Show Notes
Greetings everyone, you’re listening to the Liam Photography Podcast, I’m your host Liam Douglas and this is Episode 423 for Thursday October 10th, 2024. In today’s episode, Hurricane Milton, Lumix S9, TikTok being sued and other stories for this week.
As the potentially historic Hurricane Milton makes its way eastward toward Florida, forcing millions to evacuate much of the sunshine state, satellites in space are documenting the storm’s sheer size and devastating power.
PetaPixel shared incredible still images of Milton earlier today, and now there are new videos from space that put Milton’s dangers into jaw-dropping perspective.
Astronaut Matthew Dominick, space photographer extraordinaire, shared a timelapse video today from the International Space Station (ISS) earlier today, showing Milton’s status this morning. The timelapse, shot at 0.5-second intervals and shared at 30 frames per second, shows Milton’s immense size.
Milton has continued to grow in the Gulf of Mexico as it heads toward Florida, which has reduced the storm’s category but increased the area it is expected to hit. A destructive, life-threatening storm surge is expected along the western Florida Gulf Coast, and Floridians are urged to seek safety.
Dominick was set to return from the ISS yesterday alongside fellow astronauts Michael Barratt, Jeanette Epps, and Alexander Grenbenkin, but the homecoming was delayed due to the hurricane.
“Milton has the potential to be one of the most destructive hurricanes on record for west-central Florida,” the National Hurricane Center explained earlier today. The storm surge could reach 10 to 15 feet above ground level along Florida’s western coast. It may hit Tampa Bay at the same time as the area experiences high tide, making the situation exceptionally dangerous.
Alongside Dominick’s timelapse video, NASA has shared two new videos showing Milton as seen by external cameras aboard the International Space Station. The first video below is from the morning of October 7, while the second shows Milton today, October 8.
Sen livestreams Earth from space using its 4K cameras aboard the ISS, and a clip from this morning shows Milton with even more resolution than NASA’s videos above.
While Hurricane Milton is beautiful to view from space, the dangers it poses to those on the ground in its path cannot be overstated. Just weeks after Hurricane Helene hit the United States, killing over 200 people and causing widespread devastation, Milton is poised to cause billions of dollars in damage and result in fatalities.
Lumix S9 Gets New Life - from Chris Niccolls
When I first tested the Panasonic Lumix S9, it took a while to truly understand the intention behind it. Although compact and adorable, the it lacked an EVF and had a very basic control structure. Clearly, the S9 was intended for beginner photographers or creators who desired a simple and approachable camera.
It was kitted with a terrible fixed 26mm f/8 lens that was so severely limited that it served better as a lens cap than an optical tool. You could also get it with the 20-60mm f/3.5-5.6 but this limited how compact the S9 could be and never seemed like the ideal solution. I learned to appreciate using it as a compact walk-around camera on the streets of Osaka, but I was not convinced of its merit for my own needs.
However, Panasonic added a couple of compelling reasons to take a second look at the S9 in the form of a substantial firmware update and a brand new kit lens: the $500 18-40mm f/4.5-6.3 (paired with the S9 as a new kit, it’s $1,800 total). Perhaps it will make more sense with this lens paired with some thoughtful firmware updates.
With the new Panasonic 18-40mm f/4.5-6.3 in my hands, I decided to give the S9 another go and see if everything deserves a second chance. First, let’s take a look at what the new 18-40mm lens brings to the table.
Panasonic has incorporated a collapsible lens design to keep the form factor of the 18-40mm f/4.5-6.3 as small as possible. The lens stows into a very lean package and looks most appropriate on the front of the S9. It isn’t just small either but also incredibly light at just 5.4 ounces (155 grams). I fully expected the lens to feel like plastic junk but it surprisingly robust and is actually better weather sealed than the S9. The collapsible lens barrel has minimal play and the focus and zoom rings feel smooth and sturdy. There is an AF/MF selector switch on the side of the lens, 62mm filter threads, and frankly not much else. This lens is designed to be compact and simple.
I was pleasantly surprised by how nicely the manual focusing ring feels on such a basic kit lens. This is especially handy when using the macro mode on the 18-40mm which happens to be decently impressive. Doing its best close-up work at 21mm, the lens can provide 0.28x magnification which certainly adds to its versatility. Autofocus performance was quick and accurate for most photographic situations and I never felt like I was held back by the speed.
