Podcasts about Layout

Husky voice, Friday night whiskey, and a mountain of cheese from the book launch. In this episode I lift the lid on what really happens inside a print judging room. The rotation of five from a pool of seven. Silent scoring so no one nudges anyone else. How a challenge works, what the chair actually does, and why we start with impact, dive through craft, then finish on impact again to see what survives. Layout over composition, light as the whole game, and a final re-rank that flattens time drift so the right image actually wins. If you enjoy a peek behind the curtain, you will like this one. You can grab a signed copy of the new Mastering Portrait Photography at masteringportraitphotography.com and yes, I will scribble in it. If you already have the book, a quick Amazon review helps more than you know. Fancy sharpening your craft in person? Check the workshops page for new dates and come play with light at the studio.  The book: https://masteringportraitphotography.com/resource/signed-copy-mastering-portrait-photography-new-edition/ Workshops: https://masteringportraitphotography.com/workshops-and-mentoring/   Transcript [00:00:00]  Hey, one and all. How are you doing? Now? I'll be honest, I still have the remnants of a cold, and if you can hear that in my voice, I do apologize, I suppose you could call it slightly bluesy, but you can definitely hear that I'm ever so slightly husky. It's Friday night, it's eight 30, and I was, I've been waiting a week to record this podcast, hoping my voice would clear it hasn't, and so I've taken the opportunity having a glass of whiskey and just cracking on. So if you like the sound of a slightly bluesy voice, that's great. If you don't, I'm really sorry, but whichever, which way I'm Paul. And this is the Mastering Portrait Photography podcast. So it's been a busy month or two. You can always tell when it's busy [00:01:00] 'cause the podcasts. Get, don't really get delivered in quite the pace I would like. However, it really has been a busy couple of weeks the past few. Let me, I'm gonna draw your attention to it. The past couple of weeks, we've, there's a ton of stuff going on around us for a moment. I was up in Preston. I've been up in Preston twice over the past couple of weeks. The first one was working as a qualifications judge for the BIPP, the British Institute Professional photographers. Um. Which I love judging. I love judging. It's exhausting, but I love it. And that was qualifications, panels. Then last week was the launch. Of the updated edition of Mastering Portrait Photography, the book, which is where it all started, where Sarah Plata and I published this book that seems to have been incredibly popular. 50,000 copies translated from English into four other languages. Chinese, Korean, German. And Italian, do not ask me, do not ask me the logic on why the book is in those [00:02:00] particular languages. To be fair, we only found out about the Chinese and Korean when we were trying to get some marketing material together to talk about the new book Nobody had told us. I'm not even sure the publisher knew, to be honest. Uh, but we have found copies. We have a Chinese copy here in the studio. I'm still trying to get a Korean version. So if you are listening to this. Podcast in Korea. Please tell me how to get hold of a version in Korean because we'd love to complete the set. There's, in fact, there's two Italian versions. We knew about that. There's a German version we knew about that hardback version. It's great. It's really beautiful. Very I, like I, I don't live in Germany and I don't like to stereotyping entire nation, but the quality of the book is incredible. It's absolutely rock solid, properly engineered. Love it. We have a Chinese version here but the Korean version still alludes us. However, this week the new version, mastering portrait photography is out. And as you know, I, Sarah interviewed me for the podcast last week to talk about it. Well, it's out. We've had our launch party, uh, we invited everybody who [00:03:00] has featured in the book who, everybody, every picture in the book that we asked the person in it to come to the studio for a soiree. And it was brilliant. I've never seen so much cheese in all my life, and by I don't mean my speech, I mean actual cheese. We had a pile of it, still eating it. So it's been a week and I'm still eating the cheese. I dunno quite how, well, quite by how much we vacated, but probably by several kilos. Which I'm enjoying thoroughly. I've put on so much weight this week, it's unreal, but I'm enjoying the cheese. And then on Sunday we had an open day where we had set the studio out with some pictures from the book and some notes of the different people. Who featured and what I might do, actually, I'd, I wonder if I can do a visual podcast. I might do a visual podcast where I talk about those images, at some point on the website, on masteringportraitportraitphotography.com. I will do the story and the BTS and the production of every single image that's in the book, but it's gonna take me some [00:04:00] time. There's nearly 200 images in there. Um, and every one of them, bar one is a new image or is, is. It is, it is a new image in the book, and it has been taken in the 10 years or the decades subsequent to the first book, all bar one. Feel free to email me. Email me the image you think it might be. You'll probably guess it, but it's it's definitely in there. Um, and so it's been really busy. And then at the beginning of this week, I spent two days up in Preston again, judging again, but this time it was for the British Institute of Professional Photographers print Masters competition. Ah, what, what a joy. Six other judges and me, a chair of judges. Print handlers, the organizers. Ah, I mean, I've seen so many incredible images over those 48 hours, and in this podcast I want to talk a bit about how we do it, why we do it, what it feels like to do it, [00:05:00] because I'm not sure everybody understands that it's it, it's not stressful, but we do as judges, feel the pressure. We know that we are representing, on the one hand, the association as the arbiters of the quality of the curators of these competitions, but also we feel the pressure of the authors because we are there too. We also enter competitions and we really, really hope the judges pay attention, really investigate and interrogate the images that we've entered. And when, when you enter competitions, that heightens the pressure to do a good job for the authors who you are judging. So in this podcast, I'm gonna talk through some of the aspects of that. Forgive me if it sounds like I'm answering questions. It's because I wrote myself some questions. I wrote some [00:06:00] questions down to, how I structures the podcast usually, uh, the podcast rambles along, but this one I actually set out with a structure to it, so forgive me if it sounds like I'm answering questions. It's 'cause I'm answering my own questions. What does it feel like? How do you do it? Et cetera, et cetera. Anyway, I hope it's useful. Enjoy. And it gives you an insight into what it's like to be a competition judge. Okay. As you walk into the judging room. For me at least, it's mostly a sense of excitement. There's a degree of apprehension. There's a degree of tension, but mostly there's an adrenaline rush. Knowing that we're about to sit and view, assess, score these incredible images from photographers all over the world, and let's remember that every photographer when they enter a print competition, which is what I'm talking about primarily here. Every photographer [00:07:00] believes that print that category that year, could win. Nobody enters an image thinking that it doesn't stand a chance. Now you might do that modest thing of, I don't know, you know? Oh no, I don't. I I just chance my arm. No one enters a print they don't think has a chance of doing well. That just doesn't happen. It's too expensive. It takes too much time. And as judges. We are acutely aware of that. So when you walk into the room, lots of things are going in your on, in your heads. Primarily, you know, you are there to do a job. You are there to perform a task. You are going to put your analytical head on and assess a few hundred images over the next 48 hours. But as you walk in, there's a whole series of things. You, you are gonna assess the room. You see that your fellow judges, you're gonna see the print handlers. You're going to see the chair, you're gonna see the people [00:08:00] from whichever association it is who are organizing it, who or who have organized it. You'll see stacks of prints ready to be assessed. There's a whole series of things that happen. A lot of hugging. It's really lovely. This year the panel of judges, uh, had some people in it I haven't seen for quite a few years, and it was beyond lovely to see them. So there's all of that, but you, there's this underlying tension you are about to do. One of the things you love doing more than anything else in as part of your job. So there's the excitement of it and the joy of it, but there's always this gentle underlying tone of gravitas of just how serious it is. What we are doing. So there will be plenty of laughter, plenty of joy, but you never really take your eye off the task in hand. And that's how it feels as you go to take your seats on the judging [00:09:00] panel. So the most important thing, I think, anyway, and I was chair of qualifications and awards for the BIPP for a number of years, is that the whole room, everybody there is acting as a team. If you are not gonna pull as a team, it doesn't work. So there has to be safety, there has to be structure. There has to be a process and all of these things come together to provide a framework in which you assess and create the necessary scores and results for the association, for the photographers, for the contestants. So you take your seats, and typically in a room, there are gonna be five judges at any one time assessing an image. It's typically five. I've seen it done other ways, but a panel of judges is typically five. The reason we have five is at no point do all of the judges agree. [00:10:00] We'll go through this later in more detail, but the idea is that you have enough judges that you can have contention, you can have. Disagreements, but as a panel of judges, you'll come up with a score. So you'll have five judges sitting assessing an image at any one time. To the side of the room, there'll be two more judges typically. Usually we have a pool of seven, five judges working, two judges sitting out every 10 prints or 10 minutes or whatever the chair decides. They'll we'll rotate along one, so we'll all move along one seat and one of the spare judges will come in and sit on the end and one of the existing judges will step off. And we do that all day, just rotating along so that everybody judges, broadly speaking, the same number of images. Now, of course there is a degree of specialism in the room. If a panel has been well selected, there'll be specialists in each of the categories, but you can't have, let's say there's 15 categories. You [00:11:00] can't have five specialist judges per category. That's simply impractical. Um, you know, having, what's that, 75 judges in a room, just so that you can get through the 15 categories is. A logistics task, a cost. Even just having a room that big, full of judges doesn't work. So every judge is expected to be reasonably multi-talented, even if you don't shoot, for instance, landscapes. You have to have a working knowledge of what's required of a great landscape. Because our job as a panel isn't that each of us will spot all of the same characteristics in an image, all of the same defects, all of the same qualities. Each judge has been picked to bring their own. Sort of viewpoint, if you like, to the image. Some judges are super technical, some judges, it's all about the atmosphere. Some judges, it's all about the printing and there's every bit of image production is [00:12:00] covered by each of the individual specialisms of the judges. And so while there is a degree of specialism, there will be a landscape. Specialist in the room or someone who works in landscape, there will be plenty of portrait photographers, wedding photographers, commercial photographers. The idea is from those seven, we can cover all of those bases. So we have seven judges all at fellowship level, all highly skilled, all experienced. And then there's the chair. Now the chair's role is not to affect the actual score. The chair's role is to make sure the judges have considered everything that they should be considering. That's the Chair's job, is to make sure the judges stay fresh, keep an eye on the scores, keep an eye on the throughput. Make sure that every image and every author are given a. The time and consideration that they are due. What do I mean by that? Well, I just mean the photographers spent a lot of time and effort and [00:13:00] finance putting this print in front of us, and so it's really important that we as judges give it due consideration. The chair, that's their role is to make sure that's what really happens. So the process is pretty simple, really. We will take our seats as a panel of judges and when we are settled. The chair will ask for the print, one of the print handlers. There's normally a couple of print handlers in the room, one to put the image on, one to take the image off. The print handler will take the first image or the next image off the pile and place it in front of us on the light box. They will then check the print to make sure there's no visible or obvious dust marks, um, or anything, and give with an air blower or with the back of a a handling glove, or very gently take any dust spots away. They will then step back. Now, the way the judges are set, there are five seats in a gentle arc, usually around the light [00:14:00] box. The outer two judges, judges one and five will step into the light box and examine or interrogate the print carefully. They will take as much time as they need to ascertain what they believe the score for that image should be. They will then take their seats. The next two judges in, so let's say Judge two and four, they will step in to interrogate the print and do exactly the same thing. When they're ready, they'll step back and sit down. And then the middle judge, the final judge in seat three, they will step up and interrogate the print. And the reason we do it that way is that everybody gets to see the print thoroughly. Everybody gets to spend enough time. Examining the print. And at that point, when we all sit down, we all enter our scores onto whatever the system is we're using either using iPads or keypads. There's all sorts of ways of doing it, but what's really important is we do all of this in total silence and we don't really do it because we need to be able to [00:15:00] concentrate. Though that has happened, sort of distracting noises can play havoc. Um, we really do it so that we are not influencing any other judge. So there's no, oh, this is rubbish, or, oh, this is amazing. Or any of this stuff, because the idea is that each judge will come to their own independent score. We enter them, and then there's a process as to what happens next. So that's the process. If at some point a single judge when the image appears, says, I can't judge this for whatever reason, usually it's because they've seen the image before. I mean, there's one this week where I hadn't directly influenced the image. But the author had shown me how they'd done it, so they'd stepped me through the Photoshopping, the construction, the shooting, everything about the image. I knew the image really well, and so when the image appeared on the light box, I knew while I could judge it, it wasn't fair to the author or to the other [00:16:00] competitors that I should. So I raised my hand, checked in with the chair, chair, asked me what I wanted. I said, I need to step off this. I'm too familiar with the work for me to give this a cold read, an objective read. So I if, if possible, if there's another judge, could they just step in and score this one image for me? And that means it's fair for all of the contestants. So that's that bit of process when we come to our score. Let's assume the score's fine. Let's assume, I dunno, it gets an 82, which is usually a merit or a bronze, whatever the system is. The chair will log that, she'll say that image scored 82, which is the average of all five of us. She'll then check in with the scores and the panel of judges. He or she rather, uh, they, so they will look at us and go, are you all happy with that result? That's really important. Are you all happy? Would that result? Because that's the opportunity as judges for one of us, if we're not comfortable that the image is scored where we think it probably should. And [00:17:00] remember with five of you, if the score isn't what you think, you could be the one who's not got your eye in or you haven't spotted something, it might well be you, but it's your job as a judge to make sure if there's any doubt in your mind about the scoring of an image that. You ask for it to be assessed again, for there to be discussion for the team to do its job because it might be that the other members of the panel haven't seen something that you have or you haven't seen something that they have, that both of those can be true. So it's really important that you have a process and you have a strict process. And this is how it works. So the chair will say you are happy. One of the judges may say. No, I'm not happy or may say I would like to challenge that or may simply say, I think this warrants a discussion. I'm gonna start it off. And then there's a process for doing that. [00:18:00] So the judge who raises the challenge will start the dialogue and they'll start in whichever direction it is that they think the scoring is not quite right. They will start the dialogue that way. So let's say the score, the judge who's raising a challenge says the score feels a little low. What happens then is raise a challenge and that judge will discuss the image or talk to the image in a way that is positive and trying to raise the score. And they're gonna do that by drawing attention to the qualities that they feel the image has, that maybe they're worried the other judges haven't seen when they're done, the next judge depends, depending on the chair and how you do it. The next judge will take their turn and he goes all the way around with every judge having their say. And then it comes back to the originating judge who has the right of a rebuttal, which simply means to answer back. So depending on how the [00:19:00] dialogue has gone it may be that you say thank you to all of the judges. I'm glad you saw my point. It would be great if we could give this the score that I think this deserves. Similarly, you occasionally, and I did do one of these where I raised a challenge, um, where I felt an image hadn't scored, or the judges hadn't seen something that maybe I had seen in the image, and then very quickly realized that four judges had seen a defect that I hadn't. And so my challenge, it was not, it's never a waste of a challenge. It's never ever a waste because it's really important that every image is given the consideration it deserves. But at the end of the challenge that I raised, the scoring stayed exactly the same. I stayed, I said thank you to all of the judges for showing me some stuff that I hadn't noticed. And then we moved on. More often than not, the scores move as the judges say, oh, do you know what, you're right, there is something in this. Or, no, you're right. We've overinflated this because we saw things, but we missed these technical defects. It's those kinds of conversations. So that's a, a chair, that's a, a judge's [00:20:00] challenge. Yeah, this process also kicks in if there's a very wide score difference between the judge's scores, same process, but this time there's no rebuttal. Every judge simply gives their view starting with the highest judge and then working anywhere on the panel. Um, and then there's a rare one, which does happen which is a chair's challenge, and the chair has the right in, at least in the competitions that I judge, the chair has the right to say to the panel of judges. Could you just give this another consideration? I think there might be things you've missed or that feels like you're getting a little bit steady in your scoring. 'cause they, the chair of course, has got a log of all the scores and can see whether, you know, you're settling into like a 78, 79 or one judge is constantly outta kilter. The chair can see everything and so your job as the chair is to just, okay guys, listen, I think this image that you've just assessed. Possibly there's some things one way or the [00:21:00] other that you might need to take into consideration. It doesn't feel like you have. I'd like you to discuss this image and then just do a rescore. So those are the, those are the mechanisms. So in the room you've got five judges plus two judges who are there ready to step in when required either on the rotation or when someone recuses themself and steps out. Usually two print handlers and then usually there's at least one person or maybe more from the association, just doing things like making sure things are outta their boxes, that the scores are recorded on the back of the prints, they go back into boxes, there's no damage because these prints are worth quite a lot of money. And so, there's usually quite a few people in the room, but it's all done in silence and it's all done to this beautiful process of making sure it's organized, it's clear it's transparent, and we're working as one team to assess each image and give it the score that it deserves. so when the print arrives on the box. It has impact. Now, whether you like it or not, [00:22:00] whether you understand it or not, whether you can define it or not, the print has an impact. You're gonna see it, you're gonna react to it. How do you react to it? Is it visceral? Does your heart rate climb? Do you. Do you explore it? Do you want to explore it? Does it tell a clear story? And now is when you are judging a competition, typically the association or the organization who are running the competition will have a clear set of criteria. I mean, broadly speaking, things like lighting, posing layout or composition storytelling. Graphic design, print quality, if it's a print competition. These are the kinds of things that, um, we look for. And they're listed out in the competition guides that the entrant, the author will have known those when they submitted their print. And the judges know them when we're assessing them, so they're kind of coherent. Whatever it is that the, the entrance were told, that's what we're judging [00:23:00] to the most important. Is the emotional connection or the impact? It's typically called visual impact or just impact. What's really important about that is that it's very obvious, I think, to break images down into these constructed elements like complimentary colors or tonal range or centers of interest, but they don't really do anything except create. Your emotional reaction to the picture. Now, we do use language around these to assess the image, but what we're actually looking for is emotional impact. Pictures tell stories. Stories invoke emotions. It's the emotions we're really looking for. But the trick when you are judging is you start with the initial impact. Then you go in and you in real tiny detail, look at the image. Explore it, interrogate it, [00:24:00] enjoy it, maybe don't enjoy it. And you look at it in all of the different categories or different areas, criteria that you are, that the judges that the organization have set out. And then really, although it never gets listed twice, it should do, impact should also be listed as the last thing you look at as well. Because here's the process. You look at the image. There's an impact. You then in detail investigate, interrogate, enjoy the image. And then at the very end you ask yourself, what impact does it still have? And that's really important because the difference between those two gives you an idea of how much or how well the image is scoring in all of the other areas. If an image has massive impact when you, let's put 'em on the light box, and then you explore it and you [00:25:00] enjoy it, and you look at it under the light, and then at the end of it you're still feeling the same thing you did when it came on the light box, that's a pretty good indicator that all the criteria were met. If on the other hand, as you've explored the image, you've realized. There are errors in the production, or you can see Photoshopping problems or blown highlights or blocked blacks, or things are blurred where they should be sharp or you name it. It's these kinds of things. You know, the printing has got banding in the sky, which is a defect. You see dust spots from a camera sensor. These gradually whittle away your impact score because you go back to the end and you ask, what impact does the image now have? And I've heard judges use terms like at the end of the process, I thought that was gonna be amazing when it first arrived on the light box. I just loved the look of it from a distance, but when I stepped in, there were just too many things that [00:26:00] weren't quite right. And at the end of it, I just felt some would, sometimes I've heard the word disappointed you. So that's certainly how I feel. When an image has this beautiful impact and the hair stand up on the back of your neck and you just think, I cannot wait to step in and explore this image in detail. 