Senior Capstone Photography Presentation

Hollie Rawl University of Dayton 2007

B.F.A Photography, B.A. Criminal Justice Studies

Sociology Minor

Nothing has such power to broaden the mind as the ability to investigate systematically and truly all that comes under thy observation in life.

-Marcus Aurelius

H o l l i e R a w l

Marcus Aurelius once said [Slide 2]:

Nothing has such power to broaden

the mind as the ability to

investigate systematically and

truly all that comes under thy

observation in life.

When it comes to my reasons for photographing,

his statement could not hold truer. An extremely curious

person at heart, and also one who cannot accept change

without difficulty, my life seems to center around the

necessity to capture as many moments of time as

possible with my camera. I most definitely agree that

developing a greater understanding about the world in

which we live can only be achieved through intense

observation and investigation; thus, documentation in

this form is, for me, key. Photographic documents

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+provide everlasting proof of the essential who, what,

where, when, and how. So, although the famous

statement "seeing is believing" can be debated, I whole-

heartedly believe that "seeing is truly understanding."

Staring endlessly at produced images I can

simultaneously visually compare the past and present,

for each one holds its own secret, its own record of both

the positive & negative and personal & public aspects of

life, waiting to be discovered. But, perhaps even more

importantly, I can use the photographs to show others

what I've seen, experienced, and learned during my

compulsive observation of the world. This is the

fascination.

So, regardless of whether I'm photographing [Image

1] family, [Image 2] friends, or [Image 3] the intricacies

of the inner [Image 4] city, it is all done with a [Image 5]

distinct purpose and style. However, there is neither end

nor limitation to what and where I will photograph. For

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example [Image 6], one night, quite perturbed by loud

noises emanating from the hallway at 3am during a

midterm week, and unable to fall back asleep, I decided

to make the most of the moment and grabbed my camera.

[Image 7] Like a spy, I held it up to the door's peephole

and started snapping photographs. Eventually contented

by the quirky photographs and the random stories I

heard and fights I witnessed, I crawled back into bed

[Image 8].

Providing the ability to figure out who was outside

my apartment door and why there was so much

commotion was my camera [Image 9]with its now more

than 60 images from this venture. An interesting

experience, it was one that most definitely demonstrates

my curiosities towards social interaction [Image 10] and

my love for investigation and the solving of mysteries.

M y photographing of unique spur of the moment

events does not stop there. I have been known to

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photograph car accidents as I drive by, or [Image 11] the

occasional burning cars found on the side of the road. I've

also scouted out more catastrophic events [Image 12],

such as the house fire that occurred on the 100 block of

Stonemill just a few months ago. That night, intrigued

by a thick cloud of smoke that consumed the Dayton

skyline, I rushed to my house, grabbed my camera, and

raced down the street. [Image 13] While the event was

nothing I would ever wish upon anyone, witnessing a

home being consumed by flames in below freezing

temperature was a beautiful, yet horrifying sight that

spurned emotions of loss, bewilderment, determination,

strength, and survival among all those present [Image

14]. Observing such beautiful devastation either first

hand or through photographs truly broadens the mind

and reminds us of the fragility of life; [Image 15] yet

another reason as to why I find it so imperative to

photograph.

Image 11

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Image 14

Image 15

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[Blank Slide]

It is this love for life combining with my passion

for justice that has driven me to pursue a double degree

here at the University of Dayton, one being the Bachelor

of Fine Arts in Photography, the other being a Bachelor

of Arts in Criminal Justice accompanied by a sociology

minor. The knowledge derived from these two

drastically different degree programs offer the unique

opportunity to pursue a career as a visual criminologist

and/or as a forensic photographer for a local PD CSI unit

and later the FBI. [Image 16]

One grand opportunity I took full advantage of in

order to expand my knowledge more in the direction of

these future career goals was enrollment in classes at

Chaminade University of Honolulu, the center of the

nation's top ranked forensic science and criminal justice

degree programs. The classes I took that semester

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Image 16

exposed me to the methodology and practice of forensic

photography more quickly and proficiently than a local

Ohio internship program.

[Image 17] We covered various camera and lighting

techniques, including how to photograph [Image 18]

green and [Image 19] blue ultraviolet rays as well as

[Image 20] infrared light; a skill that becomes helpful in

the investigation of security sensor breech crimes [Image

21], as well as bullet trajectory tracking.

Our access to the chemicals Luminal and BlueStar

[Image 22, 23] allowed us the possibility to photograph

bloodstain patterns on clean surfaces where blood is not

otherwise visible.

And, due to our professor's active employment

with the Honolulu Police Department, we learned how to

properly identify and document actual evidence from

past cases, such as [Image 24, 25, 26] ammunition,

[Image 27, 28] blood splatter, [Image 29, 30]

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Image 17

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Image 22, 23

Image 24, 25, 26

fingerprints, [Image 31, 32] guns, [Image 33, 34] human

thumbs and [Image 35, 36] fingers, and [Image 37]

knives.

