In today's episode, the men who cut down an iconic tree face prison, Panasonics's new S1R II and a photographer trying to save the oceans.
You can find the show notes here.
You can find the show notes here.
Show Notes
Welcome back to the show, Liam Douglas here with the Liam Photography Podcast and this is Episode 454 for the week of May 15th, 2025. In today’s episode men convicted for taking down a tree, the new Panasonic S1R II and more.
Two men have been convicted of criminal damage for cutting down a beloved sycamore tree in northern England that was a magnet for photographers and nature lovers alike.
Daniel Graham, 39, and Adam Carruthers, 32, were convicted of criminal damage for felling the tree and damaging the nearby landmark Hadrian’s Wall. The prosecution called it an act of “mindless thuggery,” alleging the men sought little more than the thrill of destruction.
When the tree was chopped down in September 2023, there was an outpouring of grief from the photography community. The sycamore tree sat within a dramatic dip surrounded by the crumbling Roman wall made by Emperor Hadrian making it a draw for photographers from miles around.
“Absolutely devastated to hear that someone has cut down this iconic tree,” wrote Dru Dodd at the time. “I’ve so many wonderful memories of my time throughout my photography career at Sycamore Gap.”
At trial, Graham and Carruthers denied cutting down the tree but cellphone data placed Carruthers near the tree the day before it was cut. Surveillance footage showed Graham’s vehicle near the site that night.
A video found on Graham’s phone — later enhanced by investigators — captured the sound of a chainsaw, a figure working at the tree’s base, and the crash as the trunk fell. Photos taken later that night showed a chainsaw and a wedge of the tree’s wood in Graham’s car. Prosecutors believe the piece was kept as a trophy.
In messages shared after the incident, Graham and Carruthers appeared to revel in the reaction. “It’s gone viral — it is worldwide,” Graham said in a voice note. When Carruthers’s partner sent him a clip of their five-day-old daughter, he wrote back: “I’ve got a better video than that.”
“Who would do such a thing? Why would anyone do such a thing? Take something beautiful and destroy it for no good reason,” prosecutor Richard Wright told the court.
The tree was nicknamed the “Robin Hood Tree” after it appeared in the 1991 movie Robin Hood: Prince of Thieves that starred Kevin Costner. It was also voted English Tree of the Year in 2016.
“The needless felling of the Sycamore Gap tree shocked people around the country and overseas, demonstrating the powerful connection between people and our natural heritage,” says the National Trust, England’s charity that protects historical places, in a statement.
The damage extended beyond the tree. When it fell, the trunk hit and fractured part of Hadrian’s Wall, a UNESCO World Heritage Site. For those who visited to photograph the site, the interplay between the man-made and the natural was part of the draw.
Yet there are signs of recovery. Last summer, rangers spotted new shoots emerging from the tree’s stump, raising hopes it may regenerate. The National Trust and Northumberland National Park have also begun cultivating saplings from seeds and cuttings, distributing them across the U.K. under the banner of “trees of hope.”
Carruthers and Graham are scheduled to be sentenced on July 15, 2025. Each faces up to ten years in prison.
Panasonic announced an upcoming firmware update for the S1R II, updates to the workflow-supporting applications Lumix Flow and Lumix Lab, and updates for S Series lenses.
The Panasonic Lumix S1R II will be updated to support 8.1K and 7.2K (3:2) Open Gate recording as well as the ability to send RAW data to an external recorder via HDMI. Additionally, Panasonic will offer ARRI LogC3, which will be available by using DMW-SFU3A Software Upgrade Key (to be sold separately at a price to be determined), which enables the colors to match ARRI’s digital cinema cameras. The camera will also be updated to support HEIF recording in 4:2:0 10-bit format.
The S1R II will also get the Urban Sports autofocus recognition tool that was introduced with the S1 II and S1 IIE, and the frame aspect ratio options will be expanded from 10 to 17, enabling simultaneous display of up to three frames.
Another feature coming to the S1R II that is inherited from the S1 II series is the ability to directly transfer from a CFexpress Type B or SD memory card to an external SSD. The camera will also support recording proxy files to the internal memory card during HDMI RAW video data output, timecode synchronization via Bluetooth, connectivity with UVC/UAC devices, and Bluetooth connectivity with DJI’s gimbals. Panasonic will also add HLG View Assist to enable gradation and exposure checks on the camera’s monitor or viewfinder, in addition to external monitors that do not support HLG.
