Podcasts about Nikon

This revisit is one of my personal projects that I had wanted to get out for the listener for quite some time and to see it all put together was something I will always cherish. This episode has been a project since this show began as we finally tell the story of the attack on Dallas Police Headquarters on June 13th, 2015. At approximately 12:30 am a suspect, driving an armored van, drove to police headquarters in Dallas Texas and planted bags containing pipe bombs and opened fire on the front of the building with an assault rifle. Several officers responded and were met with gunfire in the streets in front of headquarters and then led the police on a chase that would end in history being made in US law enforcement history with the method in which the threat was eliminated. The episode will detail the tragedy from the 2013 arrest of the suspect to the events on June 13th, 2015, as he was eliminated by the use of a .50 caliber rifle, the first and only time this weapon platform has been used on a suspect in the United States.   This episode welcomes then Dallas SWAT members Jude Braun, Kent Wolverton, Danny Canete and Keith Rieg to the stage to give a play-by-play firsthand account of this incident and the significance in Dallas and US law enforcement history.   Guest List: Jude Braun #5015            36 years with Dallas Police and served 33 years with Dallas SWAT. Jude has the reputation of being an expert on explosive breaching and spearheaded the rifle program on the Dallas Police Department. Braun is now retired. Keith Rieg #6809 32 years with the Dallas Police Department and is still an active SWAT member after 24 years. Keith is a sniper and pulled the trigger of the .50 caliber rifle during this incident. Kent Wolverton #8393 20 years with Dallas Police Department and served as supervisor in SWAT for nearly 7 years. Kent also commanded the Dallas K9 Unit and now is a supervisor in Narcotics. Danny Canete #8834                17-year Dallas veteran with over 8 years in Dallas SWAT. Danny also was a member of the Dallas Narcotics Unit and the Southeast CRT.                Master Breacher Certified, Sniper and Less Lethal and Rope Master and instructor for High Angle Team as well rappel instructor for TTPOA.   Terms used in episode:                “Green Light”: Order giving by the Chief of Police authorizing operators to use deadly force to eliminate the threat.   Weapons used by the suspect:                Jennings JA-9 9mm handgun                Taurus Judge .45 caliber handgun                Savage Model 111 6.5/284   Norma with Redfield scope                Ruger 10/22 with Nikon scope                Stevens Model 320 Security 12 gauge pump                Pipe Bombs

Analog Combo: NIKKOR-S Auto 35mm 2.8 | Nikon F2A | TMAX 100 | Kodak HC-110. Bringing It All Back Home returns with another Analog Combo featuring a vintage Pre-AI Nikkor lens, an all-time classic Nikon body, as well as one of the greatest Kodak b&w films available today. Topics: Pre-Ai/Non-Ai lenses, Stop-down metering, the hidden value in non-Ai glass, sharpness/microcontrast, as well as the overall feel and value of the combo.https://imaging.nikon.com/imaging/information/story/0038/index.htmlhttp://www.photosynthesis.co.nz/nikon/serialno.htmlhttps://www.youtube.com/watch?v=FcjHtVMcCJE

BIPOC creatives are still underrepresented in the travel industry — Aspen Cierra shares how collectives like Black Women Photographers and the Black Travel Alliance unlocked grants, press trips, mentorship, and access that led to Iceland, Jordan, and beyond. From a Nikon-backed grant to tourism board work and creator press trips, her journey shows how representation, shared resources, and showing up in the right spaces can change who gets seen — and who gets hired. This conversation is about building a career through alignment, visibility, and belonging in an industry still catching up.Become a supporter of this podcast: https://www.spreaker.com/podcast/globetrotters-podcast--5023679/support.

With a PetaPixel Membership, not only can you support original PetaPixel reporting and in-depth reviews, but you can also remove ads from the website and gain access to some seriously great perks, too. Members get $15 off the Moment Store, 5% off certified pre-owned gear from KEH, 25% off the PetaPixel Merch Store, and now can download full-resolution RAW files and JPEGs from the latest cameras and lenses. It costs just $3 per month or $30 per year. Join today: https://petapixel.com/members/This week on The PetaPixel Podcast, Chris Niccolls, Jordan Drake, and Jaron Schneider are joined by Sarah Teng to talk about the Instax Mini Evo Cinema. And, in a weird bizzaro world twist, it's Chris who has to convince Sarah that it's great. She's not sold, but Chris absolutely loves this weirdo video/printer/instant camera hybrid. Also, the Ricoh GR IV Monochrome finally has a price and release date, but it's a lot more expensive than the base model. Apple launched a new suite of creative apps called the Creator Studio, Adorama was literally giving X half cameras away, and you can get a GoPro-branded laptop for some reason. 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 - Intro, and Sarah Teng is back!12:11 - The Ricoh GR Monochrome costs $700 more than the base model16:32 - Fujifilm is releasing an all-white X half in China17:52 - Meanwhile, Adorama is literally giving X halfs away20:33 - Pentax isn't sure how to make the DSLR popular again26:43 - You can get a GoPro laptop, if you're into that30:56 - Nikon's 24-105mm f/4-7.1 is a new kit zoom for the Z5 II32:57 - The OM-D E-M10 Mark IV isn't being discontinued36:20 - Apple Creator Studio is the long-awaited competitor to Adobe Creative Cloud44:15 - Is the Mini Evo Cinema the best Instax camera ever?1:03:54 - What have you been up to?1:10:10 - Tech support1:16:28 - Feel good story of the week: Don't ever change, Radio Shack

Back on this day in 1974 President Nikon signs the national speed limit into law. He signed the federal law lowering the speed limit to 55 mph to be more fuel efficient. 

Leeds United produced a defensive masterclass against the billion pound squad of the premier league champions Liverpool. With Rodon out injured Farke rolled the dice on several fringe players who played their part to earn a great point prolonging Leeds' unbeaten run to 6 matches.

In case you didn't already know, 2025 marks 10 years since we started the B&H Photography Podcast, making today's show our tenth annual Photo Gear of the Year episode! A lot of cameras have come down the pike since that first recap, along with a veritable roller coaster of marketing strategies and photographic trends. To follow up on a trend discussed last year, we start out with a nod to point-and-shoots, a craze that, according to Kevin, has "become fever pitch." To expand on this theme, we look back in time to when digital point-and-shoots were losing ground to the ubiquitous camera phone, leading to Mike's theory that the current digicam trend is "real nostalgia for mid-aughts frivolity." We also point to a multi-tiered strategy among manufacturers, allowing them to cater to different user bases—from vloggers to professionals to hybrid shooters to the all-important enthusiast market. This lighthearted banter leads into our main course, focused on new releases from Canon, FUJIFILM, Godox, Hasselblad, Leica, Nikon, OM SYSTEM, Panasonic, Peak Design, Ricoh Pentax, Sigma, and Sony. Finally, in addition to predictions for 2026, we wrap things up with Kevin's picks for travel-friendly photo accessories to catch his eye this year. Stay to the end to learn about Peak Design's latest travel bags and tripods, plus the innovative modular design behind a new flash system from Godox. Guest: Kevin Rickert Episode Timeline 2:50: Kevin looks back at recent camera trends, and identifies separate tiers for vlogging, high resolution cameras, hybrid cameras, and the nostalgia for old point & shoots. 9:11: Canon releases: R50 V, R6 Mark III, Powershot V1… plus a nod to the older G7 X Mark III 18:00: FUJIFILM releases: X-half digital camera, X-E5, X-T30 III, GFX100RF, Instax Wide EVO 33:10: Hasselblad release: X2D II 100C 37:37: Leica releases: M EV1, Q3 Monochrome, SL3-S, SL3 Reporter 43:30: Episode break 43:52: Nikon releases: ZR 6K, Z5 II, and a Z6 III firmware update 54:22: OM SYSTEMS releases: OM-3, OM-5 MK II 57:38: Panasonic releases: S1R II, S1 II, S1 IIE 1:02:48: Ricoh release: GR IV 1:05:40: Sigma release: BF Mirrorless 1:09:48: Sony releases: RX1R III, FX3A, FX2, a7 V 1:23:50: Kevin's recommendation for a better editing workflow when travelling with an Apple iPad Pro 1:26:06: Peak Design releases: Roller Pro Carry-On & Pro Carbon Fiber Tripods with Ball Head 1:28:45: Godox release: iT-32 TTL Mini Flash system 1:30:12: Revisiting the current point and-shoot craze and the digicam look 1:34:52: Kevin's upcoming travel plans, and thinking ahead for the total eclipse in mid-August 2026 1:39:00: Kevin, Derek, and Mike share their predictions for 2026 Guest Bio: Kevin Rickert is B&H Photo's Senior Sales Trainer for Photography and Lighting. It's Kevin's job to keep in touch with camera and lens manufacturers and get details about all the latest releases and updates. His role is to make sure the world-renowned B&H staff has all the information to answer your who, what, why, and other questions that you may ask, so they can satisfy all your wants and needs. Born and raised in New York, Kevin is an intrepid street photographer, an avid traveler, and a baseball fan with 23 years in electronic retail, the last 11 of which have been spent as a sales trainer at B&H. Stay Connected: B&H Photo Video Website: https://www.bhphotovideo.com B&H Photography Podcast landing page: https://www.bhphotovideo.com/explora/podcasts B&H Photography Podcast on B&H Photo's YouTube channel: https://www.youtube.com/@BandH/podcasts  B&H Photo Video Instagram: https://www.instagram.com/bhphoto B&H Photo Video Twitter: https://twitter.com/bhphoto  Credits: Host: Derek Fahsbender Senior Creative Producer: Jill Waterman Senior Technical Producer: Mike Weinstein Executive Producer: Richard Stevens  

Feliz 2026 amigos. gracias por escuchar el reflex podcast

Feliz 2026 amigos. Gracias por los animos a Pistón y gracias por estar ahi.

Send us a textIn this episode of the SheClicks Women in Photography Podcast, host Angela Nicholson speaks with the inspirational Ami Vitale, a renowned photojournalist, Nikon ambassador and passionate conservation storyteller.Ami's images are known for their emotional power, from the moving final moments of Sudan, the last male Northern White Rhino, to her long-term work in China documenting panda conservation. Her commitment to telling meaningful stories has taken her to conflict zones and conservation areas across the globe, always with a deep respect for the communities and wildlife she photographs.In this conversation, Ami shares how photography became her tool for connection and transformation. She opens up about the challenges she faced breaking into the industry, the weight of ethical storytelling and the persistence needed to tell stories that matter. She discusses the importance of building trust with subjects, allowing stories to evolve and how empathy lies at the heart of every frame she captures.Listeners will also hear her thoughts on how to create impact through photography, the danger of AI-generated images, the growing problem of over-tourism and the importance of lifting up the next generation of photographers.Whether you are an aspiring photojournalist or someone who uses photography to explore the world, Ami's journey offers encouragement, wisdom and practical advice.Takeaways Building trust and genuine relationships is key to impactful storytellingIt's important to allow stories to evolve rather than arrive with fixed ideasPhotography can connect people, build empathy and inspire changeLong-term projects offer deeper meaning and insightConfidence and persistence are vital when navigating a creative careerFind purpose and ethical grounding in your photographic workConnect with AmiWebsiteInstagramNikonThis episode is supported by Nikon, a world-leading provider of imaging products and services. Nikon's Regional Director, Charlotte Kemsley says: “At Nikon we pride ourselves on empowering photographers to create images and videos that inspire. We are honoured to be partnering with SheClicks and share their ambition of increasing the visibility of women in all aspects of photography.”Support the show

In today's episode I cover the possibility of being charged an import tax when traveling to Mexico, a new Nikon mic and David Hurn. You can find the show notes here. https://liamphotographypodcast.com/episodes/episode-486-camera-tax-nikon-mic-space-walking

Gracias por los mensajes de cariño de todos vosotros a Pistón Mac Mini 639€ https://amzn.to/4pf05OZ1TB de MVMe de WD 89€ https://amzn.to/4qnKo9a

This is The Digital Story Podcast 1,031, Dec. 23, 2025. Today's theme is, "More Realistic Film Simulations with a Dash of Grain." I'm Derrick Story. Film simulations by Fuji, Nikon, and OM System are great for color and tones, but there's a missing ingredient when compared to actual analog shots: grain! This week we're going to explore the virtues of a few dashes of grain and learn how to apply it for more realistic film simulations. All of that, and more, on today's TDS Photography Podcast. I hope you enjoy the show.

