Podcasts about Nikon

"Teorizando" significa estar en proceso de formular o desarrollar teorías sobre un asunto de manera abstracta, en lugar de práctica. Implica reflexionar, especular, contemplar o elaborar ideas sobre un tema, como en el caso de "teorizando sobre una solución al problema"Si quereis escuchar el podcast de notebook LM lo encontrais aqui. https://t.me/+gNHISY04VkhkYWNkSi quereis que lo suba aqui como un podcast mas me lo haceis saber por lo medios que ya sabeis. ultrafoto@gmail.comGracias por entrar en discosduros.net

 From our recovery time depends our success…Imagine you are boxing and get a hit that hurts you so much…Do you think you can still fight with the same power and speed?Or do you feel rather more handicapped and so your enemy can knock you down? And that is life… The best stock-market traders have the shortest recovery time…After the coronavirus crises, many firms are on the edge to bankruptcy or bankrupt…The losers are regretting; the winners using the chances to get even richer through a crisis…If you regret your past completely, you can start new and you will see your chances…Otherwise, you see only a dark future and you will miss out opportunities…The worst example is Nikon… Nikon has lost 87% of its profits and 13% of its revenues compared to March 2019 …Still, Nikon is not changing his strategies that have caused their losses… and even give the excuses because of the coronavirus and the flooding in Thailand… What are your excuses? Or what do you regret… Honesty! To think “I regret nothing in my life” will not help without checking what are your emotional and suppressed regrets that held you back? Imagine you again in the ring and got a blow that hurts so much, do you think your positive thinking “I regret nothing” will help? Or would it be much better to train your endurance for taking hits? And that is needed in our life… But first feel the pain and make your regrets…I suggest this Meditation with music that you can download: Link at the end.If you want your power back, make this meditation!Regret Meditation: Breathe chaotic deep in and out with the support of your entire body for 10 minutes.. Breathe deep out with your nose and deep in with your nose and or mouth.While you stand with relaxed and a little bent knees (the knee should bend just only over the whole foot). When you breathe out, you bend the body forward, and your bent arms swing forward and inside.When you breathe in you bend the body backwards, and your bent arms swing backward and outside. (Tabla Rhythm)20 minutes think vividly about your pain and regrets..Release your regrets emotionally and powerfully with the support of your body.If you can't use your voice, make it remote… (Minimal music)10 minutes shake your body. Shake your regrets and negativities out. (African drums)10 minutes sit in mediation with your back straight. (Indian Flute)10 minutes dance and celebrate. (spiritual Disco music)My Video:  Regret the past until the past is gone… https://youtu.be/V0VwwKNKDqYMy Audio: https://divinesuccess.net/wp-content/uploads/2021/Podcast1/Regret-the-past-until-the-past-is-gone.mp3

La declaración en contra de la Super inteligencia... https://superintelligence-statement.org Lo de discos duros ... https://www.discosduros.net/guia-para-diferenciar-los-protocolos-sata-mvme/

Leeds United beat West Ham 2-1 at Elland Road – a statement win built on control, energy, and belief. Brenden Aaronson inspired a fierce, front-foot display as Daniel Farke's side showed Premier League maturity at just the right time.

Os dejo enlaces... El dock de Orico. https://amzn.to/42VXj99EL HDD https://amzn.to/4o4GbGzLas cajas de 2.5 para los SSD clasicos que tengo uso estas... por que al ser transparentes ves que el chip de control es realtek. Muchas llevan un chip chino que a veces da problemas. Estas son Realtek. https://amzn.to/3L7JhLoLo de Trump y el Bitcoin. https://criptotendencia.com/2025/10/21/la-ballena-de-trump-reforzo-su-posicion-bajista-con-200-btc-adicionales/Gracias por entrar en discosduros.net

