Podcasts about Lighting

Today in Lighting is sponsored by Lightovation, 1 million square feet of lighting solutions at Dallas Market Center. Learn more. Highlights include: IES Announces Results of 2025 Election Electrical Trends: Data Centers Lead the Way 2025 DarkSky Award Winners ANP Lighting Launches New Website

Step into the world of Patrick Harders - a nationally recognized outdoor lighting designer, educator, and co-founder of Sterling Lighting. With over 25 years of experience and more than 10,000 lighting systems designed, Patrick has mastered the balance between art and engineering. In this episode, discover his philosophy of “staying in the dirt,” his passion for innovation, and how his award-winning approach continues to redefine what's possible in outdoor illumination.

Shiur given by Rabbi Bezalel Rudinsky on Halacha Chanuka. Shiur recorded in Yeshivas Ohr Reuven, Monsey, NY.

Today in Lighting is sponsored by Lightovation, 1 million square feet of lighting solutions at Dallas Market Center. Learn more. Highlights include: When Your China Partner Becomes Your Competitor University of Bergen Light Therapy Lecture Hall Combats SAD Countdown to LiGHT 25: One Week to go to Experience the UK's Premier High-End Lighting Exhibition Distributor Territory Manager with Keystone Technologies

How do you produce the largest Gospel presentation in history with less than 10 days?Brad McCraw joins us to discuss how his team produced the Charlie Kirk Memorial Service with no time and the highest of stakes. In this episode:1:00 — Moments When Time Stood Still in American History5:45 — How Brad McCraw Became the Production Lead for Charlie Kirk's Memorial Service11:00 — How Secret Service Affected the Production and AVL Setup12:00 — How Mosaic  Pulled Off the Charlie Kirk Memorial Service in Record Time23:00 — Balancing Production Excellence While Grieving a Loss26:00 — The Technical Workload Behind Producing the Charlie Kirk Memorial on Short Notice27:30 — Behind the Scenes: Production Days Leading Up to the Memorial Service34:45 — What Gear, Lighting, and Audio Equipment Were Used for the Memorial Service38:45 — How Secret Service Protocols effect on the AVL and Broadcast Production46:25 — When the Emotional Weight of the Event Finally Hit1:05:00 — Finding Purpose: How Every Church Tech Role Can Serve the GospelCheckout HouseRight's solutions for your church and open jobs here. Resources for your Church Tech Ministry Sell Us Gear: Does your church have used gear that you need to convert into new ministry dollars? We can make you an offer here. Buy Our Gear: Do you need some production gear but lack the budget to buy new gear? You can shop our gear store here. Connect with us: Sales Bulletin: Get better deals than the public and get them earlier too here! Early Service: Get our best gear before it goes live on our site here. Instagram: Hangout with us on the gram here! Reviews: Leaving us a review on the podcast player you're listening to us on really helps the show. If you enjoyed this episode, you can say thank you with a review!

Today in Lighting is sponsored by Lightovation, 1 million square feet of lighting solutions at Dallas Market Center. Learn more. Highlights include: Lighting the Path to Savings, Revisited Call for Presentations Open for IALD Enlighten Conferences 2026 WAC GROUP Webinar Series: The Science Behind Lighting's Impact on Health & Wellness

This week's Buffalo Beer Buzz has several stories we are incredibly excited about, including dates announced for Barrel Jam 2026 at 42 North Brewing and Buffalo On Tap 2026, Hofbrauhaus Winterzwickel barrel tapping, Hamburg Brewing's annual Lighting of the Fireplace, Wayland Brewing bringing a new taproom to Lancaster, New York State Craft Beer 24 NYS Beers of Holiday Cheer and Beer Kind Brewing planning to close for December, as well as several beer sales at the brewery. Hosted on Acast. See acast.com/privacy for more information.

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.   

Last week we had upsets at home of SMU over Miami (FL) and NC State over Georgia Tech…what's on tap this week? If you want your house to be the ‘beacon of your neighborhood,' contact HaloCustomLighting.com today or Neemann & Sons    Show Sponsored by NEBCOOur Sponsors:* Check out Avocado Green Mattress: https://avocadogreenmattress.com* Check out Hims: https://hims.com/EARLYBREAK* Check out Infinite Epigenetics: https://infiniteepigenetics.com/EARLYBREAK* Check out Uncommon Goods: https://uncommongoods.com/EARLYBREAK* Check out Washington Red Raspberries: https://redrazz.orgAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

How dark should the night sky be in Deschutes County? In this episode, we talk with Tanya Saltzman from the Community Development Department about new lighting standards that take effect Dec. 23. Then, Chris Hill and Bill Kowalik from Dark Sky Oregon join the conversation to share why protecting our night skies matters for wildlife, human health, and our view of the stars.

