Podcasts about Kodachrome

Vamos hablar del Kodachrome. El ultimo rollo de kodachrome https://youtu.be/DUL6MBVKVLI?si=UdwZVrBT5V_giPcA Fotos tomadas con kodachrome al principio de la segunda guerra mundial de mujeres en las fabricas de aviones https://flashbak.com/world-war-2-kodachrome-women-california-14259/ Ratón MX Master 2S https://amzn.to/43rTmdj Cosas mias Mi email: ultra.foto@gmail.com Mi Newsletter https://neuralclip.substack.com/p/apple-en-crisis?utm_source=substack&utm_content=feed%3Arecommended%3Acopy_link Si te unes a Lowi te dan 15€ a ti y a mi referir.lowi.es/carlosh-3830 MI VPN NORDVPN…. Código descuento https://refer-nordvpn.com/MNCtSAmxRcI Mi super ratón MX https://amzn.to/4ia8P6d Mi web www.discosduros.net Mi telefono https://amzn.to/3DiBiYv La comida de Pistón https://amzn.to/3FbiNWv

Comenzamos por I turn my camera on, de Spoon, para seguir Kodachrome de Paul Simon, Click, click by Bishop Allen, Cameraman de Civil Service, soy una cámara de Loquillo o camera de Plastiscines. Puedes escuchar la selección musical de la chica formal aquí

Allan Weitz had little idea of the grand photographic adventures in store when he signed on as host of the B&H Photography Podcast shortly before the show's debut in October 2015. As a self-described big mouth, and with more than 40 years as a working pro fueling his curiosity about all things photographic, Allan quickly honed his chops to become the voice of the show. Today's episode marks a crossroads, as Allan passes his hosting mic to the show's incoming host, Derek Fahsbender, producer and host of the B&H Event Space. During a lively chat, we celebrate Allan's long and successful career, both on assignment and at the helm of the podcast, with some never before told stories and audio clips from memorable interactions with guests. A few of the many topics we cover include, how a kid from Sheepshead Bay made a name for himself photographing classic yachts, the ways in which Allan's time behind a New Jersey deli counter enhanced his ability to engage with people on a human level—among other benefits to career reinvention—and how his shift into podcasting taught him to use his voice as an instrument. As Allan aptly summarized for attendees of the podcast team's 2018 presentation of Podcasting 101: “It's not always what you say, but how you say it.” Guest: Allan Weitz Episode Timeline  3:38: Allan's B&H Event Space segment from Podcasting 101. 8:35: The back story to Allan's one-word podcast intro “Greetings!” 10:44: Allan's chat with digital camera inventor Steve Sasson about their shared Brooklyn roots.  13:56: Allan's hosting skills as a court jester—or Tummler in Yiddish. 16:12: Gear talk, and a clip from Allan's chat with Bellamy Hunt of The Japan Camera Hunter. 21:19: Allan waxes poetic about his love for the Hasselblad Superwide, plus his early adoption of digital gear.  28:24: Branching out from commercial assignments to tech writing and other things. 38:18: Episode break 39:27: Memorable stories and life lessons from Allan's assignment career. 44:22: Allan's entrée to the world of yachting photography and portfolio tips. 50:44: Allan's career evolution in the rarified 1980s photography landscape. 57:31: The art of the interview and the value of collaboration among the podcast team.  59:53: Getting beyond difficult pictures during an interview with Bruce Gilden  1:03:50: Upcoming plans and Allan's Kodachrome book project. 1:10:31: Allan offers listeners his Tusen Takks for their trust in his time behind the mic.  Guest Bio: Allan Weitz started taking pictures when digital meant doing something with your fingers. A graduate of New York City's High School of Art and Design and the School of Visual Arts, Allan is the founding host of the B&H Photography Podcast, one of the highest-rated photography podcasts in Apple's Creative Arts category.  For more than 50 years, Allan's photographs have graced the covers and inside pages of dozens of publications, including New York magazine, Esquire, GQ, Yachting, and Nautical Quarterly. Many of these images have won him awards from the New York, Philadelphia, and New Jersey Art Directors Clubs, the Graphic Artists Guild, Art Direction Magazine, Print, and Graphis, among others.  More recently, Allan has had great success exhibiting—and winning awards for—his photos as fine art prints, as well as dabbling with artificial intelligence using the traditional photos from his vast image library as source material.  Stay Connected: Allan Weitz Website: https://www.allanweitz.com/ Allan Weitz Instagram: https://www.instagram.com/allanweitz/ Allan Weitz articles on the B&H Explora Blog: https://www.bhphotovideo.com/explora/users/allan-weitz Podcasting 101 with the B&H Photography Podcast Team: https://www.youtube.com/watch?v=Yd2KDaNSjGI Steve Sasson Podcast Episode: https://www.bhphotovideo.com/explora/podcasts/photography/invention-of-digital-camera Japan Camera Hunter Podcast Episode: https://www.bhphotovideo.com/explora/podcasts/photography/podcast-the-japan-camera-hunter Graham Nash Podcast Episode: https://www.bhphotovideo.com/explora/podcasts/photography/graham-nash-ace-photographer-digital-printing-pioneer-music-legend-the-bh Bruce Gilden Podcast Episode: https://www.bhphotovideo.com/explora/podcasts/photography/closer-look-bruce-gilden End Credits: Founding Host: Allan Weitz Incoming Host: Derek Fahsbender Senior Creative Producer: Jill Waterman Senior Technical Producer: Mike Weinstein Executive Producer: Richard Stevens

