Podcasts about Fujifilm

My co-host Ken Suzan and I are welcoming you the episode 176 of the IP Fridays Podcast. Today's interview guest is returning guest Franklin Graves, who is a senior counsel at Linkedin and teaching IP law at Emerson College. With my co-host Ken Suzan he is discussing how the law for creators has dramatically changed in the past years. Franklin Graves is expressing his personal views and not the views of Linkedin or Microsoft. He is talking about the paper “Upload Complete” before he joined Linkedin. Bio: https://www.linkedin.com/in/franklingraves/ Paper: https://papers.ssrn.com/sol3/papers.cfm?abstract_id=5271442 Website: https://creatoreconomylaw.com/ But before we jump into this interview, I have news for you! Richard Meade, a judge on the UK High Court and one of the most prominent figures in European patent law, was appointed Lord Justice of Appeal at the British Court of Appeal on June 12, 2026. Meade played a key role in numerous landmark British patent decisions, particularly in the area of standard-essential patents (SEPs) and FRAND licenses. In Insulet Corp. v. EOFlow Co., No. 2025-1807, the U.S. Court of Appeals for the Federal Circuit completely overturned the original $452 million judgment (which had already been reduced by the District Court to $59.4 million) in favor of Insulet. In its decision of June 2, 2026, in the case of Fujifilm v. Kodak, the UPC Board of Appeal provided comprehensive clarifications regarding so-called “long-arm jurisdiction”—that is, the question of whether the UPC can also rule on national patent claims outside the UPC territory (such as in the United Kingdom). In 14 guiding principles, the judges established specific procedural rules for various categories of cases. There is no automatic UPC jurisdiction over national patent claims outside the UPC territory. The Munich Regional Court has issued an arrest warrant against the managing director of Polytech Health & Aesthetics GmbH because he is alleged to have continued to exploit the Brazilian company Silimed's patent for breast implants despite a preliminary injunction. A number of IT and automotive industry associations—which are among the most frequent users of Inter Partes Reviews (IPR) at the U.S. Patent and Trademark Office—have filed an amicus brief with the Supreme Court, urging the Court to grant Google's certiorari petition. An attorney for a Las Vegas performer has asked a California federal judge to temporarily prohibit Taylor Swift from using “The Life of a Showgirl” as a trademark while the trademark lawsuit is pending. Swift's attorney called the lawsuit baseless. And now let's hear Ken discuss creator law with Franklin! AI, Platform Law, and the Creator Economy: What Businesses Need to Know Now Franklin Graves has spent his entire career watching digital content move through systems that most people never see. He started in marketing at a major music label right out of law school, then represented individual creators on YouTube in a pro bono capacity, then moved to the platform side at Eventbrite, and today works as Senior Product Counsel at LinkedIn, where he focuses on AI, data, and the regulatory questions that come with both. His recently published law review article, Upload Complete: An Introduction to Creator Economy Law, is the first academic paper to address the creator economy as a distinct legal field. In a recent episode of the IP Fridays podcast, he spoke with host Kenneth Suzan about responsible AI development, platform regulation, and what it actually means to own your audience in a world where the rules keep changing overnight. From Content Creator to Platform Lawyer The through-line in Graves’ career is a genuine understanding of how content moves from an idea in someone’s head to an audience on a screen. That experience, he argues, is precisely what in-house counsel needs right now. Lawyers working on AI and product development cannot afford to sit at a distance from the technology they are advising on. They need to use the tools, experience them as a creator or end user would, and understand the nuances of how a product actually operates before it reaches the public. Understanding the product first is the precondition for everything else. That philosophy translates directly into how he approaches responsible AI implementation. The landscape of AI standards is crowded: NIST frameworks, the EU AI Act, sector-specific guidance, and a growing body of industry-adopted best practices. The challenge for in-house counsel is not knowing that these standards exist. It is making them actionable for the engineering and product teams they support. Abstract principles need to become concrete controls and workflows. Graves offers one practical shortcut: most companies already have open source software review processes that involve the right stakeholders, the right sign-off levels, and the right security checks. Layering the specifics of generative AI or large language models onto those existing processes is far more efficient than building something new from scratch. A Fragmented Regulatory World The geopolitical dimension of AI regulation is something Graves thinks about constantly in his role at LinkedIn. The EU AI Act, shifting US executive orders, and country-specific approaches to data privacy have created a regulatory environment that can change the rules of the game without warning. His analogy is instructive: creators have long understood what it means to build a community on a platform they do not own. An algorithm change, a policy update, or a government ban can wipe out years of audience-building overnight. Businesses deploying AI tools globally now face a structurally similar problem. The response, for creators and for platforms alike, is to build resilience rather than rely on stability that may not last. TikTok is the clearest recent example. When the platform faced the prospect of being shut down in the United States on national security grounds, it triggered a broader conversation about platform dependence that had been building for years. Creators who had invested their entire business in one platform suddenly confronted the possibility that their audience could simply disappear. The lesson is not that platforms are bad. It is that concentration of any kind, whether it is your audience, your data pipeline, or your regulatory compliance strategy, creates fragility. What Is a Creator, Legally Speaking? One of the central contributions of Graves’ law review article is definitional. The terminology matters more than it might seem. When courts and regulators talk about creators without a shared understanding of what that word means, the resulting legal analysis tends to miss the mark. Graves draws a distinction between users who post content, creators who post with the intent to build an audience and eventually monetize it, and influencers, a subset of creators who are actively running a small business through their content. The difference is intent. A parent posting family photos on Facebook is a user. Someone building a subscription community around their professional expertise is running a business, and the legal framework that applies to them should reflect that. That distinction matters practically when it comes to liability. As more creators build their own platforms, whether through custom membership sites, open source tools like Ghost, or federated social networks, they take on obligations that previously fell to large platforms: content moderation policies, privacy notices, terms of service, and compliance with data regulations across multiple jurisdictions. A creator in Tennessee running a membership platform with subscribers in Germany is operating a global business, whether they think of themselves that way or not. Protecting Children Online: A Question Without a Clean Answer The tension between age verification and privacy is one of the more difficult problems in platform law right now. Australia, several European countries, and a growing number of US states have introduced or passed minimum age requirements for social media accounts. The technical challenge is real: verifying age online requires collecting identifying information, and collecting identifying information creates privacy risk, particularly for the young people the laws are designed to protect. Who should bear the responsibility for that verification is also unresolved. Is it the platform? The app store? The mobile operating system? Graves does not pretend there is a clean answer, but he points to the mobile layer as an underexplored option. The Apple App Store and Google Play Store already have significant leverage over which apps reach users on their devices. Whether that leverage should extend to age verification is a question that deserves more attention than it currently receives. The Right of Publicity in the Age of AI Voice cloning, digital replicas, and AI-generated synthetic media have pushed the right of publicity into territory that traditional IP law was not designed to cover. Trademark law, copyright law, and existing publicity rights each capture part of the problem but none of them covers it completely. The result, as Graves describes it, is a period of experimentation: lawyers filing trademarks on vocal sounds and phrases, states updating their publicity statutes to explicitly mention artificial intelligence, and entertainment unions negotiating over who controls a performance and any AI-generated iterations of it. Tennessee’s Elvis Act is a concrete example of the legislative response: the state updated its right of publicity law to include voice and to reference AI directly. Similar efforts are underway elsewhere. The underlying challenge is calibrating protection so that it gives creators and performers meaningful control over their likeness and voice without foreclosing the development of generative AI systems that depend on broad rights to process and learn from content. Somewhere between those two interests, a workable legal framework needs to emerge. The brand deal context may be where the issue becomes most immediately practical. When a brand partners with an influencer and the campaign involves generative AI in any form, the contract needs to address control explicitly. Who has final approval over how the influencer’s likeness or voice is used in AI-generated deliverables? What happens to those assets after the campaign ends? These are not hypothetical questions. They are contract drafting problems that any brand counsel or creator attorney should be addressing today. What Comes Next Graves is cautious about predictions, but his sense of direction is clear. The regulatory environment will continue to fragment before it converges. The right of publicity will be updated, imperfectly, in more jurisdictions. Creators will continue to move toward owning more of their infrastructure. And the lawyers who do this work best will be the ones who understand the technology well enough to translate it into practical, defensible decisions for the people they advise. Full Transcript: Ken Suzan: Thank you, Rolf. Our returning guest today is Franklin Graves. Franklin is the founder and editor of Creator Economy Law, a website and newsletter that educates creator economy professionals on the intersection of law and policy with the world of creators, brands, and platforms. Franklin also published the first law review article focused on the creator economy, Upload Complete, an introduction to creator economy law. He regularly appears across news and media outlets as a commentator and contributor with a focus on educating creators and raising awareness of all legal aspects of the creator economy. Franklin is based in Nashville, Tennessee. Ken Suzan: Franklin was invited to participate as one of the creators and creator economy professionals in the first ever White House creator economy conference. Franklin works full time as a product counsel at LinkedIn Corporation. As a member of the product and data team, he focuses on emerging issues in AI and data. Franklin previously held roles on the technology law group at HCA Healthcare, the commercial legal team at Eventbrite, and the business and legal affairs team at Naxos Music Group. Welcome back Franklin to the IP Fridays podcast. Franklin Graves: Thank you so much for having me. It is exciting to be back and reflecting over the last decade since I last joined and also the paper that I wrote that dives into this in more detail. So I really appreciate it. And yes, full disclosure, I currently work for LinkedIn, which is a subsidiary of Microsoft. I’m here in my personal capacity to talk about this, the paper I wrote before joining LinkedIn and all of that. So thank you so much for having me back. Ken Suzan: Excellent. So Franklin, since your last appearance on IP Fridays in 2017, your career has evolved significantly. You are now senior product counsel at LinkedIn focusing on AI and data. How has working inside a major tech platform changed your perspective on the legal frameworks governing digital content compared to when you were viewing it purely from the creator side? Franklin Graves: I appreciate that question because when I wrote the article, I did not work for LinkedIn. And I had been coming from a history in my career where I, right out of law school, worked for a record label like we talked about almost 10 years ago. And I was on the content creation side. I’ve represented a major distributor of classical music digitally at the time. And that was my first exposure to understanding how content was taken from the initial inception stage from creators and routed through all the various digital platforms that were at the time still evolving and even arguably still today continue to evolve. The early days of YouTube Music launching and then Apple Music launching, and then going through all the phases of high-res audio and everything that came after that. So that was an interesting perspective to start my career with. And then I went to Eventbrite, which is a ticketing platform, but was also focused on elevating event creators. They kind of took on that moniker of “Hey, we are event creators that we support.” And that was arguably my first exposure to the platform side, the tech platform side of it, because Eventbrite is a platform. And so then I evolved from there in my personal capacity, in a pro bono capacity representing individual creators across the YouTube space. And that’s what we talked about a little bit back when I first came on the podcast. Franklin Graves: Over the last decade, it’s been a chance to grow my own understanding of the creator economy. The terminology “creator economy” came around. And then now on the other side of it, having written the article and all that, and now being fully in-house at LinkedIn, I truly am experiencing a social media platform. LinkedIn is of course arguably way more than just the platform itself. There are so many different avenues to it, but it is a chance for me to understand what it is like working for a company that is operating the platform that people are distributing content on. There’s a user journey to content and all of that. So it’s definitely enhanced and given me a different perspective from a major tech platform side. And part of my role at LinkedIn is really heavily focused on understanding regulation and how that from an AI and data perspective impacts the company. And so I’ve been really leveling up my game over the last year and a half that I’ve been here, understanding mostly EU regulations, but also US regulations that are still in their infancy when it comes to AI. But really when it comes to privacy and data, those are pretty well established across the board. It’s been kind of a combination of what I learned at Eventbrite, because I went to Eventbrite when GDPR was going into effect. And so that was an eyes-wide-open moment of getting in the weeds with negotiating data processing agreements, understanding data transfers and cross-border data transfers and the like. So it’s been kind of an evolution as the laws and regulations have evolved. So has my career, so has my own understanding, so have the platforms’ responses to those laws and regulations. And I’m sure that probably resonates with a lot of your listeners who have also been growing their practice and their understanding as the laws and regulations in this realm have been evolving too. Ken Suzan: Yes, indeed. Now let’s switch gears and talk about AI. You advise on AI and data daily. As platforms integrate generative AI tools into their tech stacks, what are the most critical best practices in-house counsel should be adopting right now to embed responsible AI principles into product development? Franklin Graves: So as an attorney, one of my key roles is to understand the technology. Even representing creators and working for creator platforms, that’s something I’m constantly trying to do: put myself in the shoes of being a creator. And I think I talked about this last time I was on, but I come from a background where I was working for a major label doing marketing, video editing, social media work. And I was creating content. I understood the whole life cycle from the inception point of an idea to execution and then to the final delivery and distribution of that content to an audience within a major music label. And so part of that is the same thing that I think attorneys, especially in-house, should be doing: using the tools that the product and engineering teams are either developing in-house or partnering with third parties to develop, or a combination of the two. Using them, understanding them, using