Although the Panasonic 18-40mm lens is considered a kit lens, I find its focal length range to be more suited as a travel landscape or street photo lens. It is essentially a very compact ultra-wide zoom and I found myself wanting for longer reach in many cases. I would definitely want a supplementary telephoto lens to go with it. However, it does work well as a little walk-around lens on the street so I first wanted to see how it handled bright light and flare.
Surprisingly, I didn’t notice any major loss of contrast or flare with bright light sources in or just out of the frame. This is an excellent result considering there is no lens hood provided. I also found almost no ghosting even at tight apertures. Sadly the sunstars are nondescript and flat looking.
There is also no getting around the fact that the 18-40mm lens is very slow in regards to its light-gathering potential. This means that the lens will rarely display shallow depth of field but in the rare situations where it might happen, I wanted to test the bokeh characteristics. Specular highlights show off a very busy look to the bokeh with tons of onion rings and very stark borders. Frankly, it is quite a noisy, distracting look and comes across even harsher when stopped down. Light sources will take on a very polygonal shape and transitions from focus areas are not particularly smooth. I was not impressed.
Okay, if the lens is sharp that can at least make up for some of the issues we are having. Having a look at the center of the test charts, the lens is very good both at 18mm and at 40mm. Stopping down the lens will provide a little more contrast but the detail is already excellent. The corners suffer a little bit in comparison with some softness towards the extremes. Stopping the lens down does enhance contrast but the corners never quite get sharper. Overall though, this little 18-40mm can deliver some sharp images.
A new lens isn’t the only thing that could potentially make the S9 a more useful camera as Panasonic also rolled out a substantial firmware update. Jordan Drake tested it out as it mostly has to do with video improvements.
First, the S9 offers the option to disable recording limits and roll until the camera becomes too hot to operate. This can make a dramatic difference as Panasonic is very conservative with its record cutoffs, as they are based on using the camera at 40 degrees Celsius or 104 degrees Fahrenheit. We found that at room temperature, you could record multiple clips back-to-back without overheating the camera, so the record cutoff seemed more like an irritation than a necessity.
Now with “Video Record Limit” disabled, where the S9 was previously cut off at 10 minutes, it was able to record 6K open gate video for 81 minutes before it shut down because the battery died — not due to overheating. The temperature warning did come on at 52 minutes and the camera was certainly hot to the touch, but this mode would absolutely be usable for recording a one-hour performance indoors. The oversampled 4K at up to 30p gave a similar result and was able to run for 79 minutes before the battery died.
The only mode we were able to get the S9 to overheat during while battery life remained was with the cropped 4K/60p mode which previously had a 15-minute cutoff. It led to an overheat warning at 38 minutes and shut down at 50 minutes. If you capture long takes at 60 frames per second, this could be an issue, but since 4K/60p is often used for short, slow-motion capture, I think this will still be acceptable for many shooters.
The other major update regards custom frame lines. One of the most useful features in the latest Lumix cameras is the ability to shoot “Open Gate” where you use the full resolution and aspect ratio of a camera’s sensor. In the case of the S9, that’s a 6K 3:2 ratio. One of the main benefits is the ability to re-frame for multiple aspect ratios, like 16:9 for YouTube and vertical 9:17 for TikTok or Instagram Reels.
Unfortunately, Panasonic’s frame lines have previously only allowed you to have a single guide onscreen at a time. Now, you can have multiple frame lines on your display, and you can even customize the size and location of these frame lines to make sure your composition will work on various platforms.
These two additions immediately make the S9 a more flexible camera for video creators, and really should have been available at launch. As it stands, if you can manage without a headphone jack for audio monitoring, the S9 can now be useful for recording longer indoor events, as well as short-form video in the field.
So do all these changes breathe new life into the Panasonic S9? I think the latest firmware update goes a big way to enhancing the usefulness of the S9 for live streamers and YouTube creators. The previous 10-minute cutoff time was comically short and at least the S9 now has more potential to a wider variety of users. However, what I found most novel about the S9 was the enhanced real-time LUT support which won me over after navigating through its idiosyncrasies. The latest firmware updates extend to the G9 II and S5 II platforms where a button can now be customized for real-time LUT access and spreads out that feature across Panasonic’s other Lumix cameras.
None of this takes away from the S9 and it was an expected move on Panasonic’s part, but I can’t help but feel that it steals a little of the magic that made the S9 unique. I also found the new 18-40mm to be a handy little ultra-wide lens but it wasn’t wowing me with its optical performance and I constantly pined for the 20-60mm kit lens instead, despite its slightly larger dimensions.
