There are two types of photojournalism; The first type is where an image is used to illustrate a story and the second is where an image is used to tell a story without any words.

One of the most important qualities of a photojournalist is the ability to react quickly when you comes along a scene that may be news worthy.

Blood evidence can be photographed using color print film and/or color slide film. Infrared film can also be used for documenting bloodstains on dark surfaces. Overall, medium range, and close up photographs should be taken of pertinent bloodstains.

Some things a bloodstain pattern analyst may be able to determine conclusively and state as fact:
1. Movement and direction of persons or objects while they were shedding blood.
2. Position of persons or objects during bloodshed.
3. Movement of persons or objects after bloodshed.
4. The mechanism or object used to create a specific pattern.
5. The direction a stain was traveling when it was deposited.
6. The area of origin of an impact pattern.
7. The minimum number of impacts during an incident.
8. The sequence of events.

Bloodstain Patterns:

Passive bloodstains
Passive bloodstains are those stains created by the force of gravity.

-Passive Drops – Bloodstain drop(s) created or formed by the force of gravity acting alone.
-Drip Pattern – A bloodstain pattern which results from blood dripping into blood.
-Flow Pattern – A change in the shape and direction of a bloodstain due to the influence of gravity or movement of the object.
-Pool Pattern – A bloodstain pattern formed when a source of blood is stationary for a period of time.

Projected bloodstains
A projected stain occurs when some form of energy has been transferred to a blood source.

-Low Velocity Impact Spatter (LVIS) – A bloodstain pattern that is caused by a low velocity impact\force to a blood source. Produced when objects traveling less than 1.5 m/s come in contact with a blood source. The preponderance of stains is generally larger than 3 mm in diameter.
-Medium Velocity Impact Spatter (MVIS) – A bloodstain pattern caused by a medium velocity impact\force to a blood source. A beating typically causes this type of spatter. Produced when objects traveling between 1.5 m/s and 7.5 m/s come in contact with a blood source -  blunt force trauma or cutting/stabbing actions.
-High Velocity Impact Spatter (HVIS) – A bloodstain pattern caused by a high velocity impact\force to a blood source such as that produced by gunshot or high-speed machinery. produced when objects traveling greater than 30 m/s come in contact with a blood source generally smaller than 1 mm in diameter- gunshots or explosives, but may also be caused by industrial machinery, coughing, or sneezing.
-Cast-Off Pattern – A bloodstain pattern created when blood is released or thrown from a blood-bearing object in motion.
-Arterial Spurting (OR Gushing) Pattern – Bloodstain pattern(s) resulting from blood exiting the body under pressure from a breached artery.
-Back Spatter – Blood directed back towards the source of energy or force that caused the spatter.
-Expiratory Blood – Blood that is blown out of the nose, mouth, or a wound as a result of air pressure and/or air flow which is the propelling force.

Transfer/Contact bloodstains
A transfer or contact stain is produced when an object with blood comes in contact with an object or surface that does not have blood. It may be possible to discern the object that left the blood impression.

-Wipe Pattern – A bloodstain pattern created when an object moves through an existing stain, removing and/or altering its appearance.
-Swipe Pattern – The transfer of blood from a moving source onto an unstained surface. Direction of travel may be determined by the feathered edge.

Equipment:
1. Tripod and cable release. A boom for the tripod is a useful accessory and can make the task a bit simpler. A strobe is used in low-light environments. The use of filters and infrared film may be required in some instances, such as when there is background interference (dark colors).
2. A variety of adhesive-backed labels and scales (rulers) should be available and used for both the overall photographs and close-ups. It is mandatory that close-up, scaled photographs be taken with the camera back parallel to the surface of interest.
3. Overall photographs should be taken with markers present to identify each pattern at the scene. These photographs should also include clearly visible scales.
4. It is imperative that the close-ups be taken 90 degrees to the stains and with the scale visible in the frame. 2 photographs of each item of evidence.
5. Luminol

Fingerprint photography requires both simple and complex lighting  and the final prints are produced in black and white at ratio of 1:1.

