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Researchers just uncovered a lost camera trap set in the 1970s to capture the Loch Ness Monster – and the film survived

Researchers just uncovered a lost camera trap set in the 1970s to capture the Loch Ness Monster – and the film survived

Yahoo01-04-2025
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Researchers from the UK's National Oceanography Centre were testing an underwater vehicle when the submarine's props snagged on something unexpected: An old Kodak Instamatic 174 camera inside waterproof housing. After investigating the odd find, the team realized that the camera had been placed in the lake 55 years ago as part of an attempt to photograph the infamous Loch Ness Monster in the 1970s.
The little Kodak, surprisingly, survived underwater for more than 50 years before it caught on the prop of the submarine robot Boaty McBoatface and was pulled up from where it had sat at around 426 feet (130m) deep. Researchers then developed the film left inside. While the film doesn't appear to have caught an image that answers any questions about the legendary Loch Ness Monster, the find is an iconic representation of the past technology deployed in an attempt to solve the famous mystery.
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'It was an ingenious camera trap consisting of a clockwork Instamatic camera with an inbuilt flash cube, enabling four pictures to be taken when a bait line was taken,' explained Adrian Shine, a founder of The Loch Ness Project who helped identify the camera. 'It is remarkable that the housing has kept the camera dry for the past 55 years, lying around 180 m deep in Loch Ness.'
According to Shine, the camera is believed to be one of six that were submerged by Professor Roy Mackal from the Loch Ness Investigation Beruau and the University of Chicago. Half of those original cameras were lost to a gale later the same year that the traps were deployed. The camera traps were set in the mid-seventies, designed to trigger if the bait line was touched.
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The Kodak Instamatic was a line of cameras that used the 126 film cartridge, which was known for being easy to load. The 176 was introduced in 1968 and made until 1971. The model used in the camera trap used an external flash cube mounted at the top of the camera to help light up a small part of the water. The Loch Ness is a 23-mile long lake with depths as far as 754 feet / 230 m.
While the camera trip didn't appear to capture any shots of the elusive Nessie, the discovery was sent to the Loch Ness Center in Drumnadrochit to be displayed as part of the long history in the search for the legendary beast.
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Light pollution is encroaching on observatories around the globe – making it harder for astronomers to study the cosmos
Light pollution is encroaching on observatories around the globe – making it harder for astronomers to study the cosmos

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Light pollution is encroaching on observatories around the globe – making it harder for astronomers to study the cosmos

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DUNE: PART THREE Will Reportedly Be Shot on Actual Film, a First for the Franchise — GeekTyrant
DUNE: PART THREE Will Reportedly Be Shot on Actual Film, a First for the Franchise — GeekTyrant

Geek Tyrant

timea day ago

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DUNE: PART THREE Will Reportedly Be Shot on Actual Film, a First for the Franchise — GeekTyrant

It looks like Denis Villeneuve is making a bold visual leap for Dune: Part Three , and fans of classic filmmaking should be pretty damn excited. The upcoming sequel, based on Frank Herbert's Dune Messiah , will reportedly be shot, at least in part, on actual film stock. That's a major shift from the digital workflow used for the first two Dune films, and it marks a significant aesthetic change for this ever-evolving sci-fi saga. The news first broke through Kodak Motion Picture Film's official Instagram account. Though the Story post has since expired, screenshots and reposts across the internet indicate that Dune: Part Three is making use of Kodak's film stock. While not yet officially confirmed, it lines up with a few other notable changes happening behind the scenes. For starters, Greig Fraser, the cinematographer behind the breathtaking visuals of Dune and Dune: Part Two , won't be returning. His work on The Batman: Part II meant he wasn't available, and Linus Sandgren is stepping in to shoot Part Three . Sandgren has a known preference for shooting on film. In fact, all of his major projects have been captured using film rather than digital. That choice would give Dune: Part Three a distinct visual feel, reinforcing Villeneuve's mission to make this film stand apart from the first two. As he previously said, the next installment 'will not be the completion of a trilogy. The first two movies were really a diptych. It was really a pair of movies that will be the adaptation of the first book. That's done and that's finished. If I do a third one, which is in the writing process, it's not like a trilogy. It's strange to say that, but if I go back there, it's to do something that feels different and has its own identity.' Villeneuve's desire for a fresh identity extends all the way down to the technical details. When shooting the first two films, the team used digital cameras, then printed the footage onto 35mm film and scanned it back into digital. Fraser explained the approach in an interview on the Go Creative Show podcast: 'It was an involved process that hasn't really happened before in commercial films. But it gave us the feeling we had been picturing—a certain texture that's painterly but feels timeless…The film has softened the edges of the digital. It gave us something that film acquisition couldn't give us, and it gave us something that digital acquisition couldn't give us.' Switching to full film acquisition could push that timeless aesthetic even further, offering a more organic, textured look for the harsh desert world of Arrakis. There's been some confusion around the camera formats lately. During a CNBC appearance, IMAX CEO Rich Gelfond said that Villeneuve would be shooting the entire film with IMAX cameras. That turned out to be inaccurate. IMAX quickly clarified that only select scenes will use IMAX cameras, which is standard practice for most modern blockbusters. Dune: Part Three began filming last month and is scheduled to hit theaters on December 18, 2026.