Today in Lighting is sponsored by Lightovation, 1 million square feet of lighting solutions at Dallas Market Center. Learn more. Highlights include: Rexel Q3 2025 Results Show Strong North America Growth Under One Sky 2025 Casting Nebraskan Art in a Different Light Lighting Controls Podcast: Umesh Baheti on Lighting Controls and Smart Building Integration

And now, it's time for something different....The Bar Business Podcast has joined with industry experts to bring you a new panel podcast every month, Party of Six: The Pulse of Bars and Restaurants. I am joined by some amazing folks for a casual yet insightful conversation, sharing stories and discussing what works and what doesn't in the hospitality industry. Check it out every month as we dive deep into the topics that matter to Bar and Restaurant owners. Dive into the world of bar ambiance with industry experts as they unravel the secrets to creating unforgettable guest experiences.Discover how lighting, bar height, and music can transform a bar's atmosphere, making it a favorite spot for patrons.Learn from the pros about maintaining a cohesive brand identity while adapting to customer preferences to keep them coming back.Tune in to gain insights and practical tips on enhancing your bar's ambiance and building a loyal customer base.Panelists this Month: Dave Nitzel - Co-Owner Dave and Dave Consulting, Best-Selling AuthorAoife Halliday - COO of RuckusMinakshi Singh - Co-Founder of Sidecar and the India Bar ShowCliff Crider - Founding Partner of Stinger Compliance and Truck and TapChris Schneider - Host of the Bar Business Podcast Key Takeaways- Ambiance is crucial in creating a memorable bar experience.- Lighting should be adjustable to match the time of day and mood.- Bar height and seating comfort significantly impact guest satisfaction.- Consistency in brand identity helps build a loyal customer base.- Understanding the target audience is key to successful bar management.- Adapting to customer preferences can enhance the bar's appeal.- Attention to detail in ambiance elements is essential.- Music selection should align with the bar's atmosphere.- A cohesive brand identity prevents confusion among guests.- Flexibility in programming can attract a diverse clientele.

DJI repair updates. Late-night Lights. Loving autumn.

Send us a textWelcome to a truly special 100th episode of Passing the Torch! Hosts Martin Foster and his wife Lora sit down for a heartfelt conversation about leadership, resilience, character development—and what it means to navigate life's biggest transitions together. After 23 years of military service and countless moves, Martin Foster is stepping into retirement, and together, he and Lora reflect on the journey: the challenges of starting over in new communities, the lessons learned from adversity, and the strength found in family and partnership. From parenting in unpredictable times to the importance of finding your people wherever you go, this episode dives deep into authentic insights, shared laughter, and real advice on leading not just in the workplace, but at home and in everyday moments. Whether you're a longtime listener or just joining us, settle in for an inspiring celebration of growth, gratitude, and the torch-passing moments that shape who we become.-Quick Episode Summary:Celebrating milestones, resilience, and family leadership through life's transitions.-SEO Description:Passing the Torch celebrates 100 episodes with special guestLora Foster, reflecting on leadership, resilience, marriage, and navigating military life's biggest transitions.-Chapters:00:00 Intro03:49 Model the Rise Concept06:33 Finding Community in New Places10:00 Retirement Reflection and Shoutouts13:47 Unseen Motivation and Support17:40 Listening Matters Most22:38 Life Abroad in Military Service23:49 Hawaii Memories and Milestones27:33 Family's Pro Wrestling Obsession32:14 Supportive Friends Make Life Better35:26 Comparison: Thief of Joy39:41 Celebrating 100 EpisodesConnect with Passing The Torch: Facebook and IG: @torchmartin More Amazing Stories: Episode 41: Lee Ellis – Freeing You From Bond That Make You Insecure Episode 81: Kurt Warner – Perseverance, Humility, and Lighting the Way Episode 90: Michelle 'MACE' Curran – How to Turn Fear into Fuel

Does Lighting Help?

Today in Lighting is sponsored by Lightovation, 1 million square feet of lighting solutions at Dallas Market Center. Learn more. Highlights include: formalighting Earns EcoVadis Platinum Medal with a 95/100 Sustainability Score Getting Connected: The DALI Alliance and IALD Collaborate Zhaga Expands Smart Lighting Standard with New Edition of Book 18 Finalists for the Light Middle East Awards 2026

This episode dives into the top trends in stage and event lighting driven by rental powerhouse RZI. Chris and Lacy explore the newest products and tech, sharing real-world examples and interesting anecdotes from across the industry.

We cover the new Emissive Maps in Studio Beta, which ensure consistent glow and material effects across all quality settings, plus the SLIM (Scalable, Lightweight, Interactive Models) system for auto-optimizing large worlds. On the platform side, we examine the new Safety Analytics dashboard for tracking player reports and the ongoing Testing Age Estimation feature requiring new users to submit verification. Finally, we look ahead to the community event EuroJam 2025.Chapters:(00:00) Intro(01:08) Emissive Maps - Studio Beta(07:43) SLIM - Studio Beta(13:48) Roblox Trivia(16:31) Events - EuroJam 2025(20:22) Developer Dashboard - Safety Analytics(25:11) Safety & Civility - Age Estimation Checks(33:23) OutroSeason 3 Episode 6Sources:- Emissive Maps Studio Beta— https://devforum.roblox.com/t/studio-beta-emissives/4034414- SLIM Studio Beta— https://devforum.roblox.com/t/studio-beta-introducing-scalable-lightweight-interactive-models-slim/4034709— https://x.com/MaximumADHD/status/1983794597118521748- EuroJam 2025— https://devforum.roblox.com/t/introducing-eurojam-2025/4029615— Roblox Creators Discord: https://discord.com/invite/nMNX5yHqFK- Safety Analytics Dashboard— https://devforum.roblox.com/t/gain-insight-into-toxicity-in-your-experience-with-safety-analytics/4028415- Age Estimation Testing— https://devforum.roblox.com/t/test-encouraging-users-to-complete-an-age-check-to-chat/4035155Hosts:- Fedor (LoadingL0n3ly): https://x.com/LoadingL0n3ly- Anthony (sublivion): https://www.roblox.com/users/44028290/profile----------------------------Watch or listen wherever you get your podcasts.Visit https://lastlevel.co.uk/podcast for more.Join the Discord: https://discord.lastlevel.co.ukBeyond The Blox is produced by Seb Jensen for Last Level Studios.

