.jpg)
http://commons.wikimedia.org/wiki/File:Photography_and_The_Law_(2584948850).jpg
Here is a little about what you are about to witness...
Photography is a double-edged sword. While it has been used to solve heinous crimes, it has also been used to put innocent people behind bars. Most people are unaware of the large role photography plays in the legal system. Photographic technologies have varied over time, but their roles stay the same. These often overlooked technologies allow our justice system to document evidence in crime scene investigation and court cases, in addition to serving as a platform for the identification of people- from the delinquent to the innocent. As it normally goes with human nature, we learn to manipulate the truth; whether to hide the guilt or for personal intrigue. This exhibition attempts to show the progression in a linear format from early crime scene photography to the point where digital image forensics is invented to, help with solving crimes as well as investigate the manipulation and falsification of photographs which have sparked a war between photographic technologies: the ones that show real truth vs. the ones that create false truth. As such, this exhibition’s main purpose is to shed light on the importance that photography and its developing technologies have functioned in today’s legal system.
Back In The Day...
Unknown. "Double homicide pde_1153”. 1916. NYC Municipal Archives. Police Department Archives, New York.
In the early years when photography was developing a sense of power and evolving into a useful technology, police forces started to use it to become more efficient. Because of the refined equipment and photographic processes, police forces expanded and change was in the midst (Tagg, pg. 74). One major use of photography was the ability to enable accurate records that were relatively cheap and fast to create (Tagg, pg. 76).
The image above, found in the NYC Municipal Archives under the Police Department Evidence collection, shows what was a double homicide. The original photograph is actually a glass-print negative. Crime scene investigators documented their findings by taking photographs of Michael Santarto and Joseph Mazzarella who were shot and killed on April 30th, 1916. In this photo, we see a view of the hallway in which Santarto was called out dinner and into the hallway where he was shot and left for dead (“16 Grisliest Crime Scene Photos From 1920s NYC.”). Investigators didn’t move the body or change the crime scene in any way before documenting it with photographs which were used as evidence. This photo was used as an accurate record of evidence and to document the crime in the legal system.
Unknown. "Double homicide pde_1154”. 1916. NYC Municipal Archives. Police Department Archives, New York.http://gothamist.com/attachments/nyc_chrisrobbins/5912crime15p2.jpg
One exhibition from the San Francisco Museum of Modern Art (SFMOMA) called “Police Pictures” is not what it seems. Surprisingly, it is about delight. “Police Pictures” have rather distressing themes to them; including but not limited to lynchings, murders, and mugshots (Intra, pg. 2). However, these distressing themes are morphed into finer things. These photographs are seen as art pieces that are pumped up by the populist doctrines of “reality television” and “real life crime”- all blended into one! (Intra, pg. 2). The photos are posted for the viewer to reflect personally- regardless of their professional level. Oddly enough, the photographs in this category that are considered “good” are the more cruel and unusually violent ones (Intra, pg. 2). The viewers can’t help but be interested and take an immense interest in the obscene photograph.
The second glass-plate negative image presented, found in the NYC Municipal Archives, is part of the same double homicide of Michael Santarto and Joseph Mazzarella. This crime scene was photographed on April 30th, 1916 and is found under the Police Department Evidence collection. This angle shows the extent of the wounds in which the victim (Santarto) faced. It documents the victim's attire, body position, and location of the body. The picture also captures the feet of one of the crime scene investigators who was at the scene. We also see the device that they used to holster the camera above the body to get an overhead view. These images were used as evidence and to document the crime in the legal system.
Unknown. Number 4 Folding Kodak Junior. Kodaksefke.nl. Web. 7 Mar. 2014.http://www.kodaksefke.nl/mediapool/89/892906/resources/big_32034477_0_700-448.jpg
Photographic Technology: Glass Plate Negatives (1851-1920's):
Invented by Frederick Scott Archer, glass-plate negatives made it so pictures were printed onto smooth glass negatives rather than paper ones. This process was similar to William Henry Fox Talbot's Calotype; however, this process allowed images to last longer, look better, and even have one negative become multiplied several times ("A Brief History of Photography."). Glass-plate negatives did not replace the famous daguerreotype; however, it did give it a run for its money. It became one of the most common types of photographs. The photo above is an example of what a glass-plate negative camera would look like, along with some sample images next to it.
Helping To Solve Crimes??