The S1R II will also allow the focus ring on lenses to be used as a control ring, enabling the assignment of key functions. Additionally, the focus rotation direction can be selected in MF mode, and the AF frame color can be chosen from 10 colors for better usability.
As noted in the S1R II update and the new Lumix S 24-60mm f/2.8, it is possible to use the focus ring as a control ring. Now, the Lumix 50mm f1/4, the 24-105mm f/4, and the 20-60mm f/3.5-5.6 can be updated to support this capability. Additionally, the focus rotation direction can be selected in MF mode.
Lumix Flow has been upated to be compatible with the new S1 II and S1 II E (with support for the S1R II expected later in 2025), more shooting assist features are avaialble, and Panasnoic added a mirroring monitor function to wirelessly transfer live view from the external monitor (USB) to another device.
Lumix Lab has been updated to be compatible with the new S1 II and S1 II E, and it is now possible to edit HEIF images that have been captured with a Lumix camera.
While the update for the S1R II (and the paid ARRI LogC3) is yet to be determined, the lens firmware updates and both app updates will be available on May 14.
“In line with LUMIX’s ongoing commitment to supporting creators, the latest firmware update for S1R II is scheduled to be available for download free of charge in 2025,” Panasonic says. “In the meantime, the LUMIX Flow and LUMIX Lab applications, along with the lens firmware update, will be available on May 14.
The ocean holds a special place in the hearts of many throughout history, from sailors to wildlife enthusiasts, but few young up-and-coming contemporaries are as entwined in understanding and documenting marine life as conservationist and photographer Rachel Moore.
To say that Rachel Moore is passionate about ocean conservation would be an understatement. She has dedicated her life and career to the seas, sailing around the world full-time aboard the Agápē Nui since 2016, she has been recognized by both brands and organizations including Sony, GoPro, PADI, and Only One as a professional diver trained in marine biology who uses her experience of life at sea to shine a light on marine conservation.
However, Moore comes from humble beginnings, it was her obsession with ocean documentaries as a child that blossomed into a dedication that few so young see through.
“Growing up, I wasn’t allowed to watch much television — only educational programming like Discovery Channel and Nat Geo. I became obsessed with ocean documentaries. By the age of seven, I knew I wanted to become a diver. At 15, I got my first job hostessing at a restaurant so I could save up for my PADI Open Water certification. That was the real beginning,” Moore tells PetaPixel.
“I started my photography journey during my early diving years. I was hired by Channel Islands National Park as the youngest Blue Card diver they’d ever certified. I worked four seasons on their Kelp Forest Monitoring and Live Dive programs, and during that time, I began taking my own little point-and-shoot camera into the water during our dives. I was drawn to macro photography at first since visibility was usually quite poor, I became captivated by the small details of marine life.”
It was that dedication and initial inspiration with underwater macro photography that led to Moore discovering her own photographic style, now highly sought after by brands and organizations alike for its immersive yet stylistic aesthetics, documentary-inspired to look true to life while treated, with a light hand, just right to enhance the colors and depth.
This delicate balance, Moore describes, allows her to bring out the emotion and beauty of the scene while still being authentic to the experience that she felt while capturing it, sharing that special moment with the viewer.
To underwater enthusiasts early in their career inspired by Moore’s photography, her advice is that gear is not as important as understanding how to use it and to apply yourself using whatever equipment you have available, that even action cameras can create compelling imagery, just being out there, creating and learning, as often as you can is what is most important.
“Early on, the specific camera doesn’t matter as much as understanding how to use what you have — mastering exposure, knowing your settings. Once that knowledge is in place, upgrading to a more advanced setup really pays off,” Moore explained.
“The best camera is the one you have with you. I’ve captured some of my favorite moments on small action cameras. That said, for professional work, I now use a Sony a1. It’s phenomenal in low light and has amazing animal eye tracking. I’ve never had issues with it overheating underwater, even during long shoots.”
As many photographers can likely relate, Moore shared that she has an archive of images on her hard drives, many of which are never shared, let alone post-processed from her years of experience diving and exploring. It’s that act of being out there in the field she loves the most, and only her most inspiring moments make it to her portfolio.
