Podcasts about Fujifilm

Na een dikke maand zomerstop is De Donkere Kamer terug. Ik neem je mee door mijn zomer tussen Frankrijk en België, van Les Rencontres d'Arles tot een gesprek met fotograaf Nadav Kander in Ibiza, en deel meteen ook mijn grote nieuws: een fotografieworkshop in Patagonia en een nieuw seizoen shows.Op Les Rencontres d'Arles voelde ik een fotografiewereld die worstelt met onzekerheid en verandering, mede door de hitte en de bosbranden in de regio. Vanaf nu splits ik De Donkere Kamer ook op in twee kanalen: mijn Engelstalige interviews, zoals dat met Nadav Kander, verschijnen voortaan op het Engelstalige podcastkanaal, terwijl dit kanaal Nederlandstalig blijft.Van 13 tot 20 februari 2027 organiseer ik samen met fotograaf Bastiaan Woudt een meerdaagse workshop op Estancia El Condor in Patagonië, een afgelegen boerderij van 40.000 hectare aan de Chileense grens. Met een kleine, internationale groep van acht fotografen combineer ik daar fotograferen, hiken en paardrijden met sessies over zowel het creatieve als het ondernemende deel van je praktijk.Ook mijn najaar en winter krijgen vorm. Mijn shows keren terug op 16 oktober in Pakhuis de Zwijger in Amsterdam, met onder anderen Nadav Kander, Robin de Puy, Bieke Depoorter en Wilfried de Jong, gevolgd door shows op 28 november in C-Mine Genk, 7 februari in de Minard Schouwburg in Gent en 14 april in CC De Factorij in Zaventem.Deze aflevering komt tot je met steun van Cameranu, Profotonet en Foto Robijns.Ik ga voor mijn eigen apparatuur naar Cameranu. Zij denken met me mee, van een nieuwe lens tot een camera waar ik op kan vertrouwen tijdens een klantenshoot. Als luisteraar van De Donkere Kamer krijg jij met code DDK10 10% korting op je materiaal. Voor mij begint een foto pas echt te leven wanneer ze geprint wordt, en daarvoor werk ik graag samen met Profotonet: fine art prints, fotoboeken en wanddecoratie, speciaal gemaakt voor fotografen. Wil jij je werk ook tastbaar maken? Met code kamer-10.10 krijg je 10% korting via ProPhotoNet.com.Foto Robijns in Sint-Truiden is een familiezaak met meer dan zeventig jaar ervaring en pro dealer van Canon, Nikon, Sony en Fujifilm. Ze begeleiden zowel starters als professionals met advies dat vertrekt vanuit hoe jij werkt.Workshop Patagonia (13-20 februari 2027): donkerekamer.com/patagoniaTickets voor de shows: donkerekamer.com/ticketsCameranu, 10% korting met code DDK10Profotonet, 10% korting met code kamer10Foto Robijns Sint-TruidenEngelstalig podcastkanaal

Today, we're talking about a Victorian inquiry into cults. After hearing from hundreds of survivors, it handed down 98 findings and 39 recommendations, including one that would change the law in a way that's never been done in Australia. But what should have been a win for survivors was overshadowed by a mistake in how the report was shared. Today, we'll walk you through what this inquiry found – and how a single email turned that win into something that survivors have called “devastating”. Hosts: Zara Seidler and Billi FitzSimonsProducer: Orla MaherVideo editor: Imogen Abbott 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