We welcome back Phedon Papamichael, ASC, GSC for the fourth time on The Cinematography Podcast. Cinematographer Phedon Papamichael started preproduction on A Complete Unknown with frequent collaborator, director James Mangold in 2019, before being postponed by the pandemic. They began prepping in summer 2023 and shooting in earnest by the early spring of 2024, which worked well for capturing the changing of the seasons in New York. The long lead time was a huge benefit for both the cast and crew. Phedon and the production team had time to research the time period, create an extensive lookbook of period photos and mull over the script and characters. Actor Timothee Chalamet had time to practice guitar and harmonica and was able to perform most of the songs live. Phedon was very familiar with the music of Bob Dylan, and grew up listening to the artist. He wanted to capture how Dylan evolved and developed as a musician. The set was very intimate, and Chalamet completely absorbed the character of Bob Dylan, frequently watching playback on set, then finding something new with each take. “It was very much this organic process of us capturing and him discovering the character,” says Phedon. “And you could just see it was so enjoyable for every crew member. Everybody was inspired by it.” A Complete Unknown used very few sets and stages, and the production designers transformed two blocks of New York City streets into the 1960's. Phedon shot digitally on the Sony Venice 2 camera, which was then scanned to a film negative and then scanned back to digital. Influenced by the films Klute, The Godfather and The French Connection, he wanted A Complete Unknown to have the Kodachrome look with an earthy color palette. Phedon used lighting that was appropriate for the time period as well, using white and tungsten lights, enhanced with numerous practicals on the set. He embraced the mood of the nightclub scenes, with a single source spotlight hitting the performers on stage and the audience lit with candles on the tables. As the movie progresses into the '60's and Bob Dylan becomes more famous, Phedon began to change the look of the film. “It becomes a little bit more expressionistic, a little more aggressive,” he says. “The stage lights become a little bit bigger, the highlights are a bit hotter, the contrast and shadows are more extreme.” Phedon's ultimate goal as a cinematographer is to stay subtle. “I never want anybody to perceive or feel that I'm lighting something,” he says. “I never want it to feel like there's a craftsman behind it. I always like the photography to just allow us to focus on the character, and really not distract from it.” Find Phedon Papamichael: Instagram @papa2 Hear our previous interviews with Phedon Papamichael on The Trial of the Chicago 7, Ford v. Ferrari, and our live podcast interview. You can see A Complete Unknown currently in theaters. Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Venus Optics, Laowa lenses: https://www.venuslens.net/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

A lo largo de la historia los seres humanos han deseado capturar la realidad para inmortalizar un momento, el aspecto de una persona o el mundo que les rodea. Así nació la pintura, cuyos orígenes hay que buscarlos en el paleolítico. Pero la pintura tiene sus particularidades. Pasa por el tamiz del artista y que sea más o menos fidedigna depende de los consensos culturales de cada época y de la habilidad y el instrumental que emplee el pintor. En la pintura la imaginación juega un papel primordial, ya que se puede pintar lo que se desee. Es un modo un tanto libre de plasmar la realidad circundante y, como tal, puede estar sometido a todo tipo de alteraciones. El primer paso hacia la captura fiel del mundo exterior lo dio un químico alemán llamado Johann Heinrich Schulze a principios del siglo XVIII, en plena revolución científica. Schulze empleó una suspensión fotosensible para capturar imágenes temporales de letras, aunque sin conseguir conservarlas permanentemente. Décadas más tarde, y tras una serie de infructuosas pruebas, el británico Thomas Wedgwood intentó sin éxito fijar imágenes de manera permanente, creando fotogramas detallados pero efímeros. Schulze y Wedgwood habían conseguido la captura, pero no que ésta permaneciese. Los avances en la industria química permitieron al francés Nicéphore Niépce en 1826 fijar de forma indeleble la primera imagen captada por una cámara, aunque, eso sí, tras efectuar una exposición muy larga. Su colaboración con Louis Daguerre llevó al desarrollo del daguerrotipo en 1839, el primer método fotográfico comercialmente viable. Este proceso utilizaba una placa de plata yodada que reducía el tiempo de exposición a unos pocos minutos y ofrecía una claridad y detalle sin precedentes. Paralelamente, en Inglaterra, William Henry Fox Talbot inventó el calotipo, que permitía la creación de negativos de papel de los cuales se podían hacer múltiples copias positivas. Esto permitió abaratar el proceso y hacerlo más accesible. La competencia entre estos dos métodos iniciales impulsó más innovaciones, como el proceso de colodión en la década de 1850, que combinaba la calidad de imagen del daguerrotipo con la reproductibilidad del calotipo. La fotografía continuó evolucionando con la introducción de la película flexible por George Eastman en 1888 y su cámara Kodak, que democratizó la fotografía con un lema publicitario que decía "Usted presiona el botón, nosotros hacemos el resto". Este avance simplificó enormemente el proceso y, sobre todo, lo popularizó. A principios del siglo XX la fotografía se había convertido ya en algo muy común al alcance de prácticamente todo el mundo. Pero esas fotografías de los primeros tiempos eran en blanco y negro. Los seres humanos vemos en color por lo que aparecieron especialista en coloreado. Los químicos, entretanto, se concentraron en conseguir capturas en color, algo que consiguieron en 1907 con el proceso Autochrome de los hermanos Lumière. Las fotos en color eran costosas al principio. Hasta mediado el siglo XX no se popularizaron gracias a películas para el gran público como la Kodachrome y la Agfacolor. Esta tecnología permitió capturar y reproducir el mundo en todo su espectro cromático, expandiendo así las posibilidades artísticas y documentales de la fotografía, que para finales del siglo XX era ya omnipresente. Fue en ese momento cuando se produjo la revolución digital. Steven Sasson de Eastman Kodak creó el primer prototipo de cámara digital en 1975, dando comienzo a una transición que en unos años haría obsoletas las técnicas fotoquímicas tradicionales. La fotografía digital no solo permitió la edición y manipulación de imágenes de formas antes impensables, sino que extendió aún más la práctica, especialmente con la incorporación de cámaras en los teléfonos inteligentes y la conexión de estos a internet a principios del siglo XXI. En El ContraSello: 0:00 Introducción 4:20 Breve historia de la fotografía 1:24:42 La imprenta de Juan de la Cuesta 1:28:57 El canal de Kiel en la primera guerra mundial Bibliografía: - "Fotografía" de Tom Ang - https://amzn.to/4gS3sYl - "Historia de la fotografía" de Marie Loup-Sougez - https://amzn.to/4hamw4r - "Fotografía, toda la historia" de Juliet Hacking - https://amzn.to/40l4mHD - "Breve historia de la fotografía" de Ian Haydn Smith - https://amzn.to/4fQGDUd · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #fotografia Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