“Honestly, the act of photographing itself is what I love most. Most of my images never even get shared — they live on a hard drive. I often struggle to edit my own work, because for me, the magic is in the experience,” Moore explained.
That artistic curation and ability to practice restraint in her portfolio ensures she has a powerful body of work, especially when she does have so many hours of dive time from living at sea, only the very best or most compelling images make it.
With portfolio as strong as Moore’s, it takes that dedication and experience to both connect with wildlife on the animal’s terms, but also to know where and when to be, to even create such extraordinary moments in the first place. It takes a great deal of planning and preparation, with a hefty dash of flexibility to adapt to what nature has in store.
However, therein lies the challenge, as many aspects are out of a photographer’s control when working with wildlife. However, through careful planning and with her years of experience, Moore minimizes risk, especially for her production shoots, by being adaptable and relying on her intuition and expertise to guide her.
“Nature rarely cooperates with a shot list. Weather, wind, waves, and visibility can make shooting difficult — especially on production shoots. But I’ve learned to lean into whatever nature gives me. If it’s stormy, I try to capture the storm’s power. If visibility is bad, maybe it’s a moody close-up kind of day. It’s all about adaptability and working with the conditions instead of fighting them,” Moore says.
“When I’m in the water with wild animals, I don’t carry expectations. Respect is everything. Many people chase encounters — trying to tick off species or get the ‘perfect’ shot. But animals are incredibly sensitive to energy. I’ve learned to slow down, make eye contact, and give them space. Often, that space allows their curiosity to guide the encounter. I don’t chase. I try not to interrupt their path. If they swim away, I let them — and sometimes they come back. That kind of honest connection is far more rewarding than any photo.
“With wildlife, there’s rarely a clear concept going in. Nature is unpredictable. That’s what I love about it. I never know what kind of image I’ll capture when I enter the ocean. Animals don’t take direction. They don’t repeat behaviors. It keeps me fully present. My main goal in the water is to be respectful and open. I observe first, connect if possible, and only shoot if it feels like a mutual interaction. Most of the creative work happens afterward, in post-processing. That’s when I bring the moment to life, not by altering reality, but by highlighting the beauty I saw and felt.”
While such a simple concept, Moore’s restraint and patience allow her to create such compelling imagery when working with sensitive species. Her portfolio includes whales with their calves, sharks up close, and schools of skittish fish surrounding her lens, entirely at ease, with her in the center like the maestro conducting her orchestra.
It’s these types of encounters that she finds most meaningful. Previously, Moore shared with PetaPixel an incredibly powerful experience she had while diving in French Polynesia when she was able to create an image peering eye to eye with a juvenile humpback whale whom she nicknamed “Sweet Girl” for its inquisitive and friendly demeanor.
Of the encounter, Moore wrote, “Unlike another whale we had swum with earlier, her movements were slow and controlled. Despite her calm demeanor, we still swam away from her whenever she approached, maintaining a respectful distance for almost an hour.
“I knew I could trust her, and she could trust me. For the next five minutes, we stayed eye-to-eye at the surface, with her coming even closer — just inches away. I held her gaze and zoomed in with my 16-35mm lens, trusting the animal-eye tracking to work. I pointed my camera toward her eye, and just as she rolled upside down, I pressed the shutter, capturing the last bit of sunlight illuminating her eye.
“The way she looked at me left an indelible mark on my memory—it was one of the most powerful and profound moments of my life. I wanted to capture that direct eye contact so I could always feel the power of that encounter. When I was in the water with Sweet Girl, I was focused on the moment, not on getting the perfect shot. But when she rolled and gave me that perfect opportunity, I knew I had to capture that eye.”
Tragically, Sweet Girl’s story does not have a happy ending. Just four days after Moore’s life-changing experience with the humpback whale, the animal was struck and killed by a “fast-moving ship, likely a ferry traveling between Tahiti and Mo’orea based on AIS data from that day,” Moore sadly explained.
As if she had not already dedicated her life to championing Marine conservation, the tragic passing of Sweet Girl led to Moore launching a petition urging the French Polynesian government to enact strict speed limits for large vessels during whale season when these animals are at their most vulnerable gathering near the surface.
