LOOKBACK
of key evidence, and the sequence of events. It was one of the first times British jurors were able to visualise a crime scene directly, rather than relying on verbal description alone. The post war decades brought further professionalisation. Portable flash units, 35mm film, and eventually colour photography allowed officers to capture scenes with greater accuracy and detail. Colour, initially controversial, soon proved essential for documenting injuries, bloodstain patterns, and subtle trace evidence. A defining moment came with the 1953 investigation into John Christie’s crimes at 10 Rillington Place. The photographs taken inside Christie’s flat, showing concealed bodies, ligature marks, and the claustrophobic environment, became some of the most widely circulated crime scene images of the era. They demonstrated how photography could corroborate pathology, support witness testimony, and expose offender behaviour. The arrival of digital photography in the 1990s transformed policing more dramatically than any development since photography’s introduction. Officers could review images instantly, retake shots when necessary, and store hundreds of photographs without worrying about
film limitations. Metadata provided automatic time and date stamping, which strengthened evidential integrity. One of the first major UK cases to demonstrate the power of digital imaging was the 1999 Soho nail bombing. Digital photographs of the blast scene were used to map debris fields, reconstruct the device, and support counter terrorism analysis. The speed at which images could be shared
“A good crime scene photographer,
whether in 1890 or 2026, must understand sequencing, perspective and capturing the scene before it is disturbed.”
across investigative teams represented a significant leap in operational capability. Digital photography also played a decisive role in the 2005 London bombings. High resolution images from the scenes at Aldgate, Edgware Road, and Tavistock Square were used to identify device components, trace explosive signatures, and reconstruct the attackers’ movements. The ability to capture, store, and distribute images at scale allowed investigators to coordinate across multiple scenes in a way that would have been impossible in the film era. In the twenty first century, crime scene photography sits within a broader suite of
digital forensic tools. Investigators now use 3D laser scanners, drones, bodyworn video, and high dynamic range imaging. A striking example of this modern capability came in the 2017 Manchester Arena attack, when 3D scene mapping and digital photography were used to reconstruct the blast radius, model the bomber’s position, and support both the criminal investigation and the public inquiry. The contrast with early crime scene photography is stark. What once required a single static image now involves dynamic, multi layered reconstructions that allow investigators and juries to walk through a scene long after it has
been released. Despite the technological leap, the fundamentals remain unchanged. A good crime scene photographer, whether in 1890 or 2026, must understand sequencing, perspective, and the importance of capturing the scene before it is disturbed. They must work methodically, maintain scene integrity, and produce images that can withstand cross examination. The camera may have changed, but the evidential burden has not. What has changed significantly is the operational environment. Victorian photographers worked in relative isolation, and their images were rarely
25 | POLICE | FEBRUARY | 2026
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