Colour filters provide an invaluable tool to the Fingerprint photographer; all images are photographed in colour and then converted into black and white. In the black and white image, the colour becomes a shade of grey. Colour filters can be used to lighten or darken the grey shades, for example red in black and white becomes almost black. Therefore if the fingerprint is black and the background is red, the final image will have a black fingerprint on an almost black background. A red filter will remove the green and blue wavelengths of light resulting in a final image showing a black fingerprint on a white background.

The primary filters required for fingerprint photography are red, green, blue, yellow and daylight, a filter will have the effect of removing it’s self and increasing  the intensity of it’s opposite colour.

Fibre optic light units are very effective light sources for visual photography. This usually includes fingerprints developed in chemicals such as Ninhydrin, Acid Black, Physical developer, Powder suspensions, Coomassie blue, LCV, or visible marks like those in dirt, greese, blood, mud etc etc…

They can then be used with the following attachments:
1. Backlight for photographing Aluminium Fingerprint lifts, and for spectral illumination.
2. Ringlight with mini magic arm stand, for surface lighting.
3. Goosenecks for oblique illumination – especially useful for curved surfaces.
4. Dark field ring-light – angled fibre bundle for fingerprints in 3D surfaces such as putty and dust.
5. Line light -  for footwear on black gel lifts
6. Dark field illumination box, for fingerprints on clear plastic surfaces.

Equipment:
1. Polarizing Filter
2. Camera – high resolution digital slr
3. Pro UV Filters

Tips:
1. Shoot in Raw – If your camera doesn’t allow you to shoot in RAW (or you choose not to) – shoot in color and do your conversion to black and white later on your computer.
2. Low ISO
3. Dark or overcast day can be a great time to shoot out door shots
4. Train yourself to look at shapes, tones and textures in your frame as points of interest. Pay particularly attention to shadows and highlights which will become a feature of your shot.

Using natural light is probably the number one thing you can do to improve your photos.  Turning off the flash, since you’re using lovely natural light, is the second best thing.

Tips:
1. White will always, always work.
2. Square dishes always look classy.
3. Smaller is better — small dishes are easier to fill up with food, which prevents your plate from looking bare.
Settings:
1. ISO: Set to the lowest possible, probably 100
2. Flash: Keep it off. Always
3. Shoot Raw formart and Manual Mode
4. Shutter Speed and Aperture – shutter speed doesn’t matter so much in food photography; it’s your aperture, or f-stop, that’s most important
5. use the rule of thirds and frame your subject
6. 50mm lens
7. Tripod is a must

Baby Photography is one of the most rewarding ways to capture memories of little ones. They are only small once, and there is something incredible about the innocence of this stage.

Tips:
1. Tone Down the Props
2. Take close-up shots of the face
3. Get a good 50mm lens
4. Use the right settings – such as keeping the shutter above 1/250
5. Photograph as early as possible
6. Try starting point of F-Stop 1.8, 2.8, and 3.5
7. Set Your White Balance to Cloudy
8. Use Manual or Spot Metering
9. Shoot Raw
10. ISO = 800
11. Use continuous shooting mode

Children Photography - if you want to make is simple use the Portrait mode on your camera, otherwise follow the below…..

Tips:
1. Aperture Priority Mode
2. Aperture – start at f/5.6 – you can adjust it up and down as you start shooting
3. ISO 200 to start out with
4. Shutter Speed about 1/200th sec
5. Focus Mode – Set your Auto focus to single point focussing
6. Shoot in RAW
7. Flash/Lighting – consider using your flash to give a little fill flash light.
8. Lens 70-200mm lens out which enables you to shoot from a distance or  24-105mm lens to get in nice and close with a wide lens can give all kinds of fun distortion
9. Change the white balance settings to match the predominant source of lighting in the room.
10. Utilize the parents, they can be quite helpful

Taking digital photographs of pets can bring with it a whole set of new challenges. One of the main problems photographers have when taking photos of their pets (especially if they are running) is that they normally move around, during or after they focus on a specific area.