Holliday, George. Rodney King Police Beating. 1991. CNN.com. Web. 7 Mar. 2014. http://i.cdn.turner.com/cnn/2011/OPINION/03/05/deggans.rodney.king.journalism/t1larg.rodney.king.video.ctsy.jpg
Throughout history, we have seen photography become an institutionalized profession. Photography was being used as a source of evidence by a large range of apparatuses such as scientific, medical, political, and legal (Tagg, pg. 66). These institutions pursuing photography as a justified method for gathering evidence gave it a sense of power. With this power that was being associated with it, photographs were then enabled to serve as a function that can act as a kind of proof in the legal system (Tagg, pg. 67). For example, the photo below had immense power when it came to the Rodney King trial. The photos and video stills used in the Rodney King trial were ruled both relevant and authentic- so they were not dismissed as photographic evidence.
Rodney King was an African-American construction worker who gained nationwide recognition after videos and photos came out of him being brutally beaten by Los Angeles police officers on March 3, 1991. Rodney King was on parole at the time for robbery and was beaten after being captured after a high-speed chase (“Rodney King.”). A man named George Holliday was the citizen who captured most of the beating on video from his home balcony. The picture above is a photograph used in the Rodney King trial that illustrated police brutality (Deggans). King is on the ground while several police are seen attacking and beating him.
Ut, Nick. Steven Lerman. 1991. Associated Press Images. VCstar.com. Web. 7 Mar. 2014.
"The production of photographs for court evidence is now standard practice." (Tagg, pg. 77). Two of the many uses for photographs is that they are used to demonstrate the photo-micrographic analysis of forensic evidence and they also present visual evidence to juries in the courtroom of "wounding, injuries or damage," and identification purposes (Tagg, pg. 77). Photos in this court case were viewed as reality and had persuasive power that was seen as truthful. These photos served function as independent proof.
Steven Lerman was the attorney for Rodney King. In the second photo above, Lerman is holding up a photograph of Rodney King that shows the extent of his injuries after the beating he faced by LA police officers. During this press conference at Lerman's Beverly Hills office on March 8th, 1991, citizens started to gain interest in the matter after seeing King's injuries. A doctor was also present at the press conference and he went deeper into the details of these injuries ("Police on Trial"). During the trial, many more photos were shown in the courtroom to serve as evidence.
Fujii, Craig. George Holliday. 1991. Associated Press Images. NyDailyNews.com. Web. 7 Mar. 2014.
Photographic Technology: 1991 Sony HandyCam:
George Holliday (pictured above), is holding his Sony HandyCam. This device was responsible for recording the Rodney King beating. This camcorder was a top-of-the-line product during the time of the incident. It has over 400 lines of resolution and even hi-fi-stereo sound. There were also many setting that offered options to help adjust image quality ("20th 'Anniversary' of the Infamous Rodney King Traffic Stop Today.").
Joe Clayton's photography kit which includes a Nikon D100 to photograph a crime scene. http://science.howstuffworks.com/csi2.htm
The photographic technologies used in the more modern crime scene investigations usually deal with a high quality DSLR cameras with a manual override in case one needs to adjust settings to optimize the potential photo they are going to take. The crime scene photographers also usually pack a tripod for stability, a flash that can be removed off of the camera, and a variety of lenses. Cell phone cameras or point and shoot cameras are used only when conditions of the scene are affected by the weather and immediacy is preferred. For example, if it is raining outside and a photograph of a footprint is needed, the photographer would need to document it a lot quicker if he didn’t have time to choose the proper lens or flash.
Photo of crime scene where Nicole Brown Simpson was found lying dead at her home with multiple stab wounds.1994
This photo shown above is of the crime scene of the Goldman-Simpson murder in which the person implicated in the killings was OJ Simpson, a famed football star. The picture depicts a bloody walkway in which the victim, Nicole Brown-Simpson is found at the end slumped on the ground in a pool of blood. Her friend Ronald Goldman, who was also killed at the scene, lay nearby. The images captured from this scene were known for the large amounts of blood from the victims being stabbed multiple times. The trails of blood can be seen as a form of action painting to those who try and make an artistic connection between all of the blood splatters and the criminals who committed the crime (Intra, 3). Some of the photos taken from violent crime scenes give a surreal feel because some the acts are unbelievable.
Caylee Anthony’s remains shown in court on a monitor of where she was found, credit Joe Burbank, the Orlando Sentinel. http://www.orlandosentinel.com/news/local/casey-anthony-trial/os-caylee-anthony-crime-scene-photos,0,1630574.photogallery?index=orl-casey-anthony-crim6120110609155828
One of the most heart-wrenching murders of recent times was the murder of Caylee Anthony. The two-year-old was thought to have been killed by her mother Casey Anthony but she was later acquitted. The image above is of a crime scene photo being shown to the jury during the 2011 trial of Casey Anthony. As we discussed in class, certain images containing disturbing content of children have been digitally altered to conceal the detail of the child’s skull. In earlier times it could have been argued that evidence such as this would not be presented due to the fact it has artificial manipulations due to the pixilation (Mnookin, 89). An argument could be made that the image could be altered to represent a completely different set of remains.