A version of this essay has been published by rediff.com at https://www.rediff.com/news/column/is-india-standing-alone-in-2025/20251222.htm2025 has been a disastrous year for the US, surely in foreign affairs and economics. The trade war, far from strengthening the economy, has shown the limits of American power: the capitulation to Chinese supplier power on rare earths, and a strategic retreat in the face of Chinese buyer power on soybeans, for example.The dramatic rise of Chinese generativeAI, which will undercut US Big Tech, is another problem. The US cannot afford to be the globocop any more, and the new National Security Strategy seeks a US withdrawal into ‘Fortress America'. It may mark the end of the vaunted ‘American exceptionalism' as well as the ‘liberal rules-based international order'.In an earlier time, this would have led to the famous Thucydides Trap, but in effect the US has gone into an ‘anti-Thucydides Trap' because it unthinkingly paved the way for China's rise, seduced by the short-term benefit of low-cost Chinese goods while ignoring the long-term strategic disaster. In the 20th century, Britain collapsed suddenly, but it is merely a tiny island off Eurasia. I never expected continent-sized America to follow suit in the 21st century.Meanwhile, in a fine example of “manufacturing consent”, the discourse in the US is not focusing on the global problems facing the country, but on MAGA bullying of H1-B Indians and on the Epstein files, which, on the face of it, is a silly exercise in moralization. I believe it was Hermann Hesse who said something to the effect that Americans are not interested in morals, being content with moralization.But the entire kowtowing to China has serious implications for India. One of the pillars of Indian foreign policy for decades has been the idea that it is a strategic counterweight to China in the US's calculations. But if the US has really ceded Asia to China (I recall President Obama saying as long ago as 2009 that the US and China would “work together to promote peace, stability, and development in South Asia”) then the famous ‘pivot to Asia' is null and void.A couple of years ago, I wrote that the most obvious thing for the US's Deep State to do would be to form a G2 condominium with China, divide up the world amongst themselves, and set up respective spheres of influence. This was predicated on America's relative decline, and China's economic and military rise to be, for all intents and purposes, a peer. I thought this would take a decade or more, but, lo and behold, the US is caving in furiously to China right now.In addition, I wrote about the surprisingly large and malign influence exerted by Britain, whereby it plays a ‘master-blaster' role, leading the US by the nose, usually to America's detriment. Britain's ‘imperial fortress' Pakistan seems to be involved in every terror incident, yet President Trump's new-found camaraderie with them (“here, some more F-16 goodies for you”) is yet another indictment of their twisted priorities.And Britain seems to be “winning”, too: on the one hand, they have finally defeated Germany, which they couldn't do via two World Wars: the latter's economy, its electricity grid, and its vaunted mittelstand and its automobile industry are in shambles. On the other hand, Britain is the one major European power that has not been defeated by Russia, so they think they can, conversely, defeat them. France (Napoleon) and Germany (Hitler) learnt otherwise.The pointless Ukraine War is bankrupting Europe; I wrote about how this is hastening the end of the European century and how ‘Europe' is reverting to what it was through most of history: unimportant ‘Northwest Asia'. This could well also be Britain's revenge against Europe, which it exited in a huff via Brexit: British elites have looked down upon Europeans all along.I mention all these not to show that I was somehow prescient, but that things we have been observing for some time are coming to a head: the US National Security Strategy is the capstone of the New World Order. And it seems to codify these trends: hegemony to China with Asia as its sphere of influence, the abandonment of Europe to its own devices, a focus on the Americas in a new ‘Donroe Doctrine' (so to speak).In the background are continuing terror attacks such as the one in Sydney, murderous attacks on Alawites in Syria, the car bomb in Delhi, and the lynching and burning alive of a minority Hindu youth, Dipu Chandra Das, in Bangladesh by a frenzied mob. The world is not a safe place.There was also a defining moment: the US seizure of a Venezuelan oil tanker. Far from being a show of strength, this may well be an admission of weakness: Venezuela is no competitor, and this is like the US invasion of defenseless Panama some years ago. It is, however, a declaration that the Americas belong to the US sphere of influence (the ‘Donroe' Doctrine).Sadly, China may demur: it views the Americas are adjacent to them (just across the Pacific) and have made inroads into many countries, including Panama, and ironically are funding a proposed alternative to the Panama Canal through Nicaragua, as well as a major Brazil-Peru railroad project (all the better to ship in raw materials from both the Atlantic and Pacific coasts and to ship out “rubber dogshit from HongKong” back to them). Their $3 billion Chancay deepwater port in Peru has already been inaugurated.China is now a $500 billion trading partner for South America, overtaking the US, yes, overtaking the US. To top it all, the ports on both sides of the Panama Canal, i.e Cristobal (Atlantic side) and Balboa (Pacific side) are run by Hong Kong companies, which of course means the CCP does. In fact, it is blocking US firm Blackrock's acquisition of these ports.China therefore has serious assets in the Americas, and large commercial interests. The US can pretend it is supreme in the Americas, but the reality may be a little different.Meanwhile, the US has more or less abandoned its Quad partners in Asia and acknowledged Chinese hegemony there: in other words, that half of the condominium is done. When the new Japanese Prime Minister Sanae Takaichi said something that was obvious and perfectly within her rights to worry about Japan's security, the Chinese came down on her like a ton of bricks, wolf-warrior style. The normally voluble Trump said nothing at all in support of Japan.Regarding India, there has been a persistent tilt towards Pakistan during and after Operation Sindoor; and the imposition of harsh tariffs. The increasingly volatile situation in Bangladesh which is the result of a likely US-backed ‘regime-change' operation is a significant security threat to India because of the collusion of jihadi, Pakistani and Chinese-proxy elements there and the very real concern about the cutoff of India's Northeast from the mainland, apart from the ongoing murders and ethnic cleansing of Hindus and Buddhists there.Now comes the New York Times, which I generally despise as a propaganda arm of the Deep State. But they show some self-awareness in their editorial “America cannot win alone”. No man is an island, as John Donne wrote some years ago. And America is not a singular colossus any more either, and it needs alliances. It hurts me (as an Americophile) how rapidly the US is declining in relative terms, and perhaps even absolute terms.The best indicator of this decline is in the crown jewels of the US: its technology sector. On the one hand, the entire US stock market has been propped up by the Magnificent Seven and the alleged promise of the generativeAI boom. On the other hand, China's patented “over-invest, scale up, get to be lowest-cost producer, drive competitors out of business” is repeating in industry after industry: the latest is automobiles, where the famous German marques are history.Trump's surrender on Nvidia's H200 chips is an indication that China is playing the trade-war game much better than the U.S. China has amassed a $1 trillion trade surplus in the first 11 months of 2025, an unprecedented feat that shows its trade power. Not only is this because of supply-chain dominance, but an analyst suggests it's also because China is now on the verge of delivering a knockout blow to US/Western tech.There are news reports that China has almost managed to replicate EUV (Extreme Ultra Violet) lithography from ASML, one of the key areas in chipmaking that was beyond China's reach. They used former ASML employees of Chinese descent, as well as less advanced technologies from ASML itself, Canon and Nikon.This is the context in which one has to critique Trump's 2025 US National Security Strategy. In summary, it shows a narrowing of America's expansive self-image, the beginnings of a ‘Fortress America' mindset and an ‘America First' doctrine. The ‘promotion of democracy' is downplayed (aka ‘regime change', as we have seen in Bangladesh. Thank goodness!) and fighting other people's wars (think Ukraine) has been de-emphasized.It fits in very well with the G2 condominium idea, as it focuses on national interests and explicitly rejects globalism, elevates economic matters while suggesting the use of military might as an element of dealmaking, and asks ‘allies' to shoulder more responsibility.Europe is downgraded, China is the prime focus with an emphasis on deterrence (e.g., Taiwan), supply-chain resilience and balanced trade, the Indo-Pacific gets short shrift, and the emphasis is on the Americas as, so to speak, the US's private playpen, harking back to the 19th century.India gets almost no attention: it is mentioned four times as compared to 21 times for China, with the tone shifting from ‘strategic partner' or ‘leading global power' to a more transactional expectation of burden-sharing and reciprocity. The Quad is downplayed too. India will need to maintain multi-alignment (e.g., with Russia via RELOS agreements), diversify dependencies, and accelerate self-reliance. India is on its own, as I said in “The Abhimanyu Syndrome”. At least twenty-five years of wooing the US has gone down the drain. Back to the drawing board.At the beginning of 2025, I must admit I was optimistic about Indo-US relations under Trump's presidency. I did not think the G2 condominium would arrive so soon, especially under Trump, or that the eclipse of the US would be so sudden and so dramatic. India had at least one bright spot in 2025: the rapidly-growing economy, despite US tariffs. I really can't see much that went well for the US. Truly an annus horribilis. In 1999, I wrote that that year was terrible for India, but 2025 may have been worse for the US, in my opinion.Malayalam podcast created by notebookLM.google.com:1800 words, 20 Dec 2025 This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit rajeevsrinivasan.substack.com/subscribe

