Show Notes

Greetings, you’re listening to the Liam Photography Podcast, I’m your host Liam Douglas and this is Episode 421 for Thursday September 26th, 2024. Here are this weeks stories from our friends at PetaPixel.

Most Iconic Wildfire Photo

A lo-fi picture taken by a firefighter on August 6, 2000, on a Kodak DC280 in Montana is considered to be one of the most famous wildfire photographs ever taken.

The photo taken by John McColgan — a fire behavior analyst — was picked by Time magazine as one of its Photographs of the Year and was printed in its The Year in Pictures 2000/2001 special edition.

The photo — entitled Elk Bath — shows a pair of cow elk standing in the Bitterroot River as McColgan stood on a bridge in the Bitterroot National Forest, west-central Montana.

Most recently, it was shared on Reddit where it received over 17,000 upvotes on the r/BeAmazed sub-Reddit. “I can’t help but think about the animals affected by wildfires. It’s heartbreaking,” writes one commenter.

McColgan took the photo on a Kodak DC280 that comes with a two-megapixel CCD sensor. It was a new camera he’d bought and he described the shot as a “once-in-a-lifetime look.”

But initially, nobody knew the photo had been taken by McColgan. It had gone viral — which, in 2000, constituted being endlessly shared on email — but the facts of the photo had been lost along with the photographer’s name.

The public speculated that it had been taken on a firefighter’s disposable camera, or that it was taken during the 1988 Yellowstone National Park Fire, or perhaps it was a digital fake.

But an intrepid journalist named Rob Chaney of the Missoulian who called around information offices and ranger complexes managed to track down McColgan and confirm that he took the photo.

“I just happened to be in the right place at the right time. I’ve been doing this for 20 years and it ranks in the top three days of fire behavior I’ve seen,” McColgan told Chaney back in 2000.

McColgan was being loaned out by the Alaska Fire Service to Montana so he could serve as an expert on wildlife behavior. He explained that the temperature in front of the flames was more than 800 degrees Fahrenheit.

Many on Reddit fretted about the animals in the photo but McColgan says they were fine and taking it all in their stride.

“They know where to go, where their safe zones are,” McColgan told the Missoulian. “A lot of wildlife did get driven down there to the river. There were some bighorn sheep there. A small deer was standing right underneath me, under the bridge.”

McColgan expressed his amazement that the photo was going viral over email. One wonders whether he knows it’s still going viral on the internet 24 years later.

“I couldn’t have profited from it, so I guess I’m glad so many people are enjoying it,” McColgan added.

28 Years Later Shot on iPhone

Award-winning British filmmaker Danny Boyle is making headlines for filming his upcoming zombie movie, 28 Years Later, using an iPhone 15. This is not the first time Boyle has eschewed traditional filmmaking equipment in favor of conforming to a narrative.

2002’s 28 Days Later, which spawned a sequel, 28 Weeks Later that Boyle did not direct, made headlines more than two decades ago for having been shot on a Canon XL-1, a $4,000 “prosumer” camcorder. At the time, a camcorder was something that regular people might have, and thus, could conceivably be used to record an ongoing zombie apocalypse. Regular people were not going to be recording humankind’s cataclysm on six-figure professional cameras, after all.

Now, in 2024 (or 2025, when Boyle’s new movie hits theaters), a smartphone makes way more sense than a camcorder. While Boyle himself and the cast, which includes Aaron Taylor-Johnson (Kick-Ass) Jodie Comer (Killing Eve), and 28 Days Later‘s Cillian Murphy (Oppenheimer), have been tight-lipped about the use of iPhones to film 28 Years later.

However, as WIRED reports, a paparazzi photo from the set of the movie shows an iPhone 15 Pro Max smartphone in use on set. WIRED has confirmed the information with several people involved in the production.

However, while the Canon XL-1 was used in 2002 essentially “as is,” the iPhone 15 Pro Max smartphone is equipped with a healthy amount of accessories, including a large support rig, a big monitor, audio equipment, and, perhaps most interestingly, a professional-grade Panavision cinema lens.

