Podcasts about Daguerreotype

EP166 Interview With Mark & Simon From Elinchrom UK I sit down with Mark Cheatham and Simon Burfoot from Elinchrom UK to talk about the two words that matter most when you work with light: accuracy and consistency. We dig into flash vs. continuous, shaping light (not just adding it), why reliable gear shortens your workflow, and Elinchrom's new LED 100 C—including evenly filling big softboxes and that handy internal battery. We also wander into AI: threats, tools, and why authenticity still carries the highest value.   Links: Elinchrom UK store/info: https://elinchrom.co.uk/ LED 100 C product page: https://elinchrom.co.uk/elinchrom-led-100-c Rotalux Deep Octa / strips: https://elinchrom.co.uk/elinchrom-rotalux-deep-octabox-100cm-softbox/ My workshop dates: https://masteringportraitphotography.com/workshops-and-mentoring/ Transcript: Paul: as quite a lot of, you know, I've had a love affair with Elinchrom Lighting for the past 20 something years. In fact, I'm sitting with one of the original secondhand lights I bought from the Flash Center 21 years ago in London. And on top of that, you couldn't ask for a nicer set of guys in the UK to deal with. So I'm sitting here about to talk to Simon and Mark from Elinchrom uk. I'm Paul and this is the Mastering Portrait Photography podcast. Paul: So before we get any further, tell me a little bit about who you are, each of you and the team from Elinchrom UK Mark: After you, Simon. Simon: Thank you very much, mark. Mark: That's fine. Simon: I'm, Simon Burfoot. I have, been in the industry now for longer than I care to think. 35 years almost to the, to the day. Always been in the industry even before I left school because my father was a photographer and a lighting tutor, working for various manufacturers I was always into photography, and when he started the whole lighting journey. I got on it with him, and was learning from a very young age. Did my first wedding at 16 years old. Had a Saturday job which turned into a full-time job in a retail camera shop. By the time I was 18, I was managing my own camera shop, in a little town in the Cotswolds called Cirencester. My dad always told me that to be a photographic rep in the industry, you needed to see it from all angles, to get the experience. So I ended up, working in retail, moving over to a framing company. Finishing off in a prolab, hand printing, wedding photographers pictures, processing E6 and C41, hand correcting big prints for framing for, for customers, which was really interesting and I really enjoyed it. And then ended up working for a company called Leeds Photo Visual, I was a Southwest sales guy for them. Then I moved to KJP before it became, what we know now as Wex, and got all of the customers back that I'd stolen for them for Leeds. And then really sort of started my career progressing through, and then started to work with Elinchrom, on the lighting side. Used Elinchrom way before I started working with them. I like you a bit of a love affair. I'd used lots of different lights and, just loved the quality of the light that the Elinchrom system produced. And that's down to a number of factors that I could bore you with, but it's the quality of the gear, the consistency in terms of color, and exposure. Shooting film was very important to have that consistency because we didn't have Photoshop to help us out afterwards. It was a learning journey, but I, I hit my goal after being a wedding photographer and a portrait photographer in my spare time, working towards getting out on the road, meeting people and being involved in the industry, which I love. And I think it's something that I'm scared of leaving 'cause I dunno anything else. It's a wonderful industry. It has its quirks, its, downfalls at points, but actually it's a really good group of people and everyone kind of, gets on and we all love working with each other. So we're friends rather than colleagues. Paul: I hesitate to ask, given the length of that answer, to cut Simon: You did ask. Mark: I know. Paul: a short story Mark: was wondering if I was gonna get a go. Paul: I was waiting to get to end into the podcast and I was about to sign off. Mark: So, hi Mark Cheatham, sales director for Elinchrom uk this is where it gets a little bit scary because me and Simon have probably known each other for 10 years, yet our journeys in the industry are remarkably similar. I went to college, did photography, left college, went to work at commercial photographers and hand printers. I was a hand printer, mainly black and white, anything from six by four to eight foot by four foot panels, which are horrible when you're deving in a dish. But we did it. Paul: To the generation now, deving in a dish doesn't mean anything. Simon: No, it doesn't. Mark: And, and when you're doing a eight foot by four foot print and you've got it, you're wearing most of the chemistry. You went home stinking every night. I was working in retail. As a Saturday lad and then got promoted from the Saturday lad to the manager and went to run a camera shop in a little town in the Lake District called Kendall. I stayed there for nine years. I left there, went on the road working for a brand called Olympus, where I did 10 years, I moved to Pentax, which became Rico Pentax. I did 10 years there. I've been in the industry all my life. Like Simon, I love the industry. I did go out the industry for 18 months where I went into the wonderful world of high end commercial vr, selling to blue light military, that sort of thing. And then came back. One of the, original members of Elinchrom uk. I don't do as much photography as Simon I take photos every day, probably too many looking at my Apple storage. I do shoot and I like shooting now and again, but I'm not a constant shooter like you guys i'm not a professional shooter, but when you spent 30 odd years in the industry, and part of that, I basically run the, the medium format business for Pentax. So 645D, 645Z. Yeah, it was a great time. I love the industry and, everything about it. So, yeah, that's it Paul: Obviously both of you at some point put your heads together and decided Elinchrom UK was the future. What triggered that and why do you think gimme your sales pitch for Elinchrom for a moment and then we can discuss the various merits. Simon: The sales pitch for Elinchrom is fairly straightforward. It's a nice, affordable system that does exactly what most photographers would like. We sell a lot of our modifiers, so soft boxes and things like that to other users, of Prophoto, Broncolor. Anybody else? Because actually the quality of the light that comes out the front of our diffusion material and our specular surfaces on the soft boxes is, is a lot, lot more superior than, than most. A lot more superior. A lot more Mark: A lot more superior. Paul: more superior. Simon: I'm trying to Paul: Superior. Simon: It's superior. And I think Paul, you'll agree, Paul: it's a lot more, Simon: You've used different manufacturers over the years and, I think the quality of light speaks for itself. As a photographer I want consistency. Beautiful light and the effects that the Elinchrom system gives me, I've tried other soft boxes. If you want a big contrasty, not so kind light, then use a cheaper soft box. If I've got a big tattoo guy full of piercings you're gonna put some contrasty light to create some ambience. Maybe the system for that isn't good enough, but for your standard portrait photographer in a studio, I don't think you can beat the light. Mark: I think the two key words for Elinchrom products are accuracy and consistency. And that's what, as a portrait photographer, you should be striving for, you don't want your equipment to lengthen your workflow or make your job harder in post-production. If you're using Elinchrom lights with Elinchrom soft boxes or Elinchrom modifiers, you know that you're gonna get accuracy and consistency. Which generally makes your job easier. Paul: I think there's a bit that neither of you, I don't think you've quite covered, and it's the bit of the puzzle that makes you want to use whatever is the tool of your trade. I mean, I worked with musicians, I grew up around orchestras. Watching people who utterly adore the instrument that's in their hand. It makes 'em wanna play it. If you own the instrument that you love to play, whether it's a drum kit a trumpet a violin or a piano, you will play it and get the very best out of your talent with it. It's just a joy to pick it up and use it for all the little tiny things I think it's the bit you've missed in your descriptions of it is the utter passion that people that use it have for it. Mark: I think one of the things I learned from my time in retail, which was obviously going back, a long way, even before digital cameras One of the things I learned from retail, I was in retail long before digital cameras, retail was a busier time. People would come and genuinely ask for advice. So yes, someone would come in and what's the best camera for this? Or what's the best camera for that? Honestly there is still no answer to that. All the kit was good then all the kit is good now. You might get four or five different SLRs out. And the one they'd pick at the end was the one that they felt most comfortable with and had the best connection with. When you are using something every day, every other day, however it might be, it becomes part of you. I'm a F1 fan, if you love the world of F1, you know that an F1 car, the driver doesn't sit in an F1 car, they become part of the F1 car. When you are using the same equipment day in, day out, you don't have to think about what button to press, what dial to to turn. You do it. And that, I think that's the difference between using something you genuinely love and get on with and using something because that's what you've got. And maybe that's a difference you genuinely love and get on with Elinchrom lights. So yes, they're given amazing output and I know there's, little things that you'd love to see improved on them, but that's not the light output. Paul: But the thing is, I mean, I've never, I've never heard the F1 analogy, but it's not a bad one. When you talk about these drivers and their cars and you are right, they're sort of symbiotic, so let's talk a little bit about why we use flash. So from the photographers listening who are just setting out, and that's an awful lot of our audience. I think broadly speaking, there are two roads or three roads, if you include available light if you're a portrait photographer. So there's available light. There's continuous light, and then there's strobes flash or whatever you wanna call it. Of course, there's, hybrid modeling and all sorts of things, but those are broadly the three ways that you're gonna light your scene or your subject. Why flash? What is it about that instantaneous pulse of light from a xenon tube that so appealing to photographers? Simon: I think there's a few reasons. The available light is lovely if you can control it, and by that I mean knowing how to use your camera, and control the ambient light. My experience of using available light, if you do it wrong, it can be quite flat and uninteresting. If you've got a bright, hot, sunny day, it can be harder to control than if it's a nice overcast day. But then the overcast day will provide you with some nice soft, flat lighting. Continuous light is obviously got its uses and there's a lot of people out there using it because what they see is what they get. The way I look at continuous light is you are adding to the ambient light, adding more daylight to the daylight you've already got, which isn't a problem, but you need to control that light onto the subject to make the subject look more interesting. So a no shadow, a chin shadow to show that that subject is three dimensional. There are very big limitations with LED because generally it's very unshapable. By that I mean the light is a very linear light. Light travels in straight lines anyway, but with a flash, we can shape the light, and that's why there's different shapes and sizes of modifiers, but it's very difficult to shape correctly -an LED array, the flash for me, gives me creativity. So with my flash, I get a sharper image to start with. I can put the shadows and the light exactly where I want and use the edge of a massive soft box, rather than the center if I'm using a flash gun or a constant light. It allows me to choose how much or how little contrast I put through that light, to create different dynamics in the image. It allows me to be more creative. I can kill the ambient light with flash rather than adding to it. I can change how much ambient I bring into my flash exposure. I've got a lot more control, and I'm not talking about TTL, I'm talking about full manual control of using the modifier, the flash, and me telling the camera what I want it to do, rather than the camera telling me what it thinks is right. Which generally 99% of the time is wrong. It's given me a beautiful, average exposure, but if I wanted to kill the sun behind the subject, well it's not gonna do that. It's gonna give me an average of everything. Whereas Flash will just give me that extra opportunity to be a lot more creative and have a lot more control over my picture. I've got quite a big saying in my workshops. I think a decent flash image is an image where it looks like flash wasn't used. As a flash photographer, Paul, I expect you probably agree with me, anyone can take a flash image. The control of light is important because anybody can light an image, but to light the subject within the image and control the environmental constraints, is the key to it and the most technical part of it. Mark: You've got to take your camera off P for professional to do that. You've got to turn it off p for professional and get it in manual mode. And that gives you the control Paul: Well, you say that, We have to at some point. Address the fact that AI is not just coming, it's sitting here in our studios all the time, and we are only a heartbeat away from P for professional, meaning AI analyzed and creating magic. I don't doubt for a minute. I mean, right now you're right, but not Mark: Well, at some point it will be integrated into the camera Paul: Of course it will. Mark: If you use an iPhone or any other phone, you know, we are using AI as phone photographers, your snapshots. You take your kids, your dogs, whatever they are highly modified images. Paul: Yeah. But in a lot of the modern cameras, there's AI behind the scenes, for instance, on the focusing Mark: Yeah. Paul: While we've, we are on that, we were on that thread. Let's put us back on that thread for a second. What's coming down the line with, all lighting and camera craft with ai. What are you guys seeing that maybe we're not Simon: in terms of flash technology or light technology? Paul: Alright. I mean, so I mean there's, I guess there's two angles, isn't there? What are the lights gonna do that use ai? What are the controllers gonna do, that uses ai, but more importantly, how will it hold its own in a world where I can hit a button and say, I want rebrand lighting on that face. I can do that today. Mark: Yeah. Simon: I'm not sure the lighting industry is anywhere near producing anything that is gonna give what a piece of software can give, because there's a lot more factors involved. There's what size light it is, what position that light is in, how high that light is, how low that light is. And I think the software we've all heard and played with Evoto we were talking about earlier, I was very skeptical and dubious about it to start with as everybody would be. I'm a Photoshop Lightroom user, have been for, many years. And I did some editing, in EEvoto with my five free credits to start with, three edits in, I bought some credits because I thought, actually this is very, very good. I'll never use it for lighting i'd like to think I can get that right myself. However, if somebody gives you a, a very flat image of a family outside and say, well, could you make this better for me? Well, guess what? I can do whatever you like to it. Is it gonna attack the photographer that's trying to earn a living? I think there's always a need for people to take real photographs and family photographs. I think as photographers, we need to embrace it as an aid to speed up our workflow. I don't think it will fully take over the art of photography because it's a different thing. It's not your work. It's a computer generated AI piece of work in my head. Therefore, who's responsible for that