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

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

A week full of reviews! In this episode of Focus Check, we dive into some long-awaited camera and gear reviews. Johnnie shares his hands-on experience with the Nikon ZR, a camera he's been testing extensively over the past few weeks, and we cover our review of the Pixboom camera. Plus, we finally published the Lab Test for the ZR, revealing some interesting details about its RAW handling capabilities. Also in this episode: Gunther shares his first impressions and footage from the Pixboom Spark, which he took to India to film butterflies in high frame rates. We also take a look at the latest ASUS display and cover a few more gear updates and news highlights from this week. As always, tune in for your weekly dose of cine tech news and insights! Chapters and Articles in This Episode (00:00) – Intro (03:08) - Nikon ZR – "Born Cinematic" or Maybe Not? Review and Mini-Doc Link is coming soon - when review has been published! (13:59) - Nikon ZR Lab Test https://www.cined.com/nikon-zr-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/ (31:26) - Pixboom Spark Review https://www.cined.com/pixboom-spark-review-first-hands-on-with-beta-version-of-the-high-speed-cinema-camera/ (48:01) - ASUS ProArt Display PA32QCV Review – A Well-Balanced, High-Resolution 6K Monitor for Editing and Everyday Use https://www.cined.com/asus-proart-display-pa32qcv-review-a-well-balanced-high-resolution-6k-monitor-for-editing-and-everyday-use/ (53:17) - Camera Internal RAW Recording for Video – Hype or Important for Your Workflow? https://www.cined.com/camera-internal-raw-recording-for-video-hype-or-important-for-your-workflow/ (01:01:00) - LUMIX Lab 2.0 Adds Magic LUT and Workflow Integration with LUMIX Flow 1.3 https://www.cined.com/lumix-lab-2-0-adds-magic-lut-and-workflow-integration-with-lumix-flow-1-3/ (01:03:22) - LUMIX Firmware Updates for S5 II, S5 II X, S9, GH7, and G9 II Add DJI RS4 Compatibility, Faster Startup, and New Focus Controls https://www.cined.com/lumix-firmware-updates-for-s5-ii-s5-ii-x-s9-gh7-and-g9-ii-add-dji-rs4-compatibility-faster-startup-and-new-focus-controls/ (01:05:31) - Sora 2 vs Hollywood – The Copyright Reckoning of Generative Video https://www.cined.com/sora-2-vs-hollywood-the-copyright-reckoning-of-generative-video/ (01:10:44) - Apple MacBook Pro M5 and iPad Pro M5 Announced – Real Performance Gains for Filmmakers https://www.cined.com/apple-macbook-pro-m5-and-ipad-pro-m5-announced-real-performance-gains-for-filmmakers/ (01:12:26) - Apple Upgrades Vision Pro with M5 Chip and Dual Knit Band for More Power, Comfort, and AI Ambitions https://www.cined.com/apple-upgrades-vision-pro-with-m5-chip-and-dual-knit-band-for-more-power-comfort-and-ai-ambitions/   We hope you enjoyed this episode! You have feedback, comments, or suggestions? Write us at podcast@cined.com   

“When we try anything new – a new sport or skill or language – we are bad before we get good. But that very badness can be a gift.” Listen for more on the latest Bad Boss Brief.Welcome to the Bad Boss Brief — your no-BS guide on how NOT to be an a*****e at work. Hosted by an executive and an executive coach, we dive into real stories and practical insights on bad bosses, better leadership, and unpack how to recognize if you're the problem.Together, we bring over 50 years of exec-level scars from Intel, Apple, Adobe, Publicis, and Nikon — plus a creative edge from our work in advertising, marketing, and the arts. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit badbossbrief.substack.com/subscribe

Como preparacionista sabéis que me gusta trabajar en local asi que os traigo alternativas a perplexity.Farfalle instalarlo en un NAS o docker https://github.com/rashadphz/farfalleFarfalle.dev para provarlo online.Perplexica https://github.com/ItzCrazyKns/PerplexicaEn navegador que os he hablado hoy... https://www.genspark.ai/browserTambien podéis probarlo sin instalar el navegador pero no tiene opción de IA en Local https://www.genspark.aiGracias por entrar en discosduros.netEL amazon de Pistón https://amzn.to/3Ja8QuQ

Scott De Felice has been on a 25 year journey with Oxford Performance Materials. His company is a pioneer in PEKK, a very high-performance polymer with many properties that make it a powerful solution in engineering and medical applications. We talk about PEKK and its rival PEEK in this episode. But, we also talk about growing a business for the long term, and making tough strategic decisions. Medical implants is the path that Scott is on, and this does not only require a company to be careful and precise, but also steadfast. This episode of the 3DPOD is brought to you by Nikon SLM Solutions, leaders in industrial metal 3D printing. With open architecture platforms, up to 12 laser productivity and global expertise backed by Nikon, Nikon SLM Solutions is helping manufacturers accelerate adoption, scale production, and achieve mission-critical results within additive manufacturing.