Sandy Hook Elementary School front entrance where the shooter opened fire with automatic weapons, photo credit Danbury State's Attorney's Office. http://hollywoodlife.com/pics/sandy-hook-elementary-school-photos-shooting-connecticut-pictures/#!7/sandy_hook_18/
Even more tragic than the death of one child are the deaths of multiple children. In December 2012, Adam Lanza, a 20 year-old troubled young man, shot and killed 20 children along with 6 educators at Sandy Hook Elementary in Connecticut. The crime scene images released from this case provide a surreal feeling of multiple firearms found on or near the gunman. The photo above is an image of the front entrance to the elementary school where the gunman shot his way through glass panes and doors. Not only were the door windows shot out but the adjacent walls as well indicating multiple shots in multiple directions. Ironically one of the first uses for photography or recording an image came from the idea of photographing loved ones when they died. Hamilton referred to it as, “Photography preserved the dearly loved’s likeness in perpetuity (Hamilton, 62).
Photo of blood splatter from a crime scene, the blood spread as if it were a painting on a canvas.http://www.a-motherslove.com/gruesome_crime_scene_photos/index.album/pb060054?i=4
In most cases the crime scene photographs have to be curated and decided upon whether they should be admissible. In an article of the Louisiana Law Review, they dealt with a case, State v. Morgan (1947), in which the photos were admitted into the case but deemed an error because they added no extra value to the case. The defendant’s team argued that the photos of the crime were introduced in order to create a prejudice against the defendant. The image above is a image found on a site with a few gruesome images but it is used to show that sometimes the content of what’s on the image can seal a verdict because it can strike an emotional chord with jurors therefore, creating a bias from what they’ve just seen..
Some of the photos being circulated from crimes or atrocities nowadays make it seem as though it is “a perverse competition to show the world, and each other, how ruthlessly barbaric they can be,” (Linfield). The world is becoming desensitized to everything at a more rapid pace. There is very little pixelation in some of the photos being shown even on some news outlets, but they give out a warning that graphic content will be shown. To show it either way, when it is unscensored shows that the public craves these sorts of images no matter the age.
Remains of a hispanic woman on a bench shot by the DC Sniper in 2002, Bill O’Leary, The Washington Posthttp://darkroom.baltimoresun.com/2012/09/washington-dc-sniper-ten-years-later/#2
The photo above was taken when a Hispanic woman was shot and killed by the Beltway Snipers, John Allen Muhammad and Lee Boyd Malvo. These particular crime scene photographs from these cases generally gave little indication of how the crime was committed since they were killed from a distance. The crime scenes occasionally had tarot cards left for police to find as calling cards. It was later discovered later the reason for no bullet casings or other physical evidence of a gunman in the immediate vicinity was that the shooters were within the confines of a vehicle shooting out of the trunk.
They Know Who You Are!
Rouge Gallery. New York Police Station. July 1909. Photographer Unknown. Photograph taken from the George Grantham Bain Collection from the United States Library of Congress.
http://en.wikipedia.org/wiki/File:Rogues_gallery.jpg
Photography has been utilized in identifying and categorizing criminals as early as the 1840's. Police utilized daguerrotypes to take portraits of perpetual offenders for what came to be known as "Rouge Galleries." Above, we see a Rouge Gallery from a New York police station in 1909. The daguerrotype technology allowed for law enforcement to not only document criminals and their acts as well as be able to identify criminals when they commit multiple crimes. However, it was not until 1851 when Fredrick Scott Archer, an amateur photographer in Britain, created the Wet Plate Collodion Process. The Wet Plate process allowed for the possibility of making multiple prints from glass negatives, and it turn stimulated the production and distribution of criminal portraits. This was arguably the beginning of the "big brother" surveillance concerns of the public. Peter Hamilton writing in the, Beautiful and the Damned, explains photographic identification of criminals as, "a mode of surveillance through photography in which faces are captured in order to classify and control them within an archive or 'database'." Hamilton's ideas have been continually proven accurate with the advent of new photographic or video technologies continuously replacing the former.
Photo lineup in a Dallas Police Headquarters. http://www.npr.org/2011/07/06/137652142/to-prevent-false-ids-police-lineups-get-revamped.