them as a creator would, using them as an end user or a client or customer would. And making sure that if you understand the product and understand the nuances of how it operates, and being a part of the iterations of that internally before it fully ramps, that really gives you a chance to understand: okay, we have a lot of responsible AI principles and standards and protocols that are in existence right now, whether it’s NIST, whether it’s based on the EU AI Act or anything and everything in between. It’s understanding how to apply those and bring those into a product and an engineering environment in a way that is practical and actionable for the people that you’re supporting, the stakeholders you’re supporting. So I think one of the critical best practices is, number one, understand the product or features that you’re supporting. Franklin Graves: And then understand how you as an attorney can use your expertise and understanding of responsible AI practices, whether it’s a regulatory standard or an industry-adopted standard or a hybrid of the two, to leverage those and implement those, break those down and make them into actionable controls and processes and flows that work within your existing infrastructure. That’s a lot of high-level talk, but that’s the general idea. One concrete example we talk about frequently is with open source AI. If you’re working with a product team or an engineering team that is taking an off-the-shelf open source model and bringing that in-house, a lot of times companies have pre-existing open source processes that cover the use of open source software or code. Piggyback on that. That’s the easiest quick win for attorneys: leveraging your existing open source processes to just build on top of that the AI flavor and layering. It’s not very much that you have to do, but the underlying process of the key stakeholders that need to be involved in the review, whether it’s security, whether it’s executive sign-off if it gets to that point, even export control considerations should already be part of your existing open source software process. So layering in on those existing processes the specifics of generative AI or large language models that you’re trying to bring in is a great way to put this into practice. Ken Suzan: Now looking at the geopolitical landscape that we currently have, we have the EU AI Act setting strict standards and shifting US executive orders. How should platforms and brands prepare for this fragmented regulatory environment when deploying AI tools to a global user base? Franklin Graves: It’s a great question. It’s something that is still evolving, I think is fair to say. I would equate it, as I do in the paper that I wrote, to how creators and arguably brands don’t own the platforms that they’re building their communities on. That spawned this concept of de-platforming or going into building your own platform, a decentralized platform of sorts, and owning your community. That gives you that control and takes away the level of instability that can come for creators trying to build a business on a platform they don’t own, they don’t control when certain updates happen, when algorithms change, when tools and functionalities either become available or go away completely. So it’s very similar to what we’ve been experiencing in a regulatory environment where we have geopolitical complexities, for lack of a better term, that can overnight seemingly disrupt the way in which a platform or even a multinational brand is able to connect and reach an audience or continue to leverage the user base that they’ve built. I think TikTok is a great example of that, where it became a national security concern and suddenly it was facing an executive order that required it to be effectively disabled in the US or completely owned and operated by a US entity. All the mechanics and technicalities of whether it’s actually possible and still have a global platform with a global user base is a whole different discussion. But that’s an example of very similar considerations that are now not just a discussion point at the creator level or the individual brand level, but also in a much broader context at a platform level as well. Ken Suzan: Franklin, let’s now shift gears and talk about your article. In your recently published journal article, Upload Complete, which we will have linked in our show notes, you advocate for a shift in terminology from internet creator law, a term used during our first podcast almost a decade ago, to creator economy law. Why is this distinction important and how does it change the way legal practitioners should view the ecosystem of creators, brands, and platforms? Franklin Graves: Oh yes, this is part of the reason why I wanted to write the article: to lay this foundation of understanding. Because at the time I’d written the article, the term creator economy and creator had really not appeared but for maybe once in an actual court decision. And it was kind of focused on influencers and this concept, and it was just not getting it right. And so it was also, as you mentioned, when we first spoke I was even using the term internet creators. And I think that was something that was common at the time. The “internet” portion as a qualifier has since dropped off. And now for purposes of the creator economy, the term creators refers to individuals, it can be small businesses, which is what we’ve seen from a regulatory standpoint, how these small businesses are being impacted by regulations. But essentially creators in the article I pin in the context of intent. What is the intent behind the person or the small business that is posting content, trying to build a community and form a community in a virtual environment? And then that can even spill over into real physical world environments. And so the intent is kind of what I look at. Franklin Graves: And I have a chart in the article that has a diagram showcasing the overlap of what I refer to as “users generating content.” It’s a play on the concept of user-generated content, UGC. Users generating content is that large bucket of anyone posting on a platform of some kind. And within that large bucket, that large circle, are smaller subsets. You have creators, you have brands. Those are really the two buckets you can put people into. Otherwise it’s like your grandmother or your parents posting content on Facebook or Instagram, and those are everyday users of a platform. The distinction to get into that subcategory of being a creator more so has been analyzing the intent behind the posting. Are you posting content to build an audience, to build a community, to eventually have a chance to monetize the following that you’re bringing in or sell services or something like that? Brands are posting for that reason. Creators are maybe posting for that same reason. But even within the creator category, there’s a subcategory of influencers that are trying to sell something, that are trying to build more than just an awareness of who they are, their influence. They are trying to do brand deals, partnership deals, upsells and all that, and start an actual small business aside from just the content itself that they’re creating. So that’s kind of the distinctions that I make in the paper. And that’s why it’s important to understand and lay that foundation, that anyone can post content online, but the intent, the why behind their posting that content, really does ultimately matter, especially when you’re looking at it from a court case or from a regulatory standpoint. Ken Suzan: Now, Franklin, we’re seeing unprecedented geopolitical activity around platform ownership. For example, the US legislation targeting TikTok and Brazil’s recent temporary ban of X. How do these macro-level battles impact the day-to-day livelihood of creators? And how can they legally and operationally protect themselves? Franklin Graves: So the shift that we’re seeing, and I alluded to this earlier in our conversation, is this concept of Web 3. And that term may or may not be really popular anymore, but that’s essentially what we’re looking at: a shift into a federated, decentralized operation of a platform. So instead of one owner, one company, one entity owning and operating the platform, it’s decentralized. Anyone can start up a server, and it’s interoperable, meaning anyone can plug and play and connect to that larger network. And it creates this unified social network experience. Within each operating node of that network, there can be your own decisions around content moderation, your own decisions around the hosting providers you use, where you’re operating out of, the terms and conditions that apply to that. But the flip side is that instead of creators posting and sharing in a closed environment run and controlled by a singular entity, you’re now experiencing a peer-to-peer type operation where your experience can change based on which server, which node, which user you’re engaging with. You might have content that’s acceptable in one area but not acceptable in another, and maybe it just doesn’t even show up in that other area. Franklin Graves: But from a liability standpoint, as creators start to build their own networks and communities, even outside of a concept like the fediverse, it’s even down to creators building their own communities through online courses, subscription membership-based platforms that they run on their own website. There’s open source software out there, even something called Ghost, where you have memberships. And that is a creator or a small business in the creator economy that is now taking on the obligations that would typically fall upon a platform. They need to take into consideration terms and conditions, privacy policies, legal aspects, and regulatory considerations for running a platform, especially in a global world. So it’s a lot of liability that then shifts over to those small businesses and even brands sometimes that are doing the same thing. Whether it is something as simple or complex as content moderation or all the way up to monetizing an audience, this new world where creators can spin up and run a platform all dovetails back to the concept of creators not feeling like they have control in reaching the audience and the community that they’re building on an individual platform. And so this really became more mainstream conversation with TikTok and the issues around it potentially being shut down in the US. That was kind of the mindset shift and eyes opening for many creators, especially within the influencer subset, of realizing: we need to make sure that we have a way to reach the audience we’ve built if the individual platform that we’ve committed to over the last year or three years or so is no longer available. We need a way to continue that relationship outside of that one platform controlling it. Ken Suzan: Franklin, we have a few minutes left and a number of topics. So I’m going to switch gears and talk about a few issues. First, a major emerging topic in your paper is the evolution of protecting kids online. With state-level age-gating laws like the CAADCA and the recent FTC updates to COPPA, how should platforms navigate the significant tension between strict age verification mandates and the privacy and First Amendment rights of their users? Franklin Graves: Man, that is a whole discussion to unravel. It is a consideration that we’re seeing happen again, going back to the geopolitical nature of everything. Countries like Australia and certain countries in Europe and now even individual states in the US are trying to look at ways, and some of them have already put into place minimum age requirements before you can even sign up for an account with a social media platform. One of the things I’d just highlight quickly here is that one of the tensions is around how you verify someone’s age online and still maintain the ability to be at least pseudonymous. How do you still have a level of privacy, autonomy, and protection when it comes to having to provide something like a driver’s license or have parental consent tied and connected to an account managed by a parent in a situation where maybe it’s not appropriate or not beneficial to the child in that manner? But then maybe there are counterbalancing factors that outweigh that. All of that comes down to the technicalities of how it’s actually implemented and maintaining the sense of openness and freedom that we’ve had on the internet to date. And then the other element there is, since a lot of the internet that we think of today is more so through mobile applications, is it something that the mobile operating system providers and app store providers should be thinking about? So whether that’s the Google Play Store or the Apple App Store, where does that initial age verification need to fall? Is it at the platform level? Is it the app store or mobile device management level or something else? Yeah, there’s a lot to discuss there. And a lot of the issues we’re seeing with how the internet is changing in terms of being able to browse a website without disclosing personal information that might not have been required before is largely stemming from a focus on protecting children online. Ken Suzan: It sounds like, Franklin, we could have another episode covering lots of issues connected with that one topic alone. Franklin Graves: I would absolutely agree with that. There’s a lot going on there. And again, it’s different across the world. And so I know you all have a global listener base. And so there’s a lot of nuances to that whole discussion too, that are worth exploring. Ken Suzan: Last question for today’s episode is regarding the right of publicity. With the explosion of AI-generated synthetic media, digital replicas, and voice cloning, the right of publicity is taking center stage. What are the biggest legal risks for brands partnering with influencers right now? And how can creators protect their most valuable asset, their likeness? Franklin Graves: That’s a great question. I think we’re seeing kind of a throwing-spaghetti-against-the-wall-to-see-what-sticks approach right now by a lot of different parties, whether it’s trademark attorneys, whether it’s general entertainment attorneys or whoever. For example, we’ve seen Taylor Swift filing trademarks to protect certain sounds of her voice and phrasing that she uses. It’s a difficult area because in the realm of generative AI with deep fakes and virtual avatars, that is where it gets tricky, because traditional IP laws are just not able to fully cover that spectrum. It’s a piecemeal approach, but even then it doesn’t fully cover it. So for example, I’m based in Tennessee and a couple of years ago we had the Elvis Act that updated our right of publicity law to add voice and to explicitly reference artificial intelligence. And so that’s the kind of effort we’re probably going to continue to see: efforts to develop some framework around protecting what is essentially a privacy right, in a manner that doesn’t restrict generative AI systems from continuing to develop and operate the way they’re operating now, while layering in those protections so that in the US at least a First Amendment right doesn’t necessarily get squashed, and those traditional well-recognized efforts to not overregulate a technology in its early stages are respected. Franklin Graves: And so I think a lot of what we’re seeing is just a need to update laws. The SAG-AFTRA debate and the strikes that happened around maintaining control of your performance and any iterations of that, or building upon that by a media company that might come later, it’s all on the table right now and still being discussed, still being worked out. I think in the short run, a lot of times if it’s in a brand deal, the key question is: if you are using generative AI to enhance in some way the final deliverable for the campaign, who has control over that? Who has final say and sign-off on how that likeness or that digital replica or that person’s voice is represented? And even outside of the brand space, we’ve seen actors like James Earl Jones signing over certain aspects like their voice and allowing it to continue to be used in these manners powered by generative AI as Darth Vader. And I think I saw something that Boy George was even starting up an AI company that allows musicians, the original recording artist, to rerecord new versions of their masters so that they don’t miss out on that revenue. It’s powered by generative AI, by taking their voice now, which is significantly different than it was back in the 80s, and using generative AI to make it sound closer to the original, but all based on their current performance. So I think it’s still an evolving area. And what’s interesting too is on the platform side, we’re seeing the early stages of platforms like Google starting to acknowledge and rely on the license grant contained in their terms of service for YouTube, which grants them broad rights to use the content to run their platform. So all that to be said, it’s still early stages. I’m very interested to see where we go from here in the future, especially from a global perspective as well. Ken Suzan: Franklin, I could spend hours talking to you about this. You’re such a knowledgeable person on these topics. Maybe in a few years, will we connect again and talk further on AI and all the things that are yet to be developed? Franklin Graves: Thank you. Yeah, it doesn’t have to be another decade. Maybe we can cut it to half a decade, given the pace at which technology is going now. Ken Suzan: Sounds good, Franklin. Thanks again for being on the IP Fridays podcast.