image? Who owns the copyright to that image? We deal with photographers all the time who literally point a camera, take a picture and spend three hours editing it and tell everyone that, look at this. The software's really good and it's made you look good. I think AI is capable of doing that to an extent. In five years time, we'll look back at Evoto today and what it's producing and we'll think cracky. That was awful. It's like when you watch a high definition movie from the late 1990s, you look at it and it was amazing at the time, but you look at it now and you think, crikey, look at the quality of it. I dunno if we're that far ahead where we won't get to that point. The quality is there. I mean, how much better can you go than 4K, eight K minus, all that kind of stuff. I'm unsure, but I don't think the AI side of it. Is applicable to flash at this moment in time? I don't know. Mark: I think you're right. To look at the whole, photography in general. If you are a social photographer, family photographer, whatever it might be, you are genuinely capturing that moment in time that can't be replaced. If you are a product photographer, that's a different matter. I think there's more of a threat. I think I might be right in saying. I was looking, I think I saw it on, LinkedIn. There is a fashion brand in the UK at the moment that their entire catalog of clothing has been shot without models. When you look at it on the website, there's models in it. They shoot the clothing on mannequins and then everything else is AI generated they've been developing their own AI platform now for a number of years. Does the person care Who's buying a dress for 30 quid? Probably not, but if you are photographing somebody's wedding, graduation, some, you know, a genuine moment in someone's life, I think it'd be really wrong to use any sort of AI other than a little bit of post-production, which we know is now quite standard for many people in the industry. Paul: Yeah, the curiosity for me is I suspect as an industry, Guess just released a full AI model advert in, Vogue. Declared as AI generated an ai agency created it. Everything about it is ai. There's no real photography involved except in the learning side of it. And that's a logical extension of the fact we've been Photoshopping to such a degree that the end product no longer related to the input. And we've been doing that 25 years. I started on Photoshop version one, whatever that was, 30 years More than 33. So we've kind of worked our way into a corner where the only way out of it is to continue. There's no backtracking now. Mark: Yeah. Paul: I think the damage to the industry though, or the worry for the industry, I think you're both right. I think if you can feel it, touch it, be there, there will always be that importance. In fact, the provenance of authenticity. Is the high value ticket item now, Simon: Mm-hmm. Paul: because you, everything else is synthetic, you can trust nothing. We are literally probably months away from 90% of social media being generated by ai. AI is both the consumer and the generator of almost everything online Mark: Absolutely. Paul: Goodness knows where we go. You certainly can't trust anything you read. You can't trust anything you see, so authenticity, face-to-face will become, I think a high value item. Yeah. Mark: Yeah. Paul: I think one problem for us as an industry in terms of what the damage might be is that all those people that photograph nameless products or create books, you know, use photography and then compositing for, let's say a novel that's gone, stock libraries that's gone because they're faceless. Simon: Mm-hmm. Paul: there doesn't have to be authentic. A designer can type in half a dozen keywords. Into an AI engine and get what he needs. If he doesn't get what he needs, he does it again. All of those photographers who currently own Kit are gonna look around with what do we do now? And so for those of us who specialize in weddings and portraits and family events, our market stands every chance of being diluted, which has the knock on effect of all of us having to keep an eye on AI to stay ahead of all competitors, which has the next knock on effect, that we're all gonna lean into ai, which begs the question, what happens after Because that's what happened in the Photoshop world. You know, I'm kind of, I mean, genuinely cur, and this will be a running theme on the podcast forever, is kind of prodding it and taking barometer readings as to where are we going? Mark: Yeah. I mean, who's more at threat at the moment from this technology? Is it the photographer or is it the retouch? You know, we do forget that there are retouchers That is their, they're not photographers. Paul: I don't forget. They email me 3, 4, 5 times a day. Mark: a Simon: day, Mark: You know, a highly skilled retouch isn't cheap. They've honed their craft for many years using whatever software product they prefer to use. I think they're the ones at risk now more so than the photographer. And I think we sort of lose sight of that. Looking at it from a photographer's point of view, there is a whole industry behind photography that actually is being affected more so than you guys at the moment. Simon: Mm-hmm. Paul: Yeah, I think there's truth in that, but. It's not really important. Of course, it's really important to all of those people, but this is the digital revolution that we went through as film photographers, and probably what the Daguerreotype generators went through when Fox Tolbert invented the first transfer. Negative. You know, they are, there are always these epochs in our industry and it wipes out entire skillset. You know, I mean, when we went to digital before then, like you, I could dev in a tank. Yeah. You know, and really liked it. I like I see, I suspect I just like the solitude, Mark: the dark, Paul: red light in the dark Mark: yeah. Paul: Nobody will come in. Not now. Go away. Yeah. All that kind of stuff. But of course those skills have gone, has as, have access to the equipment. I think we're there again, this feels like to me a huge transition in the industry and for those who want to keep up, AI is the keeping up whether you like it or not. Mark: Yeah. And if you don't like it, we've seen it, we're in the middle of a massive resurgence in film photography, which is great for the industry, great for the retail industry, great for the film manufacturers, chemical manufacturers, everything. You know, simon, myself, you, you, we, we, our earliest photography, whether we were shooting with flash, natural light, we were film shooters and that planes back. And what digital did, from a camera point of view, is make it easier and more accessible for less skilled people. But it's true. You know, if you shot with a digital camera now that's got a dynamic range of 15 stops, you actually don't even need to have your exposure, that accurate Go and shoot with a slide film that's got dynamic range of less than one stop and see how good you are. It has made it easier. The technology, it will always make it. Easier, but it opens up new doors, it opens up new avenues to skilled people as well as unskilled people. If you want, I'm using the word unskilled again, I'm not being, a blanket phrase, but it's true. You can pick up a digital camera now and get results that same person shooting with a slide film 20 years ago would not get add software to that post-production, everything else. It's an industry that we've seen so many changes in over the 30 odd years that we've been in it, Simon: been Mark: continue Simon: at times. It exciting Mark: The dawn of digital photography to the masses. was amazing. I was working for Olympus at the time when digital really took off and for Olympus it was amazing. They made some amazing products. We did quite well out of it and people started enjoying photography that maybe hadn't enjoyed photography before. You know, people might laugh at, you know, you, you, you're at a wedding, you're shooting a really nice wedding pool and there's always a couple of guests there which have got equipment as good as yours. Better, better than yours. Yeah. Got Simon: jobs and they can afford it. Mark: They've got proper jobs. Their pitches aren't going to be as good as yours. They're the ones laughing at everyone shooting on their phone because they've spent six grand on their new. Camera. But if shooting on a phone gets people into photography and then next year they buy a camera and two years later they upgrade their camera and it gets them into the hobby of photography? That's great for everyone. Hobbyists are as essential, as professional photographers to the industry. In fact, to keep the manufacturers going, probably more so Simon: the hobbyists are a massive part. Even if they go out and spend six or seven or 8,000 pounds on a camera because they think it's gonna make them a better photographer. Who knows in two years time with the AI side, maybe it will. That old saying, Hey Mr, that's a nice camera. I bet it takes great pictures, may become true. We have people on the lighting courses, the workshops we run, the people I train and they're asking me, okay, what sessions are we gonna use? And I'm saying, okay, well we're gonna be a hundred ISO at 125th, F 5.6. Okay, well if I point my camera at the subject, it's telling me, yeah, but you need to put it onto manual. And you see the color drain out their faces. You've got a 6,000 pound camera and you've never taken it off 'P'. Mark: True story. Simon: And we see this all the time. It's like the whole TTL strobe manual flash system. The camera's telling you what it wants to show you, but that maybe is not what you want. There are people out there that will spend a fortune on equipment but actually you could take just as good a picture with a much smaller, cheaper device with an nice bit of glass on the front if you know what you're doing. And that goes back to what Mark was saying about shooting film and slide film and digital today. Paul: I, mean, you know, I don't want this to be an echo chamber, and so what I am really interested in though, is the way that AI will change what flash photography does. I'm curious as to where we are headed in that, specific vertical. How is AI going to help and influence our ability to create great lip photography using flash? Mark: I think, Paul: I love the fact the two guys side and looked at each other. Mark: I, Simon: it's a difficult question to answer. Mark: physical light, Simon: is a difficult question to answer because if you're Mark: talking about the physical delivery of light. Simon: Not gonna change. Mark: Now, The only thing I can even compare it to, if you think about how the light is delivered, is what's the nearest thing? What's gotta change? Modern headlamps on cars, going back to cars again, you know, a modern car are using these LED arrays and they will switch on and switch off different LEDs depending on the conditions in front of them. Anti dazzle, all this sort of stuff. You know, the modern expensive headlamp is an amazing technical piece of kit. It's not just one ball, but it's hundreds in some cases of little arrays. Will that come into flash? I don't know. Will you just be able to put a soft box in front of someone and it will shape the light in the future using a massive array. Right? I dunno it, Simon: there's been many companies tested these arrays, in terms of LED Flash, And I think to be honest, that's probably the nearest it's gonna get to an AI point of view is this LED Flash. Now there's an argument to say, what is flash if I walk into a living room and flick the light on, on off really quickly, is that a flash? Mark: No, that's a folock in Paul: me Mark: turn, big lights off. Paul: Yeah. Mark: So Simon: it, you, you might be able to get these arrays to flush on and off. But LED technology, in terms of how it works, it's quite slow. It's a diode, it takes a while for it to get to its correct brightness and it takes a while for it to turn off. To try and get an LED. To work as a flash. It, it's not an explosion in a gas field tube. It's a a, a lighter emitting diode that is, is coming on and turning off again. Will AI help that? Due to the nature of its design, I don't think it can. Mark: Me and s aren't invented an AI flash anytime soon by the looks of, we're Simon: it's very secret. Mark: We're just putting everyone off Paul, Simon: It's alright. Mark: just so they don't think Simon: Yeah, Mark: Oh, it's gonna be too much hard work and we'll sort it. Paul: It's definitely coming. I don't doubt for a minute that this is all coming because there's no one not looking at anything Simon: that makes perfect sense. Paul: Right now there's an explosion of invention because everybody's trying to find an angle on everything. Simon: Mm-hmm. Paul: The guys I feel the most for are the guys who spent millions, , on these big LED film backdrop walls. Simon: Yep. Mark: So you can Paul: a car onto a flight sim, rack, and then film the whole lot in front of an LED wall. Well, it was great. And there was a market for people filming those backdrops, and now of course that's all AI generated in the LED, but that's only today's technology. Tomorrow's is, you don't need the LED wall. That's here today. VEO3 and Flow already, I mean, I had to play with one the other day for one of our lighting diagrams and it animated the whole thing. Absolute genius. Simon: Mm-hmm. Paul: I still generated the original diagram. Mark: Yeah, Paul: Yeah, that's useful. There's some skill in there still for now, but, you gotta face the music that anything that isn't, I can touch it and prod it. AI's gonna do it. Mark: Absolutely. If you've ever seen the series Mandalorian go and watch the making of the Mandalorian and they are using those big LED walls, that is their backdrop. Yeah. And it's amazing how fast they shift from, you know, they can, they don't need to build a set. Yeah. They shift from scene to scene. Paul: Well, aI is now building the scenes. But tomorrow they won't need the LED wall. 'cause AI will put it in behind the actors. Mark: Yeah. Say after Paul: that you won't need the actors because they're being forced to sign away the rights so that AI can be used. And even those that are standing their ground and saying no, well, the actors saying Yes. Are the ones being hired. You know, in the end, AI is gonna touch all of it. And so I mean, it's things like, imagine walking into a studio. Let's ignore the LED thing for a minute, by the way, that's a temporary argument, Simon: I know you're talking about. Paul: about today's, Simon: You're about the. Mark: days Paul: LEDs, Simon: we're in, We're in very, very interesting times and. I'm excited for the future. I'm excited for the new generation of photographers that are coming in to see how they work with what happens. We've gone from fully analog to me selling IMACON drum scanners that were digitizing negatives and all the five four sheet almost a shoot of properties for an estate agent were all digitized on an hassle blood scanner. And then the digital camera comes out and you start using it. It was a Kodak camera, I think the first SLRI used, Paul: Yeah. Simon: and you get the results back and you think, oh my God, it looks like it's come out of a practica MTL five B. Mark: But Simon: then suddenly the technology just changes and changes and changes and suddenly it's running away with itself and where we are today. I mean, I, I didn't like digital to start with. It was too. It was too digital. It was too sharp. It didn't have the feel of film, but do you know what? We get used to it and the files that my digital mirrorless camera provide now and my Fuji GFX medium format are absolutely stunning. But the first thing I do is turn the sharpness down because they are generally over sharp. For a lovely, beautifully lit portrait or whatever that anybody takes, it just needs knocking back a bit. We were speaking about this earlier, I did some comparison edits from what I'd done manually in Photoshop to the Evoto. Do you know what the pre-selected edits are? Great. If you not the slider back from 10 to about six, you're there or thereabouts? More is not always good. Mark: I think when it comes to imagery in our daily lives, the one thing that drives what we expect to see is TV and most people's TVs, everything's turned up to a hundred. The color, the contrast, that was a bit of a shock originally from the film to digital, crossover. Everything went from being relatively natural to way over the top Just getting back to AI and how it's gonna