I am Rolf Claessen and my co-host Ken Suzan and I are welcoming you to episode 177 of our podcast IP Fridays! Today's interview guest is Dr. Ernst-Peter Heilein, who is a German and European patent attorney, the founder of HEILEIN IP LAW, and a long-time IP leader at BSH Home Appliances. He is the mastermind behind the BSH v. Electrolux decision of the European Court of Justice about long-arm jurisdiction in Europe that has the whole patent world stirring in Europe at the moment! But before we jump into this fascinating interview, I have news for you! Emboline v. AorticLab (UPC Court of Appeal) The UPC Court of Appeal has clarified for the first time how a conditional revocation counterclaim should be handled, in a dispute over Emboline’s embolic protection patent EP 2 129 425 against AorticLab. A defendant can validly make its revocation counterclaim conditional on infringement being found first, meaning no ruling on the counterclaim is needed if the infringement claim fails, as the Munich Local Division had held. The Court of Appeal also closed a related gap: if the claimant appeals a non-infringement finding, the counterclaimant may conditionally appeal the unresolved counterclaim too. AorticLab missed its own appeal deadline and can now at best seek re-establishment of rights, while Emboline has already appealed the non-infringement finding. FujiFilm v. Kodak (UPC Court of Appeal) Following the closely watched long-arm jurisdiction ruling of June 2, the UPC Court of Appeal, chaired by Rian Kalden, has now granted FujiFilm an injunction against Kodak in a second proceeding. The Court upheld the limited printing plate patent and found that Kodak’s Sonora XTRA 3 plate infringes it. Kodak can no longer sell or use that plate in Germany. OpenAI v. EUIPO (General Court of the EU, T-555/25) The General Court’s Eighth Chamber dismissed OpenAI’s action against the EUIPO decision to partially cancel the OPENAI trademark. The partial refusal for classes 9, 42, and 45 rests decisively on Article 7(1)(c) EUTMR, the descriptiveness ground. For a significant part of the English-speaking public, “OPENAI” directly conveys that the goods or services are provided using freely accessible artificial intelligence. Dental Monitoring v. Align Technology (CAFC) On July 7, 2026, the Federal Circuit confirmed that AI and deep-learning patent claims covering dental image analysis are not patent-eligible under Section 101. Simply training a “deep learning device” on a specific dataset does not amount to a patent-eligible technical solution. Publisher v. Google (Munich I Regional Court) The Munich I Regional Court issued a preliminary injunction barring Google from spreading false factual claims about a publishing company in its AI Overviews. A search query combining the company’s name with the German term for “fraud scheme” had triggered an AI-generated summary containing entirely fabricated accusations of subscription traps. KPN v. Oppo (Federal Court of Justice, X ZR 103/24) On July 1, the Federal Court of Justice dismissed KPN’s appeal against the revocation of a central claim of its LTE patent EP 2 291 033. Oppo had successfully challenged the claim, leaving KPN’s infringement action against Oppo’s German distribution entity without a legal basis for now. BSH v. Electrolux: What the ECJ Ruling Means for Your Company’s Patent Enforcement Strategy A vacuum cleaner from 2001 has reshaped the European patent landscape. That sounds like an overstatement. It isn’t. For IP Fridays, I spoke with Dr. Ernst-Peter Heilein, founder of HEILEIN IP LAW and long-time Senior IP Leader at BSH Home Appliances. He guided the case BSH v. Electrolux from its first strategic idea all the way to the Grand Chamber of the European Court of Justice, a case that earned the 2025 Managing IP Award as “Europe Impact Case of the Year.” For managing directors, IP heads, and R&D leaders at German Mittelstand companies, this case is not a legal footnote. It changes where you can enforce your patents, and it changes where you yourself can be sued if your company operates across several European markets. That is what this article is about. Background: How a Patent Dispute Became an ECJ Case The invention dates back to 2001 and concerns a new vacuum cleaner technology. In 2006, BSH identified what it believed was an unauthorized use of that invention and contacted Electrolux to clarify the situation. The European patent was granted in 2009 and validated in a number of European countries. Nobody, Heilein says, could have imagined at the time that this matter would eventually reach the Grand Chamber of the European Court of Justice almost twenty years later. In late 2018, BSH successfully defended the patent through opposition and appeal proceedings before the European Patent Office. In 2019, the Higher Regional Court of Düsseldorf found that certain Electrolux vacuum cleaner models infringed the patent. A classic milestone win, the kind that occurs regularly in patent practice. Except the patent had been validated in many countries. Winning in Germany did not solve the enforcement problem everywhere else. Heilein describes the starting point in very concrete terms: how do you enforce a patent that exists in many countries without filing a separate lawsuit in every single one? And how do you prevent claims from becoming time-barred while you work that out? Running parallel proceedings in multiple countries is not just legally complex. It consumes time, personnel, and money that a mid-sized company rarely has in that quantity to spare. This is exactly where the real value of this case for you begins. From the outset, this was never an academic debate about jurisdiction. It was a question that every company holding rights in more than one country eventually faces: how do you enforce your rights efficiently without burning your budget on ten parallel proceedings? Brussels Ia Regulation: The Underrated Article 4 While searching for a solution, the BSH team came across Article 4 of the Brussels Ia Regulation. The underlying idea is simple: a person can generally be sued in the country where that person is based. In the BSH case, that pointed toward the Swedish home court, because Electrolux is headquartered in Stockholm. For a long time, this rule played no real role in patent practice. The widely held view was that cross-border patent litigation in Europe was effectively dead the moment a defendant challenged the validity of the patent. Anyone wanting to enforce a patent across several countries appeared to have no choice but to litigate country by country. Heilein and his team questioned that assumption instead of simply accepting it. This is the point I find most instructive: challenging accepted assumptions in your own field is often the difference between a standard solution and a strategic one. In 2020, the team decided to file the action in Sweden, aware that they were looking at a possibility, not a guarantee. Cross-Border Enforcement: The Three Questions Referred to Luxembourg After Electrolux challenged the validity of the patents, the Swedish home court declared itself not competent to hear the case. BSH appealed, and the Swedish Court of Appeal agreed to refer three questions to the European Court of Justice. The first question addressed the core problem: does a home court that would otherwise have jurisdiction over an infringement claim lose that jurisdiction simply because the defendant argues the patent is invalid? The second question concerned a feature common to many legal systems, including Germany’s, where infringement and validity are decided in separate proceedings. The third question originally concerned Turkey. Today, most people immediately think of the United Kingdom, and some even think of US patents. Originally, the question was simpler: do the same jurisdiction rules apply to patents from countries outside the European Union? The fact that the ECJ first assigned the case to a Chamber of seven judges and later referred it to the Grand Chamber of 15 judges already signaled how much weight the Court placed on these questions. The Judgment: What the ECJ Actually Decided A home court does not automatically lose jurisdiction simply because the defendant argues the patent is invalid. For many years, the opposite was widely assumed to be settled law. The ECJ made clear that this reading was too narrow. The court where the defendant is based can generally continue to hear the infringement case. One point matters for how you read this ruling: questions concerning the validity of a European patent still fall to the national courts of the country for which the patent was granted, as provided in Article 24(4) of the Brussels Ia Regulation. What is new is that the infringement case does not automatically collapse the moment validity is challenged. The home court keeps control of the overall proceeding. For patents from EU Member States, the home court does not automatically lose jurisdiction. It assesses the validity challenge. If it looks strong, the home court may stay the infringement case. If it looks weak, the home court may proceed. For patents from non-EU countries, the home court may stay the case if a validity proceeding is already pending there, drawing on Articles 33 and 34 of the Brussels Ia Regulation. The result is a considerably more flexible system than most observers expected . Patents from Outside the EU: Long-Arm Jurisdiction The part of the judgment with the greatest international reach concerns patents from countries outside the EU. The ECJ ruled that the special jurisdiction rule for patent validity generally does not apply to non-European patents. That means the general rule can apply instead, opening the door for infringement claims based on non-European patents to be brought before a home court where the defendant is based in the EU. Commentators quickly started calling this “long-arm jurisdiction.” One clarification matters here, because it tends to get lost in the public discussion: the ECJ did not say that a European home court can revoke or invalidate a foreign patent. That remains a matter for the authorities and courts of the country that granted it. What the ECJ said is that a European home court may assess the claims between the parties. That distinction is essential to how you should read this ruling. Consequences in Practice: Fujifilm, Regeneron, and Onesta Three recent cases show how quickly practice is already adapting to the new possibilities. Fujifilm v. Kodak: the Düsseldorf Local Division of the Unified Patent Court accepted jurisdiction over the UK part of a European patent even before the ECJ delivered its judgment, building on reasoning the Advocate General had already signaled in the BSH case. In June 2026, the UPC Court of Appeal further developed that approach based on the principles confirmed in BSH. Regeneron v. Formycon: the Munich home court applied the BSH framework and granted a Europe-wide injunction based on a European patent, one of the first examples of a national home court putting the BSH logic into practice. Onesta v. BMW: this case shows the debate has moved well beyond Europe. After Onesta attempted to assert two US patents before the Munich home court, BMW obtained an anti-suit injunction from a Texas federal court. Judge Albright took the view that US patents should generally be decided by US courts. The injunction was directed against Onesta, not against the Munich court, and Onesta has appealed the Texas decision. The Munich home court stayed the proceeding but did not reject its own jurisdiction. Whether a European home court can ultimately decide infringement claims based on US patents remains an open question, one that has turned from a European jurisdiction issue into an international jurisdiction conflict. What This Means for Your Company Heilein sums up twenty years of litigation in three lessons, and I share this assessment without reservation when advising my Mittelstand clients. First: patent enforcement has become more international. National litigation still matters, but companies should think across borders from the very beginning, not only once the first cease-and-desist letter has been sent. Second: choice of forum now carries real strategic weight. Where you bring a case can matter just as much as the legal arguments themselves. Third: long-term commitment pays off. Major developments rarely result from a single filing or a single hearing. They come from pursuing a clear strategy consistently over many years. For you as a managing director, R&D lead, or Head of IP at an innovative Mittelstand company, this translates into two concrete points. First, if you hold rights in several European countries and a competitor infringes them, you no longer necessarily have to fund five or six parallel national proceedings. A single action at the infringer’s home base can be the economically smarter option. Second, and this side of the ruling gets less attention in public discussion, if your company is based in Germany and operates across several countries, you can now be sued at your own home base over patent infringement claims tied to activities in other countries. That risk belongs in every freedom-to-operate analysis and in every assessment tied to acquisitions or market entry. Here is the full transcript of the interview: Host Today's interview guest is Dr. Ernst-Peter Heilein. If you don't know Ernst-Peter, he is a German and European patent attorney, the founder of HEILEIN IP LAW, and a long-time IP leader at BSH Home Appliances. Thank you for being