Welcome back to Black Hoodie Alchemy! For this episode, I'm sharing a recent guest-spot I did on Joe Rupe's Lighting the Void⁠ for his week-long Halloween themed broadcasts.Joe hit me up just a couple hours before his show and asked me if I wanted to jump on to talk about serial killers and abnormal psychology (a topic I analyzed in part with my book HUNT MANUAL), so without much preparation I pulled up some notes and found myself in the zone for the full chat! Listeners had really great feedback to share, and I personally felt like this had been the best conversational presentation I've ever done of this complex material, so here it is for Black Hoodie Alchemy!Usually, if anyone brings up the topic of "serial killers and possession" with any sort of seriousness, they are likely religious zealots that haven't based their thinking on empirical data. But what if one were to analyze this topic with a skeptical, empirical, and open mind? What would they find? You may or may not be surprised to find that throughout this conversation, even with the most skeptical mindset we find some unexplainable head-scratchers. Does that mean that serial killers are literally possessed by classical demons? No. But that doesn't mean there isn't more to the discussion than meets the eye...RELATED CONTENT:Serial Killers & Jungian Thought 1Serial Killers &Jungian Thought 2⁠⁠⁠⁠⁠DIVE MANUAL AUDIOBOOK⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (narrated by Joe Rupe)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠HUNT MANUAL⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BHA LINKTREE w books, shorts, and much more⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Joe Rupe's Lighting the Void⁠⁠Fringe FMThis week's featured music showcases brand new releases from the homies Grim Pesci and NEGATIVE BLAST! Don't sleep on that black hoodie rap, that titanic punk rock frenzy, or any of your favorite underground artists!I Won't - Grim Pesci x Johnny SlashOut the Box - Grim Pesci x Johnny SlashFireplay - NEGATIVE BLASTStand There and Bleed - Grim Pesci x Johnny SlashMac Dawg - NEGATIVE BLAST

Today in Lighting is sponsored by Lightovation, 1 million square feet of lighting solutions at Dallas Market Center. Learn more. Highlights include: Available Now: Designing Lighting Global VOL III Issue III Opdo and Luximprint Forge AI-to-Fabrication Path for Custom Optics DLC SSL V6.0 and LUNA V2.0 Updates Lodes Gives the Gift of Luminous Living This Holiday Season

On today's Geezers of Gear, we're joined by Allen Branton, Emmy-winning lighting designer with a 50-year career spanning tours, TV, and live events. From MTV Unplugged and the Super Bowl Halftime Show to tours with U2, Diana Ross, and The Rolling Stones, Allen has lit some of the most iconic stages in entertainment history.Allen's work has earned multiple Primetime Emmy Awards and nominations, and he is co-author of Lighting Design Beyond Theatre: A Process for the Evolving Entertainment Industry. From tours to television specials and global events, Allen has shaped the visual language of modern live entertainment across every continent except Antarctica.In this episode, lighting designer Alan Branton shares insights from his 50-year career in the entertainment industry, discussing his transition from touring to television lighting, the evolution of technology in lighting design, and the importance of layering light for televised performances. He reflects on the industry's changes, the need for collaboration, and his philosophy of authenticity in music performances. Branton's experiences with iconic artists and his thoughts on the future of live performances provide a comprehensive look at the art and science of lighting design. In this conversation, Allen Branton discusses the evolution of lighting design, particularly in live events and television. He reflects on his experiences with MTV Unplugged, the impact of technology on the industry, and the importance of audience engagement. Branton shares insights on mentorship, the future of live entertainment, and the significance of preparation in achieving successful lighting design. He emphasizes the need for more skilled professionals in the field and the value of passing knowledge to the next generation.This Episode is brought to you by ACME Lighting and Delicate Productions

I had the opportunity to sit with down with Nick McWhirter or SHM Architects to explore the nuances of transitional design, the delicate dance between modern and traditional elements, and the intentionality behind every architectural choice. From furniture-driven layouts to aspirational lighting strategies, Nick shares the thought process, research, and we discuss philosophy that transform houses into harmonious, living machines. Listeners will gain insight into how design, balance, and playfulness converge to create both beauty and functionality in contemporary residential architecture. Designer Resources Pacific Sales Kitchen and Home. Where excellence meets expertise. Design Hardware - A stunning and vast collection of jewelry for the home! TimberTech - Real wood beauty without the upkeep LOME-AI.com, simple, inexpensive, text to video harnessing the power of AI to grow your firm, beautifully. What makes a home truly exceptional isn't just the materials or the finishes—it's the careful orchestration of space, light, and style. In this episode, Nick breaks down his approach to transitional design, revealing how subtle choices like shutter placement, dormer adjustments, or color balance can shift a home's aesthetic from modern to traditional. The conversation spans everything from lighting plans and hidden technology to furniture-first design principles and the philosophy behind architecture as a living, breathing machine.  Of course, that idea comes from Le Corbusier and his thoughts on this very subject.  We also discuss the role of photography, the tension between realism and aspirational imagery, and the evolving vernacular of form and function in modern homes. This episode is a masterclass in thoughtful, intentional, and style-agnostic design. Topics and Ideas Introduction & Context Welcome and setup: Exploring transitional design Nick's philosophy: Style agnostic but deeply researched Transitional Design: Modern vs. Traditional Subtle moves: Shutters, dormers, cut stone, and symmetry Playfulness in design: How small details create balance Color palette: Black-and-white schemes as intentional high-contrast statements Design Process & Interior Layouts Inside-out approach: Furniture-driven architecture Achieving balanced asymmetry Experimentation and editing: Knowing when less is more Lighting as a Core Component Invisible vs. visible fixtures: Philosophy of recessed lighting Lighting as both function and art Integration with technology: Wi-Fi, AV, and smart home systems Photography, Aspirational Design & Reality Balancing reality and idealized imagery in marketing Photoshop as a tool to highlight design intent How photography conveys quality of light, space, and atmosphere Form Follows Function & Architectural Philosophy Homes as “machines for living” The role of beauty and human experience in architecture Historical perspective: Corbusier, Frank Lloyd Wright, and modern vernacular Outdoor Spaces & Technology Integration Creative solutions: Two TVs on a patio LED walls and emerging tech as part of design storytelling Closing Thoughts & Personal Insights The freedom in design: Few right or wrong answers Nick's passion for music, smoked meats, and lifestyle influence Preview of future conversations and projects Thank you, Nick for the time and conversation. Thank you for listening. If you liked this episode, share it with a friend or colleague who loves design and architecture like you do, subscribe to Convo By Design wherever you get your podcasts. And continue the conversation on Instagram @convo x design with an “x”. Keep those emails coming with guest suggestions, show ideas and locations where you'd like to see the show. Convo by design at outlook.com.