Over 100 years after its infiltration into the legal system, photographic identification in the legal system is far from fool proof, even calling it justice is controversial. The technologies used to capture photographs will (likely) never be able to fulfill the desire for immediacy fully. Nothing can escape being in the present moment, the human brain can only hold a memory so well; even when it is being helped along by a photograph. That helping along is exactly what the idea behind a photo lineup is, an example of such being pictured above. A photo lineup is used to help identify a criminal; a witness to the crime will be shown multiple portrait style photographs of individuals who have similar appearances and the idea being that the witness can pick out the picture of the suspected accomplice. Yet, this very rarely works as it is intended. In fact, according to the American Judicature Society, misidentification by eyewitnesses was the leading cause of wrongful conviction in more than 75 percent of the first 183 DNA exonerations in the United States. Perhaps, Susan Sontag's views that, "Photographs furnish evidence...the camera record incriminates." is a truth that needs to be better evaluated when it comes to putting innocent men and women behind bars for no more of a reason than the lack of immediacy in photographs.
http://www.gait.ecs.soton.ac.uk/database/images/still_photo_examples/011z029pf.jpg. The digital camera used to take the stills was a Sony DSC-F505V. University of South Hampton.
Photographic technologies are ever evolving to help advance and propel the legal system. An instance of this is pictured above. The above photograph was taken while research was being done for the newest form of photographic identification technology was being created by the FBI, the Automatic Gait Recognition for Human ID at a Distance Program. This technology will allow for any member with access to be able identify individuals from far distances with a photographic radar gun, similar to the ones used to catch speeding cars. The technology will document and be able to read individual gait differences and use that data to identify people. The idea that someone's movements, as supposed to appearances which is what has been used in the past, can be remediated through a technology and then remediated again into a database of identities would make some a little nervous. In this instance, the medium proves the power of photographic technologies more so than the messages itself.
Cell Phones You Say??
The recent rise of photographic technologies implemented in cell phones has created a firestorm of implications in the legal system. The sheer number of citizens with the power of a camera in their hands at all times has sky-rocked in recent years; every one these camera wielding citizens poses a massive amount of responsibility that many are not aware of. Not only does recent cell phone photographic technology allow for immediate and accessible capturing, it also allows for immediate sharing across the world. Cell phones have hit fast-forward on the desire for immediacy and it doesn’t appear to be slowing down anytime soon. This technology is a constant reminder to society that there actions could be documented at any time, as well as a reminder that they themselves can be vigilante journalists and hold law enforcement accountable. As Susan Sontag, a New York Times writer, wrote in her article Have Camera, Will Shoot, and Shoot, “Advances in technology have made it so easy to snap photos and to e-mail them, instantly, to anyone anywhere that it has become customary to document every minor, mundane detail of life.” It is this desire for immediacy that it is being documented and shared across all platforms that has left policy makers turning in their sleep. The legal system has yet to fully grasp how to handle the incredible speed in which photographic technologies are evolving. It has been a continuous evolving door between prohibiting and embracing the technology.
http://www.timesunion.com/news/crime/article/Mass-court-Subway-upskirt-photos-not-illegal-5290552.php
The above is a remediation of the news coverage regarding the arrest of a Mr. Michael Robertson who was arrested in August 2010 for using his cellphone to take pictures up women’s skirts on a subway in Massachusetts. His arrest was recently overturned by the Supreme Court when the court decided that there was no law in place that allowed them to reprimanded this man using his access to photographic technology to become a ‘peeping tom.’ The court was quoted saying that state law, "does not apply to photographing (or videotaping or electronically surveilling) persons who are fully clothed and, in particular, does not reach the type of upskirting that the defendant is charged with attempting to accomplish on the MBTA." The state law is evolving at a slower pace than the rise of photographic technologies and there are very real consequences for this; this is just one of those instances. The public and officials were outraged at the decision of the court. The court itself admitted to being upset that such a hideous action was approved of by the law. Gina Scaramella, executive director of the Boston Area Rape Crisis Center, said such photos are a serious invasion of privacy. She said the law needs to catch up to technology. The legal system has a long uphill battle ahead of itself in order to accommodate the rise in cell phone photographic technologies.
http://www.poynter.org/latest-news/mediawire/211087/how-the-ap-verified-photo-of-boston-bombing-suspect-leaving-scene/
The above photo was circulated by the FBI and the Associated Press following the bombing of the Boston Marathon in hopes of catching the suspect; he was captured days later. The image was captured from a bystander’s cell phone and later turned over to the FBI. This photograph acts as proof that we, cell phone photographers, are acting everyday as criminal investigators and detectives. The photographic technology we have access to within our cell phones allows for us to capture digital photographic evidence that is proving to be just as valuable as DNA, ballistics, and eyewitness testimony. We, vigilante cell phone journalists, are contributing the legal system more than ever with our access to cell phone photographic technologies.
