In today's episode a photographer snags a vintage Leica for $10, Nikon releases new firmware for the Z6/3 and train photographers are committing crimes in Japan.
You can find the show notes here.
You can find the show notes here.
Show Notes
Welcome back to the show Liam here and you are listening to Episode 469 of the Liam Photography Podcast for the week of August 28th, 2025. In today’s episode a photographer finds a $2,000 Leica for $10 at a thrift store, Nikon’s new Z63 firmware, train photographers menace Japan and more.
A very lucky photographer in northern Ontario recently made the thrift store find of a lifetime when he scored a functional Leica M3 Double Stroke in good condition for just over $10.
Brandon Simpson, who goes by Artistic_Doubt_2758 on Reddit, posted a couple of images in the Leica subreddit, detailing his incredible purchase.
“Walked into a thrift store I go to regularly and saw the lady working there stocking some new items on the shelf,” Brandon explains. “I grabbed what I thought was just another camera in a leather case, my heart dropped as soon as I saw the logo.”
Inside the brown Leica-branded leather case was a Leica M3. Single-stroke M3 models are available online for approximately $1,100, while double-stroke versions, such as the one Brandon found, cost upwards of $2,000 at KEH. They are even more expensive when purchased directly from Leica through Leica Classic. A Leica M3 DS is available now for over $4,600, although it is from a first production batch, which adds to its value. So, clearly, $10.49 is a complete steal
“You’re lying right? He’s lying, right? Guys can someone tell me he’s lying?” one Redditor replied in a top-rated comment.
“The thrift stores in my city have dirty socks, grandma’s china, and a weird smell,” another Leica subreddit commenter added.
“I’m sorry in advance for the rabid squirrel that’s going to land in your hoodie after falling 47 floors tomorrow. The universe [has] gotta balance,” someone else joked.
“I found the camera in Northern Ontario — I saw the leather camera case across the thrift store not thinking much until I got closer and saw the logo,” Brandon tells PetaPixel. “I knew I found something special immediately.”
“Photography has been a very big part of my life and has allowed me to meet many people over the years,” he continues. “The most memorable moments in my life a camera has been in my hand.”
Brandon tells PetaPixel that he plans to use the camera soon, and he’s confident the camera is fully functional.
“[It is] definitely my best and favorite thrift store find ever,” Brandon adds. “I will be chasing the feeling of finding it for a while!”
Brandon is not the first person to get an incredible deal on a Leica camera. In 2021, then 16-year-old Tyler B. in Michigan bought a Leica M outfit for just $15 from a church yard sale. In 2017, a Redditor, GreenteaBanana, bought a Leica M2 for only $5 at a Value Village, the same thrift store chain from which Brandon S. grabbed his Leica M3 just a few months ago.
Thrift stores may be mostly full of junk, but every so often, lucky customers with a good eye can find truly spectacular deals on cameras, much to the envy of photographers everywhere.
Nikon released firmware version 2.00 for its popular full-frame Z6 III mirrorless camera. The major update adds new subject detection features, automatic capture, C2PA functionality, and much more.
The Nikon Z6 III launched last summer and instantly made a strong impression. The camera’s novel partially stacked image sensor enables blazing-fast shooting speeds, excellent autofocus performance, and impressive video capabilities. With firmware 2.00, Nikon is further expanding the Z6 III’s autofocus features while also providing professional photographers, primarily photojournalists, with the content authenticity tools they demand.
The Nikon Z6 III is the first Nikon camera to support the brand-new Nikon Authenticity Service, a new C2PA-compatible solution for media organizations and photojournalists to deliver more trusted photos.
Nikon Authenticity Service adds an image provenance function to the Z6 III. Users can make a prior request through Nikon Imaging Cloud to load a digital certificate onto the Z6 III. This certificate is required for image provenance and adds a digital signature to the metadata, indicating whether a captured image has been tampered with. This can also prove precisely when a photo was captured and that it was shot using a Nikon camera.
When this file is edited in C2PA-compliant editing software, additional provenance and authenticity information can be embedded into the file, living alongside the original shooting data. Image provenance data can be viewed in Nikon Imaging Cloud.