'cause I tell you one thing, most authors don't own a light box. When you see a print on a beautiful light box, the, there's something about the quality. The way the print ESS is you actually get to see what a print should look like. So when you step in, you are really excited to see it. And if at the end of that process you're slightly disappointed because you found defects in the printing or problems with the focusing or Photoshop or whatever it is. You really are genuinely disappointed. So that's how you approach it. You approach it from this standpoint of a very emotional, a very emotional connection with the image to start with, and then you break [00:27:00] it down into its elements, whatever those elements are for the competition. And then at the end, you ask yourself really, does it still have the impact? I thought it would because if it does, well, in that case, it's done really, really well. one of the things that's really interesting about judging images is we, we draw out, we write out all of these criteria and. Every image has them really. I mean, well, I say that of course every image doesn't have them. If you are, if you're thinking about landscape or a picture of a shampoo bottle, it doesn't have posing, for instance, if that's one of your criteria. But typically there's a standard set of criteria and every image has them layout, color uh, photographic technique, et cetera. So if we look at let's say composition, let's talk about composition. Personally, I like to use the term layout rather than composition because it [00:28:00] feels a little bit more like a verb. You lay the image out, you have all of the bits, you lay them out. I like that because when we are teaching photography when we say to someone, right, what are all of the bits that you have in front of you? How are you gonna lay them out? It feels a lot more, to me, at least more logical than saying, how are you gonna compose the image? Because it allows. I think it allows the photographer to think in terms of each individual component rather than just the whole frame. So we are looking for how the image is constructed. Remember that every photographer really should think about an image. As telling a story, what's the story that you want somebody else? Somebody that you've never met. In this case a judge, but it could be a client or it could just be somebody where your work is being exhibited on a wall. What do you want them to look at? What do you want them to see? Where do you want that eye to go? And there are lots of tricks to [00:29:00] this, and one of them is layout or composition. So we've got through the initial impact, boom. And the excitement. And then you start to think, is the image balanced? I like to think of an image having a center of gravity. Some photographers will use center of interest, which is a slightly different thing, but I think an image has a center of gravity. The component parts of the image create balance. So you can have things right down in the edges of the frame, but you need something to balance it like a seesaw. You can't just. Throw in, throw parts of the puzzle around the frame. So you are looking for where do they land? And of course, as photographers, we talk about thirds, golden ratios, golden spirals, all of these terms. But what we are really looking for is does the image have a natural flow? Does it feel like everything's where it should be? Does your eye go to the bit that the author probably wanted you to look at? Have they been effective in their [00:30:00] storytelling? And by storytelling, I don't necessarily mean storytelling as in photojournalism or narrative rich photography. What I mean is what did they want you to see, and then did you go and see it? Separation? Is the background blurred? And let's say the, the subject is sharp. That's a typical device for making sure you look at the subject. Is the color of the background muted in a way that draws your attention? Again to whatever it is in the foreground. So layouts one of those tools. So we work our way around it and try and figure out does the positioning of all of the elements of the image does their positioning add or distract from the story? We think that author was trying to tell. Let's remember that it's not the judge's job to understand the story. It's the author's job to tell the story in a way that the judges can get it. Too often, you know, when I, when I've judged [00:31:00] a competition, someone will come and find me afterwards and say, did you understand what that was about? I was trying to say this, and it's like, well, I didn't see that, but that's not my fault. You know, it's, it's down to you to lead me pictorially to. Whatever it is you're trying to show. Same with all judges, all viewers, clients. It doesn't really matter. It's the author's job, not the judges. So at the end of that, you then move on to whatever's the next criteria. So you know, you assess these things bit by bit, and by the way, every judge will do it in a slightly different order. There'll be written down in an order. But each judge would approach it in a different manner. For me, typically it's about emotional connection more than anything else, it's about the emotion. I love that genuine, authentic connection of a person in the image. To me, the viewer. I will always go there if, if it's a portrait or a wedding or fashion image, if there's a person in it or a dog, I suppose, [00:32:00] then I will look for that authenticity, that, that visceral, it feels like they're looking at me or I'm having a dialogue with them. That's my particular hot button, but every judge has their room and that's how you approach it. So when it comes to a photograph in the end, you don't really have anything other than light when you think about it, right? That's, you pick up a camera, it's got a sensor, it's got film, it's got a lens on the front, and a shutter stopping light coming, or it goes through the lens, but the, the shutter stops it hitting a sensor. And at some point you commit light to be recorded. And it's the light that describes the image. There's nothing else. It's not something you can touch or hear, it's just light. And of course light is everything. I think, I think the term pho photography or photograph is a mix of a couple of words, and it's a relatively recent idea. I think [00:33:00] it was Victorian and it's, isn't it light and art photographic or photograph, um. So that's what it is. It's capturing light and creating a reaction from it. So the quality of light is possibly the most important thing. There is too much of it, and you're gonna have blown highlights, nasty white patches on your prints, too little of it. You're gonna have no detail in the shadows and a lot of noise or grain, whether it's film or whether it's off your sensor. And then there's the shape of the light. The color of the light, and it doesn't really matter whether it's portrait, wedding, landscape, product, avant garde, it's light that defines things. It's light that can break an image. So with portraiture, for instance, we tend to talk about. Sculpting or dimensionality of light. We tend to talk about the shape of the subject. We talk about flattering light. We talk about hard and soft light, and all of these things [00:34:00] mean something. This isn't the podcast to talk about those in detail, but that's what we're looking for. We are looking for has the light created a sense of shape, a sense of wonder, a sense of narrative. Does the lighting draw your eye towards the subject? And when you get to the subject, is it clear that the lighting is effective and by effective, usually as a portrait photographer anyway. I mean flattering. But you might be doing something with light that's counterintuitive, that's making the subject not flattered. That's maybe it's for a thriller style thing, or maybe it's dark and moody. Harsh, as long as in tune with the story as we are seeing it, then the lighting is assessed in that vein. So we've seen some incredible beauty shots over the past couple of days where the lighting sculpted the face. It had damaged ality, but it was soft. There were no hard shadows, there were no [00:35:00] blown highlights. The skin, it was clear that the texture of the skin, the light, it caught the texture. So we knew exactly what that would be. It had. Captured the shape. So the way the gens or shadows ripple around a body or a face tell you its shape. They haven't destroyed the shape. It's it's catch shape, but it hasn't unnecessarily sculpted scars or birthmarks or spots, you know? And that's how lighting works. So you look for this quality, you look for control, you look for the author, knowing what they're doing. With landscapes, typically it's, it is very rare, in my opinion, for a landscape. To get a good score if it isn't shot at one end of the day or the other. Why? Well, typically, at those points of the day, the light from the sun is almost horizontal. It rakes across the frame, and you get a certain quality to the way the shadows are thrown. The way the [00:36:00] light, sculpts hills, buildings, clouds, leaves, trees, the way it skips off water, whether it's at the beginning of the day or the end of the day. It's quite unusual though we do see them for an amazing photograph of escape to be taken at midday. But you can see how it could be if you have the sun directly overhead, because that has a quality all of its own. And you know, if when an author has gone to the effort of being in the right place to shoot vertical shadows with a direct overhead son, well maybe that's so deliberate that the, the judges will completely appreciate that and understand the story. So it's looking for these things and working out. Has the lighting been effective in telling the story? We think the author was trying to tell? Lighting is at the heart of it. So when we've been through every criteria, whatever they are, lighting, composition, color, narrative, et cetera, et cetera, et cetera, [00:37:00] we've assessed every image, hundreds of them. We've had challenges, we've had conversations. We have a big pile of prints that have made it over the line. To whatever is your particular association scoring, whether it's merit or bronze or whatever. The puzzle isn't quite complete at that stage because there is of course, a slight problem and that problem is time. So if you imagine judging a section of images might take a couple of hours to do 70 prints, 60, 70 prints might take longer than that. In fact, it might take the best part of an afternoon. During that time. There's every chance the scores will wander. And the most obvious time is if a category spans something like a lunch break. We try to make sure categories don't do that. We try to complete categories before going for a break. We always try to be continuous, but [00:38:00] you've still got fatigue. You've got the judges rotating. So all of these things are going on. It sometimes it depends what images come up in what order could conceivably affect the scoring. For instance there's an image that came up this year where I think probably I was the judge that felt the strongest about it. There was something about this particular image that needed talking about, and so when it came up and it was scores that I raised a challenge and my heart rate, the minute the print hit the stand, my heart rate climbed through the roof. It was. Something about it that just connected with me. And then when I explored the image on the lights, on the light box, to me, there was very little that was technically holding it back. There were a couple of bits, but nothing that I felt warranted a lower score. And so I raised a [00:39:00] challenge. I said my point, I went through it in detail. I asked the other judges to consider it. From my viewpoint, they gave their views as to why they hadn't. But each of them understood where I was coming from and unlike the challenge I talked about earlier where no one changed their mind on this one, they did on this one. They also saw things that I saw when we went through it. But at the end of the process, the image was got a higher score, which is great, but. I didn't feel that I could judge the next image fairly because whatever came in, my heart rate was still battering along after seeing this one particular image. And that happens sometimes. It's not common, but I felt I needed to step off the panel before the next image came up. Which I did in work, working with the chair and the team. I stepped off for a couple of prints before stepping back on [00:40:00] just to let my eye settle and let myself get back into the right zone. But during the day, the zone changes. The way you change your perception of the images, as the images come through is so imperceptible, imperceivable, imperceptible. One of those two words is so tiny that you don't notice if there's a slight drift. And so there's every opportunity for an image to score a couple of points lower or a couple of points higher than it possibly could have done. If it had been seen at another point in the day. Maybe it had been, maybe if the image was seen after a series of not so strong images, maybe it would get a higher score. Or of course, the other way round. Maybe after seeing a series of really, really powerful, impactful images that came up, maybe it scored be slightly diminished. Both of those can be true. And so it's really important that we redress that any possible imbalance and every competition I've ever done has a final round. And the [00:41:00] way this is done is that we take the highest scoring images, top five, top 10, depending on the competition, and we line them up. And all of the judges now, not just the judges who are the five on the panel, all seven judges. Get an opportunity to bring each image back onto a light box if they wish, if they haven't seen them already. Because remember, some of those images may not have been assessed by the, well. It cannot have been assessed by all seven of the judges, so there's always gonna be at least two judges who haven't seen that image or seeing it for the first time as a judge. So we bring them back, we look at them, and then we rank them using one of numerous voting mechanisms where we all vote on what we think are the best images and gradually whittle it down until we're left with a ranked order for that category. We have a winner, a second, a third, a fourth, sometimes all the way down to 10 in order, depending on the competition. And that's the fairest way of doing it, because it means, okay, during the judging, [00:42:00] that image got, I dunno, 87. But when we now baseline it against a couple of images that got 90 something, when we now look at it, we realize that that image probably should have got a 90 as well. We're not gonna rescore it, the score stands, but what we are gonna do is put it up into there and vote on it as to whether it actually, even though it got slightly lower, score, is the winning image for the category. And every competition does something similar just to redress any fluctuations to, to flatten out time. It takes time outta the equation because now for that category, all seven judges are judging the winner at the same time, and that's really important. We do that for all the categories, and then at the end of that process, we bring back all of the category winners and we vote on which one of those. Wins the competition. Now, not every competition has an overall winner, but for the one we've just done for the print masters, for the BIPP print masters, there is an overall winner. And so we set them all out [00:43:00] and we vote collectively as a winner on the winner. And then, oh, we rank them 1, 2, 3, 4, or whatever. Um, really we're only picking a winner, but we also have to have some safety nets because what happens if for instance. Somebody unearths a problem with an image. And this has happened, sadly, this has happened a couple of times in my career where a photographer has entered an image that's not compliant with the rules but hasn't declared it. And it's always heartbreaking when it does happen, but we have to have a backup. So we always rank one, two, and three. So that's some backups, and that's the process. That's how we finish everything off. We have finished, we've got all the categories judged, the category winners judged, and then the overall one, two, and three sorted as well. at the end of the process? I can't speak for every judge. I can speak for me, I feel, I think three things. Exhaustion. It's really hard to spend 48 hours or longer [00:44:00] assessing images one by one, by one by one, and making sure that you are present and paying attention to every detail of every image. And you're not doing an author or an image a disservice. You pay each image or you give each image, you pay each image the due attention it deserves. I feel exhilaration. There's something energizing about assessing images like this. I know it's hard to explain, but there's something in the process of being alongside some of the best photographers that you've ever met, some photographers that you admire more than any others, not just as photographers, but as human beings. The nicest people, the smartest people, the most experienced people, the most eloquent people. There's something in that. So there's this [00:45:00] exhilaration. You are exhausted, but there's an exhilaration to it. And then finally, and I don't know if every photographer feels this or every judge feels this, I do. Which is massively insecure, I think. Can't think of the right words for it. There must be one. But I come away, much like when you've been out on the beers and you worry about all the things you've said, it's the same process. There was that image I didn't give enough credit for. There was this image I was too generous on. There were the things I said in a challenge when it gets a little bit argumentative or challenging. 'cause the clues in the title, you know, maybe I pushed too hard, maybe I didn't push hard enough. There are images you've seen that you wished you'd taken and you feel like. I'm not good enough. There's an insecurity to it too, and those are the three things I think as you leave the room, it's truly [00:46:00] energizing. Paradoxically, it's truly exhausting, but it's also a little bit of a head mush in that you do tend to come, or I do tend to come away a little bit insecure about. All the things that have gone on over the two days prior, and I've done this a long time. I've been judging for, I dunno, 15, 16, 17 years. And I've got used to those feelings. I've got used to coming away worrying. I'm used to the sense of being an underachiever, I suppose, and it's a wonderful , set of emotions that I bring home. And every time I judge. I feel better for it. I feel more creative. I feel more driven. I feel more determined. I feel like my eyes have been opened to genres [00:47:00] of photography, for types of imagery, for styles of posing or studio work that I've never necessarily considered, and I absolutely adore it every single second. So at the end of that, I really hope I've described or created a picture of what it's like to be a judge for this one. I haven't tried to explain the things we saw that as photographers as authors, you should think about when you are entering. I'm gonna do that in a separate podcast. I've done so many of those, but this one was specifically like, what does it feel like to be a judge? Why do we do it? I mean, we do it for a million reasons. Mostly we do it because people helped us and it's our turn to help them. But every photographer has a different reason for doing it. It's the most joyful process. It's the most inspiring process and I hope you've got a little bit of that from the podcast. So [00:48:00] on that happy note, I'm gonna wrap up and I'm gonna go and finish my glass of whiskey which I'm quite excited about if I'm honest. 'cause I did, it's been sitting here beside me for an hour and I haven't drunk any of it. I do hope you're all doing well. I know winter is sort of clattering towards us and the evenings are getting darker, at least for my listeners in the north and the hemisphere. Don't forget. If you want more information on portrait photography or our workshops we've announced all of the upcoming dates or the next set of upcoming dates. Please head across to mastering portrait photography.com and go to the workshop section. I love our workshops and we've met so many. Just lovely people who've come to our studio. And we've loved being alongside them, talking with them, hopefully giving a bit of inspiration, certainly taking a little bit of inspiration, if I'm honest, because everyone turns up with ideas and conversations. Uh, we would love to see you there. The workshops are all are all there on the website and the workshop section. You can also, if you wish, buy a signed copy of the book from mastering portrait photography.com. Again, just go to the [00:49:00] shop and you'll see it there on the top. Amazon has them for sale too. It is great. Amazon typically sells them for less than we do, but we have a fixed price. We have to buy them from the wholesaler at a particular price, whereas Amazon can buy many, many more than we can, so they get a better deal if I'm honest. However, if you want my paw print in there, then you can order it from us and it's supports a photographer and it's really lovely to hear from you. When you do, uh, one thing, I'd love to ask anyone who has bought the updated edition of the book, if you are an Amazon customer. Please could you go on to amazon.com and leave us a review? It's really powerful when you do that, as long as it's a good review. If it's a rubbish review, just email me and tell me what I could have done differently, and I'll email you back and tell you, tell you why I didn't. But if it's a half decent review, a nice review. Please head over to Amazon. Look for mastering portrait photography, the new version of the book, and leave us a review. It's really important particularly in the first couple of [00:50:00] weeks that it's been on sale. Uh, it would be really, really helpful if you did that. And on that happy note, I wish you all well. I've grabbed my glass of whiskey and I'm gonna wrap up and whatever else you do. Until next time, be kind to yourself. Take care.   

