DALISAY, ARVY B Aug.

9, 2021
BSCRIM4
BDA
FORSEM7

FORENSIC PHOTOGRAPHY
(Definition of Terms)

1. Forensic photography -sometimes referred to as forensic imaging or crime scene

photography is the art of producing an accurate reproduction of a crime scene or an
accident scene using photography for the benefit of a court or to aid in an investigation.
2. Crime scene photography - is a branch of the field of photography which is focused on
taking accurate photographs of crime scenes and criminal evidence, so that these
3. photographs can be used in the investigation of crimes and in the prosecution of criminal
activity.
4. ACETIC ACID – A relatively mild acid used, in highly diluted form, as
5. the rinse bath (shortstop) which follows the developer in the normal film and paper
developing processes. The acid in vinegar.
6. ADAPTER RINGS – Narrow metal rings, threaded on the outside to fit most popular
lens, and threaded on the inside to accept accessories of other than normal lens
diameter. Step-up rings adapt a lens for use with larger-than-normal accessories; step-
down rings permit the use of slightly smaller accessories than the lens will normally
accept.
7. ADJECTABLE CAMERA – A camera with manually adjustable distance settings, lens
opening, and/or shutter speeds.
8. AGITATION – The process of stirring, swirling, or otherwise causing a liquid to move
freely over the surface of film or paper during processing. Agitation helps to speed and
achieve even development and prevent spotting or staining.
9. ANGLE OF VIEW – The portion of scene that is covered through a camera lens
10. APERTURE PRIORITY – A camera feature that lets you select the desired aperture, and
the camera sets the shutter speed for proper exposure. When you change the aperture
or when the light level changes, the shutter speed changes accordingly.
11. AUTOFOCUS – The camera focuses automatically on the subject in the center of the
viewfinder when you press the shutter release.
12. AUTOMATIC EXPOSURE (AE) – A system whereby the camera selects and sets an
exposure based on prevailing conditions without intervention by
the photographer.
13. ARTIFICIAL LIGHT – Any light other than produced by the nature (sun, moon, stars,
phosphorescence, etc). Electric lights are the principal artificiallight source in
photography.
14. AVAILABLE LIGHT – The light condition which the photographer finds existing at the
subject position. The term usually implies an indoor or nighttime light condition of low
intensity requiring fast film, large lens aperture, and slow shutter speed.
15. AVAILABLE LIGHT PHOTOGRAPH – Photography withoutsupplementary illumination
even under poor lighting conditions.
16. B – (BULB) – A marked setting on most shutters which permits the shutter to be held
open for an indefinite period by continued pressure on the shutter release.
17. BACK – That portion of a camera which contains the film;specifically, the complete
assembly attached to the rear standard view camera (and usually removable) which
includes the focusing screen, and which accepts the filmholders.
18. BACK LIGHT – Illumination from a source beyond the subject, as seen from the camera
position, which tends to silhouette the subject, also called Back Lighting.
19. BASE – The transparent sheet material, usually acetate or polyester, upon which film
emulsion is coated.
20. BASEBOARD – The large, flat board, usually plywood, to which the enlarger column is
attached, and on which the enlarger easel is normally placed.
21. BASE FOG – Any uniform fog produced when an unexposed emulsion is developed.
22. BASE-PLUS-FOG-DENSITY – The density of an unexposed area of a developed film
(negative or positive).
23. BELLOWS – The center section of a view camera which connects the front and back
standards. The bellows is usually made of leather, cloth, or plastic, is accordion-pleated
for flexibility and is, of course, light tight.
24. BELLOWS EXTENSION – A term often used to refer either to the total bellows length or
to the additional extension of the bellows (beyond that required for infinity focus)
necessary for focusing at close subject distances.
25. BELLOWS EXTENSION FACTOR – A number (multiplier) indicating the exposure
increase required for correct exposure.
26. BETWEEN-THE-LENS SHUTTER – A shutter designed to operate in a space between
the elements of the lens.
27. BLIND – An emulsion not sensitive to certain colors; color blind.
28. BLUE-SENSITIVE – The sensitivity of an ordinary silver emulsion; red and green blind.
29. BOUNCE FLASH – Directing light from a flash gun toward a ceiling, wall or other large
reflecting surface to obtain the contrast softening effect of a diffused light source spread
over a larger area of the subject.
30. BOUNCE LIGHT – Light reflected onto the subject from surrounding surfaces rather than
directly on the subject.
31. BRACKET – To make a number of exposures (some greater and some less than one
considered to be normal) in addition to the "normal" one, with the intent of getting one
near-perfect exposure.
32. BURNING-IN -- The process of allowing some relatively small image area to receive
more than the normal exposure by shielding most of the printing paper surface from the