Official Emailtalkinwithtopher@gmail.comThe Mail Box Guys⁠⁠⁠⁠(facebook) https://www.facebook.com/share/1C6cbtm8eA/⁠⁠⁠⁠(instagram) https://www.instagram.com/the_mailbox_guys/?hl=enCryptid and Kin(instagram) https://www.instagram.com/cryptidandkin/?hl=en=(YouTube) www.youtube.com/@CryptidAndKinTopher's Social Media(linktr.ee) ⁠⁠https://linktr.ee/talkinwithtopher⁠⁠(instagram) ⁠⁠https://www.instagram.com/talkinwithtopher/?hl=en⁠⁠(twitter) ⁠⁠https://twitter.com/_conderman⁠⁠(snap chat) ⁠⁠https://www.snapchat.com/add/cconderman?share_id=HiV14moKPns&locale=en-US⁠⁠(tik tok) ⁠⁠https://www.tiktok.com/@talkinwithtopher?lang=en⁠⁠(Facebook) ⁠⁠https://www.facebook.com/christopher.conderman⁠⁠Time Stamps(00:00:00) Start(00:03:50) Global healing institute making perfect sounds(00:08:59) Arch Bishop Vigano truth bomb dropped(00:13:09) How to redeem yourself from slavery(00:15:02) Medications link to school shootings(00:21:32) Mistry Schools and Doomsday Bunkers(00:28:28) Isn't that our President(00:30:23) Did she just trigger him or is this Hypnosis(00:33:32) right and left never agree, but Israel they agree(00:36:01) How long have these people been around(00:42:15) Proof of flat earth(00:47:23) NASA hiding proof of hollow earth(00:50:45) Nikon p1000 camera is been discontinued(00:54:27) retired interlace officer tells all on inner earth(00:58:03) Space is under water(01:04:07) under water cables give us 90% of our intranetEpisode Linkshttps://www.instagram.com/reel/DRIbgq3kaGL/?utm_source=ig_web_copy_link&igsh=NTc4MTIwNjQ2YQ==https://www.instagram.com/reel/DRKeum4iHQm/?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==https://www.instagram.com/reel/DHcDlHTyLsB/?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==https://www.instagram.com/reel/DOBe8_iEYov/?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==https://www.facebook.com/share/v/17u6vhessE/https://www.facebook.com/share/r/1CXbqDGg17/https://www.facebook.com/share/r/1HaFHP5f45/https://www.facebook.com/share/r/16L2ykDABG/https://www.facebook.com/share/r/14RCpqgcs9n/https://x.com/FELibrary_/status/1975911531612365290?s=20https://www.facebook.com/share/r/1GAYskYqNw/https://www.facebook.com/share/v/1BceTKRdpW/https://www.instagram.com/reel/DRB2D0BjJrw/?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==https://www.instagram.com/reel/DOTz5LogVdL/?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==

The Stringer Documentary & the Napalm Girl Mystery – A Deep Dive into Photojournalism Controversy Published on 10 Frames Per Second Blog – Your go‑to source for photojournalism insight Table of Contents What Is The Stringer? Meet the Key Players – Gary Knight & Bao Nguyen Why the Napalm Girl Photo Matters Forensic Evidence: The Road‑Testing of the Iconic Shot Industry Reaction – Backlash, Bans, and the “Wagon‑Circling” Culture The Hidden History of Vietnamese & Local Freelance Photographers How to Watch The Stringer and Join the Conversation Takeaway: What This Means for Photojournalism Today 1. What Is The Stringer? The Stringer is a newly released documentary (Netflix, 2024) that investigates the authorship of the world‑famous “Napalm Girl” photograph taken in Vietnam, 1972. Core premise: The film follows journalist Gary Knight and director Bao Nguyen as they trace a decades‑old secret held by a Vietnamese stringer‑photographer, Nguyễn Thành Nghệ (Wintan Nei). Format: A blend of on‑the‑ground interviews, archival footage, and forensic road‑testing that reconstructs the exact location, timing, and line‑of‑sight of the iconic image. Why it matters: The image is one of the most published photographs in history and is universally credited to Associated Press staff photographer Nick Ut. The documentary questions that credit, shaking a cornerstone of photojournalistic mythology. 2. Meet the Key Players – Gary Knight & Bao Nguyen Person Role Why They're Important Gary Knight Founder of the VII Foundation, mentor, and documentary “connective tissue.” Provides insider knowledge of the photojournalism world, contacts, and credibility that anchors the investigation. Bao Nguyen Director of The Stringer Chose to frame the story as a journey, not just a series of talking‑heads, and insisted on a central narrator (Gary) to guide viewers. Carl Robinson Former AP Vietnamese‑language photo editor (local hire). His 2022 email sparked the whole investigation; his memories and documents are a primary source. Horst Fass Senior AP photographer in Vietnam (the “gatekeeper” of the image). His decision to run the picture on the wire is central to the credit controversy. Nguyễn Thành Nghệ (Wintan Nei) Vietnamese stringer who claimed to have taken the shot. The film's “secret” – his testimony and forensic evidence challenge the accepted narrative. Nick Ut AP staff photographer historically credited for the photo. The focal point of the debate; his name appears on every caption of the image. 3. Why the Napalm Girl Photo Matters Iconic status: Frequently cited in textbooks, museums, and peace‑activist campaigns. Cultural impact: Symbolizes the horrors of the Vietnam War and the power of visual storytelling. Professional legacy: The credit has shaped career trajectories, awards (Pulitzer, etc.), and AP's brand. If the credit shifts, we must reconsider how many other war‑zone images were attributed, potentially rewriting a large part of photojournalism history. 4. Forensic Evidence: The Road‑Testing of the Iconic Shot The documentary's most compelling section is the road‑forensics – a scientific recreation of the moment the photo was taken. Methodology: Researchers drove the exact route described by Wintan Nei, measuring distances, angles, and terrain features. Key Findings: Line‑of‑sight analysis shows the photographer would have been ~150 meters from the burning road—far beyond the reach of a 35 mm lens used by Ut. Shadow & lighting study matches the sun angle on July 29, 1972, which aligns with Wintan Nei's timeline, not Ut's. Camera metadata (Pentax vs. Nikon) – expert testimony confirms Ut's camera was not a Pentax, the model allegedly used by Wintan Nei. Independent verification: World Press Photo hired a former Bellingcat investigator, and INDEX a Paris-based research group. French photographer Tristan da Cunha corroborated the forensic report.  Cunha also worked with AD Coleman on his Robert Capa investigation (Ep. 35) These data points form the strongest case in the film that Nick Ut did not take the photograph. 5. Industry Reaction – Backlash, Bans, and the “Wagon‑Circling” Culture Immediate pushback: Numerous journalists launched letter‑writing campaigns to film festivals and employers, asking for the documentary to be removed. Attempted bans: Some media outlets threatened to fire staff who publicly supported the film. Defensive stance: Many veteran photographers argued that the film attacks “iconic” heroes and undermines the profession's reputation. Key quote from Gary Knight: “Journalists don't ban books or films they haven't read. Our job is to investigate, not to protect mythologies.” The controversy illustrates the “wagon‑circling” phenomenon—protecting revered figures at the expense of truth. 6. The Hidden History of Vietnamese & Local Freelance Photographers The documentary spotlights a systemic issue: local photographers' contributions have been consistently erased. No Vietnamese names appear in a May 1975 Time editorial thank‑you list, despite hundreds of local staff. Many local photographers sold film to AP, NBC, or CBS, but credits always went to Western staff. Examples of overlooked talent: Dang Van Phuoc – AP's most prolific photographer during the war (lost an eye in the field) *needs his own wikipedia entry. Catherine Leroy, Francoise Demulder, Kate Webb – Women who covered Vietnam but remain under‑recognized. Result: A distorted, Western‑centric narrative of war photography that marginalizes the very people who captured the ground truth. 7. How to Watch The Stringer and Join the Conversation Platform Availability Tips Netflix Global (over 100 countries) Use the search term “The Stringer”; enable subtitles for multilingual audiences. Film festivals Sundance 2024 (screened), Frontline Club (London) Look for Q&A sessions with Gary Knight or Bao Nguyen. Social media #TheStringer on Twitter, Instagram, and Facebook Follow the hashtag for updates, behind‑the‑scenes clips, and scholarly debate. What you can do: Read the forensic report (available on the Seven Foundation website). Share the story with your photography community to spark discussions on credit attribution. Support local photographers by following their work on platforms like Vietnam Photo Archive or Fotodoc Center. 8. Takeaway: What This Means for Photojournalism Today Transparency is essential. Photo agencies must disclose the full chain of custody for images, especially in conflict zones. Credit deserves rigorous verification. The Napalm Girl case shows that even decades later, new evidence can overturn long‑standing attributions. Elevate local voices. Recognizing Vietnamese, Cambodian, Bosnian, Serbian, Ukrainian, and other native photographers enriches the historical record and promotes equity. Forensic tools are now part of journalism. Road‑testing, GIS mapping, and metadata analysis are valuable assets for future investigations. Bottom line: The Stringer isn't just a documentary—it's a catalyst urging the photojournalism community to re‑examine its myths, honor the unsung creators, and adopt a more accountable, data‑driven approach to storytelling.

Tim and Lindsay receive listener mail, and answer a listener's question about switching from Canon to Nikon.   ⬇️ SUPPORT THE SHOW ⬇️

Vincent Versace is an American photographer and a Nikon Ambassador. He is a recipient of the Computerworld Smithsonian Award in Media Arts & Entertainment. His work is part of the permanent collection of the Smithsonian Institution's National Museum of American History. At age seven, Vincent was introduced to photography and the darkroom by his uncle, a wedding photographer. Vincent saved his allowance to purchase a Nikon rangefinder at a garage sale and, at the age of nine, he sold his first photo to a local newspaper for $50. In high school, Vincent followed in his uncle's footsteps and photographed weddings. He has published three books on photography. His first book was Welcome to Oz: A Cinematic Approach to Digital Still Photography with Photoshop and named as one of the top digital books of 2007 by Shutterbug Magazine. The second book, Welcome to Oz 2.0, a complete rewrite of his first to include the science of focus and blur, and ExDR. His third book, From Oz to Kansas: Almost Every Black & White Technique Known to Mankind, was published in 2012.Check out his website www.versacephotography.comand instagram www.instagram.com/vincent_versace/?hl=en

On this episode of Leeds, That! Podcast, we dissect Leeds United's heartbreaking 2-1 loss to Aston Villa after leading 1-0 at Elland Road. Morgan Rogers' stunning double - including a free-kick, where Leeds should have done better. All in all this completed a Villa comeback that leaves Leeds in serious trouble. In this breakdown: ✓ How Leeds dominated the first half but fell apart defensively ✓ Rogers' individual brilliance and tactical masterclass from Aston Villa ✓ Daniel Farke's in-game management under pressure ✓ Where Leeds' season is headed after another devastating loss ✓ Key talking points from the That Podcast team Tune in for honest, expert analysis on the biggest Premier League storylines.