See omnystudio.com/listener for privacy information.

Beau Martonik is joined by his cousin Mason, Uncle Mike, and his dad, Joe. Beau begins by telling the story of his first-sit mid-October Pennsylvania big woods buck. They then discuss strategies, the upcoming rut, and the impact of weather on deer movement. They also reflect on past hunts, exchanging stories and lessons learned in the field, while emphasizing the joy of hunting together as a family. Topics: 00:00:00 — Intro   00:04:16 — Intro & welcome: Mike, Mason, and Joe Martonik 00:06:28 — The Buck Encounter 00:09:51 — The Layout of the Spot 00:12:22 — The Play By Play 00:23:59 — Comparing Trail Camera Images 00:28:14 — Bettering Your Odds 00:30:53 — Being Set Up on Bedding 00:35:33 — The Struggle to Find Sign 00:41:35 — Uncle Mike's Insight 00:53:27 — The Late October Strategy 01:01:29 — Setting Up on Scrapes or Bedding 01:05:13 — Presetting Stands 01:10:31 — Gift Giving 01:12:25 — Closing / To Be Continued Part 2 coming next week Resources: ⁠ Instagram:   ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@eastmeetswesthunt⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@beau.martonik⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook:   ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠East Meets West Outdoors⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Shop Hunting Gear and Apparel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.eastmeetswesthunt.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ YouTube: Beau Martonik - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCQJon93sYfu9HUMKpCMps3w⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Partner Discounts and Affiliate Links: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.eastmeetswesthunt.com/partners⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amazon Influencer Page ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.amazon.com/shop/beau.martonik⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the final episode of series 88, everyone! In this series, we are covering Cosmic Corsairs, a space fantasy TTRPG about using the power of the cosmos to topple the oppressive Triarchy! In today's episode, we discuss how the character creation process went and learn a bit more about Craig! Character Creation Cast Patreon https://patreon.com/charactercreationcast Announcements: Cosmic Corsairs Crowdfunding Campaign: https://www.kickstarter.com/projects/1582756696/cosmic-corsairs?ref=CharacterCreationCast GameHole Con 2025 Panel: https://www.gameholecon.com/events/event/25850 Join our Discord! https://discord.charactercreationcast.com Check out other great shows on the network: https://oneshotpodcast.com Leave us reviews in any, or all, of these places: Character Creation Cast on Apple Podcasts (The best place to leave reviews for us) https://itunes.apple.com/us/podcast/character-creation-cast/id1363822066?mt=2&ls=1 Character Creation Cast on Podchaser https://podchaser.com/CharacterCreationCast Guests Craig Campbell: BlueSky: https://bsky.app/profile/nerdburgercraig.bsky.social Linktree: https://linktr.ee/nerdburgercraig Games/Tools discussed this episode: Cosmic Corsairs Crowdfunding Campaign: Website: https://www.kickstarter.com/projects/1582756696/cosmic-corsairs?ref=CharacterCreationCast Timestamps: (00:00:00) - Announcements (00:01:19) - Reintroductions (00:05:50) - D20 for your thoughts? (00:11:17) - Favorite character creation mechanic (00:16:14) - Character Sheets and Layout (00:27:04) - How did character creation go? (00:35:26) - How does the process of character creation tell us about play? (00:40:42) - Flaws and Strengths (00:47:13) - Fanfic (00:56:55) - Take it up a level! (01:00:10) - Final Thoughts (01:04:12) - Episode Closer (01:05:31) - Call to Action (01:11:42) - Credits Music: Opening: Meditation Impromptu 03 (https://freemusicarchive.org/music/Kevin_MacLeod/Calming/Meditation_Impromptu_03) by Kevin MacLeod Clip 1: The Saint of Killers by Tiger GangOn Soundstripe: https://app.soundstripe.com/songs/17280 Clip 2: Angst by DivisionerOn Soundstripe: https://app.soundstripe.com/songs/14339 Main Theme: Hero (Remix) (https://freemusicarchive.org/music/Steve_Combs/Principal_Photography_1493/11_Hero_Remix) by Steve Combs Our Podcast: Character Creation Cast: Website: https://www.charactercreationcast.com Contact Us: https://contact.charactercreationcast.com BlueSky: @CreationCast.net (https://bsky.app/profile/creationcast.net) Discord: https://discord.charactercreationcast.com/ TikTok: https://tiktok.com/@charactercreationcast Amelia Antrim: BlueSky: @gingerreckoning.bsky.social (https://bsky.app/profile/gingerreckoning.bsky.social) Ryan Boelter: BlueSky: @lordneptune.com (https://bsky.app/profile/lordneptune.com) Our Network: https://oneshotpodcast.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's episode dives into all the major announcements from React Conf 2025—from the upcoming changes to React Native DevTools and React Foundation, to long-awaited features like CSS support and Hermes V1. Plus, I share updates on my latest projects, including the release of my Pocket Clone and progress on the Wolt Clone.⚛️ React Native Radar:

The Pinball Show Episode 182: Winchester Mystery House & 2025 Pinball Expo     Hosts: Dennis Kriesel & Zach Meny     - Stern Pinball Production Updates - NEW King Kong Accessories - Winchester Mystery House Released - Deep-Diving Into Winchester Mystery House Launch, Sales, Story, Theme, Art, Features, Toys/Mechs, Layout, Rules, & Sound - Introducing Pinball Designer, Karl DeAngelo - Why Was This New Release An Immediate Success? - 2025 Pinball Expo - EXCLUSIVE MEMBERSHIP CONTENT: Fresh Takes On The 2025 Pinball Expo & Other Pindustry News     EXCLUSIVE CONTENT AND TPS MEMBERSHIP CAN BE FOUND AT Patreon.com/thepinballshow       Remember to purchase your next pinball or arcade machine from Flip N Out Pinball! flipnoutpinball.com zach@flipnoutpinball.com       Follow, like, and subscribe to The Pinball Show (TPS), the industry's most popular podcast!     email: thepinballshow@gmail.com youtube: youtube.com/thepinballshow instagram: @thepinballshowpodcast tik tok: @thepinballshow store: flipnoutpinball.com membership: patreon.com/thepinballshow  

We discuss ways to improve our layouts beyond operations. Scenery, lighting, story telling and more.Greg Terharr, Ken Zieska and Thomas Gasior MMR host this episode.Our sponsor is: The guy who attends every OPS weekend, but can't operate at all.Check out our Facebook group and share with us your layout improvements.

From body awareness and maintaining a neutral posture, to minimizing unnecessary reaching, to making smart decisions about your equipment and operatory layout—ergonomics can make the difference between a long, pain-free career and one cut short by injury or chronic discomfort. Joining us is Stephanie Botts, a dental hygienist with over 17 years of experience and a Certified Ergonomics Assessment Specialist. She's here to share how being mindful of good ergonomics is the key to maintaining our comfort, workflow efficiency, and career longevity.