How Do You Know What's True or False???
Below are examples of how Digital Image Forensics is used more recently in history. There are examples of investigative use, how the media uses it, as well as how it is used in lawsuits. there are many different technologies that fall under Image Forensics. The main ones that are used are softwares on computers and programs to edit.
With Amido Black
Enhanced with Software
Berg, Erik C. "Legal Ramifications of Digital Imaging in Law Enforcement." FBI. FBI, 01 Mar. 2011. Web. 09 Mar. 2014.http://www.fbi.gov/about-us/lab/forensic-science-communications/fsc/oct2000/berg.htm/#Image%20Tampering
Digital Forensics can be thought of in many ways. "Modern software has made manipulation of photographs easier to carry out and harder to uncover than ever before,"(Farid, Hany), which makes it difficult to use photographs or images in legal cases. The above images are of a palm print belonging to a certain individual believed to have committed a murder in 1995. This palm print photograph was enhanced using software on a computer so that investigators could identify him. The case began with the discovery of Dawn Fehring's body "raped and strangled to death," (Kohn, David) in her apartment. The apartment was cleaned completely, so there was no evidence left behind. All that the investigators could find was a "bed sheet, with some bloody smudges on it, like someone had wiped his hands," (Kohn, David). Because of the software used to enhance the print, officers were able to make an arrest.
"Forensic Collection and Analysis." Barrister Digital Solutions. N.p., n.d. Web. 09 Mar. 2014.http://www.barristerdigital.com/services/forensic-collection-and-analysis/
Erik Berg is the forensic expert who helped during 1995 in the Fehring case. He has a passion for computers and because of this he was working on developing a software to enhance crime scene photos. "He used his computer to remove the extraneous patterns, and so make the fingerprint more apparent – enough for an expert to make a match," (Kohn, David). Because of this, they were able to identify Eric Hayden and arrested him for the murder of Dawn Fehring. Since this case, technology has made its entry into the forensics world, and crimes have become both easier and harder to solve. Sometimes this technology has to be used to prove authenticity of images or it is used to identify people.
Beaujon, Andrew. "World Press Photo: ‘No Evidence of Significant Photo Manipulation’ in Award-winning Shot | Poynter." Poynter. N.p., 15 May 2013. Web. 09 Mar. 2014.http://www.poynter.org/latest-news/mediawire/213411/world-press-photo-will-investigate-paul-hansens-award-winning-shot/
The above image is Paul Hansen's award winning shot of the year in the World Press Photo of the Year 2012. There was much debate on whether the image was authentic or not. Digital Image Forensics was used to help verify that. According to Dr. Hany Farid & Kevin Connor, they reviewed the RAW image that was provided and the published photograph and concluded that the photo was retouched but there is no evidence of photo manipulation, (nppa.org). Farid's process for finding changes in lighting in an image was most likely used here to detect what was changed about this image. Because of where image forensics is now, verifying any image is not an issue. A question that is raised however, is how 'expert' is the expert analyzing the image?
Jan Ulrich shaking hands with female cyclist (2008) http://skyvington.blogspot.com/2008/06/autopsy-of-fake-photos.html
Studying photo fakery is a task for those attentively paying attention to the apparent nuances of an image. There are instances of tampering however, when eyesight alone is not enough. The above photograph published in, The Scientific American, depicts cyclist, Jan Ullrich shaking hands with a female which suggests that this was a mixed gender event, however, no other such photograph exists raising doubts as to the validity of the photo. Hany Farid's digital image forensics technology is used to analyze the photo so to conclude on its authenticity.
Farid's software unearths inconsistencies in light-source direction, cloned shrubs, the added fire hydrant, and spoiled pixel correlations pertaining to the female's doctored helmet-- otherwise rendering the photograph a complete and utter fake. Though this type of detection-technology is now available, Farid warns in this article that "forgers will work on finding ways to fool each algorithm and will have at their disposal ever more sophisticated image manipulation software produced for legitimate purposes."