Nikon has been working on C2PA technology for a long time, and now that the Z6 III has image provenance in firmware 2.00, photographers can see the approach Nikon plans to take concerning content authenticity. The solution, the Nikon Authenticity Service, will work in conjunction with Nikon Imaging Cloud. Nikon Z9 owners are still waiting on content authenticity tech after Nikon promised it way back in 2022.
With firmware 2.00, the Z6 III now features a new dedicated [Birds] mode in its subject detection menu. When this new mode is selected, the Z6 III can automatically track birds in flight with improved precision, ensuring they remain sharp and in focus, even when flying against complex backgrounds.
The Z6 III now also features a new “Focus limiter” setting that can be assigned to a custom control, allowing photographers to limit their shooting distance range and thereby improve autofocus reliability in certain situations.
Another update involves the Z6 III’s Pre-Release Capture shooting mode. Photographers can now select the JPEG fine image quality setting in this mode. With Pre-Release Capture on the Z6 III, photographers can record images for up to one second before the shutter release is fully pressed, making it easier to capture the perfect moment, even when it is unpredictable and short-lived. It is a popular setting for sports and wildlife photographers in particular.
Like the additions above, there is yet another feature coming to the Z6 III that was first introduced in Nikon’s flagship Z9 and Z8 cameras. Firmware 2.00 adds Auto Capture to the Z6 III. This mode enables automatic image capture within specific, user-set parameters. For example, photographers can set up the Z6 III at a remote location and specify that when the camera detects a particular subject, direction of movement, or shooting distance, the camera automatically captures images. This feature also includes a scheduling function, allowing the Z6 III to be turned into a customized wildlife camera trap. Auto Capture also works in conjunction with the Z6 III’s robust data transfer features, including Nikon’s USB-to-Ethernet adapter.
Additional operability improvements include a new automatic monitor display function to disable the eye sensor when the vari-angle monitor is deployed, a first for a Nikon Z series camera, the option to exit zoom view in manual focus mode by half-pressing the shutter, the option to combine Pixel Shift shooting with AE and focus bracketing, a recall settings function, USB streaming support without software, improved firmware updating using Nikon Imaging Cloud, and more.
Rail buffs are generally considered a quirk of society; a group of people engaging in a harmless hobby. But train photographers in Japan — known as toritetsu — are gaining a different kind of reputation entirely.
Recent reports have revealed a criminal ring operating within a community of toritetsu in Japan. Despite the country’s low crime rate, a section of railfans are engaged in theft, fraud, and even violence.
A month ago at the Osaka-Kansai Expo, six train photographers were arrested for shoplifting 111 items valued at roughly 410,000 yen ($2,800) from shops inside the world fair.
Sora News 24 reports that the men, who are all part of the same Tokyo toritetsu sect, even rode the train to the Expo without paying by working together to dodge inspectors and jumping the gate on the way out.
After hopping the train, the group then entered the Expo using young person tickets reserved for teenagers. They chose the date of June 26, knowing that new stock was arriving that day.
The crooked toritetsu targeted children’s clothing from the luxury brand Familiar, so they could later sell the apparel for top dollar on the resale market. The gang also helped themselves to Expo souvenirs before a customer saw what they were up to and reported them.
“I would expect train photographers to have enough respect for train companies not to rip them off,” one Japanese commenter writes, per Sora News 24.
“To sum up, these guys are anti-social, fare-dodging, reselling, thieving train photographers? Amazing,” adds another.
The shoplifting episode at Osaka-Kansai Expo is far from the only incident to bring shame on toritetsu. In the past, they have also stolen Lego, trespassed, and engaged in aggressive behavior.
One incident in 2021 saw a young man left with a serious head injury after he was assaulted during an argument over the best position for an approaching train.
Part of the hostility stems from an obsession with capturing the perfect shot. Many of Japan’s older trains are increasingly rare, plus urban sprawl means there are fewer vantage spots to get the best frame.
“Every train has its last moment, which, for them, is the last missing piece of the puzzle they need to make their photo collection complete,” Jun Umehara, a freelance railway journalist, told AFP.
“The idea of missing that final piece is almost unbearable for them. Hence the desperation.”
A foreign cyclist who got in the way of a group of toritetsu just as the train they were trying to capture went past was threatened. The cyclist was abused and the photographers demanded compensation from him, although it’s not clear if any money was handed over.
While a passion for photography unfortunately does sometimes spill over into ugly behavior, it is never an excuse for violence or theft.