Thanks to our friends at DxO for sponsoring today's episode. It's the middle of summer, which means the Milky Way is up and a lot of you are out shooting the night sky. And if you have ever tried astrophotography, you know the file that comes home looks nothing like the night sky that you stood under. The RAW file is usually flat, gray, and buried in noise. Bringing the Milky Way back to life is the whole challenge of night editing, and DxO makes a set of tools that can handle it from start to finish. DxO is offering PetaPixel Podcast listeners 15% off any DxO software, including PureRAW and Nik Collection 9! Head over to http://dxo.com/ and use code PetaPixelSummer2026 to save 15% today!Now saving when you shop for your favorite gear at B&H Photo is even easier with the B&H Payboo Credit Card which lets you Save the Tax — you pay the tax, and B&H pays you back instantly! (Save the Tax on eligible purchases shipped to eligible states.) OR you can pay over time with our 6 & 12 month financing (on minimum purchases of $199 for 6 months, and $599 for 12 months). Terms apply, learn more at http://bhphoto.com/payboo. Credit card offers are subject to credit approval.Payboo Credit Card Accounts are issued by Comenity Capital BankWe use Riverside to record The PetaPixel Podcast in our online recording studio. We hope you enjoy the podcast and we look forward to hearing what you think. If you like what you hear, please support us by subscribing, liking, commenting, and reviewing! Every week, the trio go over comments on YouTube and here on PetaPixel, but if you'd like to send a message for them to hear, you can do so through SpeakPipe.In This Episode:00:00 - Intro, and introducing Dima Koshutin!09:16 - VSCO's New 'One' Platform is getting a ton of blowback17:22 - Sony's first LOFIC image sensor looks promising25:44 - Fujifilm is hosting a Fujikina in NYC this October30:44 - 7Artisans has a new entry-level cine lens line that's really cheap34:37 - Viltrox's $99 28mm f/4.5 is now on L-mount37:17 - Affinity will come pre-installed on all Surface devices now40:14 - Pelican cases are 12% better now45:20 - NiSi's new lens is the widest and fastest for medium format48:15 - Light Lens Lab's new film is making significant progress51:28 - Who are these high-end features in action cams and gimbal cameras for?1:12:37 - What have you been up to?1:19:28 - Tech support1:20:21 - Key-In's video: https://www.youtube.com/watch?app=desktop&v=QaX3PKTtVPY1:37:55 - Feel good story of the week: https://petapixel.com/2026/06/18/you-can-eat-your-popcorn-from-an-imax-camera-bucket-while-watching-the-odyssey/

Episode 488 of the Lens Shark Photography Podcast In This Episode If you subscribe to the Lens Shark Photography Podcast, please take a moment to rate and review us to help make it easier for others to discover the show. Sponsors: - Build Your Legacy with Fujifilm. Latest savings at FujfilmCameraSavings.com - Shop with the legends at RobertsCamera.com, and unload your gear with UsedPhotoPro.com -  Elinchrom's new Transmitter Pro X at Elinchrom.com - Calibrate's big WYSIWYG savings! - More mostly 20% OFF codes at LensShark.com/deals. Stories: Insta360 unveils its Luna Ultra. (#) You might want to wait on updating this Panasonic. (#) These types of cameras are doing especially well. (#) Fujifilm announces Fujikina NYC. (#) Adobe's latest updates are very useful. (#) Zeiss sets the record straight on these lenses. (#)   Connect With Us Thank you for listening to the Lens Shark Photography Podcast! Connect with me, Sharky James on Twitter, Instagram Vero, and Facebook (all @LensShark).