affect people like you and people that we work with day to day. I don't think we should be worried about that. We should be worried about the images we see on the news, not what we're seeing, hanging on people's walls and how they're gonna be affected by ai. That generally does affect everyone's daily life. Paul: Yeah, Mark: Yeah. But what Paul: people now ask me, for instance, I've photographed a couple head shots yesterday, and the one person had not ironed her blouse. And her first question was, can we sort that out in post? So this is the knock on effect people are becoming aware of what's possible. What's that? Nothing. Know, and the, the smooth clothing button in Evoto will get me quite a long way down that road and saves somebody picking up an eye and randomly, it's not me, it's now actually more work for me 'cause I shouldn't have to do it. But, you know, this is my point about the knock on effect. Our worlds are different. So I didn't really intend this to be just a great sort of circular conversation about AI cars and, future technology. It was more, I dunno, we ended up down there anyway. Simon: We went down a rabbit hole. Mark: A Paul: rabbit hole. Yeah Mark: was quite an interesting one. Simon: And I'm sorry if you've wasted your entire journey to work and we Paul: Yeah. Simon: Alright. It wasn't intended to be like that. Paul: I think it's a debate that we need to be having and there needs to be more discussion about it. Certainly for anybody that has a voice in the industry and people are listening to it because right now it might be a toddler of a technology, but it's growing faster than people realize. There is now a point in the written word online where AI is generating more than real people are generating, and AI is learning that. So AI is reading its own output. That's now beginning to happen in imagery and film and music. Simon: Well, even in Google results, you type in anything to a Google search bar. When it comes back to the results, the first section at the top is the AI generated version. And you know what, it's generally Paul: Yep. Simon: good and Paul: turn off all the rest of it now. So it's only ai. Simon: Not quite brave enough for that yet. No, not me. Mark: In terms Paul: of SEO for instance, you now need to tune it for large language models. You need to be giving. Google the LLM information you want it to learn so that you become part of that section on a website. And it, you know, this is where we are and it's happening at such a speed, every day I am learning something new about something else that's arriving. And I think TV and film is probably slightly ahead of the photography industry Mark: Yeah. Paul: The pressures on the costs are so big, Simon: Yes. Paul: Whereas the cost differential, I'm predicting our costs will actually go up, not down. Whereas in TV and film, the cost will come down dramatically. Mark: Absolutely. Simon: They are a horrifically high level anyway. That's Paul: I'm not disputing that, but I watched a demo of some new stuff online recently and they had a talking head and they literally typed in relight that with a kiss light here, hairlight there, Rembrandt variation on the front. And they did it off a flat picture and they can move the lights around as if you are moving lights. Yes. And that's there today. So that's coming our way too. And I still think the people who understand how to see light will have an advantage because you'll know when you've typed these words in that you've got it about right. It doesn't change the fact that it's going to be increasingly synthetic. The moment in the middle of it is real. We may well be asked to relight things, re clothe things that's already happening. Simon: Yeah. Paul: We get, can you just fill in my hairline? That's a fairly common one. Just removing a mole. Or removing two inches round a waist. This, we've been doing that forever. Simon: Mm-hmm. Paul: And so now it'll be done with keyword generation rather than, photoshop necessarily. Simon: I think you'll always have the people that embrace this, we can't ignore it as you rightly say. It's not going away. It's gonna get bigger, it's gonna feature more in our lives. I think there's gonna be three sets of people. It's gonna be the people like us generally on a daily basis. We're photographers or we're artists. We enjoy what we do. I enjoy correctly lighting somebody with the correct modifier properties to match light quality to get the best look and feel and the ambience of that image. And I enjoy the process of putting that together and then seeing the end result afterwards. I suppose that makes me an artist in, in, in loose terms. I think, you know, as, as, as a photographer, we are artists. You've then got another generation that are finding shortcuts. They're doing some of the job with their camera. They're making their image from an AI point of view. Does that make up an artist? I suppose it still does because they're creating their own art, but they have no interest 'cause they have no enjoyment in making that picture as good as it can be before you even hit the shutter. And then I think you've got other people, and us to an extent where you do what you need to do, you enjoy the process, you look at the images, and then you just finely tune it with a bit of AI or Photoshop retouching so I think there are different sets of people that will use AI to their advantage or completely ignore it. Mark: Yeah. I think you're right. And I think it comes down, I'm going to use another analogy here, you, you know, let's say you enjoy cooking. If you enjoy cooking, you're creating something. What's the alternative? You get a microwave meal. Well, Paul Simon: and Sarah do. Mark: No. Paul: Sarah does. Simon: We can't afford waitress. Mark: You might spend months creating your perfect risotto. You've got it right. You love it. Everyone else loves it. You share it around all your friends. Brilliant. Or you go to Waitrose, you buy one, put it three minutes in the microwave and it's done. That's yer AI I Imagery, isn't it? It's a microwave meal. Paul: There's a lot of microwave meals out there. And not that many people cook their own stuff and certainly not as many as used to. And there's a lesson. Simon: Is, Mark: but also, Simon: things have become easier Mark: there Simon: you go. Mark: I think what we also forget in the photographic industry and take the industry as a whole, and this is something I've experienced in the, in the working for manufacturers in that photography itself is, is a, is a huge hobby. There's lots of hobbyist photographers, but there's actually more people that do photography as part of another hobby, birdwatching, aviation, all that sort of thing. Anything, you know, the photography isn't the hobby, it's the birds that are the hobby, but they take photographs of, it's the planes that are the hobby, but they take photographs. They're the ones that actually keep the industry going and then they expand into other industries. They come on one of our workshops. You know, that's something that we're still and Simon still Absolutely. And yourself, educating photographers to do it right, to practice using the gear the right way, but the theory of it and getting it right. If anything that brings more people into wanting to learn to cook better, Paul: you Mark: have more chefs rather than people using microwave meals. Education's just so important. And when it comes to lighting, I wasn't competent in using flash. I'm still not, but having sat through Simon's course and other people's courses now for hundreds of times, I can light a scene sometimes, people are still gonna be hungry for education. I think some wills, some won't. If you wanna go and get that microwave risotto go and microwave u risotto. But there's always gonna be people that wanna learn how to do it properly, wanna learn from scratch, wanna learn the art of it. Creators and in a creative industry, we've got to embrace those people and bring more people into it and ensure there's more people on that journey of learning and upskilling and trying to do it properly. Um, and yes, if they use whatever technology at whatever stage in their journey, if they're getting enjoyment from it, what's it matter? Paul: Excellent. Mark: What a fine Paul: concluding statement. If they got enjoyment outta it. Yeah. Whatever. Excellent. Thank you, Mark, for your summing up. Simon: In conclusion, Paul: did that just come out your nose? What on earth. Mark: What Paul: what you can't see, dear Listener is the fact that Mark just spat his water everywhere, laughing at Si. It's been an interesting podcast. Anyway, I'm gonna drag this back onto topic for fear of it dissolving into three blokes having a pint. Mark: I think we should go for one. Simon: I think, Paul: I think we should know as well. Having said that with this conversation, maybe not. I was gonna ask you a little bit about, 'cause we've talked about strobes and the beauty of strobes, but of course Elinchrom still is more than that, and you've just launched a new LED light, so I know you like Strobe Simon. Now talk about the continuous light that also Elinchrom is producing. Simon: We have launched the Elinchrom LED 100 C. Those familiar with our Elinchrom One and Three OCF camera Flash system. It's basically a smaller unit, but still uses the OCF adapter. Elinchrom have put a lot of time into this. They've been looking at LED technology for many years, and I've been to the factory in Switzerland and seen different LED arrays being tested. The problem we had with LEDs is every single LED was different and put out a different color temperature. We're now manufacturing LEDs in batches, where they can all be matched. They all come from the same serial number batch. And the different colors of LED as well, 15 years ago, blue LEDs weren't even possible. You couldn't make a blue LED every other color, but not blue for some unknown reason. They've got the colors right now, they've got full RGB spectrum, which is perfectly accurate a 95 or 97 CRI index light. It's a true hundred watts, of light as well. From tosin through to past daylight and fully controllable like the CRO flash system in very accurate nth degrees. The LED array in the front of the, the LEDA hundred is one of the first shapeable, fully shapeable, LED arrays that I've come across and I've looked at lots. By shapeable, I mean you put it into a soft box, of any size and it's not gonna give you a hotspot in the middle, or it's not gonna light the first 12 inches of the middle of the soft box and leave the rest dark. I remember when we got the first LD and Mark got it before me And he said, I've put it onto a 70 centimeter soft box. And he said, I've taken a picture to the front. Look at this. And it was perfectly even from edge to edge. When I got it, I stuck it onto a 1 3 5 centimeter soft box and did the same and was absolutely blown away by how even it was from edge to edge. When I got my light meter out, if you remember what one of those is, uh, it, uh, it gave me a third of a stop different from the center to the outside edge. Now for an LED, that's brilliant. I mean, that's decent for a flash, but for an LED it's generally unheard of. So you can make the LED as big as you like. It's got all the special effects that some of the cheaper Chinese ones have got because people use that kind of thing. Apparently I have no idea what for. But it sits on its own in a market where there are very cheap and cheerful LEDs, that kind of do a job. And very expensive high-end LEDs that do a completely different job for the photographer that's gone hybrid and does a bit of shooting, but does a bit of video work. So, going into a solicitor's or an accountant's office where they want head shots, but also want a bit of talking head video for the MD or the CEO explaining about his company on the website. It's perfect. You can up the ISO and use the modeling lamp in generally the threes, the fives, the ones that we've got, the LEDs are brilliant. But actually the LED 100 will give you all your modifier that you've taken with you, you can use those. It's very small and light, with its own built-in battery and it will give you a very nice low iso. Talking head interview with a lovely big light source. And I've proved the point of how well it works and how nice it is at the price point it sits in. But it is our first journey into it. There will be others come in and there'll be an app control for it. And I think from an LED point of view, you're gonna say, I would say this, but actually it's one of the nicer ones I've used. And when you get yours, you can tell people exactly the same. Paul: Trust me, I will. Simon: Yes. Mark: I think Paul: very excited about it. Mark: I think the beauty of it as well is it's got an inbuilt battery. It'll give you up to 45 minutes on a full charge. You can plug it in and run it off the mains directly through the USB socket as well. But it means it's a truly portable light source. 45 minutes at a hundred watt and it's rated at a hundred watt actual light output. It's seems far in excess of that. When you actually, Simon: we had a photographer the other day who used it and he's used to using sort of 3, 2 50, 300 watt LEDs and he said put them side by side at full power. They were virtually comparable. Paul: That is certainly true, or in my case by lots. Simon: I seem to be surrounded Paul: by Elinchrom kit, Which is all good. So for anybody who's interested in buying one of these things, where'd you get them? How much are they? Simon: The LED itself, the singlehead unit is 499 inc VAT. If you want one with a charger, which sounds ridiculous, but there's always people who say, well, I don't want the charger. You can have one with a charger for 50 quid extra. So 549. The twin kit is just less than a thousand quid with chargers. And it comes in a very nice portable carry bag to, to carry them around in. Um, and, uh, yeah, available from all good photographic retailers, and, Ellen crom.co uk. Paul: Very good. So just to remind you beautiful people listening to this podcast, we only ever feature people and products, at least like this one where I've said, put a sales pitch in because I use it. It's only ever been about what we use here at the studio. I hate the idea of just being a renta-voice. You it. Mark: bought it. Paul: Yeah. That's true. You guys sold it to me. Mark: Yeah, Simon: if I gave you anything you'd tell everyone it was great. So if you buy it, no, I've bought Paul: Yeah. And then became an ambassador for you. As with everything here, I put my money where my mouth is, we will use it. We do use it. I'm really interested in the little LED light because I could have done with that the other night. It would've been perfect for a very particular need. So yes, I can highly recommend Elinchrom Fives and Threes if you're on a different system. The Rotalux, system of modifier is the best on the planet. Quick to set up, quick to take down. More importantly, the light that comes off them is just beautiful, whether it's a Godox, whether it's on a ProPhoto, which it was for me, or whether if you've really got your common sense about you on the front of an Elinchrom. And on that happy note and back to where we started, which is about lighting, I'm gonna say thanks to the guys. They came to the studio to fix a problem but it's always lovely to have them as guests here. Thank you, mark. Thank you Simon. Most importantly, you Elinchrom for creating Kit is just an absolute joy to use. If you've enjoyed the podcast, please head over to all your other episodes. Please subscribe and whatever is your podcast, play of choice, whether it's iTunes, Spotify, YouTube, or a other. After you head, if you head across to masteringportraitphotography.com the spiritual home of this, particular, podcast, I will put in the show notes all the little bits of detail and where to get these things. I'll get some links off the guys as to where to look for the kit. Thank you both. I dunno when I'll be seeing you again. I suspect it will be the Convention in January if I know the way these things go. Simon: We're not gonna get invited back, are we? Mark: Probably not. Enough. Paul: And I'm gonna get a mop and clean up that water. You've just sprayed all over the floor. What is going on? Simon: wish we'd video. That was a funny sun Mark: I just didn't expect it and never usually that sort of funny and quick, Simon: It's the funniest thing I've ever seen. Paul: On that happy note, whatever else is going on in your lives, be kind to yourself. Take care.