on IP Fridays. Answer Yeah, great to be here! BLOCK 1 – THE PERSON BEHIND THE CASE Host When looking at your career, one thing stands out: you never really followed the traditional path of either private practice or industry. Er, how did your professional journey begin, actually? Answer My professional roots are actually in private practice. After qualifying as a Patent Attorney, I worked in private practice and fairly early founded my own law firm, which later became HEILEIN IP LAW. Host So you never completely left private practice behind? Answer Exactly. In 2005, I had the opportunity to take on additional responsibilities on the BSH side. There, I was able to build and lead a new unit within the IP organization. The team was responsible for patents in the small appliances business, as well as global design and trademark protection. At the same time, I helped build an international network of internal and external IP counsel and coordinated their work. Host That still sounds fairly like traditional IP work. When did international disputes become part of your career? Answer Over time, my focus gradually shifted from traditional IP protection to strategic enforcement. That included anti-counterfeiting activities, global trademark and design matters, and cross-border patent disputes. Host So your work became more about enforcing rights rather than simply obtaining and managing them, right? Answer Exactly. And that development eventually led me to play a strategic role in the case BSH Home Appliances versus Electrolux, a case that still accompanies me today. Host Looking back now — from private practice, to building an international IP organization, and eventually becoming involved in a case before the European Court of Justice — did you ever imagine that path? Answer No, not at all. Looking back, this combination of private practice, responsibilities on the business side, and international enforcement experience turned out to be very useful when our case eventually reached the European Court of Justice. BLOCK 2 – HOW IT ALL STARTED Host Yeah, talking about this case. The case BSH versus Electrolux started long before it reached the European Court of Justice. When did the story actually begin? Answer The story actually begins much earlier than most people would expect. The invention itself dates back to 2001 and concerns a new vacuum cleaner technology. In 2006, we identified what we believed to be an unauthorized use of the invention and contacted Electrolux to clarify the situation. The European patent in suit was granted in 2009 and validated in a number of European countries. At the time, nobody could have imagined that this would eventually lead to a decision of the European Court of Justice almost twenty years later. Host Wow, 20 years! That's a long time. So, at first this was simply a normal patent dispute? Answer Yes, absolutely! After many years of opposition and appeal proceedings before the European Patent Office, we were finally able to defend the patent successfully in late 2018. Less than one year later, in the summer of 2019, the Higher Regional Court of Düsseldorf found that certain Electrolux vacuum cleaner models infringed the patent. Host Er, at that point, one might think, that the patent owner had achieved its goal, right? Answer That is what many people would think. But that judgment did not bring the dispute to an end. A new challenge emerged. The patent had been validated in many European countries. Winning in one country, like Germany, did not automatically solve the enforcement issue in all the other countries. Host What was the practical problem then? Answer We were facing a very simple question: How do we enforce a patent that exists in many countries? And how do we prevent claims from becoming time-barred without filing separate infringement actions in every single country? Doing that would not only be legally complex. It would also require a huge amount of time, effort, and money. Host That sounds less like a major legal question and more like a business problem. Answer Exactly. At the beginning, this was not an academic discussion about jurisdiction. It was a very practical business question. How can we enforce our rights efficiently without running parallel lawsuits all over Europe? That was the real challenge we were trying to solve. BLOCK 3 – THE IDEA OF A CENTRAL ACTION Host So, how did the idea of one central action emerge? Answer While looking for possible solutions, we came across Article 4 of the Brussels Ia Regulation. The idea behind that rule is very simple. In general, a person can be sued in the country where that person is based. In our case, that pointed us toward the Swedish home court because Electrolux is based in Stockholm. Host That sounds like a fairly ordinary jurisdiction rule. Answer Yes. And that was exactly what made it interesting. Article 4 is the general rule. The question was whether that rule could also be used for patent infringement claims covering several countries. Host Was that a common approach at the time? Answer No. Quite the opposite. Many people believed that cross-border patent litigation in Europe was effectively dead. Host That sounds rather dramatic. Why did people think that? Answer Because there was a widely held view that a central patent case could be stopped as soon as the defendant challenged the validity of the patent. As a result, many companies assumed they had no real choice but to litigate country by country. Host Yet you decided to look at the issue differently. Answer Yes. Sometimes it is worth taking a fresh look at accepted assumptions. We felt that Article 4 might play a much more important role than many people believed. Host So at that point, you already saw an opportunity, right? Answer Yes, we saw a possibility! Not a guarantee. But we believed there was a strong legal basis for bringing all claims before the Swedish home court. Host And that eventually led to the lawsuit being filed in Sweden, right? Answer Exactly. In 2020, we decided to file the action in Sweden. That followed our success before the European Patent Office in late 2018 and in the Düsseldorf infringement proceedings in 2019. At that stage, our objective was very practical. We were simply trying to find an efficient way to enforce rights that exist in many countries. Host At that point, you already think the case might end up before the European Court of Justice? Answer No. Not at all. We were focused on solving a business problem. The idea that the case would eventually reach the European Court of Justice came much later. BLOCK 4 – THE OBSTACLE: GAT v. LuK Host You mentioned that, er, many people believed cross-border patent litigation in Europe was no longer a realistic option. Why was that? Answer The main reason was an earlier decision of the European Court of Justice known as GAT versus LuK, decided in 2006. For many years, that decision was understood to mean that a home court could lose its ability to hear a patent infringement case as soon as the defendant challenged the validity of the patent. In practice, that understanding made many cross-border patent cases extremely difficult. As a result, many people believed that cross-border patent litigation was not effective. Host And yet you decided to follow exactly that path, right? Answer Yes. Sometimes it is worth questioning assumptions that have been accepted for many years. We believed that Article 4 of the Brussels Ia Regulation played a more important role than many people thought. That is why, in 2020, we decided to file the case in Sweden. Host And at that point, did you already realize that the case might eventually reach the European Court of Justice? Answer No. Not at all. Our goal was simply to find a practical solution to a real enforcement problem. The idea that this would eventually become a case before the European Court of Justice was far from our minds. BLOCK 5 – THE QUESTIONS REFERRED TO THE EUROPEAN COURT OF JUSTICE Host So, how did the case eventually reach the European Court of Justice then? Answer After we filed the lawsuit in Sweden in 2020, Electrolux challenged the validity of the patents. The Swedish home court then concluded that it could not hear the case and declared itself not competent to proceed. We appealed that decision, because the issues were important and affected far more than just our case. We suggested that several questions should be referred to the European Court of Justice. The Swedish Court of Appeal agreed and sent those questions to Luxembourg. Host So, what were these main questions? Answer At the heart of the case, there were three questions: First: if a home court has jurisdiction over a patent infringement case, does it lose that jurisdiction simply because the defendant argues that the patent is invalid? Second: Does it make a difference if the national legal system requires validity issues to be decided in a separate proceeding? And third: Do this jurisdiction rules also apply to patents from countries outside the European Union? Host The third question sounds particularly interesting. Answer Yes, at the time, the discussion in our case focused on Turkey. Today, many people immediately think about the United Kingdom, and some even think about US patents. But originally, the question was much simpler. We wanted to know, whether the same jurisdiction rules also apply when patents from non-European countries are involved. Host And, did you realize how important that third question might become? Answer No, certainly not to that extent. At the beginning, most of the discussion focused on the relationship between the different jurisdiction rules within Europe. Only later did it become clear that the European Court of Justice’s answers might have consequences far beyond the European Union. Host So, how did the European Court of Justice react then? Answer That was actually quite interesting. The European Court of Justice first heard the case before a Chamber of seven judges. Later, it referred the case to the Grand Chamber of 15 judges. That already showed that the European Court of Justice considered the issues to be important. And when the judgment finally came out, some of the answers were very different from what many observers had expected. BLOCK 6 – THE DECISION OF THE EUROPEAN COURT OF JUSTICE Host Let’s talk about the European Court of Justice’s answers. What was, in your view, the most important part of the decision? Answer The most important point was this: A home court does not automatically lose jurisdiction just because the defendant argues that the patent is invalid. For many years, many people believed exactly the opposite. The European Court of Justice made it clear that this understanding was too narrow. The home court where the defendant is based can generally continue to hear the infringement case. That is really the key message of the decision. Host Why is that so important? Answer Because it gives new momentum to cross-border patent enforcement in Europe. Before this decision, many people assumed that a defendant could effectively stop a central infringement case simply by challenging the validity of the patent. The European Court of Justice made clear that this is not automatically the case. Host Does that mean the home court hearing the infringement case will now also decide whether the patent is valid? Answer No, and that is a very important point. The European Court of Justice confirmed that questions about the validity of a European patent should still be decided by the national courts of the country for which the patent was granted, as provided for in Article 24(4) of the Brussels Ia Regulation. What is new, is that the infringement case does not automatically fall apart because of a validity challenge. The home court can keep control of the overall case. Host So, how does that work in practice? Answer The European Court of Justice gives the home court some flexibility. For patents from Member States of the European Union, the home court does not automatically lose its power if the defendant says the patent is invalid. The home court can look at the validity challenge. If it seems strong, the home court may stay the infringement case. If it seems weak, the home court may continue the infringement case. For patents from countries outside the European Union, the home court may also stay the case if there is already a validity case pending in that country. In such situations, Articles 33 and 34 of the Brussels Ia Regulation may apply. That creates a much more flexible system than many people expected. Host Er, we have discussed the implications for patents from Member States of the European Union, but a lot of attention has been given to another part of the decision, that we already talked about briefly, namely patents from countries outside the European Union. Answer Absolutely, and that may be the part of the judgment with the biggest international impact. Host Why? Answer Because the European Court of Justice decided that the special jurisdiction rule for patent validity does not generally apply to patents from non-European countries. In simple terms, that means the general rule can still apply. And that opens the possibility of bringing infringement cases based on non-European patents before the home court where the defendant is based in the European Union. Host That sounds like a very far-reaching statement. Answer It is. That is why many commentators started talking about what is often called “long-arm jurisdiction.” In other words, a European home court may, under certain circumstances, deal