A few days ago, Australia was the only continent in the world to have avoided the deadly H5 bird flu strain. After years spent watching this virus devastate wildlife populations and agricultural sectors from afar, everything changed on Saturday when the Government confirmed bird flu has finally arrived on our shores. In today’s deep dive, we explain why you should care, and what this actually means for our wildlife, for your food bill, and your health. Hosts: Emma Gillespie and Zara SeidlerProducer: Orla Maher Learn more about the Emergency Animal Disease Hotline here Shot on Fujifilm. Want to support The Daily Aus? That's so kind! The best way to do that is to click ‘follow’ on Spotify or Apple and to leave us a five-star review. We would be so grateful. The Daily Aus is a media company focused on delivering accessible and digestible news to young people. We are completely independent. Want more from TDA?Subscribe to The Daily Aus newsletterSubscribe to The Daily Aus’ YouTube Channel Have feedback for us?We’re always looking for new ways to improve what we do. If you’ve got feedback, we’re all ears. Tell us here.See omnystudio.com/listener for privacy information.

ⓦ weekly52 Blog Podcast Video & Artwork⁠https://weekly52.de/weekly/481ⓦ

One in three people living in Australia right now were born overseas. It's one of the highest proportions in the world. And right now, every political party has a very different idea about whether that number should go up, down, or stay the same. Today we're breaking down the current migration figures, why the debate over immigration is dominating headlines, and what the different sides of politics have to say about it. Hosts: Elliot Lawry and Sam KoslowksiProducer: Orla MaherVideo Editor: Rosa Bowden Shot on Fujifilm. Want to support The Daily Aus? That's so kind! The best way to do that is to click ‘follow’ on Spotify or Apple and to leave us a five-star review. We would be so grateful. The Daily Aus is a media company focused on delivering accessible and digestible news to young people. We are completely independent. Want more from TDA?Subscribe to The Daily Aus newsletterSubscribe to The Daily Aus’ YouTube Channel Have feedback for us?We’re always looking for new ways to improve what we do. If you’ve got feedback, we’re all ears. Tell us here.See omnystudio.com/listener for privacy information.

S7, EP 208Special Guest: Mike PecciJoin us tonight at the Chaos Table and listen in on our conversation with award winning Director, filmmaker, writer and visual storyteller Mike Pecci.Mike is known for blending horror, science fiction, and emotionally grounded genre filmmaking with striking cinematic imagery. Classically trained in silent film directing and cinematography in New York, Pecci built his career directing commercials, music videos, and branded content before emerging as one of the most distinctive voices in independent horror cinema. His work combines old school visual storytelling with modern cinematic intensity, drawing inspiration from filmmakers like John Carpenter, Steven Spielberg, Alfred Hitchcock, and Andrei Tarkovsky.Pecci first gained major attention with his viral science fiction horror short film 12 Kilometers, a Lovecraftian nightmare inspired by the real life Kola Superdeep Borehole. The film became a cult phenomenon online, praised for its atmosphere, practical effects, sound design, and cinematic ambition. The film generated a massive grassroots following through an unconventional “you need the director's permission to watch it” release campaign, helping it spread virally throughout the horror community. Critics described the film as “what if David Lynch directed The Thing,” while audiences praised its haunting tone and immersive visual style. Since the release of 12 Kilometers, Pecci's films have screened at major genre and independent film festivals around the world, including the FilmQuest, where his short film Come Home earned him the award for Best Director. His experimental horror fashion film Metanoia, starring David Dastmalchian, received multiple festival nominations including Best Cinematography and Best Macro Short at FilmQuest, as well as nominations at the London Fashion Film Festival. Outside of narrative filmmaking, Pecci has directed over 30 music videos and commercial campaigns for artists and brands including Killswitch Engage, Meshuggah, Czarface, Bose, Fujifilm, Leica, and Samuel Adams. Pecci is also the creator and host of the long running filmmaking podcast In Love with the Process, where he interviews some of the industry's top cinematographers, directors, editors, and artists about the realities of the creative process. The show has become a respected platform within the filmmaking community for its honest conversations about art, struggle, obsession, and storytelling.Known for his visceral visual language, love of practical filmmaking, and emotionally driven horror, Mike Pecci continues to push genre storytelling into bold and unexpected territory. His work has earned a passionate cult following among filmmakers and horror fans alike, establishing him as one of the most exciting emerging voices in modern genre cinema.Mike's Links -Website - http://mikepecci.com/Podcast - http://inlovewiththeprocess.com/IG- https://www.instagram.com/mikepecci/This is a shareable podcast where a group of creatives join together to  document their creative voiceover & on-camera journeys in real time. We hope this podcast creates inspiration, stirs up a few ah-ha moments or maybe brings to the surface a feeling of "you're not alone" while navigating the creative process. Either way, we are glad you are here.  Oh, and we also pull into our conversations at the chaos table industry professionals along with other fellow actors, to share their stories, experiences and knowledge - so we can all connect, share, learn, grow and expand together.  This podcast is for entertainment and not educational purposes!  Enjoy and thank you for listening to our Creative Chaos! *Have a creative story or journey to share, we'd love to hear it - email us at chaoskeepers411@gmail.com or jozlynrocki@gmail.com Follow all the Chaos - YT - https://www.youtube.com/channel/UChG0fKKBt2QNplJowSaKU6wFB - https://www.facebook.com/keepingupwithchaospodcastIG - https://www.instagram.com/keeping_up_with_chaos/

Geef gas in de zomer, terwijl iedereen op de rem staatIedereen lijkt ervan uit te gaan dat de zomer een dode periode is voor ondernemers en fotografen. Klanten zijn weg en alles staat op pauze. In deze solo-aflevering geeft Kaat tegengas. Ze laat zien hoe je de zomer net gebruikt om te versnellen in je bedrijf, terwijl je tegelijk vakantie neemt en je hoofd leegmaakt. Van een slimme out of office tot pitchen bij uitgevers en fotoredacteurs, en van marketing die op de automaat doorloopt tot een systeem om al je zomerideeën vast te houden.Mede mogelijk gemaakt door:Deze aflevering van de De Donkere Kamer Podcast wordt mede mogelijk gemaakt door Profotonet, gekend voor hoogwaardige prints, handgemaakte fotoboeken en wanddecoratie van topkwaliteit. Als luisteraar van deze podcast krijg je bovendien 10% korting met de code KAMER-10.Deze aflevering van de De Donkere Kamer Podcast is er ook met dank aan Foto Robyns. Al meer dan 70 jaar een vaste waarde voor fotografen, met persoonlijk advies en een sterke expertise in Canon, Nikon, Sony en Fujifilm. Een plek waar ze echt meedenken vanuit hoe jij fotografeert.In deze afleveringWaarom "alles valt stil in de zomer" vooral perceptie is, zeker omdat vakanties nooit collectief samenvallen en in Nederland korter zijn dan in BelgiëHoe Kaat zelf haar zomer indeelt: buiten werken, supervroeg of 's avonds laat, en meer op het creatieve gaan zitten in plaats van puur in productiemodusEen intelligente out of office opzetten met een Calendly-link, een weggever en eventueel een pre-sale, zodat je geen leads verliest terwijl je weg bentWanneer het slim is om je mailbox tijdelijk door een VA te laten opvolgenLong form content en funnels op voorhand klaarzetten zodat je marketing blijft doorlopen tijdens je vakantieHoe je verslavingsgevoelige apps blokkeert om echt te ontschakelen (Kaat werkt met de Opal-app)Waarom de zomer hét moment is om te pitchen bij fotoredacteurs en uitgevers, juist omdat het rustiger is op redactiesMeten is weten: data verzamelen per maand en per jaar om te zien wat voor jou werktJe zomerideeën opvolgen met een vast systeem (Kaat gebruikt Trello)Nadenken over je zwakke schakel in de zomer en hoe je dat gat dicht, ook met behulp van AIGenoemd in deze afleveringMini training "Pitchen als een pro" Daily Frame, de dagelijkse zomerreeks vol inzichten Gratis Trello-training Opal, de app om je schermtijd te reguleren (te vinden in de App Store)Doe meeStuur Kaat een DM met je eigen zomerplannen. Wat ga jij als ondernemer of fotograaf deze zomer doen? De podcast neemt een maand zomerbreak en is daarna terug met nieuwe afleveringen.

