CHAPTER 1 Flashcards
(165 cards)
1
Q
requires that, an evidence must be presented in order to convict or acquit the suspect
A
philippine criminal justice system
2
Q
the legal guiding principle
A
“no evidence, no case”
3
Q
photographs must be free from any distortion
A
true
4
Q
the general rule in taking crime scene photographs
A
“take many photographs and select the best”
5
Q
a latin phrase meaning dark room, first camera
A
camera obscura
6
Q
dark room with a small hole in one of the walls that lets light in and project the upside-down images of things outside the room on the opposite wall or on the interior wall opposite the aperture
the image was not sharp because no lenses were attached to the small hole in the wall
A
camera obscura
7
Q
the smaller the hole, the sharper the image
A
true
8
Q
first to suggest that the camera obscura be used as a guide for drawing
A
giovanni battista dela porta 1558
9
Q
in this camera, an inclined mirror behind the lens reflected the image onto a top-mounted viewing screen. all the artist or draftsmen do was to put a piece of tracing paper on top of the viewing screen and trace the outline.
A
1676, the first “reflect” camera
10
Q
people realized that certain chemicals turned dark when exposed to light
A
1676, the first “reflect” camera
11
Q
discovered that light could be used to alter substances
A
johann heinrich schulze
12
Q
silver, chalk, and nitric acid together in a bottle, did the hokey, pokey, and shook it all about. he then exposed the mixture to bright sunlight and found that the mixture darkened to black. to prove that this was a photosensitive reaction as opposed to heat-induced reaction, he repeated the process but exposed the mixture to intense heat. proving his theory, this experiment produced no change in the mixture.
A
johann heinrich schulze
13
Q
the first to capture and reproduce lasting images.
A
joseph nicephore niepce (1765-1833)
14
Q
compound that hardens when exposed to light, could produce negatives
A
bitumen of judea
15
Q
“writing of the sun’’
A
“heliography”
16
Q
the earliest photographic image in existence.
A
1827, a view from a window that required an eight-hour exposure
17
Q
a forerunner to the earliest photographic process, invented by niepce in 1822. it entails using bitumen, a material that hardens and becomes insoluble in light. he hoped to use this process to transfer images to be printed on a press
A
heliography
18
Q
a french inventor, who, after collaborating with niepce, devised the first practicable photographic process.
father of photography.
A
louis jacques mande daguerre (1787-1851)
19
Q
an early photographic process using silver coated, light-sensitive metallic plates developed by mercury vapor
A
daguerreotype
20
Q
primarily a portrait medium that was executed in a studio, announced in 1839 by daguerre, which consisted of a copper plate coated with silver that was highly polished. the plate was then treated with iodine vapor and became light sensitive. it was then put in a camera and a photograph was taken. after the plate was developed in mercury vapor, which is highly toxic, a distinct photographic image appeared on the polished silver surface.
A
daguerreotype
21
Q
can be identified by the polished silver surface, which resembles a mirror, with an image upon it
A
daguerreotype
22
Q
produced only one image that could be made from each exposure, since it was positive process; it only yielded one-of-a-kind images.
exposure times were still lengthy, about 30 minutes.
A
daguerreotype
23
Q
the inventor of positive-negative photographic process.
A
william henry fox talbot (1800-1877)
24
Q
first used a process that produced a negative picture on paper, projecting lights of an image as a dark and darks as lights.
A
william henry fox talbot (1800-1877)
25
discovered first true modern photography
calotype
father of photography
william henry fox talbot (1800-1877)
26
british astronomer and photographic chemist
frederick william herschel (1792-1871)
27
he discovered that thiosulphate of soda, the chemical now referred as “hypo”, would fix images on photosensitive paper by stopping the chemical action of silver salts
frederick william herschel (1792-1871)
28
noted for his 1819 discovery of thiosulfates and their ability to dissolve silver salts completely, which led, 20 years later, after daguerre and fox talbot claimed invention of photography.