While it has been demonstrated time and again that the iPhone is fully capable of capturing professional-grade video, especially when used by talented filmmakers with creative vision and a big budget, part of the appeal of the feel of 28 Days Later is that it looked like it was shot on a standard-definition camcorder.

It’s not clear that a sequel filmed on an iPhone with all that extra equipment will channel that same spirit of typical, contemporary camera technology.

“The controversy around 28 Years Later being filmed on an iPhone is so surprising to me because it ignores a large reason the original film 28 Days Later was so impactful over two decades ago. That groundbreaking Danny Boyle film was shot on Mini DV standard definition video, which certainly looked far worse than the 35mm film most major motion pictures were shot on, but it offered two distinct advantages. First, the crews could be incredibly discreet and nimble, allowing them to capture the illusion of an empty London in quick snippets. Secondly, by making the film look like the most popular video capture format at the time (standard definition DV), it had an immediacy of looking like unscripted, amateur video capture of a disaster,” explains PetaPixel‘s YouTube director, Jordan Drake.

Drake adds that shooting 28 Years Later on an iPhone is thematically and technologically consistent with the original film. “By shooting on the most common current format for video capture, the effect will undoubtedly be less like watching a ‘movie’ and more like seeing footage of a major news event.”

However, given that what has leaked from set shows the iPhone paired with professional cinema lenses, Drake wonders: “Why not just use a proper cinema camera for those shots? That’s something I hope the filmmakers can provide a compelling answer to when 28 Years Later reaches theaters.”

The movie only finished principal photography last month, and there is no trailer yet, so only time will tell what 28 Years Later will ultimately look like. However, the fact that a major motion picture with a $75 million budget is reportedly being shot, at least in part, using an iPhone 15 Pro Max is remarkable.

Ilford Marks 145 Years

Ilford is celebrating 145 years of film photography history with a limited edition run of HP5 Plus and FP4 Plus retro-inspired film packaging in both 35mm and 120 formats.

Ilford was formed in 1879 by Alfred Hugh Harman in his basement in Ilford, UK, and over the last nearly century and a half, the company has been known for photographic film and paper. Back in 1879, Ilford — it was originally named Britannia Works Company and was renamed Ilford Limited in 1902 — produced photographic plates but shifted to the production of rolls of film in 1912. Over the next 100 years, Ilford would continue to produce film while being bought and sold by multiple parent companies. In 2004, it was acquired by Harman Technology and since 2015 it has continued to operate under that name, although it was acquired by Pemberstone Ventures Ltd.

While digital dominated through the last two decades, Ilford has continued to manufacture film stocks and even expanded the availability of some of its films into new formats (it started producing a 120 format version of its Kentmere 100 and 400 in 2022, for example).

Now as film photography is having another renaissance, Ilford continues to be one of the most popular brands to support the hobby. To celebrate its success over such a long period — 145 years later, and it is still going strong manufacturing black and white films, papers, and chemicals from its site in Cheshire — Ilford is launching a limited-edition range of 1950s and 1960s-inspired retro packaging for its HP5 Plus and FP4 Plus films in both 35mm and 120 formats.

“Film photographers are collectors by nature and have regularly requested we introduce limited edition packaging such as this. This is an exciting year for us as we have recently announced a £multi-million investment in our R&D and operational capabilities. As we celebrate 145 years since the original Ilford company was founded, we are excited to reference our legacy as we look to the future,” Giles Branthwaite, Sales and Marketing Director at Ilford, says.

The company says the limited-edition retro packaging will be available over the coming weeks around the world and while supply lasts. Ilford isn’t saying how many of these it’s making, but the odds are high that they won’t last on shelves very long.

Chinese Rocket Explodes

A Chinese startup has released an incredible video showing its reusable rocket failing to stick the landing causing catastrophic damage.