Systemwechsel: Von Nikon zu Leica

Why does success often feel like a moving target? In this episode, we explore the highs and lows of the creative journey, from embarrassing shoot stories and drone disasters to the mindset shifts that keep us as photographers inspired. Expect honest reflections on the pressures of social media, the pursuit of passion over perfection, and why the creative process never truly gets easier.Expect to Learn:Why reaching milestones doesn't always bring the satisfaction you expectHow to stay true to your creative valuesWhy reaching a new level in your craft often feels normal or underwhelmingHow to protect your love for photography by setting boundariesSponsors:Thanks to Tamron for sponsoring this episode! Their Holiday Instant Savings are here! Save up to $300 on select lenses for Sony, Nikon, and FUJIFILM mirrorless cameras now through January 11th, 2026. Explore here at www.tamron-americas.com Thanks also to the National Park Foundation for sponsoring today's episode. Enter the Share the Experience photo contest for a chance to win $10,000 and prizes from Celestron, Historic Hotels of America, and YETI. The grand prize winner's photo could be featured on the America the Beautiful—the National Parks and Federal Recreational Lands Annual Pass. The deadline to submit is December 31st 2025!Submit your best shots now at sharetheexperience.org/tpmOur Links:Join our subreddit where you can share stories and ask questions:https://www.reddit.com/r/photographermindset/Subscribe to TPM's Youtube page and watch full length episodes: https://www.youtube.com/thephotographermindset/Make a donation via PayPal for any amount you feel is equal to the value you receive from our podcast episodes! Donations help with the fees related to hosting the show:https://paypal.me/podcasttpm?country.x=CA&locale.x=en_USThanks for listening!Go get shooting, go get editing, and stay focused.@sethmacey@mantis_photography@thephotographermindsetSupport the show

這裡是樂天桃猿球迷向的非官方Podcast，請善用時間標記選擇想聽的話題。 ++++++ ** 『永豐銀行合作推廣』** 永豐SPORT卡是一張用汗水賺回饋的信用卡，只要每月加入永豐銀行的“汗水不白流”APP，參加【支持運動Podcast】揪團活動，達成app裡設計的運動目標，同時當月刷永豐SPORT卡，永豐銀行就會幫你抖內大叔野球543，抖內金額是每個卡戶刷卡消費的1%，或是一個人最多上限50元/月，再加上卡片本身是有最高6%回饋，就算運動沒達標，仍然有不錯的回饋讓大家來參考。支持永豐sport卡，支持大叔野球543，我們每年都會提撥固定比例跟你贊助基層棒球。 最後還是要謹慎理財，信用至上 申辦SPORT卡：https://mma.tw/O03BB ** ++++++** ** 留言回覆 (02:29)** ** ++++++** ** 黃子鵬轉隊加盟台鋼雄鷹 (18:12)** 鄭兆行可望續留桃猿，二軍總教練未定 (31:45) ** ++++++** ** 11/24 不知所云的記者會 (34:06)** ** == Post Program 非關桃猿** ** 手動對焦：Nikon Zf 兩週年使用心得 (57:33)** ** 使用相機的歷程** ** 購買當下的考量** ** 基本規格** ** 優點** ** 缺點** ** 不適合與適合的人** --- 本獨立單元是針對樂天桃猿的各種動態以球迷視角製作的節目；主要的內容除了賽事回顧，還有聊聊其他球場內外的相關話題。因為球場不靠海，怕食材不新鮮所以不餵你吃整鍋牡蠣，因為考量牙齒保健，所以酸度大概至少讓你喝到醋。 這是一個主要聊台灣棒球的Podcast節目，我們沒有精闢的解說，也沒有專業的數據，就是幾個愛棒球的大叔和聽眾們一同喇賽、一同嘴砲~~ 大家可以在相關的 Podcast APP 收聽我們的節目，希望大家可以介紹給喜愛棒球的朋友們。 如果喜歡我們的節目，也希望大家可以在 Apple Podcast 專區給我們五顆星。 有興趣合作的廠商歡迎私訊或email聊聊 email：baseballuncle543@outlook.com IG：baseballuncle543 FB：大叔野球543 －－－－以下為 SoundOn 動態廣告－－－－ 你了解自己的健康嗎？ Garmin Venu 4 不只是運動手錶， 從訓練、睡眠到壓力與能量全面掌握， 智慧分析＋個人化建議， 搭配最長 12 天超長續航， 讓健康管理更輕鬆、更聰明～ 立即了解→https://sofm.pse.is/8dl9hh -- Hosting provided by SoundOn

เชื่อไหมครับว่า ครั้งหนึ่งโลกของชิปคอมพิวเตอร์เคยอยู่ในกำมือของบริษัทญี่ปุ่น และชื่อที่ยิ่งใหญ่ที่สุดในเวลานั้น ไม่ใช่ใครที่ไหน แต่คือแบรนด์ที่เราคุ้นเคยกันดีอย่าง Nikon ลองย้อนเวลากลับไปในปี 2001 ในยุคนั้น Nikon เปรียบเสมือน “โชกุน” ผู้ทรงอิทธิพลแห่งวงการผลิตชิป พวกเขาครองส่วนแบ่งตลาดเครื่องจักรที่เรียกว่า Lithography หรือเครื่องพิมพ์ลายวงจรบนชิป อยู่ถึงเกือบ 40% ของทั้งโลก ไม่ว่าคุณจะหยิบอุปกรณ์อิเล็กทรอนิกส์ชิ้นไหนขึ้นมาในยุคนั้น มีโอกาสสูงมากที่ชิปข้างในจะถือกำเนิดมาจากเครื่องจักรของ Nikon ภาพตัดมาที่ปัจจุบัน ความยิ่งใหญ่นั้นกลับเลือนหายไปราวกับหมอกควัน ส่วนแบ่งตลาดของ Nikon ในธุรกิจนี้หดตัวลงเหลือเพียงประมาณ 7% เท่านั้น คำถามที่น่าสนใจคือ เกิดอะไรขึ้นกับยักษ์ใหญ่ที่เป็นเจ้าตลาดในยุค 90 ทำไมพวกเขาถึงร่วงหล่นลงมาได้ไกลขนาดนี้ เลือกฟังกันได้เลยนะครับ อย่าลืมกด Follow ติดตาม PodCast ช่อง Geek Forever's Podcast ของผมกันด้วยนะครับ #Nikon #ASML #ผลิตชิป #Semiconductor #Lithography #เทคโนโลยี #หุ้นเทคโนโลยี #สงครามชิป #ความรู้ธุรกิจ #EUV #Nanoimprint #Chiplet #BusinessCase #นวัตกรรม #ญี่ปุ่น #การลงทุน #กรณีศึกษา #geekstory #geekforeverpodcast

“Job hugging” is on the rise as people cling to jobs during a time of economic and political uncertainty. How can you stay sane and employed when you're terrified you're going to lose your job? Watch the latest Bad Boss Brief for help.Welcome to the Bad Boss Brief — your no-BS guide on how NOT to be an a*****e at work. Hosted by an executive and an executive coach, we dive into real stories and practical insights on bad bosses, better leadership, and unpack how to recognize if you're the problem.Together, we bring over 50 years of exec-level scars from Intel, Apple, Adobe, Publicis, and Nikon — plus a creative edge from our work in advertising, marketing, and the arts. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit badbossbrief.substack.com/subscribe

“Job hugging” is on the rise as people cling to jobs during a time of economic and political uncertainty. How can you stay sane and employed when you're terrified you're going to lose your job? Listen to the latest Bad Boss Brief for help.Welcome to the Bad Boss Brief — your no-BS guide on how NOT to be an a*****e at work. Hosted by an executive and an executive coach, we dive into real stories and practical insights on bad bosses, better leadership, and unpack how to recognize if you're the problem.Together, we bring over 50 years of exec-level scars from Intel, Apple, Adobe, Publicis, and Nikon — plus a creative edge from our work in advertising, marketing, and the arts. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit badbossbrief.substack.com/subscribe

It seem that every 4-5 years a ground breaking camera sensor comes out. In 2020 Sony released the A7S III which completely changed the game for filmmakers across the board with the technology and features it offered. 5 years later we haven't really seen anything ground breaking from Sony and I know there are certain people who may be looking at jumping ship to Canon, Nikon, Blackmagic or Lumix. I don't blame them as every other manufacture has pound for pound way more tech and features than Sony's current line up. So why am I sticking with Sony? Give this episode a listen and find out. If you enjoyed this episode please rate it and let me know how i'm doing! Follow the podcast if you're loving the content and share it with your friends! www.atdavidlee.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee  For All Your Licensed Audio Needs 70% off 1 Year of Audiio Pro with CODE SAVE70

In this episode, we dive into the art of landing photography clients with guest Dalton Johnson (@storiesbydalton), a full-time commercial and editorial photographer known for his outdoor and adventure work. Dalton shares his insights on balancing inbound and outbound strategies, building genuine relationships, and creating systems that attract work. Whether you're a full-time photographer or balancing a side hustle, this conversation is packed with actionable tips to help you connect with clients, stay top of mind, and create a sustainable career.Expect to Learn: The difference between pitching clients directly and building systems that attract them to youWhy fostering long-term connections with potential clients can lead to consistent workHow to use social media effectively without getting caught in the "posting for the algorithm" trapHow to use your portfolio to showcase your capabilities to potential clientsHow to maintain subtle, meaningful outreach that keeps you on a client's radar without being pushyDalton's Website: https://dalton-johnson.com/Dalton's YouTube: https://www.youtube.com/@storiesbydaltonSponsors:Thanks to Tamron for sponsoring this episode! Their Holiday Instant Savings are here! Save up to $300 on select lenses for Sony, Nikon, and FUJIFILM mirrorless cameras now through January 11th, 2026. Explore here at www.tamron-americas.com Thanks to the National Park Foundation for sponsoring today's episode. Enter the Share the Experience photo contest for a chance to win $10,000 and prizes from Celestron, Historic Hotels of America, and YETI. The grand prize winner's photo could be featured on the America the Beautiful—the National Parks and Federal Recreational Lands Annual Pass. Submit your best shots now at sharetheexperience.org/tpmOur Links:Join our subreddit where you can share stories and ask questions:https://www.reddit.com/r/photographermindset/Subscribe to TPM's Youtube page and watch full length episodes: https://www.youtube.com/thephotographermindset/Make a donation via PayPal for any amount you feel is equal to the value you receive from our podcast episodes! Donations help with the fees related to hosting the show: https://paypal.me/podcasttpm?country.x=CA&locale.x=en_USThanks for listening!Go get shooting, go get editing, and stay focused.@sethmacey@mantis_photography@thephotographermindsetSupport the show

Leeds United got ahead early at the City Ground but collapsed badly as Nottingham Forest turned the game around 3-1. In this episode we break down what went wrong for Leeds, how Forest found their backbone under Sean Dyche, and what this result says about the survival race and Leeds' season. We'll dig into the stats, the tactical errors, the worrying trends - and what Leeds must do now to avoid the drop.

今回は、くむが久しぶりに買い替えたカメラの話題をメインにお送りします。YoutubeのHOTCASTチャンネルで自身の動画を撮ってUPしているくむ。そのために、最近発売されたNikon ZRを購入しました！購入の経緯や実 […]

"When people who are bad at something think they're great and vice versa. Superpowers and how to find yours, managing with superpowers.” Listen for more on the latest Bad Boss Brief.Welcome to the Bad Boss Brief — your no-BS guide on how NOT to be an a*****e at work. Hosted by an executive and an executive coach, we dive into real stories and practical insights on bad bosses, better leadership, and unpack how to recognize if you're the problem.Together, we bring over 50 years of exec-level scars from Intel, Apple, Adobe, Publicis, and Nikon — plus a creative edge from our work in advertising, marketing, and the arts. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit badbossbrief.substack.com/subscribe

Leeds crash 3–0 at Brighton in a rain-soaked reminder of just how tough the Premier League can be. Danny Welbeck and Diego Gómez did the damage as Leeds' defence wobbled and the attack misfired, leaving fans calling for tactical tweaks - and Daniel Farke demanding more bravery. We break down the key moments, Calvert-Lewin's injury, and that touchline flashpoint, plus what Farke's honesty tells us about where the squad really stands. Darragh joins to debate the big questions: Were Leeds too passive early on?}Could subs like Daniel James have made a difference sooner?And with 18 conceded already, how worried should fans be?Stats, fan reactions, and a look ahead to Nottingham Forest — all right here on Leeds, That!