Composition Tips

1. Set camera to Shutter Priority
2. AI Servo AF – will continuously re-focus on the subject as it moves. Keep the AF point (red dot you see when looking through the viewfinder) on the animal and the focus will remain continuous.
3. Do not use flash
4. Getting down on the animals level is a good alternative to taking the photograph from above
5. Choose your location carefully to capture your animals character or personality traits
6. Don’t forget to have fun and encourage the playfullness in your pet
7. Use a lens hood

Tips For Still Pet Shots

1. Prepare props to be used in your photography session
2. Draping should be a plain no reflective material
3. Backgrounds should be simple, and familiar to the pet, in a well lit room
4. Shoot with a defused flash (indoors) No flash needed for outdoor light
5. Set indoor ISO to 400, outdoor ISO 200
6. Set your shutter speed to 1/160-1/250 sec. inside, over 1/500 sec. outdoors
7. Use a 50mm-70mm Fixed lens, or a f/4 or lower capable standard zoom lens
8. Set your cameras aperture to f/3.5-f/4 for a shallower depth of field
9. Use a little fluffy ball on a string to get pet eyes looking at the camera
10. Fill the frame with your pets image and shoot.

Tips For Action Pet Shots

1. Prepare the place for your pet to play
2. Use a longer lens on your camera, 70mm-200mm zooms work well
3. Set your ISO to 200
4. Set your aperture to f/4-f/5.6
5. Set you shutter speed the highest it will shoot with the light meter registering at the center point
6. Let your pet start playing
7. Find a shooting location that gives you an unobstructed view, with good backgrounds
8. Anticipate your pet’s actions taking shots that seem fun and interesting

Zoo Photography requires a DSLR photographer to think about numerous problems that may occur such as:

-Distance between the photographer and the animal.
-Cages and glass windows surrounding the enclosures.
-The movement of the animals.
-Tricky lighting. In most cases zoo’s don’t open until mid morning. By the time you stand in front of the first animal and set your camera up, the lighting can prove to be a challenge. Especially if the animal is in an enclosure that offers both light and shade.
-Other photographers and visitors. You don’t always have a whole area to yourself for setting up a tripod etc.

Camera Settings:

#1 Exposure: 1/250
Aperture: f/5.6
Focal Length: 300 mm
ISO Speed: 200

#2 Exposure: 1/320
Aperture: f/6.3
Focal Length: 400 mm
ISO Speed: 1250

#3 Exposure: 1/320
Aperture: f/6.3
Focal Length: 300 mm
ISO Speed: 800

#4 Exposure:  1/250
Aperture:  f/7.1
Focal Length: 400 mm
ISO Speed: 400

#5 Exposure: 1/160
Aperture:  f/5.6
Focal Length: 90 mm
ISO Speed: 400

The best thing about fire photography is the fact that it can take as much form as possible without looking unusual

1. Do not use flash
2. Experiment with exposure settings
3. Use a longer shutter speed
4. Use a tripod
5. High ISO, faster shutter speed such as 1600. If you don’t have a tripod and decide to use a hand held camera use Low ISO, longer shutter Speed
6. Set the camera to Shutter Priority – will freeze the fire flame, giving your shots a more “liquid” and “fluid” look

The pictures you make of a fire should do the following:
-Show the area or areas in which the fire started or was set.
-Help identify spectators. An arsonist often remains to watch the fire.
-Provide information about the speed of combustion and direction of spreading.
-Show the progressive stages of burning and fire fighting from various angles. If possible, keep a record of  the  time  each  picture  was  made.

The purpose of Crime Scene Photography is to:

1.   To record the original scene and related areas
2.   To record the initial appearance of physical evidence

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)

-Telephoto lenses (135mm, telephoto zoom lens for surveillance photography)
-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
-Scales
-Gray card (to aid in getting accurate exposures)
-Index cards and felt pen
-Flashlight

-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)

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.