with infringement claims relating to patents from countries outside the European Union. Host So, many listeners may now wonder: Can a Swedish or a German home court really decide a dispute involving a British or Turkish patent? Answer Ah, we need to be careful here. The European Court of Justice did not say that a European home court can cancel or revoke a foreign patent. That remains a matter for the authorities and national courts of the country that granted the patent. What the European Court of Justice said is that a European home court may assess the claims between the parties in a dispute. That is an important distinction. Host Did you realize during the proceedings how important this part of the decision might become? Answer Not to this extent. We started with a very practical enforcement problem. Only later did it become clear that the European Court of Justice’s answers might have consequences far beyond the original case. Today, the decision is discussed not only in connection with Turkish patents, but also British patents and even possible claims involving US patents. Host If you had to summarize the decision in one sentence, and I know, this is a very difficult task, what would that sentence be? Answer The European Court of Justice did not re-invent cross-border patent enforcement in Europe. But after many years, it clearly gave it much more room to develop. BLOCK 7 – THE REACTION OF THE IP COMMUNITY Host So, how was the decision received after it was published? Answer Ah, the reaction was very strong. It quickly became clear that many people saw the decision as much more than just another patent case. Many articles and commentaries described it as an important development in European patent litigation. Host Did that surprise you? Answer To some extent, yes. Of course, we knew that the questions referred to the European Court of Justice were important. But I was surprised by how quickly the decision became a major topic of discussion across the European patent community. Host Er, you later presented the decision at several conferences yourself, right? Answer Yes. The discussion started right away. I had the opportunity to discuss and present the case at several conferences and events, including the annual VPP conference in Germany and the Ingolstadt Patent Symposium. I recently received an invitation to serve as a panel speaker on cross-border litigation at the AIPPI World Congress 2026 in Hamburg. What struck me most was that both internal and external IP counsel were trying to understand the practice consequences of the decision. Host So, what was the question you were asked most often? Answer Almost always the same one: How far does this decision really go? People wanted to know whether this was simply a correction of earlier case law or whether it marked the beginning of a new phase in cross-border patent enforcement. Host And what did you say? Answer I would describe it as: neither a revolution nor a minor adjustment. The European Court of Justice did not rewrite the system. But it clearly changed the balance between the different jurisdiction rules. That is why I believe the decision will continue to be discussed for many years, both in practice and in academia. Host Er, one year later, the case received the Managing IP Award as the “Europe Impact Case of the Year.” What did that recognition mean to you? Answer First of all, it was a great honor for everyone involved. But for me, the most important thing was the message behind the award. The award showed that the decision affects much more than the parties involved in the case. It has an impact on European patent practice as a whole. And it also shows that the underlying jurisdiction questions reach far beyond patent law. They are relevant whenever companies have to enforce rights across borders in an increasing international world. That is what makes this case special. Host You often describe this case as a team effort. Answer Absolutely. A case of this size is never the work of one person. Many people contributed over many years. On the BSH side, team members from different functions played an important role throughout the proceedings. And we worked closely with external advisors in several countries. So I see the award as recognition of a shared achievement rather than an individual success. Host Looking at the discussions today, would you say the debate is over? Answer Not at all. I actually think we are only at the beginning. There are still many practical questions that home courts will have to answer in the coming years. That is exactly why the decision remains so interesting. BLOCK 8 – WHAT DOES THE DECISION MEAN IN PRACTICE? Host Let’s move from legal theory to practical business implications. What does this decision mean for patent owners and companies? Answer In my view, the biggest change is strategic. Patent owners now have better opportunities to bring cross-border disputes together in one central proceeding. At the same time, companies need to be aware that they may face claims at their European headquarters covering activities in several countries. So the decision creates opportunities, but it also creates new risks. Host That sounds really like a significant shift; right? Answer I would call it a rebalancing rather than a revolution. The European Court of Justice did not create a completely new system. But it made clear that the general rule — suing a defendant where it is based — plays a much bigger role than many people had assumed. As a result, the court at the defendant’s home base becomes much more important strategically. Host In the patent community, people often talk about cases such as Fujifilm v. Kodak, or Regeneron v. Formycon or Onesta v. BMW. Why are those cases attracting so much attention now? Answer Because they show how quickly practice is already adapting to the new possibilities. Fujifilm was important because it was one of the first UPC cases to test the logic that was later confirmed in BSH. At that time, the BSH case was already pending before the European Court of Justice, and the Advocate General had expressed a view that pointed in that direction. Against that background, the Düsseldorf Local Division accepted jurisdiction over the UK part of a European patent even before the European Court of Justice delivered its judgment. In June 2026, based on the principles confirmed in BSH, the UPC Court of Appeal further developed that approach. Host And what happened in Regeneron v. Formycon ? Answer In the Regeneron case, the Munich home court applied the approach confirmed in BSH and granted a Europe-wide injunction based on a European patent. That was one of the first examples of a national home court using the BSH framework in practice. That demonstrates that the decision is not just an academic discussion. It already has practical consequences. Host And what about the Onesta case? Answer The Onesta case shows that the debate has moved beyond Europe. After Onesta attempted to assert two U.S. patents before the Munich home court, BMW obtained an anti-suit injunction from a Texas federal court. Judge Albright took the view that U.S. patents should generally be decided by U.S. courts. The Onesta case therefore illustrates that the limits of the BSH logic are now being tested internationally. Host Did that end the proceedings in Munich? Answer Not necessarily. What makes the case interesting is that the Texas injunction was directed against Onesta, not against the Munich home court. At the same time, Onesta appealed Judge Albright’s decision in the United States. The Munich home court therefore decided to stay the case for the time being. Importantly, however, the Munich home court did not reject its own jurisdiction. So, at least for the moment, the underlying question remains open. Host Can a European home court ultimately decide infringement claims based on U.S. patents? Answer That question has not yet been answered. But the case has already shown that such an attempt can trigger strong reactions outside Europe. In that sense, the debate has moved from a European jurisdiction question to an international jurisdiction conflict. Host For our audience of internal and external IP counsel, what are the main lessons from this decision? Answer For me, there are three key takeaways. First: Patent enforcement has become more international. National litigation remains important, but companies should think across borders from the very beginning. Second: The choice of forum is becoming more important. Where you bring a case may be just as important as the legal arguments themselves. And third: Long-term commitment matters. This case shows that major developments rarely happen because of a single filing or a single hearing. They usually result from pursuing a clear strategy consistently over many years. Host Do you think this decision will also influence the Unified Patent Court, the UPC? Answer Yes, I believe so. The decision fits into a broader trend toward more centralized patent litigation. Both, the UPC and the BSH decision are driven by the same idea: Handling cross-border disputes more efficiently and more consistently. What is interesting is that many of the questions were faced in BSH versus Electrolux are now reappearing in a new form before the UPC. Cases like Fujifilm versus Kodak show that the discussion about jurisdiction, scope, and cross-border effects is far from over. Institutions may be new. But the underlying challenge remains the same: How do we enforce patents effectively across borders? Host Some commentators even see this as a step toward a more independent European patent judiciary. Do you agree? Answer To some extent, yes. Professor Hanns Ullrich, who supervised my doctoral studies on the legal protection of a then new semiconductor technology many years ago, recently observed that the UPC is gradually developing its own European case law.[DH1] I think that is — again — a very accurate observation. If you look at the developments since BSH and the first UPC decisions, you can see that European patent litigation is becoming more connected. National courts will remain important. But at the same time, we are seeing a more integrated European patent system taking shape. How far that development will go remains to be seen. Host Looking back on the entire journey — from a vacuum cleaner patent, through litigation in several countries, all the way to the European Court of Justice and an award-winning decision — what is your personal conclusion? Answer My main conclusion is that innovation needs effective legal protection. But it also requires the willingness to challenge established assumptions and explore new approaches. For me, the BSH versus Electrolux case shows that persistence, teamwork, a willingness to challenge accepted assumptions, and a long-term strategic view can sometimes lead to developments that go far beyond the original dispute. BLOCK 9 – THE PERSON BEHIND THE DECISION Host Ernst-Peter, today we have talked a lot about jurisdiction, patent enforcement, and European case law. When you look back at this journey, which has lasted almost twenty years, what impressed you most? Answer Probably the realization that major developments rarely follow a straight line. When we started thinking about the case, we were dealing with a very practical problem. Nobody said: Let’s create a landmark decision of the European Court of Justice. We were simply looking for a reasonable and practical solution for a company. The fact that this would eventually lead to a decision with Europe-wide impact was something nobody could foresee at the time. Host Were there moments when you thought the case might fail? Answer Of course. Whenever a case lasts many years, there will be setbacks, new questions, and unexpected developments. That is exactly why persistence is so important. In the end, success is often not about one filing or one hearing. It is about staying focused on a clear objective over a long period of time. Host You often talk about teamwork. Is that one of the main lessons from this case? Answer Absolutely. A case of this size requires commitment from many people and institutes over many years. On the BSH side, my role was to help maintain the strategic direction and long-term commitment that such a case requires. At the same time, experts from different functions within BSH contributed technical expertise, testing, documentation, and practical support throughout the proceedings. On the legal side, Roman Sedlmaier and his team at IP-Counsels Gigerich & Sedlmaier (IPCGS) helped develop the cross-border litigation strategy and the overall case architecture. Our Swedish litigation team then carried the arguments through all stages of the proceedings. Looking back, it was the combination of institutional commitment, technical expertise, strategic leadership, well-designed case architecture, and consistent execution that made the difference. Host One final question. What advice would you give to young internal or external IP counsel? Answer Stay curious: Don’t be afraid to question accepted assumptions. Be patient: Intellectual property is usually a marathon, not a sprint. And never forget that every patent dispute involves an invention, a business, and many people who have worked hard to bring that innovation to market. For me, that connection between technology, law, and strategy is what still makes this profession so fascinating today. Host Ernst-Peter, thank you very much for joining us today on IP Fridays. Answer Thank you. It was a pleasure to be here.