Hello Model Railroaders! Tonight, on the Second Section Podcast Mike and I are going to talk about armchair model railroaders!  What are they really doing?  Yes this show will be a full out rant!  Want to hear and see more of the Second Section Podcast? Check out the links below!Subscribe to our channel by clicking here: https://www.youtube.com/c/SecondSectionPodcast?sub_confirmation=1Wanna be part of the Section Crew?  Join our Facebook community here: www.facebook.com/groups/secondsectionpodcast/Check us out at our website: https://secondsectionpodcast.com/Music: Good for Nothing Safety by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Artist: http://www.twinmusicom.org/

Rick Stroud and Steve Versnick on the Rays new ownership and their plans for a new stadium and the direction of the franchise after they held a press conference on Tuesday. Their goal is to be in a new stadium by Opening Day 2029 which is ambitious. So where will the stadium go and who will pay for it. Plus former Bucs' OC Liam Coen is off to a great start in Jacksonville. Hosted on Acast. See acast.com/privacy for more information.

Episode Description: On my way to the 2025 big duck opener, I'm layout boat hunting solo. In this episode, I dive into my personal history with layout boat hunting, why it's one of my favorite styles of hunting, and share practical tips for anyone wanting to give it a try. Flight Day Ammunition – Premium bismuth loads for waterfowlers.flightdayammo.comCode: FDH10 for 10% off Weatherby Shotguns – Legendary shotguns built for the hunt.weatherby.com Purina Pro Plan Dog Food – Nutrition trusted by hunters and trainers.purina.com Mammoth Guardian Dog Crates – Built tough for safety and durability.mammothpetproducts.comCode: GUARDIAN15 for 15% off Shotty Gear – Waterproof, durable, and affordable gear for everyday duck hunters.shottygear.comCode: FDH10 for 10% off Sponsors Learn more about your ad choices. Visit megaphone.fm/adchoices

In today's MadTech Daily, we discuss the EU rolling out an AI strategy to reduce foreign reliance, OpenAI giving content owners more control on Sora, and Instagram testing an iPad-style layout.

Fire Chief Mark Niemeyer of the Boise Fire Department discusses Succession Planning & Culture. Understand that your leadership path does not have to be traditional. Winning breeds winning and losing breeds losing. Train your people so well that they can go anywhere, but treat them so well they won't. A fire chief's #1 job is to 1) Layout the vision, #2) motivate your people and #3) Support them. All FF's should find themselves smiling more than you complain!

The countdown to the Ashes is on! We are starting to get so excited that we didn't even include an intro jingle for this sit down chat that we had in the flesh! In this episode we begin the exciting countdown by taking a close look at England's recently names squad for the upcoming Ashes series as well as some key things to note in the fixture. We cast our eyes over their new look fast bowling attack (since the last ashes series) and make some early predictions. Happy listening!

The Pinball Show Episode 182: The Star Wars: Fall Of The Empire Episode   Hosts: Dennis Kriesel & Zach Meny   - Stern Pinball Production Updates - Star Wars: Fall Of The Empire Released - Deep-Diving Into Star Wars Launch, Sales, Story/Objectives, Theme, Art, Features, Toys/Mechs, Layout, Rules, & Sound - Spike 3 Features - EXCLUSIVE MEMBERSHIP CONTENT: Additional Pindustry News     EXCLUSIVE CONTENT AND TPS MEMBERSHIP CAN BE FOUND AT Patreon.com/thepinballshow      Remember to purchase your next pinball or arcade machine from Flip N Out Pinball! flipnoutpinball.com zach@flipnoutpinball.com   Follow, like, and subscribe to The Pinball Show (TPS), the industry's most popular podcast! email: thepinballshow@gmail.com youtube: youtube.com/thepinballshow instagram: @thepinballshowpodcast tik tok: @thepinballshow store: flipnoutpinball.com membership: patreon.com/thepinballshow  

Erstmals in der Geschichte dieses Podcasts produzieren wir eine Folge, die eigentlich aus drei Teilfolgen besteht. Ein Tryptichon, ein richtig dickes Ding, mit viel Tiefenbohrung. Ein Anstoß war das Themenjahr, das Leipzig 2025 ausgerufen hat: Im Rahmen von „Mehr als eine Geschichte. Buchstadt Leipzig“ widmen sich zahlreiche Veranstaltungen der Geschichte und Gegenwart von Literatur und Büchern in der Messestadt. Wir von der Stiftung Buchkunst haben uns für Leipzig als Ort des Grafischen Gewerbes, der Schwarzen Kunst, der Buchmacher zu interessieren begonnen. In den letzten Monaten sind wir drei Buchbinderinnen begegnet, drei starken Frauen aus verschiedenen Generationen, deren Lebens- und Berufsgeschichte untrennbar mit der Geschichte der Buchstadt Leipzig verbunden ist. In der dritten und letzten Teilfolge möchten wir euch mit Bettina Mönch bekannt machen. Bettina, Jahrgang 1965, übernimmt nach ihrer Buchbinder-Lehre die Familienfirma, die ihr Großvater Werner Kretzschmar 1949 gegründet hat. 2003 gründet sie mit ihrem jüngeren Bruder André, einem studierten Drucktechniker, die Buchbinderei Mönch oHG – die Expertise der Geschwister erlaubt die Kombination von Industrie- und handwerklicher Buchbinderei. Von 2007 bis 2023 ist die Firma im Leipziger Tapetenwerk angesiedelt. Bei Mönch gebundene Bücher erhalten zahlreiche Auszeichnungen – die höchste gab es 2003 im Wettbewerb der „Schönsten Bücher aus aller Welt“: Der Band bei Hatje Cantz erschienene Band „Rewind Forward“ von Olaf Nicolai erhielt die „Goldene Letter“. Die verkürzten Bogen, die damals noch Bettina Mönchs handwerkliches Geschick auf einer alten, mittels Fußpedal betriebenen Fadenheftmaschine erforderte, sind inzwischen industrieller Standard geworden. 2023 hat Bettina Mönch, schweren Herzens, das Tapetenwerk verlassen – und bietet, oft in Zusammenarbeit mit Leipziger Druck-Kollegen wie Andreas Pöge – noch punktuell kleinere Projekte an. Dank wie immer an Carolin Blöink (Layout, Audioeinbindung), Steffen Brosig (Schnitt) und Gert Mothes (Fotos).

Marketing im Kopf - ein Podcast von Luis BinderIn dieser Folge wird über verschiedene Unternehmen gesprochen, da Markennamen genannt werden, handelt es sich um UNBEZAHLTE WERBUNG!In dieser Folge: In der heutigen Podcastfolge von Marketing im Kopf geht's um Dienstleistungsmarketing. Wir schauen, warum Dienstleistungen anders funktionieren als Produkte, wie du sie potenzial-, prozess- und ergebnisorientiert einordnest und warum Kapazität, klare Abläufe und Self-Service-Möglichkeiten so wichtig sind. Außerdem klären wir Sucheigenschaften, Erfahrungseigenschaften und Vertrauenseigenschaften und wie Vertrauen durch Referenzen und Zertifikate entsteht.____________________________________________Marketing-News der Woche:YouTube testet Layout ohne Kommentare YouTube experimentiert mit einem neuen mobilen Design, bei dem Kommentare, Kanalinfos und CTA-Buttons ausgeblendet werden, um das Videoerlebnis zu fokussieren. Einige Nutzer finden es gut, andere das Fehlen der Kommentare störend. Parallel wird das KI-gestützte Feature „Jump Ahead“ für Smart TVs eingeführt, das Premium-Nutzer direkt zu den spannendsten Stellen eines Videos springen lässt. Flaconi wächst und testet KI-generierte WerbungFlaconi konnte seinen Umsatz im zweiten Quartal 2025 um 33 % steigern und ist inzwischen in zwölf europäischen Märkten aktiv. Der Beauty-Händler kombiniert starke Marken, eine klare Premium-Positionierung und einen breiten Mediamix, um seine Marktführerschaft auszubauen. Ein Pilotprojekt mit KI-generiertem User-Generated Content zielt auf skalierbare Videowerbung ohne klassische Creator. Die Avatare wurden in mehreren Sprachen für sieben Länder produziert und auf Social Media getestet. Trotz möglicher Authentizitätsprobleme sieht sich Flaconi als Vorreiter für automatisierte, internationale Content-Produktion.Verbraucher misstrauen KI im Handel Eine Studie zeigt: Während 96 % der deutschen Marketer bereits KI einsetzen, fehlt vielen Verbrauchern das Vertrauen. Vor allem beim Datenschutz. Nur 25 % glauben, dass ihre Daten im Austausch echten Mehrwert bringen. Gleichzeitig sagen 54 % der KI-"affinen" Nutzer, dass ihnen KI das Einkaufen erleichtert. Der Kontrast zwischen Marketing-Strategien und Konsumentenerwartungen ist deutlich: Marken setzen auf Personalisierung, doch Kunden fordern Transparenz und ein echtes Nutzenversprechen. Patagonia als Vorbild für authentische Markenführung In einer überladenen Markenwelt sticht Patagonia mit klarer Haltung und gelebter Authentizität heraus. Die Marke zeigt, dass echtes Werteverständnis langfristige Kundenbindung schafft. Marken überzeugen heute nicht durch Perfektion, sondern durch Identifikation. Besonders in Krisenzeiten zeigt sich, ob eine Marke wirklich ihren Purpose lebt. Führung beginnt dabei immer an der Spitze: Wer Klarheit über die eigenen Werte hat und sie konsistent kommuniziert, baut Vertrauen auf. Intern und extern.____________________________________________Vernetz dich gerne auf LinkedIn: ⁠https://www.linkedin.com/in/luisbinder/⁠ Instagram: https://www.instagram.com/marketingimkopf/Du hast Fragen, Anregungen oder Ideen? Melde dich unter: marketingimkopf@gmail.com Die Website zum Podcast findest du hier. [⁠⁠⁠https://bit.ly/2WN7tH5⁠⁠⁠]

Erstmals in der Geschichte dieses Podcasts produzieren wir eine Folge, die eigentlich aus drei Teilfolgen besteht. Ein Tryptichon, ein richtig dickes Ding, mit viel Tiefenbohrung. Ein Anstoß war das Themenjahr, das Leipzig 2025 ausgerufen hat: Im Rahmen von „Mehr als eine Geschichte. Buchstadt Leipzig“ widmen sich zahlreiche Veranstaltungen der Geschichte und Gegenwart von Literatur und Büchern in der Messestadt. Wir von der Stiftung Buchkunst haben uns für Leipzig als Ort des Grafischen Gewerbes, der Schwarzen Kunst, der Buchmacher zu interessieren begonnen. In den letzten Monaten sind wir drei Buchbinderinnen begegnet, drei starken Frauen aus verschiedenen Generationen, deren Lebens- und Berufsgeschichte untrennbar mit der Geschichte der Buchstadt Leipzig verbunden ist. Heute möchten wir euch mit Katja Zwirnmann und ihrem Graphischen Atelier auf der Leipziger Baumwollspinnerei bekannt machen. Es ist zugleich Werkstatt und Laden, zu finden gegenüber von Halle 14, die ihr als Buch-Begeisterte vermutlich von unserem Projekt „Fourteen presents Fourteen“ kennt, dort zeigen wir ja in Kooperation mit der Kunstbibliothek der Halle 14 die prämierten Titel der „Schönsten Bücher aus aller Welt“. Heute geht es auf die andere Seite der gepflasterten Straße – zu Katja Zwirnmann, Jahrgang 1973, gelernte Buchbinderin und Absolventin der HGB. Dank wie immer an Carolin Blöink (Layout, Audioeinbindung), Steffen Brosig (Schnitt) und Gert Mothes (Fotos). http://www.stiftung-buchkunst.de/de/leipzigs-neue-seiten.html

Erstmals in der Geschichte dieses Podcasts produzieren wir eine Folge, die eigentlich aus drei Teilfolgen besteht. Ein Tryptichon, ein richtig dickes Ding, mit viel Tiefenbohrung. Ein Anstoß war das Themenjahr, das Leipzig 2025 ausgerufen hat: Im Rahmen von „Mehr als eine Geschichte. Buchstadt Leipzig“ widmen sich zahlreiche Veranstaltungen der Geschichte und Gegenwart von Literatur und Büchern in der Messestadt. Wir von der Stiftung Buchkunst haben uns für Leipzig als Ort des Grafischen Gewerbes, der Schwarzen Kunst, der Buchmacher zu interessieren begonnen. In den letzten Monaten sind wir drei Buchbinderinnen begegnet, drei starken Frauen aus verschiedenen Generationen, deren Lebens- und Berufsgeschichte untrennbar mit der Geschichte der Buchstadt Leipzig verbunden ist. Wir freuen uns, euch in dieser und den beiden kommenden Folgen mit Katrin Adler, Katja Zwirnmann und Bettina Mönch bekanntmachen zu können. Los geht es in einem Hinterhof im Waldstraßen-Viertel, wo Katrin Adler mit Ihrer Werkstatt gerade vom ersten Stock ins Erdgeschoss umgezogen ist. Katrin Adler ist der Buchbinder-Beruf in die Wiege gelegt worden. Dass sie ihn beim eigenen Vater erlernen durfte, ist den wunderlichen Verhältnissen in der DDR zu verdanken. Später hat sie an der HGB studiert – wenn jemand weiß, wie Künstler ticken, dann ist es Katrin Adler. Dank wie immer an Carolin Blöink (Layout, Audioeinbindung), Steffen Brosig (Schnitt) und Gert Mothes (Fotos). http://www.stiftung-buchkunst.de/de/leipzigs-neue-seiten.html

