Chapter 1: The Legendary Lake Cote Photograph

Over fifty years ago, a mapping team from the Costa Rican government captured an image that many describe as peculiar and extraterrestrial. But is it truly what it appears to be?

The Photographic Evidence

Captured by the Costa Rican National Geographic Institute on September 4, 1971, and photographed by Sergio Loaiza, the Lake Cote image has generated a mix of admiration and skepticism. While there may be more authentic UFO photographs out there, they remain undisclosed or declassified. Until those images surface, this one remains a focal point for discussion.

This year marks the 50th anniversary of the photograph, and its legend has only intensified over the decades. In 1999, for instance, a group of retired French officials, including pilots, featured it on the cover of the COMETA report, a document recognized for its candid approach to the UFO phenomenon. Titled "UFOs and the Department of Defense," this report suggested that the Extraterrestrial Hypothesis (ETH) was the most plausible explanation for such sightings.

As the anniversary approached, the photo re-emerged in public discourse. In a May 2021 issue of The New Yorker, journalist Leslie Kean shared that she possesses a framed version of this remarkable image, which she received along with documentation from Costa Rican officials. She considers it the finest UFO photograph ever publicly disclosed.

The Context of the Capture

In the autumn of 1971, Costa Rica's Instituto Geográfico Nacional (IGN) was engaged in aerial photography for prospective hydroelectric projects. The Electricity Institute of Costa Rica financed this initiative to assess water sources for the Arenal dam project. On September 4, 1971, experienced pilot Omar Arias navigated a twin-engine Canadian Aero-Commander F680 at an altitude of 10,000 feet over Lake Cote, located three miles north of Arenal and 25 miles south of Nicaragua.

Accompanying Arias were photographer Sergio Loaiza, an aerial photography expert, along with geographer Juan Bravo and topographer Francisco Reyes. Loaiza utilized a specialized R-M-K 15/23 camera, a robust piece of equipment weighing about a hundred pounds, which had been donated by the German government. The camera, fixed under the plane’s fuselage, used black-and-white film with an ASA speed of 80, designed to yield high-resolution negatives.

The camera's intervallometer was programmed to capture one image every 20 seconds, a costly undertaking given their focus on quality and technical detail. Importantly, Loaiza intended to photograph standard targets, setting the camera to focus on infinity with automatic exposure.

None of the crew noticed anything unusual during the flight, but once Loaiza developed the film, he was astonished by the results.

Unveiling the Mystery

The developed negatives were printed on Kodak Safety aerial film, type 3665. Initially, no one recognized anything peculiar. It was only after Loaiza enlarged the images during the review process that he discovered the extraordinary capture. In one frame (#300), a striking metallic disc came into view, sharply defined due to the film stock and camera quality. This object was absent from both the preceding frame (#299) and the subsequent one (#301).

Several factors contribute to the intrigue surrounding this photograph. The image encompasses a region approximately seven miles by seven miles, all in crisp focus. Upon scrutinizing the original high-quality version, one can discern trees, roads, and some even claim to see farm animals. Furthermore, the photo was taken from above, which distinguishes it from the typical upward-looking UFO photographs. Given the fixed altitude, it also allows for an estimation of the object's size. Lastly, the disc is set against the uniform black surface of the lake, enhancing its visibility.

Leslie Kean elaborated on the photograph's significance during an interview on The New Yorker Radio Hour, stating, “I love this photo. It's probably the best photograph of a UFO ever taken. It was captured in the 70s from a government mapping plane in Costa Rica, showing a disc object reflecting sunlight. The authenticity is backed by a clear chain of custody, ensuring it remains unexplained."

Despite this, skepticism persists. At the same time, skeptical researcher Mick West published his own critique, inviting those interested to explore his arguments further.

Investigative Insights

Kean emphasizes the importance of the photo's chain of custody, which began with the Costa Rican government and photographer Sergio Loaiza. Initially, Loaiza faced restrictions on discussing the image. Eventually, the film was handed to Ricard Vilchez, who led a civilian UFO research group in San Jose. Vilchez met with Loaiza in 1980 to hear the full story.

Loaiza consistently asserted that the equipment was specifically designed, stating that even a speck of dust between the lens and the film would have compromised the results. When asked about the possibility of error, he confidently replied, “There was no possibility (of an error). There was no trick.”

Following the meeting, the photo reached Ground Saucer Watch (GSW) in the United States, where leader William Spaulding conducted preliminary enhancements and deemed it credible. In 1985, noted UFO researcher Dr. Jacques Vallee became involved, visiting Vilchez, hearing the account, and acquiring a copy of the negative. Vallee then consulted with U.S. government contacts and a California tech firm, but neither had the resources to thoroughly analyze it. Subsequently, in December 1987, Vallee presented it to Dr. Richard Haines, a retired aerospace engineer with NASA experience. Haines carefully digitized, enlarged, and analyzed the photo, focusing on its lighting.

Haines observed that the disc exhibited light and shadow characteristics indicative of a three-dimensional object illuminated by direct sunlight. It appeared to possess a shallow cone shape with a defined axis of symmetry and a darker point at the tip. He also noted a distinct “knife-edge” focus on one side while the other was more diffuse.

In 1989, Vallee and Haines published a report titled "Photo Analysis of an Aerial Disc Over Costa Rica" in the Journal of Scientific Exploration. Their findings concluded that an unidentified, opaque aerial object had been captured on film from a maximum altitude of 10,000 feet. They noted the absence of visible means of lift or propulsion, alongside non-random darker regions on the object. They deemed the case "open" pending further evidence.

The Costa Rican lab that processed the photo estimated the disc's diameter at nearly 220 feet, while GSW's Spaulding suggested a size closer to 120 feet. Regardless of which estimate is accepted, the captured object was substantial, measuring between half a football field and a full-sized one.

The photograph has also undergone analysis in France, leading to its prominent placement on the COMETA report cover. Speculation surrounds whether the craft had just emerged from or was about to enter Lake Cote, as local folklore abounds with stories of objects rising from the lake. Due to the absence of any related negatives, it remains uncertain. Nonetheless, the captured image, whether a typical UFO or not, is presented with remarkable clarity.

The original negative is preserved by the Costa Rican government and resides in its National Archive, with copies available for review by researchers like Vallee and Haines.

Relevance in Today’s Discourse

This photograph serves as a significant retort to Elon Musk, who recently questioned the scarcity of quality UFO images. Here’s one for you, Elon.

However, the broader issue is that high-quality UFO photographs often disappear or remain hidden. This pattern has been documented since the 1950s, with recent examples like the USS Nimitz crew, whose evidence regarding the Tic-Tac encounter was confiscated by unidentified individuals.

It is likely that numerous outstanding UFO images are tucked away in various government archives worldwide. Hopefully, they will eventually be made available for public scrutiny.

In the meantime, we can contemplate the Lake Cote photograph. It is neither blurry nor ambiguous; it stands as it is. Take a moment to examine it closely and form your own conclusions.

NOTE: Historical details may be challenging to verify and can often contradict one another. If you have suggestions for enhancing the accuracy of this article, please leave a comment, and we will update it.

Trail of the Saucers is produced by Stellar Productions and Bryce Zabel, co-host of the popular podcast Need to Know with Coulthart and Zabel.