frederick william herschel (1792-1871)
29
coined the word photography, which comes from the greek word meaning “light writing”
frederick william herschel (1792-1871)
30
used the term photography to differentiate between talbot’s negative paper prints and daguerre’s positive image method that used copper plates
frederick william herschel (1792-1871)
31
he invented a wet-plate collodion photography or wet-plate process now known as Archerotype, by which finely detailed glass negatives were produced
frederick scott archer (1831-1857)
32
the process entailed using a glass plate coated with collodion that was sensitized and used while wet.
archerotype
33
generally accepted as the creator of the process that replaced daguerreotypes. it was popular from about 1855 to 1880, when the dry collodion process gained acceptance.
frederick scott archer (1831-1857)
34
he reduced exposure times from minutes to seconds.
frederick scott archer (1831-1857)
35
is an early method for producing glass negatives. the procedure began with the use of a sticky substance that could hold the silver that produces a photographic image
collodion process
36
• an english physician who took archer’s discovery a step further with his “dry plate” process, which used an emulsion or gelatin and silver bromide or a glass plate.
richard leach maddox
37
replaced collodion
gelatin
38
introduced the Kodak box camera in 1888 with the promotional slogan “You press the button, we do the rest.” It was sold for $25 and came already loaded with a 20-foot roll of paper film, enough for 100 exposures. After all frames were exposed, the user sent the entire camera back to Eastman’s company. There, the film was processed, printed, and the camera was loaded with a new roll, after which it was sent back to its owner with the negatives and a set of prints.
He gave the first “point-and-shoot” camera
george eastman (a.k.a.mr. kodak)(1854-1932)
39
1932, at the age of 78, he killed himself, leaving a note that said, “My work is done. Why wait?”
george eastman (a.k.a.mr. kodak)(1854-1932)
40
an american inventor in 1947, he invented instant photography and introduced the first polaroid camera, which produced a sepia monochrome print in just 60 seconds
dr. edwin h. land (1909-1991)
41
the ability of film to record color is due to the presence of three layers of color-yellow, red, and blue-on the film. When combined, these three colors represent the majority of colors that we see.
color photography
42
defined as an art or science that deals with the reproduction of images through the action of light on sensitized material (film and photographic paper) with the aid of camera and its accessories and the chemical processes involved therein.
photography
43
the process of producing images of objects by the action of light, on sensitized materials with the aid of an image forming device known as camera and its accessories and the chemical process involved therein.
photography
44
process of forming and fixing images of an object or objects by the chemical action of light and other forms of radiant energy on photosensitive surfaces.
photography
45
“to draw with light”
photography
46
photos (light) and graphos (chart or drawing or writing)
word photography is derived from two Greek words
47
mechanical and chemical result of photography
photograph
48
In making a photograph, light is needed aside from sensitized materials (film and papers). Light radiated or reflected by the subject must reach the film while all other lights are excluded. The exclusion of all other light is achieved by placing the film inside a light tight box (camera).
true
49
The effect of light on the film is not visible in the formation of images of objects. To make it visible, the exposed film must be process chemically called development, using a chemical known as .
developer
50
The visual effect of light on the film after development depends on the quantity or quality of light that reached the emulsion
true
51
too great in the amount of light will produce
opaque of a very black shade after development
52
too little light will produce
a transparent or white shade after development.
53
The quality of light reaching the film is dependent upon the following factors
a. Lighting conditions
b. Lens opening
c. Shutter speed
d. Film speed
e. Photographic filter
54
All objects reflect a certain amount of light. However, a light-colored object reflects more light than a dark-colored object. A dark-colored object absorbs more light than a light-colored object.
true
55
defined as art or science that deals with the study of principles of photography, preparations of photographic evidence and its application to police work.
police photography
56
the process of photographing or recording the crime scene or any objects for court presentation.
forensic photography
57
four (4) primary ways of using photography in law enforcement work
means of identification
method of discovering, recording, and preserving evidence
way to present in the court room, an impression of the pertinent elements of a crime
training and public relations medium for police programs
58
fundamental requisites photograph to be judicially recognized
1. faithful representation or accurate representation of the original object or subject.