Matthias Knuser ist kein klassischer Webdesigner, er ist Stratege, Psychologe und Unternehmer in einem. Mit Knuser Hyperspace baut er Websites, die nicht nur schön aussehen, sondern messbar funktionieren. In dieser Folge spricht er mit Nico darüber, was fast alle beim Aufbau ihrer Website falsch machen, warum Design oft überschätzt wird und wie du mit der richtigen Struktur, klaren Worten und psychologischen Triggern mehr Vertrauen, Buchungen und Verkäufe erreichst. Der häufigste Fehler: Viele starten mit dem Layout, aber ohne Ziel, Zielgruppe oder Strategie. Sie überlegen sich nicht, was die Website tun soll, für wen sie ist und was Menschen auf der Seite tun sollen. Darum erklärt Matthias in dieser Folge: • Warum du dein Ziel zuerst definieren musst: Buchungen? Anfragen? Vertrauen? Verkauf? • Wieso eine Website nicht für dich, sondern für deine Zielgruppe da ist, mit deren Sprache, Tempo und Fragen • Wie wichtig der erste Eindruck ist („above the fold“), inkl. Titel, Call-to-Action und Bild • Warum du echte Bilder, klare Menüführung (max. 7 Punkte) und psychologisch strukturierte Texte brauchst • Wie du bei komplexen Angeboten (z. B. Sportcenter mit Fitness, Kursen & Tennis) mit Landingpages, Zielgruppensplits und differenzierten Funnels arbeitest

the UI at https://nothing.tech/products/phone-3 renders a list of "widgets". I would like each of these widgets to have their own loaders to maximise page speed, furthermore I'd be able to "deeplink" a user straight into a widget. But how do I do that when a route can only have one Outlet? Here's an example with Promise.all. Before: // routes/dashboard.tsx export async function loader() { const user = await fetch('/api/user').then(r => r.json()) const projects = await fetch(`/api/projects?userId=${user.id}`).then(r => r.json()) const notifications = await fetch(`/api/notifications?userId=${user.id}`).then(r => r.json()) return { user, projects, notifications } } After: export async function loader() { const userPromise = fetch('/api/user').then(r => r.json()) const projectsPromise = userPromise.then(user => fetch(`/api/projects?userId=${user.id}`).then(r => r.json()) ) const notificationsPromise = userPromise.then(user => fetch(`/api/notifications?userId=${user.id}`).then(r => r.json()) ) const [user, projects, notifications] = await Promise.all([ userPromise, projectsPromise, notificationsPromise, ]) return { user, projects, notifications } } Kent's notes: I forgot that defer is now unnecessary, simply return an object from your loader and any properties on that object that are promises will be sent along as deferred data automatically. Learn more from the links below. Full Stack Components Streaming with Suspense React Router and React Server Components: The Path Forward promiseHash from remix-utils How far can nested UI loaders go for UIs with list of components

You might think Marie is a travel planner. You might think she is a health care professional. Stick around, because once you hear it, you might just change your mind about . . . EPIC MARIE. Yep. Epic Marie is here to dish about her experiences at Universal and also tell us how wrong we are about all of our previous episodes. In this episode, you will be able to: Discover what makes Epic Universe a game-changer in Orlando's theme park scene and why it might just become your new favorite spot. Compare Universal's Epic Universe and Disneyland to uncover which park offers the best experiences for your next epic adventure. Identify the must-try rides at Epic Universe that deliver unforgettable thrills and unique storytelling you won't find anywhere else. Explore the secrets of the Wizarding World of Harry Potter Ministry of Magic and why it's a must-see for any Potter fan visiting Epic Universe. Uncover the top dining options at Epic Universe that combine great flavors with immersive atmospheres to fuel your park day perfectly. The key moments in this episode are:00:00:01 - Introduction and Single Riders Dating App Humor 00:06:00 - Spokes and Hub Crawl Podcast Structure Explained 00:16:17 - Planning and Staying Near Epic Universe Theme Park 00:18:58 - Optimal Time and Attractions to Experience at Epic Universe 00:26:40 - Layout and Ride Variety in Super Nintendo World vs. Other Lands 00:29:43 - Dark Universe Experience and Scary Atmosphere Insights  00:36:11 - Ministry of Magic Ride Review and Technical Breakdown 00:41:30 - Exploring Epic Universe's Kids' Attractions and Ride Experiences 00:43:40 - Disney and Universal Coasters 00:52:10 - Future Expansion and Theming Predictions for Epic Universe 00:55:20 - Universal's Epic Universe vs. Disney World00:58:45 - Supreme Resort Concierge Insights and Podcast Ad Break 01:00:50 - Sleeping Beauty vs. Cinderella Castle 01:03:45 - Everest, Matterhorn, Indiana Jones, and Dinosaur 01:09:42 - Opinions on Haunted Mansion Holiday and Listener Perspectives  01:13:18 - Fun Trivia and Correcting Disney Facts  ------ Hey, have you called J. R. Trimpe yet? Do you need music? Because you should really call him. https://trimpe.org Also, Marie @land_world_sea_with_marie Learn more about your ad choices. Visit megaphone.fm/adchoices

#TSGMultimediaPodcast #HistoricPreservation #ModelRailroading #Trains #RailroadsThis month's TSG Podcast includes:0:52 Intro/Welcome2:40 SBHRS | Archiving Artifacts4:06 Santa Clara Depot | Caltrain Camp14:43 Op Session | Southern Pacific Monterey Branch | Operating Tip: Flagmen20:42 Op Session | Sierra 1923 | Operating Tip: Learn the Layout          https://youtu.be/xq8TKUI3wpE?si=5Ruz_dCpBz7WHaU-25:05 The Beach Train | CF7 | Pre-Trip Prep30:06 The Beach Train | B Roll | An Unusual Maneuver32:27 The Beach Train | Santa Cruz Beach Boardwalk34:46 The Beach Train | Narrow Gauge Sighting37:26 The Beach Train | CF7 Information with Engineer Hill | Cab Ride41:05 The Beach Train | Final Thoughts43:01 Talking Trains          https://www.youtube.com/live/JQboOMmcICs?si=0om_jK34S2duLpky47:07 Western Pacific & Rio Grande Annual Convention          https://wplives.org          https://rgmhs.org/57:41 HO Scale Yosemite Valley Layout Visit          https://youtu.be/EHGkZHLqALY?si=tInC2JEX5_kz2TZj1:00:11 Catch Of The Month1:00:56 A Very Important Anniversary | Discount Code | CALTRAIN20          https://tsgmultimedia.com/product/caltrain-2005/1:02:32 ConclusionHere are some of the ways you can support the content you love:Support our sponsors!Model Railroad Control Systems - Electronics for Operationshttps://modelrailroadcontrolsystems.com/https://www.podomatic.com   Use code: TSGPODEngagement & Sharing:If you enjoy this content, please hit the "like" button and share it with your friends on social media! Leaving comments on this video's comment section also helps.Direct Financial Support:https://www.patreon.com/TSGMultimediahttps://www.paypal.com/paypalme/tsgmultimediahttps://tsgmultimedia.com/shop/Join TSG Multimedia on these other social media channels:FaceBook: https://www.facebook.com/tsgmultimediafaceInstagram: https://www.instagram.com/tsg_multimedia/BlueSky: https://bsky.app/profile/tsgmultimedia.bsky.social©2025 TSG Multimedia. All Rights Reserved.

In this heartwarming and humorous episode of The Whissel Way, Kyle Whissel sits down with a very special co-host: his 9-year-old daughter Nixon. Together, they explore what it would look like if she ran a real estate company—from dress codes and office snacks to mascots, pricing strategy, and even a Sephora-inspired break room. While the episode is full of laughs and light-hearted moments, it also subtly touches on the importance of creativity, culture, and fun in the workplace. Whether you're a parent, a team leader, or just need a smile today, this episode shows that inspiration can come from even the youngest voices. Chapters 00:00 – Meet the Guest: Kyle's Daughter Nixon 00:46 – Why We're Interviewing a 9-Year-Old 01:07 – What Would Nixon's Real Estate Company Look Like? 02:13 – Branding: Colors, Titles, and Names 03:03 – Office Vibes: Lights, Layout, and Rules 04:08 – Oversized Hoodies and School Policies 05:30 – Office Hours and Company Culture 06:10 – Logo, Mascots, and Papa's Love for Teal 08:00 – Sephora Rooms and Office Snacks 12:32 – How Nixon Would Advertise Homes 16:00 – Sweet Surprise Sisters: Her Real Business

Feeling overwhelmed by all the wedding planning to-dos? What if I told you that a stack of Post-It Notes could be the secret weapon you didn't know you needed?In this episode of the Wedding Planning Collective Podcast, we're going back to basics (in the best way) with a low-tech, budget-friendly, ADHD-friendly planning method that's equal parts visual, satisfying, and wildly effective: the Post-It Note Wedding Planning System.You'll learn:Why sticky notes actually work (hello, visual learners and dopamine seekers

In this episode of Get It Seen: The Simplest Way to Accessible Design host Michelle Frechette and typography expert Piccia Neri discuss the vital role of typography in web accessibility. They explore how factors like font choice, size, alignment, kerning, and style impact readability and legibility for all users, including those with visual or neurological differences. The conversation highlights common pitfalls—such as using all caps, centered text, or decorative fonts—and offers practical tips for creating accessible, user-friendly content. Real-world examples underscore how thoughtful typography can improve user experience and even boost website conversions. The episode concludes with a preview of next week's focus on color and contrast.Top Takeaways:Typography Is More Than Just Fonts — It's a Core Element of Accessibility: Typography includes not only font choices but also layout, spacing, alignment, font weight, size, line height, tracking, and visual hierarchy. These elements together shape how readable and legible text is, directly affecting accessibility and user experience.Readability and Legibility Are Different, and Both Matter: Legibility is about how easily individual letters can be distinguished (e.g., clear letterforms, avoiding imposter letters like I/l/1). Readability refers to how easily blocks of text can be read and understood (e.g., proper line length, avoiding full justification, using appropriate spacing). Both need to be considered when designing for diverse users, including those with dyslexia or visual impairments.Alignment Strongly Impacts Usability and Conversion: Left-aligned text is significantly easier to read, especially online. Centered or poorly aligned text disrupts the reader's visual flow and can make content inaccessible.There Are No Universally "Perfect" Accessible Typefaces: Recommendations like "use sans-serif fonts" or “Arial is accessible” are oversimplified. Accessibility depends on how the typeface is used, whether it distinguishes similar characters clearly (e.g., capital I vs. lowercase L), and whether it's appropriate for your audience. Typefaces like Atkinson Hyperlegible are designed with accessibility in mind, but even these aren't universally preferred.Mentioned in the Show:Don't Make Me Think Book By Steve KrugAtkinson HyperlegibleSöhne Klim Type Foundry National Klim Type FoundryJosef AlbersAccessible typeface checklist – free resourceAccessible Typography 101 course – 30% discount code: PODCAST30Better Accessibility Through Typography Masterclass – 30% discount code: PODCAST30

We're dropping fresh SnoBall 2025 details (September 27, South Bend, Indiana) — including the itinerary, featuring icebreaker games, our live game-show-style podcast recording, Brigid Yates' boudoir photography demo, and Dani's BDSM dungeon setup — and then we dive into our really good experience at a swingers club.   We break down why the vibe worked, how consent and communication shaped the night, what we noticed about single-guy management, tour rules for newbies, playroom etiquette, and how thoughtful structure can turn a club from “meh” to memorable, low-pressure, and sexy.   If you're a lifestyle couple, ethical non-monogamy curious, or you're prepping for SnoBall 2025, this episode hits the practical stuff: how clubs can create safer, more inclusive spaces, how to start (and welcome) dirty talk, and how to design events that encourage genuine connection — not chaos.   00:00 - Our Best Swingers Club Night (Why the Vibe Worked) 02:00 - SnoBall 2025 Details: Date, Itinerary & What's New 04:00 - Boudoir Photography Demo with Brigid Yates (How to Join) 07:00 - Swingers Club First Impressions & Vibe Check 09:00 - Club Tour, Layout, and Newbie-Friendly Rules 12:00 - Consent Culture & Playroom Etiquette That Actually Works 15:00 - Managing Single Guys: Policies That Keep the Night Sexy 20:00 - Sybian Station & Voyeur-Friendly Playroom Highlights 25:00 - What We're Bringing to SnoBall: BDSM Dungeon, Boudoir, Icebreaker Games 30:00 - How Lifestyle Events Create Safe, Sexy, and Inclusive Spaces 40:00 - Join Our Discord & Telegram, RSVP for SnoBall 2025 PLEASE share your feedback and stories with us! Email Us: SnoMilf@yahoo.com Twitter (X): @SchedulingSin Join us on Discord: https://discord.gg/F4Wk558TaT https://schedulingsin.com IMPORTANT - Please read and respect our chat server rules before joining our Discord Chat Server. This service is completely free, there are many rooms to enjoy with fellow members of the swinging community. You MUST BE OVER 18 YEARS OLD TO JOIN THIS DISCORD SERVER. Our Discord chat is for social chat. it is not a pick up site or dating site.

Want more clicks from your pins? It starts with understanding what “fresh content” really means on Pinterest today. In episode 722, Laura Rike teaches us how to use fresh pins, vertical video, and smart AI practices to grow our reach and stay ahead of Pinterest's evolving algorithm. Laura Rike is a Pinterest Strategist and owner of SimplyPintastic® who helps entrepreneurs and content creators increase online sales and sign more clients with the power of Pinterest utilizing organic methods and scaling with ads. She has helped clients and students bring in over 50k+ in monthly revenue. Her clients have become industry leaders with 6-figure businesses and are growing sustainably by ranking on the first page of Google and getting targeted email leads daily. Laura has been featured on Social Media Examiner, Tailwind, MeetEdgar, Agorapulse and Ecamm Network. Get practical tips for creating pins that perform, without falling into outdated habits or risky shortcuts. Key points discussed include: - Why video pins still matter: And how to make them work with minimal effort. - What “fresh pins” actually are: It's more than swapping out text. - The best pin sizes to test now: Layout and dimensions that catch eyes. - The truth about AI-generated images: What's safe (and what's not) on Pinterest. - AI copy? Yes—but do this first: Use it smartly without harming performance. - You can stop stressing over schedulers: Which ones to use and why it no longer matters. - How to revive older content with ease: Use collages, roundups, and strategic repins. Connect with Laura Rike Website | Instagram

Even when you're thousands of miles away from your prototype, you might not be that far from your people. That's what we find out on this episode of Around The Layout as we talk to Robin Felder from Switzerland. Robin tells how his love for American railroading began and how he's been able to satisfy that big layout desire with a large group of friends and dual purpose modular layouts. Robin also shares how the group shares each of their unique talents to help each other.Learn more about this episode, check out photos and find links on our website:aroundthelayout.com/169Thank you to our episode sponsor, Spring Creek Model Trains:https://www.springcreekmodeltrains.com/Thank you to our episode sponsor, ScaleSigns.com:https://scalesigns.com/

This week on The Retail Perch, Shekar and Gary sit down with Flora Delaney, a veteran retail and CPG executive, consultant, and author of Retail: The Second-Oldest Profession.With over 25 years of experience, Flora shares how smart space planning, strategic category management, and AI-driven insights transform today's in-store experience.Join us as we explore her patented Intelligent Dashboard for Pricing and Promotion, the Earned Space Model for space optimization, and why balancing national and regional retail strategies is key to growth.