Deep Blue Aerospace says its first-of-its-kind reusable kerosene-fuelled rocket completed 10 of its 11 tasks — with the landing being the task that failed.

Stunning drone footage of Nebula-1 being tested at the Ejin Banner Spaceport in Inner Mongolia shows its landing feet deploying and slowly descending toward the pad but something goes wrong and it touches down hard. The crash caused the top portion of the rocket to snap off and there was fire damage also.

What’s remarkable about the footage is its cinematic quality, a drone chases after the rocket as it ascends to an altitude of roughly three miles (five kilometers) and follows it until its fiery end. The video looks professionally color-graded which brings out the dramatic tones of Inner Mongolia, an autonomous region of China.

Gizmodo notes that this type of video is a “different path” to the one most Chinse companies take and speculates that Deep Blue Aerospace may be borrowing a play from SpaceX which used to share failed rocket landings and paint them as partial victories.

Deep Blue Aerospace is one of several Chinese aerospace startups looking to break into commercial rockets the way SpaceX has done so successfully. Other companies include Linkspapce, iSpace, Galactic Energy, and Space Pioneer.

SpaceX uses its reusable Falcon 9 boosters to regularly carry payloads to low Earth orbit. China is looking to emulate SpaceX after the government allowed investments in spaceflight companies rather than continuing to let state-owned enterprises take all the funding.

If certified, the Nebula-1 rocket will be capable of carrying 4,400 pounds (2,000 kilograms) to low Earth orbit which is much smaller than the Falcon 9’s 55,000 pounds

New Generation of Film Photographers

The analog photography resurgence is in full swing, impacting camera makers and photo retailers in various ways. Beyond brand-new film cameras launching, demand for older, used film cameras is also growing.

Japanese publication FNN reports that customers, especially young ones, are falling in love with film photography — many of them for the first time. Japanese photographers cite the “emotional” impact of the look of film as a significant factor.

The retro, nostalgic look, which companies frequently try to replicate with digital cameras and smartphones, is leading retailers to expand their used film camera offerings.

Kitamura Camera, a significant chain of camera stores across Japan, has even renovated the sales areas of some of its retail locations in response to increased film camera demand. A store in Fukuoka City tripled the size of its used camera section to deal with new customers wanting to buy analog camera bodies. The used camera section at just this location alone has ballooned to about 4,000 items for sale, and the volume of used camera sales has doubled each of the past three years. When busy, this location can sell as many as 100 film cameras daily

FNN chatted with a prospective buyer at the store, who said he came in not to browse new items, but wanted to peruse old lenses, as they produce “emo” pictures.

It is more than just old film cameras attracting buyers in Japan. New models, like the Pentax 17 half-frame camera released this summer is proving so popular that stores cannot keep it in stock.

“It’s very popular with young users these days, and we wanted to take on a new challenge, so we released this film camera,” says Ricoh Imaging product planner Takeo Suzuki in a translated statement.

The analog resurgence extends beyond Japan, too. PetaPixel spoke with KEH, an Atlanta-based camera retailer specializing in used equipment, digital and analog alike.

“Analog photography offers a unique, hands-on experience that digital can’t replicate,” says KEH. “Each shot is intention, with a sense of craft and character.

“The resurgence comes from a desire to slow down and embrace the art of imperfection that doesn’t have the same immediate gratification as digital. At KEH, we’re excited to help photographers reconnect with the art of film, offering vintage gear that keeps the timeless appeal of analog alive.”

While analog gear is generally popular these days, KEH says that some models have proven especially appealing to old and new film shooters, including the Leica M6 rangefinder, Canon EOS 1V, Canon AE-1, and Nikon F100. Medium-format film is popular, too, with the Mamiya RZ67 being a highly sought-after camera.

“35mm cameras are in higher demand because they’re generally more affordable, have a larger supply, and are a bit easier to use than other formats,” KEH explains. “They offer a great balance of quality and convenience, making them more accessible for both beginners and hobbyists who want to enjoy film photography without the steeper learning curve or cost of rangefinders and 120 [cameras].”