This week I'm joined by New York based photographer and director Tiana Michele, whose creative journey perfectly blends art, risk-taking, and reinvention.We met at Nikon's Creator Camp in Utah, and I was instantly drawn to her work and the way she tells stories through both photo and film. In this episode, we dive into how she transitioned from weddings to directing short films, the beauty of collaboration, and what it really looks like to keep evolving as an artist.Meet TianaTiana is a Sierra Leonean-American photographer, director, and writer based in New York City. She has a BFA in Dance Performance & Choreography. She began taking photos in 2020, during the pandemic after taking a break from dance immediately after graduating. She works with film and digital format and much of her personal work is inspired by things happening in the world around us with an emphasis in feminism, fashion, movement, and things she has dealt with personally as a third culture woman of color. Her most recent notable work in film is her directorial debut Manspread.Connect with Tiana:Website: tianamichelephoto.comInstagram and TikTok: @bytianamichele Connect with Me:Subscribe to our emails for updates on all things Summer School!SUBSCRIBE HEREShow Notes: the-summerschool.comInstagram: @summergrace.photo  @the_summerschool Shop My Products:Become a Member of Summer SchoolMy Summer Grace x G-Presets (discount code: SUMMERSCHOOL)My Pricing Guide

With a PetaPixel Membership, not only can you support original PetaPixel reporting and in-depth reviews, but you can also remove ads from the website and gain access to some seriously great perks, too. Members get $15 off the Moment Store, 25% off the PetaPixel Merch Store, 5% off certified pre-owned gear from KEH, and now can download full-resolution RAW files and JPEGs from the latest cameras and lenses. Join today! It costs just $3 per month or $30 per year. This week on The PetaPixel Podcast, Chris Niccolls, Jordan Drake, and Jaron Schneider come to you from Sigma's headquarters in Tokyo, Japan to talk with Sigma President Kazuto Yamaki to dissect what has been an enormous year of launches for the brand. Yamaki discusses the changing economic climate, the reception to the BF, and he even answers a really dumb question about an improbable lens from a video game. 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 Episode00:00 - Intro from Tokyo!07:31 - Panasonic has a new gold S910:01 - Nikon gives APS-C photographers a welcome boost13:56 - Apple's M5 MacBook Pro is really well balanced for the price16:35 - Jordan is very mixed on the Canon C5021:10 - Fujifilm didn't change much on the X-T30 III, but could they really even? (and Jaron was WRONG)27:09 - The Leica M EV1 will be polarizing32:35 - Tamron's 25-200mm f/2.8-5.6 Di III VXD G2 Is Here and Costs $89935:30 - Ricoh is making a dedicated monochrome GR IV37:36 - Sigma Delays AF Cine 28-45mm T2 FF Due to Overwhelming Demand38:45 - Looking back at Sigma's monster year with President Kazuto Yamaki57:11 - What have you been up to?1:00:30 - Feel Good Story of the week