This week, the Therapeutic Goods Administration approved an Australian-first blood test for Alzheimer’s disease that can detect the condition 20 years before symptoms emerge. The blood test will also deliver results within 18 minutes. And while the disease does largely appear in older populations, it can silently develop in the brain much earlier. On today’s podcast, we’ll share what you need to know. Hosts: Zara Seidler and Billi FitzSimonsProducer: Avegail MatutinaVideo editor: Imogen Abbott 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

This week, a 31-year-old man convicted of the murders of four university students in the US announced he was filing a motion to withdraw his guilty plea. In a letter to a court, Bryan Kohberger claimed he was convinced to falsely confess to the 2022 killings. In today’s podcast, we’ll explain what you need to know about the case, why it made international news and what happens next. Listen to Byran Kohberger's sister on The New York Times. Hosts: Zara Seidler and Emma GillespieProducer: Imogen Abbott 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

Jak vznikají snímky prezidenta? A jakou odpovědnost nese fotograf, který stojí jen pár kroků od okamžiků, jež se zapisují do historie?Hostem nového dílu Fujifilm X-Talku je Zuzana Bönisch, oficiální fotografka Petra Pavla. Mluvili jsme o důvěře mezi fotografem a fotografovaným, o hledání lidskosti uprostřed protokolu, o hranicích dokumentu i o tom, kdy fotografie přestává být pouhým záznamem a stává se svědectvím své doby.------------------------Fujifilm X-Talk je podcastový video formát zaměřený na fotografii, vizuální kulturu a autorské přemýšlení o obrazu.Není určen pouze příznivcům značky Fujifilm, ale všem, kdo se zajímají o fotografii. Nový díl vychází pravidelně každou druhou středu ve 20:00. O letních prázdninách nově každou středu!Své nápady, názory nám můžete psát do komentářů pod epizodu 

Jacinta Allan has resigned as Victorian Premier four months out from an election, after her Deputy Premier Ben Carroll announced a leadership challenge on Monday. Allan, who initially vowed to fight for her position, stood down on Tuesday, saying a lengthy leadership battle this close to the election would leave the state “in a position of uncertainty”. Today, we’ll explain how we got here, and who Victoria’s new Premier is. Hosts: Emma Gillespie and Lucy TassellProducer: Imogen Abbott 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

Episode 491 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 SaramonicUSA.com - 20% OFF with no code needed on select items at AccsoonUSA.com - More mostly 20% OFF codes at LensShark.com/deals. Stories: Peak Design's 17th Kickstarter wants to rethink this. (#) Viltrox enters the Micro Four-Thirds arena. (#) Falcam's new batteries are hard to lose. (#) A creator releases a free app that's insanely useful. (#) Megadap's new adapter lets you use these now. (#) OWC's latest beast of a RAID solution. (#)   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).

Nowhere else in the world sells houses quite like Australia does – on a stranger's nature strip or in their backyard, in front of a crowd, hammer and all. Street auctions have grown in popularity over recent years, as property values soar to unprecedented heights. The Victorian Greens claim the system is designed to push up prices by pressuring buyers into paying more, and they want these street auctions gone entirely. Today we unpack why Australia does this in the first place, the state of play overseas, and whether the proposed ban is actually realistic. Hosts: Emma Gillespie and Elliot LawryProducer: Orla MaherVideo Producer: Rosa Bowden 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

In this episode we talk about the upcoming X-T6 that is rumored to launch in September.  I discussed what Fujifilm needs to absolutely get right with the launch of their most popular camera.  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

Last week, the U.S. hit Australia with yet another round of tariffs, with President Donald Trump saying it's because we haven't done enough to stop modern slavery. The Australian Government says that's completely wrong. Today we're breaking down what modern slavery actually is, and why it's become the latest point of tension with one of our biggest trading partners. Hosts: Elliot Lawry and Billi FitzSimonsProducer: Orla Maher 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

In questa puntata scopriamo la FUJIFILM GFX ETERNA 55 da due prospettive diverse ma complementari: da una parte il prodotto, il progetto tecnologico e il suo posizionamento nel mondo della produzione cinematografica professionale; dall'altra le immagini, gli autori e le forme culturali attraverso cui quella stessa tecnologia può essere raccontata e messa alla prova. La prima intervista è dedicata alla videocamera, alle sue caratteristiche, al sensore large format, al rapporto con la tradizione cinematografica di Fujifilm, alla cultura del colore, alla pellicola ETERNA e al posizionamento di un sistema destinato alla produzione professionale. La seconda sposta invece l'attenzione dalla macchina alle immagini che può contribuire a produrre. Parleremo infatti di Dove sono mamma e papà? Left Alone, cortometraggio diretto da Fabio Rao e la fotografia del premio Oscar Mauro Fiore, nato attorno alla GFX ETERNA 55 ma concepito non come una semplice dimostrazione tecnica o come un tradizionale contenuto pubblicitario, bensì come un'opera dotata di una propria autonomia narrativa e visiva. Queste due interviste, diverse, ma complementari, raccontano l'ingresso di Fujifilm nel mondo delle videocamere cinematografiche professionali: da una parte il prodotto, il progetto industriale e le possibilità tecniche; dall'altra una forma di promozione meno direttamente commerciale, che affida lo strumento a un regista, a un direttore della fotografia e a una troupe, lasciando che siano le immagini e il racconto a mostrarne le qualità. Il punto di incontro tra le due conversazioni è proprio questo: capire che cosa accade quando un'azienda che ha costruito una parte fondamentale della propria identità sulla pellicola, sul colore, sulle ottiche e sulla cultura fotografica decide di entrare direttamente nella produzione cinematografica, non soltanto mettendo a disposizione una nuova tecnologia, ma interrogandosi anche sulle storie, sugli autori e sui progetti culturali attraverso cui quella tecnologia può essere conosciuta. Francesco Spisti, Global Sales & Marketing Manager di Fujifilm Europe, ci accompagna alla scoperta di GFX ETERNA 55, delle sue caratteristiche tecniche, del rapporto con la storica pellicola ETERNA e della visione con cui Fujifilm entra in un segmento specifico e già fortemente competitivo del mercato cinematografico professionale. Dopo aver conosciuto la videocamera e il progetto tecnologico che la sostiene, passiamo alle immagini che con quella videocamera sono state realizzate. Con Silvia Carapellese, Content Marketing Specialist di Fujifilm Italia, parliamo di Dove sono mamma e papà? Left Alone, del coinvolgimento del regista Fabio Rao e del direttore della fotografia Mauro Fiore e del tentativo di costruire una forma di comunicazione nella quale la promozione del prodotto non prevalga sull'autonomia del racconto. Buon ascolto! 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

Today, we're tackling how AI is quietly becoming part of the way we manage our money - and whether it's actually up to the job. From asking ChatGPT to sort a budget, to querying Claude about your super balance in retirement, to getting Gemini's take on ETFs - most of us have done some version of this. But how much should we actually trust it?This podcast was produced with insights from AustralianSuper. However, everything we talk about was researched and written by us, and the content remains entirely independent.Learn more about what's right for you and read the PDS and TMD at australiansuper.com Hosts: Sam Koslowski and Billi FitzSimonsProducer: Orla MaherAudio Editor: Rosa Bowden 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

The Albanese government has announced it will extend a paid placement program for 10 new categories of students, including those studying clinical psychology, speech pathology and physiotherapy. In today’s podcast, we’re going to talk about what this expanded program means for those students and hear from the students who have already been receiving payments as well as those who will now be entitled to it.Hosts: Elliot Lawry and Zara SeidlerProducer: Imogen AbbottVideo Editor: Rosa Bowden 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

Nearly 7,000 Americans have been struck down by a gut parasite linked to Taco Bell lettuce across 34 states. Today we're explaining what cyclosporiasis is, how it ended up in a fast food salad, and whether U.S. federal budget cuts are making it harder to stop.Hosts: Sam Koslowski and Zara SeidlerProducer: Orla MaherVideo Editor: Rosa Bowden 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

Fotograf divoké přírody tráví hodiny čekáním na jediný okamžik. Jenže to nejzajímavější často nevzniká ve chvíli, kdy zmáčkne spoušť, ale v tom, jak o fotografii přemýšlí.S Michalem Krausem jsme se bavili o trpělivosti, respektu k přírodě, proměně wildlife fotografie i o tom, proč dnes nestačí pořídit technicky dokonalý snímek. Jakou roli hraje etika, kde jsou hranice postprodukce a proč je důležitější vztah k přírodě než honba za efektním záběrem?------------------------Fujifilm X-Talk je podcastový video formát zaměřený na fotografii, vizuální kulturu a autorské přemýšlení o obrazu.Není určen pouze příznivcům značky Fujifilm, ale všem, kdo se zajímají o fotografii. Nový díl vychází pravidelně každou druhou středu ve 20:00. O letních prázdninách nově každou středu!Své nápady, názory nám můžete psát do komentářů pod epizodu nebo zasílat na email: lenka.vanickova@fujifilm.com