In our recap of episode 3, A Daguerreotype of God, we discuss the newest family member Rebeca, the expansion of the Buendia household, and we use the book to answer questions that arose from the show. Check out the main website and let us know if you're watching T100 Years Of Solitude! All of Sweet Child Of Time's music, podcasts and videos are all at https://www.sweetchildoftime.com Steve and Lindsey Dunn have released 2 original songs and 2 cover songs together; check these songs out under Introvoid: https://open.spotify.com/artist/6WaDvIuRIRA3ihc8wCe5yI?si=QbYyMJilTDGmmjcNg75cTw Lindsey's writings, reviews, podcasts and music can be found at https://www.1ofmystories.com Join us at our Marsh Land Media Discord channel! https://discord.gg/aRdKmv9Ybc Support this show and all of the Marsh Land Media shows by joining the Patreon: https://patreon.com/mlmpod

In this episode, Eric sits down with Dr. Makeda Best — deputy director of Curatorial Affairs at the Oakland Museum of California…!  She shares how; at a young age became interested in photography… Early exposures and experiences that drew her to studying studio photography at CalArts, to eventually leading her to become a photography historian. How she began to trace the history of African Americans in California — where they settled after the Civil War…  She shares how African Americans first became interested in and exposed to photography… and the ways in which they participated in making photographs early on; as makers, sitters and consumers. From Frederick Douglass as one of the most imaged figures in the 19th Century, Sojourner Truth… to everyday people — and using the power of photography to combat stereotypes against black people.  The role it played in the abolitionist movement; picturing community, preserving and sharing.  Notable African American photographers such as James Presley Ball and Augustus Washington… They discuss James van der Zee and how he photographed the Harlem Renaissance  — using large group portraits; to document Families, weddings… capturing how vibrant the period was. The art, skill and science behind photography and the technological developments through the years… From photography studios, to itinerant photographers with traveling dark rooms. The works of Ansel Adams. Daguerreotype - metal based images and how by the 1860s — the arrival of card-based format, cartes-de-visite processes and mass production portraiture that created an influx in making images and portraits — and how African Americans were involved in that.The exhibition she curated for the Boston Athenaeum that centers around the photography albums gifted to Harriet Hayden from lawyer Robert Morris — that explores the world of the Boston-based abolitionist couple Lewis and Harriet Hayden. How photography and gifting culture played a role in the abolitionist movement, their home on Beacon Hill, housing African Americans and the extraordinary efforts of Harriet Hayden and the contributions she made to society. How the exhibition came about, the process of producing the show and what it aims to accomplish..!  Guest Bio: Makeda Best, Ph.D., is currently the Deputy Director of Curatorial Affairs at the Oakland Museum of California (OMCA). Best comes to OMCA after serving at Harvard University Art Museums as Richard L. Menschel Curator of Photography since 2017, and previously as Assistant Professor of Visual Studies at California College of the Arts. Her exhibitions at the Harvard Art Museums include Devour the Land: War and American Landscape Photography Since 1970, Crossing Lines, Constricting Home: Displacement and Belonging in Contemporary Art; Winslow Homer: Eyewitness; Time is Now: Photography and Social Change in James Baldwin's America, and Please Stay Home: Darrel Ellis in Conversation with Wardell Milan and Leslie Hewitt. Beyond photography, Best conceived of the Museums' curatorial ReFrame initiative, which aims to critically examine the museum and its collections. With Kevin Moore, she co-curated the 2022 FotoFocus Biennial exhibition, On the Line – Documents of Risk and Faith. Her current exhibition project with the Boston Athenaeum explores the world of the Boston-based abolitionist couple Lewis and Harriet Hayden. Best has contributed to multiple exhibition catalogues, journals, and scholarly publications. She co-edited Conflict, Identity, and Protest in American Art (2015). She is the author of Elevate the Masses: Alexander Gardner, Photography and Democracy in 19th Century America. Her exhibition catalogue, Devour the Land: War and American Landscape Photography since 1970 (2022), was awarded the Photography Catalogue of the Year Award at the 2022 Paris Photo-Aperture PhotoBook Awards.

Have you ever wondered how to cook McDonald's Chicken McNuggets in excruciating detail? I know you have. Well, Episode 127 has the answer. It comes in the form of a wacky McDonald's training video from 1983 complete with classic food item puppets, ominous music, cheesy jokes, and stereotypes galore.Healthcare and hospitals are a 24-hour business in the 2020s. A century ago it was a far different story. On Cape Cod in the early 20th century it was common for the Hyannis Hospital to close during the winter with people needing to find ways off-Cape for their needs in the off-season. This week we tell the story of how Cape Cod Hospital came to be and the people that made it possible.Children of the 1980s rejoice. On this week's Top 5 we are going to unearth some forgotten 80s cartoons. Whether you haven't watched them in decades, watched them this morning, or have never heard of them, these are bound to give you a tasty dose of nostalgia.There will be a brand new This Week In History and Time Capsule looking back at the dawn of photography and Louis Daguerre unveiling his Daguerreotype process in 1839.For more great content become a subscriber on Patreon or Buzzsprout!Helpful Links from this EpisodeThe Lady of the Dunes.comPurchase My New Book Cape Cod Beyond the Dunes!In My Footsteps: A Cape Cod Travel Guide(2nd Edition)Kiwi's Kustoms - EtsyDJ Williams MusicKeeKee's Cape Cod KitchenChristopher Setterlund.comCape Cod Living - Zazzle StoreNighttime Photography (Mis)Adventures - YouTubeSubscribe on YouTube!Chicken McNuggets: McDonald's Training VideoDaguerreotype Image Collection: Library of CongressListen to Episode 126 here Support the show

Episode 5 - How long does it take to make something look effortless? Jack and Rob discuss the amazing photography exhibition of Daido Moriyama in Berlin and how his images influenced punk aesthetics internationally. How did photography grow into an art form and what makes a photograph fine art?  What are the long-term implications of taking so many photos, psychologically and environmentally? How long is Jack going to hold that face for? 

Catherine Sarah Young is an artist working with science to talk about the climate crisis. Most recently, she's making art about petrichor -- the smell of recent rain emanating from the earth, and what it might be like when fire and flood obliterate it... or what petrichor smells like on Mars! Catherine is the Art Show's ABC RN Top 5 resident.When James Tylor discovered the laborious but beautiful 19th C. photography method of daguerreotype, he found a medium that expressed the darkness of historical memory. Drawing on his Kaurna heritage, James explores the ravages of colonial intrusion on landscape and language, through beauty and craftmanship.Daniel meets the painter Nadine Christensen in her backyard studio and learns why the ordinary - from house flies to front gates, cranes, and acrylic paint -- are worthy of examination on canvas.

What is the difference between Leadership and Management – there is definitely some overlap, but the key distinction lies in … wait, you thought I was going to tell you in the opening? It's going to take some time to talk through those distinctions before we get there …Welcome to EP 136: Leadership vs. Management [Note: If you are reading this via email, click here to access the on-site audio player] [hoops name="top1"] Today we are talking about the nuanced distinction between leadership and management. In the circles I travel in, these terms are often used interchangeably, yet they encompass distinctive sets of skills, values, and priorities. We set today's topic up for discussion during episode 134: Management 101 when attempting to answer the question “Do you have any pointers for architects who are transitioning into management roles.” I felt that we needed to clarify the difference between management and leadership to focus our conversation but recognized that there was a lot to unpack and discuss not only what sets leadership and management apart but also how their collaboration can propel an organization to the success they no doubt aim to achieve. Since I like to do a little research and preparation for each show, I went back into the Life of an Architect archives to see what I had written or discussed in the past where Leadership and Management were concerned. August 2013 - Leadership versus Management - the first time I pointedly thought on this subject. July 2014 – Leadership - I was one of three people who presented a day-long symposium on the topic and where most of my initial research was started. March 2017 – Attitude Reflects Leadership – anecdotal observation of how your behavior matters and how it impacts and influences others. July 2020 - Ep 054: Leadership – had my sister on the show because she's quite literally the most qualified person I've ever met to discuss what it means to be a leader (possibly read some of the topics/questions we covered) September 2023 – Ep 134 Management 101 - discussing what it means to transition into management and how that is different from simply being good at your previous job. In the very first post, I ended with a quote I found, and it has unintentionally become the foundation upon which most of my thoughts on leadership have been built. It was a quote from Margaret Thatcher, and I found it when researching a new role that I was transitioning into. It is: “Being powerful is like being a lady. If you have to tell people you are, you aren't.” If you have to tell people you're the leader, you aren't. “Leadership” and “Management” are inextricably linked to one another, but management is a role you are hired into while leadership is thrust upon you by others. I went back through all of these remarkably insightful posts and episodes to organize today's conversation into 5 Key areas of distinction where there overlap but the approach to the process of solution is different based on management or leadership. For this "Vision and Strategy" image, I started with the basic concept of something old, but endeavoring to build (in secret) something centuries beyond assumed capacity, and the group captured this moment for posterity. Prompt: cowboys, high-tech stagecoach, no wheels, remote desert, Daguerreotype --ar 16:9 --s 750 --v 5.2 Iterations/Modifications to final image? 18 Vision and Strategy jump to 12:54 Management Focus: Managers focus on planning and executing strategies. They develop detailed plans, set targets, and ensure resources are allocated efficiently to meet objectives. Leadership Focus: Leaders are visionary. They set the direction for the organization, articulate a compelling vision, and inspire others to share in that vision. They guide the development of a long-term strategy. Advice: While managers implement strategies, leaders create the vision that drives those strategies. Both are essential for success; a well-executed strategy without a ...