My goal with this podcast is to challenge industry myths, question the so-called ‘rules,' and talk about what really works when it comes to building a photography business- based on my almost 30 years of experience.And today's unpopular opinion is this: natural light isn't always better. Grab my equipment list and get 10% off on you Westcott Lighting GearGet 50% Lighting on Location: Off Camera Flash for In-Home Photographers

Today in Lighting is sponsored by Lightovation, 1 million square feet of lighting solutions at Dallas Market Center. Learn more. Highlights include: Cooper Lighting Solutions Acquires Nemalux Nanoleaf Nears Settlement with Signify Up Close With Wendy Fry Inventronics to Begin Manufacturing in Egypt

Every once in a while leaders need to remember the joy of leadership.  And leaders who are following in the footsteps of Christ have a special obligation to witness to the joy that comes from their service because we do what we do in service to the King of Kings.  While challenging sometimes staying joyful is also a secret of the saints.  Not only are leaders keeper of visions and motivators in hard times but we also have the privilege of inspiring those who follow us.

Sam Rabinowitz, CEO of LANTANA LED, joins JSA TV Live from DCD Connect Virginia to discuss the biggest mistake he sees data center operators make when it comes to lighting, how the AI boom is influencing lighting and what's ahead for LANTANA LED.#DataCenterLighting #LightingEfficiency #AIDataCenters

Today in Lighting is brought to you by Casambi, the LightingOS™ that sets the standard for wireless control. Learn more. Highlights include: Boston Lights 2025 Electrical Trends: Acuity and Signify – Differing Points of Light Next Week Don't Miss BDNY, The Leading Trade Fair and Conference for Boutique Hotel Design Distributor Territory Manager with Keystone Technologies

In this episode of LIGHT TALK, The Lumen Brothers and Sister talk about everything from Lighting challenging faces on television to Unfortunate news about your design fee. Join Ellen, Dennis, Steve, and David as they pontificate about: Recapping our interview with Justin Townsend; The Daytime Emmy Awards for Lighting; Gobo sizing; Clever uplight solutions; Chin and Catch Lights; What happens when the theatre company can't pay your fee, Rembrandt Lighting; and Pissing off the Stage Manager.  Nothing is Taboo, Nothing is Sacred, and Very Little Makes Sense.

Want to hire our team to scale your Lawn, Landscaping or Outdoor Living Business? Book your FREE strategy call now → https://www.savantmarketingagency.com/free-strategy-call Got questions or need help? Text Matt directly: (716) 265-0729 If you're a landscaper looking to scale up your business and dominate your local market using Facebook, Google, and AI — you're in the right place. In this video, you'll learn: ✅ A step-by-step breakdown of the strategy we used to help our Permanent LED Lighting client land more projects and achieve his goal using Facebook Ads ✅ Proven strategies we use at Savant Marketing to help landscaping businesses generate consistent, qualified leads ✅ Actionable steps you can take today to improve your marketing results –––––––––––––––––––––––––––––––––––––––––––––––––– Work With Matt & His Team Want us to build a high-converting marketing system for your business? Apply for your free strategy call here → https://www.savantmarketingagency.com/free-strategy-call Join 5,000+ Landscapers in Our Free Facebook Community The #1 community for growing your landscaping business using Facebook Ads and Google Ads → https://www.facebook.com/groups/488948048832631 Listen to Our Podcast: The Landscaper Marketing Show No fluff, just proven strategies → https://www.landscapermarketingshow.com/ Visit Our Website Learn more about how we help Landscapers grow → https://www.SavantMarketingAgency.com DM Us On Instagram https://www.instagram.com/direct/t/17844629994457721 –––––––––––––––––––––––––––––––––––––––––––––––––– About Matt Thibeau Matt Thibeau is the CEO of Savant Marketing, the #1 marketing agency for lawn, landscaping, and outdoor-living contractors in North America. His team helps established businesses generate predictable leads, book more jobs, and scale profitably using digital marketing that works.