Leeds United dominated Burnley in every stat that mattered-except the scoreline. 69% possession, 19 shots, 47 crosses… and a 2-0 defeat that's reignited relegation fears. In this episode, we unpack how Daniel Farke's side managed to turn control into collapse, why the “international break curse” struck again.

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

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

Rocco sits down with author and Opta data analyst Jonny Cooper, the man behind As Leeds Go Marching On (Available @ Amazon https://amzn.to/4hbwu6L) — the must-have new stats book for every Leeds United fan. They chat all things Leeds United — from Football Manager to Opta, Bielsa to Farke — and dig into how data tells the story of this great club. In this episode: ⚽️ Jonny's early memories of Elland Road and how a stadium tour turned into a lifelong obsession

Megkaptuk! A Content Rumble csapata az elsők között tesztelhette Magyarországon a Nikon és a RED forradalmi szerelemgyerekét, a Nikon ZR-t!Kíméletlenül őszintén beszélünk az első benyomásainkról. Mennyire melegedett? Tényleg annyira brutális a kijelzője, mint amilyennek mondják?Miért került bele egy microSD kártya foglalat, és hol van a REC gomb?Hogy teljesít az autofókusz és a stabilizátor valós, sötét körülmények között? Kinek éri meg beruházni erre a kamerára?Tarts velünk, és fedezd fel velünk a vázat ami felforgathatja a piacot!A terméket a teszt erejéig a Triponttól kaptuk:https://www.tripont.hu/cikk/reszletek?CIKKID=529378Tarts velünk, és fedezd fel velünk a vázat, ami felforgathatja a piacot!Neked hogy tetszik az új váz? Mit gondolsz a Nikon-RED kollaborációról? Írd meg kommentben a véleményed!

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

Naiara Zubizarreta heads up ADDIMAT, Spain's 3D printing federation. Representing Spanish Additive Manufacturing users, OEMs, materials firms, and research institutes, she's come to tell us about 3D printing in Spain. We learn about the Spanish market, including where Spanish firms are focused, what the market is like here, and the concerns of its members. We learn more about European-wide member organizations as well as efforts for a pan-European voice for Additive Manufacturing. This episode of the 3DPOD is brought to you by Nikon SLM Solutions, leaders in industrial metal 3D printing. With open architecture platforms, up to 12 laser productivity and global expertise backed by Nikon, Nikon SLM Solutions is helping manufacturers accelerate adoption, scale production, and achieve mission-critical results within additive manufacturing.  

Episode 477 of the Lens Shark Photography Podcast In This Episode If you subscribe to the Lens Shark Photography Podcast, please take a moment to rate and review us to help make it easier for others to discover the show. Sponsors: - Build Your Legacy with Fujifilm. Latest savings at FujfilmCameraSavings.com - Shop with the legends at RobertsCamera.com, and unload your gear with UsedPhotoPro.com - Calibrate Photo Kit. - More mostly 20% OFF codes at LensShark.com/deals. Stories: Karens are gonna Karen. (#) CPIA's numbers and the summer slump. (#) Nikon says this isn't true. (#) This Tamron lens rounds out the G2 Trinity. (#)   Connect With Us Thank you for listening to the Lens Shark Photography Podcast! Connect with me, Sharky James on Twitter, Instagram Vero, and Facebook (all @LensShark).

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

Leeds United have started life back in the Premier League with belief, balance - and a few big questions still hanging over the attack. In this episode of Leeds, That!, Rocco chats with Isaac Johnson from Leeds Live about the first seven games, Farke's tactical tweaks, and how Leeds have adapted to the top flight. We get into: ⚽️ Why Farke's “bulk and balance” approach is working