light.
33. BURNED-OUT – Describes an area of the print image in which highlight detail has not
been recorded, usually because of severe overexposure of the negative.
34. CABLE RELEASE – A flexible outer casing containing a stiff wire which can be attached
to the shutter release on a camera. Depressing the plunger at the end of the wire
release the shutter while minimizing risk of camera movement during exposure.
35. CAMERA MOVEMENTS – Adjustments typically provided on technical and view camera
to (1) enable the optical axis of the lens to be displaced relative to the center of the
image while keeping the axis perpendicular to the image plane. (2) Position the lens
plane and image plane at an angle to each other (swings and tilts). These adjustments
may be provided as a swing front lens panel or a hinged camera back (swing back) or
both. They are used for control of perspective and sharpness distribution in the image
plane.
36. CHEMICAL FOG – Fog on negatives or prints appearing, during development, in the
unexposed areas.
37. CLEAR – The appearance of a negative after the fixing bath has removed all visible
traces of undeveloped silver halide.
38. CLEARING TIME – The length of time required to clear a negative. It depends on the
strength, temperature, and agitation of the fixing bath and the kind of emulsion being
used.
39. CLOSE-UP – Photograph made of an object to show greater detail. A photograph made
with a reproduction ratio greater than 1:10.
40. CLOSE-UP LENS – A positive supplementary lens which, when placed over a camera
lens, shortens its focal length and thereby permits closer-thannormal focusing.
41. CLOSE-UP PHOTOGRAPHY – The techniques and practice of using supplementary
lenses, extension tubes, bellows units, etc. to take pictures at closer ranges than the
normal focusing adjustment of an ordinary hand-camera will allow. Refers to image
magnification ratios of up to perhaps, 2x, and therefore overlaps "Photomacrography".
42. COLOR BLANCE – The ability of a film to reproduce the colors of a scene. Color films
are balanced in manufacture for exposure to light of a certain color quality; daylight,
tungsten, etc. Color balance also refers to the reproduction of colors in color prints,
which can be altered during the printing process.
43. COLORBLIND – Descriptive of the partial or total inability to recognize or distinguish
chromatic emulsion is sensitive only to blue, violet, and ultraviolet light.
44. COLOR HEAD – An enlarger light source containing adjustable dichroic filters which can
be set to provide light of any color for color printing.
45. COLOR TEMPERATURE – A numerical rating given to the colorqualities of a light
source. Expressed in degrees Kelvin. The lower the colortemperature, the greater the
ratio of yellow/red light. Daylight is considered to be5000 – 5500 degrees Kelvin.
46. COMPEMEMTARY COLORS – Any two colors in the subtractive system which, when
mixed in the proper proportion, produce black or dark neutral gray. In the additive
system, any two colors whose mixture results in white light.
47. CONCAVE – Hollowed out. The side of spherical surface seen from the center of the
sphere.
48. CONDENSER ENLARGER – An enlarger with sharp, undiffused light that produces high
contrast and high definition in a print. Scratches and blemishes in the negative are
emphasized.
49. CONTACT PAPER – Relatively slow development paper for making positives by contact
printing.
50. CONTACT PRINTING – A method of printing in which the negative is placed in contact
with the printing paper, emulsion to emulsion, and held in that position in a printing
frame. The exposure is made by exposing the frame to raw light so that the paper
emulsion is exposed by light passing through the negativedensities.
51. CONTINUOUS TONE – Describes an image containing a gradation of grays as well as
black and white extremes.
52. CONTRAST – The difference in tones from the lightest to the darkest areas of negatives
and positives.
53. CONTRAST GRADE – A number or descriptive term assigned to a particular printing
emulsion which identifies its contrast characteristic.
54. CONTRASTY – higher than-normal contrast. The range of density in a negative or print
is higher than it was in the original scene.
55. CONVERTER – An optical unit which can be interposed between the camera body and
lens to effectively double or triple the lens focal length; usually, but not always, with
some loss of image quality, and always with a substantial loss of lens speed. Sometimes
called an Extender.
56. COPY – To reproduce via photography. An original which is subjected to photographic
reproduction.
57. COVERAGE – The area of the image (formed by a lens) which is of useful quality. Also,
the area of the subject which the lens can record as an image of useful quality.
58. CROPPING – Printing only part of the image that is in the negative or slide.
59. CROSS LIGHT – Light striking the subject from one side.
60. CURTAIN SHUTTER – A shutter variety in which slit or opening in a strip of metal or
cloth is made to travel past the film surface to effect the exposure.
61. CURVATURE OF FIELD – The tendency of a simple lens to form its image on a
spherical, rather than flat, plane.