Episode 490 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 - Calibrite's summer sale at Calibrite.com - More mostly 20% OFF codes at LensShark.com/deals. Stories: The camera industry could do more of this and we'd like it. (#) This 26mm pancake lens sure packs a punch. (#) Tamron's new 12-20mm f/2.8 wows. (#) The price of these has stayed surprising reasonable. (#)   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 landmark report out today shows Australian women’s health is declining across several key measures – including basic needs and emotional health. The Hologic Global Women’s Health Index is the world’s most comprehensive annual survey tracking women's health and wellbeing, covering 97% of the world’s adult population. Now in its fifth year, the latest report shows women are facing mounting challenges and substantial setbacks, with concern several Australian outcomes are slipping over time, despite growing investment and conversation around women’s health. In today’s deep dive, we’re talking through what these findings mean with health expert Aggie Cox. Hosts: Emma Gillespie and Billi FitzSimonsGuest: Aggie Cox, Director of Govt Affairs and Marketing at Hologic Global Women's Health IndexProducer: Orla MaherVideo Editor: Rosa Bowden 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

Controversial influencer Andrew Tate has been arrested and charged and sued and investigated and re-investigated and re-arrested all over the world. Over the weekend, he was taken into custody again, this time in Miami. Tate is facing dozens of fresh charges and a complicated legal fight over whether he'll end up in a UK courtroom. If you've lost track of the Tate timeline, don’t stress, because we’ll take you through all the plot twists and bring you up to speed in today’s deep dive. Hosts: Emma Gillespie and Billi FitzSimonsProducer: Orla MaherVideo Editor: Rosa Bowden 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

Two weeks ago, one of Sydney's newest venues opened its doors in a heritage-listed former church. A few days later, it was shut down entirely, caught between a Christian backlash, a landlord's legal notice, and a fight over public arts funding. On today's podcast, we're breaking down what actually happened to Divine Playhouse, why the venue struck a nerve with some religious groups, and what happens next for the creative arts space at the centre of it all. Hosts: Elliot Lawry and Billi FitzSimonsProducer: Avegail MatutinaVideo Editor: Rosa Bowden 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

No men's team has won back-to-back World Cups since 1962. On Monday morning, Lionel Messi - 39 years old, in what many expect is his final tournament - tries to become the first. His opponent is the teenager he once held in a bathtub. Today we unpack how the World Cup final has been nearly 20 years in the making, and introduce you to the two star players. Hosts: Billi FitzSimons and Sam KoslowskiProducer: Orla MaherVideo Editor: Rosa Bowden 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

In less than a week, three men and a teenage boy have been charged with murdering women and girls known to them in unrelated alleged attacks across the country. These deaths bring the national toll of women and girls lost to violence this year up to 54. In today’s podcast, we’re going to talk about what we know about each of these cases, the broader national conversation and how the government has responded. You can see Sherele Moody's Australian Femicide Watch here. Hosts: Billi FitzSimons and Zara SeidlerProducer: Orla MaherVideo Editor: Rosa Bowden 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

Last week, millions of Australians were reminded that their phone and data service is only as reliable as one company’s software, when Telstra experienced its third major outage in under a year. Today, we’ll unpack why these outages keep happening, what regulators want to do about it, and a question that’s been the subject of a decade-long debate: If a telco experiences an outage, why can't your phone jump onto a competitor’s network instead? Hosts: Emma Gillespie and Billi FitzSimonsProducer: Orla MaherVideo Editor: Rosa Bowden 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

Our guest this week was Emily Endean, an award-winning UK photographer, educator, and Fujifilm ambassador whose beautiful landscape and seascape photography reflects her deep connection with nature. Beyond creating stunning imagery, she teaches workshops, mentors photographers, and inspires others to embrace creativity, storytelling, and the outdoors. Get Emily's book, Beginner's Guide to Photography:  https://www.emilyendeanphotography.co.uk/store/p/beginnersguidetophotography Use Offer Code: FUJILOVE5 Follow Emily Endean ------------------------ WEB: www.emilyendeanphotography.co.uk IG: www.instagram.com/emily_endean_photography/ Follow Wayne Campbell ------------------------ WEB: https://www.wacfoo.co.uk/ IG: https://www.instagram.com/wacfoo 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

Yesterday, former Australian of the Year Professor Richard Scolyer was honoured with a state funeral at the Sydney Opera House, after he died on 7 June from brain cancer, aged 59. The service included countless moving tributes to the pioneering pathologist credited with saving thousands of lives. Richard Scolyer is remembered as the researcher that turned melanoma from a common death sentence into a largely curable disease. But his legacy extends beyond that. He shared his three year journey and public health battle as patient zero of an experimental immunotherapy treatment with millions of Australians. In today's deepdive, we are going to play you a very special interview we did with Professor Richard Scolyer back in November 2024. Hosts: Emma Gillespie and Zara SeidlerGuest: Professor Richard Scolyer AOProducer: Orla Maher 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

In case you missed it, the Federal Government has for the first time released a report tracking how AI is reshaping Australia’s workforce. It said there has been no evidence that AI has caused widespread job losses or major disruptions… yet. Which might be surprising considering the job cuts we have heard about. This report, from the government, does paint a bit of a different picture. But it also tells us what job are most at risk. We’ll tell you what you need to know in today’s podcast. Hosts: Elliot Lawry and Billi FitzSimonsProducer: Orla MaherVideo Editor: Rosa Bowden 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. Shot on Fujifilm.See omnystudio.com/listener for privacy information.

John talks about selling high-priced systems, learning customers' businesses, simplified CRMs, and much more! Before retiring as North American Sales Manager for Zünd Systemtechnik AG in 2019, John Cote had a long career in sales of capital equipment and systems. Over his career, John was in sales or sales management with several large and medium sized companies including Fuji Film and HP. He also owned a couple of his own companies in the marketing, graphics and photography fields. John has given a lot of thought to the types of personalities and characteristics which seem to be common to top notch sale people and how to manage teams of these diverse and sometimes troublesome folk. John not only managed successful sales and sales support teams but gave talks to management teams in his own and other companies about how to recruit and manage sales people and sales teams.

The ceasefire between the U.S. and Iran is falling apart. Ships have been attacked in a key shipping route, the U.S. has struck back, and Trump says the deal is "over." Today we're breaking down what's happened since Sunday, why a Supreme Leader who died months ago is only being buried this week, and whether we're heading back to full-blown war. Hosts: Sam Koslowski and Billi FitzSimonsProducer: 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.

Excire Foto 2027 is HERE! The latest version of Excire's award-winning image-management software uses AI to help you find any photo, stay on top of culling, and easily organize your entire image catalog. To get your Excire lifetime license or to download a 14-day free trial, visit https://www.excire.com/en/excire-foto/ PetaPixel viewers can receive an additional 15% off their purchase with the special discount code PETAPIXEL.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 BankThis week on the PetaPixel Podcast, Hasselblad and Capture One finally resolve their differences (but Phocus isn't going anywhere), DJI's LOFIC sensor has really impressive dynamic range, and Insta360's CEO describes a future where there are no camera operators. Plus, wildlife photographer Kristi Odom stops by to explain how photographers can learn so much just by watching animals. Check 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 - Intro04:41 - New PetaPixel Membership Perk!05:39 - Chris puts his digital TLR idea into words09:44 - DJI Pocket 4P's LOFIC sensor is extremely impressive16:22 - Mitakon's new full-frame primes are ludicrously fast19:01 - Insta360's founder wants a future where you never think about your camera25:21 - Hasselblad is finally supported by Capture One (Phocus isn't going anywhere, though)27:58 - Fujifilm doubles down on its QuickSnap film cameras31:49 - Kristi Odom on biomimicry, fishing, and what animals can teach us about being better photographers 1:23:50 - What have you been up to?1:30:52 - Tech support1:38:26 - Feel Good story of the week

Yesterday, right-wing politician Nigel Farage resigned from the UK Parliament. The resignation comes as an investigation into his finances is currently underway. But who exactly is Farage, and why have we been hearing so much about him lately? On today's podcast, we're going to get to the bottom of that question, and work out why he's just walked away from the seat it took him seven attempts to win. Hosts: Elliot Lawry and Billi FitzSimonsProducer: Avegail MatutinaVideo Editor: Rosa BowdenDonate to the Petbarn Foundation Seeing Eye Dogs Appeal 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.

The death of a young Melbourne teacher on a suburban footy field has reignited conversations about player safety and intensified growing scrutiny of the AFL's concussion record. In today's deep dive, we'll unpack this tragedy, and the bigger reckoning about brain injuries in our national game. Sign up to TDA's Sport Newsletter here. Hosts: Emma Gillespie and Billi FitzSimonsProducer: 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.