“Ocean conservation is the heart of my work. In my lifetime alone, I’ve witnessed massive changes — reefs I loved have gone from vibrant to completely dead. I’ve watched coral bleaching events unfold in real time, picked up more and more plastic on every dive, and felt ocean temperatures rising year after year,” Moore says.
“My goal isn’t to create doom-and-gloom imagery, but to inspire people to protect what’s still worth fighting for. I want to show the beauty of our oceans and their inhabitants in a way that invites connection and care. We can’t protect what we don’t love.”
Since launching her petition, it has garnered over 50,000 signatures from around the world, and she hopes that the upcoming UNOC conference this June in France will add additional International pressure to enact these life-saving measures for wildlife.
For now, Moore continues to post her unique life at sea via her Instagram, leads ethical ocean expeditions, and chases her dreams of working on high-production marine documentaries to share her passion for oceanic wildlife and conservation.
“While I’m not currently hosting workshops or gallery shows, I do run ocean expeditions that focus on respectful, conservation-minded wildlife encounters. I was so deeply inspired by nature documentaries as a child, and I’ve spent years building a life around the ocean, getting comfortable with wildlife, honing my skills. While I’ve focused mainly on photography recently, film has always been a passion,” Moore says.
“I’ve been quietly capturing footage over the years and I hope to work on more documentary-style projects soon — ideally with organizations like BBC, Nat Geo, or Discovery. That’s been a lifelong dream.”
A viral video of an asteroid dramatically hitting the Moon has all the trappings of a fraud.
The video came across PetaPixel‘s desk after Daily Mail published it last week on its Daily Mail World YouTube channel, which has nearly five million subscribers and hosts many of the publication’s long-form stories alongside the occasional viral video.
The exciting video proclaims to be from a “lucky [amateur] astronomer” who saw an asteroid hitting the Moon through their telescope. A red circle shows the purported asteroid striking the lunar surface, with an immediate and dramatic cloud of dust emanating from the impact. The video goes a bit further, calling it a “once-in-a-lifetime moment captured on camera, and in typical short-form content fashion, “A surreal moment of astronomical history.”
While Daily Mail does not offer much by way of credit, beyond a generic username, the video can be traced back to the photo and video licensing platform, Newsflare, which outlets like Daily Mail can use to find content to share.
The Newsflare page details that the video was captured by TikTok user @stargazingwithmichael, whose original video on TikTok has nearly 700,000 views.
Stargazingwithmichael says the video was filmed through his telescope in the early hours of May 2 — 2:32 AM CDT — in Joplin, Missouri.
“I couldn’t believe what I witnessed, then I was on cloud 9 to actually see an asteroid hit the moon, which happens almost every day from my research of how craters were formed over a billion years ago,” Michael told Newsflare, per the video’s listing.
“Filming through his telescope in the early hours of May 2, 2025, at 2:32 a.m. CDT, Michael noticed a bright object streaking toward the lunar surface. As he kept his focus, the impact unfolded before his eyes. He could hardly believe his luck, calling the experience an unreal moment of astronomical history,” Newsflare writes.
However, something about the video immediately felt off — it does not look right. The alleged asteroid is massive, and the dust cloud forms across a staggering area at an impossible pace.
It is not that an asteroid striking the Moon is itself unbelievable; quite the contrary, in fact, as objects strike the Moon often.
In 2022, Live Science quoted NASA’s head of the Meteoroid Environment Office, Bill Cooke, as estimating that probably about 100 ping pong ball-sized meteoroids hit the Moon every day. Admittedly, that’s a small object — much smaller than what is shown in the video above.
Sometimes even larger objects hit the Moon. About once every four years, a large — 2.5-meter (eight-foot) — object hits the Moon with the force of a kiloton, or about 1,000 tons of TNT, per Cooke. The pockmarked lunar surface is ample evidence that the Moon gets hit with objects of diverse sizes quite frequently.
Unsurprisingly, NASA studies lunar impacts and monitors the Moon’s surface. Meteoroids can hit the Moon with incredible speed upwards of 72 kilometers per second, or about 160,000 miles per hour. This results in impacts on the Moon producing a bright flash of light, which can sometimes be observed from Earth.
Real, observed lunar impacts are less dramatic than Michael’s alleged sighting, as demonstrated in the NASA video below.