Any improvements are a good thing in the end and I think anyone looking for a simple and compact system can appreciate the new lens and better video versatility offered now. If you were waffling on whether to get the S9 kit before, these new improvements might push you over the edge.
Multiple U.S. states have sued TikTok over claims that the video app is designed to be addictive to kids and harms their mental health.
Over a dozen U.S. states and Washington D.C. have filed lawsuits against TikTok in relation to the app’s effect on teens and other young users.
The 13 states, which include New York and California, allege that the company is damaging children’s mental health with a product designed to be used compulsively and excessively.
The lawsuits stem from a national investigation into TikTok, which was launched in March 2022 by a bipartisan coalition of attorneys general from many states, including New York, California, Kentucky, and New Jersey.
All of the complaints were filed in state courts and claim that TikTok’s algorithm is particularly dangerous given the platform’s widespread use among young people and its ability to deliver quick hits of dopamine.
According to AP News, the lawsuits focus on TikTok’s algorithm, which drives the app’s “For You” feed by recommending content based on users’ preferences.
The lawsuits note TikTok design features that they say addict children to the platform, such as the ability to scroll endlessly through content, push notifications that come with built-in “buzzes” and face filters that create unattainable appearances for users.
“TikTok knows that compulsive use of and other harmful effects of its platform are wreaking havoc on the mental health of millions of American children and teenagers,” the lawsuit, which was filed in New York on Tuesday, says.
“Despite such documented knowledge, TikTok continually misrepresents its platform as ‘safe’ [and] ‘appropriate for children and teenagers’.”
New York Attorney General Letitia James says that young people across the U.S. had died or been injured doing TikTok “challenges” and many others were feeling “more sad, anxious and depressed because of TikTok’s addictive features.”
The BBC reports that James referenced a 15-year-old boy who died in Manhattan while “subway surfing,” riding on top of a moving subway car. After his death, his mother discovered TikTok videos of similar stunts on his phone.
TikTok does not allow children under 13 to sign up for its main service and restricts some content for everyone under 18. But in their lawsuits, the District of Columbia and several other states say that children can easily bypass those restrictions, allowing them to access the service adults use despite the company’s claims that its platform is safe for children.
TikTok says it is disappointed with the lawsuits and the company is dismayed that the states had not chosen to work with the service on their concerns.
“We strongly disagree with these claims, many of which we believe to be inaccurate and misleading,” a TikTok spokesperson says.
The lawsuits come as TikTok fights against legislation passed by Congress that would ban the app in the U.S. in January unless it’s Chinese parent company ByteDance agrees to a sale.
Astrophotographers and skywatchers will get a once-in-a-lifetime opportunity to witness Comet (C/2023 A3) as it makes its closest pass to Earth this week.
This rare celestial visitor, originating from the distant Oort Cloud, will be visible in the night sky before it vanishes into the depths of space for possibly the last time.
Comet was first detected in January 2023 by astronomers at China’s Purple Mountain Observatory and independently observed by the Asteroid Terrestrial-Impact Last Alert System (ATLAS) in South Africa.
The comet, which takes approximately 80,000 years to orbit the Sun, will reach its brightest point today (October 9), when sunlight is scattered by its dusty tail, enhancing its visibility in an effect known as forward scattering. This will be the best chance to see the comet with the naked eye, binoculars, or a small telescope.
The comet is best viewed in a dark location with an unobstructed view of the western horizon. A few minutes after sunset, look low in the sky where the Sun has set. The comet will appear fuzzier than nearby stars, and it may be challenging to spot against the remaining twilight glow. Binoculars will help.
The comet will be visible from both hemispheres, although those in the Southern Hemisphere will have the best view initially. After its brightest point, the comet will rise higher in the sky throughout October, becoming easier to spot in the evening. However, its brightness will fade as it moves away from Earth and the Sun. Moonlight, especially during the full Supermoon on October 17, could affect viewing conditions, so aim for nights when the Moon is less bright.
For the best viewing conditions, find a location away from city lights to observe the comet as it transitions into evening prominence between October 12 and October 26. During this time, it will climb higher above the western horizon each night. As the comet approaches Earth, its tail will appear to pivot and extend dramatically. There may even be a chance to see a rare optical illusion known as an “anti-tail,” where dust left behind by the comet appears to extend in the opposite direction of the usual tail.
