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Several interesting things are happening in the wild world of digital photography as it’s colliding with digital video. Most notably, the new Canon 5D Mark II (roughly $2700) can record 1080p video and the new Nikon D90 (roughly $1000) can record 720p video. At the higher end, Red just announced some cameras that will ship next year that will be able to record full video (as fast as 120 frames per second in some cases) at far greater than HD resolutions (for $12K, you can record video at a staggering 6000×4000 pixels). You can configure a Red camera as a still camera or as a video camera.

Recently, well-known photographer Vincent Laforet (perhaps best known for his aerial photographs, such as “Me and My Human“) got his hands on a pre-production Canon 5D Mark II and filmed a “mock commercial” called “Reverie”, which shows off what the camera can do, particularly its see-in-the-dark low-light abilities. If you read Laforet’s blog, you’ll see that he’s quite excited, not just about the technical aspects of the camera, but about what this means to him as a professional photographer. Suddenly, he can leverage all of the expensive lenses that he already owns and capture professional-quality video “for free.” This has all kinds of ramifications for what it means to cover an event.

For example, at professional sporting events, video rights are entirely separate from the “normal” still photography rights given to the press. It’s now the case that every pro photographer is every bit as capable of capturing full resolution video as the TV crew covering the event. Will still photographers be contractually banned from using the video features of their cameras? Laforet investigated while he was shooting the Beijing Olympics:

Given that all of these rumours were going around quite a bit in Beijing [prior to the announcement of the Nikon D90 or Canon 5D Mark II] – I sat down with two very influential people who will each be involved at the next two Olympic Games. Given that NBC paid more than $900 million to acquire the U.S. Broadcasting rights to this past summer games, how would they feel about a still photographer showing up with a camera that can shoot HD video? I got the following answer from the person who will be involved with Vancouver which I’ll paraphrase: Still photographers will be allowed in the venues with whatever camera they chose, and shoot whatever they want – shooting video in it of itself, is not a problem. HOWEVER – if the video is EVER published – the lawsuits will inevitably be filed, and credentials revoked etc. This to me seems like the reasonable thing to do – and the correct approach. But the person I spoke with who will be involved in the London 2012 Olympic Games had a different view, again I paraphrase: “Those cameras will have to be banned. Period. They will never be allowed into any Olympic venue” because the broadcasters would have a COW if they did. And while I think this is not the best approach – I think it might unfortunately be the most realistic. Do you really think that the TV producers and rights-owners will “trust” photographers not to broadcast anything they’ve paid so much for. Unlikely.

Let’s do a thought experiment. Red’s forthcoming “Scarlet FF35 Mysterium Monstro” will happily capture 6000×4000 pixels at 30 frames per second. If you multiply that out, assuming 8 bits per pixel (after modest compression), you’re left with the somewhat staggering data rate of 720MB/s (i.e., 2.6TB/hour). Assuming you’re recording that to the latest 1.5TB hard drives, that means you’re swapping media every 30 minutes (or you’re tethered to a RAID box of some sort). Sure, your camera now weighs more and you’re carrying around a bunch of hard drives (still lost in the noise relative to the weight that a sports photographer hauls around in those long telephoto lenses), but you manage to completely eliminate the “oops, I missed the shot” issue that dogs any photographer. Instead, the “shoot” button evolves into more of a bookmarking function. “Yeah, I think something interesting happened around here.” It’s easy to see photo editors getting excited by this. Assuming you’ve got access to multiple photographers operating from different angles, you can now capture multiple views of the same event at the same time. With all of that data, synchronized and registered, you could even do 3D reconstructions (made famous/infamous by the “bullet time” videos used in the Matrix films or the Gap’s Khaki Swing commercial). Does the local newspaper have the rights to do that to an NFL game or not?

Of course, this sort of technology is going to trickle down to gear that mere mortals can afford. Rather than capturing every frame, maybe you now only keep a buffer of the last ten seconds or so, and when you press the “shoot” button, you get to capture the immediate past as well as the present. Assuming you’ve got a sensor that let’s you change the exposure on the fly, you can also now imagine a camera capturing a rapid succession of images at different exposures. That means no more worries about whether you over or under-exposed your image. In fact, the camera could just glue all the images together into a high-dynamic-range (HDR) image, which yields sometimes fantastic results.

One would expect, in the cutthroat world of consumer electronics, that competition would bring features like this to market as fast as possible, although that’s far from a given. If you install third-party firmware on a Canon point-and-shoot, you get all kinds of functionality that the hardware can support but which Canon has chosen not to implement. Maybe Canon would rather you spend more money for more features, even if the cheaper hardware is perfectly capable. Maybe they just want to make common feature easy to use and not overly clutter the UI. (Not that any camera vendors are doing particularly well on ease of use, but that’s a topic for another day.)

Freedom to Tinker readers will recognize some common themes here. Do I have the right to hack my own gear? How will new technology impact old business models? In the end, when industries collide, who wins? My fear is that the creative freelance photographer, like Laforet, is likely to get pushed out by the big corporate sponsor. Why allow individual freelancers to shoot a sports event when you can just spread professional video cameras all over the place and let newspapers buy stills from those video feeds? Laforet discussed these issues at length; his view is that “traditional” professional photography, as a career, is on its way out and the future is going to be very, very different. There will still be demand for the kind of creativity and skills that a good photographer can bring to the game, but the new rules of the game have yet to be written.