2. the photograph must be free from distortion and must not misrepresent the scene or object
59
means the same likeness as the original or as seen by the naked eye. so what is required by law is likeness of the original, a mere shadow of an object is not a faithful and accurate representation of an object.
faithful representation
60
preliminary proof that such is a correct representation or reproduction is required before admitted
proof of accuracy
61
it is an error to admit a photograph in evidence when there is no evidence identifying it or proving its accuracy
true
62
relevant and materials are qualified for admission by the supportive testimony of witness, usually persons who witness the matter being photographed
photographs
63
photograph standing alone, without authenticating or verifying testimony cannot become part of the evidence
true
64
dependent for their accuracy upon the skill of the person making them and truthfulness of the one testifying for them.
photographs
65
admissible when it is relevant to the issue and is not excluded by the law or rules of court
evidence
66
refers to the probative value of the evidence
| relevant
material
67
relates to the case under investigation
relevant
68
not sanctioned by the rules of court
competent
69
avoid inclusion of emotional things that might be classed by the court as inflammatory, or tending to affect the emotions of the viewer.
no inflammatory content/unbiased
70
arousing strong or uncontrolled feelings
inflammatory
71
easily exceeds, esp. to anger or outrage
inflammable
72
to arouse too strong or excessive feelings; to intensify
inflam
73
it is the process of obtaining photographic magnification of minute objects by using a camera attached to a compound microscope.
photomicrography
74
the art or process of photographing minute objects and magnified by means of the microscope and enlarged from 10x up
photomicrography
75
the process of obtaining magnified photograph of a small object without the use of a microscope using a short macro lens or close up attachments.
.
photomacrography
76
the process of photographing an object at greater than 1:1 ratio up to nine (9) times magnification.
it is the making of enlarged copies of prints such as photographs of tampered serial number of firearms, engine number, and chassis number of motor vehicle and the likes
photomacrography
77
the camera lens that is capable of taking photograph of extreme close-up shots without the need of close-up attachment.
macro lens
78
a method of enlarging a minute object using normal lens by detaching it from the camera, then attach the lens in inverted position and move the camera itself nearer or farther from the subject for focusing.
reverse fixed mounted lens method
79
the process of photographing unseen object with the use of ultraviolet rays and filters or more specifically light energies with a wavelength of 300-400 nanometer of the electro magnetic spectrum.
ultra-violet photography
80
he main purpose is to provide information about an object or materials that cannot be obtained by ordinary photographic methods.
ultra-violet photography
81
the underlying principle of ultra-violet photography lies on the fact that some materials will absorb ultra-violet rays while others reflect these radiation, some have partial absorption and some partial reflection. the difference in reaction can be recorded photographically by the use of said radiation.
true
82
in reflected method, ultra-violet rays are the only one permitted to enter the camera by using a light source that emits ultra-violet rays using a filter over the lens.
reflected method (straight uv photography)
83
procedure of reflected method (straight uv photography)
a. illuminate the subject by means of uv lamp
b. exclude all visible light from the camera by placing a filter over the lens of the camera that transmits any uv rays. (a wratten filter no. 18-a is used for this purpose)
c. record the image in the camera with a suitable film.
84
procedure of fluorescence or fluorescent method
procedure: (done inside the darkroom)
a. illuminate the subject with ultra-violet lamp so it will fluoresce or glows
b. a wratten filter no. 2b (ultra-violet absorbing filter) is then placed over the lens of the camera so only the visible light coming from the subject will be the one to react on the film
c. record the image in the camera.
