J Forensic Sci, November 2010, Vol. 55, No. 6 doi: 10.1111/j.1556-4029.2010.01524.x Available online at: onlinelibrary.wiley.com
BOOK REVIEW Max M. Houck,1 Ph.D.
Review of: Advanced Crime Scene Photography REFERENCE: Duncan C. Advanced crime scene photography. Boca Raton, FL: CRC Press, 2010, 315 pp. Photography and microscopy have much in common, using as they do lenses to image the world and make it either permanent or visible; in the case of a photomicrograph, they do both at the same time.1 They also both suffer in the same respect when authors attempt to write about them. The books inevitably start out with a prima facie discussion of optics and physics, accompanied by many intricate ray diagrams showing what the light rays are doing in excruciating technical detail. Only later, about a third of the way into the book, do you get to the meat of what you want to learn and how to do it. Do not misunderstand: Those basics are critical to an understanding of both photography and microscopy, but every book does not need to start that way. If you want that kind of book, the kind that drags you through formulae and the calculus of optics, do not buy Advanced Crime Scene Photography. If, however, you want a well-written, comprehensive, and excellently detailed book on the practicalities of crime scene photography, then definitely buy this book. Duncan’s book begins with a well-reasoned Introduction that explains his philosophy and rationale for crime scene photography: The photographic documentation of crime scenes is the cornerstone of any criminal investigation. The complete and accurate portrayal of a crime scene demands that the investigators and photographers thoughtfully and purposefully record true and accurate depictions of the location and evidence...The systematic and complete photographic recording of all aspects of an investigation helps bridge the gap between an individual piece of evidence and the processing of that evidence...Consequently, crime scene photography is an important and required task that must be accomplished with dedication and skill....Frequently, the fear of venturing away from a camera’s program or automatic mode settings comes from a lack of confidence. Investigators are afraid of making mistakes in exposure or composition and therefore
rely too heavily on the camera....One can possess the latest and greatest camera, having all the bells and whistles imaginable, but if the command dial is never moved off the automatic mode, one may as well be documenting the scene with a disposable point-and-shoot camera. The photographer, not the camera, is responsible for taking the picture. [page 1] I could not agree more. Fear is the mind-killer (to borrow a phrase from the science fiction novel Dune), and nowadays forensic professionals are very fearful. Duncan’s approach to crime scene photography is a breath of cool breeze to reassure us that we can, in fact, do this. The remaining chapters progress through equipment (Chapter 2), the basics of crime scene photography (Chapter 3), and how to take photographs that are suitable for analytical examinations, such as for shoe prints (Chapter 4, and hallelujah!). After that, Duncan then proceeds through nighttime and low-light photography (Chapter 5), flash photography (Chapter 6), and painting with light (Chapter 7; the photograph of a light-painted spider is a great reminder that many of these techniques are not scale-dependent). The book raps up with bloodstain pattern photography (Chapter 8), shooting incidents (Chapter 9), and ultraviolet and infrared photography (Chapter 10). Duncan’s style is easy-to-read without pandering and is an engaging style that will be welcomed by students and trainees alike. Duncan also provides excellent examples to make practical points link with the theoretic, such as flash casting (page 160), depth of field (page 58), and distortion in scales by angle (page 74). Moreover, Duncan does a marvelous job of taking a practical approach to teaching photography and not optics or physics. His examples of making your own arrows for pointers (page 26), soft box for flashes (page 29), and light boxes (page 67) are great lessons and potential assignments. Overall, I recommend this book for professionals, students, and trainees; anyone, really, who is interested in reading from someone who has a knack for teaching (in the true ‘‘tell-show-do’’ paradigm). Duncan’s book is a welcome addition and an excellent book on crime scene photography.
1 Director, Forensic Science Initiative, West Virginia University, 1600 University Avenue, Morgantown, WV 26506. 1 As opposed to a ‘‘microphotograph,’’ which is a really small picture: Don’t confuse the two as many ‘‘experts’’ do.
Ó 2010 American Academy of Forensic Sciences
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