An image using Farid's technology, date unknown. http://www.bountyfishing.com/blog/?p=77
Hany Farid's technology has extended to beyond usage within federal agencies. Interestingly enough, he sold his technology to Canadian company, Bounty Fisher. According to Farid, selling his software to them "epitomizes the future." Bounty Fishing holds annual photo competitions of individuals submitting photos of their latest fishing catch. Farid's digital forensics software is used to detect, like in the above photo, if the fish caught is actually a live fish or a digitally enhanced one through using light and shadow tools to trace the validity of the photograph procured.
 | ||
Patrick Cariou's, Rasta (2000), and Richard Prince's, Canal Zone (2008) http://99designs.com/designer-blog/2013/04/19/5-famous-copyright-infringement-cases/
The significance of this case lies in the original decision ruled by the court in favor of the French photographer, Cariou. This was an instance of copyright infringement that put into question the definition of 'fair use' in original work. What had occurred was that the artist, Richard Prince exhibited 41 images from Cariou's book of photography and altered the photos enough to call them 'appropriations' of the photographer's work and therefore were not direct copies. The similarity though, was too great for the initial court ruling ending in favor of Cariou and in an appeal for Prince. Since April of last year, the initial court ruling was overturned in favor of Prince under claims that the image was indeed "aesthetically different" and therefore viable under the fair use agreement.
Ellison, Kaitlyn. "Designer Blog." Designer Blog RSS. N.p., 19 Apr. 2013. Web. 08 Mar. 2014.http://99designs.com/designer-blog/2013/04/19/5-famous-copyright-infringement-cases/
Photography is also used for, "creating more heroic-looking poses," (Farid, Hany), in this case, for President Obama. The photo on the left was taken by AP Photographer Mannie Garcia, then later the image on the right is a changed version of the photograph done by Shepard Fairey. Fairey was sued by AP for using the photo by Mannie, claiming that they should get compensation for Fairey's use of the photo. The image to the right may or may not have been manipulated on a computer but it still represents digital image forensics, because it has to be verified for authenticity. This image poses questions about ownership of a photograph, photo manipulation, portraiture and its importance as well as photojournalism as art.
Models Raquel Zimmerman & Liya Kebede for Lanvin F/W 2008, photo by Steven Meisel
http://modelcouture.livejournal.com/1010257.html
Retouching photographs is a staple in the fashion and beauty industry. The above campaign ad shot by Meisel however, incorporates retouching in a rather unique way. Pascal Dangin is the master behind such image enhancing, who instead of altering the image for the sake of complying to the scrutiny of beauty, actually incorporates his digital 'brushstrokes' to create the photographer's artistic vision--in this case, Meisel's. Disfiguring is not the aim, according to the digital genius, Dangin, who uses Photoshop in all his commissioned retouches. By enhancing each and every individual pixel in a photograph, Dangin is creating an oxymoronic hyper reality of what was actually shot: a false truth. Such ideology behind the process of photographic enhancing attributes to the notion of photography as a double-edged sword, with the exception that perhaps photomanipulation, as prominent as it is becoming, has evolved from being at odds with itself to being deemed as an art form.
Increasingly, the number of doctored photographs in the media continues to grow as digital enhancing techniques become sleeker. Hany Farid asserts this by saying, "The fact is that many of the images we consume daily have been manipulated and altered." This was the case in 2011 when New English Teas in the U.K. used the bottom photograph as part of their marketing campaign. Temple Island, an independent photographer who snapped the top photo, sued New English Teas on account of copyright infringement. According to the lawsuit, Temple Island had shot the top photograph and added the monochrome aesthetic so to highlight the red of the bus. New English Teas on the other hand, took the image, cropped and redistributed for mass distribution. The overseeing Judge ruled in favor of the photographer after having evidence that the distributed photo had been altered on multiple occasions via Photoshop while simultaneously using other photos, also taken by Temple Island. The court deemed that in New English Teas' attempts to drastically alter the photo, by keeping the same stylistic elements, they ultimately failed to do so.
Cheng, Roger. "Apple May Have Manipulated Images in Samsung Case." CNET News. CBS Interactive, 19 Aug. 2011. Web. 09 Mar. 2014.http://news.cnet.com/8301-1035_3-20094830-94/apple-may-have-manipulated-images-in-samsung-case/
Last but definitely not least, is a case of digital image forensics between the companies Apple and Samsung. Recently there was a lawsuit from Apple against Samsung for using similar technologies in their new products. During the lawsuit, rumors had started that Apple went as far as manipulating images online so that the Samsung Galaxy S looked extremely similar to the Apple iPhone 3. Whether these claims came out to be true or not, one can see here that digital image forensics would be used to authenticate those images and use them in the lawsuit to try to possibly throw the case.
Brought To You By
Group 5!