"Willa Teātris" sadarbībā ar komponistu Kasparu Rolšteinu un kinorežisoru Jāni Putniņu no 2. oktobra uzsāk brīvdomātāju mūzikas jauno sezonu. Tās nosaukums – Tabula rasa vs. Kodachrome. Ar abiem kungiem tad arī tiekamies "Klasikas" studijā. Pasākumu sērijas centrā būs mūziķu un 8 mm kinolenšu mijiedarbība. Iedvesmojoties no arhīvos atrastiem kinoamatieru materiāliem, kuri koncerta laikā ar analogo tehniku tiks projicēti uz kinoekrāna, labākie Latvijas eksperimentālās mūzikas un kino scēnas mākslinieki ļausies spontānai ideju plūsmai. Pasākumu sērija Tabula rasa vs. Kodachrome būs brīnišķīga iespēja būt klātesošam radīšanas procesā; pēc koncertiem notiks arī sarunas ar to dalībniekiem. Pasākumu atmosfēra – neformāla. Anna Marta Burve: Tabula rasa tulkojumā no latīņu valodas nozīmē – balta lapa. Tas ir kaut kas pilnīgi, pilnīgi jauns. Kā jūs šīs sezonas ietvaros redzat šo Tabula rasa iepretim Kodachrome, kas būs tas nostalģiskais? Kaspars Rolšteins: Projektam Tabula rasa šī ir jau otrā sezona – pirmā risinājās pavasarī. Tur formula bija diezgan vienkārša: mūziķis atnāk un improvizē no nulles. Līdz ar to publika var pieredzēt skaņdarba tapšanu klātesot, tāpēc arī bija tas nosaukums. Bet jautājums – vai sākums ir balta lapa, vai tomēr beigas ir balta lapa... Un tad kaut kad vasarā ar Jāni dzērām kafiju un bija sajūta, ka Tabula rasa ir sevi pieteikusi, bet jādomā, kā attīstīties tālāk – citā mērogā vai citā perspektīvā, un ienāca prātā vienam avangardam pievienot vēl citu avangardu. Jānis Putniņš: Nezinu, vai to var nosaukt par avangardu, drīzāk par kaut ko nekontrolētu, improvizatorisku, kas kaut kādā veidā ļoti labi "sakožas" kopā ar pašu Tabula rasa uzstādījumu. Proti, tie būs atrastie materiāli, kas tiks izrādīti. Arhīvos atrastie? Jānis Putniņš: Ne gluži. Tas ir garš stāsts. Kodachrome ir firmas Kodak izveidots filmu materiāls – pirmā krāsainā filmiņa, kas bija domāta plašākai lietošanai. To īsti neizmantoja profesionāļi, toties ļoti daudz izmantoja amatieri, filmējot un veidojot tā saucamās mājas filmas. Kodachrome diemžēl vairs nav pieejams, tā filmiņas vairs nav iespējams attīstīt – process ir ļoti sarežģīts un mājās īsti nav īstenojams. Tā ka kodahroms būtībā ir vārds, kas sevī ietver nostalģisku aizgājušā laika brīnuma vērtību, un man liekas, ka tā ir ļoti interesanta kombinācija. Tieši tādā veidā, kā tas tiks pasniegts, Tabula rasa – tie ir atrastie materiāli, kuri būtībā palikuši bez vecākiem. Kaspars Rolšteins: Tur ir interesants arī tāds skatījums: šie filmu materiāli, un pārsvarā tie ir sešdesmitie, septiņdesmitie gadi, sakrīt ar laiku, kad attīstījās elektroniskie mūzikas instrumenti, no milzīgiem skapjiem pārtopot par nedaudz mazākiem skapjiem vai čemodāniņiem. Tādā ziņā var teikt, ka gan kodahroms, gan instrumenti, ko cilvēki mūsdienās spēlē, nodarbojoties ar improvizācijas mūziku, ir ļoti tuvu stāvoši laikā. Kā brāļi vai māsas. Vairāk – ierakstā.

This week the Squad reviews Wade's pick "Kodachrome".  Thank you all for listening and we hope you enjoy the podcast.

Kodachroma is an exhibition by Whanganui-based artist Katherine Claypole. It weaves colour and handstitching to create a flash of vividness in the midst of winter. The title is a play on Kodachrome, a reference to Katherine's interest in this medium and the aesthetic of the '70s. Katherine advises the viewer to move around the work and experience it from different angles to enjoy its full optical potential. Beth spoke to Katherine about Kodachroma and her artmaking processes.

Featured Songs: 00:38 - Tauk - 07-05-24 - Scarlet Begonias - Brooklyn Bowl - Las Vegas, NV 13:01 - Eggy - 07-18-24 - Kodachrome - 4848 Festival - Snowshoe, WV 20:07 - Greensky Bluegrass - 07-20-24 - Gumboots - 4848 Festival - Snowshoe, WV 26:56 - Pigeons Playing Ping Pong - 07-26-24 - Canned Heat - Gambler's Run Music Festival - Crystal Bay, NV 41:21 - moe. - 07-26-24 - Seat of My Pants - Pine Creek - Livingston, MT See omnystudio.com/listener for privacy information.

Esta semana en Sobre el Terreno, Xabier Bañuelos nos lleva de viaje hasta Utah para conocer más a fondo el Far West estadounidense....

