc.?
Which way in (and out) - liaise with O.I.C. Forensic?

IN THE SCENE
Watch for and take care not to disturb:
Shoe impressions.
Tyre tracks.
Blood.
Fibres.
Fingerprints.
Clothing.
Bedding.
Impacted vehicles/aircraft.
Debris.
Any other object with potential evidential value.
Always use the agreed safety route into and out of the scene.
DO NOT be sidetracked into other tasks by investigators without first consulting with the Forensic team O.I.C..
UNLESS URGENT finish off your systematic evidence gathering run before being diverted to other tasks. This includes the note taking process.

CAMERA TECHNIQUES
Check lighting - is it daylight, artificial or a mixture?
Should the scene be lit - if so how?
Select appropriate camera filter and ALWAYS WHITE BALANCE!
Do not mix light of different colour temperature unless absolutely unavoidable! Consider using blue filter over artificial light to match daylight!
Every shot is important - shoot it as if it is the most important of the series.
Take your time - plan your pan - don't chase focus or subject.
Don't scrub the scene (i.e. pan side to side, up and down). One clean sweep is much more professional.
Before zooming to close up during a take, zoom, focus and pull back first - then do the take. This will avoid the awful spectacle of zooming out of focus.
Always take an exterior GV (General View) or 'establisher' shot of the location (house, factory, boat, caravan, etc.). This will leave no doubt as to where the scene is located.
Before (or after) showing a BCU (Big Close Up) of an object, do a LS (Long Shot) or MS (Mid Shot) of it to establish its location in relation to other parts of the scene.
When covering a long narrow section of a scene (e.g. road, corridor, rail track, etc.), consider a slow zoom from a tripod - pulling focus if necessary; rather than clumsily walking along it (Dolly Shot) with the inevitable, disconcerting sway and judder.
If perspective has to change (i.e. you have to see behind objects or demonstrate their separation from each other), then use of a "Dolly Shot" may be unavoidable. In this case use the lens at its widest possible angle (to minimise sway and judder) and move as smoothly as possible. Again plan your shot - route - focusing points - etc., before moving off.
In small rooms or spaces (toilets, bathrooms, caves, etc.) use of a high camera angle from a corner will give the maximum coverage of the area.
High camera angles are also useful when separation of objects on similar plains is required.
Don't be dissuaded from using a tripod when necessary. It may take more time but your shots will be more professional. DON'T use it if there is any risk of contaminating or disturbing a scene, or interfering with the duties of other team members.
AIM FOR quality - not quantity! A lot of ground can be covered with a few well planned shots. Unnecessarily repeating or prolonging shots will only bore or confuse, and won't enhance the evidential value of the video.
THINK LIKE AN EDITOR AS YOU SHOOT!

REMEMBER
YOU ARE A PROFESSIONAL - PEOPLE COME TO YOU BECAUSE YOU CAN DO THE JOB BETTER THAN THEM. ENSURE YOUR TECHNIQUES DEMONSTRATE THIS SUPERIORITY OTHERWISE IT WON'T BE LONG BEFORE THEY DO THE JOB FOR THEMSELVES.
LET TECHNIQUE MASTER TECHNOLOGY - DON'T LET TECHNOLOGY BECOME YOUR MASTER. THE BEST EQUIPMENT IN THE WORLD WILL NEVER REPLACE CREATIVITY AND REASONING.

When video taping crime, scenes follow these steps:
Start the video tape with a brief introduction presented by an investigator. The introduction should include the date, time, location, type of crime scene, and any other important introductory information. The introduction should also include a brief description of the rooms and evidence will be viewed in the video tape. The investigator may want to use a basic diagram as an illustration during the introduction.

Video tape the crime scene, after the introduction, without any audio recording.

Begin video taping the crime scene with a general overview of the scene and surrounding area.

Continue throughout the scene using wide angle and close up views to show the layout of the scene, location of evidence, and the relevance of evidence within the crime scene.

While video taping, use slow camera movements such as panning, and zooming.



Hope this is helpful to y'all!

[nightwing]

VERY cool stuff medic!
Thanks

[SgtFang]

Wow, I gotta print all this out!

OUTSTANDING!

-Sarge

[chrisandclauida2]

God info but my brain is smoking. I guess this is my brain on evidence collection techniques.