62. DARK SLIDE – The black plastic or fiber sheet which is inserted into a FILM HOLDER
through a light tight slot to seal the film chamber against light.
63. DAYLIGHT – Sunlight or skylight or any mixture of the two. For the
64. purposes of color photography, daylight is considered to have a color temperature of
from about 5500 degree K.
65. DENSE – Descriptive of a negative which is dark overall, or of an area of a negative
which has a heavy sliver deposit and therefore transmits only a little light.
66. DENSITOMETER – An instrument designed to measure the amount of light transmitted
by individual small areas of a negative, thus appraising the density of the areas.
67. DENSITY RANGE – The range of densities represented by, for example, a negative
image. It is found by subtracting the lowest density value from the highest, and is
expressed numerically.
68. DEPTH OF FIELD – The region of acceptable sharp focus around the subject position,
extending toward the camera and away from it, from the plane of sharpest focus..
69. DEPTH OF FIELD SCALE -- A calibrated scale, ring or chart, often a part of the camera
lens mount, on which the depth of field for any distance and aperture setting is indicated.
70. DEPTH OF FOCUS -- The distance range over which the film could be shifted at the film
plane inside the camera and still have the subject appear in sharp focus; often misused
to mean depth of field.
71. DEVELOPER – Chemical solution used to covert a latent image to a visible image.
Converts exposed silver halide into metallic silver.
72. DEVELOPMENT – The process of chemically treating a
73. photographic material to produce a visible image. Sometimes used to include the fixing
and washing operations.
74. DEVELOPMENT FOG – Fog formed by the partial development of unexposed grains of
emulsion; caused by developing the sensitized material under unsuitable conditions.
75. DIAPHRAGM – The assembly of thin metal leaves, usually incorporated into the lens
barrel or shutter assembly, which can be adjusted to control the size of the lens
aperture.
76. DICHROIC FILTER – A filter, usually of glass coated with a thin film of some durable
material, which has the unique ability to transmit certain colors while reflecting the rest of
the spectrum.
77. DIFFUSER – Any light-scattering medium placed in the path of a beam of light to soften
its character, such as matt white reflectors behind or frosted or opal glass in front of the
light source.
78. DIFFUSION – The scattering of light in all directions by reflection from a rough surface
or passage through a translucent medium.
79. DIFFUSION-CONDENSER ENLARGER – An enlarger that combines diffuse light with a
condenser system, producing more contrast and sharper detail than a diffusion enlarger
but less contrast and blemish emphasis than a condenser enlarger.
80. DIFFUSION ENLARGER – An enlarger that scatters light before it strikes the negative,
distributing light evenly on the negative. Detail is not as sharp as with a condenser
enlarger; negative blemishes are minimized.
81. DIOPTER – An optician’s term which identifies the power of a lens.
82. DODGE – To shade a portion of a print during exposure.
83. DODING – Holding back the image forming light from a part of the image
84. DOUBLE EXPOSURE – Two pictures taken on one frame of film
 85. DRY-MOUNTING – A method of mounting prints on cardboard
86. DRY-MOUNTING PRESS – A machine for dry-mounting prints.
87. EASEL – A device to hold photographic paper flat during exposure, usually equipped
with an adjustable metal mask for framing.
88. EMULSION – A thin coating of light-sensitive material, usually silver halide in gelatin, in
which the image is formed on film and photographic papers.
89. EMULSION SIDE – The side of the film coated with emulsion. In contact-printing and
enlarging, the emulsion side of the film - dull side - should fact the emulsion side of the
photo paper - shiny side.
90. ENLARGER – A device consisting of light source, a negative holder, and a lens, and
means of adjusting these to project an enlarged image from a negative onto a sheet of
photographic paper.
91. EXHAUSTION – Inactive state of a solution caused by depletion of its chemical
components.
92. EXPOSE – To subject a material to the action of light.
93. EXPOSURE – The quantity of light allowed to act on a photographic material
94. EXPOSURE SETTING – The lens opening plus shutter speed selected to expose the
film.
95. EXTENSION TUBE – Hollow tube with male and female lens mount fittings on either
end. Used to extend the lens from the film plane in close-up photography.
96. GRAY SCALE – The gradation of an image.
97. HYPO – The common name for sodium thiosulfate, also used by photographers when
speaking of the complete fixing bath.
98. ILLUMINATION – The distribution of light from one or more sources over the subject
being photographed and over the surface of the sensitive material.
99. IMAGE – The photographic representation of the subject photographed. The visible
result of exposing and developing a photographic emulsion.
100. INCIDENT LIGHT – The light reaching the subject from any and all sources.

REFERENCE:

- http://docshare04.docshare.tips/files/24642/246424565.pdf