Last week we saw Minnesota fans storm the field after beating Nebraska…who could be the FSP this weekend? If you want your house to be the ‘beacon of your neighborhood,' contact HaloCustomLighting.com today or Neemann & Sons Show Sponsored by NEBCOOur Sponsors:* Check out Avocado Green Mattress: https://avocadogreenmattress.com* Check out Hims: https://hims.com/EARLYBREAK* Check out Infinite Epigenetics: https://infiniteepigenetics.com/EARLYBREAK* Check out Uncommon Goods: https://uncommongoods.com/EARLYBREAKAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Today in Lighting is brought to you by Casambi, the LightingOS™ that sets the standard for wireless control. Learn more. Highlights include: Chinese Tariffs Cut to 47% LEDucation Confirms Three-Day Expansion in 2027 Lighting Controls Podcast: John Wilson Reveals How He's Reinventing Controls Education Illuminating Egypt's Past, One Luminaire at a Time

In this uplifting episode of Lighting The Candle: A World That Works, hosts Bill Correll and Jan Jeremias welcome their friend Austin Jacob for a powerful exploration of presence, belonging, and authentic connection. Together, they reflect on how self-awareness shapes every experience — and how seeing life through gratitude and curiosity transforms even ordinary moments into extraordinary ones. From skydiving metaphors to quiet walks in the snow, the conversation dives into what it means to be truly present and centered, even when life feels uncertain. The trio shares heartfelt insights on love, self-acceptance, and the courage to live with open awareness. This episode invites listeners to slow down, breathe, and rediscover their own place in a world that works for everyone.Listen now at exvadio.com or on your favorite podcast app.

Sarah problem solves and Heather's never learned so much about things she never wanted to learn about. THANK YOU to our Patrons! Please consider directly supporting us at Patreon for ad-free episodes, access to our Discord server, and all around good vibes as you help us keep the lights on.Support this show http://supporter.acast.com/hsgd. Hosted on Acast. See acast.com/privacy for more information.

Send us a textBill Blankschaen is a Multiple NYT/USA Today bestselling author & founder and Chief Story Architect of StoryBuilders, a creative team of story-tellers who share his passion for helping people live a story worth telling and serving them with excellence in genuine, high-trust relationships. In his new book, Your Story Advantage, with a foreword Lewis Howes from he shows a proven path to build instant credibility that positions you as the go-to expert in your field, he's worked with John C. Maxwell, Dean Graziosi, & many more.-Quick Episode Summary:Bill Blankschaen shares story-driven breakthroughs, courage, and writing advice.-SEO Description:Discover how to unlock your story's power with bestselling author Bill Blankschaen on Passing The Torch. Insights on storytelling, impact, and finding purpose.-Chapters:00:00 "Your Story Advantage Unveiled"04:18 "Your Breakthrough Starts With Story"06:54 "Finding Purpose Through Reflection"11:23 "Intentional Living and Storytelling"13:08 "Passion and Sharing Experiences"17:02 "Coasting Leads to Decline"20:47 Podcasting for Personal Growth23:22 "Turning Podcast into a Book"27:58 "Ideal Audience in Nonfiction"29:27 Leveraging Your Story for Success32:40 Capturing Authentic Author Voice36:27 Creative Writers and Teamwork42:06 "Embrace Your Story Now"43:14 "Share Your Story Easily"Connect with Passing The Torch: Facebook and IG: @torchmartin More Amazing Stories: Episode 41: Lee Ellis – Freeing You From Bond That Make You Insecure Episode 81: Kurt Warner – Perseverance, Humility, and Lighting the Way Episode 90: Michelle 'MACE' Curran – How to Turn Fear into Fuel

Today in Lighting is brought to you by Casambi, the LightingOS™ that sets the standard for wireless control. Learn more. Highlights include: Boston Lights 2025: AI, Efficiency, and Future Workflows Jim Toole Announces Retirement DLC SSL V6.0 and LUNA V2.0 Updates Tridonic UK Inspires Future Talent Through BBC Bitesize Careers Tour

Today in Lighting is brought to you by Casambi, the LightingOS™ that sets the standard for wireless control. Learn more. Highlights include: DLFNY Beacon Awards Ceremony in New York The Louvre Heist Has Nothing on Signify's Hidden Treasure Graybar Reports Strong Q3 2025 Results A Beacon of Learning

