By Jarrett Hallcox
Nationwide Forensic technological know-how Institute directors invite readers into what the Washington put up calls "the Harvard of hellish violence"-the merely hands-on CSI institution of its style the place scholars are educated in burial restoration with real human continues to be. With unique entry to a global in general off-limits to the general public, this can be the 1st publication to move behind the curtain of the ten-week path that discloses the uncensored realities of burial exhumations and the interesting artwork of forensic research.
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Additional resources for Bodies We’ve Buried: Inside the National Forensic Academy, the World’s Top CSI Training School
After the initial crime scene investigation was over and the pictures had been developed (this was before digital cameras), Harold, while carefully inspecting the photograph, noted a shoe print that did not match any of the crime scene investigators’ shoes. This became a key piece of evidence in solving the crime. It has been a longtime hope of mine that we could put together an in-depth course that would allow hands-on experiences for police officers involved in crime scene searches. This course is the fulfillment of that dream.
Second, and this is where the karate chop side of the hand comes into play, the perpetrator sometimes will look into the windows of a residence the day of the crime, or even before if they have cased the residence. How do you look into the windows of a house from the outside? If you’re like most people, you cup your hands around your eyes and press the sides of your hands to the window as you peer through, leaving a curled version of the karate-chop side of the hand imprinted on the window. Outside light fixtures and windows are two places that prints should always be looked for and the reason we stress the importance of major case prints.
What Harold was saying is that for those of us who investigate crime scenes, when you arrive at the scene and get out of your car, take a picture before ever stepping into or on the scene. For example, let’s take a house: When you get to the scene, take a picture of the house. Walk up to the front porch and take a picture. Open the door, and before stepping inside, take a picture of the hall or room. Never go into a room before you have taken a picture. As you leave the scene, repeat the picture-taking in reverse order.