Last week, a group of Australian activists who had tried to sail to Gaza on a flotilla of boats carrying humanitarian aid returned home. They’ve publicly alleged that while the Israeli Defence Force had them in custody, soldiers sexually and physically assaulted them. Now, the Australian Federal Police says it is investigating their allegations. On today’s podcast, we’ll unpack what has been alleged and what the AFP can actually do. Hosts: Lucy Tassell and Emma GillespieProducer: Orla MaherVideo Editor: Rosa Bowden Shot on Fujifilm. Want to support The Daily Aus? That's so kind! The best way to do that is to click ‘follow’ on Spotify or Apple and to leave us a five-star review. We would be so grateful. The Daily Aus is a media company focused on delivering accessible and digestible news to young people. We are completely independent. Want more from TDA?Subscribe to The Daily Aus newsletterSubscribe to The Daily Aus’ YouTube Channel Have feedback for us?We’re always looking for new ways to improve what we do. If you’ve got feedback, we’re all ears. Tell us here.See omnystudio.com/listener for privacy information.

Earlier this week, a new report on how Aussies consume news media was released. It’s the latest in a long-running international survey that compares data on media usage in 48 different countries, and is deemed the authoritative source of information for understanding changing attitudes and behaviours when it comes to news. In today’s podcast, we’re gonna break down some of the biggest findings, including that young people’s trust in news jumped significantly in a single year, Australia is bucking global trends when it comes to interest in news and that news creators are growing steeply in popularity. Hosts: Zara Seidler and Elliot LawryProducer: Orla MaherVideo Editor: Rosa Bowden Shot on Fujifilm. Want to support The Daily Aus? That's so kind! The best way to do that is to click ‘follow’ on Spotify or Apple and to leave us a five-star review. We would be so grateful. The Daily Aus is a media company focused on delivering accessible and digestible news to young people. We are completely independent. Want more from TDA?Subscribe to The Daily Aus newsletterSubscribe to The Daily Aus’ YouTube Channel Have feedback for us?We’re always looking for new ways to improve what we do. If you’ve got feedback, we’re all ears. Tell us here. See omnystudio.com/listener for privacy information.

A woman suffered life threatening injuries after she was bitten by a shark, 30 metres from the shore at Sydney’s Coogee beach on the weekend. The incident has reignited long-running debate around how/if humans can safely coexist with sharks in the ocean. Today we’ll unpack how governments are trying to mitigate the risk of shark attacks, what technologies exist in this space, and why these attacks seem to be on the rise. Hosts: Emma Gillespie and Elliot LawryProducer: Orla MaherVideo Editor: Rosa Bowden Shot on Fujifilm. Want to support The Daily Aus? That's so kind! The best way to do that is to click ‘follow’ on Spotify or Apple and to leave us a five-star review. We would be so grateful. The Daily Aus is a media company focused on delivering accessible and digestible news to young people. We are completely independent. Want more from TDA?Subscribe to The Daily Aus newsletterSubscribe to The Daily Aus’ YouTube Channel Have feedback for us?We’re always looking for new ways to improve what we do. If you’ve got feedback, we’re all ears. Tell us here.See omnystudio.com/listener for privacy information.

Puoi sostenere Discorsi Fotografici destinandoci il tuo 5×1000. Nella dichiarazione dei redditi firma nel riquadro “Sostegno degli Enti del Terzo Settore iscritti nel RUNTS” e inserisci il codice fiscale 92026180585. Per te non ha alcun costo, per noi è un aiuto importante. Dopo un inizio d'anno piuttosto prudente, il mercato fotografico si è improvvisamente risvegliato, concentrando nel giro di pochi giorni una serie di novità capaci non soltanto di aggiornare le specifiche tecniche, ma anche di raccontare le diverse direzioni verso cui si stanno muovendo i principali produttori. In questa nuova puntata di PhotoBar, Federico Emmi e Francesco Carlini partono dalla Sony A7R VI, una fotocamera che unisce l'elevata risoluzione della serie R a una velocità che sembrava riservata ai modelli sportivi, per interrogarsi sui confini sempre più sottili tra le diverse linee del catalogo Sony e sulle differenze, spesso invisibili nelle schede tecniche, che continuano a separare una macchina destinata agli appassionati da una vera ammiraglia professionale. Il confronto prosegue con la Canon EOS R6 V e con una domanda che riguarda l'intero settore: dopo avere contribuito, con la EOS 5D Mark II, alla nascita della moderna fotocamera ibrida, Canon sta tornando a distinguere il mondo della fotografia da quello del video oppure sta semplicemente sviluppando strumenti più specializzati, pensati per professioni e modalità produttive ormai profondamente cambiate? Al centro della puntata anche la nuova Panasonic Lumix L10, compatta ad alte prestazioni che recupera il piacere di fotografare attraverso formati, LUT personalizzabili e controlli diretti, proponendo una filosofia nella quale la tecnologia non serve soltanto a ottenere immagini tecnicamente migliori, ma anche a rendere l'esperienza più libera, creativa e divertente. Dalle fotocamere si passa quindi alla cultura fotografica, con la nuova scuola online e gratuita di Fujifilm, e infine allo smartphone, attraverso le funzioni di fotografia computazionale presentate da Apple durante la WWDC 2026: strumenti basati sull'intelligenza artificiale che permettono di modificare l'inquadratura e persino la prospettiva dell'immagine, riportando alla memoria esperimenti come quello della Lytro e della fotografia a campo luminoso. Una puntata dedicata alle macchine, dunque, ma soprattutto alle idee che stanno cambiando il nostro modo di scegliere, produrre e osservare le immagini. Leggi gli articoli del nostro Magazine: https://magazine.discorsifotografici.itSeguici su Facebook: https://www.facebook.com/discorsifotograficiSeguici su Instagram: https://www.instagram.com/discorsifotografici/Scrivici a: info@discorsifotografici.it

"Sometimes the simplest pictures are the hardest to get." – Neil Leifer “I never have taken a picture I've intended. They're always better or worse.” – Diane Arbus In this episode, Antonio talks about getting ready for his upcoming six-week class, The Narrative Lens, at Southeast Community College. That leads to a discussion about teaching photography, helping new photographers build confidence, and why so many photographers feel pressure to chase “hero photographs” instead of paying attention to the ordinary subjects that are already around them. Antonio and Ward also discuss the value of constraints, personal projects, and finding meaningful photographs close to home. The conversation moves to gear, including some new USB-C rechargeable batteries Antonio has been using with his Fujifilm cameras. They also talk about collecting photographic prints after Antonio finally opens a signed Gregory Crewdson print that had been sitting unopened in its box for far too long. That leads to a discussion about living with photographs, hanging prints on the wall, and the different ways photographers connect with the work of artists they admire. The second half of the show focuses on Ward's recent trip to the Hand Hills Lake Stampede rodeo. Returning to an event he photographed ten years ago, Ward set out to make something different from the traditional rodeo photographs he had made in the past. Instead of concentrating on the obvious action, he focused on color, movement, gesture, and smaller details within the scene. The result was a series of photographs that received a strong reaction from other photographers and online audiences. Antonio and Ward spend some time discussing one particular image and why it works. The conversation looks at shape, color, rhythm, timing, and composition, along with some of the practical challenges of photographing fast-moving events. Ward shares his approach to photographing the rodeo, while Antonio breaks down some of the visual elements that make the photograph successful.   The Narrative Lens — Antonio's six-week photography course at Southeast Community College Ward's Rodeo Print — Featured image from this episode (link when available) Big Boy Locomotive Photograph — Antonio's train image discussed during the show Edward Weston (60th Anniversary Edition) — The book Antonio has been reading and plans to discuss in a future episode SMALLRIG Fujifilm NP-W126S USB-C Battery SMALLRIG Fujifilm NP-W235 USB-C Battery    Subscribe to our Substack Newsletter Help out the show by buying us a coffee! Support the show by purchasing Antonio's Zines or buying a print. Support the show by purchasing Ward's Zine, Book and Prints Send us a voice message, comment or question.   Show Links:   Antonio M. Rosario's Website, Vero, Instagram, Bluesky, and Facebook page Ward Rosin's Website, Vero, Bluesky, Instagram and Facebook page.   Subscribe to us on: Apple Podcasts Spotify Amazon Music iHeart Radio Deezer Podcast Addict

Veel fotografen denken dat ze een beter portfolio nodig hebben. Betere klanten. Een betere strategie. Meer marketing.Soms klopt dat maar vaak ligt de echte vraag ergens anders.Wie moet jij worden om het werk, het bedrijf en de kansen te creëren waar je van droomt?In deze aflevering deel ik een persoonlijk verhaal over waarom ik zelf op zoek ging naar een mentor voor mijn fotografie. Waarom zelfs een mentor soms een mentor nodig heeft. En wat ik zag gebeuren tijdens twee recente kick-off sessies met fotografen die voelden dat het tijd was voor een volgende stap.We hebben het over identiteit, leiderschap, weerstand, zichtbaarheid en waarom zoveel fotografen blijven vastzitten, ondanks hun talent, ervaring en ambitie.Deze aflevering is een uitnodiging om te stoppen met klein spelen, te stoppen met wachten op toestemming en keuzes te maken die je dichter brengen bij de fotograaf die je wil worden.Voel je dat je klaar bent voor persoonlijke begeleiding en wil je graag dat ik een tijdlang naast je sta? Kijk dan hier even naar mijn 1-op-1 mentoring:Je kunt hier ook meteen een gratis kennismakingsgesprek inplannen om samen te bekijken of het traject bij jou past.Deze aflevering van de De Donkere Kamer Podcast wordt mede mogelijk gemaakt door Profotonet, gekend voor hoogwaardige prints, handgemaakte fotoboeken en wanddecoratie van topkwaliteit. Als luisteraar van deze podcast krijg je bovendien 10% korting met de code KAMER-10.Deze aflevering van de De Donkere Kamer Podcast is er ook met dank aan Foto Robyns. Al meer dan 70 jaar een vaste waarde voor fotografen, met persoonlijk advies en een sterke expertise in Canon, Nikon, Sony en Fujifilm. Een plek waar ze echt meedenken vanuit hoe jij fotografeert.