Each of us played an important role in putting this exhibition together for all of you today. Josie contributed photos used as evidence as well as the early history behind photography in law. Josie also held the important responsibility of keeping a timeline for the group and holding our members responsible to it. Kelli brought together how photography is used to identify individuals in law enforcement as well as some intriguing stories about the impacts of the legality surrounding the newly popularized cell phone photography. Kelli also created the skeleton for the blog concept. Lillibeth and Natasha focused on how digital forensic imaging was and is used to help solve crimes or even lawsuits. Natasha was the creative mind behind stylizing and formatting the aesthetics of the blog. Joseph put together modern images about photography in criminal cases and evidence while not only showing bodies on the scene, but also how technology is used to censor minors in the photos. There were setbacks of course but at the end, we all did our fair share of work and brought to you an exquisite exhibition full of murders, mystery and.....well maybe not mayhem.
Works Cited
"16 Grisliest Crime Scene Photos From 1920s NYC." Gothamist. N.p., n.d. Web. 20 Feb. 2014. <http://gothamist.com/2012/05/09/14_grisliest_crime_scene_photos_fro.php#photo-9.>
"20th ‘Anniversary’ of the Infamous Rodney King Traffic Stop Today." 20th ‘Anniversary’ of the Infamous Rodney King Traffic Stop Today. N.p., 3 Mar. 2011. Web. 06 Mar. 2014. <http://totaltrafficla.com/2011/03/03/20th-anniversary-of-the-infamous-rodney-king-traffic-stop-toda/7824>.
"A Brief History of Photography." A Brief History of Photography. N.p., n.d. Web. 06 Mar. 2014. <http://authentichistory.com/1865-1897/5-technology/1-photography/index.html>.
Beaujon, Andrew. "How the AP Verified Photo of Boston Bombing Suspect Leaving Scene | Poynter." Poynter. N.p., 22 Apr. 2013. Web. 11 Mar. 2014. <http://www.poynter.org/latest-news/mediawire/211087/how-the-ap-verified-photo-of-boston-bombing-suspect-leaving-scene/>.
Beaujon, Andrew. "World Press Photo: ‘No Evidence of Significant Photo Manipulation’ in Award-winning Shot | Poynter." Poynter. N.p., 15 May 2013. Web. 09 Mar. 2014.
<http://www.poynter.org/latest-news/mediawire/213411/world-press-photo-will-investigate-paul-hansens-award-winning-shot/>
Berg, Erik C. "Legal Ramifications of Digital Imaging in Law Enforcement." FBI. FBI, 01 Mar. 2011. Web. 09 Mar. 2014. <http://www.fbi.gov/about-us/lab/forensic-science-communications/fsc/oct2000/berg.htm>
Bouchard, Guillaume. Bounty Fishing. 29 October 2007. 10 March 2014.
Burbank, Joe. "Pictures: Caylee Anthony Crime Scene Photos - Orlando Sentinel." Pictures: Caylee Anthony Crime Scene Photos - Orlando Sentinel. Orlando Sentinel, 9 June 2011. Web. 9 Mar. 2014.
Cheng, Roger. "Apple May Have Manipulated Images in Samsung Case." CNET News. CBS Interactive, 19 Aug. 2011. Web. 09 Mar. 2014. <http://news.cnet.com/8301-1035_3-20094830-94/apple-may-have-manipulated-images-in-samsung-case/>
Collins, Lauren. "Pixel Perfect." 12 May 2008. The New Yorker. 6 February 2014.
Deggans, Eric. "How the Rodney King Video Paved the Way for Today's Citizen Journalism." CNN. Cable News Network, 07 Mar. 2011. Web. 20 Feb. 2014. <http://www.cnn.com/2011/OPINION/03/05/deggans.rodney.king.journalism>.
Earl, William. "Sandy Hook Elementary School Shooting Photos." Hollywood Life. Hollywood Life, 14 Dec. 2012. Web. 9 Mar. 2014
Eng, Paul. "Identifying People by the Way They Walk." ABC News. ABC News Network, 25 Oct. 2014. Web. 11 Mar. 2014. <http://abcnews.go.com/Technology/FutureTech/story?id=97779>.
Farid, Hany. "Digital Image Forensics." 2008: 66 & 71.
Fujii, Craig. George Holliday. 1991. Associated Press Images. NyDailyNews.com. Web. 7 Mar. 2014.
"Forensic Collection and Analysis." Barrister Digital Solutions. N.p., n.d. Web. 09 Mar. 2014. <http://www.barristerdigital.com/services/forensic-collection-and-analysis/>
"George Holliday, the Man with the Camera Who Shot Rodney King While Police Beat Him, Got Burned, Too." NY Daily News. N.p., 20 June 2012. Web. 06 Mar. 2014. <http://www.nydailynews.com/news/national/george-holliday-man-camera-shot-rodney-king-police-beat-burned-article-1.1098931>.
