Crime Photography
On the other side of the spectrum of forensic photography, is the crime photography that involves documenting the scene of the crime, rather than the criminal. Though this type of forensic photography was also created for the purpose of documenting, identifying and convicting, it allows more room for creative interpretation and variance of style. It includes taking pictures of the victim (scars, wounds, birthmarks, etc.) for the purpose of identification or conviction; and pictures of the scene (placement of objects, position of body, photos of evidence and fingerprints). The development of this type of forensic photography is responsible for radical changes in the field, including public involvement (crime photos appearing in the newspaper) and new interpretations and purposes of the field.
Bertillon was also the first to methodically photograph and document crime scenes. He did this both at ground level and overhead, which he called "God's-eye-view." While his mug shots encourage people to find differences (from themselves) in physical characteristics of criminals, his crime scene photographs revealed similarities to the public. This made people question, when looking in a newspaper at pictures of a murder that took place in a home that resembles their own, "could this happen to me?" For the first time, people other than criminologists, police or forensic photographers were seeing the effects of crime through forensic photography.
Read more about this topic: History Of Forensic Photography
Famous quotes containing the words crime and/or photography:
“Has anyone ever told you that you overplay your various roles rather severely, Mr. Kaplan? First you’re the outraged Madison Avenue man who claims he’s been mistaken for someone else. Then you play the fugitive from justice, supposedly trying to clear his name of a crime he knows he didn’t commit. And now you play the peevish lover stung by jealously and betrayal. It seems to me you fellows could stand a little less training from the FBI and a little more from the Actors Studio.”
—Ernest Lehman (b.1920)
“If photography is allowed to stand in for art in some of its functions it will soon supplant or corrupt it completely thanks to the natural support it will find in the stupidity of the multitude. It must return to its real task, which is to be the servant of the sciences and the arts, but the very humble servant, like printing and shorthand which have neither created nor supplanted literature.”
—Charles Baudelaire (1821–1867)