What would Mars look like under an Earth-like blue sky? NASA's Perseverance rover just showed us
What would Mars look like under an Earth-like blue sky? NASA's Perseverance rover just showed us

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What would Mars look like under an Earth-like blue sky? NASA's Perseverance rover just showed us

When you buy through links on our articles, Future and its syndication partners may earn a commission. NASA's Perseverance Mars rover continues to beam home incredible sights from the Red Planet surface. This week, NASA's Jet Propulsion Laboratory (JPL) released an enhanced-color mosaic of 96 separate images taken by Perseverance on May 26, 2025 that together create an 360-degree panorama of a location on Mars called "Falbreen." This area contains some of the oldest terrain Perseverance has ever explored on the Red Planet, according to JPL. The image was taken on a day when the skies above NASA's Perseverance rover were clear, enabling the robotic explore to capture "one of the sharpest panoramas of its mission so far," according to a JPL statement. The panorama was taken with Perseverance's Mastcam-Z instrument and depicts a rippling surface nearby as well as hills in the distance some 40 miles (65 kilometers) away from the rover. One of the most striking elements of the image is the blue skies overhead — but don't be fooled. The Mars' skies never appear blue like Earth's, and only appear to be blue in the panorama due to processing. "The relatively dust-free skies provide a clear view of the surrounding terrain,' Jim Bell, Mastcam-Z's principal investigator at Arizona State University, said in JPL's statement. "And in this particular mosaic, we have enhanced the color contrast, which accentuates the differences in the terrain and sky." Aside from the blue sky, there is another element in this image that Perseverance's science team is excited about. A large rock visible to the right of the center of the mosaic is an example of what geologists refer to as a "float rock," in reference to a rock that was transported to its current location by water, wind, or even a landslide. This particular float rock sits atop a crescent-shaped ripple of sand, but the Perseverance science team "suspects it got here before the sand ripple formed," according to the statement. Also visible in the image is an abrasion patch, a 2-inch (5-centimeter) area of the Martian surface into which Perseverance drilled with its diamond-dust tipped grinder known as the Rock Abrasion Tool (RAT), capable of spinning at 3,000 revolutions per minute. A raw, more close-up image taken by Perseverance's Mastcam-Z instrument on the same day shows the abraded patch of the Martian surface in greater detail, revealing multiple cracks in the Red Planet's weathered surface. Perseverance landed on Mars on Feb. 18, 2021 in a multi-stage sequence that included an atmospheric entry capsule. The capsule had opened to deploy a landing vehicle featuring a "sky crane" that lowered the rover safely to the Martian surface before flying away and crashing at a safe distance to avoid damaging the rover. The roughly car-sized 2,260-lb (1,025-kilogram) Perseverance landed in a region of Mars known as Jezero Crater. Since then, it has been scouring the area for interesting geological features and collecting samples that NASA hopes to one day return to Earth. However, the fate of that Mars Sample Return program hangs in the balance due to widespread budget cuts at NASA. Private companies have offered to step in, but whether or not we will ever see Perseverance's samples brought home remains unknown. Solve the daily Crossword

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