"Gruesome Crime Scene Photos." Gruesome Crime Scene Photos. N.p., n.d. Web. 9 Mar. 2014.
Hamilton, Peter. Roger Hargreaves. “The Beautiful and the Damned.” The Beautiful and the Damned: The Creation of Identity in 9th Century Photography. p 1-15 (Ch. 1). 2001
Harding, Collin. "National Media Museum Blog." National Media Museum Blog. N.p., 13 Nov. 2013. Web. 11 Mar. 2014. <http://nationalmediamuseumblog.wordpress.com/2013/11/13/a-z-of-national-photography-collection-m-is-for-mugshots/>.
Holliday, George. Rodney King Police Beating. 1991. CNN.com. Web. 7 Mar. 2014.
Intra, Giovanni. "Police Pictures: The Photograph as Evidence. " Afterimage. 25.n5 (March-April 1998): 12(3). Expanded Academic ASAP. Gale. UC San Diego. 14 Feb. 2008 <http://find.galegroup.com/itx/infomark.do?&contentSet=IAC-Documents&type=retrieve& tabID=T003&prodId=EAIM&docId=A20582796&source=gale&srcprod=EAIM& userGroupName=ucsandiego&version=1.0.>
Kohn, David. "The Hidden Clue." CBS News. N.p., 19 Nov. 2002. Web. 08 Mar. 2014. <http://www.cbsnews.com/news/the-hidden-clue/>
Layton, Julia. "How Crime Scene Investigation Works." HowStuffWorks. HowStuffWorks.com, 02 Dec. 2005. Web. 10 Mar. 2014.
Linfield, Susie. "Advertisements for Death." The New York Times. The New York Times, 27 Jan. 2014. Web. 10 Mar. 2014.
Mette, Holger. Travel Photography Review. 30 January 2012. 9 March 2014.
Mnookin, Jennifer. “The Image Truth: Photographic Evidence and the Power of Analogy”. Yale Journal of Law and the Humanities. Winter 1998. p. 27-43. Print
O'Leary, Bill. "Washington DC Sniper Ten Years Later." The Darkroom Exploring Visual Journalism from the Baltimore Sun RSS. The Baltimore Sun, 28 Sept. 2012. Web. 9 Mar. 2014.
"Police on Trial." Ventura County Star. Scripps Interactive Newspapers Group, n.d. Web. 20 Feb. 2014. <http://www.vcstar.com/photos/galleries/2012/apr/28/police-trial/42798>.
Pratt, Mark. "Mass. Court: Subway 'upskirt' Photos Not Illegal." Times Union. N.p., 7 Mar. 2014. Web. 11 Mar. 2014. <http://www.timesunion.com/news/crime/article/Mass-court-Subway-upskirt-photos-not-illegal-5290552.php>.
"Rodney King." Wikipedia. Wikimedia Foundation, n.d. Web. 19 Feb. 2014. <http://en.wikipedia.org/wiki/Rodney_King>.
"Rogues Gallery." Wikipedia. Wikimedia Foundation, 02 Oct. 2014. Web. 11 Mar. 2014. <http://en.wikipedia.org/wiki/Rogues_gallery>.
Schuster, Beth. " Police Lineups: Making Eyewitness Identification More Reliable." Police Lineups: Making Eyewitness Identification More Reliable. N.p., 1 Oct. 2007. Web. 11 Mar. 2014. <http://www.nij.gov/journals/258/Pages/police-lineups.aspx>.
Tagg, J. (1993). The Burden of Representation. Minneapolis: University of Minnesota Press.
Unknown. "Double homicide pde_1153”. 1916. NYC Municipal Archives. Police Department Archives, New York.
Unknown. "Double homicide pde_1154”. 1916. NYC Municipal Archives. Police Department Archives, New York.
Unknown. "Number 4 Folding Kodak Junior". Kodaksefke.nl. Web. 7 Mar. 2014.
Ut, Nick. Steven Lerman. 1991. Associated Press Images. VCstar.com. Web. 7 Mar. 2014.
West, Vanessa. "Crime Scene Photos." Crime Scene Photos. N.p., 19 Sept. 2012. Web. 9 Mar. 2014.
"World Press Photo Verifies Paul Hansen's Winning Picture." National Press Photographers Association. nppa.org., 14 May 2013. Web. 09 Mar. 2014. <https://nppa.org/news/world-press-photo-verifies-paul-hansens-winning-picture>
|