Send us a textThis episode is hosted by Josh Blum, Erik Phillips, John Eadiccio, Grant Light, and John Vance.We want your helmet (for the AVB CTC)! Check this out to find out more: https://www.youtube.com/watch?v=Qg5_ZwoCZo0Sign up for the B Shifter Buckslip, our free weekly newsletter here: https://lp.constantcontactpages.com/su/fmgs92N/BuckslipShop B Shifter here: https://bshifter.myshopify.comAll of our links here: https://linktr.ee/BShifterPlease subscribe and share. Thank you for listening!This episode was recorded on June 23, 2025.Thermal imaging cameras reduce search time for victims by 75%, are 100% successful in helping firefighters exit buildings, and lessen time finding the seat of fire by 60%.• Use the "Life, Layout, Fire" approach when viewing thermal images - always look for life (potential victims) first at the lower part of the screen• Too many firefighters use TICs incorrectly by scanning like a video camera instead of methodically analyzing images• Personal thermal imagers for nozzle firefighters are game-changers - they're now cheaper than cell phones• "No firefighter has died with a TIC in their hand" - powerful statement about their life-saving potential• TICs allow firefighters to flow water from a distance, targeting the fire more effectively than traditional methods• Reading thermal images requires understanding subtle cues like the "dip in the V" pattern at ceiling level• Being able to see flow paths helps identify fire location, especially when dealing with below-grade fires• PPE is not a proximity suit - it's designed for only 17.5 seconds in a flash fire when brand new• Survivable space exists even in fire rooms, but using TICs and flowing water quickly extends victims' chancesContact us to learn more about thermal imaging training opportunities at the upcoming Blue Card Hazard Zone Conference.

This week on the Oakley Podcast, Jeremy Kellett and Megan Cummings discuss important updates for truck drivers, including new medical exam submission requirements that mandate physicals be uploaded to the national registry within 24 hours. They highlight Oakley Trucking's significant investments, including a new 18,000-square-foot trailer shop set to open in July with improved maintenance facilities and two newly purchased Kenworth rental trucks designed to help owner-operators continue working when their personal trucks are down. The podcast provides practical advice for drivers, emphasizing the importance of proactively managing medical certifications and maintaining equipment. Key takeaways include the need for drivers to be their own advocates, the benefits of the new rental truck program, Oakley's commitment to supporting their owner-operators through innovative solutions, and more.Key topics in today's conversation include:Sponsor Appreciation and Owner-Operator Support (2:39)Catching Up with Megan and Jeremy (5:00)New Medical Exam Regulations (9:43)Tips for Medical Exam Compliance (10:41)State Implementation and Scanning Physicals (13:03)New Shop Features and Layout (16:22)Shop History and Growth (18:41)New Shop Amenities and Storage (21:45)Shop Workflow and Comfort Upgrades (25:28)Oakley Trucking Purchases Two Trucks (00:27:05)Rental Truck Program Details (30:20)Company Events and Calendar (33:03)Final Thoughts and Takeaways (34:47)Oakley Trucking is a family-owned and operated trucking company headquartered in North Little Rock, Arkansas. For more information, check out our show website: podcast.bruceoakley.com.

Sometimes, an old layout is worth saving, especially one that is rich in history and has been touched by some model railroading greats. This is the story of the Rochester Model Railroad Club and their efforts to take their 1980's layout from DC to DCC and make it a layout that is modernized and interactive. Club members Ed O'Connell and Rob Bartels tell us about taking on this challenge and how, in the end, they will have a layout that continues to tell the story of the Lehigh Valley.Learn more about this episode on our website:aroundthelayout.com/163Thank you to our episode sponsor, Spring Creek Model Trains:https://www.springcreekmodeltrains.com/Thank you to our episode sponsor, Tully Models:https://tullymodels.com

Épisode 1325 : Youpi, c'est lundi et on vous a préparé une petite sélection des dernières actualités Social Media. YouTube Shorts intègre Google Lens pour une recherche visuelle instantanéeYouTube teste une nouvelle fonctionnalité qui permet aux utilisateurs de rechercher des informations sur des objets, des lieux ou des textes visibles dans les vidéos Shorts en utilisant Google Lens. En mettant en pause une vidéo et en sélectionnant l'icône Lens, les spectateurs peuvent surligner une zone spécifique de l'écran pour obtenir des résultats de recherche pertinents, tels que des correspondances visuelles, des informations contextuelles ou des traductions de texte. Cette fonctionnalité est actuellement en phase bêta sur les applications mobiles iOS et Android. Elle ne s'applique pas aux Shorts contenant des liens d'affiliation ou des promotions payantes.Pinterest devient sponsor officiel de l'équipe WNBA New York LibertyMeta signe de nouveaux partenariats sportifs avec la ligue UFC , X intègre des contenus additionnels autour des jours de match pour la NBA et cette fois ci c'est une plateforme inattendue qui cherche également à se plonger dans l'engagement sportif : PinterestPinterest a annoncé son premier partenariat dans le domaine du sport en devenant sponsor officiel de l'équipe de basketball féminin New York Liberty, championne de la ligue féminine wnba 2024. Ce partenariat vise à renforcer la présence de Pinterest dans le secteur du sport et à promouvoir l'engagement des utilisateurs autour du contenu lié au basketball féminin. Nouveaux filtres de commentaires pour les créateurs sur InstagramDepuis le 1er juin, tous les créateurs ayant plus de 100 000 abonnés peuvent accéder à des filtres avancés pour trier les commentaires sur leurs publications. Trois nouveaux filtres font leur apparition L'objectif : aider les créateurs à identifier rapidement les commentaires les plus engageants ou stratégiques.WhatsApp muscle ses Statuts avec de nouveaux outils créatifsWhatsApp continue d'enrichir ses "Statuts", ces contenus éphémères façon Stories. L'application ajoute plusieurs fonctionnalités inspirées d'Instagram :Nouveau mode collageIl est désormais possible de créer un post avec jusqu'à six images dans un seul cadre. L'outil Layout permet de personnaliser la disposition des visuels. Un moyen simple de raconter une histoire visuelle sans avoir à publier plusieurs statuts.—LinkedIn muscle ses analytics pour aider les créateursLinkedIn veut devenir la plateforme de référence pour les créateurs B2B. Et ça passe par plus de data. Depuis fin mai, de nouvelles métriques sont disponibles dans les statistiques de post.Deux nouveaux indicateurs majeurs font leur apparition :Profile activityLink engagementRetrouvez toutes les notes de l'épisode sur www.lesuperdaily.com ! . . . Le Super Daily est le podcast quotidien sur les réseaux sociaux. Il est fabriqué avec une pluie d'amour par les équipes de Supernatifs. Nous sommes une agence social media basée à Lyon : https://supernatifs.com. Ensemble, nous aidons les entreprises à créer des relations durables et rentables avec leurs audiences. Ensemble, nous inventons, produisons et diffusons des contenus qui engagent vos collaborateurs, vos prospects et vos consommateurs. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

  A green, leafy canopy benefits more than just the birds. Trees planted along…

In this potluck episode of Syntax, Wes and CJ answer your questions about OpenAI's $3B Windsurf acquisition, the evolving role of UI in an AI-driven world, why good design still matters, React vs. Svelte, and more! Show Notes 00:00 Welcome to Syntax! Devs Night Out 02:35 OpenAI acquires Windsurf for $3B Windsurf Ep 870: Windsurf forked VS Code to compete with Cursor. Talking the future of AI + Coding 05:20 What is the future of UI now that AI is such a heavy hitter? 08:45 Handling spam submissions on websites Cloudflare Turnstile 14:18 Duplicating HTML for desktop and mobile websites? 17:03 Is it okay to use a JSON file for simple website data? 19:04 How to handle anonymous and duplicate users Better-Auth 21:55 Working with TypeScript Object.keys() and “any” vs “@ts-ignore” 25:51 Brought to you by Sentry.io 26:38 What is the difference between React and Svelte? 30:24 How should you name your readme file? 31:55 How do you find time to refactor code? 35:20 Best practices for testing responsiveness Polypane 39:19 Avoiding layout shift with progressive enhancement 46:56 Sick Picks + Shameless Plugs Sick Picks CJ: Portable Chainsaw Wes: White Lotus Shameless Plugs CJ: Nuxt Wes: Full Stack App Build | Travel Log w/ Nuxt, Vue, Better Auth, Drizzle, Tailwind, DaisyUI, MapLibre Hit us up on Socials! Syntax: X Instagram Tiktok LinkedIn Threads Wes: X Instagram Tiktok LinkedIn Threads Scott: X Instagram Tiktok LinkedIn Threads Randy: X Instagram YouTube Threads

It's time for part 2 with author and model railroader Thomas Klimoski, and joining us to dig into operations on small layouts is our resident expert on the topic, Don Irace. Tom talks about how a smaller layout can still pack a full operations experience with some good planning and can be beneficial for those who don't have a huge crew or the time to maintain a massive empire.Learn more about this episode on our website:aroundthelayout.com/160Give us your feedback - take the ATLP Survey at aroundthelayout.com/surveyThank you to our episode sponsor, Spring Creek Model Trains:https://www.springcreekmodeltrains.com/Thank you to our episode sponsor, Tully Models:https://tullymodels.com

UNIVERSE 25 WAS WILD! Today, we explore John B. Calhoun's infamous experiment that created a utopian world for mice-abundant resources, no predators, and perfect conditions. But this so-called utopia quickly devolved into a dystopian nightmare marked by social collapse, crime, and a breakdown of community bonds. We'll cover the experiment's process and its unsettling outcome, revealing how this nightmare society of mice mirrors troubling parallels to urban human societies struggling with overcrowding, isolation, and rising antisocial behavior. Join us as we review the lasting impact of Universe 25 on science and what it warns us about the fragility of civilization…WELCOME TO CAMP

EPISODE 289 - Clark welcomes Lance Fensterman, CEO of Fanatics Events, to the pod where they discuss everything you need to know about the second Fanatics Fest event taking place again in New York City from June 20 to 22.That includes what people can expect at this year's show as well as what's new and different than the first year, and how what's been improved over the inaugural Fanatics Fest last summer.Autograph seekers should be happy as well as sports card collectors with changes to the floor layout that will hopefully increase more engagement from both sports fans and sports card collectors alike.Then after the interview, Clark gives podcast listeners a Pick 1, which you can vote for @fivecardguys on IG's Stories.Want to keep up to date with us, subscribe to our free Cards To The Moon newsletter here! https://fivecardguys.substack.com--------------------------CONNECT WITH US!Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@cardstothemoon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@fivecardguys⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Clark) | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@yntegritysportscards⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Hyung) | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@tradeyouatrecess⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (John)Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://fivecardguys.com/podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Daily Auctions (w/ affiliate links): ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://fivecardguys.com/dailyauctions⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠If you have any questions about the hobby that you would like addressed, email us at hello@fivecardguys.com or DM us on Instagram at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@cardstothemoon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@fivecardguys⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

In this episode, Gaurav begins his journey into mastering spreadsheets with Apple's free app,Numberson Mac.

 Episode 50 TopicsProject Updates5 Year Anniversary DiscussionMicro Model Railway Dispatch RecapThe Future of the PodcastCast:Hosts: Ian Holmes & Tom ConboyAnnouncer: Shawn BranstetterClick here for the listen link (podcast player will open in a new tab).Episode Links for e50: Ian's YouTube Channel...https://www.youtube.com/@MicroModelRailwayDispatchTom's YouTube Channel...https://www.youtube.com/@microlayoutsbytom Popular Podcast Links... New Blog for the Micro Railway Cartel (formerly The Micro Model Railroad Cartel)        https://microcartel.wordpress.comTom's Micro Layout Blog...https://microsbytom.wordpress.com/Ian's Micro Railway Bloghttps://iansmicrolayouts.blogspot.com/ Micro Model Railway Dispatch e-zine  https://micromodelrailwaydispatch.com/Micro Model Railway Dispatch Editor Send comments, questions, and/or article submissions to Ianat mmrdeditor@gmail.com Facebook Pizza Layout Grouphttps://www.facebook.com/groups/191063817370670 Model Railway Resourceshttps://microcartel.wordpress.com/micro-model-railway-sites/........................................................ Music for Cartel Conversations..."Newer Wave" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Monkeys Spinning Monkeys" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

Today we are talking about The Contact Form Initiative, What it is, and how it helped Drupal with guest J. Hogue. We'll also cover Local Tasks More as our module of the week. For show notes visit: https://www.talkingDrupal.com/499 Topics What is the Contact Form initiative What makes up the contact form recipe Why did you want to run this initiative What are the responsibilities of an initiative lead Were there any unexpected speed bumps Who was involved As a non-backend developer, any hesitation to lead this effort What was onboarding like What was the timeline Any tips for others thinking of leading an initiative Guests J. Hogue - oomphinc.com artinruins Hosts Nic Laflin - nLighteneddevelopment.com nicxvan John Picozzi - epam.com johnpicozzi Kathy Beck - kbeck303 MOTW Correspondent Jacob Rockowitz - jrockowitz.com jrockowitz Brief description: Nodes can have too many local tasks. Only the first few, like View, Edit, Layout, Revisions, and Translate, are used daily. Would you like to hide or reorder less commonly used local tasks, which include Usage, Clone, Devel, and Convert. There is a module for that Local Tasks More (local_tasks_more) Brief history How old: created on November 6th, 2024 Versions available: 1.0.0-beta2 r Maintainership Actively maintained No security coverage Has test coverage Does not require much documentation No issues Usage stats: 22 sites Maintainer(s): jrockowitz (me) Module features and usage Enter the base routes that support the show more/less task link and alterations. Enter the local task id and the altered title and weight. Set the local tasks to FALSE to remove it. Enter the number of links to trigger show more/less tasks link/icon from primary and secondary tasks (aka tabs).