85
the process of photographing or recording unseen objects by means of infrared film and infrared light.
infrared photography
86
the process of taking photographs with the region between 700-1000 nanometer of the electromagnetic spectrum by using specifically sensitized film
infrared photography
87
in infrared photography, one must use an infra-red film. infrared films come in the form of 35mm cartridges. there are infrared black and white films and there are also infrared color films. these color film comes in color reversal process and not in the negative color process. example: kodachrome, ectachrome, etc
film
88
after focusing the lens visually by visible light, the lens should be extended beyond the visual focusing mark by a distance of ¼ or 25% of 1% of the focal length of the lens. failure to make this correction of focus will make the image unsharp. some lenses have special mark (a red dot) for use in focusing infrared images. this could be found in the focusing scale of the focusing ring of the camera.
focusing
89
for infrared photography, one can use a red filter such as wratten a or f. however, red filter of this type transmit a little visible light in the extreme red range and therefore they are not always completely satisfactory. oddly enough though, an infrared photograph made with these types of filters. the wratten 87, which is completely opaque when held up against the light, will produce the best results with infrared film in legal work.
filter
90
light sources for infra-red photography
a. sunlight
b. almost any incandescent light source can be used for taking infrared photographs indoor as in the laboratory. photoflood lamps are excellent but even ordinary light bulbs will do.
c. fluorescent tubes are ineffective in infrared work because of their low heat output.
d. the infrared lamp found in the market is not also advisable because it is used for therapeutic purposes. the wavelength it emits is of the longer band of the electromagnetic spectrum beyond the sensitivity of the infrared film.
91
the process of taking photographs with the use of x-rays.
x-ray photography
92
the process of taking photographs of the suspect in full length, right and left side views, two quarter views and unidentified cadavers to include marks on the victim’s body especially tattoo/scar for identification. it is also defined as identification photography.
mug-shot or mug photography
93
the underlying principle of infra-red photography lies on the fact that many objects reflect, transmit, or absorb infra-red radiations much differently than the visible light or other rays of shorter wavelengths. In effect, like ultraviolet photography, it extends our eyesight letting us see and interpret phenomena that might otherwise escape our attention.
true
94
any camera, which is suitable for taking ordinary photographs, is also suitable for taking infrared photographs.
true
95
Is a form of energy which makes it possible to see. The radiant energy that makes things visible.
Light
96
Speed of light
299,793 kilometers per second or 186,000 miles per second
97
KINDS OF RADIANT ENERGY
```
Infra-red rays
Ultra-violet rays
X-rays
Visible lights (or simply light) (for normal photography)
Cosmic rays
Gamma rays
Radio waves
```
98
Visible light is only a tiny fraction of the electromagnetic spectrum.
tama sis
99
Electromagnetic radiation that can be perceived by the normal, unaided human eye and has wavelengths between 3,900 and 7,700 angstroms
truts
100
a unit of length equal to one (1) hundred-millionth (10-8) of a centimeter.
Angstrom
101
The whole range of radiant energy that includes infrared rays, ultra-violet rays, x-rays, radio waves, gamma rays, cosmic rays, microwaves and visible light. The term for the entire spectrum of energy, that includes visible light.
Electromagnetic spectrum
102
These are radiations having a wavelength between .01-30 millimicrons or nanometer. They are produced by passing an electric current through a special type of vacuum tube. It is used to detect and identify hidden object in boxes and other containers. It penetrates objects which are impervious to visible light.
X-RAYS
103
These are radiations having a wavelength of 30-400 millimicrons or nanometer.
ULTRA-VIOLET RAYS
104
When this invisible light comes in contact with a particular substance or matter, it will produce the phenomenon known as ?
fluorescence
105
The continued emission of light without accompanying heat after exposure to and removal of a source of stimulating radiation will produce a phenomenon known as?
Phosphorescence
106
produced artificially by means of specialized electric light called mercury- vapor lamp or quarts mercury vapor lamp.
ultra-violet rays
107
it is necessary to place a filter over the artificial ultra-violet lamp or over the lens of the camera to strain out visible light and permit only ultraviolet rays to pass through the lens, and records only the fluorescent light radiated or reflected by a particular substance or object.
truee
108
In using ultraviolet light for photographing the fluorescence or fluorescent light, it is necessary to use ______ so that its full effect may be clearly recorded.
dark room
109
uses of ultra violet rays
1. To restore writings which have been erased chemically or mechanically
2. To detect substitutions, erasures, overwriting and secret writings.
3. To detect and photograph fingerprint on multicolored background.
4. To detect invisible inks.
5. It is also used for locating seminal and urine stains on clothing.
110
These are radiations having a wavelength between 400-700 miliimicrons or nanometer. The portion of the electromagnetic spectrum that affects the human sense of sight.