In the latest episode of Jagbags, Len and Beave try to discuss the music of Paul Simon (and his music for Simon & Garfunkel), but instead wind up devoting at least a quarter of the episode to the 1980 Art Garfunkel stone classic film "Bad Timing". Tune in for 45-minute playlists, discussions of our favorite Simon and Garfunkel LPs and songs, favorite Paul Simon albums, a discussion of various books and documentaries on Paul Simon's storied career -- and all the "Bad Timing" you can handle! ULTIMATE JAGBAGS!

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

A voter roundtable discussing the upcoming presidential election. Resources to help you research your family history. Kodachrome Milwaukee: a book of mid-1900s Milwaukee images

Just another podcast about film photography! Enjoy :) More Caleb: ⁠ ⁠⁠https://www.youtube.com/@BadFlashes⁠ https://www.instagram.com/calebknueven/  More Jason: ⁠ ⁠⁠https://www.youtube.com/@grainydaysss⁠ https://www.instagram.com/50_shades_of_jason/  Business Inquiries: mamiyamigos@gmail.com

Madelyn Rhodes - Kodachrome by Connect FM

Gage Pardee - Kodachrome by Connect FM

We talk about what makes Kodachrome film so legendary, shooting slide film, projectors, how the right film can elevate a photographer, why Kodachrome no longer exists and more!

We explore some of the stereotypes around human trafficking that can prevent systemic change. Then, we head to Alice's Garden to see what's still growing in the garden. We explore a book full of old pictures of Milwaukee. Plus, we tell you about some fun things to do in Wisconsin that are a bit off the beaten path.

We talk to Don Alman about his love and knowledge of film photography, his decades spent shooting film and working in film labs in New York, shooting and processing Kodachrome, how working in the darkroom makes you a better photographer and more.

We discuss the best and worst songs from "Give Up" by The Postal Service. Let us know your thoughts about these songs and follow us on Facebook, Instagram, and Twitter.  Please support The Postal Service by purchasing and streaming this album wherever you pay for music! We have a Spotify playlist containing this album and all albums discussed on The Album Argument Podcast: https://spoti.fi/3ddbwaL.  *********************** If you're like us here on The Album Argument, you don't just like a great album. You also like the theatre! If you are in the Atlanta, Georgia area, be sure to get your tickets now for Main Street Theatre's production of “Kodachrome” - a play written by Adam Szymkowicz and directed by Carrie Harris. Tickets can be purchased online at mainstreettheatre.org. Kodachrome is a dramedy (drama/comedy) about love, loss, and moving on. Our very own Ryan Stroud is even in this play! Kodachrome will be at the Tucker Recreation Center every Friday, Saturday, and Sunday, October 20th through November 4th. Get your tickets now for Kodachrome by visiting mainstreettheatre.org!  ***********************

We discuss the best and worst songs from "Emergency & I" by Dismemberment Plan. Let us know your thoughts about these songs and follow us on Facebook, Instagram, and Twitter.  Please support the Dismemberment Plan by purchasing and streaming this album wherever you pay for music! We have a Spotify playlist containing this album and all albums discussed on The Album Argument Podcast: https://spoti.fi/3ddbwaL.  *********************** If you're like us here on The Album Argument, you don't just like a great album. You also like the theatre! If you are in the Atlanta, Georgia area, be sure to get your tickets now for Main Street Theatre's production of “Kodachrome” - a play written by Adam Szymkowicz and directed by Carrie Harris. Tickets can be purchased online at mainstreettheatre.org. Kodachrome is a dramedy (drama/comedy) about love, loss, and moving on. Our very own Ryan Stroud is even in this play! Kodachrome will be at the Tucker Recreation Center every Friday, Saturday, and Sunday, October 20th through November 4th. Get your tickets now for Kodachrome by visiting mainstreettheatre.org!  ***********************

On this episode of Our American Stories, Dwayne's Photo in Parson's, Kansas is truly a family affair, and for a while it was an extraordinarily rare family affair...so rare that people from across the globe rushed there to get their kodachrome photos processed before the last chemicals in the world required to do it ran out. Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.

We bid adieu to Summer by basking in the autumnal glow of one of our favorite Fall movies: Little Giants (1994). Nearly thirty years after its release, this baby still holds up, so we figured we'd chat with the man responsible for this underdog classic: director/editor extraordinaire, Duwayne Dunham. If you're not familiar, this guy's the stuff of legend. Besides hitch-hiking across the country to charm his way onto the set of Jaws (1975), Duwayne got his start as an assistant editor on One Flew Over the Cuckoo's Nest (1975), Star Wars (1977), The Empire Strikes Back (1980), and Raiders of the Lost Ark (1981) before getting hired as lead editor of Return of the Jedi (1983) and Blue Velvet (1986). He went on to edit David Lynch's serial drama, Twin Peaks (1990-91), and the 2017 limited series, Twin Peaks: The Return, which earned him a Primetime Emmy Award and two nominations. Duwayne's directorial credits include Homeward Bound: The Incredible Journey (1993), Little Giants (1994), Halloweentown (1998), as well as the upcoming film The Happy Worker. If Janusz Kaminski's use of Kodachrome in Little Giants doesn't get you excited for Fall, fear not; we call our Mom for an unexpected helping of stew appreciation. ⁠⁠Haunted Basement⁠⁠⁠⁠ is a full-service video production company that creates content to tell the story of your business or brand. Visit ⁠⁠⁠⁠hauntedbasement.video⁠⁠⁠⁠ or contact ⁠⁠hello@hauntedbasement.video⁠⁠ for more. 