Ten years, 50,000+ copies, four languages, and about a million stories later… the second edition of Mastering Portrait Photography is here. Sarah flips the mic and grills me about why we did a new edition, what changed (spoiler: basically everything but one image), how mirrorless and AI have shifted the craft, and why a tiny chapter on staying creative might be the most important two pages I've ever written. There's a Westie called Dodi, a cover star called Dory, and a street scene in La Boca that still makes me grin. Enjoy! Links: Signed Copy of Mastering Portrait Photography, New Edition - https://masteringportraitphotography.com/resource/signed-copy-mastering-portrait-photography-new-edition/   Transcript: Sarah: So welcome back to the Mastering Portrait Photography podcast and today's a special one. Hi, I'm Sarah, and I'm the business partner of Paul at Paulwilkinsonphotography.co.uk and also his wife too. Now, you might already know him as the voice behind this podcast, but today I'm gonna get the rare pleasure of turning the microphone around and asking him the questions. So Paul, it's been 10 years since the first edition of mastering portrait photography hit the shelves, and with selling over 50,000 copies, multiple reprints and translation into four languages, it's safe to say it's had a bit of an impact, but as we all know, photography doesn't stand still and neither do you. So today we're diving into the brand new second edition. So Hello Paul. Paul: Hello. It feels weird saying hello to my wife in a way that makes it sound like we've only just met. Sarah: Mm. Maybe, maybe. Paul: The ships that pass in the night. Sarah: Yes. So I thought we'd start with talking about the, the first version. You know, how did it come about? A bit of the origin story about it. Um, and I'll leave that with you. Paul: Well, of course Confusingly, it's co-authored with another Sarah, um, another photographer. And the photographer and brilliant writer called Sarah Plater, and she approached us actually, it wasn't my instigation, it was Sarah's, and she had written another book with another photographer on the Foundations of Photography. Very popular book. But she wanted to progress and had been approached by the publisher to create Mastering Portrait Photography. This thing that we now have become used to didn't exist 10 years ago, and when she approached us, it was because she needed someone who could demonstrate photographic techniques that would live up to the title, mastering portrait photography. And we were lucky enough to be that photographer. And so that first book was really a, a sort of trial and error process of Sarah sitting and interviewing me over and over and over and over and over, and talking about the techniques that photographers use in portraiture. Some of it very sort of over the sort of cursory look, some of it in depth, deep dives, but all of it focusing on how to get the very best out of your camera, your techniques, and the people in front of you. And that's how it came about. I mean, little did I know 10 years ago we'd be sitting here where we are with Mastering Portrait Photography as a brand in and of itself.This is the Mastering Portrait Photography Podcast Yes, because the book sold so well. Sarah: And did you expect it to do as well as it Paul : Oh, I'm a typical photographer, so, no, of course I didn't, you know, I kind of shrugged and thought it'd be all right. Um, and, and in some ways, because you have to boil it down into, I think there's a 176 pictures or there, there were in the first book or somewhere around there, a couple of hundred pages. There's this sense that there's no way you can describe everything you do in that short amount of space. And so instead of, and I think this is true of all creatives, instead of looking what we achieve. We look at the things we haven't done. And I talk about this on the podcast regularly, the insecurity, you know, how to, how to think like a scientist. That's something that will come up later when we talk about the new version of the book. But no, I, I thought it would be reasonably well accepted. I thought it was a beautiful book. I thought Sarah's words were brilliant. I thought she'd captured the, the processes that I was talking about in a way that clarified them because I'm not known for my clarity of thought. You know, you know, I am who I am, I'm a creative, um, and actually what happened was the minute it was launched, the feedback we got has been amazing. And of course then it's gone on to be translated into Italian. A couple of different Italian versions for National Geographic. It's been translated into Korean, it's been translated into German, it's been translated into Chinese. Um, and of course, technically it's been translated into American English. And, and one of the reviews that made me laugh, we've got amazing reviews on Amazon, but there is one that kind of made me laugh, but also upset me slightly, is that both Sarah and myself are British authors. Using English uk, UK English, but for the international market right from the get go the book was using American spellings, Sarah: right? Paul : We didn't know that was what was gonna happen. We provided everything in UK English and of course it went out in with American English as its base language. Its originating language. Um, and that's one of the biggest criticisms we Sarah: got. Paul - Studio Rode Broadcaster V4 (new AI): And when that's the criticism you're getting that people are a bit fed up that it's in American English and apologies to my US friends, of which I have many. Um, it was the only one that really. I don't like that. So I thought, well, it must be all right. And so for 10 years it's been selling really well. book. I never knew it'd be in different languages. Um, it was in the original contract that if the publisher wanted to do that, they could. And really, I only found out it was an Italian when I started getting messages in Italian from people who'd bought the book in Italy. And then of course, we found out. So it's been a remarkable journey and. I don't think I've been as proud of something we've done as I have of the book. I mean, me and you spent hours pouring over pictures and talking about stories. Sarah had to then listen to me. Sarah: Yes. Paul: Mono, sort of giving these sort of diatribes on techniques and things we do. Um, you know, and I think, I think it's a remark. I, well, I still think it's a remarkable achievement. I'm really proud of it. Sarah: Yes. Did, did you think the second edition would, would happen or, um, or how did it come about? Paul: No, not really. Because if you remember, we did a sort of interim update, which was just off the ISBN, so the same ISBN, same book number, but we'd been asked if there was anything that needed tweaking minor word changes, those kinds of things. And I assumed not really being, you know, that time experienced with this stuff is that was. Was a second edition, it was basically a reprint. So I sort of assumed that was the end of it. And then, um, we were contacted the end of last year, um, to say that with the success of the book over the past decade, would we consider, uh, refreshing it properly refreshing it, a new updated edition because of course there's lots of things that change over time. Um. And it's, it was worth having another look at it. So no, I didn't expect it, but it was an absolute joy when the email came in It must have been. It's, it's one of those things that's so lovely when other people appreciate it and know that, um, it would be really good to have a, have another go at it and, uh, see what's changed. Sarah: So it kind of brings me onto what, what have you changed in it? What's, what are the new, the new bits that are in the second edition? Or was it even that from the first edition? You, you knew that there were things you'd love to include? Paul: Well, in a decade, so much changes. I. The equipment is the most obvious. You know, there's a chapter at the beginning on Kit, so you know, one of these dilemmas with books. I think again, we took advice from the publisher as to what do you include in a book? And the publisher were really keen and have stayed really keen that there's a chapter on the kit at the beginning. Um, and apparently that just helps a very particular part of the market sell. So that's fair enough. No problem with that. It's quite fun talking about technology. I don't mind it. Um, but of course that technology's evolved, so we had to update all of that to reflect the fact that 10 years ago we were just beginning to talk about the advent of mirrorless cameras, but they were nowhere near the quality of a digital SLR, for instance. Well, now mirrorless is the professional choice. Everything has gone mirrorless because it's got fewer moving parts. The sensors have increased in, um, sensitivity to focusing, you know, there's a million reasons why that's happened. So of course we've updated all of the technology. I think more importantly, certainly from my point of view is in those 10 intervening years, I've changed every picture. Our clients, the techniques, the. Post-production, the thought processes, um, even down to the fact that with mirrorless cameras, you can actually shoot in a slightly different way. I mean, I'm a traditionalist in many ways. I grew up with a film camera. Yes. So, you know, metering either using a meter or very careful control. Because your dynamic range is pretty limited. Um, maybe the fact that you would focus on a point and then wait for whatever it is that's moving through it, to move through it and take your, take your picture. Um, these were the kind of techniques, you know, lock your focus repose when I started, even even A-D-S-L-R, you know, I'll give you a really good example on how the technology has helped, though. It's not actually part of this book, but it's a, it's a really good illustrative point. Um, technology isn't the be all and end all of photography. What goes on in your head is what matters, but the technology is the enabler. And I work with the hearing dogs every week. We photograph running dogs all the time and with the DSLRs I was using, it would just take four goes, maybe five goes to get that perfect moment where the dog is spot perfect in focus. It's airborne, its paws are off the floor. Everything about it is absolutely right. Four or five goes, you know, because I'm shooting at maybe 10 frames a second. The focusing is more or less keeping up because of course, every time you take a picture, the mirror slaps up and the focusing then has to predict where the dog might have ended up. It's not doing, it's not tracking it at that point, and then you move to mirrorless. Um, and the Z9 that I use now, the Nikon is an unbelievable piece of kit. It locks onto the dog. I can shoot at 20 frames a second. Um, and one of those shots is invariably the shot I'm looking for. And, and that sounds like I'm cheating in some ways, but when you are a professional photographer, your job is to do the very best for your client. And so instead of spending an inordinate, inordinate amount, it's not easy for me to say a very long time. Um. You know, trying to get the right shot. Now I can do it very quickly and move on to another shot so we can provide a wider variety to our clients. And that's true with running children too. Yes. So the technology has changed and the techniques have changed with it. Um, now you're seeing on the back of your camera or through the viewfinder exactly the image. Not a facsimile of it, not a mirror. Prism view of it, you're seeing precisely what you're gonna capture. Um, and that gives you a huge amount of confidence in the shot and a huge amount of control too. You can really fine tune exactly how you want the exposure to be. For instance, you know, you don't have to worry about, is that right? Let's must check the histogram afterwards. You can check the histogram, live in the viewfinder and all these little bits, just make your job different. They, you connect with the shot in a different way. You connect with a client in a different way, and that's the tech side. But I've also, you know, I, in 10 years, I'm 10 years older. You know, in some ways I'm 10 years faster. In other ways, I'm 10 years slower. You know, the cameras are quicker, my shots are quicker, my knees are slower. Um, and it's a different perspective on life. I also teach a lot. The podcast, the book itself, the first edition of the book, led us to the podcast and the website where we run workshops and everything else. So all of this cumulative knowledge, when you look back at the old book, and while I'm still massively proud of it, the new edition was a wonderful opportunity to sit down and say, what would I like, how would I like to be represented this time? Yes, and it's a much more grown up approach, I think. I mean, I, I wasn't a kid back then, but this time around because the book was successful, instead of providing 10 pictures for every slot, I provided the picture I want, in that slot. Right? And so the book is much closer to how I would like it to be as a photographer. Every picture. Now, I could tell you a story about every single picture, every single client, and having the luxury of success on the first version gave me the luxury of being able to do more of what I wanted in this version. This is much more reflective, I think. Of me personally. Yes. And so I've, I've loved it. It's absolutely, it's such a, a lovely process to go through. Sarah: So how many pictures have been changed between the two versions? Paul: All bar one. Sarah: bar one. How intriguing. So will you tell us what the one is, or is that Paul: can, you can go and find that out for yourself. Yeah, so there's one single image that hasn't been changed. There's single image that hasn't been but every other image has has changed from the first edition. Uh, just a caveat to that, of course, some of the kit pictures, uh, 'cause they were generic, they've stayed the same. But every portrait, Wow. every single portrait except for one, has been changed. Sarah: And how did you go about choosing those pictures? 'cause I can imagine, you know, if you're starting effectively with a blank canvas for where the images have gotta go, uh, how on earth did you do that Paul: Um, slowly the publisher will tell you, uh. The thing to you have to remember though, is that this is an updated edition. Yes. And that was the contract. It was not a complete start again. So, although I had the opportunity to change every picture, every picture had to fit into an almost identical space because they weren't gonna redesign it. Right. It's updated edition and we have to be clear about that. So part of the puzzle was not just, which pictures do I want to illustrate, which point. It was, which pictures in the same shape previous do I want to illustrate? I mean, there's some wiggle room in there, but the designers did not want to do a full redesign. That was not what we were contracted for. Um, obviously the words were being updated too. And both Sarah and myself, um, I mean, since the first book I now write for magazines and online articles and things all the time, I write for all sorts of photography stuff. Um, and so actually both Sarah and myself wrote words this time round. Um, but nonetheless, we couldn't change too much. We could bring it up to date, but there, there were still bits that, you know, if I was being truly honest, there are things that I think in the past 10 years have become less relevant. And things, it would've been nice to have put some different stuff in, but that again, this is an updated edition, um, not a complete from the ground up rewrite. So actually I sat down and I looked at all of the, um, chapters and the words that we'd written in the first edition and thought about what we were trying to illustrate and went back to sort of basics really, and where I already had pictures in the portfolio. Um, we used pictures of great clients, interesting light, interesting locations, interesting techniques where there are certain things where, I'm not sure, the first time round, um, the illustrations of them were as good as I, as strong as I would've liked. I shot them again here in the studio, so things like the lighting pattern. You know, I have, I've talked about them for 10 years, these lighting patterns. So it was a really nice chance to sit Katie, who works for us in the studio, uh, to sit Katie in front of the camera and say, right, this is what we're gonna do. And I worked every lighting pattern and redrew every diagram to make that absolutely on point, which I think the first time round, while they are very, very good. They're not what I would've liked them to be this time round. So there was that side of it too. And then of course, and I'm sure you're gonna come onto it, there's a couple of, well, there's a new chapter in there which did give us a chance to explore something a little bit different. Um, so yeah, it was just a long process of finding pictures that if I'm gonna put my name to it, are the ones that I would like. Yes. And it's not always the best picture. It's not always the competition winners. they're in there. They are in there. Of course they're in there. Um, but I think this time round, um, I really enjoyed reminiscing. I think some of the pictures in there, they're all beautiful pictures, don't get me wrong. But some of the people I picked to be in them are people because actually that was a moment that I will remember for the rest of my life for all sorts of reasons. And I think the, the strongest example of that is our cover shot is Dory now. The story of Dory. That sounds really weird. The story of Dory? photo. Dory. Story of photograph. Oh yeah, my you met Dory? Or should we go with I dunno if the story of Dory that's like, sounds like a children's book. That'd be a great chance to write a children's book. So Sarah and I were having dinner. Dory was working in the restaurant that, uh, we are having dinner in. Um, I laughed to Sarah and said, I think, um, Dory would photograph beautifully. Sarah said, we'll, go and ask her. And I asked her and she said, no. She absolutely said no, categorically. And I said, okay. Then I wrote our email address, sorry, I wrote our web address. Uh, on the back of a, of a napkin and handed it to her. I said, look, you know, if you're not interested, that's fine, but have a look at my work. Um, and this was after the first edition of mastering portrait photography, and my idea was for Dorie to come to the studio and we'd film some stuff where we photographed her and use it for information, stuff for people who read the book and maybe create some YouTube videos and things. Um, anyway, at four o'clock in the morning, got an email back from Dory saying, actually, I've just looked at your work. Yes, please. And Dory has gone on to be someone we've worked with fairly regularly. Um, mostly, um, because she's just the nicest person in the world, but also she's supremely photogenic and you bring those two things together and they're the kind of people I love to work with. I love to celebrate. Photography with, so her picture, one of those pictures I shot in that session is the cover shot in the book and she features later on as well. 