Five-Star Clinic: Lessons from High-End Restaurants In this episode, Doc Danny Matta unpacks what elite restaurants do differently—then maps those exact moves to cash-based PT. From the reservation experience to ambiance, “the menu,” service, and checkout, learn how details create premium value, command higher rates, and generate more referrals. Quick Ask Help us reach our mission of adding $1B in cash-based services to physical therapy: share this episode with a clinician friend or post it to your Instagram stories and tag @dannymattaPT so he can reshare! Episode Summary Reservation experience → Pre-visit touch: Don't rely on generic confirmations. Call/text with directions, parking, “what to expect,” and a 1–2 day pre-visit email from the actual provider. Ambiance → Your space: Design matters. Lighting, smell, layout, materials, music, branding—create an intentional feel your ideal patient loves (and wants to refer into). Menu → Productized services: Name and package outcomes (e.g., “Pain-Free Performance Plan,” “Athlete Optimization”). Present options with a clean pricing sheet and a confident recommendation. Service → Clinical excellence + standards: Providers are your brand. Hold the standard on punctuality, communication, dress, outcomes, and EQ. Coach up or move on. Checkout → Frictionless finish + surprise & delight: Card on file, painless renewals, small “day-one” gifts (e.g., mobility tools), and handwritten thank-you notes. Premium perception: Details separate you from commodity clinics, justify higher prices, improve hiring/retention, and grow word-of-mouth. Lessons & Takeaways Details are the brand: Senses and systems create perceived value before treatment starts. Curate the offer: Productize services and tie them to outcomes—not visit counts. Own the recommendation: Be definitive with prognosis and plan; don't talk patients out of yes. Invest in the room: Space design is a growth investment, not a cost center. Mindset & Motivation The standard is the standard: High-performing teams protect the bar—and A-players expect it. Experience > price: When the experience is elite, price sensitivity drops. Steal like an operator: Study elite brands (restaurants, retail, studios) and adapt their best ideas. Pro Tips for Owners Pre-visit provider email: 2 days before, introduce yourself, set expectations, share a clinic video. Design the senses: Lighting plan, signature scent, music policy, brand palette, signage. Pricing sheet = menu: Clean layout, outcome-named plans, clear primary recommendation. Frictionless billing: Card on file, pay-in-full or monthly plan, one-tap renewals. Wow moment: Day-one useful gift (e.g., mobility balls) bundled into care—don't nickel & dime. Notable Quotes “In world-class restaurants the details are the experience. Your clinic is no different.” “Your pricing sheet is your menu—curate it, name it, and recommend with confidence.” “Patients buy outcomes and experience, not minutes on a table.” Action Items Write a pre-visit SOP: admin call + provider intro email + directions/parking. Audit your space for lighting, scent, music, and signage—fix one item this week. Rename and package your top 2–3 offers into outcome-based plans. Implement card on file and simplify renewals. Buy day-one gifts for all new plans of care and add handwritten thank-you cards. Programs Mentioned PT Biz Part-Time to Full-Time 5-Day Challenge (Free): Get crystal clear on your numbers, pick your path, and build a one-page plan. Resources & Links PT Biz Website Free 5-Day PT Biz Challenge About the Host: Doc Danny Matta — physical therapist, entrepreneur, and founder of PT Biz and Athlete's Potential. He's helped over 1,000 clinicians start, grow, and scale successful cash-based practices across the U.S.

Send us a textHarsh midday highlights, blinding backlight, gloomy overcast, barely-there dawn… and full-on darkness. In this episode of The Wild Photographer, Court breaks down five common lighting scenarios that routinely present challenges for even experienced shooters—and gives you practical, field-tested fixes for each. From when to lean into the shadows, to when to under-expose, to the advantages of black-and-white photography, you'll get settings, positioning tips, and creative pivots you can use on your very next outing.What you'll learnHow to tame harsh midday light with even lighting, B&W conversions, fast shutters, and deep depth of field (hello, f/22 starbursts).Smart ways to handle backlighting: underexpose to protect highlights, pivot your position to remove sky, or embrace high-key silhouettes.Low-light playbook for golden hour: fast glass vs. slower zooms, workable shutter rules with IBIS, intentional motion blur, and when to “shoot dark.”Why flat, cloudy light is secretly great—and how to add shape and depth with composition, shallow DOF, and selective post work.A simple, repeatable night wildlife recipe (spot metering + auto ISO + shallow aperture + slight underexposure) that actually works.Chapter markers00:00 – Welcome & Episode Setup: Five “tricky light” scenarios you'll face in the field.02:05 – Sponsors & Resources: Art Storefronts overview + Lensrentals promo; YouTube & blog pointers.06:30 – Harsh Midday Light: Seek even light; when to go black & white; leverage F11–F22 and ultra-fast shutters; birds-in-flight at noon.14:55 – Backlighting: Why highlights are hard to recover; underexpose a touch, use spot metering, minimize sky by changing your angle/elevation; creative high-key looks.23:40 – Low Light / Golden Hour: Start at widest aperture; practical shutter targets with/without IBIS; widen out if needed; intentional motion blur & panning; purposefully underexpose for mood.34:10 – Flat, Cloudy Light: Even light advantages; watch for edge-of-cloud transitions; add depth via background distance and shallow DOF; post tweaks (contrast, clarity, dehaze).42:45 – Night Wildlife: The simple settings stack; why spot metering + underexposure isolates the subject and keeps the scene clean.49:30 – Wrap-Up & Next Steps: Recap, podcast reviews, where to find Court's portfolio and videos.Court's Websites Check out Court's photo portfolio here: shop.courtwhelan.com Sign up for Court's photo, conservation and travel blog at www.courtwhelan.com Follow Court on YouTube (@courtwhelan) for more photography tips View Court's personal and recommended camera gear Sponsors and Promo Codes: ArtStorefronts.com - Mention this podcast for free photo website design. LensRentals.com - WildPhoto15 for 15% off ShimodaDesigns.com - Whelan10 for 10% off Arthelper.Ai - Mention this podcast for a 6 month free trial of Pro Version AG1 - Daily (and Travel) Nutrition (use link for free travel packs and other goodies)

Today in Lighting is brought to you by Casambi, the LightingOS™ that sets the standard for wireless control. Learn more. Highlights include: Cree Lighting Turbulence Deepens Jesse Lilley Appointed Managing Director of SGM Lighting Reuters: Tesla Recalls 63,000 Cybertrucks Over Too-Bright Light A Chicago Based Lighting Manufacturer is Hiring a Full-Time Marketing Manager

Chris and Lacy explore Elation's revolutionary PROTEUS ATLAS and RADIUS fixtures, digging deep into their groundbreaking technology and real-world performance. From outdoor arenas and major festivals to televised halftime shows, these lights are shaping how designers create magic everywhere, and in any weather.