VISIBLE RAYS
111
These are radiations having a wavelength between 700-1,000 millimicrons or nanometer. They adjoin the red spectrum of visible lights.
INFRARED RAYS
112
referred to as heat rays or heat wave.
| can be made only in total darkness.
INFRARED RAYS
113
Uses of Infrared Photography in Police Work
To show photographically erasures, forgeries writing on charred documents, dirty, or faded documents.
To detect differences of different ink and papers.
To detect stains in cloth, particularly gunpowder residues that are hidden by bloodstains.
To take photographs in the dark or fogs.
It is used in night surveillance.
Detection of Secret Writings
It is used to photograph latent fingerprints on multi-colored background(lampblack powder is used)
114
It refers to the daylight coming from the sun, which is in general utilized for outdoor photography.
come to existence without the intervention of man
NATURAL LIGHT
115
produced by the sun, including direct sunlight
the soft light in a shadow, and/or light bounced off a reflective surface
moonlight, which is light reflected from the sun,
starlight
examples of natural light
116
Daylight photography depends as much on the quality of the daylight as its strength. The quality of daylight is a combination of contrast and color temperature or color of the daylight.
true
117
The difference in brightness between the bright highlights and deepest shadows in a subject, negative or print.
CONTRAST
118
1. The range or brightness in a subject.
2. In a black and white photography, contrast is the difference between the shades of black and white in a photograph.
3. The difference in intensities of light falling on various parts of a subject.
CONTRAST
119
The contrast depends upon the sunlight available in the daylight, when the sun is not covered by clouds, the contrast is high and the photograph or negative is said to be ?
contrasty
120
when the sun is covered by clouds, the contrast is low and the photograph or negative is said to be?
flat
121
A term used to describe a high-contrast image on a negative or printing paper. One with strong blacks, brilliant whites, and only a few mid-tones.
High Contrast (Contrasty)
122
A term used to describe a low-contrast image on a negative or printing paper. One with weak, grey, grayish blacks and many mid-tones.
Low Contrast (Flat)
123
A measure of the relative amount of red or blue light in a particular light source.
COLOR TEMPERATURE
124
an electronic flash has a higher proportion of blue light (and has a higher temperature).
true
125
Color temperature is measured in units called
Degrees Kelvin,
126
This rates different light sources according to their color content.
true
127
color temperatures may vary between 4600 k for tungsten light, to approximately 9600 under clear blue daylight conditions.
true
128
Candle light
2,000K
129
Domestic tungsten
2,800K
130
Photographic tungsten
3,200K
131
Noon daylight
5,500K
132
Blue sky
10,000K
133
used to describe the color temperature of different sources of light.
Kelvin scale
134
The bluer, the higher the color temperature and the more red, the lower the color temperature.
tru
135
The unnatural color affecting the whole image. It occurs when daylight-balanced film is exposed to tungsten light, or vice versa. It can also occur when flash is bounced from a colored wall or ceiling, or when daylight is reflected from a colored building.
Color-Cast
136
A lighting condition wherein objects in open space cast a deep or uniform shadow.
the subject will produce strong shadow, because the source of light is not covered by clouds.
Bright light
137
The object in open space under this appears glossy and the color is saturated.
in black-and-white photography, the object or subject looks contrasty.
Bright light
138
A lighting condition wherein the objects in open space cast a transparent shadow.
When the sunlight is obscured by light clouds, the intensity of the direct light falling on subject in open space is decreased. In effect, the light coming from the sky becomes stronger that the shadows appear more bluish than in bright sunlight.
Hazy light
139
the sun is covered by the clouds and shadow appears bluish because of the decrease of light falling on the subjects in open space.
he shadow cast is transparent to the eye and more details are visible under this lighting condition than in bright sunlight.
hazy light
140
A lighting condition wherein the objects in open space cast no Shadow.
the sun is totally covered by thick clouds. No shadows are formed, due to the uniform illumination of lights all around the subjects in open space.