Kev's edging ever closer to his Spanish retreat for the Summer, though nobody has warned the locals he has Mediterranean wind! The boys learn about Haoge, a 'new-to-them' place to buy third-party accessories for Fujifilm cameras, they celebrate the House of Photography, and talk about the importance of personal photo projects. Also, how to choose gear for the open road, key-wording images, Instagram Bot-Gate, and getting back into photography after time out to concentrate on family and mental health. Email the show with your questions: click@fujicast.co.uk  For links go to the showpage. If you'd like to travel to far-off places with a camera: https://www.thejourneybeyond.uk/ Listen to Neale's other podcasts: The Photowalk and Halfway to Maybe or wherever you get your podcasts.

Ouster ($OUST) just reported $49M in Q1 2026 revenue — up 49% year-over-year — and crossed the 40% gross margin threshold as it shifts toward a fabless model. But the bigger story is product: the new REV8 LiDAR family and L4 Max chip now integrate native color sensing directly into the sensor, developed in partnership with Fujifilm.In this episode, Nick breaks down what that means for physical AI — autonomous vehicles, robotics, and industrial automation — where today's systems rely on costly, complex sensor fusion setups combining LiDAR with CMOS image sensors. Color LiDAR could simplify that stack significantly.We also cover Q2 2026 guidance, the path toward breakeven, and why OUST remains a small bet in the Semi Insider portfolio — not a full position. This is still a prove-it story: the company operates at a loss and continues issuing shares to fund operations.Topics covered:REV8 family and L4 Max chip breakdownHow color LiDAR changes the physical AI sensor stackWhy OUST is sized as a small bet and what would change thatQ2 2026 guidance and the road to profitabilityFor deeper research and portfolio updates, visit us at chipstockinvestor.com.Chip Stock Investor covers semiconductor stocks and the chips powering AI, autonomy, and the physical world. Subscribe for weekly analysis and research updates.This content is for informational and educational purposes only and does not constitute financial advice. Always do your own research before making any investment decisions.

Ik neem deze aflevering op vanuit Frankrijk, tussen mijn bomen. Na podcastopnames in Parijs, Amsterdam en Brussel had ik eindelijk wat tijd om alles te laten landen. Tijdens een wandeling hier op ons domein bleef één vraag door mijn hoofd spelen.Wat heeft een project eigenlijk écht nodig om vooruit te raken?In deze aflevering vertel ik over een gesprek met een fotograaf die werkt aan een grote tentoonstelling en vastliep in de samenwerking met verschillende partners. Een gesprek dat ons uiteindelijk bracht bij een veel grotere vraag. Hoe kijk je naar je werk? Hoe kijk je naar het geheel? En hoe zorg je ervoor dat anderen begrijpen waar je naartoe wil?We hebben het over uitzoomen. Over het grotere plaatje zien. Over mensen meenemen in je visie. Over samenwerken. Over vrijheid. Over ondernemerschap. En over de keuzes die je maakt wanneer je een fotografiepraktijk wil bouwen die klopt met wie je bent en hoe je wil leven.Voel je dat je meer helderheid wil in je fotografie, je projecten of je ondernemerschap? Neem dan gerust hier een kijkje. Daar vind je alle informatie over mijn mentoringtrajecten en kan je ook een vrijblijvende kennismakingscall met mij boeken.Deze aflevering van de De Donkere Kamer Podcast wordt mede mogelijk gemaakt door Profotonet, gekend voor hoogwaardige prints, handgemaakte fotoboeken en wanddecoratie van topkwaliteit. Als luisteraar van deze podcast krijg je bovendien 10% korting met de code KAMER-10.Deze aflevering van de De Donkere Kamer Podcast is er ook met dank aan Foto Robyns. Al meer dan 70 jaar een vaste waarde voor fotografen, met persoonlijk advies en een sterke expertise in Canon, Nikon, Sony en Fujifilm. Een plek waar ze echt meedenken vanuit hoe jij fotografeert.

This is The Digital Story Podcast 1,054, June 2, 2026. Today's theme is, "A Brilliant Compact Flash - Godox iT30." I'm Derrick Story. A flash as compact as your camera. Weighing in at 4.2 ounces and a mere 2" high, the Godox iT30 Pro Flash is available for OM System, Panasonic, Fujifilm, Leica, Sony, Nikon, and Canon. Yet it includes pro features, a gorgeous LCD screen and a $75 price tag. If you're looking to brighten up your photography, this review is for you. I hope you enjoy the show.

Deze aflevering van de De Donkere Kamer Podcast wordt mede mogelijk gemaakt door Profotonet, gekend voor hoogwaardige prints, handgemaakte fotoboeken en wanddecoratie van topkwaliteit. Als luisteraar van deze podcast krijg je bovendien 10% korting met de code KAMER-10.Deze aflevering van de De Donkere Kamer Podcast is er ook met dank aan Foto Robyns. Al meer dan 70 jaar een vaste waarde voor fotografen, met persoonlijk advies en een sterke expertise in Canon, Nikon, Sony en Fujifilm. Een plek waar ze echt meedenken vanuit hoe jij fotografeert.Wat betekent het om ergens thuis te zijn?Toen documentairemaker en beeldend kunstenaar Tina Farifteh Amsterdam verliet voor het Friese dorp Sexbierum, begon een zoektocht die veel verder ging dan een verhuis. Een zoektocht naar gemeenschap, ontworteling, identiteit en verbondenheid.In deze aflevering praten we over haar bekroonde documentaireserie Tina in Sexbierum, over opgroeien tussen Iran en Nederland, over de kracht van ontmoeting en over waarom kunst soms de gesprekken voert die politiek niet meer lijkt te voeren.Een openhartig gesprek over thuis, verlangen, empathie en de vraag waar we allemaal naar op zoek zijn: waar hoor ik eigenlijk thuis?Wil je als fotograaf of visuele maker zelf verder kijken dan techniek alleen? Elke maand organiseer ik een online masterclass met een toonaangevende fotograaf, curator of beeldmaker. Gesprekken over visie, storytelling, positionering en het ontwikkelen van werk dat blijft hangen. De eerstvolgende masterclass is met documentair fotograaf Rob Hornstra over de impact van het fotoboek. Alle informatie vind je hier.

La industria explota tras el uso de IA con el legado de Ansel Adams y en este video analizamos uno de los momentos más polémicos de la fotografía moderna. Desde la posible subasta de Capture One y el riesgo que representa para miles de fotógrafos profesionales, hasta el cuestionado acabado Metal Gray de Leica que parece diseñado para alimentar el FOMO de coleccionistas.También exploramos el regreso de la WideluxX™, una cámara panorámica mecánica que desafía la obsesión actual por la perfección digital. Además, debatimos el fenómeno del “Hamparte” tras la destrucción masiva de cámaras en Belfast y analizamos si realmente existe una crisis de identidad en la fotografía contemporánea.¿Vale la pena invertir hoy en una Canon R7? Descubra por qué muchos la consideran la mejor compra del año. Y por si fuera poco, Fujifilm vuelve a mirar hacia los años 90 buscando recuperar la emoción y el alma de hacer fotos.Si ama la fotografía, este video le hará cuestionar hacia dónde se dirige realmente la industria.Suscríbase a FotógrafoPro y recuerde:“Nunca, pero nunca deje de hacer fotos”.#Fotografía#CaptureOne#Leica#CanonR7#Fujifilm#AnselAdams#InteligenciaArtificial#FotografíaAnalógica#Widelux#FotografoPro

In deze persoonlijke aflevering neem ik je mee naar Frankrijk, waar ik mezelf eindelijk opnieuw ruimte geef om volledig in mijn eigen fotografie te duiken.We hebben het over obsessie. Over die innerlijke drang om te creëren die je niet zomaar kan wegduwen. Over impostergevoelens, weerstand, vertraging en waarom zoveel fotografen blijven hangen in comfort terwijl ze voelen dat er méér in hen zit.Ik vertel ook waarom ik geloof dat de toekomst niet ligt bij fotografen die “mooie beelden maken”, maar bij makers met een echte stem, een eigen verhaal en de moed om daarmee naar buiten te komen.Dit is een aflevering over creativiteit, identiteit en de keuze om jezelf niet langer weg te steken.