Show Notes: Chris Freeberg is the co-founder of deck.support, a company that brings some of the best tools for PowerPoint into Google Slides. Chris and cofounder Dimitri Limberopoulos recognized the need for increased functionality in Google Slides as more companies were switching from PowerPoint to Google Slides but wanted a larger variety of tools and functionality for projects. deck.support was launched last month in the Google workspace marketplace as an extension to Google Slides and provides a wide range of  tools to increase creativity and functionality that are available for PowerPoint. deck.support is an affordable and  essential tool for those who prefer working in Google Slides for client or collaboration reasons.     An Introduction to deck.support  deck.support lives within Google Slides and Chris demonstrates how to access the extension. He discusses the use of deck.support which offers various formatting shortcuts and alignment tools. These tools allow users to quickly align images, columns, and objects, and automatically resize them for better alignment.    deck.support Objects and Templates Tutorial Chris explains how to use objects and templates. Objects are text and graphical elements that can be inserted onto a page, such as three-step process wheels or four-step process wheels.  Templates are more elaborate versions of layouts. Templates can include a table of contents, detailed agenda, context, findings, matrix, BFA, call out, box prioritization, traffic light, slide, Harvey Ball, timeline, slide, customer funnels, and more. The founders have tried to replicate the visual languages used in their slides. The collection of templates, key actions, deliverables, and hypotheses is a complete list of 90% of the standard slide designs used in consulting projects. deck.support for Project Goals and Objectives The project also includes charts with more numerous charts to explore the project's goals and objectives. The goal is to provide a more engaging and effective presentation for clients. They have built a roadmap of 10 different chart types to start with, aiming to bring a high level of precision to Google Slides. AI is another feature which allows users to prompt the AI to read a slide and add finishing touches. This is an integration with Open AI, which will look at a slide and add specific notes to the speaker notes at the bottom. The AI suggestions launched at the bottom of the slide include a more action-oriented or informative headline that concisely summarizes the benefits of deck support. deck.support and the Golden Age of Entrepreneurship Chris discusses the importance of remembering who the audience is for a slide presentation to ensure clarity and comprehension. The process of building the tool involved a quick analysis of the potential of Google Slides, and hiring a developer with expertise in Google Apps Scripts. The augmented intelligence provided by AI tools allowed him to understand the process of development and make informed decisions. Chris believes that AI is a gold standard in the field of entrepreneurship, as it provides a demystification of the process, making it easier and more enjoyable for the audience. He also mentions the importance of considering the audience's needs and the potential for advancements in the field. Chris and Dimitri built a roadmap using PowerPoint and AI to understand the purpose of their software. They were guided by 17 years of BCG experience and were familiar with existing tools and their limitations.  Developing, Testing, and Pricing deck.support Chris discusses the development process of their product, which took about six months. The first step was identifying how to communicate what they wanted in terms of tools and functionality, and identifying the limitations of current tools on the market. They used chat GPT to evaluate different jurisdictions for incorporation, such as Delaware, Ireland, Dubai, and Singapore. They landed on Singapore, as it was the best place for two international people selling software. Chat GPT helped them evaluate different options and run simulations of fees, given different revenue levels and currency flows. Each section of the tool became its own block, and they tested each one before launching it in the App Store. They learned that the most valuable aspect of the product was the user-centered approach and understanding how it would be used and integrated into workflows.They currently offer the product for free on the Google workspace marketplace, but the alignment tools will be paid for. The core version of export will have an annual fee of $50 per year, and charts will be an additional feature that people can pay for. The pricing for charts is currently around $300 a year, and efficient elements will be around $100 a year. The overall value of the product is expected to be around $150 a year for charts. AI Tools for PowerPoint The conversation turns to AI tools for PowerPoint and their potential to create specific slides for consultants and professionals. Most people don't want someone to create the entire pitch deck for them, but rather just insert a slide according to their template. Chris believes that AI tools are still a few years away from being able to do this and that the need for AI tools will diminish as knowledge professionals have a better understanding of how to visually bring a presentation to life. He states that AI tools can be useful for high school students and sales professionals, but they may fall short when it comes to the nuance of consulting work. He talks about the limitations of AI models in generating creative campaigns. One of the biggest challenges is their inability to replicate the same character over and over again. AI models today are better at starting from a link sheet and bringing consistency from users on a micro level. The Process of Getting a deck.support into Google App Store Chris shares that getting a product into the Google App Store was painful, as there is a process that requires submission to the Google Workplace Marketplace for approval. This process verifies the app's security, consistency with best practices, and that there is no attempt to steal user information. The challenge was navigating two different teams within Google, all of whom seemed to be based on different sides of the world. The process lasted about six weeks, with cryptic emails asking for approvals and cryptic questions asking for help. Chat GPT helped identify opportunities to fix issues within the Google Cloud console. Security Measures for deck.support When it comes to security, Chris explains that the tool has no ability to see how users use the tool or what buttons they push. Once CRM capabilities are turned on, they capture email addresses and user accounts, but only the slide being viewed is transmitted to Open AI. Open AI returns this information consistent with the Terms of Service. Chris emphasizes the importance of enterprise security, as they have completed an enterprise security assessment for a consulting firm that uses Google Slides. They have documented that there is no image or information capture in the tool, only knowing who a user is, their active account, and the right to press the Layout button.Chris also talks about the use of Google App Script for the Google Slide extension, which ensures compliance with SOC 2 compliance. This means that the tool is not covered by the Google Workplace sandbox, which means it doesn't have to pay $40,000 for its own SOC 2 compliance. Chris explains that the tool lives in the cloud, not on its own. Users can download the tool from the deck.support website. Chris also mentions the limitations of Google Slides extensions, which require users to click on the "Open sidebar" button every time. To fix this, an App Script can be added to Google Slides, allowing users to click on the "Open sidebar" button when opening the slide. The Script can be found in the Extensions menu within Google Slides.  Timestamps: 02:20: Overview of deck.support and Its Features  36:30: Detailed Features of deck.support  36:45: Development and Building of deck.support  36:59: Challenges and Future Plans for deck.support  38:50: User Experience and Availability of deck.support  Links: Website: https://deck.support/ Marketplace Listing for downloads: https://workspace.google.com/marketplace/app/deck.support_pro_tools_for_google_slides/128114120858 Unleashed is produced by Umbrex, which has a mission of connecting independent management consultants with one another, creating opportunities for members to meet, build relationships, and share lessons learned. Learn more at www.umbrex.com.  

The Storm Skiing Journal and Podcast is a reader-supported publication. To receive new posts and to support independent ski journalism, please consider becoming a free or paid subscriber.WhoJeff Colburn, General Manager of Silver Mountain, IdahoRecorded onFebruary 12, 2025About Silver MountainClick here for a mountain stats overviewOwned by: CMR Lands, which also owns 49 Degrees North, WashingtonLocated in: Kellogg, IdahoYear founded: 1968 as Jackass ski area, later known as Silverhorn, operated intermittently in the 1980s before its transformation into Silver in 1990Pass affiliations:* Indy Pass – 2 days, select blackouts* Indy+ Pass – 2 days, no blackouts* Powder Alliance – 3 days, select blackoutsClosest neighboring ski areas: Lookout Pass (:26)Base elevation: 4,100 feet (lowest chairlift); 2,300 feet (gondola)Summit elevation: 6,297 feetVertical drop: 2,200 feetSkiable acres: 1,600+Average annual snowfall: 340 inchesTrail count: 80Lift count: 7 (1 eight-passenger gondola, 1 fixed-grip quad, 2 triples, 2 doubles – view Lift Blog's inventory of Silver Mountain's lift fleet)Why I interviewed himAfter moving to Manhattan in 2002, I would often pine for an extinct version of New York City: docks thrust into the Hudson, masted ships, ornate brickwork factories, carriages, open windows, kids loose in the streets, summer evening crowds on stoops and patios. Modern New York, riotous as it is for an American city, felt staid and sterile beside the island's explosively peopled black-and-white past.Over time, I've developed a different view: New York City is a triumph of post-industrial reinvention, able to shed and quickly replace obsolete industries with those that would lead the future. And my idealized New York, I came to realize, was itself a snapshot of one lost New York, but not the only lost New York, just my romanticized etching of a city that has been in a constant state of reinvention for 400 years.It's through this same lens that we can view Silver Mountain. For more than a century, Kellogg was home to silver mines that employed thousands. When the Bunker Hill Mine closed in 1981, it took the town's soul with it. The city became a symbol of industrial decline, of an America losing its rough-and-ragged hammer-bang grit.And for a while, Kellogg was a denuded and dusty crater pockmarking the glory-green of Idaho's panhandle. The population collapsed. Suicide rates, Colburn tells us on the podcast, were high.But within a decade, town officials peered toward the skeleton of Jackass ski area, with its intact centerpole Riblet double, and said, “maybe that's the thing.” With help from Von Roll, they erected three chairlifts on the mountain and taxed themselves $2 million to string a three-mile-long gondola from town to mountain, opening the ski area to the masses by bypassing the serpentine seven-mile-long access road. (Gosh, can you think of anyplace else where such a contraption would work?)Silver rose above while the Environmental Protection Agency got to work below, cleaning up what had been designated a massive Superfund site. Today, Kellogg, led by Silver, is a functional, modern place, a post-industrial success story demonstrating how recreation can anchor an economy and a community. The service sector lacks the fiery valor of industry. Bouncing through snow, gifted from above, for fun, does not resonate with America's self-image like the gutsy miner pulling metal from the earth to feed his family. Town founder/mining legend Noah Kellogg and his jackass companion remain heroic local figures. But across rural America, ski areas have stepped quietly into the vacuum left by vacated factories and mines, where they become a source of community identity and a stabilizing agent where no other industry makes sense.What we talked aboutSki Idaho; what it will take to transform Idaho into a ski destination; the importance of Grand Targhee to Idaho; old-time PNW skiing; Schweitzer as bellwether for Idaho ski area development; Kellogg, Idaho's mining history, Superfund cleanup, and renaissance as a resort town; Jackass ski area and its rebirth as Silver Mountain; the easiest big mountain access in America; taking a gondola to the ski area; the Jackass Snack Shack; an affordable mountain town?; Silver's destination potential; 49 Degrees North; these obscenely, stupidly low lift ticket prices:Potential lift upgrades, including Chair 4; snowmaking potential; baselodge expansion; Indy Pass; and the Powder Alliance.What I got wrongI mentioned that Telluride's Mountain Village Gondola replacement would cost $50 million. The actual estimates appear to be $60 million. The two stages of that gondola total 10,145 feet, more than a mile shorter than Silver's astonishing 16,350 feet (3.1 miles).Why now was a good time for this interviewIn the ‘90s, before the advent of the commercial internet, I learned about skiing from magazines. They mostly wrote about the American West and their fabulous, over-hill-and-dale ski complexes: Vail and Sun Valley and Telluride and the like. But these publications also exposed the backwaters where you could mainline pow and avoid liftlines, and do it all for less than the price of a bologna sandwich. It was in Skiing's October 1994 Favorite Resorts issue that I learned about this little slice of magnificence:Snow, snow, snow, steep, steep, steep, cheap, cheap, cheap, and a feeling you've gone back to a special time and place when life, and skiing, was uncomplicated – those are the things that make [NAME REDACTED] one of our favorite resorts. It's the ultimate pure skiing experience. This was another surprise choice, even to those who named [REDACTED] to their lists. We knew people liked [REDACTED], but we weren't prepared for how many, or how create their affections were. This is the one area that broke the “Great Skiing + Great Base Area + Amenities = Favorite Resort” equation. [REDACTED] has minimal base development, no shopping, no nightlife, no fancy hotels or eateries, and yet here it is on our list, a tribute to the fact that in the end, really great skiing matters more than any other single resort feature.OK, well this sounds amazing. Tell me more……[REDACTED] has one of the cheapest lift tickets around.…One of those rare places that hasn't been packaged, streamlined, suburbanized. There's also that delicious atmosphere of absolute remoteness from the everyday world.…The ski area for traditionalists, ascetics, and cheapskates. The lifts are slow and creaky, the accommodations are spartan, but the lift tickets are the best deal in skiing.This super-secret, cheaper-than-Tic-Tacs, Humble Bro ski center tucked hidden from any sign of civilization, the Great Skiing Bomb Shelter of 1994, is…Alta.Yes, that Alta.The Alta with four high-speed lifts.The Alta with $199 peak-day walk-up lift tickets.The Alta that headlines the Ikon Pass and Mountain Collective.The Alta with an address at the top of America's most over-burdened access road.Alta is my favorite ski area. There is nothing else like it anywhere (well, except directly next door). And a lot remains unchanged since 1994: there still isn't much to do other than ski, the lodges are still “spartan,” it is still “steep” and “deep.” But Alta blew past “cheap” a long time ago, and it feels about as embedded in the wilderness as an exit ramp Chuck E. Cheese. Sure, the viewshed is mostly intact, but accessing the ski area requires a slow-motion up-canyon tiptoe that better resembles a civilization-level evacuation than anything we would label “remote.” Alta is still Narnia, but the Alta described above no longer exists.Well, no s**t? Aren't we talking about Idaho here? Yes, but no one else is. And that's what I'm getting at: the Alta of 2025, the place where everything is cheap and fluffy and empty, is Idaho. Hide behind your dumb potato jokes all you want, but you can't argue with this lineup:“Ummm, Grand Targhee is in Wyoming, D*****s.”Thank you, Geography Bro, but the only way to access GT is through Idaho, and the mountain has been a member of Ski Idaho for centuries because of it.Also: Lost Trail and Lookout Pass both straddle the Montana-Idaho border.Anyway, check that roster, those annual snowfall totals. Then look at how difficult these ski areas are to access. The answer, mostly, is “Not Very.” You couldn't make Silver Mountain easier to get to unless you moved it to JFK airport: exit the interstate, drive seven feet, park, board the gondola.Finally, let's compare that group of 15 Idaho ski areas to the 15 public, aerial-lift-served ski areas in Utah. Even when you include Targhee and all of Lost Trail and Lookout, Utah offers 32 percent more skiable terrain than Idaho:But Utah tallies three times more annual skier visits than Idaho:No, Silver Mountain is not Alta, and Brundage is not Snowbird. But Silver and Brundage don't get skied out in under 45 seconds on a powder day. And other than faster lifts and more skiers, there's not much separating the average Utah ski resort from the average Idaho ski resort.That won't be true forever. People are dumb in the moment, but smart in slow-motion. We are already seeing meaningful numbers of East Coast ski families reorient their ski trips east, across the Atlantic (one New York-based reader explained to me today how they flew their family to Norway for skiing over President's weekend because it was cheaper than Vermont). Soon enough, Planet California and everyone else is going to tire of the expense and chaos of Colorado and Utah, and they'll Insta-sleuth their way to this powdery Extra-Rockies that everyone forgot about. No reason to wait for all that.Why you should ski Silver MountainI have little to add outside of what I wrote above: go to Silver because it's big and cheap and awesome. So I'll add this pinpoint description from Skibum.net:It's hard to find something negative about Silver Mountain; the only real drawback is that you probably live nowhere near it. On the other hand, if you live within striking distance, you already know that this is easily the best kept ski secret in Idaho and possibly the entire western hemisphere. If not, you just have to convince the family somehow that Kellogg Idaho — not Vail, not Tahoe, not Cottonwood Canyon — is the place you ought to head for your next ski trip. Try it, and you'll see why it's such a well-kept secret. All-around fantastic skiing, terrific powder, virtually no liftlines, reasonable pricing. Layout is kind of quirky; almost like an upside-down mountain due to gondola ride to lodge…interesting place. Emphasis on expert skiing but all abilities have plenty of terrain. Experts will find a ton of glades … One of the country's great underrated ski areas.Some of you will just never bother traveling for a mountain that lacks high-speed lifts. I understand, but I think that's a mistake. Slow lifts don't matter when there are no liftlines. And as Skiing wrote about Alta in 1994, “Really great skiing matters more than any other single resort feature.”Podcast NotesOn Schweitzer's transformationIf we were to fast-forward 30 years, I think we would find that most large Idaho ski areas will have undergone a renaissance of the sort that Schweitzer, Idaho did over the previous 30 years. Check the place out in 1988, a big but backwoods ski area covered in double chairs:Compare that to Schweitzer today: four high-speed quads, a sixer, and two triples that are only fixed-grip because the GM doesn't like exposed high-elevation detaches.On Silver's legacy ski areasSilver was originally known as Jackass, then Silverhorn. That original chairlift, installed in 1967, stands today as Chair 4:On the Jackass Snack ShackThis mid-mountain building, just off Chair 4, is actually a portable structure moved north from Tamarack:On 49 Degrees NorthCMR Lands also owns 49 Degrees North, an outstanding ski area two-and-a-half hours west and roughly equidistant from Spokane as Silver is (though in opposite directions). In 2021, the mountain demolished a top-to-bottom, 1972 SLI double for a brand-new, 1,851-vertical-foot high-speed quad, from which you can access most of the resort's 2,325 acres.The Storm explores the world of lift-served skiing year-round. Join us. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.stormskiing.com/subscribe