Episode 489 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 - Benro's special edition America 250 MiniMax at BenroUSA.com - Godox's Summer Savings! - More mostly 20% OFF codes at LensShark.com/deals. Stories: Leica's new 44 megapixel SL3-P. (#) A new twist on and old lens from 1987. (#) Tamron's excellent 17-70mm f/2.8 comes to 2 more mounts. (#) Adobe makes a key acquisition. (#) Fujifilm opens it's GFX Challenge Grant Program 2026. (#)   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).

Last week another popular music festival announced its going on hiatus. Harvest Rock. We’ve talked a lot about the struggling live music scene post COVID on this podcast. But we’re not going to talk about that today. What we are going to talk about is Australia’s live theatre industry. Because while we’ve been watching music festivals suffer, another creative sector has been facing its own, similar challenges, with multiple big-budget shows axing performances in recent weeks. We’ll explain what’s going on, and the UK Government model that could offer a way out for Australia’s struggling stages.For more stories like this straight into your email inbox, sign up to TDA's Culture Newsletter here. Hosts: Emma Gillespie and Billi FitzSimonsProducer: 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.

Last week, something unusual happened in Canberra. A group of Australia’s best musicians, artists and writers came together outside Parliament House. Not to perform but to rally. They were there to deliver a message to the Albanese Government: don't sell us out to Big Tech. On today's podcast, I'm going to explain what they're actually worried about, why the Government is spending billions courting some of the world's biggest tech companies, and what Australian creatives stand to lose if things go wrong. Hosts: Elliot Lawry 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.

Ik zit in Ibiza, uitgenodigd door Nadav Kander, de portretfotograaf achter beelden voor The New York Times, The Guardian en Time Magazine en achter grote commerciële campagnes. We namen samen een lange podcast op en voor die aflevering verschijnt, deel ik alvast vijf inzichten die me het meest zijn bijgebleven.Wat je leert in deze afleveringWaarom Nadav single images vaak sterker vindt dan een serie, en wat hij bedoelt met "the electricity between images"Waarom schoonheid zonder wrijving voor hem oninteressant is, en wat hij zoekt met "the edge"Waarom het beginnen aan een nieuw project ook na een indrukwekkende carrière onzeker en zoekend blijftHet verschil tussen een foto die je na vijf jaar beu bent en een beeld dat na twintig jaar nog steeds iets nieuws zegtWaarom een werk volgens Nadav pas af is zodra iemand ernaar kijkt, en wat dat betekent voor hoe je je eigen werk loslaatOver Nadav KanderNadav Kander is een internationaal gevestigde portret- en landschapsfotograaf, bekend van zijn werk voor grote redacties en merken en van autonome projecten zoals zijn rivierproject over de Yangtze. Hij werkt momenteel samen met David Campany aan een overzichtstentoonstelling die in september opent in Foam Amsterdam.LinksThe Daily Frame, 21 korte afleveringen vanaf 13 juli (€9,99)Masterclass met Bastiaan Woudt over boeken en tentoonstellingen als duurzame zichtbaarheid: (€25)Wil je de zomer doorkomen met korte, dagelijkse impulsen over ondernemerschap, mindset en creativiteit? Schrijf je in voor The Daily Frame, mijn reeks van 21 korte afleveringen, en start op 13 juli.Wil je liever verdieping over hoe je boeken en tentoonstellingen inzet als duurzame vorm van zichtbaarheid, in plaats van te blijven hangen op social? Sluit dan aan bij de masterclass met Bastiaan Woudt.Mede mogelijk gemaakt doorDeze 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. Meer info op profotonet.com.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. Meer info op robyns.be.

CW: Today's episode discusses distressing details, and may not be suitable for everyone. This week, Australian man Simon Peter Carman was charged with the murder of 17-year-old Thanchanok Donhomla in Thailand. The Australian was arrested at Bangkok airport while allegedly trying to board a flight to Perth, before the teenager’s body was found in a suitcase near railway tracks. In today’s podcast, we’re going to unpack what we know about this story, the charges Carman is facing and what comes next.1800 Respect: 1800 737 732 Hosts: Zara Seidler and Elliot LawryProducer: 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.

Good morning from Pharma Daily: the podcast that brings you the most important developments in the pharmaceutical and biotech world. Today, we're diving into a series of significant advancements and strategic shifts reshaping the industry landscape. To begin, the U.S. Food and Drug Administration has taken a noteworthy step by selecting key industry players, including Eli Lilly, Regeneron, Fujifilm, and Kriya Therapeutics, for its PreCheck pilot program. This initiative is designed to enhance U.S. drug manufacturing capabilities, emphasizing the importance of robust domestic production. By reducing dependency on international supply chains, the program aims to expedite the delivery of critical therapies, highlighting a strategic move towards self-reliance in pharmaceutical manufacturing. In oncology news, Beone's Brukinsa (zanubrutinib), a small molecule BTK inhibitor, has demonstrated a remarkable 43% reduction in risk of progression for patients with first-line mantle cell lymphoma in its Phase 3 trial. This breakthrough offers a promising chemotherapy-free option for non-Hodgkin lymphoma treatment, marking significant progress in targeted cancer therapies that could improve patient outcomes in previously underserved areas. Meanwhile, Boulevard Bio and Metis TechBio have sealed a substantial licensing agreement valued at $1.6 billion for MTS-128, a trispecific T-cell engager aimed at autoimmune diseases. This collaboration reflects a broader industry trend towards leveraging advanced AI and machine learning technologies to enhance the development of precision medicine and personalized therapies. Such partnerships indicate a shift towards more innovative approaches to tackling complex disease mechanisms and illustrate burgeoning interest in multispecific biologics within immunotherapy domains—offering new avenues for targeting multiple disease pathways simultaneously. On the regulatory front, Sanofi is advancing efforts to expand the U.S. label for Nexviazyme (avalglucosidase alfa) following successful Phase 3 trials for infantile-onset Pompe disease. As an enzyme replacement therapy targeting GAA enzyme deficiency, Nexviazyme could address a critical gap in treatment options for this debilitating genetic disorder, underlining the importance of regulatory pathways in facilitating access to life-saving therapies. Financially, Beeline Medicines has garnered $126.3 million in Series A extension funding to propel its autoimmune programs originally sourced from Bristol Myers Squibb. Similarly, SmartBax has raised €6.3 million to advance its lead antibiotic program targeting multi-drug resistant infections. These investments underscore an unwavering focus on addressing unmet medical needs through innovative therapeutic solutions. Regulatory challenges persist as well; Unicycive Therapeutics faced FDA rejection due to third-party manufacturing deficiencies surrounding oxylanthanum carbonate. This setback emphasizes the critical importance of maintaining rigorous quality standards throughout drug production processes to secure regulatory approvals and ensure patient safety. Globally, China has achieved a milestone with the approval of the world's first CAR-T therapy for solid tumors—a significant leap forward given the historical challenges of applying CAR-T technology beyond hematological malignancies. This approval could transform cancer treatment paradigms globally and prompt similar regulatory advancements in other regions. In other developments, Abbvie and Genmab's combination therapy involving Epkinly has shown promise in diffuse large B-cell lymphoma (DLBCL) trials following prior challenges with monotherapy approaches. This success story highlights the potential of combination therapies in enhancing outcomes for patients battling complex cancers like DLBCL. From a corporate perspective, Klick Health's acquisition of Oxford Pharmagenesis marks its third purchase in 18 months, expanding its global footprint and scientific capabilities—a testament to ongoing consolidation trends aimed at augmenting expertise and strategic growth within the sector. These developments collectively paint a picture of an industry dynamically evolving amidst scientific breakthroughs and regulatory recalibrations. As companies navigate this transformative landscape, their ability to adapt and innovate remains paramount for sustaining growth and addressing global healthcare challenges effectively. Stakeholders must remain agile to seize opportunities while mitigating inherent risks in this high-stakes environment that increasingly prioritizes patient-centric innovations.Support the show

The consumer watchdog is suing Amazon over the ads on its streaming service Prime Video. It says the tech giant unfairly charged more than a million subscribers by telling them to pay more to keep watching ad-free. In today’s episode, we’ll explain what you need to know about the case. Hosts: Lucy Tassell and Zara SeidlerProducer: 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.