Other days we set up mock crime scenes, such as

this one [Image 38, 39], in order to learn how to

photograph such specific crimes and scenes as: arson and

fire scenes, autopsies, [Image 40, 41] drug labs, [Image

42, 43, 44] gunshot and stab wounds, homicides, [Image

45, 46] injuries from domestic violence and assault,

property crime, traffic collisions, and suicides.

Needless to say, this course solidified my interest

in the field.

[Blank Slide]

Whilst photographing crime scenes prepares us to

dutifully uphold justice and confirm the innocence, or

perhaps guilt, of suspects, studying past cases proves

crucial in understanding current day motivations for

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Image 31, 32

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Image 45, 46

criminal behavior. Thus, in order to investigate the

various facets of past societal life and death through

photography, we must rely on processes that do not

require access to current day events.

For example, I am quite intrigued by criminality and

the deviant behavior of serial killers [Image 47]. I have

found that the best way in which to then study the lives

of serial killers post-conviction is through highlighting

key aspects of each [Image 48] convict's case using the

alternative Van Dyke Brown photographic process. This

way, I could form a visual image depicting [Image 49]

information about them without using a camera. The men

whose criminality I investigated through this process

were [Image 50] “The Boston Strangler,” Jack the

Ripper, “The Son of Sam,” and Ted Bundy.

[Blank Slide]

A successful career most definitely relies on

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vigorously studying knowledge pertaining to the defined

field of interest, such as I have done through those

forensic and criminal portfolios, yet we must realize that

although intensely observing the world at large in this

way most evidently broadens the mind as Aurelius

suggested in his quotation, "Nothing has such power to

broaden the mind as the ability to investigate

systematically and truly all that comes under thy

observation in life," it is essential to remember that

opening ones mind must also rely on one's ability to

carefully observe personal weakness. For not finding

fault in oneself and proceeding to muster the courage to

do everything possible to improve this weakness, denies

oneself the ability to truly accept the faults of others and

thus observe the world unconditionally.

For this reason I devoted an entire semester to the

development of a [Image 51] portfolio that exemplified

the strengthening of weak technical photography skills.

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Image 51

By improving these skills I am not only improving my

photographs, but am further increasing the impacting

effect of my images on others by providing them with a

clearer view of those things which I find crucial to

visually share.

[Slide 44] Photographer Bill Brandt was once

quoted as saying, "A photographer must be prepared to

catch and hold on to those elements which give

distinction to the subject or lend it atmosphere." [Image

52] However, at the time of this project, perhaps, for

me, the most challenging aspect of photography, and my

greatest weakness, was exactly that which Brandt

specifies as important during any photographic session,

[Image 53] the act of grasping such elements as ambient

light and space to distinctly and graphically transform a

possibly otherwise dull subject. [Image 54]

These old windows had an interesting, aesthetic

quality that I found quite intriguing, yet how to visually

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disclose this opinion to others was a challenge that

demanded the ever-present necessity of perfecting my

weakness. Thus, focusing on the graphic qualities of line

in composition as well as taking Brandt's advice and

considering other "elements which give distinction to the

subject or lend it atmosphere" became key in meeting this

challenge. [Image 55]

Since the completion of my windows project I have

continued taking full advantage of all opportunities that

have leant themselves as outlets for improving my

imperfections, [Image 56] for as Robert Louis Stevenson

also once advised, "You cannot run away from weakness;

you must some time fight it out or perish." [Image 57]

[Blank Slide]

Keeping this in mind, I began to wonder, “What

have I not done that could further advance the connection

between my criminological and photographic knowledge

Image 55

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that would greatly benefit not only my future career, but

society as a whole?” And then I remembered Bob

Dylan’s ever present rhetorical question, one that seems

to correlate perfectly with Marcus Aurelius’ quote on

the importance of observation [Slide 52]: “How many

times can a man turn his head, pretending he just doesn’t

see?”

Re-inspired by the lyrics I’ve loved all my life, I

decided it was imperative to finish my undergraduate

career by completing a portfolio that highlighted [Image

58] those injustices which foster crime and incivility in

our own neighborhoods. For, as I’ve come to realize,

photography, if used correctly [Image 59], can do much

more than look appealing on a wall; photography can

provide the power to promote awareness and transform

societal opinions by disclosing the unexpected [Image

60].

Concentrating on the factors identified by Kelling

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Image 58

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and Wilson’s 1982 Broken Windows theory, the resulting

photographs depict overlaying themes that include social

and racial inequality [Image 61], the deterioration of the

inner city, and crime rates, while further identifying the

underlying effects of such psychological [Image 62] and

physical casual factors as litter, graffiti, a declining

economy, and perceived risks of victimization.

This Capstone portfolio as a whole is important not

only because it directly compliments my published

[Image 63] criminal justice senior synthesis entitled “An

Ex-Post-Facto Study: Correlating Crime Rates and The

Degradation of Urban Society,” but because it aims to

promote the criticality of investigating causes of urban

deprivation [Image 64] as it is experienced by the

citizens of Dayton, Ohio and others throughout the

nation.

Only by directly observing the world around us

[Image 65] can we expect to broaden our minds in an

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attempt to ensure all persons are granted the opportunity

to experience the freedoms and justices promoted in the

United States Constitution.