What is the difference between Leadership and Management – there is definitely some overlap, but the key distinction lies in … wait, you thought I was going to tell you in the opening? It's going to take some time to talk through those distinctions before we get there …Welcome to EP 136: Leadership vs. Management [Note: If you are reading this via email, click here to access the on-site audio player] Today we are talking about the nuanced distinction between leadership and management. In the circles I travel in, these terms are often used interchangeably, yet they encompass distinctive sets of skills, values, and priorities. We set today's topic up for discussion during episode 134: Management 101 when attempting to answer the question “Do you have any pointers for architects who are transitioning into management roles.” I felt that we needed to clarify the difference between management and leadership to focus our conversation but recognized that there was a lot to unpack and discuss not only what sets leadership and management apart but also how their collaboration can propel an organization to the success they no doubt aim to achieve. Since I like to do a little research and preparation for each show, I went back into the Life of an Architect archives to see what I had written or discussed in the past where Leadership and Management were concerned. August 2013 - Leadership versus Management - the first time I pointedly thought on this subject. July 2014 – Leadership - I was one of three people who presented a day-long symposium on the topic and where most of my initial research was started. March 2017 – Attitude Reflects Leadership – anecdotal observation of how your behavior matters and how it impacts and influences others. July 2020 - Ep 054: Leadership – had my sister on the show because she's quite literally the most qualified person I've ever met to discuss what it means to be a leader (possibly read some of the topics/questions we covered) September 2023 – Ep 134 Management 101 - discussing what it means to transition into management and how that is different from simply being good at your previous job. In the very first post, I ended with a quote I found, and it has unintentionally become the foundation upon which most of my thoughts on leadership have been built. It was a quote from Margaret Thatcher, and I found it when researching a new role that I was transitioning into. It is: “Being powerful is like being a lady. If you have to tell people you are, you aren't.” If you have to tell people you're the leader, you aren't. “Leadership” and “Management” are inextricably linked to one another, but management is a role you are hired into while leadership is thrust upon you by others. I went back through all of these remarkably insightful posts and episodes to organize today's conversation into 5 Key areas of distinction where there overlap but the approach to the process of solution is different based on management or leadership. For this "Vision and Strategy" image, I started with the basic concept of something old, but endeavoring to build (in secret) something centuries beyond assumed capacity, and the group captured this moment for posterity. Prompt: cowboys, high-tech stagecoach, no wheels, remote desert, Daguerreotype --ar 16:9 --s 750 --v 5.2 Iterations/Modifications to final image? 18 Vision and Strategy jump to 12:54 Management Focus: Managers focus on planning and executing strategies. They develop detailed plans, set targets, and ensure resources are allocated efficiently to meet objectives. Leadership Focus: Leaders are visionary. They set the direction for the organization, articulate a compelling vision, and inspire others to share in that vision. They guide the development of a long-term strategy. Advice: While managers implement strategies, leaders create the vision that drives those strategies. Both are essential for success; a well-executed strategy without a clear vision can le...

This week Maureen Taylor, The Photo Detective TM, is joined by Greg French.Greg is an antique photograph enthusiast who buys and sells his images, as well as lending images to projects such as the 1991 book “American and the Daguerreotype, as well as placing a rare stereoview of Abraham Lincoln's second inauguration in the Library of Congress. Greg and Maureen talk about photo collecting, photo identifying, and all about what it means to be a photo enthusiast in this week's episode.   Related Episodes: Episode 207: An Underutilized Source: The Newberry Library Episode 204: Many Shades of Blue--Cyanotypes with Sabina Ocker Links: Greg French Early PhotographySign up for my newsletter.Watch my YouTube Channel.Like the Photo Detective Facebook Page so you get notified of my Facebook Live videos.Need help organizing your photos? Check out the Essential Photo Organizing Video Course.Need help identifying family photos? Check out the Identifying Family Photographs Online Course.Have a photo you need help identifying? Sign up for photo consultation.About My Guest:Greg French started collecting antique photographs in 1981, focusing on social history. As a collector, he lent images to seminal projects such as the 1991 book ‘American and the Daguerreotype' by John Wood and the 1999 groundbreaking ‘Africans in America" documentary. Greg was one of three founding members of the ‘Mirror of Race' project. Greg is affiliated with the Photographic Historical Society of New England. He chaired the Auction Committee of the Daguerreian Society for 17 years. Greg still toils away on eBay offering 21 auctions a week and many buy-it-nows at least 50 weeks a year. Meanwhile, he sells to museums around the country, with a particular interest in New England. About Maureen Taylor:Maureen Taylor, The Photo DetectiveÒhelps clients with photo-related genealogical problems. Her pioneering work in historic photo research has earned her the title “the nation's foremost historical photo detective” by The Wall Street Journal and appearances on The View, The Today Show, Pawn Stars, and others.   Learn more at Maureentaylor.com I'm thrilled to be offering something new. Photo investigations. These collaborative one-on-one sessions. Look at your family photos then you and I meet to discuss your mystery images. And find out how each clue and hint might contribute to your family history. Find out more by going to maureentaylor.com and clicking on family photo investigations. Support the show

WARNING: This episode contains discussion of domestic violence and abuse. Listener discretion is advised. If you or anyone you know is needs help, please call the National Domestic Violence Hotline 800-799-7233 Practical Magic director Griffin Dunne made it known in the movie commentary that he was inspired by Daguerreotype photography when creating the creepy effect used on Jimmy Angelov's ghost and eyes in the attic scene where he and Officer Gary Hallet go toe-to-toe. In today's episode The Stinas explore the fascinating and eerie world of Daguerreotype photography! They deep dive on all of the history and science surrounding this unique AND antique process of image creation that dates back to the early 1800s. The stories in today's episode confirm that the Victorians were some creepy folks as they used Daguerreotypes to help them grieve their deceased loved ones. The Stinas explore post mortem & spirit photography and ponder the mysterious resurfacing of an Edgar Allan Poe Daguerreotype that was wanted by the FBI! Tune in for all this and more! Happy Spooky Season! TOPIC MAP (00:00) Intro (08:35) Griffin Dunne Talks about Jimmy's Ghost (11:54) Jimmy's Ghost Scene Play-by-Play (28:00) What is Daguerreotype? (41:15) The Diorama Theatre (55:32) The Daguerreotype Process (01:22:08) Post Mortem Photography (01:41:54) Death Masks (01:48:06) Fake Post Mortem Photographs (01:51:15) Spirit Photography (02:11:09) Daguerreotypes and Outer Space (02:15:30) Post Mortem Photography Myths (02:21:33) Post Mortem Photography Today (02:24:3) Daguerreotype Photography in Pop Culture (02:26:24) Nathaniel Hawthorne, the Getty Museum & 8 Important Daguerreotype Photos (02:41:03) The Resurfacing of a Mysterious Edgar Allan Poe Daguerreotype WARNING: SPOILERS ABOUND! SOCIALS: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Kristina's Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Justina's Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Voice Message⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠HERO SOURCES⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠WHERE TO FIND THE BOOKS AND MOVIE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ DISCLAIMER The Magnolia Street Podcast intends to discuss the movie, “Practical Magic” in its entirety. This will evidently result in spoilers and it is recommended that you watch and or read the following. Alice Hoffman's: Practical Magic, Rules of Magic, Magic Lessons, Book of Magic. The Magnolia Street Podcast is for entertainment and informational purposes and should not be used as a substitute for professional or medical advice. Do not attempt any of the discussed actions, solutions, or remedies without first consulting a qualified professional. It should be noted that we are not medical professionals and therefore we are not responsible or liable for any injuries or illnesses resulting from the use of any information on our website or in our media. The Magnolia Street Podcast presenters, Kristina Babich and Justina Carubia are passionate fans of Alice Hoffman's work and the Practical Magic word she has created. There is no copyright infringement intended, all characters and story lines are that of Alice Hoffman. We do not own any of that material as well as any of the move score music shared within the podcast. All intellectual property rights concerning personally written music and or shared art are vested in Magnolia Street Podcast. Copying, distributing and any other use of these materials is not permitted without the written permission from Kristina Babich and Justina Carubia. --- Send in a voice message: https://podcasters.spotify.com/pod/show/magnoliastreetpodcast/message

Seguimos con otra semana de Novedades potentes! En la Edición #34 de Elektroshock nos acompañan: 01 - Roadwolf – “Midnight Lightning" 05:34 02 - Lucifer – “A Coffin Has No Silver Lining" 04:20 03 - The Silent Rage – “Another Fallen Dreamland” 03:29 04 - Fifth Angel – “Resist The Tyrant (Single Edit)” 03:35 05 - Leo Jiménez – “Ficción o Realidad” 04:20 06 - Ankhara – “Tu Verdad " 04:18 07 - Ghost – “Phantom Of The Opera” 07:23 08 - Evile – “The Unknown” 04:45 09 - Before The Dawn – “Chains” 04:51 10 - Exit – “Men Of Hate (Studio Live)” 03:44 11 - Rannoch – “Daguerreotype” 06:29 Únete a la Legión Aquí: https://go.ivoox.com/sq/917911 60 minutos de Metal y Derivados presentados por Marco Rondán y Ofrecidos, cada semana, por HEAVYS Audio y Danis Parris Custom Guitars.- ****************************************************************** We continue with another week of powerful arrivals! In Elektroshock Issue #34 we are joined by: 01 - Roadwolf - "Midnight Lightning" 05:34 02 - Lucifer - "A Coffin Has No Silver Lining" 04:20 03 - The Silent Rage - "Another Fallen Dreamland" 03:29 04 - Fifth Angel - "Resist The Tyrant (Single Edit)" 03:35 05 - Leo Jiménez - "Ficción o Realidad" 04:20 06 - Ankhara - "Tu Verdad " 04:18 07 - Ghost - "Phantom Of The Opera" 07:23 08 - Evile - "The Unknown" 04:45 09 - Before The Dawn - "Chains" 04:51 10 - Exit - "Men Of Hate (Studio Live)" 03:44 11 - Rannoch - "Daguerreotype" 06:29 Join the Legion Here: https://go.ivoox.com/sq/917911 60 minutes of Metal and Derivatives presented by Marco Rondán and Offered, every week, by HEAVYS Audio and Danis Parris Custom Guitars & Basses.

The Engines of Our Ingenuity Episode #2604 John Draper's Sister

When archaeologists excavate, they have some idea of what they will find in the ground. But in 2016, a team of archaeologists from the University of Massachusetts, Boston, was genuinely surprised when they uncovered a Victorian-era cache. In the process, they forged an uncommonly deep connection with an individual from the past.  Narrated by Anya Gruber, this story shows how archaeology can humanize the past and how loss can bring us closer.  SAPIENS: A Podcast for Everything Human is produced by House of Pod. Cat Jaffee was the editor for this piece, with help from producer Ann Marie Awad. Seth Samuel was the audio editor and sound designer. The executive producers were Cat Jaffee and Chip Colwell.  Anya Gruber is a doctoral candidate in anthropology at the University of Texas, Austin, specializing in paleoethnobotany. She previously worked in New Mexico and currently works in coastal Massachusetts. Anya writes about a range of topics, including ancient diets, medicinal plants, mourning practices, and infectious diseases. Follow her on Instagram @anyagruber. SAPIENS is an editorially independent podcast funded by the Wenner-Gren Foundation. SAPIENS is part of the American Anthropological Association Podcast Library. Check out these related resources:  ·   Cole's Hill Memorial Cache: An Introduction at The Fiske Center Blog ·   From Dustpan to Daguerreotype  Episode sponsor: ·   This episode is included in season 5 of the SAPIENS podcast, which is part of the SAPIENS Public Scholars Training Fellowship funded with the support of a three-year grant from the John Templeton Foundation.

The first photograph of a living person was taken by Louis Daguerre in 1838. The photo depicts a figure on an otherwise empty avenue in Paris in the middle of an afternoon. But there’s an apparent mystery about it; the street and sidewalks should have been bustling with the traffic of carriages and pedestrians at that time of day, yet none can be seen. The man wasn’t alone. People and horses were there on the busy Boulevard du Temple, the popular area where the photo was taken. They just didn’t show up in the picture. The exposure time to process the photograph (known as a Daguerreotype) took seven minutes to capture an image, which had to be motionless during that time. It appears that the man on the sidewalk was the sole person photographed because he was the only one standing still—he was having his boots shined. Sometimes stillness accomplishes what motion and effort can’t. God tells His people in Psalm 46:10, “Be still and know that I am God.” Even when nations are “in uproar” (v. 6) and “the earth” shakes (v. 2), those who quietly trust in God will discover in Him “an ever-present help in trouble” (v. 1). The Hebrew words “be still” can also be translated “cease striving.” When we rest in God instead of relying solely on our limited efforts, we discover Him to be our lasting, unassailable “refuge and strength” (v. 1).

