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- November 25, 2002
- Vol. 58
- No. 22
Saving Faces
Mixing Art, Physiology and Photoshop, Glenn Miller's Updated Pictures Have Helped Authorities Find Long-Missing Children
In 1992 Elizabeth Ortiz fled her decaying marriage and headed to Mexico with her 2-year-old son Jonathan. It took police eight years to find the East Palo Alto, Calif., woman and bring her back to the U.S. Unfortunately, they couldn't find Jonathan. "We had no way to identify him," says police Sgt. Kathryn Anderson, pointing out that the last photos showed a toddler. "We needed a picture to help officers recognize—and legally detain—Jonathan in case he came to California to visit his mom in jail."
Anderson contacted the National Center for Missing and Exploited Children in Alexandria, Va., where Glenn Miller, 56, one of the country's leading practitioners of age-progression technology, worked up a portrait of the boy as he might look now. The image was then transmitted to law-enforcement authorities in Mexico and in California, where it was posted in the jail where Ortiz was being held. About a month later Anderson got a call from a guard at the California prison. "He said, 'There's a little boy at the jail who's the spitting image of the photograph on the poster,' " she says. The next day, 10-year-old Jonathan was reunited with his father. "It was pretty incredible."
The same might be said for many of the 346 cases in which Miller's team has age-progressed a missing child who was ultimately located. "People always ask us for the software that ages a kid from 10 to 12, but the computer doesn't age a child—we do," says Miller, a retired Fairfax County, Va., detective and former police composite artist. "What I do is mechanical, but the outcome can be magical."
When Miller and his staff of two forensic artists are asked to produce an age-enhanced portrait, they begin by examining the most recent photos of the missing child—school or professional portraits are far better than snapshots—as well as pictures of parents and siblings. Then, using an ordinary computer and Photoshop software, Miller enlarges the child's face. "In years 2 through 7, massive growth takes place in the lower two-thirds of the face, so that's the area we focus on for maturation," he says. Next, he turns to the predictable effects of aging—reducing the relative size of the iris, for example, and elongating the nose. Also, "as children age, they lose baby fat, so their cheek bones become more prominent," says Miller. "At the same time their lips and neck become fuller."
The changes in some facial features—eyebrows, for instance—are difficult to predict. "When children are younger, brows are bushy," says Miller. "But as girls get older, they pluck them, sometimes pencil-thin." Other changes are virtual certainties—the replacement of baby teeth, for example. And one feature—the area around the eyes—stays virtually the same over time. "Eighty percent of our unique identity is there, and it's where our genetic likeness comes from," says Miller. "So we try to preserve it."
Finally, Miller cuts and pastes specific features—a nose or receding chin from a mother's photograph, for example—relying on the computer to layer in these final touches. The end product is a working portrait that can be widely circulated and, with luck, result in the successful return of a missing child. "For me, this job is very emotional," says Miller. "Every time I sit down to do an age progression I remember that the picture I'm working from is someone's little girl or boy."
Angela Isidro Bresnahan in Washington, D.C., and Andrew Downie in São Paulo, Brazil
Anderson contacted the National Center for Missing and Exploited Children in Alexandria, Va., where Glenn Miller, 56, one of the country's leading practitioners of age-progression technology, worked up a portrait of the boy as he might look now. The image was then transmitted to law-enforcement authorities in Mexico and in California, where it was posted in the jail where Ortiz was being held. About a month later Anderson got a call from a guard at the California prison. "He said, 'There's a little boy at the jail who's the spitting image of the photograph on the poster,' " she says. The next day, 10-year-old Jonathan was reunited with his father. "It was pretty incredible."
The same might be said for many of the 346 cases in which Miller's team has age-progressed a missing child who was ultimately located. "People always ask us for the software that ages a kid from 10 to 12, but the computer doesn't age a child—we do," says Miller, a retired Fairfax County, Va., detective and former police composite artist. "What I do is mechanical, but the outcome can be magical."
When Miller and his staff of two forensic artists are asked to produce an age-enhanced portrait, they begin by examining the most recent photos of the missing child—school or professional portraits are far better than snapshots—as well as pictures of parents and siblings. Then, using an ordinary computer and Photoshop software, Miller enlarges the child's face. "In years 2 through 7, massive growth takes place in the lower two-thirds of the face, so that's the area we focus on for maturation," he says. Next, he turns to the predictable effects of aging—reducing the relative size of the iris, for example, and elongating the nose. Also, "as children age, they lose baby fat, so their cheek bones become more prominent," says Miller. "At the same time their lips and neck become fuller."
The changes in some facial features—eyebrows, for instance—are difficult to predict. "When children are younger, brows are bushy," says Miller. "But as girls get older, they pluck them, sometimes pencil-thin." Other changes are virtual certainties—the replacement of baby teeth, for example. And one feature—the area around the eyes—stays virtually the same over time. "Eighty percent of our unique identity is there, and it's where our genetic likeness comes from," says Miller. "So we try to preserve it."
Finally, Miller cuts and pastes specific features—a nose or receding chin from a mother's photograph, for example—relying on the computer to layer in these final touches. The end product is a working portrait that can be widely circulated and, with luck, result in the successful return of a missing child. "For me, this job is very emotional," says Miller. "Every time I sit down to do an age progression I remember that the picture I'm working from is someone's little girl or boy."
Angela Isidro Bresnahan in Washington, D.C., and Andrew Downie in São Paulo, Brazil
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