Despite some belligirent toritetsu, Japan’s crime rate remains famously low. In 2024, homicides and robberies rose slightly to 912 and 1,361 respectively, according to Nipon.
Compare that to the United States where there were 16,924 homicides in 2024 and 1,221,345 incidents of violent crime. However, the U.S. population is approximately three times larger than Japan’s.
Blackmagic Design announced a substantial price reduction across its Ursa Cine camera kits, marking a rare move in the high-end cinema camera market where prices have generally been rising.
The Ursa Cine line, first introduced in 2024, includes the 12K LF and the flagship 17K 65 models, both designed around large-format sensors aimed at professional film and television production. Since launch, Blackmagic has focused on refining production costs, and the company now says those efficiencies are being passed directly to customers through lower pricing.
The price cuts are significant. The Ursa Cine 12K LF, previously priced at $14,995, now retails for $9,495, while the EVF bundle has been reduced from $16,495 to $10,995.
At the higher end, the Ursa Cine 17K 65 is reduced from $29,995 to $22,995, and the EVF kit falls from $31,495 to $24,495. Depending on model and configuration, savings range from 22% to over 36%.
It is worth noting that the prices above exclude duties; therefore, prices in the United States will be higher due to tariffs, although still significantly lower than the older prices.
Each Ursa Cine kit is designed to be shoot-ready out of the box. Kits include the camera body, an 8TB Media Module, top handle, baseplate, power supply, and battery plate, all packed in a rugged Pelican case. Users can also add the electronic viewfinder (EVF) for a more complete setup.
This all-in-one approach simplifies the transition for productions adopting large-format workflows, enabling filmmakers to start shooting immediately without needing to source additional components.
The Blackmagic Ursa Cine 17K 65 is built around a 65mm sensor and has already received Netflix approval for original productions. Blackmagic Design promises that the 12K LF excels in resolution, dynamic range, and rolling shutter performance, confirming that these cameras deliver professional-grade image quality at a fraction of the cost of many competing large-format cameras.
For filmmakers, this means access to ultra-high-resolution cinema cameras with robust latitude and fine detail, previously accessible only at much higher budgets.
By reducing the price of its Ursa Cine line, Blackmagic Design may encourage broader adoption of large-format cinema cameras among independent productions, smaller studios, and emerging cinematographers. The lower entry point makes it feasible to incorporate high-end digital cinematography into projects that may not have previously justified the expense.
Whether this aggressive price drop will drive a wave of new productions toward large-format workflows remains to be seen, but it clearly positions the Ursa Cine series as a competitive and accessible choice for filmmakers seeking cinematic image quality without the historically prohibitive price tag.
18-year-old British photographer Jacob Brown was recently photographing local wildlife in Lythan Saint Annes, United Kingdom, when he nearly became the victim of a theft by a very unusual suspect: a goose.
“I was taking a photo of some swans when I noticed the goose behind me trying to pull my bag away,” Brown wrote on Reddit’s Wildlife Photography subreddit earlier today.
“I reached behind for my lens and I noticed that my bag had moved,” Brown tells PetaPixel.” I turned around to see the goose struggling to move [my] bag but had managed to move it a fair bit.”
“It was making a quiet chatter noise which was very strange because I thought the goose had really lifted my gear,” Brown laughs.
The young photographer has been taking pictures for about a year now and says he loves wildlife photography because it’s always unpredictable and every adventure is different. His portfolio showcases a diverse range of images, including sports photos, portraits, landscapes, and, of course, wildlife.
Brown says he works as a photographer at the nearby Pleasure Beach Resort, an amusement park in Blackpool, England, but hopes to become a full-time photographer on his own. He especially enjoys sports photography, as “sports moments bring so much joy.”
While any outdoor photography always comes with some form of risk, it’s unusual, although not unprecedented, for an animal to try to swipe a photographer’s gear. A couple of months ago, PetaPixel reported about a large Kenyan lion that grabbed a photographer’s lens after they dropped it, carrying it away in its mouth. Way back in 2012, another lion grabbed a photographer’s Canon EOS 5D Mark II DSLR and chomped it to bits. Even less-mischievous critters can mess with gear, like this crab who stole a diver’s camera last year.