However, KEH says there is still a strong demand for rangefinders and medium-format cameras. Some photographers are “looking to refine their skillset and challenge themselves more.”

The desire to start or return to analog photography resonates with many long-time photographers, including PetaPixel‘s editor-in-chief, Jaron Schneider.

“Earlier this year, following the passing of my father, I realized that some of the most valuable things he left behind for my mom were his photos. All shot on film, they’ve been decorating the walls of their home for almost 20 years,” Schneider explains.

“I wanted to take his camera and see the world the same way he did back in the 1970s. This was both for me to see the world through his eyes and to give his Nikon F and Ftn a chance to see the world again. In a way, I take my dad with me on adventures we didn’t get to have because his life was cut short by cancer,” he continues.

“After developing my first few rolls, I was hooked. Ever since running a production company for many years, digital cameras feel like work to me. It’s not fun to take photos anymore. That’s what I thought, anyway. The X100VI awoke the love of this hobby I had long since thought dead and buried and that same itch in my mind is scratched when shooting film. And hey, I can actually buy film and film cameras.”

RodeCaster Video

Rode’s new RodeCaster Video production console aims to build upon the RodeCaster Pro’s rich podcasting legacy by streamlining video production workflows.

The RodeCaster Video combines video switching, production, and recording capabilities in a single desktop console. The unit includes an octa-core CPU with a custom-built next-generation video engine to control multiple video sources simultaneously. The processing power enables users to view scenes and complex compositions in a connected preview screen while sending a different composition to a live production feed. The unit also supports automatic chroma keying for working with green and blue screens.

Designed for creators, YouTubers, podcasters, streamers, gamers, and live event videographers, the RodeCaster video includes four HDMI and two USB-C inputs to switch between up to six video sources, including USB webcams.

The console includes a pair of studio-grade Neutrik combo jacks with low-noise, high-gain Revolution Preamps to capture “pristine audio from XLR microphones, instruments, and other audio equipment,” according to Rode. The RodeCaster Video also sports APHEX audio processing, including an EQ, compressor, noise gate, high-pass filter, de-esser, plus Aural Exciter, Big Bottom, and Compellor effects.

Beyond video and audio connections for a wide range of cameras and audio equipment, the RodeCaster Video also, unsurprisingly, works alongside Rode’s various audio products, including the Rode Series IV wireless mics like the Wireless Pro, Wireless Me, and Wireless Go II.

“For decades, our mission has been to empower creators with professional yet accessible audio equipment,” says Rode CEO Damien Wilson. “Groundbreaking innovations like the RodeCaster Pro and Wireless Go have changed the way that people approach creating content across multiple categories, placing studio-grade audio solutions within the reach of today’s creators. With the RodeCaster Video, we are doing the same for video production. With its intuitive interface, scene-based architecture and seamless combination of professional video and audio in one compact device, it delivers unprecedented power and versatility to the next generation of content creators. The RodeCaster Video marks a huge step in the evolution of Rode, and a massive milestone for creator technology.”

The unit includes seven custom scene buttons, four function buttons, and an instant inspect button. It has a two-inch touchscreen plus rotary encoders. The device offers hands-on control over graphics overlays, media player (for integrating video and audio assets into a production), multi-source layouts, and keying.

Further, an entire audio or video production can be recorded directly to a connected hard drive or USB storage device, with support for independent video and audio file recording. The device also supports streaming via Wi-Fi or Ethernet and can be remotely controlled using Rode Central.

Although a producer can control the RodeCaster Video manually, it has also been designed with solo creators and small teams in mind, so it has auto-switching technology to swap between different camera angles based on who is speaking, which Rode says is perfect for video podcasts and other live panel discussions.

The RodeCaster Video is available exclusively through B&H for $1,199, and is expected to begin shipping on October 10.

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