This could be humanity’s last chance to witness Comet Tsuchinshan-ATLAS before it potentially leaves our solar system for good.
For photo tips, check out PetaPixel’s comprehensive astrophotography guide.
Royal Family Photographer Passes
The British Royal family’s longest-serving official photographer Anwar Hussein — who was renowned for his informal portraits of Princess Diana — has died at age 85.
Hussein, who changed perceptions of the royal family by shooting candid images instead of the traditionally formal portraits, died of cancer on September 23.
The pioneering photographer is survived by his wife Caroline and their two sons, Zak and Samir. Both of his sons have followed in his footsteps as royal photographers capturing the next generation of British royals.
“Our family is completely heartbroken as we come to terms with Anwar’s passing,” the Hussein family says in a statement to People. “We are however grateful that he lived a full and amazing life, always on his own terms.”
Hussein revolutionized royal photography over the 50 years he was behind the lens. He became the longest-serving photographer on the royal roster — during which time Prince Charles, Princess Anne, and Queen Elizabeth the Queen Mother also used his pictures on official Christmas cards.
According to an obituary in The Times of London, Hussein was born in Chunya, Tanganyika, then a British colony and now known as Tanzania, in 1938.
Hussein started photography as a hobby. But his first big break came in 1968 during an anti-Vietnam War protest outside the American embassy in Grosvenor Square, where he captured the moment a mounted police officer was pulled from his horse.
The photograph made the front pages of newspapers the next day. Hussein then went on to become a celebrity photographer.
When he eventually became a royal photographer in the 1970s, Hussein was dissatisfied with how the royal family was depicted in portraits. Hussein decided to take a different approach in his photography, presenting them in a way that humanized the monarchy and made their image more relatable to the public.
By doing so, Hussein introduced a new, more informal, and spontaneous style of royal photography, breaking away from the stage-managed poses of the Cecil Beaton era, which may appear stiff and outdated to the modern eye.
The photographer’s most iconic shots may be his relaxed and natural pictures of the late Princess Diana. He captured Princess Diana’s striking solo photo at the Taj Mahal in 1992 as her marriage with then-Prince Charles broke down to the moment she wore her “revenge dress” two years later.
According to The Times of London, Hussein’s camera chronicled Princess Diana’s journey from what he called the “Shy Di” teenager to “the very brave and positive woman” she became when her “fairytale” marriage began to fall apart.
One hundred and forty of Anwar’s images of the late princess were displayed in the special exhibit Princess Diana: Accredited Access Exhibition which opened in three American cities in 2023 and was shown in London earlier this year.
Lomography’s new Lomomatic 110 analog cameras come in a variety of styles, but none are quite so classy as the latest model, the Lomomatic 110 Bellagio edition.
Lomography calls its new black and gold film camera a “refined tool for the discerning analog aficionado and the daring novice alike,” noting that the camera is more than just a camera, it’s also a stylish sidekick. The camera is crafted from brass and has an accompanying brass gold chain wrist strap, “exuding timeless charm and elegance.”
Beneath the flashy gold exterior, the Lomomatic 110 Bellagio is identical to other Lomomatic 110 cameras, meaning it takes 110-format film, has a built-in 23mm f/2.8 lens that uses zone focusing, shoots at ISO 100, 200, or 400, and has an automatic exposure mode.
Concerning the 110 films, Lomography brought the small analog format back from the grave in 2012 and is the sole manufacturer supporting the format. The film, used by Lomomatic 110, Diana Baby, and Fisheye Baby cameras, comes in many flavors. Lomography sells 110 film in a diverse range of creative color and black and white variants, including the new Lomochrome Color ’92 released in July.
“Don’t be fooled by its size — this creative companion is bursting with big ideas! It’s a thrilling companion for analog beginners, the sharpest and most trusted 110 camera for seasoned photographers, and a nostalgic voyage for those yearning for the grand old days of 110 film,” Lomography explains.
In PetaPixel‘s review of the Lomomatic 110 earlier this year, Matt Growcoot called it, “The perfect camera for the age of imperfect photos,” citing the camera’s style and fun factor.
The Lomomatic 110 also doesn’t break the bank, as the body-only models start at just $99 and those with flash costing $119. However, the Lomomatic 110 Camera and Flash Bellagio ups the price a bit thanks to its use of brass and other premium materials. The latest Lomomatic 110 and flash is $189. It’s also not available without the flash, so there’s no way to save on the black and gold camera. 110 film starts at $8.90.
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