'cause she's come back with her husband and her kids and it's just a delight. And then there, you know, there are people from all over the world. Um, and so there's a lot of memories in there for both me and for you I Yes, Um, and it was, uh, just a pleasure to go through it. Oh, and the other thing is every single shot is shot since we published the first edition. So I did limit us to the past 10 everything is limited to what, what you've captured in the last 10 years? Yeah. Yes. Because figured that, um, if you're gonna do an updated edition, then, although there were pictures in the first version of the book, I would've loved to have had in there that never made it. Why don't we start from that point and move forwards? Other than the one Other than other than the one other than, one Sarah: so you've, you've talked a little bit about how you've changed and that's been reflected in the book. You've talked a little bit about how the technology has changed, but probably one of the biggest changes has been post-production, um, the introduction of, of ai. So is that reflected in the book, Paul: Yeah, of course it is. Um, the post-production chapter, um, I mean, the thing with post-production is that's a volume of books in and of itself. Uh, we put it into the book Sarah and myself, because I think it was important to note that an image isn't generally finished in camera. It's finished when it's finished. And this is true for film, by the way. This is not news, you know? Um, and it's for as long as film has been shot, transparency's and negatives. People have been doing a certain amount of post-production on them afterwards in their development tanks. Um, or whether they're doing hand toning or something is', this isn't new for me. I think you're about halfway there. Now, the second half might be a very short half, but it's almost certainly gonna evolve, at the very least, um, brightening controlling your tones and cropping. Okay. Maybe a bit of sharpening if that's your thing. So we put that chapter in just to make the point that there is a finishing stage. That was 10 years ago. In those 10 years, everything has changed. Yes. Yes. You know, even if I just kept it to the Photoshopping that we had in the first edition, all of that is different. I. And of course AI has now arrived. Um, I mean, it's a precocious child of a technology at the moment, but it's growing up really very fast and it's gonna affect us in every single element of us as creatives of, of us as business owners. There's, there's no part of our work. Even. Even the people that say I don't believe in AI are using cameras that have AI in them. You know, there's no way of escaping it. It's here with us and you can fight it if you want. And there are bits of it that I'm not that comfortable with. Certainly some of the training, the way they did it on images, without any acknowledgement of copywriting things, it's problematic. But in the end, it's here, it's now, and if you don't embrace it, the people who are in your market as a professional competing with you. Are embracing it so there's no getting around it. So yeah, there's a part of our post-production now talks about specifically EVOTO.AI, which is the app that we use. There's others as well re Bloom and a few others that do a very similar thing. Um, and we've put it in there. Again, not as this is what AI does, but for make, to make people aware that AI is now part of the puzzle. Use it, don't use it. And that's completely your choice. The same as it is with Photoshop. But it's a good place to just remind people. That this is the direction of travel for a good chunk of the industry. So yeah, we've changed that quite a lot. Sarah: And a section at the end. Is it Paul: my favorite section? Yes. this Sarah: a, this was a request from you to add this in. Paul: Yes, yes. Um, there's a, one of the things with doing this as a job, and it's not just a risk, it really does happen, is you find yourself. Sort of burnt out isn't the right word for it, really, or the right phrase for it. But you find yourself same old, same old, same old. You get good at stuff, you get known for stuff. People ask you to do that stuff. You do more of it. You, you're still good at it, but eventually you start to find yourself just a little bit flat. Um, and it happens all the time. And so I put a chapter and I asked the publishers if we could wiggle some stuff around and make some space to put one specific chapter in. It's not a long chapter, but to me it might be the most important chapter in there. It's about staying creative. It's just little techniques, little ideas for staying on top of your game, thinking of new things, being a creative. And, and being a creative is something you have to work at. You can't just, you don't just invent ideas. You have to be open to seeing things and thinking things and trying things, experimenting, working with different people, having mentoring. These are all the facets that I wanted to just in a very short chapter, 'cause we could only squeeze in a couple of pages. But it's the chapter that I think I am the most proud of Sarah: Yes. And knowing you as well as I do, you know, it's part of my challenge in the business is making sure that you keep motivated and keep being creative. So I, I know how important it's, and how we have to put shoots in the diary and, and do things that are just for you, for no other reason. Just than just to let you play. So I, I can see how important that is. Paul: Yeah. I'm, I'm aware of just how much cotton wool you wrap me in and I can feel it building as well. I always know when I'm not firing on all cylinders, because you start to sort of wrap cotton wool around me and start to think about putting it in other things that we need to do, or just a break to get away for a week. You know, there's those things. It's really hard. It's hard being a creative, as in it's hard to be a creative a hundred percent of the time, and b, creative a hundred percent of the time. The, the, you know, being called a creative is one thing, but actually being creative is a process of invention and experimenting and doing things that you haven't done before. That's the point of being creative. Um, and so, yeah, I'm always aware when I'm clearly starting to feel a bit frazzled because I can feel you starting to. Talk about doing other things. Sarah: So what I didn't realize is what you said earlier, that the, all the images have all been taken since the last book. Um, and they're from clients we've had all around the world as well. So I wondered if it would be. Nice to pull out a couple of our favorite images. Um, I sort of going on from your comments about staying creative. One that jumps out to me is when, um, Vivian and Dody came to the studio and, you know, this was a, a lady who came in with her West Highland tert. So Westy Westy, it's a white west. Highland, ter. And, um, we did some beautiful shots indoors, outdoors, um, having lots of fun. And then you built this, uh, amazing scene, um, which is including in the, included in the posing chapter. Do you wanna just explain and tell me a little bit about that one? Yeah. Um. Paul: Um, you know, Dodie, sorry. Vivian had emailed Dodie didn't email, obviously Doty's Do's dog, Vivian Vivian emailed to say she wanted a shoot with her dog. And I kind of, I say I distinctly remember the email. I remember what she said in the email, which is that she couldn't find another photographer who photographed the owner with their dog. Now, I dunno how hard Vivian looked. I'm not, I'm sure there's a lot of photographers listening to this that photograph dogs with their owners and I judge a lot now as a, as a judge and as a coach. So I know it to. Out there. But anyway, she landed on us and I'm thrilled that she did Vivian and, uh, Dodie turned at the studio. And Vivian is just beautiful. She's elegant. She has a real sort of gentle way about her, uh, and this beautiful little West Highland ter, which was for the first 10 minutes, I have to be honest in now. Backstory, my Nan had repeatedly West Highland Terriers. My Nan repeatedly did not train her. Westie, my Nan's dogs repeatedly bit us all of us as kids, as teenagers, as adults. Even my dad would like shut the door and run because this dog would go for him. And so when she turned up with this little Westie, I must admit I backed away. However, Dodi, just like Vivian, was gentle and calm and just followed her around and, and he would sit. In the studio just looking at her while we worked, if it was shots for her on her own. And then when she scooped him up or we tried to do something with him, he was so patient and so well behaved. So I've got this incredible client who wants to do these shots, and at the end of the shoot sometimes the greatest privilege you get is to say to someone, how long have you got? And if they've got a little bit more time. What you can do is say, would you mind just trying a few bits with us? So we cleaned the studio out. It's a white, the, the dog was a white dog. Vivian had a light colored outfit and this kind of fair, and she was just, it. It struck me that we could do something interesting with the white walls of the studio, the white floor of the studio, the white posing blocks that I've had probably for 20 years here. And so I did a couple of things and we, we shot some different combinations and then in the post-production STA stage, I built a model of our studio in 3D in blender, it with blocks exactly the same. And then I can create almost any scene I wanted around this shot that's right in the middle of Dodi looking up at Vivian. Um, and it was one of those shoots that, I mean, every shoot in here, there's a story similar to this where I could tell you it's a shoot I'll remember forever. Um, and it was, and it was just a, a real luxury and, and just, you know, I dunno if Vivian listens to the podcast, but hello. Um, and Vivian's also very kindly sourced books from China for us. Yeah. yes. It's hard to get hold of some of these things when you are not in country. So we're still in touch with her very much. He's a lovely client. Another one that, um, oh, actually there's quite a few in the book from where we work as master photographers with Crystal cruises and so, um. Sarah: We've got this lovely line where we talk about the book, where is it From Venice to Vietnam and Haddenham to Hawaii. Yeah. But, uh, one of my favorite shoots that's included is Christine, when we were in Brena Aires, and actually this is from this year when we were in South America and there's quite a few people that we borrowed on the ship to get some pictures. And also what a lovely opportunity. I think it's in locations. Um. Where there is it and where was it? It was in Le Bocca. Wasn't Itca Le Bocca with Christine? Do you Well, a little bit about that one? What's Paul: It has been a, a real luxury for us in the intervening 10 years. So a lot happened in 20 14, 20 15. And one of the things that happened around the time of the book was they were asked to work with Crystal Cruises, a company that provided the photography to them. Interviewed myself and Sarah. Sorry, us too. It's weird talking, made a third person and giving it right here. Um, interviewed us as a team and ever since then we've been traveling the world with them grading high-end portraits for these beautiful international clients. Um, and this time round the deadline. Not the instigation, but the deadline for the book came up while we were working for about seven weeks around South America on the cruise. So I already had earmarked images from previous cruises, previous visits to different places. But when I was on the ship, there were a couple of people, um, that really leapt out just. Ship. And one of the great luxuries when you have something like a book or you like you've become well known as a photographer, is you can say to people, would you mind stepping in to allow us to take some photographs? So there's a couple of people from the crew where you have to get permission to work with the crew. Um, there's, um. Uh, Barbara is one of the team on there. Uh, say Hi is one of the people on there, um, who were crew members that we just loved the way they were with us. They made our lives wonderful. And so we photographed them specifically to put them in the book. Um, and then there's a client of ours, which is the one you've alluded to, which is Christine Now. We met Christine at the end of another shoot, and this is. Um, I mean, remember this is still the Mastering Portrait Photography podcast, and so it's always worth remembering some of the things that you can do as photographers. This is not just an interview about me in a book, but here's some ideas for you that work. So on the ship, we had just done a shoot, an amazing shoot, and a lady who was in that shoot was showing her images round the bar to all of her friends on our iPad. Now we were drinking, we were sat and we were sat next to this lovely lady who was very quiet and we'd said hello and had a quick chitchat, but not majorly a long conversation. When our client handed us back the iPad, Christine, who was the lady who was sitting with us, said, do you mind if I have a look? And I said, yeah, of course. It'd be my pleasure. You know? So she had a look and she said, would you be willing to do that for me? And I said, well, of course we would, you know, this is what we're here for. Um, and so we arranged to do a couple of different bits. A couple of it is actually two different shoots, but we did a site visit to Le Baca, this area in Buenos Aires. Is that right? Yes. Bueno Aires. Was it? No. Yes. Yes, it was. Bueno Argentina. Yeah. Thank you. Are confused. So we, we did a couple of visits to this place in, uh, bueno Aires Laca to go and check it out for different locations. Uh, myself and you and Keith, who's our client, strictly speaking, who runs the, the photo. Um, company found all these locations and went the following day with Christine to go and explore this really beautiful, touristy area of leer. It's very characterful, it's very hot. Um, very intense actually. There's a lot going on and you do have to have your head on a swivel. Yes. it's quite notorious for pickpockets and thefts and so you do have to be careful. So, Sarah, I mean you, sorry, this is really weird. So I'm used those to talking on my own. So you and me, we were working as a team with Keith. Christine was not. Christine was stealing sausages from barbecue places and running them down alleyways that probably she shouldn't have been. Christine everywhere, but really where we wanted her to be, which was safe and in our site. Um, and if you remember, we kind of, um, we went round a corner. In fact, we were just heading back to the car. We, so Christina had arranged the driver and we'd gone round the corner, haven't we? And we were in this little street. And I just, I looked over the top of the cars to the street shops, the shop fronts on the other side of the road and thought that would make a great picture because the color of Christine's dress, the color of these shops, the whole scene would just be something interesting. But I'm shooting across the road through cars. Um, we've got Keith on the other side of the road with her. You are on the side of the road with me. Both of us trying to keep eyes everywhere 'cause we've now stepped out of the touristy bit. We are now in an area where, strictly speaking, you shouldn't be hanging around with a 10,000 pound camera. Yes. Um, so I dragged the shutter. I got, I got everything else. I wanted it and dragged the shutter in a gap between the cars as somebody walked past. And I have this shot of Christine killing herself, laughing, looking at the camera. Um. With somebody walking past and it has this real vibe of a street shot, a candid shot. It's not, it's been staged, but it's one of my favorite shots in the book because it's, to me, every time I look at it, and this is true of your clients too, and when you're listening, the photographers are listening to this. Remember this every picture, if you've created an experience around it, that picture. We'll hold memories for that client of yours. And it's true for me too. This experience was amazing. We're still in touch with Christine. She's desperate for us to go out and visit her in Texas. Um, but it was such a privilege, such a pleasure. So much laughter and that every time I open that page in the book, that's what it takes me it. I I'm with I love the colors, I love everything about it. And it's nice that it's such a lovely story too. crazy story. Sarah: So who do you think the book is for? Who do you think we'd pick it up and find useful? Paul: Well, I'm hoping another 50,000 people will be. I've, I don't, I don't have total control over that. Um. It's really this, I think there's something for almost any portrait interested photographer in there. Um, if you are already a pro, you're probably not gonna pay a lot of attention to the kit chapter at the beginning. That won't be your shtick. Um, but there will be stuff on posing and interactions and some of the post-production might be of interest. Um, if you are ready. You know, a supremely experienced photographer, you might like it simply 'cause the pictures are really beautiful. I still buy photo books because I will pick them up, look at the pictures and think, do you know what? I'm gonna use that idea. I'm gonna meld that into something else I'm doing because I like, I love seeing. Great photographs. If you are truly a beginner, there's enough in there to get you going. And some of the techniques are a little bit further out there, but mostly it builds on this idea that you have a camera, you have a client, you have your subject, and you're gonna create an experience. And then from that experience, great pictures. So I think it's broader than possibly the mastering portrait photography title gives it. Um, but it covers a little bit of all bases. And it certainly has enough in there to say, actually there's, there's stuff in there that if you do this, it really is quite, um, sophisticated. Yes. Do you, we don't know at this stage in terms of whether it'll be translated into other languages that that usually comes a year after, doesn't it? After the, you last time, say. It was only when I started getting emails in Italian. Yes. Um, that I noticed what happened. And we didn't know if you remember that it was in Chinese and Korean no. we started to put the marketing together for this book. Yes. And we asked the publisher AB, in absolute terms, how many copies have you sold? Yes. And they back with different language versions that we never knew about. Yeah. So, you know. Been been a, a journey of discovery, a journey. a journey. Yes. So, yeah, who knows? I, I really hope they do, uh, create some, uh, different language versions of it. 'cause there's nothing quite like seeing your work in Italian, Yes. So, And, and Chinese, I think that's the one I find the, the most intriguing. Sarah: So the book is officially launched next Tuesday, I believe. Is the 28th. The 28th. Um, so what, what's on the horizon next is what, what are you gonna be doing with the book and knows? Um, I mean, obviously the first thing we've gotta do is get through the launch of the book. Yes. Um, which is exciting. And obviously us two have been walking the studio trying to figure out how to tidy the whole place up. 'cause we haven't done a full on party probably since the last book. No. Or thereabouts. So we've we're inviting. Everybody who's featured in the book Yeah. Um, to a, a launch at the weekend. Yeah. Um, and we are refreshing all of the pictures in the studio, uh, to reflect the pictures that are in the book as well. And it's just, it'll be such a lovely thing to do and it's, I can't wait to see everything when it's up. Yeah. So that's, but next week's gonna be a bit fraught It's 'cause in the middle of all that, I think I've got five shoots to work my way through. Right. I don't sleep much. I a challenge. Yeah. I'm not, I'm I'm not being super, thankfully. Um, so there's that. And then, you know, once that gets rolling, of course I go back to our regular job. I'm judging for the British Institute. Professional photographers print competition straight after. So we've got. A big bash on the Saturday night. Yeah. Uh, for all of our, all the people in the book on the Sunday, we're inviting anybody's around to come and a studio open day, studio open day in the afternoon. And then at some point in that afternoon, I have to go all the way up to Preston Salubrious, uh, Preston, to go and begin the process of judging the print competition for the 2025 print masters. So a lot going on. And you're gonna be busy signing books as well. yeah, It's been a while since I've had to sit and do a big a book signing, but there's a load of that going on. Yeah. Uh, it's just lovely. exciting. It really is. Well, I think that just about brings us to the end of everything. So I've enjoyed being on the other side of everything. Sarah: So I'd just like to say, Paul, thank you ever so much for letting me do that and sitting on the other side of the mic today, um. We have got a limited number of copies here at the studio that Paul can sign, but they will be available at all. Good bookshops, um, with water zones. I think there's some competitions going where they will be with Graphistudio and with. Um. A professional photo. Yeah. Yep. So there's, there's lots of ways for you to get your hands on it and uh, we'd love to know what you think of it and um, especially if you've got the first version and seeing the second version, we'd love some feedback 'cause we are so proud of it. And especially with the pictures in there, and if you can tell us what's that, what's the picture in there that, that haven't been changed? That will be even better. There's no prize. So, no, thank you. Thank you very much. Well, it's a pleasure. And you know what you've gotta say now, don't you? What's that? If you've enjoyed this podcast, is it? No. If you've enjoyed this podcast, please head over to mastering portrait photography.com, which is full of articles. And as it happens, I'm doing all of the behind the scenes diagrams and stories for the images that are in this book. It'll probably take me 10 years to get there, but there's a couple of hundred of those. Uh, and of course, whatever else you do. be kind to yourself. Take care guys.  