Jeff sits down with Brian Huber and Jason Coslovich to unpack this summer's banding push and preseason pintail work—what changed with more water on the landscape, how night-lighting in the Klamath Basin actually happens, and why your band reports keep California's harvest models honest.What's insideSac Valley bounce-back: swim-in traps, summer water, and a strong run of molting mallards and wood ducks.Klamath after dark: airboats, spotlights, big crates—plus what red-painted bands mean and how crews avoid re-capturing fresh birds.Transmitters 101: what they reveal about nesting and molt, the tradeoffs for different species, and why units keep upgrading the tech.Preseason pintail nets: how state/CWA crews coordinate shots, handle big mixed flocks, and keep mortality low.Oddballs & highlights: redheads and ruddy ducks in force, shorebirds with tiny tags, and a handful of long-lived recaptures.Do your part: how to return a transmitter, why reporting every band matters, and how those data feed adaptive harvest decisions.Get involved: Aleutian trapping help, the Colusa Dinner, college camps, and the Rice Levee nesting program (with grower payments).

Happy Halloween -- but also, give this a listen any time of year if you're a fan of cosmic, existential horror and esoteric spirituality! To help celebrate this year on The Fringe FM, Joe Rupe of Lighting the Void invited me to read a short story of my choosing, and the first one that popped into my mind was this lesser known Lovecraft story that has always been my favorite. Not only do the events of the story occur on the day before and of my real-life birthday, but they also speak to every part of my artistic sensibilities: horror, unease, mystery, spirituality and philosophy, mad science, and unexplainable phenomena! In many ways this story has heavily influenced the notions that boiled over and became Black Hoodie Alchemy. This story is as beautiful as it is eerie and haunting, with even a Hills-Have-Eyes sort of flare to it that could potentially upset the staunchest of social justice warriors, but thankfully stops at the threshold of full-on xenophobia (something that cannot be said of some of Lovecraft's other stories.)In any case, I was pleasantly surprised to find that this story is also in the public domain at this point, so here it is for all your listening enjoyment! Happy Halloween and salutations to you year-round horror fiends listening to this out of season! I hope you dig it.Related Content:Beyond the Wall of Sleep ⁠⁠⁠⁠⁠DIVE MANUAL AUDIOBOOK⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (narrated by Joe Rupe)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠HUNT MANUAL⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BHA LINKTREE w books, shorts, and much more⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Joe Rupe's Lighting the VoidFringe FMThis week's featured music coming from titanic wordsmiths always holding it down for the underground! Don't forget to support that black hoodie rap and all your favorite independent artists.Devil's Twin - KDB x DON JON 600The Canvas - Grim Pesci

What do horror movies and your pet's sense of safety have in common? More than you'd think.This week, Ellen and Emily get delightfully spooky as they unpack how elements that make horror films terrifying, like the lighting, sound, movement, and unpredictability, can actually teach us how to create safer, more predictable, and more empathetic environments for the animals (and humans!) in our care.From jump scares to dryer growls, to “Don't be Michael Myers,” this episode explores how understanding fear responses across species can help us support our pets' well-being and strengthen our bond with them.If you've ever wondered why your dog hesitates in the dark hallway or why your cat bolts at a strange noise, this episode will make you see your home through their eyes. Listen in to learn how to turn your pet's horror movie moments into feelings of safety, security, and trust.TLDL (too long, didn't listen): 1️⃣ Lighting, Sound, and Movement Matter – Subtle environmental cues like dim lighting, rumbling sounds, or direct eye contact can evoke fear. Adjusting them can help your pet feel safer and more relaxed.2️⃣ Predictability Builds Safety – Just like we find comfort in rewatching familiar movies, our pets thrive when they can anticipate what's coming next. Predictable routines and clear communication create calm, confident learners.3️⃣ Don't Be Michael Myers – How we move, approach, and present ourselves affects how animals perceive us. Softening your body language and giving clear, consistent cues helps your pet know you're safe to be around, even when you're stressed.For the full episode show notes, including the resources mentioned in this episode, go here.More from Pet HarmonyPet Parents: enrichment ideas and practical behavior tips

Today in Lighting is brought to you by Casambi, the LightingOS™ that sets the standard for wireless control. Learn more. Highlights include: Steven Zhou on MW Connect's Bluetooth NLC Thermostat Shana Longo on the Wattstopper i3 Platform Lighting the Past with Precision Creative Marketing Manager with PureEdge Lighting