Dean advices on how to layout a steamed shower and building a wraparound porch on a tiny house. Dean helps a caller on locating California native drought tolerate plants that would go well with either gravel or decomposed granite. Dean says that most tract homes have four different developments and how the developers tend to flip them, change the placement to create an illusion of varies homes for the neighborhood; to make it look full. Plus, he recaps on the craftsmanship, the engineering and the developments of architecture pedigree of tract homes. 

Today's guest is Emeritus Faculty of The Hotel School of Cornell University, Stephani Robson. Until her recent retirement, Dr. Stephani Robson was a member of the faculty at the Cornell University School of Hotel Administration for almost 30 years, where she taught literally thousands of students and executives about development and planning for hotels and restaurants. Prior to joining academia, she designed commercial kitchens for just about every kind of operation: restaurants, hotels, airports, hospitals, universities, and more. This workshop covers part 3 of our 3-part series about FOH Layout Engineering. Workshops can be found every Thursday in the Restaurant Unstoppable podcast feed or on YouTube. Most have a visual component, so consider watching the video version here. Join the RUNetwork to take part in workshops and ask the experts YOUR questions! Want more Stephani Robson? Head to www.restaurantunstoppable.com/stephanirobson to get the Stephani Robson Playlist and a link to schedule your one-on-one call with Stephani. Join the Restaurant Unstoppable Network TODAY! Restaurant Unstoppable - EVOLVE! - Eric of Restaurant Unstoppable is now taking consultation and coaching calls! Book a consultation today! Schedule your call to become UNSTOPPABLE! Check out the website for more details: https://www.restaurantunstoppable.com/evolve Today's sponsors: If you listen to the show, you know we love Profit First, the money management system that bakes profit into your operation. That is why we're psyched to announce our partnership with Profit First Professional and the Author of Profit First For Restaurants, Kasey Anton. Head to restaurantunstoppable.com/profitfirst to get a link to her Profit First for Restaurants Book and Course. Be sure to register for our 4/3/25 Profit First Workshop and get a free Profit First Checklist!  US Foods: US Foods is hosting the event of the year, Food Fanatics 2025. August 19-20, 2025, at the Mandalay Bay, Las Vegas, NV. Network with over 5,000 Industry peers. Attend Zouk nightclub reception, expert breakout sessions, Keynote speeches, musical performances, and dramatic demonstrations, and sample the latest on-trend dishes. The Clock Is Ticking! Be Ready to Register on April 16 for Food Fanatics® 2025. To learn more, visit www.usfoods.com/foodfanatics2025 Restaurant Systems Pro - Join the 60-day Restaurant Systems Pro FREE TRAINING. This is something that has never been done before. This 60-day event is at no cost to you, but it is not for everyone. Fred Langley, CEO of Restaurant Systems Pro, will lead a group of restaurateurs through the Restaurant Systems Pro software and set up the systems for your restaurant. During the 60 days, Fred will walk you through the Restaurant Systems Pro Process and help you crush the following goals: Recipe Costing Cards; Guidance in your books for accounting; Cash controls; Sales Forecasting(With Accuracy); Checklists; Budgeting for the entire year; Scheduling for profit; More butts in seats and more… Click Here to learn more.  Let's make 2025 the year your restaurant thrives. Guest contact info:  Email: skr4@cornell.edu Thanks for listening! Rate the podcast, subscribe, and share!  We are on Youtube: @RestaurantUnstoppable

Today's guest is Emeritus Faculty of The Hotel School of Cornell University, Stephani Robson. Until her recent retirement, Dr. Stephani Robson was a member of the faculty at the Cornell University School of Hotel Administration for almost 30 years, where she taught literally thousands of students and executives about development and planning for hotels and restaurants. Prior to joining academia, she designed commercial kitchens for just about every kind of operation: restaurants, hotels, airports, hospitals, universities, and more. This workshop covers part 2 of our 3-part series about FOH Layout Engineering. Workshops can be found every Thursday in the Restaurant Unstoppable podcast feed or on YouTube. Most have a visual component, so consider watching the video version here. Join the RUNetwork to take part in workshops and ask the experts YOUR questions! Want more Stephani Robson? Head to www.restaurantunstoppable.com/stephanirobson to get the Stephani Robson Playlist and a link to schedule your one-on-one call with Stephani. Join the Restaurant Unstoppable Network TODAY! Restaurant Unstoppable - EVOLVE! - Eric of Restaurant Unstoppable is now taking consultation and coaching calls! Book a consultation today! Schedule your call to become UNSTOPPABLE! Check out the website for more details: https://www.restaurantunstoppable.com/evolve Today's sponsors: US Foods: US Foods is hosting the event of the year, Food Fanatics 2025. August 19-20, 2025, at the Mandalay Bay, Las Vegas, NV. Network with over 5,000 Industry peers. Attend Zouk nightclub reception, expert breakout sessions, Keynote speeches, musical performances, and dramatic demonstrations, and sample the latest on-trend dishes. The Clock Is Ticking! Be Ready to Register on April 16 for Food Fanatics® 2025. To learn more, visit www.usfoods.com/foodfanatics2025 Meez: Are you a chef, owner, operator, or manage recipes in professional kitchens? meez is built just for you. Organize, share, prep, and scale recipes like never before. Plus, engineer your menu in real-time and get accurate food costs. Sign up for free today and get 2 FREE months of invoice processing as a listener of the Restaurant Unstoppable Podcast. Visit getmeez.com/unstoppable to learn more. Restaurant Systems Pro - Join the 60-day Restaurant Systems Pro FREE TRAINING. This is something that has never been done before. This 60-day event is at no cost to you, but it is not for everyone. Fred Langley, CEO of Restaurant Systems Pro, will lead a group of restaurateurs through the Restaurant Systems Pro software and set up the systems for your restaurant. During the 60 days, Fred will walk you through the Restaurant Systems Pro Process and help you crush the following goals: Recipe Costing Cards; Guidance in your books for accounting; Cash controls; Sales Forecasting(With Accuracy); Checklists; Budgeting for the entire year; Scheduling for profit; More butts in seats and more… Click Here to learn more.  Let's make 2025 the year your restaurant thrives. Guest contact info:  Email: skr4@cornell.edu Thanks for listening! Rate the podcast, subscribe, and share!  We are on Youtube: @RestaurantUnstoppable

Today's guest is Emeritus Faculty of The Hotel School of Cornell University, Stephani Robson. Until her recent retirement, Dr. Stephani Robson was a member of the faculty at the Cornell University School of Hotel Administration for almost 30 years, where she taught literally thousands of students and executives about development and planning for hotels and restaurants. Prior to joining academia, she designed commercial kitchens for just about every kind of operation: restaurants, hotels, airports, hospitals, universities, and more. This workshop covers part 1 of our 3-part series about FOH Layout Engineering. Workshops can be found every Thursday in the Restaurant Unstoppable podcast feed or on YouTube. Most have a visual component, so consider watching the video version here. Join the RUNetwork to take part in workshops and ask the experts YOUR questions! Want more Stephani Robson? Head to www.restaurantunstoppable.com/stephanirobson to get the Stephani Robson Playlist and a link to schedule your one-on-one call with Stephani. Join the Restaurant Unstoppable Network TODAY! Restaurant Unstoppable - EVOLVE! - Eric of Restaurant Unstoppable is now taking consultation and coaching calls! Book a consultation today! Schedule your call to become UNSTOPPABLE! Check out the website for more details: https://www.restaurantunstoppable.com/evolve Today's sponsors: US Foods: US Foods is hosting the event of the year, Food Fanatics 2025. August 19-20, 2025, at the Mandalay Bay, Las Vegas, NV. Network with over 5,000 Industry peers. Attend Zouk nightclub reception, expert breakout sessions, Keynote speeches, musical performances, and dramatic demonstrations, and sample the latest on-trend dishes. The Clock Is Ticking! Be Ready to Register on April 16 for Food Fanatics® 2025. To learn more, visit www.usfoods.com/foodfanatics2025 Restaurant Systems Pro - Join the 60-day Restaurant Systems Pro FREE TRAINING. This is something that has never been done before. This 60-day event is at no cost to you, but it is not for everyone. Fred Langley, CEO of Restaurant Systems Pro, will lead a group of restaurateurs through the Restaurant Systems Pro software and set up the systems for your restaurant. During the 60 days, Fred will walk you through the Restaurant Systems Pro Process and help you crush the following goals: Recipe Costing Cards; Guidance in your books for accounting; Cash controls; Sales Forecasting(With Accuracy); Checklists; Budgeting for the entire year; Scheduling for profit; More butts in seats and more… Click Here to learn more.  Let's make 2025 the year your restaurant thrives. Guest contact info:  Email: skr4@cornell.edu Thanks for listening! Rate the podcast, subscribe, and share!  We are on Youtube: @RestaurantUnstoppable

Download for Mobile | Podcast Preview | Full Timestamps Go to http://shopify.com/superbeast to sign up for a $1-per-month trial period. - Go to http://auraframes.com and use code SUPERBEAST to get $35-off Aura's best-selling Carver Mat frames. - Click this link https://boot.dev/?promo=CASTLESUPERBEAST and use my code CASTLESUPERBEAST to get 25% off your first payment for boot.dev. - Go to http://factormeals.com/50castle and use code 50castle to get 50% off your first box plus free shipping.  Keep Virtua Fighter 6 Boring Clive Is A Soul Calibur Character Clovers, Okami 2 and Lost Lustre ATTN MUSHNUTTERS: Emergency Onimushacast Peer Reviewed Goonpapers Elden Ring Nightreign Is a Threat Watch live: twitch.tv/castlesuperbeast Hideki Kamiya, creator of "Okami" and "Bayonetta," restarts his work! We asked him about the "4 C's" that his new company "CLOVERS" values, and the circumstances that led to Kamiya's departure from PlatinumGames BREAKING: A bug that allowed players to summon their atomicycle in regular missions is going to be turned into a feature! 'Fight me': Ben Starr The Game Awards 2024: The Witcher 4 revealed with Ciri at the helm Intergalactic: The Heretic Prophet is a brand new Naughty Dog game Surprise Elden Ring spinoff announced, with PvP and PvE arena-like combat A tense and fascinating first look at the next project from Shadow Of The Colossus devs Ah, finally, the Borderlands 4 trailer we've been waiting for Work begins on the Okami sequel, after 18 years New The Outer Worlds 2 trailer gives off real Guardians Of The Galaxy vibes The First Berserker: Khazan is coming on 27th March 2025 Slay The Spire 2 gets a tongue-in-cheek gameplay trailer Hazelight reveals their new co-op game, Split Fiction Project Century is the new undertaking from the Like A Dragon devs Rematch is a football game from the Sifu devs, coming Summer 2025 Palworld: Feybreak update arrives shortly before Christmas Helldivers 2's new Illuminati faction is out now Demon-chopping platformer Ninja Gaiden Ragebound is in development Shadow Labyrinth announced, has dark evil Pacmen Clive from Final Fantasy joins the Tekken 8 roster next week New Virtua Fighter game is in development at SEGA The Warframe: 1999 expansion is coming tomorrow. Today. Whichever. Onimusha: Way Of The Sword is coming in 2026 Dungeon & Fighter: Arad is a new ARPG from Nexon Game Of Thrones: Kingsroad coming in 2025 on mobile