“In an age where politics are hard to avoid at work, we talk about people making it a performance. Plus, how to protect your social media posts from your boss and the death threats Eugene got.” Listen for more on the latest Bad Boss Brief.Welcome to the Bad Boss Brief — your no-BS guide on how NOT to be an a*****e at work. Hosted by an executive and an executive coach, we dive into real stories and practical insights on bad bosses, better leadership, and unpack how to recognize if you're the problem.Together, we bring over 50 years of exec-level scars from Intel, Apple, Adobe, Publicis, and Nikon — plus a creative edge from our work in advertising, marketing, and the arts. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit badbossbrief.substack.com/subscribe

Keith Kakadia is the co-founder and CEO of Sociallyin, a social-media-only agency he started in college that has grown into a 50-person team working with brands like Samsung, Carnival Cruise Line, and Nikon. Over the past 14 years, he's turned Sociallyin into one of the top-ranked agencies in the U.S., known for blending creativity, data, and community engagement at scale. But Keith's path hasn't been a straight line—it's been a series of calculated risks, late nights, and bold experiments. From early days hustling affiliate marketing campaigns, to bootstrapping an agency in the deep South, to now competing with global shops, his story is one of resilience and reinvention. Beyond running Sociallyin, Keith is passionate about building systems that make businesses more efficient, mentoring up-and-coming entrepreneurs, and exploring how AI can transform creative industries. He brings a candid, unvarnished view of entrepreneurship—the wins, the losses, and the lessons learned along the way. When he's not scaling companies, you'll likely find him traveling, experimenting with tech, or pushing himself with new adventures. Find Keith Online https://sociallyin.com/ https://www.linkedin.com/in/keithkakadia/ If you're enjoying Entrepreneur's Enigma, please give me a review on the podcast directory of your choice. The show is on all of them and these reviews really help others find the show. iTunes: https://gmwd.us/itunes Podchaser: https://gmwd.us/podchaser TrueFans: https://gmwd.us/truefans Also, if you're getting value from the show and want to buy me a coffee, go to the show notes to get the link to get me a coffee to keep me awake, while I work on bringing you more great episodes to your ears. →  https://gmwd.us/buy-me-a-coffee Support me on TrueFans.fm → https://gmwd.us/truefans. Support The Show & Get Merch: https://shop.entrepreneursenigma.com Want to learn from a 15 year veteran? Check out the Podcast Mastery Community: https://www.skool.com/podcast-mastery/about Follow Seth Online: Instagram: https://instagram.com/s3th.me LinkedIn: https://www.linkedin.com/in/sethmgoldstein/ Seth On Mastodon: https://indieweb.social/@phillycodehound The Marketing Junto Newsletter: https://MarketingJunto.com Leave The Show A Voicemail: https://voiceline.app/ee Learn more about your ad choices. Visit megaphone.fm/adchoices

這裡是樂天桃猿球迷向的非官方Podcast，請善用時間標記選擇想聽的話題。 ++++++ ** 『永豐銀行合作推廣』** 永豐SPORT卡是一張用汗水賺回饋的信用卡，只要每月加入永豐銀行的“汗水不白流”APP，參加【支持運動Podcast】揪團活動，達成app裡設計的運動目標，同時當月刷永豐SPORT卡，永豐銀行就會幫你抖內大叔野球543，抖內金額是每個卡戶刷卡消費的1%，或是一個人最多上限50元/月，再加上卡片本身是有最高6%回饋，就算運動沒達標，仍然有不錯的回饋讓大家來參考。支持永豐sport卡，支持大叔野球543，我們每年都會提撥固定比例跟你贊助基層棒球。 最後還是要謹慎理財，信用至上 申辦SPORT卡：https://mma.tw/O03BB ** ++++++** ** 啦啦隊風暴：3000元升等到底有什麼好報 (01:15)** ** Fata'an相關** ** 從土撥鼠籃籃聊到各種超人 (04:49)** ** 海拔比竹子湖還高的堰塞湖 (10:46)** ** ++++++** ** 上週比賽回顧 (19:10)** ** 戰績、團隊數據及個人成績 (27:15)** ** 本週賽程 (33:27)** ** ++++++ ** ** 剛過完的中秋節 (34:54)** == Post Program ** Nikon Z6iii 短暫心得(38:41)** --- 本獨立單元是針對樂天桃猿的各種動態以球迷視角製作的節目；主要的內容除了賽事回顧，還有聊聊其他球場內外的相關話題。因為球場不靠海，怕食材不新鮮所以不餵你吃整鍋牡蠣，因為考量牙齒保健，所以酸度大概至少讓你喝到醋。 這是一個主要聊台灣棒球的Podcast節目，我們沒有精闢的解說，也沒有專業的數據，就是幾個愛棒球的大叔和聽眾們一同喇賽、一同嘴砲~~ 大家可以在相關的 Podcast APP 收聽我們的節目，希望大家可以介紹給喜愛棒球的朋友們。 如果喜歡我們的節目，也希望大家可以在 Apple Podcast 專區給我們五顆星。 有興趣合作的廠商歡迎私訊或email聊聊 email：baseballuncle543@outlook.com IG：baseballuncle543 FB：大叔野球543 －－－－以下為 SoundOn 動態廣告－－－－ 新潤建設機構為北台灣前十大建商，建築與品質嚴格把關，售後服務貼心周到。住戶透過報修App能即時回應，維修快速高效。 社區引進自有品牌 Ruenn Café，打造下樓就能享受美食的便利；同時不定期舉辦互動課程，豐富公設活動。 一起來了解新潤，發現家的更多可能