Dull light
141
It refers to the man-made sources of light which is used or utilized for indoor photography to augment the adverse lighting condition
includes all non-natural sources, such as continuous light from incandescent and fluorescent light bulbs, electronic flashes, and studio strobes.
ARTIFICIAL LIGHT
142
1. Fluorescent lamps
2. Incandescent lamps/tungsten light
Household incandescent or domestic tungsten
Photo incandescent or photographic tungsten
3. Photoflood lamps
4. Infrared lamp
5. Ultraviolet lamp
Sources of Artificial Light
continuous duration
143
good for only one flash and then thrown away, so a photographer has to carry many of them.
Flash bulb (chemical flash lamp)
144
powered by batteries in the camera. Can take 4 pictures. Light from flash cubes lasts about 1/30 of a second.
Flash cube
145
powered by batteries in the camera.
Flash bar –
146
it does not require batteries. It fires mechanically like a cap pistol.
X-Cube
147
A short intense burst of light produced by an electronic flash for use in illuminating a situation. Unlike old-fashioned flash bulbs, it could be used only once, electronic flashes are powered by batteries and can be used indefinitely
Electronic flash
148
A low-output flashlight that is capable of delivering many thousands of flashes per second. An electronic flash that fire repeatedly at rapid rate. It is used to produce motion- study special effects.
STROBE LIGHT
149
You must position the flash unit close to the subject because it works only at low power settings.
the flash fires repeatedly at a rapid rate. This allows you to capture several points of an action in single shot.
STROBE LIGHT
150
used to supplement light from a main flash. It fires every time it senses a flash going off.
SLAVE UNIT OR SLAVE FLASH
151
A flash unit used for close-up photography that encircles a camera lens.
RING LIGHT
152
This unit attaches to the accessory shoe (also called a hot shoe) on top of the camera or to a flash bracket that attaches to the camera
ACCESSORY FLASH UNIT
153
these flash units require you to figure out the correct exposure for your shooting conditions. you have to adjust lens aperture to control the amount of light that reaches the film.
manual
154
these flash used automatic sensors to control light output and duration based on the distance from the camera to the subject. When you set the aperture you want to use, the flash will automatically calculate how much light is needed to illuminate a specific distance range, such as 3 to 15 feet.,
Automatic
155
They’re made to work with your camera’s specific electronic (hence The name), and they’ll do all the thinking for you, automatically Setting the correct shutter speed and aperture and controlling the expose by regulating flash duration (that is, its intensity).
Dedicated flash unit
156
It is designed to tap into the camera’s circuitry when you slip it into the camera’s dedicated hot-shoe a top the viewfinder
Dedicated flash unit
157
A flash unit built into the camera.
BUILT-IN FLASH UNIT
158
Disadvantages of built in flash unit:
1. Limited operating ranges, usually between 3 to 12 feet. Meaning anything farther the flash’s maximum range will be under exposed. Objects that are too close will be over- exposed.
2. Light is projected directly into subjects, making them look flat and harshly lit.
3. Mounted so close to the lens axis, they’re notorious for creating red-eye.
4. Can’t be adjusted to create more pleasant illumination, such as bouncing the light off the ceiling to lessen shadows.
5. Light reflects directly off subjects, meaning they often create flash glare from glasses or even skin if it’s shiny enough.
mismo
159
A flash unit not mounted on a camera.
OFF –CAMERA FLASH
160
The maximum and minimum distances that a flash will cover.
Flash range
161
The effect caused when flash illuminates the retina.
| It is a fault caused by light reflected from a subject’s eye when exposed by flash.
Red-eye
162
It emits a pre-exposure light burst to “stop-down” the subject eye so less light can be reflected back from the retinas.
Red-eye reduction flash mode
163
is a shutter speed you can use when working with flash unit to obtain evenly lit results.
Flash synchronization speed
164
is a rating of the flash unit’s illuminating power, provided by the manufacturer.
Guide Number
165
Non-image forming light which reduces image quality by lowering the contrast and washing out colors
It causes whitish appearance, less color saturation and poor detail.
Flare