"Anything that excites me for any reason, I will photograph; not searching for unusual subject matter, but making the commonplace unusual." -- Edward Weston "I see no reason for recording the obvious." -- Edward Weston   In this episode, Antonio and Ward talk about Fujifilm cameras, autofocus, and film simulations. Antonio shares his frustration after missing bird photographs because the autofocus refused to lock onto obvious subjects, while Ward compares his own experiences photographing action with Fujifilm gear. They discuss firmware updates, the expectations photographers have for modern autofocus systems, and how working with film simulations can encourage a slower, more intentional approach to photography. Antonio and Ward spend the second half of the episode talking about Edward Weston's Daybooks and the ideas that shaped his photography. They discuss Weston's famous pepper photographs, his search for what he called “the thing itself,” and his belief that photography should reveal the true character of a subject rather than imitate painting. They talk about the relentless self-criticism found throughout his journals, the years he spent refining both his craft and his artistic philosophy, and the challenge photographers faced in convincing the art world that photography belonged alongside painting and sculpture. Along the way, they reflect on how Weston's writing still offers practical lessons for photographers today and why his way of seeing continues to inspire nearly a century later.     Links: Edward Weston – The Flame of Recognition Edward Weston's Daybooks Pepper No. 30 Fujifilm film recipe iPhone app X Sim Lab - Fujifilm RAW processing iPad app   Watch the YouTube video of this podcast here. 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

Today marks the start of a new financial year, which means a raft of new measures are now in effect – from a payrise for 2.7 million workers, to tax and super changes, and a variety of new federal and state-specific laws. We’ll take you through all the 1 July updates in today’s deep dive. Hosts: Emma Gillespie and Zara SeidlerProducer: 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.

Sanne De Wilde is beeldend kunstenaar, fotograaf en maker van projecten die gaan over genetica, identiteit, perceptie en systemisch geweld. In dit gesprek vertelt ze over haar nieuwe trilogie, over de procedure die haar en haar partner Majesty jarenlang heeft uitgeput, over moederschap en het patriarchaat, over de koloniale erfenis die als een boemerang terugkomt, en over hoe zij fotografie inzet als verbindend middel, niet als statement van buitenaf.Dit is een openhartig, gelaagd gesprek over wat het betekent om als maker te leven wat je maakt.Wat je leert in deze afleveringHoe Sanne haar persoonlijke ervaringen, migratie, moederschap en koloniale erfenis, omzet in artistiek onderzoek dat verder reikt dan de galerijencontextWaarom samenwerken voor haar geen keuze is, maar een overtuiging, en hoe dat haar sterkste én kwetsbare kant tegelijk isHoe zij laat in haar carrière het subsidiesysteem heeft leren kennen en wat ze daarin anders had gedaanWat fotografie kan doen wat andere media niet kunnen, en wat het medium nog te weinig doetWat zij aan jonge fotografen meegeeft over professionalisering, het zwarte gat na de opleiding en wat een fotoschool je niet leertOver Sanne De WildeSanne De Wilde (Antwerpen, 1987) is beeldend kunstenaar en werkt met fotografie, film, installatie en schilderkunst. Haar projecten onderzoeken thema's als genetica, identiteit, perceptie en systemisch geweld, altijd in samenwerking met anderen en via storytelling. Haar werk won onder meer de Photo Academy Awards (2012), de Nikon Press Award (2014/2016), de Zilveren Camera en de World Press Photo Award (2019, samen met Bénédicte Curzen voor Land of Ibiji). Ze geeft les aan de Houston Center for Photography en is lid van Institute Artist. Haar nieuwe trilogie The Trilogy about Togetherness werd eerder dit jaar getoond in Hangar in Brussel.Links en bronnenWebsite Sanne De WildeInstitute ArtistMede mogelijk gemaakt doorDeze 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. Meer info op profotonet.com.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. Meer info op robyns.be.Meer weten over 1-op-1 mentoring?In mijn persoonlijke begeleidingstraject werk ik zes maanden intensief met jou samen aan de onderdelen van jouw fotopraktijk die jij wil aanpakken of verbeteren. Van portfolioopbouw tot positionering, van sales tot tentoonstellingsstrategie. Volledig afgestemd op jouw situatie. Ik begeleid maximaal tien fotografen tegelijk.Alle info vind je op donkerekamer.com/mentor. Heb je vragen of wil je eerst even kennismaken? Stuur een DM of plan een kennismakingsgesprek.

In Australia, it is completely legal to lie in a political ad. Politicians can run false claims, spread misinformation, and publish AI-generated content, all without facing consequences. That could soon change though, after one MP introduced a bill last week to try and legislate truth in political advertising. In today’s podcast we're going to break down the rules around political ads, and what proposed changes could be on the horizon. Hosts: Elliot Lawry and Zara SeidlerProducer: 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.

Last week, Channel Nine dropped Karl Stefanovic, one of its longest-standing TV hosts, over a podcast episode with a British far-right, anti-Islam activist. Stefanovic launched the podcast saying it was going to be “unfiltered and uncensored,” and while that might be the case, that doesn’t mean it is without consequences for his Australian media career. In today’s episode, we’ll explain why interviewing Tommy Robinson meant Karl lost his job at Nine. Hosts: Lucy Tassell and Emma GillespieProducer: Orla Maher 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.

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.

We dig into the new Leica SL3-P with a full review and Lab Test, share the results of our DJI Ronin 4D successor poll, go behind the scenes on an immersive BBC Proms production for Apple Vision Pro, and run through a wave of new on-set apps and gear – plus SMPTE opening its standards catalog, two pieces of FUJIFILM news, new DZOFILM adapters, and CVP's Warranty+. Chapters & Articles Mentioned in This Episode: (00:00) Intro & topic outlook (05:58) Leica SL3-P Review – Gorgeous Color Rendition, Confusing Menu https://www.cined.com/leica-sl3-p-review-gorgeous-color-rendition-confusing-menu/ (07:53) Leica SL3-P Lab Test – Rolling Shutter, Dynamic Range, and Exposure Latitude https://www.cined.com/leica-sl3-p-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/ (15:55) Leica SL3-P Review – Gorgeous Color Rendition, Confusing Menu (continued) (27:36) Poll: What Would You Want from a DJI Ronin 4D Successor? https://www.cined.com/poll-what-would-you-want-from-a-dji-ronin-4d-successor/ (44:44) Inside “Debut at the BBC Proms”: Director Ian Russell on Filming Classical Music for Apple Vision Pro https://www.cined.com/inside-debut-at-the-bbc-proms-director-ian-russell-on-filming-classical-music-for-apple-vision-pro/ (51:19) LidarAC App for Tilta Nucleus-M II and Nano II Introduced – Turn Your iPhone Into a LiDAR Rangefinder https://www.cined.com/lidarac-app-for-tilta-nucleus-m-ii-and-nano-ii-introduced-turn-your-iphone-into-a-lidar-rangefinder/ (55:03) RingThing Focus Ring Label Maker App for ARRI Hi-5, WCU-4, and Tilta Nucleus-M II Released https://www.cined.com/ringthing-focus-ring-label-maker-app-for-arri-hi-5-wcu-4-and-tilta-nucleus-m-ii-released/ (56:36) Mavis Studio Update Adds NDI Preview, PTZ Camera Control, and USB Audio to the iPad https://www.cined.com/mavis-studio-update-adds-ndi-preview-ptz-camera-control-and-usb-audio-to-the-ipad/ (58:02) First Rush 2.1 – On-Set Multicam SDI to ProRes Recorder Lands on the Mac App Store https://www.cined.com/first-rush-2-1-on-set-multicam-sdi-to-prores-recorder-lands-on-the-mac-app-store/ (1:00:44) Eddie AI Integrates with Iconik for AI-Assisted MAM Workflows https://www.cined.com/eddie-ai-integrates-with-iconik-for-ai-assisted-mam-workflows/ (1:02:17) SMPTE Opens Its Entire Standards Catalog for Free, Removing a Century-Old Paywall https://www.cined.com/smpte-opens-its-entire-standards-catalog-for-free-removing-a-century-old-paywall/ (1:06:05) FUJIFILM Fujikina Returns to New York City in October https://www.cined.com/fujifilm-fujikina-returns-to-new-york-city-in-october/ (1:07:37) FUJIFILM GFX Challenge Grant Program 2026 Opens – August 17th, Submission Deadline https://www.cined.com/fujifilm-gfx-challenge-grant-program-2026-opens-august-17th-submission-deadline/ (1:11:08) DZOFILM Octopus II and Marlin 1.4x Extender Announced – Up to 49% Lighter, 1.4x Focal Boost, S35-to-Full-Frame Coverage https://www.cined.com/dzofilm-octopus-ii-and-marlin-1-4x-extender-announced-up-to-49-lighter-1-4x-focal-boost-s35-to-full-frame-coverage/ (1:12:26) CVP Launches Warranty+ – Up to 4 Extra Years of Cover, Worldwide Repairs, and ProRepairs Support https://www.cined.com/cvp-launches-warranty-up-to-4-extra-years-of-cover-worldwide-repairs-and-prorepairs-support/ (1:13:34) Breaking the Framing Rules – New Storytelling Sessions Webinar on June 30th https://www.cined.com/breaking-the-framing-rules-new-storytelling-sessions-webinar-on-june-30th/

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).

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/

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.

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.