In this episode I dive into a few viewer questions and talk about the newer cameras that have been released from Nioon, Canon and Fujifilm! Be sure to follow me on Patreon for more! https://www.patreon.com/NigelBarrosand on instagram! https://www.instagram.com/nigelbarros►Get the BEST film emulation and color correction plugins with 10% off here:https://www.filmconvert.com/purchase/?promoCode=NIGELBARROSCinematch link:https://www.cinematch.com/purchase/?promoCode=NIGELBARROS

Alexander Oster has done an episode with us before, five years ago. There, we learned about his early start in 3D printing and his work thus far. Now we talk to Alex about his passion for open source machine control software. To make a more manufacturing-oriented, connected Additive Manufacturing landscape, Alex wants to offer an open-source framework. The idea is that this framework will accelerate custom machine development and let machine builders make newer machines, innovative machines, and custom machines much faster. The framework will take care of all the major stuff for everyone, leaving machine builders' own developers free to work on competitive advantages and unique points to their machines. This episode of the 3DPOD is brought to you by Nikon SLM Solutions, leaders in industrial metal 3D printing. With open architecture platforms, up to 12 laser productivity and global expertise backed by Nikon, Nikon SLM Solutions is helping manufacturers accelerate adoption, scale production, and achieve mission-critical results within additive manufacturing.  

Leeds United fell to Spurs - and it's another one that got away. In this episode of Leeds, That! we break down a frustrating 2-1 defeat where Leeds dominated large parts, hit the post, and still came up short. It's the story of fine margins, missed chances, and self-inflicted wounds. We dig into: ⚽️ The finishing problem and DCL's Bamford déjà vu

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

With a PetaPixel Membership, not only can you support original PetaPixel reporting and in-depth reviews, but you can also remove ads from the website and gain access to some seriously great perks, too. Join today! It costs just $3 per month or $30 per year. This week on the PetaPixel Podcast, the team is back to go over a ton of news from Sony, Nikon, Fujifilm, Lumix, and more as well as discuss their favorite tripods of 2025 (and one they didn't like as much). Check out PetaPixel Merch: store.petapixel.com/ We use Riverside to record The PetaPixel Podcast in our online recording studio.We hope you enjoy the podcast and we look forward to hearing what you think. If you like what you hear, please support us by subscribing, liking, commenting, and reviewing! Every week, the trio go over comments on YouTube and here on PetaPixel, but if you'd like to send a message for them to hear, you can do so through SpeakPipe.In This Episode00:00 - Intro (our traumatic tripod stories)14:24 - Sony has a new 100mm f/2.8 Macro17:23 - You can trick the iPhone 17 Pro into recording open gate RAW internally20:34 - Sony's new global shutter sensor shoots 105MP at 100FPS24:00 - The Analogue aF-1 is a brand-new autofocus film camera27:25 - CreativeLive is shutting down30:11 - Nikon says the ZR can record for over 2 hours without overheating34:36 - Zeiss Loxia lenses are officially discontinued37:18 - Fujifilm is going to make more cinema cameras39:35 - Lumix 100-500mm is the system's first ultra tele zoom45:23 - Chris and Jaron are going to Brisbane for GR Space!46:40 - Kodacolor 100 and 200 just launched today: https://petapixel.com/2025/09/30/kodacolor-100-is-a-new-film-from-eastman-kodak-arriving-this-week/51:45 - Sony cameras and lenses got another price hike in the US53:05 - Our favorite tripods in 2025 (and one not so favorite)1:12:52 - What have you been up to?1:19:18 - About the compact camera video... and how we're going to do another one1:20:30 - Tech support 1:30:34 - Feel goody story of the week: A brand-new camera company is making the spiritual successor to the Lumix GM5