The annual Fort Cooper Days battle commemoration returns March 18 and 19 at Fort Cooper State Park in Inverness. This battle featured militia and volunteers fighting off a Seminole attack in the second of those wars. A militia captain, rising from the ranks of private to sergeant and then officer, is Howard “Butch” Nipper Junior. He is a proud third generation Florida Cracker and he portrays a Florida Cracker who picks up his musket and answers the call of duty to muster. Butch tell us all about a militiaman's life in the Second Seminole War and how modern living historians present impressions to educate, inform, and entertain the public.   Butch Nipper command a small squad during a demonstration at the Florida Pioneer Museum in Dade City, Fla. He then joins with Matt Milnes, who portrays a regular Army officer, in calling for the men to fire a salute.        Butch Nipper's parade dress is based on the Uniform of the Macon Volunteers, which served with Major Cooper's 1st Battalion of Georgia Foot in Florida in 1836. Daguerreotype circa 1845. Below, illustration of a militia officer commanding the unruly militia at a muster.      Host Patrick Swan is a board member with the Seminole Wars Foundation. This podcast is recorded at the homestead of the Seminole Wars Foundation in Bushnell, Fla.  Subscribe automatically to the Seminole Wars through your favorite podcast catcher and "like" us on Facebook, LinkedIn, and YouTube! 

Louis Daguerre announced his early photographic process, the Daguerreotype, at a French Academy of Sciences meeting on Jan 9, 1839.

A descendant of Joseph Smith made an unexpected discovery in a family heirloom.

Lachlan MacKay is one of the historians who helped authenticate the Joseph Smith daguerreotype that appears to be the prophet Joseph Smith. Lach is not only a descendant of Joseph Smith, but he is also an apostle for the Community of Christ. We'll talk about how he authenticated the photo, whether it could be Hyrum, […]

This episode is also available as a blog post: https://thecitylife.org/2022/06/02/national-portrait-gallery-presents-family-ties-daguerreotype-portraits-and-powerful-partnerships-civil-war-era-couples/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Photo:   Daguerreotype photo of the old building of the Armoury chamber #Ukraine: PRC finds a difficult Kremlin partner. Gregory R Copley, @Gregory_Copley, editor and publisher of Defense & Foreign Affairs.   https://www.msn.com/en-us/news/world/china-e2-80-99s-goal-with-putin-is-to-resist-us-without-economic-pain/ar-AAV50Ft

This week Maureen Taylor, The Photo Detective, is joined by Erin Waters, who has taken over the family business of FineDags.com, a website that's dedicated to helping individuals purchase daguerreotypes and understand more about their history. Maureen and Erin talk about how to spot paper photocopies of daguerreotypes Related Episodes:Episode 105:  Women in the Dark: Female Photographers in the US 1850-1900Episode 122: Reproducing History and Protecting the Past: One Cased Image at a TimeLinks:FineDags.comSign up for my newsletter.Watch my YouTube Channel.Like the Photo Detective Facebook Page so you get notified of my Facebook Live videos.Need help organizing your photos? Check out the Essential Photo Organizing Video Course.Need help identifying family photos? Check out the Identifying Family Photographs Online Course.Have a photo you need help identifying? Sign up for photo consultation.About My Guest:Erin Waters started collecting photographs at age eight, following in her father's footsteps. Her focuses include pre-revolutionary Russian images, interiors, and unusual photo postcards. Waters has a Master of Arts in Museum Studies from New York University. While in New York, she interned in Sotheby's Photographs department. Her master's thesis explored vernacular photography's place in art museums, utilizing interviews with collectors, curators, and dealers. Waters enjoys speaking about photography and has given papers at a number of international conferences on both copy photography and how people used photography in their personal spaces. Waters has been a full-time dealer since 2007, based in Lancaster, PA. About Maureen Taylor:Maureen is a frequent keynote speaker on photo identification, photograph preservation, and family history at historical and genealogical societies, museums, conferences, libraries, and other organizations across the U.S., London, and Canada.  She's the author of several books and hundreds of articles and her television appearances include The View and The Today Show (where she researched and presented a complete family tree for host Meredith Vieira).  She's been featured in The Wall Street Journal, Better Homes and Gardens, The Boston Globe, Martha Stewart Living, Germany's top newspaper Der Spiegel, American Spirit, and The New York Times. Maureen was recently a spokesperson and photograph expert for MyHeritage.com, an internationally known family history website, and also writes guidebooks, scholarly articles, and online columns for such media as Smithsonian.com. Learn more at Maureentaylor.comDid you enjoy this episode? Please leave a review on Apple PodcastsSupport the show (https://www.patreon.com/photodetective)

When it comes to photography, despite all the leaps and bounds forward, it has taken since the first image was recorded on a medium using exposure to light. Both the original and second methods are still being practised today in the 21st Century. And like those of the past, the means and procedures are based from magician to apprentice. And I use the term magician purposefully because if you've ever had the pleasure of watching a wet plate photographer in action, it is that, magic. We have two such photographers in today's episode, and both are returning guests to the podcast. First is Shane Balkowitsch, note wet plate photographer and incredibly humble, friendly, and always willing to pass along information, and second is Jamie Marcellus. Jamie recently travelled to Shane's natural light studio in North Dakota to learn the process. Originally invented in 1851 by Frederick Scott Archer, the collodion process improved upon the original Daguerreotype and completely overshadowed it by 1861. And while Wet Plate took a back seat to dry plates, the process is still worked today by less than 1,000 people worldwide. But through people like Shane, he hopes to teach more people and keep the process alive and the access to chemistry available to all who wish to continue the practice. The two talk about their styles throughout the episode and how Jamie has added his touch to his art and process. We also discuss Shane's fantastic work on capturing members of Dakota's indigenous population, people of note in the world today and how to get the right chemicals here in Canada (which is surprisingly easy). We at Classic Camera Revival are horrified about the ongoing illegal and brutal invasion of Ukraine by forces directed and ordered by Russian President Vladimir Putin. Know that we at CCR stand with the brave defenders of Ukraine, those fleeing the conflict and those in Russia who are being arrested, suppressed from speaking out against their President and the illegal war he is conducting against a sovereign independent nation with its unique history and rich culture. Please consider donating time, money, and effort to support Ukraine, her defenders, and her citizens. Слава Україні! Canadian Red Cross – Ukraine Humanitarian Crisis Appeal Voices of Children Kyiv Independent – News Media Outlet reporting on the war Razom for Ukraine – Medical Supplies PWS&D – Ukraine Crisis Support Ukraine Now (List of ways to help out)

From climate change to space telescopes, it's the Weekly Scideshow! If you want to learn more about the topics we talked about today, check out the links below. Bacteria That Upcycle Carbon Waste Climate Lag Down to 3-5 Years Rapid Evolution of Flowers James Webb Takes a Selfie Ukraine Neon Shortages Looking Beyond Chernobyl

UNCW graduate student Tess examines the meanings and processes behind a daguerreotype cartes de visite of Alexander Manly, the editor of the Daily Record, Wilmington's only Black newspaper at the time of the 1898 massacre. Manly's anti-racist editorials provoked white supremacist anger, and some went so far as to blame Manly for the violence. Manly and his family escaped just before the violence ensued, never to return to Wilmington, and his printing press was burned to the ground.

Daguerre comes up almost any time we mention photography, but we've never covered his life story. Well before he figured out how to capture images through a camera obscura, he was an artist and innovator in entertainment. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

We're going back to the 1850s, when America was full of the unexplainable, and people ate that shit up. Spiritualism was on the rise, technology was evolving, and at the heart of it all, William Mumler was capturing ghosts in photographs. Elise takes us through his Boston-based studio, where he photographed the likes of grieving widows, forlorn spouses and even First Lady Mary Todd Lincoln. Magically, he successfully captured their beloved lost loves, too. With the Civil War raging, grieving families were more desperate than ever for closure, but not all were convinced.  He drew skepticism from prominent photographers, who toured his studio in the hopes of debunking his process. He was even tried in New York City for defrauding the American people.  A swindler or successful medium? You decide. At the close, Halee treats us to a delicious trio of Easy Bake Oven cookies, stuffed with buttercream and fancy sprinkles. Happy Haunting! 

It’s an early morning for Jared and Mike but the show MUST go on (especially since it didn’t go on last time…). Jack Andrews joins them in the garage to discuss “1000 Times“, the new single from Daguerreotype! https://archive.org/download/ur-93-pv/UR%2093%20PV.mp3

It’s an early morning for Jared and Mike but the show MUST go on (especially since it didn’t go on last time…). Jack Andrews joins them in the garage to discuss “1000 Times“, the new single from Daguerreotype! https://archive.org/download/ur-93-pv/UR%2093%20PV.mp3

收听提示 1、什么是银版照相法？ 2、克里斯蒂安·波尔坦斯基的作品想表达什么？ 3、一个人的身份要怎么确定？ 4、怎么判断对方是不是"真爱"？ 本集相关 银版摄影法 银版摄影法（英语：Daguerreotype）是法国巴黎一家著名歌剧院的首席布景画家达盖尔，于1839年发明的利用水银蒸汽对曝光的银盐涂面进行显影作用的方法。这种摄影方法的曝光时间约为30分钟，大大的短于约瑟夫·尼塞福尔·涅普斯的摄影方法。经过改良后，曝光时间进一步缩短，可以拍摄肖像照片。 克里斯蒂安·波尔坦斯基 克里斯蒂安·波尔坦斯基（Christian Boltanski，1944年-2021年7月14日），是法国著名的雕塑家，摄影艺术家，画家和电影制作人。2001年获得德国凯撒林奖。波尔坦斯基出生于二战刚解放不久的巴黎，他的父亲是一个乌克兰的犹太人，因此对于犹太人的屠杀具有不可磨灭的回忆，在他的艺术作品中也体现出了这一点。他从1958年开始学画，但是他实际上从没接受过真正的教育，也没有接受过传统意义上的艺术培训。 本集音乐 Nils Frahm《Passing》 上集回顾 301. 美国从阿富汗"意外"撤军，这20年发生了什么？ 《八分》每周三、周五晚8点更新 欢迎留言说出你的问题和建议

收听提示 1、什么是银版照相法？ 2、克里斯蒂安·波尔坦斯基的作品想表达什么？ 3、一个人的身份要怎么确定？ 4、怎么判断对方是不是"真爱"？ 本集相关 银版摄影法 银版摄影法（英语：Daguerreotype）是法国巴黎一家著名歌剧院的首席布景画家达盖尔，于1839年发明的利用水银蒸汽对曝光的银盐涂面进行显影作用的方法。这种摄影方法的曝光时间约为30分钟，大大的短于约瑟夫·尼塞福尔·涅普斯的摄影方法。经过改良后，曝光时间进一步缩短，可以拍摄肖像照片。 克里斯蒂安·波尔坦斯基 克里斯蒂安·波尔坦斯基（Christian Boltanski，1944年-2021年7月14日），是法国著名的雕塑家，摄影艺术家，画家和电影制作人。2001年获得德国凯撒林奖。波尔坦斯基出生于二战刚解放不久的巴黎，他的父亲是一个乌克兰的犹太人，因此对于犹太人的屠杀具有不可磨灭的回忆，在他的艺术作品中也体现出了这一点。他从1958年开始学画，但是他实际上从没接受过真正的教育，也没有接受过传统意义上的艺术培训。 本集音乐 Nils Frahm《Passing》 上集回顾 301. 美国从阿富汗"意外"撤军，这20年发生了什么？ 《八分》每周三、周五晚8点更新 欢迎留言说出你的问题和建议

Defining the Chief Executive via flash powder and selfie sticks. In this episode, Dr. Lee M. Pierce (they & she) interviews Dr. Cara A. Finnegan about Photographic Presidents: Making History from Daguerreotype to Digital (University of Illinois Press, 2021). Lincoln's somber portraits. Lyndon Johnson's swearing in. George W. Bush's reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama's selfies to tell the stories of how presidents have participated in the medium's transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs--as representations of leaders who symbolized the nation--sparked public debate on these values and their implications. An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it. Have questions or comments? Connect with your host, Dr. Lee M. Pierce, on social media and Gmail @rhetoriclee or with guest author, Dr. Cara Finnegan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Defining the Chief Executive via flash powder and selfie sticks. In this episode, Dr. Lee M. Pierce (they & she) interviews Dr. Cara A. Finnegan about Photographic Presidents: Making History from Daguerreotype to Digital (University of Illinois Press, 2021). Lincoln's somber portraits. Lyndon Johnson's swearing in. George W. Bush's reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama's selfies to tell the stories of how presidents have participated in the medium's transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs--as representations of leaders who symbolized the nation--sparked public debate on these values and their implications. An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it. Have questions or comments? Connect with your host, Dr. Lee M. Pierce, on social media and Gmail @rhetoriclee or with guest author, Dr. Cara Finnegan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/journalism