Miss Heard celebrates Season 4, Episode 207 with Paul Simon's “Kodachrome.” You will learn what it was supposed to be called originally and why he changed it to this title instead. You can listen to all our episodes at our website at: https://pod.co/miss-heard-song-lyrics Or iTunes, Stitcher, Spotify and many more platforms under Podcast name “Miss Heard Song Lyrics” Don't forget to subscribe/rate/review to help our Podcast in the ratings. Please consider supporting our little podcast via Patreon at https://www.patreon.com/MissHeardSongLyrics or via PayPal at https://www.paypal.com/paypalme/MissHeardSongLyrics #missheardsonglyrics #missheardsongs #missheardlyrics #misheardsonglyrics #misheardsongs        #misheardlyrics #PaulSimon #Kodachrome #Simon&Garfunkel #ThereGoesRhyminSimon #CarrieFisher #EdieBrickell   https://www.youtube.com/watch?v=8rlDTK6QI-w https://en.wikipedia.org/wiki/Kodachrome_(song) https://en.wikipedia.org/wiki/Paul_Simon https://en.wikipedia.org/wiki/Edie_Brickell

Neil O. Lawner's interest in photography began when he served in the Air Force on Guam from 1966-1968. During that time, Japanese cameras such as Nikon and Pentax were being manufactured and were available at the Base Exchange. He soon became part of the Kodachrome generation and learned the basics of operating a SLR (single lens reflex) camera.Some of his work was noticed by a gallery owner in New Brunswick who provided artwork to some of the big pharmaceutical corporations in NJ. The gallery sold many of his black and white images to these companies over the years, and this orthodontist soon would make a switch in careers to fulltime photographer. Fifteen years ago, when he moved to New York City, he began to capture colorful images of people, culminating in his first self-published book Coney Island, Merriment, Mermaids and Memories in 2019, followed by a second book, Masked in Manhattan, images of people going about their daily lives in the city during the pandemic. Neil joined Soho Photo Gallery on White Street in Tribeca and exhibits there on a regular basis.

A special look back on years gone with a clip from our Kodachrome episode, followed by a brief discussion of how into Live T actually was. Scroll through the Two Guys feed far enough and you'll find that old Kodachrome episode!... It was Episode 9. Want us to talk about something specific? E-Mail us topic suggestions at OffAllDay@outlook.com⁠⁠⁠⁠⁠ . Want more stuff? Follow us on #Instagram and #TikTok: @OffAllDayPodcast . Want less stuff? Follow us on #Twitter: @OffAllDay! We're like a platypus there. We don't do much. . "College Rock" provided by "Man Bites Dog" via ⁠⁠⁠⁠⁠http://audiosoundclips.com⁠⁠⁠⁠⁠ . Music: Rock License: Commons 3.0 --- Support this podcast: https://podcasters.spotify.com/pod/show/TwoGuysAMovieAndAPodcast/support

Mikey has multiple issues with his prized Grand Marquis. Jason Rousseau calls in to solve one of the issues with Mikey's car. Mikey starts a twenty-year rewatch of old Gunsmoke episodes. Mikey is troubled by what is going on in local schools. Mikey meets an old fan. Castiglioke can now be viewed in Kodachrome. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join Tamara for an interview with photographer and multidisciplinary artist Nathaniel Thompson. He was born in Thailand, grew up on St. Simon's Island, and has now lived in Savannah for about 4 years. He primarily uses vintage and analog devices such as early digital cameras, 1980's slide projectors, medium formats, 35mm, and instant film. Nathaniel finds inspiration through his current geographical location, road trips, and historical reenactments, depicting images of everyday architecture that are both nostalgic and beautiful, and the relationship between the past and present.  He has a show up now through June 21st at Cafe M here in Savannah, which includes photographs, a vintage iMac displaying his images, and a hand-bound limited edition photo book for sale. Check out his work and follow him here: https://www.nathanielryanthompson.com/  https://www.instagram.com/nr.thompson/  Topics in their chat include: Nathaniel grew up with a photographer dad and grandpa and received his first camera at age 6 (a digital Kodak point-and-shoot); in high school he entered Reflections, the PTA-run art contests, and won multiple times up to the county and/or state level; armed with his first film camera, he took a 3ish-months-long solo road trip from Ohio all over the eastern U.S., generally just sleeping in his car; how his drives on the small roads between Savannah and Brunswick inspired his love of folk and outsider art, as well as estate sales and thrift stores to find ephemera and vintage photography equipment; how he recently spent time with Nomadic Photo Ark, learning their darkroom process and how to use their vintage 4x5 camera; what is lomography film?; development is happening very quickly here in the south, and he is driven to discover sites and buildings and document before they've changed; what was Kodachrome film, other than the title of the Paul Simon song?; and the recent shift of people going back to printing out photos and hanging them up in their home, or even reenacting "vacation slide viewing" by having PowerPoint parties (!).    Tune in and get all the details!

Australian photography has exhilarated us for decades. Awe-inspiring photos that capture our foreboding landscape, rural settings, inner cities and our people.

Aaron and Jesse join Kova, Stephanie and Spoiler Steve to discuss Evil Dead Rise, Netflix's Kodachrome and Marvel Studios' Guardians of the Galaxy! 00:01:56 - Intro | Weekend Box Office & Last Week in Hollywood 01:00:40 - Guardians of the Galaxy 01:49:21 - Kodachrome 02:31:03 - Evil Dead Rise 03:16:44 - The Banter Corner | Andor, DCAU, Star Wars Franchise, Fraggle Rock, Mafia Mama, The Covenant, Air, Ted Lasso, The Big Door Prize, Shrinking, The IT Crowd, Elden Ring, The Last of Us & Beau is Afraid Become a patron and vote for this year's The Academy is Wrong 2023 HERE Support us on Patreon HERE Send us emails and feedback to info@sceneitcast.com Check out our website sceneitcast.com

We're joined by Alfred Bradshaw(@adbpark) to talk developing your own film, shooting Kodachrome, street photography, his grandfather photographing Bettie Page and more!

Episode: 2456 The invention and history of Kodachrome film.  Today, photographic memory.