PHOTOGRAPHING SPECIFIC CRIME SCENES
Note: Each crime scene has unique characteristics and the type
     of photographs needed will be determined at the scene by the
     investigator familiar with the crime.
     A.   Homicide
          1.   Use color film
          2.   Photographs (example: homicide inside a residence)
               a.   Exterior of the building
               b.   Evidence outside the building
               c.   Entrance into the scene
               d.   Room in which the body was found
               e.   Adjoining rooms, hallways, stairwells
               f.   Body from five angles
               g.   Close-up of body wounds
               h.   Weapons
               i.   Trace evidence
               j.   Signs of activity prior to the homicide
               k.   Evidence of a struggle
               l.   View from positions witnesses had at time of
                    the crime
                    (1)  Use a normal lens
               m.   Autopsy
     B.   Suicide, other dead body calls
          1.   If there is any doubt, photograph the scene as a
               homicide
     C.   Burglaries
          1.   Photographs (residential or commercial burglaries)
               a.   Exterior of building
               b.   Point of entry
               c.   Entrance into scene
               d.   Interior views
               e.   Area from which valuable articles were removed
               f.   Damage to locks, safe, doors, toolmarks
               g.   Articles or tools left at the scene by the
                    suspect
               h.   Trace evidence
               i.   Other physical evidence
     D.   Assaults, injuries
          1.   Photographing injuries
               a.   Face of victim in the photographs
               b.   Bruises
               c.   Bite marks
                    (1)  Orientation shot
                    (2)  Close-up at 90 degree angle to avoid
                         distortion
                    (3)  Ruler in same plane as bite mark
                    (4)  Focus carefully
                    (5)  Bracket exposures
          2.   Equipment
               a.   Always use color film and no filter
               b.   Use color charts and rulers
               c.   Flash unit with diffused lighting
     E.   Traffic Accidents and Hit and Run Cases
          1.   Photographs at the accident scene
               a.   Where the vehicles came to rest and in what
                    position
                    (1)  Photographs should show the relationship
                         of each vehicle with each other
               b.   Damage to vehicles
                    (1)  Technical photographs of damage to a
                         vehicle
                         (a)  Do not take any oblique or corner
                              photographs to show damage for
                              reconstruction purposes because they
                              are not aligned with the axis of
                              the vehicle.  They tend to conceal
                              the amount and direction of the
                              damage.
                         (b)  Take six photographs.  Two from each
                              side in line with the axles.  Take
                              one of each end of the vehicle,
                              straight on.  If possible take one
                              more from overhead
                         (c)  Use electronic flash to fill in
                              shadows within the damage
               c.   Debris or marks on the roadway
               d.   View each driver had approaching the key point
                    of the accident.
               e.   View from the point a witness observed the
                    accident, at witness’ eye level
               f.   Evidence to identify hit and run vehicles
          2.   Night photography
               a.   Use multiple flash, paint with light or
                    available light for extra long skidmarks or to
                    show two vehicles some distance apart

In soccer, much of the action centers around the goal. Position yourself as close as possible to one or the other, shooting with wide apertures and fast shutter speeds for tight action. Use smaller apertures (f8 or f11) and slower shutter speeds (1/250th or 1/125th second) for area coverage of more players as they approach the goal or your shooting position. Remember that soccer teams switch goals at halftime, so you’ll get coverage of both team`s players staying “fixed” at one goal.

Photo Shooting Tip: If you can shoot from near a sideline, try to focus on the zone nearest to you instead of trying to capture action all over the field. When you see players closing in on your position, move or zoom in to get as tight on the action as you can. You may get fewer shots overall, but those that you do get will be “right on the money” close, frame-filling action photos that will get noticed fast.

Digital camera settings

ISO/sensitivity

Set your cameras sensitivity to the highest usable ISO setting to “freeze action.” If it’s bright out, use between ISO 50 and 100 to get the highest possible shutter speed. Use higher ISO numbers only if you have no other choice. Many consumer compact digital cameras produce visible noise in images when using higher ISO.

Use varied shutter speeds

-Fast shutter speeds – to capture stop action.
-Slower shutter speeds – to capture motion.

Use continuous (burst) mode

Continuous modes let you take photos in rapid sequence. Continuous mode is very useful to photograph an unpredictably moving subject, or to capture movement in a series of images.