Defining the Chief Executive via flash powder and selfie sticks. In this episode, Dr. Lee M. Pierce (they & she) interviews Dr. Cara A. Finnegan about Photographic Presidents: Making History from Daguerreotype to Digital (University of Illinois Press, 2021). Lincoln's somber portraits. Lyndon Johnson's swearing in. George W. Bush's reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama's selfies to tell the stories of how presidents have participated in the medium's transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs--as representations of leaders who symbolized the nation--sparked public debate on these values and their implications. An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it. Have questions or comments? Connect with your host, Dr. Lee M. Pierce, on social media and Gmail @rhetoriclee or with guest author, Dr. Cara Finnegan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Defining the Chief Executive via flash powder and selfie sticks. In this episode, Dr. Lee M. Pierce (they & she) interviews Dr. Cara A. Finnegan about Photographic Presidents: Making History from Daguerreotype to Digital (University of Illinois Press, 2021). Lincoln's somber portraits. Lyndon Johnson's swearing in. George W. Bush's reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama's selfies to tell the stories of how presidents have participated in the medium's transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs--as representations of leaders who symbolized the nation--sparked public debate on these values and their implications. An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it. Have questions or comments? Connect with your host, Dr. Lee M. Pierce, on social media and Gmail @rhetoriclee or with guest author, Dr. Cara Finnegan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography

Defining the Chief Executive via flash powder and selfie sticks. In this episode, Dr. Lee M. Pierce (they & she) interviews Dr. Cara A. Finnegan about Photographic Presidents: Making History from Daguerreotype to Digital (University of Illinois Press, 2021). Lincoln's somber portraits. Lyndon Johnson's swearing in. George W. Bush's reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama's selfies to tell the stories of how presidents have participated in the medium's transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs--as representations of leaders who symbolized the nation--sparked public debate on these values and their implications. An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it. Have questions or comments? Connect with your host, Dr. Lee M. Pierce, on social media and Gmail @rhetoriclee or with guest author, Dr. Cara Finnegan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Defining the Chief Executive via flash powder and selfie sticks. In this episode, Dr. Lee M. Pierce (they & she) interviews Dr. Cara A. Finnegan about Photographic Presidents: Making History from Daguerreotype to Digital (University of Illinois Press, 2021). Lincoln's somber portraits. Lyndon Johnson's swearing in. George W. Bush's reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama's selfies to tell the stories of how presidents have participated in the medium's transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs--as representations of leaders who symbolized the nation--sparked public debate on these values and their implications. An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it. Have questions or comments? Connect with your host, Dr. Lee M. Pierce, on social media and Gmail @rhetoriclee or with guest author, Dr. Cara Finnegan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Defining the Chief Executive via flash powder and selfie sticks. In this episode, Dr. Lee M. Pierce (they & she) interviews Dr. Cara A. Finnegan about Photographic Presidents: Making History from Daguerreotype to Digital (University of Illinois Press, 2021). Lincoln's somber portraits. Lyndon Johnson's swearing in. George W. Bush's reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama's selfies to tell the stories of how presidents have participated in the medium's transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs--as representations of leaders who symbolized the nation--sparked public debate on these values and their implications. An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it. Have questions or comments? Connect with your host, Dr. Lee M. Pierce, on social media and Gmail @rhetoriclee or with guest author, Dr. Cara Finnegan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

John Quincy Adams was the first president of whom we have surviving photos. His picture was taken in 1843, two decades after his presidency ended. The picture was made with daguerreotype, the first photographic technique to be made available to the public.The picture was the beginning of a stormy two-century relationship between the president and the camera. It includes Lincoln’s somber portraits, Lyndon Johnson’s swearing in, and George W. Bush’s reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Today’s guest is Cara Finnegan, author of the book “Photographing a President: Making History from Daguerreotype to Digital.”She argues that throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs—as representations of leaders who symbolized the nation—sparked public debate on these values and their implications.

Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. In this episode, we interview Cara A. Finnegan on her newly released book Photographic Presidents: Making History from Daguerreotype to Digital. We discuss many iconic photos and the stories behind them, including the earliest photo of Abraham Lincoln, Richard Nixon's tense relationship with his photographer, and a curious story about photography's connection to George Washington.CARA A. FINNEGANwww.carafinnegan.comJOIN PREMIUMListen ad-free for only $5/month at www.bit.ly/TAPpremiumFOLLOW USwww.linktr.ee/thisamericanpresidentCREDITSHost: Richard LimProducer: Michael NealArtist: Nip Rogers, www.NipRogers.com

Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. In this episode, we interview Cara A. Finnegan on her newly released book Photographic Presidents: Making History from Daguerreotype to Digital (https://www.press.uillinois.edu/books/catalog/93cpx6fr9780252043796.html). We discuss many iconic photos and the stories behind them, including the earliest photo of Abraham Lincoln, Richard Nixon's tense relationship with his photographer, and a curious story about photography's connection to George Washington. Follow Website: thisamericanpresident.com Twitter: twitter.com/ThisAmerPres Facebook: facebook.com/ThisAmerPres Support Patreon: patreon.com/thisamericanpresident Paypal: paypal.me/thisamerpres Credits Produced by Richard Lim and Michael Neal Art by Nip Rogers: NipRogers.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Back to Podcasting BasicsUnable to share the Camera Shake set, Kersten and Nick go back to basics and figure out how to do podcasting from home in this socially distant episode. The conversation continues undeterred by lockdown 2.0 in the UK. Nick's out and about photographing his hometown and the guys chat about upcoming personal projects and discover some of the earliest photographs ever taken.THIS WEEK’S LINKS:Matthew Brady & Oldest People to ever be photographedCAMERA SHAKE PODCAST ON YOUTUBE:Camera Shake Photography Podcast on YouTubehttps://www.youtube.com/channel/UC9IfsaoPxM3uqQbnLPCJlBwFULL EPISODE 30 IS ALSO AVAILABLE ON: YouTube: https://bit.ly/36HExUMApple Podcasts - https://apple.co/2Y2Lmfm Spotify - https://spoti.fi/304sm2G Follow Kersten and Nick’s photo challenges on Instagram @camerashakepodcastKersten’s website: www.kerstenluts.com

Did you know the inventor of the Morse code brought one of the first modern cameras to America? Tune in to learn about Samuel Morse's 1839 Daguerreotype and its cultural implications.

In this episode of the fine art photography podcast: a quick followup to my discussion of daguerreotypes from my previous episode (number 23 Southworth & Hawes) -- just how fragile were they? There's a common perception, supported by much early documentation, that daguerreotypes are easily wiped off the plate. But modern science seems to contradict that. The Daguerreotype: Nineteenth Century Technology and Modern Science by M. Susan Barger and William B. White, (Available new and used on Amazon) Cover art: Daguerreotype portrait of Louis Daguerre, inventor of the process, photographed in 1844 by Jean-Baptiste Sabatier-Blot. Note: This description contains an Amazon Affiliate link. I may earn a small commission on qualifying purchases. --- Support this podcast: https://anchor.fm/keith-dotson/support

In this episode of the fine art photography podcast: a quick followup to my discussion of daguerreotypes from my previous episode (number 23 Southworth & Hawes) -- just how fragile were they? There's a common perception, supported by much early documentation, that daguerreotypes are easily wiped off the plate. But modern science seems to contradict that. The Daguerreotype: Nineteenth Century Technology and Modern Science by M. Susan Barger and William B. White, (Available new and used on Amazon) Cover art: Daguerreotype portrait of Louis Daguerre, inventor of the process, photographed in 1844 by Jean-Baptiste Sabatier-Blot. Note: This description contains an Amazon Affiliate link. I may earn a small commission on qualifying purchases. --- Support this podcast: https://anchor.fm/keith-dotson/support

In this episode of the Fine Art Photography podcast: the story of Boston-based Southworth & Hawes, the first American masters of daguerreotype portraiture. We will talk about the partnership between Albert Southworth and Josiah Johnson Hawes in the earliest days of photography that created some of the most beautiful portraits ever. We'll also take a dive into the daguerreotype process. Sources for this episode: Center for Artifact Studies, Photograph Identification Guide, “Tintypes, Daguerreotypes and Ambrotypes,” David Rudd Cycleback http://www.cycleback.com/photoguide/dags.html Encyclopaedia Britannica, “Southworth & Hawes” https://www.britannica.com/topic/Southworth-and-Hawes George Eastman House photos of Southworth and Hawes https://www.flickr.com/photos/george_eastman_house/sets/72157606223836462/ George Eastman House, “Guide to the Southworth & Hawes Records” (PDF) https://drive.google.com/file/d/1Qt2Cal2WvraU9ziuAjI0A1hc-6AUUR9b/view Historic Camera, “Francois Gouraud” http://historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_display&app=datasheet&app_id=1510 International Center of Photography, “Southworth & Hawes: Permanence” Accessed via Web Archive https://web.archive.org/web/20090914011610/http://museum.icp.org/museum/exhibitions/southworth_hawes/pages/permanence.html International Center of Photography, “Young America: The Daguerreotypes of Southworth & Hawes,” Accessed via Web Archive https://web.archive.org/web/20090914013122/http://museum.icp.org/museum/exhibitions/southworth_hawes/pages/young_america.html National Gallery of Art, Southworth and Hawes, “The Letter, ca. 1850” https://www.nga.gov/collection/art-object-page.110216.html Skinner, “How to Identify a Daguerreotype: 5 Considerations When Looking at Early Photography” https://www.skinnerinc.com/news/blog/how-to-identify-a-daguerreotype-early-photography/ Wikipedia, “Daguerreotype” https://en.wikipedia.org/wiki/Daguerreotype Wikipedia, “François Fauvel Gouraud” https://en.wikipedia.org/wiki/Fran%C3%A7ois_Fauvel_Gouraud Wikipedia, “Photography in the United States” https://en.wikipedia.org/wiki/Photography_in_the_United_States Wikipedia, “Samuel Morse” https://en.wikipedia.org/wiki/Samuel_Morse Wikipedia, “Scollay Square” https://en.wikipedia.org/wiki/Scollay_Square Wikipedia, “Tremont Row” https://en.wikipedia.org/wiki/Tremont_Row --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/keith-dotson/support

In this episode of the Fine Art Photography podcast: the story of Boston-based Southworth & Hawes, the first American masters of daguerreotype portraiture. We will talk about the partnership between Albert Southworth and Josiah Johnson Hawes in the earliest days of photography that created some of the most beautiful portraits ever. We'll also take a dive into the daguerreotype process. Sources for this episode: Center for Artifact Studies, Photograph Identification Guide, “Tintypes, Daguerreotypes and Ambrotypes,” David Rudd Cycleback http://www.cycleback.com/photoguide/dags.html Encyclopaedia Britannica, “Southworth & Hawes” https://www.britannica.com/topic/Southworth-and-Hawes George Eastman House photos of Southworth and Hawes https://www.flickr.com/photos/george_eastman_house/sets/72157606223836462/ George Eastman House, “Guide to the Southworth & Hawes Records” (PDF) https://drive.google.com/file/d/1Qt2Cal2WvraU9ziuAjI0A1hc-6AUUR9b/view Historic Camera, “Francois Gouraud” http://historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_display&app=datasheet&app_id=1510 International Center of Photography, “Southworth & Hawes: Permanence” Accessed via Web Archive https://web.archive.org/web/20090914011610/http://museum.icp.org/museum/exhibitions/southworth_hawes/pages/permanence.html International Center of Photography, “Young America: The Daguerreotypes of Southworth & Hawes,” Accessed via Web Archive https://web.archive.org/web/20090914013122/http://museum.icp.org/museum/exhibitions/southworth_hawes/pages/young_america.html National Gallery of Art, Southworth and Hawes, “The Letter, ca. 1850” https://www.nga.gov/collection/art-object-page.110216.html Skinner, “How to Identify a Daguerreotype: 5 Considerations When Looking at Early Photography” https://www.skinnerinc.com/news/blog/how-to-identify-a-daguerreotype-early-photography/ Wikipedia, “Daguerreotype” https://en.wikipedia.org/wiki/Daguerreotype Wikipedia, “François Fauvel Gouraud” https://en.wikipedia.org/wiki/Fran%C3%A7ois_Fauvel_Gouraud Wikipedia, “Photography in the United States” https://en.wikipedia.org/wiki/Photography_in_the_United_States Wikipedia, “Samuel Morse” https://en.wikipedia.org/wiki/Samuel_Morse Wikipedia, “Scollay Square” https://en.wikipedia.org/wiki/Scollay_Square Wikipedia, “Tremont Row” https://en.wikipedia.org/wiki/Tremont_Row --- Support this podcast: https://anchor.fm/keith-dotson/support

USC professor Andrea Armani discusses her award-winning research on sustainable laser technology, carbon footprints, and a new trend in global conferences. Plus: Photonics Media dives into COVID-19, the novel coronavirus; and we dig deeper into the story of Daguerreotype photography.All Things Photonics is produced by Photonics Media and airs every other Tuesday. You can find links to the stories mentioned in the episode on our website, www.photonics.com/podcast.