Bob McCormack was one of Tulsa, Oklahoma's premier photographers. A native of Pompey, New York (just a few miles east of Syracuse), Bob's family moved to Lathrop, Missouri, while Bob was still a child.Bob came to Tulsa during the great depression. He spent his first night in Tracy Park. The next morning he went to the Tulsa World, where Eugene Lorton hired him immediately and sent him to Claremore because Will Rogers' plane had crashed, killing Rogers and Wiley Post.Celebrities, it so happened, were always McCormack's favorite subjects. When movie theaters were still showplaces, a number of movie stars came through Tulsa for premieres and promotional tours. McCormack met them at the train station and backstage. He took a job at Douglas Aircraft as its chief photographer. Four years later, he opened a studio of his own. His work has appeared in national publications such as “Life,” “Collier's,” “Sports Afield,” “National Geographic,” and many others.He covered the opening of Philbrook Museum in 1939 for the Associated Press.Bob McCormack died April 4, 2003. Bob's son John became a very accomplished photographer and tells the story of his father on the oral history website VoicesOfOklahoma.com.

Glen E. Friedman discusses getting into photography through skating, why his first published photo was a bail, starting to go to unground punk shows, producing Suicidal Tendencies first album, shooting his last roll of Kodachrome with Steve & Alex Olson, Tony Alva's 21st birthday at the Dog Bowl, Shooting with the Beastie Boys & getting in with Def Jam Records, making his new movie and much more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Antonio and Ward are back with a new episode of Street Shots, where they dive into a few interesting topics. They start by sharing their thoughts on an amazing book that a listener sent them, and then Antonio opens up about a common question he often gets asked: what gear he uses to capture his shots. Fortunately, Ward has some great advice to help him handle this dilemma with ease. Later on, the duo takes a closer look at Everett Baker, a talented photographer from Saskatchewan who traveled across Canada in the mid-20th century, capturing stunning scenes of the people and landscape with his trusty Leica camera and Kodachrome film.   Help out the show by buying us a coffee!   Show Links: Jeffrey Saldinger and his book Everett Baker Slides on Smug Mug Everett Baker's Saskatchewan: Portraits of an Era Hardcover Everett Baker's Saskatchewan: Portraits of an Era Softcover Bits of Saskatchewan: Trails and traces of Rupert's Land and the North-west Territories as seen from 1940-1955 Antonio M. Rosario's Website, Vero, Twitter and Facebook page Ward Rosin's Website, Vero, Instagram feed and Facebook page. Ornis Photo Website  The Unusual Collective Street Shots Instagram     Subscribe to us on: Apple Podcasts Google Podcasts Spotify Amazon Music iHeart Radio

For over two decades, photographer John G. Zimmerman covered various automotive-related assignments for magazines like Sports Illustrated, The Saturday Evening Post, Life, and others. A new book, "Auto America: Car Culture 1950s-1970s" celebrates his work in all its Kodachrome and black-and-white glory.  Many of these images have never been published. From the heyday of Detroit to racing circuits and the people who built them, the cars come alive once again. This is the story behind the book, the man, and his photos as told by his children, Linda and Darryl Zimmerman. BUY AUTO AMERICA:https://www.rizzoliusa.com/book/9780847872749SUPPORT THE POD:https://www.buymeacoffee.com/hpheritageSUPPORT OUR SPONSORS:http://modelcitizendiecast.comhttps://drivetowardacure.orgFIND US ON THE WEB:https://www.horsepowerheritage.comInstagram: @horsepowerheritageSupport the show