DxO is offering PetaPixel Podcast listeners 15% off any DxO software, including the brand-new Nik Collection 9, by using the code 'PetaPixel' at checkout. Nik Collection 9 adds AI-powered object and depth masks, plus new creative filters like Halation, Color Grading, Chromatic Shift, and Glass Effect in Color Efex and Analog Efex. Blending modes now work inside the plug-in stack, so you can experiment without opening Photoshop. All AI processing runs locally on your machine, so no images leave your computer. Head over to dxo.com and check out Nik Collection 9 and use code 'PetaPixel' to save 15%!With a PetaPixel Membership, not only can you support original PetaPixel reporting and in-depth reviews, but you can also remove ads from the website and gain access to some seriously great perks, too. Members get $15 off the Moment Store, 5% off certified pre-owned gear from KEH, 10% off lighting gear from FJ Westcott, and now can download full-resolution RAW files and JPEGs from the latest cameras and lenses. It costs just $3 per month or $30 per year. Join today!This week on the PetaPixel Podcast, the team is in-person at Fujifilm's Tokyo headquarters to chat with Yuji Igarashi about lenses, specifically how it feels the results of the Focus on Glass vote went. Plus, Sony gets thrashed for bad AI advice, Nikon is rumored to be selling to Essilor Luxxotica, TSMC wants to build a sensor fab in Japan, and Jordan Drake gives his thoughts on the Lumix L10. All that and more!Watch Fujifilm's 2026 Focus on GlassCheck out PetaPixel Merch: store.petapixel.com/ We use Riverside to record The PetaPixel Podcast in our online recording studio.We hope you enjoy the podcast and we look forward to hearing what you think. If you like what you hear, please support us by subscribing, liking, commenting, and reviewing! Every week, the trio go over comments on YouTube and here on PetaPixel, but if you'd like to send a message for them to hear, you can do so through SpeakPipe.In This Episode:00:00 -Intro08:16 - You can make this 3D printed digital rangefinder at home11:04 - Nikon speculators believe it might sell to Essilor Luxotica15:05 -

Deze aflevering van de De Donkere Kamer Podcast wordt mede mogelijk gemaakt door Profotonet, gekend voor hoogwaardige prints, handgemaakte fotoboeken en wanddecoratie van topkwaliteit. Als luisteraar van deze podcast krijg je bovendien 10% korting met de code KAMER-10.Deze aflevering van de De Donkere Kamer Podcast is er ook met dank aan Foto Robyns. Al meer dan 70 jaar een vaste waarde voor fotografen, met persoonlijk advies en een sterke expertise in Canon, Nikon, Sony en Fujifilm. Een plek waar ze echt meedenken vanuit hoe jij fotografeert.In deze aflevering praat ik met fotograaf Jan Banning.Jan studeerde sociale en economische geschiedenis voor hij fotograaf werd, en die achtergrond voel je in bijna alles wat hij maakt. Zijn werk vertrekt vanuit context. Vanuit macht. Vanuit systemen. Vanuit de vraag hoe politieke en sociale structuren doorwerken in het leven van mensen.We praten over zijn manier van werken, over kunstlicht, controle, onderzoek en waarom hij soms maanden of jaren nodig heeft om tot de kern van een onderwerp te komen.Natuurlijk hebben we het ook over zijn bekende reeks Bureaucratics, waarin hij ambtenaren in verschillende landen fotografeerde als schakels in een groter systeem. Over zijn project Bloedbanden, waarin hij overlevenden van de genocide in Rwanda fotografeerde samen met daders met wie ze zich verzoend hebben. En over Het oordeel, zijn project rond Christina Boyer, een vrouw die volgens Jan al meer dan 33 jaar onschuldig vastzit in de Verenigde Staten.Dit gesprek gaat over fotografie, maar evengoed over rechtvaardigheid, frustratie, volhouden en de vraag wat je als maker kan doen wanneer je geconfronteerd wordt met iets dat je niet zomaar naast je neer kan leggen.Een aflevering over kijken, onderzoeken en blijven bewegen, ook wanneer het onderwerp zwaar is.Voel je tijdens het luisteren dat jij zelf ook nood hebt aan meer richting, scherpte of een eerlijke blik op je werk en praktijk?In mijn 1:1 mentoring traject begeleid ik fotografen gedurende zes maanden intensief en persoonlijk. We werken samen aan jouw fotografie, positionering, ondernemersvaardigheden, portfolio, zichtbaarheid of de grotere vragen waar je momenteel mee worstelt.Geen standaard coaching, maar een traject dat volledig afgestemd wordt op jouw praktijk, jouw ambities en jouw manier van kijken.Ik ben meestal volzet, maar af en toe komen er opnieuw plekken vrij. Alle info vind je hier of stuur me gerust een berichtje als je voelt dat dit misschien iets voor jou is.

Episode 487 of the Lens Shark Photography Podcast In This Episode If you subscribe to the Lens Shark Photography Podcast, please take a moment to rate and review us to help make it easier for others to discover the show. Sponsors: - Build Your Legacy with Fujifilm. Latest savings at FujfilmCameraSavings.com - Shop with the legends at RobertsCamera.com, and unload your gear with UsedPhotoPro.com - 20% OFF with code SHARKY2026 at BenroUSA.com - Calibrate's big WYSIWYG savings! - More mostly 20% OFF codes at LensShark.com/deals. Stories: Sony unveils its a7R VI. (#) The new Sony FE 100-400mm f/4.5 GM OSS. (#) Maven's ingenious way to control these. (#) Brightin Star's fisheye is a funk buster. (#) This camera does it again. (#) Nikon breaks a record you don't want to break. (#) Meike's 56mm f/1.7. (#)   Connect With Us Thank you for listening to the Lens Shark Photography Podcast! Connect with me, Sharky James on Twitter, Instagram Vero, and Facebook (all @LensShark).

Angus Pacala, Co-Founder and CEO, Ouster joined Grayson Brulte to discuss the launch of the native color REV8 LiDAR and how Ouster is positioning itself as the foundational sensing and perception layer for the physical AI economy.The LiDAR industry is currently undergoing a continual thinning out as the market shakes out and separates companies with strong marketing from those with high-quality, safety-critical products. Ouster has distinguished themselves by developing their own in-house custom silicon that delivers performance improvements historically seen in the broader semiconductor industry.The introduction of native color, developed through partnerships with Fujifilm and DxOMark, provides roboticists with synchronized color and depth, allowing for better perception in fields such as agriculture and urban navigation, where sensing the state of a stoplight or the color of a plant is essential for autonomous decision-making.With Ouster's recent acquisition of StereoLabs, the company has further expanded its reach into the humanoid and short-range robotics markets, offering a unified sensing platform that covers everything from long-range LiDAR to high-detail stereo vision.As Physical AI continues to accelerate, Ouster aims to be the sensing company for the autonomy economy.Episode Chapters0:00 AUTNMY AI0:36 Changing LiDAR Industry03:56 Introducing REV813:42 Building Trust with Safety-Critical LiDAR17:53 Why Custom Silicon is Ouster's Moat25:33 Color Science Behind REV833:28 Can Color LiDAR Replace Cameras?36:36 StereoLabs Acquisition40:07 Ouster as a Sensing Company49:46 Defense Applications52:14 Future of Ouster--------About The Road to AutonomyThe Road to Autonomy is the leading applied intelligence platform covering the convergence of automation, autonomy, and the Autonomy Economy.™.Through our podcasts, newsletter, and proprietary applied intelligence, we set the narrative for institutional investors, industry executives, and policymakers navigating the convergence of automation, autonomy, and economic growth.Join institutional investors and industry leaders who read This Week in The Autonomy Economy every Sunday. Each edition delivers exclusive insight and commentary on the autonomy economy, helping you stay ahead of what's next.Sign up for This Week in The Autonomy Economy newsletter: https://www.roadtoautonomy.com/ae/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Deze aflevering van de De Donkere Kamer Podcast wordt mede mogelijk gemaakt door Profotonet, gekend voor hoogwaardige prints, handgemaakte fotoboeken en wanddecoratie van topkwaliteit. Als luisteraar van deze podcast krijg je bovendien 10% korting met de code KAMER-10.Deze aflevering van de De Donkere Kamer Podcast is er ook met dank aan Foto Robyns. Al meer dan 70 jaar een vaste waarde voor fotografen, met persoonlijk advies en een sterke expertise in Canon, Nikon, Sony en Fujifilm. Een plek waar ze echt meedenken vanuit hoe jij fotografeert.Tijdens een inspirerende themadag van de Female Leaders Club van Maartje Blijleven werd ik opnieuw geconfronteerd met een vraag die steeds urgenter voelt: hoe blijf je als fotograaf en ondernemer onderscheidend in een wereld vol AI?In deze aflevering deel ik inzichten over vertrouwen, positionering, creativiteit en menselijkheid in tijden van automatisering. Over waarom eenheidsworst gevaarlijker wordt dan technologie zelf. Over waarom mensen nog altijd van mensen kopen. En over wat AI nooit van jou kan afpakken.Ik vertel ook over de inzichten van AI-expert Paulien Pierik en waarom jouw menselijke kant straks misschien wel je grootste creatieve én zakelijke voordeel wordt.Een aflevering over fotografie, ondernemerschap en de vraag: durf jij echt zichtbaar te worden als jezelf?Wil je hier dieper op doorgaan? Mijn gratis webinar over positionering voor fotografen sluit hier perfect op aan. Schrijf je hier in. “To stand out in a world defined by algorithm is to be its opposite: human, flexible, surprising and wildly creative.”