It's widely written that photography was "invented" by Louis Daguerre in 1839; however, nothing has such a clear or clean origin story. Join our hosts as they dissect the very beginnings of photography: how it was invented when it was, who used this new medium, why that matters and who actually invented it.

This day in history January 9, 1839 The first photo process called Daguerreotype [da-gair-a-type] was announced at the French Academy of Science. The process did not use film or paper, but instead sheets of silver-plated copper. Exposers took from 5 to 60 seconds followed by a laborious development process. This, of course, was still a major improvement, for a person only had to sit for up to a minute for their portrait, as opposed to hours for their portrait to be painted. Now we have selfie sticks and smartphones and can snap a self-portrait in the go. Of course, caution is advised. One news report states that there are more selfie-related deaths annually than from shark attacks. And the average age and gender is the 21-year-old male.Jesus said, "If you have seen me, you have seen the Father."By beholding we become changed. // We become like what we look at.

Andrew Smith discusses growing up in Santa Fe and how his interest in anthropology lead to being fascinated with imagery and history of the Southwest photographs. Andrew explains how he goes about evaluating photographers and placing them to museum, libraries, and collectors. The history of how Edward S. Curtis collection ended up in Santa Fe and how Curtis's project 1904-1930 developed. A fascinating interview with one of the top photographic dealers with lots of early history of Santa Fe's gallery scene.

Amid much opposition and celebration, Vicky, Princess Royal of the United Kingdom, married Prince Fritz of Prussia.Daguerreotype image of Vicky, Victoria and Albert Hosted on Acast. See acast.com/privacy for more information.

The Invention of the Daguerreotype

Imagine you're an American farmer 170 years ago. Depending on where you live, you may go to a big city once a year, when it's time to sell off your surplus livestock. And, after you've done that, you might go have one of those fancy daguerreotype light paintings made. Having a Daguerreotype image made was the 1850's fad equivalent to taking a selfie at Disneyland while performing in a flash mob in front of Cinderella's castle. And if you adjust for inflation, the price was about the same.

In der Weihnachtsfolge von Sneakfilm To Go - Der Sneakfilm-Podcast besprechen wird zwei Filme. Zum einen die Dokumentation "It's not yet dark" und zum anderen den Drama, Fantasy, Horror-Mix "Daguerreotype". SHOWNOTES: "It's not yet dark" in der IMDB "It's not yet dark" bei Letterboxd "Daguerreotype" in der

Filmspezial 71 Letztes Jahr bekam er noch den Nippon honor Award, in diesem Jahr war er mit einem, in Frankreich, mit französischen Schauspielern gedrehten, Film zurück: Kiyoshi Kurosawa. Natürlich waren die Erwartungen (trotz stark gemischten Kritiken) sehr hoch und ob sein klassischer Gruselfilm diesen gerecht werden kann oder ob es der langweiligste Film des Jahres ist, hört ihr hier. Podcast herunterladen Trailer

Michael und Alexander reden heute über die Nippon Connection 2017, dem größten japanischen Filmfestival ausserhalb Japans, welche jedes Jahr in Frankfurt am Main stattfindet. Und ihr habt richtig gelesen: René ist diesmal nicht dabei, stattdessen ist heute Michael Meier vom Podcast Kompendium des Unbehagens ein würdiger Ersatz. Das Ganze gilt auch andersrum, hoffentlich, denn diese Folge kann man demnächst auch beim Kompendium des Unbehagens hören. Wir besprechen die vier Filme des Festivals im Detail, die wir auch beide gesehen haben: – Start Line – Mr. Long – Daguerreotype – The Long Excuse Danach sprechen wir jeweils noch kurz über die Filme, die wir sonst so auf dem Festival gesehen haben, u.a. – Death Note: Light up the New World – Happiness – I am a Hero – Shin Godzilla – Destruction Babies – Satoshi: A Move for Tomorrow – Harmonium Mehr von Kompendium des Unbehagens gibt’s unter: http://komdehagens.podcaster.de http://twitter.com/komdehagens Unsere Nippon Connection Beiträge bei Schöner Denken gibt’s hier: http://schoener-denken.de Kapitel: 00:00 Hallo zusammen! 04:29 Start Line 21:10 Mr. Long 36:02 Daguerreotype 50:40 The Long Excuse 1:08:11 Guckliste Alex 1:15:02 Guckliste Michael 1:26:12 Bis zum nächsten Mal!

How does photography work? Johnny's Leica MP that we used as a prop (Steve Huff Photo) How does a camera work? (Tech, How Stuff Works) When were cameras invented? It depends...400BC if you count the ancient Chinese 'camera obscura' (Wikipedia) The camera obscura...who needs TV? (Wikipedia) The first proper photograph apparently took 8 hours to expose, credited to Joseph Nicephore Niépce, 1820s (University of California, Santa Barbara) 130-year-old plate camera captures pictures of modern Britain (but you must stand still for 15 minutes) (Daily Mail Australia) How the human eye works: It's a 'camera-type eye' (livescience) Why do your pupils get bigger in the dark? (Wonderopolis) What is a lens? (Explain That Stuff!) Cameras, lenses & how photography works (How-To Geek) Understanding camera lenses (Cambridge in Colour) What is exposure? (Cambridge in Colour) Squinting helps you focus - it narrows the 'aperture' of your eye (Wired) What is an aperture? (Wikipedia) A dicussion about wide aperture & unfocused light rays (Photography StackExchange) Principal focal length (HyperPhysics, Georgia State University) Understanding focal length (Nikon) Depth of field: How 'deep' is the amount of stuff that's in focus (Cambridge in Colour) As this photo of Elon Musk shows, a professional portrait usually focuses on the face & blurs the background (Feedoxy) "A lens typically has a set of marked 'f-stops' that the f-number can be set to" (Wikipedia) Pic: As your f-number increases, your aperture gets smaller & less light gets in (Wikipedia) Free f-stop chart (Tech Radar) Pic: Example of a Leica camera showing the f-stops on the lens, 2.4, 2.8, 4, 5.6, 8, 11 (Leicaphilia) Super groovy pinhole glasses that claim to strengthen your eyes (HealthTap) Diagram of light rays going through a wide & narrow aperture (Photography Life) Understanding shutter speed: A beginner's guide (Photography Life) Pic: Example of a shutter speed dial on a film camera (Roger & Frances) Pic: This is what Johnny's 'curtain shutter' looks like - the bit that reveals the 35 mm film segment (photo.net) What is a camera shutter? (Wikipedia) A history of shutter types (Early Photography) What is 35 mm film? (Wikipedia) F1.0 lenses are super expensive & rare - this is what the photos look like...kinda nice hey? (Fstoppers) What is a prime lens? i.e. they don't zoom (B&H) Why are some lenses so expensive? (Photography Life) What is infinity focus? (School of Digital Photography) Who killed infinity focus? (B&H) The Man Who Knew Infinity (IMDb) The amazing mathematician Srinivasa Ramanujan (Wikipedia) Sally Gunnell (Wikipedia) Uluru (Wikipedia) Photographs of ocean waves captured with a long lens & slow shutter (PetaPixel) The secret to photographing hummingbirds (B&H) Slow motion footage of bullets going through stuff (DrDaveBilliards, YouTube) Femto-photography: Visualising photons in motion at a trillion frames per second (MIT) Film speed is a measure of its sensitivity to light (Wikipedia) ISO has been the standard for speed/sensitivity since 1974 (Wikipedia) How to make & use a pinhole camera (Kodak) Some thoughts on why people never smiled in old photos (Vox) How film works: Black & white vs colour (Kodak) What is slide film? (I Still Shoot Film) Some lovely slide films shot on Fuji Velvia (I Still Shoot Film) Some lovely slide films shot on Fuji Provia (I Still Shoot Film) Some lovely slide films shot on Kodak Ektachrome (I Still Shoot Film) A handy PDF guide on how to develop black & white film yourself (Ilford) How does photographic paper work? (Wikipedia) How do digital cameras work? (Tech, How Stuff Works) Digital camera sensors: Backs up Johnny's 'buckets of photons' analogy (Cambridge in Colour) Why more megapixels isn't always better (Gizmodo) Baaaaaall pit! (Kids'nShape) The 72 ppi web resolution myth (Photoshop Essentials) The iPhone 6S has a 12 megapixel camera (Apple) Introduction to medium format photography (I Still Shoot Film) Why medium format is so gorgeous (Reframe, Gizmodo) Phase One medium format digital cameras: May set you back up to $55K (CNET) Polaroid cameras (Polaroid Australia) How does a Polaroid camera work? (Tech in our everyday life) The Impossible Project: "Reinventing instant film from scratch" (IMPOSSIBLE) Guy Ritchie (bio.) Pic: Thingy that magnifies negatives so you can see what will be in your photo if you develop it (eBay) Pic: Nessie (CNN) Marked up photos show how iconic prints were edited in the darkroom (PetaPixel) Old timey flash bulbs (Camerapedia) ISO: How high can you go? Apparently up to 409,600 these days! (DIGITALPhotoPro) Common slide film seems to be around 50 or 100 ISO, but there's mention of higher numbers (120 Studio) Old timey photographic plates had very low ISO numbers: This example is 5 (Fstoppers) Daguerreotype: "The first publicly announced photographic process" (Wikipedia) Old timey photographic plates (Wikipedia) Places that still offer film processing in Melbourne (urbanlight) Cheeky review? (If we may be so bold) It'd be amazing if you gave us a short review...it'll make us easier to find in iTunes: Click here for instructions. You're the best! We owe you a free hug and/or a glass of wine from our cellar

We give a brief history of how changes in technology have impacted photography, and then make future predictions for how photography will change from 2016 to 2030. Our sponsor: http://squarespace.com/tony, coupon code 'portfolio'

Wet-Collodion, Daguerreotype, Tintype, Calotype, Gum Bichromate, Van Dyke Brown. Oh my! On this week’s podcast, we welcome Geoffrey Berliner, Executive Director of the Penumbra Foundation, and photographer Jolene Lupo, to talk about alternative process photography. The Penumbra Foundation is an exceptional organization, dedicated to the art, science, and history of photography and Berliner outlines their history and mission and the workshops and facilities they make available to all photographers, while Lupo discusses her tintype work at Penumbra and her Spirit Photography. This episode is a true education, not just on the various alternative processes, but on the history of photography and on how learning the original pre-film processes will improve your digital photography. Guests: Geoffrey Berliner and Jolene Lupo Photograph by Jolene Lupo

In this special bonus episode, we are thrilled to be able to speak with master Daguerreotype artist Mike Robinson, about the challenges and rewards of the Daguerreotype process. Full show notes and examples of Mike's incredible work

The Wichita Art Museum has unveiled their newest exhibition Photographic Wonders: American Daguerreotypes from the Nelson-Atkins Museum of Art. A Daguerreotype is one of the earliest forms of photography. Invented in France by Louis Daguerre in 1839, Daguerre revolutionized scientific observation as well as art. He discovered how to fix an image on to a silver plate with out it fading away – something his predecessors had not yet solved.

Ann Shumard, Senior Curator of Photography at the Smithsonian's National Portrait Gallery, discusses an 1851 daguerreotype portrait of Lucretia Coffin Mott.

Black Memorabilia with Michele Cook of La Bonne Vivante, Learn the value of your family's precious collectibles; old photos, furniture, toys, books, albums and furniture. Labonnevivante.com ~WASHINGTON D.C. BLACK MEMORABILIA SHOW, WWW.JohnsonSHows.com~WELL ESTABLISHED, AT WHICH VENDORS FROM ALL OVER THE COUNTRY ASSEMBLE TO SHOW THE FULL RANGE OF AFRICAN AMERICAN CULTURAL ARTIFACTS: CDVS, CABINET CARDS, VINTAGE PRO PHOTOS, DAGUERREOTYPE, TIN TYPE, RPPC, SCRAPBOOKS, PHOTO ALBUMS AND EPHEMERA.

Conservator Stephen Harwood looks at the invention and development of photography, describing all the major photographic processes and explaining how anyone can identify different photographic types from the earliest photogenic experiments to today's sophisticated gelatine-silver prints.