Forensic Photographer Quotes

Not only may you not enter the state without certification: you are, in the eyes of the state, not dead until you are certified dead; and you can be certified dead only by an officer who himself (herself) holds state certification. The state pursues the certification of death with extraordinary thoroughness—witness the dispatch of a host of forensic scientists and bureaucrats to scrutinize and photograph and prod and poke the mountain of human corpses left behind by the great tsunami of December 2004 in order to establish their individual identities. No expense is spared to ensure that the census of subjects shall be complete and accurate. Whether the citizen lives or dies is not a concern of the state. What matters to the state and its records is whether the citizen is alive or dead.

Harman was right: those pictures were worse. But, leaving aside the fact that photographs of death and nudity, however newsworthy, don't get much play in the press, the power of an image does not necessarily reside in what it depicts. A photograph of a mangled cadaver, or of a naked man trussed in torment, can shock and outrage, provoke protest and investigation, but it leaves little to the imagination. It may be rich in practical information while being devoid of any broader meaning. To the extent that it represents any circumstances or conditions beyond itself, it does so generically. Such photographs are repellent in large part because they have a terrible reductive sameness. Except from a forensic point of view, they are unambiguous, and have the quality of pornography. They are what they show, nothing more. They communicate no vision and, shorn of context, they offer little, if anything, to think about, no occasion for wonder. They have no value as symbols. Of course, the dominant symbol of Western civilization is the figure of a nearly naked man being tortured to death⁠—or more simply, the torture implement itself, the cross. But our pictures of Christ's savage death are the product of religious imagination and idealization. In reality, with his battered flesh scabbed and bleeding and bloated and discolored beneath the pitiless Judean desert sun, he must have been ghastly to behold. Had there been cameras at Calvary, would twenty centuries of believers have been moved to hang photographs of the scene on their altarpieces and in their homes, or to wear an icon of a man being executed around their necks as as an emblem of peace and hope and human fellowship? Photography is too frank to allow for the notion of suffering as noble and ennobling...

Blondie into a highly recognizable rock band? Does a photograph steal your soul? Were the aboriginal people right? Are photographs part of some mystical image bank, a type of visual Akashic record? A source of forensic evidence to examine the hidden, darker secrets of our souls, perhaps? Now, I can tell you that I’ve had my picture taken thousands of times. That’s a lot of theft and a lot of forensics. Sometimes I read things into those pictures that no one else seems to see. Just a tiny glimpse of my soul maybe, a passing reflection on a piece of glass . . . If you were me, by now you might be wondering if you had any soul left at all. Well, I had one of those Kirlian photographs taken once at a new age fair—and there supposedly was my soul, my aura, staring back at me. Yes, maybe there is still some of my soul to go around.

I'm having the university of Keele who have a geographical department, they've stepped forward and volunteered to re-map Auschwitz for me. They've got all the mapping equipment necessary to remap from aerial photographs - Mr Zündel will confirm that we have now the most magnificent area photographs taken by the British, Americans and Germans in 1944 and 1945. There can no longer be any doubt whatsoever what buildings were doing what, and with that tool alone of course you are in a position to discount a very large body of the so called eye witness evidence - I'm not going to say that the people who gave those eye witness reports are liars because calling them liars implies that they had perverted reasons for doing something, they gave the false testimony not for reasons of deliberate perjury but because they genuinely sincerely believe their own illusions, it's a kind of very subtle madness that overcame these people. and eventually, i shall also repeat if i can the magnificent chemical and forensic work that Mr Zündel has done - and with this body of evidence I shall have to persuade Mcmillan and if they are too cowardly to do it I shall have to persuade another English publisher to stand up and publish the result. (David Irving speaking in Canada, 1988 video @36:45s)

Forensic psychiatrists have often pointed to this period in Dahmer’s development—a time when adolescent boys start to sort out their sexuality and what is attractive to them—as when Dahmer began to confuse and combine his feelings of attraction with his interest in the insides of animals. While experimenting with deceased animals, this became intermingled with his sexual development. He may have known at a young age that he was gay, but for fear of upsetting his family, he did his best to repress those feelings. Dahmer may have also realized from an early age that his sexual interests involving viscera were deviant, and that what stimulated him was unusual and likely not what others around him found arousing. At an age when young men are stimulated by sexually graphic photographs or films, dating, and developing an early-stage sex life, Dahmer was dismembering road kill, watching horror movies, and fantasizing about sex with incapacitated men.

I added the police report number, the morgue number, and the Laboratoire de Médecine Légale, or LML, number and experienced my usual wave of anger at the arrogant indifference of the system. Violent death allows no privacy. It plunders one’s dignity as surely as it has taken one’s life. The body is handled, scrutinized, and photographed, with a new series of digits allocated at each step. The victim becomes part of the evidence, an exhibit, on display for police, pathologists, forensic specialists, lawyers, and, eventually, jurors. Number it. Photograph it. Take samples. Tag the toe. While I am an active participant, I can never accept the impersonality of the system. It is like looting on the most personal level.

Critically, the French investigative team would also be given whatever support they required in Ireland, including full access to the original garda murder file. This ensured that the French investigators would have access to all witness statements, forensic reports, the crime scene photographs and the post-mortem examination file of State Pathologist Professor John Harbison. If the French police team had not had access to the Irish files, an investigation would be fatally compromised from the outset. This granting of access was unprecedented. It also confirmed, beyond any doubt, that no action would ever be taken by the DPP over the garda case file in Ireland. Any such action would be critically undermined from the very start by the fact that access to the file had been given to someone outside the Irish judicial process–and would open any future prosecution, even one taken on the basis of new evidence, to an immediate legal challenge based on a breach of process. While it was never confirmed, the astonishing level of access granted to Magistrate Gachon and his police team was clearly the result of consultations between Paris and Dublin at the very highest levels. Even allowing for existing European judicial and police cooperation protocols, journalists covering the case–including myself–felt the level of access given to the French was astonishing.

The photographer had a camera strapped around one leg, attached to a cable that ran up his trouser leg and into a pocket. He could squeeze a bulb in his pocket to take one picture which would be unnoticed in the glare of sparks and the horror generated by the chair.

With the willingness of Time-Life and a team of historians, forensic anthropologists, photographic experts, and cutting edge technology, the means are at hand to recognize the participants in Alfred Eisenstaedt's beloved photograph.

The year I turned thirty a relationship ended. I was very sad but my sadness bored everyone, including me. Having been through such dejection before, I thought I might get out of it quickly. I went on Internet dates but found it difficult to generate sexual desire for strangers. Instead I would run into friends at a party, or in a subway station, men I had thought about before. That fall and winter I had sex with three people, and kissed one or two more. The numbers seemed measured and reasonable to me. All of them were people I had known for some time. I felt happier in the presence of unmediated humans, but sometimes a nonboyfriend brought with him a dark echo, which lived in my phone. It was a longing with no hope of satisfaction, without a clear object. I stared at rippling ellipses on screens. I forensically analyzed social media photographs. I expressed levity with exclamation points, spelled-out laughs, and emoticons. I artificially delayed my responses. There was a great posturing of busyness, of not having noticed your text until just now. It annoyed me that my phone could hold me hostage to its clichés. My goals were serenity and good humor. I went to all the Christmas parties.