Brown says the goose mainly messed with the zippers and straps on his camera bag, and thankfully was moving the kit away from the water, rather than toward it, so no harm now “fowl.”
After getting the goose away from his camera gear, Brown even took a lovely portrait of the thief.
“He’s lucky I did his photo for him,” Brown jokes.
A new exhibition celebrates two centuries of analog photography, tracing the medium from its 19th-century origins to the modern digital age.
Curated by Aditya Arya, Touching Light: A Prelude to the Bicentennial of Photography (1827–2027) emphasizes the immersive and intimate qualities of analog processes. From the chemical alchemy of the darkroom to the unique textures and imperfections of each print, Arya highlights how the physical engagement of film photography shapes both the act of making an image and the experience of viewing it. The exhibition presents a dialogue between the past and present, inviting audiences to consider how analog practices continue to inform the art of seeing.
“This exhibition is a tribute — an ode — to the practice and practitioners of photography, as we celebrate the bicentennial of the medium. Two hundred years ago, a Frenchman named Nicéphore Niépce created the first ‘photographic’ image using a camera obscura,” Arya notes.
“His colleague, Louis Daguerre, went on to invent the iconic daguerreotype process, laying the foundation for truthful likeness of the image 19th-century alchemists took image-making processes to new and inventive heights, making the arrival of photography, without doubt, one of the most impactful developments in the history of humankind.”
The exhibition pays tribute to the tactile and sensory practices that defined photography’s earliest years. Visitors encounter 19th-century treasures such as Carte de Visite portraits from Bourne & Shepherd, Darogha Abbas Ali’s Beauties of Lucknow (1870s), and Felice Beato’s stark images from the aftermath of the 1857 uprising. These works embody the moment when photography was first taking shape as both a documentary tool and a creative medium.
The early years of photography demanded precision, patience, and discipline. Cameras were cumbersome, plates fragile, and exposures long. Darkrooms were not simply spaces of production but laboratories of discovery where images slowly emerged in chemical baths. The exhibition emphasizes these processes, inviting viewers to consider the deliberate pace of early photography as central to its artistry.
“These negatives and prints are tangible objects. The analog photographs of the featured archives and individual photographers on show bear unique characteristics—grain, light leaks, and color shifts—that arise from the physical and chemical processes involved,” says Curator Aditya Arya.
“These imperfections add personality and authenticity to each image, and the inherent fragility of the medium, both in materials and process. This fragility shapes the way photographers interact with their medium and contributes to the unique character and value of analog images. Many of the glass negatives and silver prints on display show varying degrees of degradation, underscoring the ephemeral beauty and historical significance of this art form.”
One of the central themes of Touching Light is the embrace of photography’s imperfections. Grain, tonal variation, and light leaks are not treated as flaws but as signs of authenticity. In a world where digital images are perfected and replicated endlessly, the fragility of film serves as a poignant reminder of impermanence.
Arya highlights this contrast by emphasizing the discipline inherent in analog practice, remarking that the imperfections and limitations of film are not obstacles but the very qualities that give it enduring value.
“There was a discipline which has disappeared, and this discipline is rather essential to any art,” Arya says.
The exhibition also positions photography as a witness to history. In particular, Felice Beato’s photographs from Lucknow after the 1857 uprising are among the earliest visual records of colonial conflict. His images, carefully staged yet stark in their presentation, capture the aftermath of war and destruction while raising questions about photography’s role in shaping narratives of power.
Darogha Abbas Ali’s Beauties of Lucknow offers another perspective. His photographs of courtesans are not only artistic portraits but also cultural documents, preserving a world that was undergoing rapid change in the 19th century. Similarly, the colonial-era People of India series, long criticized as an instrument of ethnographic control, today provides insight into how visual representation was intertwined with governance and identity.
“Touching Light stands as a celebration of the practitioners who, through their dedication and vision, have shaped the visual history of India. It invites viewers to reflect on the enduring allure of analog photography and to honor the legacy of those who have preserved our collective memory through their craft,” Arya explains.
Alongside these historical works, Touching Light showcases contributions from 28 contemporary Indian photographers. Their works demonstrate the continued relevance of analog photography even in an era dominated by digital technology.