In today's episode I cover the latest news from our friends at Peta Pixel for this week. You can find the show notes here. https://liamphotographypodcast.com/episodes/episode-474-sony-100mm-macro-the-af-1-nikon-zr-recording

Episode 143: Do They Still Have Bulletin Boards?     Our discussion of Alyx Chandler's poems has us considering the liminal space between girlhood and womanhood, summer and fall, print and digital cultures, good bug and bad, Slushies. With these poems, we're swooning over summer's lushness, marveling over kudzu's inexorable march, and thinking back to steamy afternoons running through sprinklers with skinned knees. Set at the end of girlhood, these poems makes us think of the Melissa Febos book of the same name. Jason is charmed by the poet's hypotactic syntax and her control of the line. Be sure to take a look at the poems' format at PBQmag.org.     As our own summers wrap up, Lisa saves monarch caterpillars while Sam smushes lantern flies. Kathy shares her new secret for a solid eight hours of sleep. Looking to the future, we're celebrating forthcoming chapbooks and books. Dagne's chapbook “Falldown Lane” from Whittle, Jason's book “Teaching Writing Through Poetry,”  and Kathy's “Teaching Writing Through Journaling,” both from a new series Kathy is editing at Bloomsbury. As always, thanks for listening.      At the table: Dagne Forrest, Samantha Neugebauer, Jason Schneiderman, Kathleen Volk Miller, Lisa Zerkle          Author bio: Alyx Chandler (she/her) is a poet from the South who now teaches in Chicago. She received her MFA in poetry at the University of Montana, where she was a Richard Hugo Fellow and taught poetry. In 2025, she won the Three Sisters Award in Poetry with Nelle Literary Journal, received a Creative Catalyst grant from the Illinois Arts Council, and was awarded for residencies at Ragdale and Taleamor Park. She is a poet in residence at the Chicago Poetry Center and facilitates workshops for incarcerated youth with Free Verse Writing Project. Her poetry can be found in the Southern Poetry Anthology, EPOCH, Greensboro Review, and elsewhere.    Author website: alyxchandler.com    Instagram @alyxabc    Love Affair with a Sprinkler   I've only got so many days    left to wet this face to rouse enough   growl to go back  where I came from    to build a backbone  hard as sheet metal   from the engine of  dad's favorite truck   the one I can  never remember    though it carried me  everywhere I needed to go    and of course where I didn't   short-shorts trespassing  abandoned kudzu homes    scraped legs inching   up water towers   creeping down stone church rooftops   girlhood a fresh-cut lawn where secrets coiled   like a water hose  stuck in kinks   spouting knots  writhing in grass    begging to spit at every pepperplant    sate all thirst I want to drown   to be snake-hearted again my stride full   of spunk and gall half-naked in an    embrace with the  spray of irrigation jets    their cold drenching my kid-body good    and sopping-wet  in hose-water rivulets   under its pressure  I shed regret   molt sunburn squeal hallelujah    in a hot spell— such a sweet relief    I'd somehow  after so many years   forgotten. Once I Lived in a Town    where grocery stores dispensed  ammunition from automated machines,    all you needed was an ID and license, the sign advertised, but there are ways    around that, a cashier told me, snuff a bulge  half-cocked in his cheek. But my target?    The choose-your-own-adventure  bulletin board. If you were brave,   you'd let some guy named John shoot  you with their dad's old Nikon film   camera. Girls only. No tattoos, the ink of the red-lettered flyer bled. Those days    I craved someone—anyone—to lock and load my rough-hewn beauty like    a cold weapon. Ripen the fruit of  my teenage face. Save me. Instead I   washed the ad in my too-tight jeans, let it dye my pocket grapefruit pink.    Once I lived in a town where daily I wore a necklace with a dragonfly wing    cured in resin, gifted from a lover,  a lifelong bug hater. Love can live in    the crevice of disgust, I found, but  lost it within the swaths of poison oak    where I shot my first bullet into wide- open sky and felt death echo its curious    desire, automatic as the gun's kickback.  My legs mottled in pocked rash. Then a    hole I didn't know existed. A souring.  Bitter and salt the only taste craved,    a rotten smell in the fried fatback I ate.  Once I lived in a town where the first    boy I kissed in the wreathed doorway of my childhood home left Earth too   soon from a single shot. I can't ask: is this what the military taught him? I only   know the cruel way high school relationships  end, 5-word text then never again. His fine-   line dragon doodles and i-love-you notes  still in my Converse shoe box in an attic,   twelve years untouched. I once lived in  a town where obits never contained   the word “suicide”—everyone is a child of Christ, and I mean everyone, our pastor   used to say, a joke staining his sincerity.  God, how I undercompensate, use safety   pins for my grief when I need weapons-grade  resistance, a cast-iron heart. Once I lived   in a town where I found a primed handgun under the bed of a boy I cheated with.   Delirious, I buried it in a dumpster until he cried that it was his great-grandfather's,   an heirloom he couldn't forget or forgive and after that I never saw him again. I didn't   have the language to ask him what I needed to know, Prozac newly wired in my brain,   a secret I could barely contain. Once I  crushed my trigger finger between the   door of who I wanted to be and who I actually was; I let that town press me    like a camellia between a book, inadequate  as a cartoon-decorated band aid trying to   stop the blood flow from a near-miss bullet. The Brooder   beneath nest boxes a squawk sinks out  so docile it turns me over both startles and   settles me this sudden birdbrain  how domestication is a brawl    inside me: the cockatrice papering my chicken heart with pockets of wire  I peel back its cuticle remove the bloom   to clean the coop   and find a little yolkless moon  an eyeball I push open and memorize then chuck over my roof   until a hen digs a crack with her beak breaks speckled curtains    of turquoise consumes her newest creation without pity or pause  