John McGivern & Pat Hazell-Writing Kodachrome Christmas (12/6/22) by 96.5 WKLH

In an era brimming with instant gratification, some things are worth the wait. This is an apt takeaway from our chat with photographer Charles Daniels about his long-outdated film from the legendary Boston Tea Party and other 60s-era music venues, rarely processed until recently. Joining Daniels in conversation is his long-time partner Susan Berstler, and Gerald Freyer from Film Rescue International, the unique image processing and digitization specialists entrusted with his mother lode of 4,000 plus rolls. Listen in as Daniels tells of his rise from club denizen to emcee to cultural ambassador, introducing 60s-era British invasion rockers to America, with a Leica, two Nikons and a mic in hand. Berstler describes how the unprocessed rolls stockpiled in their home became a COVID project, which then went viral after the launch of a Go-Fund-Me campaign. After a break, Freyer explains how Film Rescue International's unique processing and scanning technologies can breathe new life into lost and found film, saving untold stories from oblivion. Freyer also recounts his epic drive from Saskatchewan to Somerville (and back!) to safely collect the film for processing, without risking x-rays or other shipping hazards. As Daniels notes during the show, “For years, I never really developed any film, but I was shooting all the time. It was just there, and then at some point I realized that I needed to bring some of this older stuff to light.” With a nod to Daniels's 80th birthday on November 30th, the pictures may have been a long time coming—but what a fabulous gift to photographers and music aficionados alike! Guests: Charles Daniels, Susan Berstler, Gerald Freyer Photographs © Charles Daniels For more information on our guests and the gear they use, see: https://www.bhphotovideo.com/explora/podcasts/photography/master-blaster-charles-daniels-reveals-his-unseen-60s-era-photo-archive Guest Bios: Charles Daniels was born in segregated Alabama, where his parents ran a late-night speakeasy after farming cotton all day; maybe that's how outlaw music got into his blood. After moving to Boston's Roxbury neighborhood with his family in the 1950s and teaching himself photography with a camera he found in his parent's closet, Charles began capturing whatever caught his eye on city streets and in the era's legendary music venues. Soon he was serving as emcee for the bands, which provided unique access and strong friendships. This led to Lear Jets and tours with the likes of Rod Stewart, Ron Wood, and the Rolling Stones. Since his start in rock-and-roll, Charles has expanded his photography to embrace a wide range of subjects from music and fashion to dance, performance, and everything in between. Susan Berstler has a long history as a visual artist, curator, and arts producer, deeply immersed in the vibrant arts scene of Somerville, Massachusetts. One of her primary interests is transformative events and media, especially within public art. Her passion for this medium is further enhanced by her work as an Emerging Technology Specialist for Creative Technologies at Harvard University's Cabot Science Library. After a small grant from the Somerville Arts Council allowed her to begin developing Charles's treasure trove of film, the Go-Fund-Me campaign set up by a friend quickly went viral, raising more than $70,000 to date. Susan was referred to the company Film Rescue International, which became an ideal solution for film processing and creating high-resolution archival files from the negatives. At present, she is also in discussions with publishers and university archives to identify a final home for this unique image collection. Gerald Freyer is a technically trained photographer who also studied folklore, monument preservation and cultural history at the University of Bamberg in Germany. After working as a research assistant in museums, he became a consultant for digital imaging pioneer Phase One. Since 2007, Gerald has trained museum and archive staff in the use of high-end digitization systems, completing both archival and 360-degree photography projects for international museums and cultural institutions. In 2021, he joined Film Rescue International to work on digitization projects for its clients. Stay Connected: Charles Daniels Go-Fund-Me Website: https://www.gofundme.com/f/2500-rolls-Charles-Daniels Charles Daniels Facebook page: https://www.facebook.com/profile.php?id=100088252000625 Film Rescue International Website: https://www.filmrescue.com Film Rescue International Facebook: https://www.facebook.com/filmrescueinternational/ Episode Timeline 4:15: Charles Daniels's start as a music emcee and his most productive years for photography: 1967 – 1969 6:36: A friendship with J. Geils Band front man Peter Wolf and coming up with his Woofa Goofa nickname 8:20: Hanging out with the bands during the day provided easy access and authentic pictures 10:07: Daniels's most enjoyable Rock & Roll subject and co-photographer mate: Alvin Lee from 10 Years After 13:26: How far to push black and white film for best results with concert pictures in low light   14:32: Using a handheld light meter, and shooting with Nikons and Leicas for best results 15:10: Daniels's go-to lens: a 21 mm wide-angle for a different look 15:41: The challenge of pushing black and white film and not labeling it with the ISO 18:34: Daniels's shooting strategy as emcee: a microphone in one hand and a camera in the other 20:53: Finding Charles's undeveloped film became a COVID project   21:55: Unprocessed color film includes several rolls of Kodachrome, which was developed as black and white 22:16: Juggling an active Go Fund Me campaign with Charles's recent health issues 24:30: Connecting with the lab Film Rescue International after developing initial rolls locally 25:35: Episode break 26:43: The back story to Canadian lab Film Rescue International in processing lost and found film 27:45: Effects to undeveloped film over time is based on cold storage and other environmental factors 28:46: A two-step process for developing old color film, including Kodachrome 30:35: The first step in Film Rescue's development process with lost and found film 33:34: Proprietary chemistry for film development, plus years of experience 34:22: Processing and scanning movie film, 16mm, and Kodachrome Super-8 with high end laser graphic film scanner 35:10: Do certain types of film hold up better over time than others? 36:05: The importance of scanning old transparencies to maintain color integrity and save the image 37:46: Digital scanning of slides and negatives can offer more detail and better quality than the original photo 39:50: Film Rescue International's workflow and time distribution between film development and scanning 41:14: Gerald Freyer's epic 7-day trip from Saskatchewan and Somerville to pick up Charles's film 43:08: Safety issues when shipping film and the risk of x-rays 45:59: Gerald's favorite picture from Charles's film: Joe Cocker 46:36: An update on Charles's project and the potential for a book and documentary 48:04: Susan's favorite roll of Charles's film: Jeff Beck Group on the tarmac 49:09: The thousands of stories Film Rescue discovers in its work, and how to reach them 50:54: Contact details for Charles Daniels and the project's Go-Fund-Me page

In this episode we break down the film Kodachrome on Netflix now. @uncoveredcinema

Today we travel to three sunny destinations featured at this year's Modernism Week lectures: Florida, Cuba, and San Diego. The New York Times calls Charles Phoenix “the King of Retro” for his spirited and hilarious slide shows celebrating the midcentury American lifestyle. He started collecting vintage Kodachrome slides in the 1990s and has been giving talks and creating colorful coffee table books, a YouTube video series of classic car joyrides, and fun double decker bus tours during Modernism Week. 90 miles south of Florida, there's Cuba. The US can't quite decide whether we're still mad at Cuba, but the architecture lives on and architect Monty Freeman knows all about it. An award-winning New York architect who has repurposed timeless, modern spaces around the world, Monty is an expert on Cuban architecture and leads architectural tours when the US allows it. Keith York buys and sells architect-designed homes in San Diego. He created the Modern San Diego website to help the community understand the area's rich architectural heritage and recently curated the exhibit Frank Lloyd Wright's Legacy in San Diego. He is working on a book about architect Sim Bruce Richards.

The invention of ML tools is as significant as the printing press. These technologies will underpin the creative practice & economy of the 21st Century Full Show Notes: https://www.thejaymo.net/2022/08/06/301-2231-new-cultural-technologies/ Watch 301 on youtube Support the Show! My Blog Permanently moved is a personal podcast 301 seconds in length, written and recorded by @thejaymo

This week we discuss Rich Girl with our local Rich GUY Douglas Russell! If you've ever wondered about the debutant scene in St. Louis and beyond, this episode is for you! Like a narrator in a Jane Austen novel, Doug Russell grew up the “poor cousin” in a family whose social influence and wealth have spanned three continents, 9 decades, three contested wills, and has affected the St. Louis debutante season, the development of Kodachrome color photography, the commercialization of Root Beer, Communism in Laos, the emergence of Vietnamese war babies, the making of Bruce Lee's Enter The Dragon, the Home Shopping Network, and four closed sessions Congressional Hearings. The Prodigal Son of a Prodigal Son of a Prodigal Son, Doug's path has bounced him from the American Mississippi delta, Riyadh, Saudi Arabia, Bangkok, Thailand, Los Angeles, and Austin, TX, but his heart was always in San Francisco, CA, where he now works as a Harm Reduction Peer Counselor for the Post Overdose Response Team with SFDPH, and promulgates joy as Sister Celine Dionysus in the San Francisco order of the Sisters of Perpetual Indulgence. His special skills include writing the perfect thank you notes, knowing which fork to use, pouring the ideal Sazerac, the filmographies of Buster Keaton and Douglas Siri, and negotiating threesomes and cocaine. He thanks Agatha Christie novels, methamphetamines, disassociation, and Vipassana meditation for getting him to where he is today.