The new video also looks nothing like the one below, captured by Japanese astronomer Daichi Fujii in 2023.
NASA’s Lunar Reconnaissance Orbiter and other telescopes, both terrestrial and in orbit, are constantly watching the Moon. If an asteroid large enough to create visible dust on the Moon did strike the lunar surface on May 2 at 2:32 AM CDT, there would be more documentation about it.
PetaPixel contacted NASA to ask, “Did this really happen?”
“NASA’s Lunar Reconnaissance Orbiter has not observed an asteroid impact to the Moon this week. Given the size of the depicted impact, we would also expect Earth-based telescopes to resolve it. The video is inconsistent with previous observed asteroid impacts to the Moon as it does not have the bright flash we typically see and the object does not appear to be moving at a rate we’d typically observe,” says Dr. Noah Petro, the Project Scientist for the Lunar Reconnaissance Orbiter.
While Dr. Petro stops short of saying exactly this, the viral video is fake. The asteroid’s apparent speed, size (which is absurdly large, by the way), and the nature with which it strikes the Moon do not align with NASA’s extensive observations. It doesn’t look quite right because it isn’t right. A “once in a lifetime” astronomical event is undoubtedly much easier to “observe” when it’s not real.
A 30-year-old Chinese tourist drowned off the coast of Indonesia’s Kakaban Island after attempting to retrieve a GoPro camera she had dropped during a dive.
Zhang Xiaohan, an experienced diver who reportedly holds a Divemaster certification, was part of a diving tour with 12 other guests and three guides from Green Nirvana Resort on the morning of May 3.
The group had descended to a depth of 98 feet (30 meters) at the Kelapa Dua dive site, known for its steep underwater walls and thresher shark sightings. During the ascent and while pausing for a safety stop at around five meters, Xiaohan lost hold of her GoPro. Despite warnings from one of the guides, she decided to dive back down to retrieve the camera.
According to local authorities and witness reports, Xiaohan re-entered the water without full scuba gear. She quickly disappeared from view and did not resurface. After several minutes, two guides dove to look for her but were unable to locate her. She was officially reported missing at approximately 9 a.m. local time.
The Indnoesian National Search and Rescue Agency Basarnas Balikpapan joined forces with local Search and Rescue units, and military divers, to launch a joint search operation.
“A team of divers from the joint SAR unit was deployed and managed to locate the victim at a depth of 87 meters, but initial attempts to retrieve her were unsuccessful due to the extreme depth,” Endrow Sasmita, head of Basarnas Balikpapan, tells The South China Morning Post. “The search location was quite difficult and challenging, but thanks to the support of all parties, the victim was successfully found. This is the result of solid teamwork.”
Xiaohan’s body was eventually recovered at 2:55 p.m. that same day and brought to the Abdul Rivai Regional Hospital in Berau for a forensic examination.
The incident has reportedly sparked a wave of discussion on Chinese social media, where many users expressed sadness and frustration over the loss.
“No camera or footage is as important as your life,” writes one person, per The South China Morning Post.
Authorities believe a strong undercurrent may have swept Xiaohan away as she attempted to retrieve her equipment. It is believed that she was eaten by sharks before the remains of her body surfaced.
DJI has announced the Mavic 4 Pro, its latest high-end drone built for professional aerial photography and video applications. The Mavic 4 Pro features a brand-new 100-megapixel Hasselblad image sensor, large CMOS dual telephoto cameras, and an “Infinity Gimbal” with 360 degrees of rotation.
The DJI Mavic 4 Pro features an advanced Hasselblad triple camera system with 35mm equivalent focal lengths of 28mm, 70mm, and 168mm, ensuring that creators can get nearly any shot, from expansive wide-angle landscapes to detailed close-ups. While each camera features a different image sensor, all three include Dual Native ISO Fusion, ensuring that users can get good image quality in challenging situations. The Mavic 4 Pro can stack up to five RAW frames to improve overall image quality.
The main 28mm camera features the largest sensor of the trio. It uses a new 100-megapixel Hasselblad Micro Four Thirds image sensor. The 100MP claim comes with a slight caveat, as it is a quad Bayer sensor, like what is found in many smartphones, and therefore not the same as a 100-megapixel medium-format Hasselblad image sensor. Nonetheless, the new sensor promises improved resolution and image quality over its predecessor. The accompanying lens has a versatile f/2 to f/11 aperture range, and its five-bladed aperture diaphragm delivers sharp 10-ray starbursts.