Holger Schlüter is one of the people behind SCANLAB, a pivotal company in additive manufacturing. SCANLAB makes the light engines that power a lot of the 3D printing market's machines. He gives us a look into the state-of-the-art and what is possible. Holger's vision on additive and his technical perspective are a new way of looking at progress in 3D printing. This is sadly a criminally short episode; some Internet issues on my end made this a very difficult one to complete, so apologies for the inconvenience. Still, it's more than worth it, given Holger's knowledge and the importance of SCANLAB to the industry. This episode of the 3DPOD is brought to you by Nikon SLM Solutions, leaders in industrial metal 3D printing. With open architecture platforms, up to 12 laser productivity and global expertise backed by Nikon, Nikon SLM Solutions is helping manufacturers accelerate adoption, scale production, and achieve mission-critical results within additive manufacturing.  

This week on Leeds, That!, we break down the drama from Leeds' 2-2 draw with Bournemouth at Elland Road - from late heartbreak to standout performances and club legends being celebrated. Sean Longstaff Player of the Match: 1 goal, 1 assist, 7 chances created - our midfield engine. Late Drama: Bournemouth snatch a stoppage-time equaliser, denying Leeds all three points. Club Legends Honoured: Lucas Radebe named club ambassador, Johnny Giles receives Lifetime Achievement Award. Tactical Takeaways: How Leeds dominated chances but still left points on the table. Fan Perspective: Reactions from Elland Road and what this result means for the season. Sponsors & Offers:

Send us a textIn this episode of Street Life, John and Mark have the pleasure of welcoming UK-based street photographer Darren Sacks, whose unique and bold abstract style is transforming the mundane into the extraordinary. Recorded on a sunny day in London, we dive deep into Darren's artistic journey, exploring his striking use of vibrant colors, layered compositions, and his fascination with light, shadow, and reflection in urban landscapes.We kick off the conversation by discussing the comparisons often drawn between Darren and the legendary photographer Saul Leiter. Darren expresses his admiration for Leiter, acknowledging him as a significant inspiration while emphasising that he does not aim to emulate his work. Instead, he appreciates the way Leiter framed subjects and utilised layers and textures in his photography.Darren shares his early experiences with photography, revealing that he has always had a camera in hand, starting with a simple point-and-shoot. His passion for street photography ignited during a trip to New York over a decade ago, where he purchased his first proper SLR camera. As we delve into the technical aspects of his work, Darren discusses his preference for longer focal lengths, which contribute to the compressed look of his images. He reflects on his journey from using a Nikon to transitioning to Fuji and now primarily shooting with Sony. Darren also shares a pivotal moment in his career when he captured a photograph that combined various elements he had been exploring, solidifying his desire to continue pursuing street photography. He describes this image, taken on Jermyn Street in London, as a favourite that encapsulates his artistic vision.Throughout the episode, we touch on the importance of patience in street photography, with Darren recounting his experiences of waiting for the perfect moment to capture a shot. He candidly discusses the frustrations of shooting at night and in challenging conditions, emphasising the need for perseverance and adaptability.As the conversation progresses, we discuss Darren's recent exhibitions in Paris, Tokyo, and Hamburg, highlighting the honor of having his work displayed internationally. He reflects on the emotional connection he feels to his photographs and the significance of seeing them printed and exhibited.We also explore the evolving nature of photography in the digital age, discussing the impact of social media on artists and the importance of community. Darren shares his thoughts on the future of his work, expressing a desire to continue growing and pushing his creative boundaries, especially as he adapts to shooting in a quieter coastal environment.In closing, we reflect on the ever-changing landscape of street photography and the importance of finding one's unique voice within it. WEBSITE | INSTAGRAMFollow us on Instagram and leave us a review!

Preston Luke went from small-town senior photographer to creator, educator, and creative director with an audience of 1M+ across Instagram and TikTok. In this conversation, Preston breaks down the practical steps behind turning your photo brand into a creator business—while staying sane and protecting your love for the craft.We cover:The photographer → creator pivot (and why he paused client work to open new doors)Content systems, editing help, and posting cadence that fueled rapid growthPitching and delivering for brand partners (Nikon, Adobe, SanDisk, Best Buy)Building a business that goes beyond sessions: presets, workshops, and Slate StudiosThe senior-model team engine he built across 30+ school districtsMental health, a 250-lb weight-loss journey, and taking a strategic break when growth got heavyConfidence vs. imposter syndrome (and why “showing up” as the brand matters)

With a PetaPixel Membership, not only can you support original PetaPixel reporting and in-depth reviews, but you can also remove ads from the website and gain access to some seriously great perks, too. Members get $15 off the Moment Store, 25% off the PetaPixel Merch Store, 5% off certified pre-owned gear from KEH, and now can download full-resolution RAW files and JPEGs from the latest cameras and lenses. Join today! It costs just $3 per month or $30 per year.

In this episode, Jared & Stephen discuss the latest rounds of new cinema cameras from Nikon and Canon along with Sigma's 3 new lenses & much more! Text us with any thoughts and questions regarding this episode at 313-710-9729. This is RAWtalk Episode 168! Sign up for the October 2025 Fro Boot Camp here: http://bit.ly/fro1011

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

Episode 475 of the Lens Shark Photography Podcast In This Episode If you subscribe to the Lens Shark Photography Podcast, please take a moment to rate and review us to help make it easier for others to discover the show. Sponsors: - Build Your Legacy with Fujifilm. Latest savings at FujfilmCameraSavings.com - Shop with the legends at RobertsCamera.com, and unload your gear with UsedPhotoPro.com - 20% OFF at KupoGrip.com. - 20% OFF at Tenba.com. - More mostly 20% OFF codes at LensShark.com/deals. Stories: The state of the photo industry report. (#) 7Artisans' new 35mm f/1.8. (#) AstrHori's 6mm circular fisheye can bust the funk. (#) The Viltrox AF 56mm f/1.2 Pro. (#) This company takes the top spot again. (#) Sigma changes up this lens and how to get one. (#) Nikon's pulls this for the time being. (#) This company joins the L-Mount Alliance. (#)   Connect With Us Thank you for listening to the Lens Shark Photography Podcast! Connect with me, Sharky James on Twitter, Instagram Vero, and Facebook (all @LensShark).