Learn how cinematographer Simon Dennis BSC created an authentic and super saturated early 1980's world for CANDY on Hulu. Simon and Go Creative Show host, Ben Consoli, discuss why he chose the Sony Venice and custom tuned lenses to create CANDY and how the look was inspired by William Eggleston and Napoleon Dynamite.  We also dive deep into the 1:66 aspect ratio, the challenges of working with child actors, how to make multi-camera look like single camera, and much more! Subscribe Now! What you will learn in this episode How color and saturation represents plot (03:35) Being influenced by Nepolioan Dynamite (09:15) Recreating the 1980s through cinematoraphy (13:18) Shooting with limited daylight hours (17:14) Why the 1.66 aspect ratio is important (20:10) Simion's approach to shooting wideshots (24:09) Creating a "vinyl" look with detuned lenses (30:31) Approach to lighting CANDY (36:25) Working with actor Justin Timberlake (40:32) Deconstructing the court room scenes (50:02) And more! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links CANDY IMDb CANDY trailer CANDY on Hulu William Eggleston - unseen Kodachrome dye transfer process photos Napoleon Dynamite The Magic Of The 1.66:1 Aspect Ratio Follow Our Guest Simon Dennis' IMDb Simon Dennis' Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

On this episode of Our American Stories, Lian Law is a ranger at Brooks Camp in Katmai National Park and Preserve, and she's here to share about Fat Bear Week, where bears compete to be the “Fat Bear Champion”. The grandsons of Dwayne Steinle, the Korean War veteran who founded Dwayne's Photo, tell us the story of the time the world descended upon Parsons, Kansas to get their Kodachrome film developed for the last time. P.J. Hill, rancher and co-author of “The Not So Wild, Wild West: Property Rights on the Frontier,” explains the misunderstanding behind the American West. Support the show (https://www.ouramericanstories.com/donate)   Time Codes: 00:00 - Fat Bear Week: Who Will be the Fat Bear Champion of Alaska's Katmai National Park? 10:00 - The Last Days of Kodachrome 35:00 - “The NOT So Wild, Wild West” See omnystudio.com/listener for privacy information.

Host Geri Cole speaks with Jonathan Tropper about The Adam Project's eight-year journey to the screen, how to write a great action scene, the rules of writing time travel, and why you don't tell Bob when to drink the Coke. Jonathan Tropper is a screenwriter, novelist, and producer. He is the internationally-acclaimed author of six novels, the two most recent of which—This Is Where I Leave You and One Last Thing Before I Go—were both New York Times bestsellers. His screenwriting credits include THIS IS WHERE I LEAVE YOU (the 2014 film adaptation of his novel), the 2017 feature KODACHROME, showrunner of the sci-fi series SEE, co-creator and showrunner of the action series BANSHEE, and creator and showrunner of the martial arts drama series WARRIOR. Most recently, he wrote the screenplay for the sci-fi adventure film THE ADAM PROJECT. The film follows time-traveling fighter pilot Adam Reed who, after accidentally crash-landing in the year 2022, must team up with his 12-year-old self on a mission to save the future. The film was released in March and is now streaming on Netflix. --- Before it was a podcast, OnWriting was a print publication. Check out OnWriting: The Print Archives. Read shownotes, transcripts, and other member interviews: www.onwriting.org/ Follow the Guild on social media: Twitter: @OnWritingWGAE | @WGAEast Facebook: /WGAEast Instagram: @WGAEast

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by guest Rory Cooper. He's a partner at Purple Strategies, a corporate reputation and advocacy agency in Alexandria, Va., a former George W. Bush and Eric Cantor aide, and a longtime Republican strategist. He's on Twitter at @rorycooper.Rory's Music Pick: Paul SimonHere comes rhymin' Simon, right onto his own edition of Political Beats. This is the rare episode in which neither of your two esteemed hosts were intimately familiar with the artist's music before preparations began for the show. Thankfully, Rory Cooper is here to fill in our blanks and guide us through Simon's career.We begin with an overview of Simon's partnership with Art Garfunkel (though the music itself largely will wait for a specific S&G episode) before the break-up which led to the self-titled solo debut (Ok, Ok, there was a Paul Simon album in 1965, but that really belongs to the S&G story) , an album that immediately engages the listener and highlights the artist's firm grasp an the American musical songbook.As Jeff points out early in the show, Simon's music is largely about rhythm and finding different places and sources to get that rhythm. His second effort, There Goes Rhymin' Simon, features one of the best and purest slices of '70s pop in “Kodachrome”. Following a Grammy Award for Album of the Year for Still Crazy After All These Years, Simon took five years off before returning to mixed results, though Jeff makes the case for Hearts and Bones as a minor classic. Simon's career renaissance would come via a cassette handed to him by an artist he was supposed to be helping. Instead, he fell in love with the music and stole/borrowed the idea to compose and record an album inspired by the sounds. This would be Graceland, a miracle of an album that still holds up well today. Yes, we discuss the circumstances surrounding the recording, the accusations of “cultural appropriation,” and much more.That album served as a template for much of the rest of his career (though the less said about Songs From The Capeman the better). Simon continued producing quality albums every five years or so with a handful of gems and no real embarrassments up until what appears to be his final new studio album in 2016, Stranger to Stranger.Hop on the bus, Gus, and come along for the ride. There is a need to discuss much about Paul Simon on Political Beats.