In this episode, Jared & Stephen discuss the latest rounds of new camera rumors from Canon and Sony, Stephen's new BIG surprise, Nikon's latest DX lenses & much more! Text us with any thoughts and questions regarding this episode at 313-710-9729. This is RAWtalk Episode 173!

Photographer and paranormal researcher Shannon Taggart joins JF and Phil to explore the phenomenon that was Michael Jackson. One of the most brilliant and successful musicians of the modern era, Jackson was also a liminal figure sans pareil, a shapeshifter who defied the binary categories through which we order the human world. His art and persona together enacted a transformation that can only be called shamanic. About Our Guest: Shannon Taggart is a photographer and author based in St. Paul, Minnesota. Her photographs have appeared in Newsweek, The New York Times Magazine, and The Wall Street Journal, and have been recognized by Magnum, Nikon, and the Alexia Foundation. Her monograph Séance was first published by Fulgur Press (2019) and reissued in a second edition by Atelier Éditions. Shannon is currently developing an illustrated history of SORRAT (the Society for Research on Rapport and Telekinesis) and hosts an annual symposium on the weird and the paranormal in Lily Dale, New York. Image by Daniele Dalledonne, via Wikimedia Commons. References George Hanson, The Trickster and the Paranormal Robert Chambers, The King in Yellow Rogan Taylor, The Death and Resurrection Show Pier Paolo Pasolini (dir.), Teorema   Phil Ford, “The View from the Cheap Seats at the UFO Show”  Michael Jackson, Moonwalker: A Memoir J. M. Barrie, Peter Pan Ursula K. Le Guin, A Wizard of Earthsea Miguel Connor, The Occult Elvis Tim Powers, Last Call Weird Studies, Episode 186 on The Wedge Raymond Moody, Elvis After Life Sub Rosa, Spectra Ex Machina: A Sound Anthology of Occult Phenomena 1920-2017 Vol.2 Learn more about your ad choices. Visit megaphone.fm/adchoices

“There could be world peace if everybody just went to rock concerts all the time.”This week on Dropped Among This Crowd, Sara J. welcomes world-renowned and iconic music photographer Richard Beland for a captivating two-part conversation that dives deep into music, memory, and the magic of live shows.In Part One, Richard takes us on a journey through his early years in a border town, where mischief and music first intertwined. From discovering his mom's record collection and obsessively tuning into Detroit radio, to finally getting permission to attend his first concert in 1983 — Richard traces the roots of a lifelong passion.He shares how flipping through rock magazines planted the seeds for his legendary photography career and recounts the moment that changed everything: bringing a Nikon camera to the Grateful Dead, Bob Dylan, and Tom Petty show at Rich Stadium in Buffalo on July 4th, 1986 — a day that set his creative path in motion.Sara and Richard also explore the welcoming spirit of the jamband community, his experiences as a devoted Deadhead (with over 150 shows under his belt), and his heartfelt journals filled with memories from the road. Along the way, Richard opens up about losing his father just three days after his 20th birthday — a pivotal moment that reshaped his connection to touring and storytelling through images.Plus, hear behind-the-scenes tales from his nearly 20 years as house photographer at Fallsview Casino, from shooting rising star Yungblud to an unforgettable (and hilariously awkward) photo session with Art Garfunkel — complete with a ten-minute apologetic voicemail he'll cherish forever.Get ready for a warm, nostalgic, and insightful conversation about the shows that shaped a career, the people who made it unforgettable, and how the power of live music can change a life.More from this week's guest:Website: https://richardbeland.comInstagram: https://www.instagram.com/richard.belandFacebook: https://www.facebook.com/share/14LapA4SrHW/?mibextid=wwXIfrLiss Gallery Presents: Richard Beland Our Immortal Stars Vol. 1: VIP Book Launch and Artist Reception: October 25th, 2025 - https://www.lissgallery.comListen to Richard on The Tragically Hip Top Forty Countdown (Song Number 4): https://kite.link/song4Donate to DATC Media Company: https://datcmediacompany.com/supportGive the gift of Patreon: https://www.patreon.com/Datcmediacompany/giftThe DATC Media Podcast Family: https://datcmediacompany.com/podcastsWant to be a guest on the show? https://datcmediacompany.com/contact/ola/services/be-a-guest-on-dropped-among-this-crowd-podcastWant to be a RoughGauge featured artist? Send an email to: saraj@roughgaugellc.comWant to work with Sara? Book a one-on-one session to bring your music/media vision to life: https://datcmediacompany.com/contact/ola/services/consulting-services-with-sara-jLet's Collab! https://datcmediacompany.com/collab-opportunties-1Want to hang out virtually? Join Sara and jD on Sunday nights on YouTube for Hip fan convos! https://www.youtube.com/@dewvre1974Follow DATC Media:https://datcmediacompany.comhttps://www.facebook.com/datcmediahttps://www.instagram.com/datcmediacompany/Follow Dropped Among This Crowd Podcast:https://www.instagram.com/droppedamongthiscrowdpodcast/https://www.facebook.com/droppedamongthiscrowd/Email: droppedamongthiscrowdpod@gmail.comBook a conversation on "Dropped among this Crowd": https://datcmediacompany.com/contact/ola/services/be-on-dropped-among-this-crowd-podcastFollow Sara J:https://www.facebook.com/sara.till41/https://www.instagram.com/sarajachimiak/

Episode 477 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 - Calibrate Photo Kit. - More mostly 20% OFF codes at LensShark.com/deals. Stories: Karens are gonna Karen. (#) CPIA's numbers and the summer slump. (#) Nikon says this isn't true. (#) This Tamron lens rounds out the G2 Trinity. (#)   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).

With a PetaPixel Membership, not only can you support original PetaPixel reporting and in-depth reviews, but you can also remove ads from the website and gain access to some seriously great perks, too. Members get $15 off the Moment Store, 25% off the PetaPixel Merch Store, 5% off certified pre-owned gear from KEH, and now can download full-resolution RAW files and JPEGs from the latest cameras and lenses. Join today! It costs just $3 per month or $30 per year. This week on The PetaPixel Podcast, Jordan Drake dials in remotely as Chris Niccolls and Jaron Schneider come to you from Brisbane, Australia. Ricoh has opened only its fourth-ever GR Space, and they were there to see the ribbon cut. 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 Episode00:00 - Intro from the GR Space in Brisbane07:23 - Australia!10:50 - Tamron's G2 trinity on Z mount is complete15:28 - You can download and use other people's OM System recipes18:59 - Nikon says the ZR is good enough to fill two camera line segments by itself23:06 - Affinity stops selling software ahead of "big changes" coming in October24:56 - Nikon's original Z-mount 24-70mm f/2.8 is discontinued? 27:10 - CIPA data shows "summer slump" worse this year30:10 - Caira is an "AI-Native" Micro Four Thirds camera with Gen AI built in37:45 - Blackmagic RAW is coming to Sony39:27 - Fujifilm did make actual changes to the Eterna 55 sensor42:05 - Is Jaron right or is he wrong?52:17 - What have you been up to?56:40 - Tech support1:13:08 - Feel good story of the week

Register for FREE Infosec Webcasts, Anti-casts & Summits – https://poweredbybhis.com 00:00 - PreShow Banter™ — A little radiation never hurt anybody.03:07 - BHIS - Talkin' Bout [infosec] News 2025-09-2903:29 - Story # 1: As many as 2 million Cisco devices affected by actively exploited 0-day19:07 - Story # 2: Viral call-recording app Neon goes dark after exposing users' phone numbers, call recordings, and transcripts | TechCrunch24:25 - Story # 3: AI Darwin Awards Show AI's Biggest Problem Is Human29:32 - Story # 4: Nikon revokes all C2PA image authenticity certificates after major vulnerability exposed34:14 - Story # 5: ‘You'll never need to work again': Criminals offer reporter money to hack BBC38:18 - Story # 6: Cybersecurity Training Programs Don't Prevent Employees from Falling for Phishing Scams46:48 - Mini CTF Walkthrough56:03 - Story # 7: U.S. Secret Service dismantles imminent telecommunications threat in New York tristate area

During World War II, the U.S. and Japan were locked in bitter hatred, fueled by propaganda portraying each other as ruthless enemies, exemplified by dehumanizing "Tokyo Woe" posters in the U.S. and Japanese depictions of Americans as barbaric invaders. After the war, the feelings seemed to turn 180 degrees overnight. By the early 1950s, American servicemen in the occupying forces learned about Japanese tea ceremonies and traditions during the U.S. occupation, fostering cultural appreciation. By the 1950s, dishes like teriyaki and sukiyaki became popular in America, with Kyu Sakamoto’s 1963 hit song “Sukiyaki” topping U.S. charts, signaling a growing fascination with Japanese culture. This led the way to the Japanese automotive and electronics invasion a decade later, with brands like Nikon, Canon, and Toyota crushing the domestic market. How did sentiments between the nations change so quickly? Much of it has to do with the success of the American occupation of Japan after the war, which rebuilt Japan’s economy and fostered mutual respect. To explain this period is today’s guest, Christopher Harding, author of “A Short History of Japan.” We look at Japan’s own view of its past, the transformative policies of General Douglas MacArthur’s administration that democratized and modernized Japan, the role of cultural exchanges in softening mutual perceptions, and how Japan’s rapid post-war recovery laid the groundwork for its emergence as a global economic power by the 1960s.See omnystudio.com/listener for privacy information.

Episode 475 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 at KupoGrip.com. - 20% OFF at Tenba.com. - More mostly 20% OFF codes at LensShark.com/deals. Stories: The state of the photo industry report. (#) 7Artisans' new 35mm f/1.8. (#) AstrHori's 6mm circular fisheye can bust the funk. (#) The Viltrox AF 56mm f/1.2 Pro. (#) This company takes the top spot again. (#) Sigma changes up this lens and how to get one. (#) Nikon's pulls this for the time being. (#) This company joins the L-Mount Alliance. (#)   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).