เคยสงสัยไหมครับว่า ทำไมยักษ์ใหญ่ที่ผูกขาดโลกแห่งการถ่ายภาพอย่าง Eastman Kodak และ Fujifilm ถึงมีจุดจบที่ต่างกันราวฟ้ากับเหว? เมื่อคลื่นยักษ์ ‘สึนามิดิจิทัล' ซัดเข้าใส่อุตสาหกรรมฟิล์ม ทั้งสองบริษัทเผชิญกับวิกฤตเดียวกัน แต่ที่น่าตกใจคือ… Kodak ผู้ให้กำเนิดกล้องดิจิทัลตัวแรกของโลก กลับล้มละลายเป็นหนี้มหาศาล! ในขณะที่ Fujifilm ไม่เพียงแค่รอดตาย แต่กลับทะยานขึ้นทำกำไรสูงสุดในประวัติศาสตร์ ด้วยการพลิกโฉมเทคโนโลยีฟิล์มไปทำหน้าจอทีวี ยารักษามะเร็ง หรือแม้กระทั่ง… สกินแคร์บำรุงผิว! อะไรคือจุดเปลี่ยนที่ทำให้บริษัทหนึ่งยอมจมไปพร้อมกับเรือ ส่วนอีกบริษัทประกอบเรือลำใหม่ได้สำเร็จ? คลิปนี้เราจะมาเจาะลึกเบื้องหลังการเอาตัวรอดที่คลาสสิกที่สุดในโลกธุรกิจกันครับ เลือกฟังกันได้เลยนะครับ อย่าลืมกด Follow ติดตาม PodCast ช่อง Geek Forever's Podcast ของผมกันด้วยนะครับ #Kodak #Fujifilm #กรณีศึกษาธุรกิจ #กลยุทธ์ธุรกิจ #DigitalDisruption #ธุรกิจฟิล์ม #เรื่องเล่าธุรกิจ #บทเรียนธุรกิจ #การปรับตัวของธุรกิจ #ความล้มเหลวทางธุรกิจ #สรุปธุรกิจ #การตลาด #ธุรกิจและการลงทุน #แรงบันดาลใจทางธุรกิจ #ประวัติศาสตร์ธุรกิจ #geekstory #geekforeverpodcast

Neste episódio do C.A.O.S. Fotográfico, eu faço uma leitura do momento atual da fotografia profissional: inteligência artificial, mudanças no comportamento do consumidor, crise e movimentação das grandes marcas, eventos, posicionamento, marketing e o retorno da fotografia como experiência, objeto físico e legado.A fotografia está passando por uma transição importante. Criar conteúdo ficou mais fácil. A IA acelerou processos. Smartphones avançam. Marcas como Canon, Sony, Nikon, Fujifilm e Leica mostram caminhos muito diferentes para o futuro da imagem. Ao mesmo tempo, muitos fotógrafos ainda tentam vender apenas técnica, portfólio bonito ou presença no Instagram.O problema é que isso já não basta.Neste vídeo, eu falo sobre por que o marketing de conteúdo virou commodity, por que assinatura visual e posicionamento importam mais do que nunca, como status, afiliação e tensão ajudam a entender o valor percebido, e por que o fotógrafo precisa enxergar o próprio negócio com mais profundidade.Também trago reflexões sobre IA, eventos, roadshows, cases, legado, impressão, livros fotográficos e os sinais que mostram para onde o mercado pode estar indo.Grande parte do que publico fica aberta porque acredito que o mercado fotográfico precisa de mais leitura e menos ruído. A Fotograf.IA + C.E.Foto é onde esse trabalho continua com mais profundidade, com análises, conteúdos exclusivos e conversas estratégicas para quem vive da imagem.Se esse tipo de leitura faz sentido para você, o próximo passo é acompanhar os conteúdos e entrar na comunidade.Link para saber mais sobre o Mapa R.U.M.O. Ao Vivo: https://www.enfbyleosaldanha.com/post/mapa-rumo-ao-vivo-fotografia-negocio-2026Continuidade é na iniciativa Fotograf.IA+C.E.Foto - https://www.enfbyleosaldanha.com/comunidade-fotograf-iaSe você vive da fotografia, este não é mais um vídeo de tendência. É uma leitura de cenário.→ Toda segunda, às 21h, tem análise ao vivo→ Conteúdos completos no blog, Spotify e comunidadeSaia da ilha. Entenda o jogo.Links citadosMapa R.U.M.O.https://www.enfbyleosaldanha.com/mapa-rumo-2026O C.A.O.S. Fotográfico é uma série de encontros semanais onde analisamos os movimentos do mercado da imagem, tecnologia e criatividade.Se você trabalha com fotografia, audiovisual ou criação de conteúdo, este episódio oferece uma leitura estratégica do momento atual da profissão.

Kev and Neale suddenly discover that their little ones have grown into adults! This week on the show, does using AI to cull pictures work? Can it possibly be as good as living, breathing beings making choices? Also, how many images do/should clients expect to receive from a shoot, charging for event photography when starting out, insurance and 'part-time' websites. Neale finds out we still have merch; have you bought a show mug yet? What would be a good compact-sized camera to beat those darned festival rules that say 'NO CAMERAS!' The link between leaf shutters and flash, and how good is that X100 internal flash? How about adding the different wide and tele conversion lenses to your X100 system? Just how good are they? And then, steady yourself, we find ourselves trying to help someone face the dilemma of moving on from Fujifilm! Email the show with your questions: click@fujicast.co.uk  For links go to the showpage. If you'd like to travel to far-off places with a camera: https://www.thejourneybeyond.uk/

One Casualty of the Trump Era: America Is Losing Its Inspiration Has America lost its ability to dream, create, and feel inspired? This week on The Karel Show, Karel shares a deeply personal realization after spending hours in a camera store for the first time in nearly 50 years. What started as a search for a new camera became something much bigger: a conversation about creativity, burnout, fear, politics, and why so many Americans are desperate to reconnect with inspiration again. A 70-year-old woman searching for a camera to reignite her love of night photography. Musicians upgrading studios to create again. Artists trying to unplug from endless chaos, war, inflation, and division. The message was everywhere: People are exhausted by survival mode and want their lives back. In this episode: * Why inspiration is becoming one of the biggest casualties of modern America * The emotional toll of nonstop politics, war, and economic anxiety * How rising prices and uncertainty are crushing creativity * Why people are searching for hobbies, art, music, photography, and meaning again * UK voters send a warning shot to leadership as global frustration grows * Iran, Ukraine, Putin, Trump, and the nonstop pressure of the modern news cycle Plus: Why creating art may now be an act of resistance.

Mike Chiou is a photographer and developer for ToneLatch, and HDR solution to make Fujifilm photos take advantage of a 4K, HDR screen to maximize the color potential and display it in its full potential. Get the Software: https://tonelatch.logic-and-light.com/fujifilm-x100-hdr Email the Show: FujiLoveFeedback@gmail.com Follow Marc Sadowski: ------------------------ Substack: https://substack.com/@thefilmish IG: https://www.instagram.com/marcsadowski/ YouTube: https://www.youtube.com/@film-ish

Kev's worrying if there's going to be enough tractor fuel to get him to Spain this Summer, 'cos at this rate he's definitely not going to be flying! Today, we talk about removing bits of the wild to make a better shot, Godox triggers and Bluetooth remotes which starts a micro thread of thoughts about buying proprietary camera accessories only, masking and swapping to DxO, setting up your Fujifilm camera, and camera straps - what do the boys use? Email the show with your questions: click@fujicast.co.uk  For links go to the showpage. If you'd like to travel to far-off places with a camera: https://www.thejourneybeyond.uk/

Episode 486 of the Lens Shark Photography Podcast In This Episode If you subscribe to the Lens Shark Photography Podcast, please take a moment to rate and review us to help make it easier for others to discover the show. Sponsors: - Build Your Legacy with Fujifilm. Latest savings at FujfilmCameraSavings.com - Shop with the legends at RobertsCamera.com, and unload your gear with UsedPhotoPro.com - 20% OFF with code SHARKY2026 at BenroUSA.com - Calibrate's big WYSIWYG savings! - More mostly 20% OFF codes at LensShark.com/deals. Stories: The new, affordable Godox LE200D. (#) Brightin Star's 11mm funk buster. (#) Think Tank's PhotoCross v2 sling. (#) Fujifilm's two newest Fujikina events. (#) Amaran's new, affordable Halo series. (#) TTArtisan's AF 17mm f/1.8 Air. (#) A 31.5" Eizo. (#)   Connect With Us Thank you for listening to the Lens Shark Photography Podcast! Connect with me, Sharky James on Twitter, Instagram Vero, and Facebook (all @LensShark).

Episode 485 of the Lens Shark Photography Podcast In This Episode If you subscribe to the Lens Shark Photography Podcast, please take a moment to rate and review us to help make it easier for others to discover the show. Sponsors: - Build Your Legacy with Fujifilm. Latest savings at FujfilmCameraSavings.com - Shop with the legends at RobertsCamera.com, and unload your gear with UsedPhotoPro.com - 20% OFF with code SHARKY2026 at JupioUS.com - Elinchrom's new Transmitter Pro X - More mostly 20% OFF codes at LensShark.com/deals. Stories: Nikon lays down the law on Z-Mount. (#) Flickr introduces MODE. (#) Two new, affordable strobes from Godox. (#) These two lenses in Leica M-Mount are interesting. (#) (#)   Connect With Us Thank you for listening to the Lens Shark Photography Podcast! Connect with me, Sharky James on Twitter, Instagram Vero, and Facebook (all @LensShark).