[Blank Slide}

Image 65

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Image Specs Image 01 – Untitled Candid from Maine; Digital; Marburty Cottage; 2006. Image 02 – Untitled Candid from Skydiving; Digital; Cleveland Parachute Center; 2006. Image 03 – Graffiti. Digital; Epson Premium Luster; Epson Inkjet Print; 8 x10 in.; University of Dayton; 2006. Image 04 – Between 3rd, 4th, & Main. 35mm; C-print; University of Dayton; 2004. Image 05 – Between 3rd, 4th, & Main 35mm; C-print; University of Dayton; 2004. Image 06 – Untitled from Maine; Digital; 2006. Image 07 – Untitled from Peephole; Digital; University of Dayton; 2006. Image 08 – Untitled from Peephole; Digital; University of Dayton; 2006. Image 09 – Untitled from Peephole; Digital; University of Dayton; 2006. Image 10 - Untitled from Peephole; Digital; University of Dayton; 2006. Image 11 - Untitled from Peephole; Digital; University of Dayton; 2006. Image 12 - Untitled from House Fire; Digital; University of Dayton; 2006. Image 13 - Untitled from House Fire; Digital; University of Dayton; 2006. Image 14 - Untitled from House Fire; Digital; University of Dayton; 2006. Image 15 - Untitled from House Fire; Digital; University of Dayton; 2006. Image 16 - “I Love You To Death.” Large Format; Silver Gelatin; Ilford Premium Luster Fiber Paper; 11x14 in. Print; University of Dayton; 2004. Image 17 – Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 18 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 19 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 20 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 21 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 22, 23 - [WEBSITE] Image 24, 25, 26 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 27, 28 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 29, 30 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 31, 32 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 33, 34 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 35, 36 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 37 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 38, 39 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 40, 41 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 42, 43, 44 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 45, 46 - Untitled from Mock Crime Scene; Digital; Chaminade University of Honolulu; 2005. Image 47 - Untitled from Serial Killer Series; VanDyke Brown; 2ply board; 11 x 14 in.; University of Dayton; 2006. Image 48 - Untitled from Serial Killer Series; VanDyke Brown; 2ply board; 11 x 14 in.; University of Dayton; 2006. Image 49 - Untitled from Serial Killer Series; VanDyke Brown; 2ply board; 11 x 14 in.; University of Dayton; 2006. Image 50 - Untitled from Serial Killer Series; VanDyke Brown; 2ply board; 11 x 14 in.; University of Dayton; 2006. Image 51 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper; 9 x 9 in.; University of Dayton; 2006. Image 52 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper; 9 x 9 in.; University of Dayton; 2006. Image 53 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper; 9 x 9 in.; University of Dayton; 2006. Image 54 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper; 9 x 9 in.; University of Dayton; 2006. Image 55 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper; 9 x 9 in.; University of Dayton; 2006. Image 56 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper; 9 x 9 in.; University of Dayton; 2006. Image 57 - Untitled from Window Series; Medium Format; Silver Gelatin; Ilford Premium Luster Fiber Paper; 9 x 9 in.; University of Dayton; 2006. Image 58 - .I. The Investigation: Perpetuation of Psychological Deterioration from Capstone Portfolio; Digital; Epson Premium Luster; Epson Inkjet Print; 27.093 x 10 in.; 300 DPI; University of Dayton; 2006. Image 59 - II. The Investigation: Perpetuation of Physical Deterioration from Capstone Portfolio; Digital; Epson Premium Luster; Epson Inkjet Print; 27.773 x 10 in.; 300 DPI; University of Dayton; 2006. Image 60 - III. The Investigation: Vagrancy from Capstone Portfolio; Digital; Epson Premium Luster; Epson Inkjet Print; 29.083 x 10 in.; 240 DPI; University of Dayton; 2006. Image 61 - IV. The Investigation: Solicitation from Capstone Portfolio; Digital; Epson Premium Luster; Epson Inkjet Print; 30.533 x 10 in.; 300 DPI; University of Dayton; 2006 Image 62 - V. The Investigation: Residential Decline from Capstone Portfolio; Digital; Epson Premium Luster; Epson Inkjet Print; 38.217 x 10 in.; 240 DPI; University of Dayton; 2006 Image 63 – VI. The Investigation: Decadent Lifestyles from Capstone Portfolio; Digital; Epson Premium Luster; Epson Inkjet Print; 30.000 x 10 in.; 300 DPI; University of Dayton; 2006 Image 64 – VII. The Investigation: Perceived Risk of Victimization; Digital; Epson Premium Luster; Epson Inkjet Print; 27.080 x 10 in.; 300 DPI; University of Dayton; 2006 Image 65 - VIII. Conclusion from Capstone Portfolio; Digital; Epson Premium Luster; Epson Inkjet Print; 33.733 x 10 in.;300 DPI; University of Dayton; 2006.

HOLLIE N. RAWL

Bachelor of Fine Arts Photography Bachelor of Arts Criminal Justice Studies

University of Dayton 2007

Hollie.Rawl@gmail.com