The 70mm medium telephoto camera has a 48-megapixel Type 1/1.3 sensor and f/2.8 aperture. This also promises improved image quality thanks to a new image processing engine.
Rounding out the trifecta is the 50-megapixel Type 1/1.5 long telephoto camera. The 168mm f/2.8 equivalent lens works alongside an improved gimbal algorithm to enhance stabilization and image quality when performing long-range aerial photography.
Many creators use DJI Mavic drones for video recording, not just aerial still photography. All three Mavic 4 Pro cameras support 4Kp60 HDR recording, while the 28mm main camera and its larger image sensor takes things further, offering 6Kp60 HDR recording. DJI claims that the main camera has a dynamic range of up to 16 stops, while the 70mm and 168mm cameras deliver 14 and 13 stops, respectively.
The 28mm and 70mm cameras also record 4Kp120 video, while the 168mm telephoto camera tops out at 4Kp100. All three cameras record 10-bit D-Log, D-Log M, and HLG color profiles.
One of the DJI Mavic 4 Pro’s most significant new features is its 360° Infinity Gimbal. Never before seen on a DJI drone, the innovative gimbal delivers a full 360 degrees of rotation and 70-degree upward shots. Beyond allowing users to capture dynamic video with “Dutch angles” or more effectively keep the horizon level during sweeping turns and dives, the new gimbal also supports easy vertical video recording and portrait orientation photography.
The DJI Mavic 4 Pro should also be easier to safely fly thanks to its six high-performance, low-light fisheye sensors and dual processors. The drone has omnidirectional obstacle avoidance in low light at speeds up to 18 meters per second. It also features real-time vision positioning and map construction tech, allowing it to memorize flight paths and return home without GPS.
Many use drones like the Mavic 4 Pro to follow and track subjects. The Mavic 4 Pro features ActiveTrack 360°, which promises improved low-light performance and the ability to keep a moving subject in focus even when partially obscured. The drone can detect vehicles from up to 200 meters away, too, making it a compelling choice for automotive cinematography.
The Mavic 4 Pro combines improved aerodynamics and a larger 95Wh battery to keep the drone in the air longer. The drone promises flight times up to 51 minutes, top speeds of 90 kilometers per hour (about 56 miles per hour), and a range of 41 kilometers (25.4 miles). Thanks to DJI O4+ transmission, which uses proprietary algorithms, the drone can transmit 10-bit HDR imagery from up to 30 kilometers (18.6 miles) away.
Alongside the Mavic 4 Pro drone, DJI announced the DJI RC Pro 2 remote controller. The pro-grade remote features a bright 7-inch Mini-LED screen, which can rotate for vertical video, and an HDMI port. The collapsible remote has four hours of battery life and 128GB of built-in storage for recording high-quality video and audio (when used with the DJI Mic).
Concerning storage, the DJI Mavic 4 Pro standard version comes with a 64GB internal storage module, while the Mavic 4 Pro in the Creator Combo bumps storage up to 512GB. The Creator Combo version also supports ALL-I 4:2:2 encoded video recording.
“When we launched the previous model this was the first drone with a triple camera combination allowing content creators to switch between shot composition with just one tap,” says Ferdinand Wolf, Product Experience Director at DJI. “The Mavic 4 Pro’s innovative 360° rotation Infinity Gimbal goes one step further and offers even more shooting options. We’re really looking forward to seeing how people experiment with their shots and the cinematic possibilities that this opens up.”
The DJI Mavic 4 Pro is available to order now in all the usual markets except the United States. The standard version is available in Canada, the UK, and Europe for $2,049, £1,879, and €2,099, respectively.
The DJI Mavic 4 Pro Fly More Combo is $2,799 CAD, £2,459, and €2,699.
The DJI Mavic 4 Pro 512GB Creator Combo, which includes the new RC Pro 2 controller, is $3,459 CAD, £3,209, and €3,539.
There is no word yet on when the DJI Mavic 4 Pro will be available in the United States, although a new 90-day tariff reduction on China may give aerial photographers hope that it will arrive sooner rather than later.
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