In honor of having just seen Christopher Nolan’s Oppenheimer (fabulously well done, by the way…), a close friend allowed me a peek into one of the most treasured volumes on his bookshelf. Featuring the no-nonsense title of How to Photograph an Atomic Bomb, I was immediately thrilled by the opportunity.
Published in 2006, it was written by an interesting gentleman named Peter Kuran. After starting his career as a visual effects animator on Star Wars in 1977, he went on to do effects work for over 300 feature films. Along the way, he managed to produce five documentaries on atomic history and technology while directing several others. He is also the winner of an Academy SciTech Award for the creation of a photochemical process that restores original color negatives.
But all of that pales beside his book, which more than delivers on the promise spelled out by the cover. In short, it’s a fascinating exposition of the methods and equipment needed to memorialize the detonation of world’s biggest firecracker. Covering the period from 1945-63, there are plenty of charts and photographs to pour over, many of them formerly classified. Having come to this volume in the post-screening glow of Nolan’s film, it quickly evoked a greater sense of awe than I was previously aware of. If nothing, you certainly need to respect the level of commitment Mr. Kuran brought to his unusual subject.
I would easily recommend How to Photograph an Atomic Bomb to any reader of this blog, but if you’re so inclined, be sure to check your latest bank statement first. For reasons I don’t understand, the prices for a copy range from $300 – $500 on Amazon!
When I was stationed at the Aerospace Audio Visual Service (AAVS), Norton AFB, San Bernardino in the early 70’s, (the unit has just moved from Lookout Mtn, LA), the two civilian leaders of the unit, Doug Wood and Les Elliott had both been involved in filming nuclear explosions on Eniwetok & Bikini atoll.
Richard – Your post reminded me of my treasured friendship with the late Dr. Roderick T. Ryan, an Honorary ASC member during his lifetime. Dr. Ryan photographed atomic tests for the U. S. Navy, including the Bikini Atoll tests – images known well by millions. I had the privilege of getting to know Dr. Ryan a little better because we worked together on the 7th Edition of the ASC Manual, which came out in 1993. A few highlights from his sterling resume: the Herbert T. Kalmus Gold Medal, AMPAS Medal of Commendation, SMPTE Life Fellow. He spent 40 years with Eastman Kodak and was the author of many authoritative texts on motion picture technoloy. After our work sessions, Dr. Ryan loved to pour two large schooners of beer for us from his poolside keg. I’m forever grateful to the ASC for affording the chance to get to know Dr. Ryan and many other extraordinary humans like him!
Greg – That is so cool… Did they glow in the dark?
David – I’m well aware of Dr. Ryan but never had the chance to meet him. I also had no idea that he had photographed any of the early atomic tests. What an amazing man!
Rich, I agree with your regard for Oppenheimer. Having seen it now twice, I think it may well stand the test time to become one of the great classics of cinema. The fact that Nolan and company elected to shoot all their effects plates, in IMAX or otherwise, lends a huge level of authenticity to the entire enterprise and especially the VFX. That, along with Hoyt van Hoytema’s exquisite photography, and some of the finest acting I can remember, it’s really quite stunning. As I was watching the film I wondered how our friend, Dr. Richard Goldberg would have responded? He worked on the Manhattan Project from Oak Ridge in Tenn. I think he would have loved the film and especially the technical work that went into it. And Dick would have likely groused about Technicolor loosing Chris Nolan as a customer. I’m just glad that FotoKem is still running a first rate front-end negative processing line for 65mm.
I’m with you, Bob! First rate across the board. And wouldn’t it have been great to get Dr. Goldberg’s first-hand resposne?