SVP and Stanford Steve are back with a LIVE recap of the CFB Week 9 slate. Starting with Texas A&M's DOMINANT win over LSU in Baton Rouge… exactly how good are the Aggies? And what to make of LSU's disappointing season. The second most impressive win of the day came in Norman as Ole Miss took down Oklahoma, changing the narrative around the Rebels' program. Texas survived Starkville, but SVP can't get over how unconvincing the Horns continue to look. And what a brutal, brutal stretch for Miss State. Changing gears to the Big Ten, Indiana continues to roll, Michigan continues to trend up and, hey, rank Washington. The Big 12 is wide open but the guys have a team they're keeping a close eye on. And then in the ACC, who knows. The guys break down all that and more, with a special debut for Scott: Manager of Lighting & Pet Supplies. | SVPod Approximate Timecodes: (0:00) Intro (5:40) Texas A&M-LSU recap (15:01) Vandy-Mizzou recap & Nashville experience (23:28) Indiana keeps dominating (26:52) Hypothetical IU-Ohio State line (28:39) Oregon eases past Wisconsin (30:17) Ole Miss changed the narrative with win over OU (39:13) BYU passes test in Ames - and it was wild (47:55) Cincinnati is playing at a HIGH level (49:21) Alabama survives the Cockpit (57:15) Texas pulls off comeback at Mississippi State (1:00:00) More brutal run for Texas or MSU? (1:08:15) Great win for Wake and Jake Dickert (1:09:01) How did Auburn beat Arkansas?!? (1:10:50) Lots of questions in the ACC (1:16:23) Great move to go for 2 by Belichick (1:17:50) Memphis upsets USF, new G5 CFP favorite (1:20:24) Rank Washington (1:21:16) Kansas State keeps dominating the Sunflower Showdown (1:23:32) UT-Vandy could be for a CFP spot (1:25:45) Is Texas good? (1:29:40) Michigan stock up, OU stock down (1:32:17) Pribula's injury is brutal… (1:32:55) Redd infiltrates the show (1:33:09) NFL Week 8 storylines – Lamar? (1:36:07) SVP the handyman (1:38:01) Hot seat for BK? (1:40:30) Thanks for watching Learn more about your ad choices. Visit podcastchoices.com/adchoices

SVP and Stanford Steve are back with a LIVE recap of the CFB Week 9 slate. Starting with Texas A&M's DOMINANT win over LSU in Baton Rouge… exactly how good are the Aggies? And what to make of LSU's disappointing season. The second most impressive win of the day came in Norman as Ole Miss took down Oklahoma, changing the narrative around the Rebels' program. Texas survived Starkville, but SVP can't get over how unconvincing the Horns continue to look. And what a brutal, brutal stretch for Miss State. Changing gears to the Big Ten, Indiana continues to roll, Michigan continues to trend up and, hey, rank Washington. The Big 12 is wide open but the guys have a team they're keeping a close eye on. And then in the ACC, who knows. The guys break down all that and more, with a special debut for Scott: Manager of Lighting & Pet Supplies. | SVPod Approximate Timecodes: (0:00) Intro (5:40) Texas A&M-LSU recap (15:01) Vandy-Mizzou recap & Nashville experience (23:28) Indiana keeps dominating (26:52) Hypothetical IU-Ohio State line (28:39) Oregon eases past Wisconsin (30:17) Ole Miss changed the narrative with win over OU (39:13) BYU passes test in Ames - and it was wild (47:55) Cincinnati is playing at a HIGH level (49:21) Alabama survives the Cockpit (57:15) Texas pulls off comeback at Mississippi State (1:00:00) More brutal run for Texas or MSU? (1:08:15) Great win for Wake and Jake Dickert (1:09:01) How did Auburn beat Arkansas?!? (1:10:50) Lots of questions in the ACC (1:16:23) Great move to go for 2 by Belichick (1:17:50) Memphis upsets USF, new G5 CFP favorite (1:20:24) Rank Washington (1:21:16) Kansas State keeps dominating the Sunflower Showdown (1:23:32) UT-Vandy could be for a CFP spot (1:25:45) Is Texas good? (1:29:40) Michigan stock up, OU stock down (1:32:17) Pribula's injury is brutal… (1:32:55) Redd infiltrates the show (1:33:09) NFL Week 8 storylines – Lamar? (1:36:07) SVP the handyman (1:38:01) Hot seat for BK? (1:40:30) Thanks for watching Learn more about your ad choices. Visit podcastchoices.com/adchoices

Week 8 Cash/GPP picks on today's Fantasy Footballers DFS & Betting podcast! Week 8 DFS is here! Borg & Betz break down the DFS main slate, give their cash and GPP Picks, stacking options, and prop it like its hot. Welcome to “DFS and Sports Betting For The Rest of Us.” Take your DFS and Betting Fantasy Football game to the next level on PrizePicks, DraftKings, FanDuel, and Underdog Fantasy. -- Fantasy Football Podcast for Oct 24th, 2025.DFS content in the 2025 DFS Pass at MyDFSPass.comConnect with The Fantasy Footballers:Visit us on the WebSupport the ShowFollow on XFollow on InstagramJoin our DiscordLove the show? Leave us a review wherever you listen Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Nothing But Net! Morons in the News. He Was Struck by Lighting… Twice.   The People’s Movie Critic: “Good Fortune” Everyone Needs a Laugh. What to Eat After a Workout.   Talkback Callers. Can You Believe This? Man Creates AI Robot Resembling His Late Wife.   The Zippy Zodiac. From the Vault.

Last week we saw Minnesota fans storm the field after beating Nebraska…who could be the FSP this weekend?If you want your house to be the ‘beacon of your neighborhood,' contact HaloCustomLighting.com today or Neemann & Sons Show Sponsored by NEBCOOur Sponsors:* Check out Avocado Green Mattress: https://avocadogreenmattress.com* Check out Hims: https://hims.com/EARLYBREAK* Check out Infinite Epigenetics: https://infiniteepigenetics.com/EARLYBREAK* Check out Uncommon Goods: https://uncommongoods.com/EARLYBREAKAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The off-grid electric systems provide power for medical lights, fetal monitors, and other devices – helping more women give birth safely. Learn more at https://www.yaleclimateconnections.org/