Avinash Pasricha’s long engagement with performing arts photography captures the nuance of movement and gesture in live performance. Prabir Purkayastha experiments with gilded prints and other traditional processes to push the boundaries of analog’s expressive possibilities. Serena Chopra’s work embodies a quiet, documentary approach, where patience and intimacy shape the relationship between the photographer and the subject.
Other participants include Ram Rahman, Rohit Chawla, and Prashant Panjiar, whose practices span journalism, fashion, and political commentary. Their contributions highlight the versatility of analog photography across various genres and contexts.
Touching Light is not only an exhibition of images but also an exploration of photography as a way of seeing and engaging with the world. The tactile rituals of analog practice, loading film, waiting for development, and anticipating results, cultivate a philosophy of attention. In contrast to the instant gratification of digital capture, film requires patience, discipline, and an acceptance of uncertainty.
The exhibition suggests that this philosophy is profoundly relevant today. In an age where images are created and consumed in an instant, analog photography reminds us of the value of slowness, fragility, and care. It also highlights the relationship between process and meaning, inviting audiences to consider how the act of making a photograph shapes what the image ultimately communicates.
With the bicentennial of photography approaching in 2027, Touching Light positions itself as both a celebration and a provocation. By pairing historical works with contemporary practice, the exhibition explores how the past informs the present and how analog traditions may continue to influence photography’s future.
Museo Camera’s initiative highlights India’s place within this global narrative. The exhibition reminds us that photography has always been both a local and international practice, shaped by cultural exchange, colonial histories, and the individual visions of artists.
Touching Light: A Prelude to the Bicentennial of Photography (1827–2027) invites viewers to slow down and engage with photography as a tactile craft, one shaped by patience, chemistry, and deliberate artistry. By juxtaposing 19th-century milestones with contemporary analogue works, the exhibition underscores how the discipline and fragility of film continue to inform the medium’s enduring power as it approaches its bicentennial. In exploring these practices, the show highlights the timeless lessons of analog photography and their relevance for understanding the art of seeing in the twenty-first century.
The exhibition opened at Museo Camera in Gurugram on August 22 Museo Camera in Gurugram, and will remain on view through September 29.
Check out the awesome products that TrueSonic Inc. offer.
https://shareasale.com/r.cfm?b=2145237&u=3952045&m=130968&urllink=&afftrack=
Check out all the awesome stuff at Moment for your photography/videography needs!
https://partner.shopmoment.com/4PDeVG
Save on your orders for SmallRig gear
If you'd like to pick up your own HOVERAIR XR Drone use the following link
https://thehover.com/products/hoverair-x1-self-flying-camera-combo
and code XMHOVER to save $20
Get your own discount on VITURE XR One glasses, Neckband, Switch Dock and more!
https://shop.viture.com/?ref=LiamPhoto
Check out the latest deals at OWC (Other World Computing) for all your Apple/Mac needs.
https://eshop.macsales.com/shop/specials/?utm_source=affiliate&utm_medium=text&utm_campaign=cj
Get low cost SSLs for your sites here.
Sign up for VidIQ using the following link:
https://vidiq.com/liamphotoatl
Check out my ThinkTank Affiliate link. When you buy using this link you help the channel, pay nothing extra and can even get a free item!
I now have my own discount code for my Subscribers and Podcast audience at http://www.platypod.com use my code WD20 to get 20% off on any Platypod branded items, excluding bundles which are already discounted by 20% or more. One user per customer.
I also have an affiliate code for Dehancer Film profiles at http://www.dehancer.com and use code LDPHOTO
Check out the awesome gear Ulanzi has for photographers and Content Creators!
https://www.ulanzi.com?aff=1002
You can buy me a coffee: https://www.buymeacoffee.com/liamphotoaf
Also be sure to join the Liam Photography Podcast Facebook Group https://www.facebook.com/groups/liamphotographypodcast/ You can reach the show by call or text @ 470-294-8191 to leave a comment or request a topic or guest for the show. Additionally you can email the show @ liam@liamphotographypodcast.com and find the show notes at http://www.liamphotographypodcast.com.
You can find my work @ https://www.liamphotography.net and follow me on Instagram, Facebook and Twitter @liamphotoatl. If you like abandoned buildings and history, you can find my project @ http://www.forgottenpiecesofgeorgia.com. and http://www.forgottenpiecesofpennsylvania.com.
Please also stop by my Youtube channels Liam Photography
Comments & Upvotes