Podcasts about Photograph

Scotland's most famous cryptid has her face on a shortbread tin — but the folklore underneath is one of the deadliest water legends in all of Europe, and it doesn't begin in 1933 with a grainy photograph. It begins in the year 565, with a burial.   In this episode of Freaky Folklore, we drag Nessie out of the gift shop and back into the black water where she came from: the deepest, coldest, most lightless loch in Britain. We get into the 1,400-year-old account of Saint Columba and the "water beast" that had already killed a man before he ever reached the shore. We uncover the each-uisge — the Highland water horse that lures you close, fuses to your skin, drags you under, and leaves only your liver floating back to shore by morning. We expose the beloved "Surgeon's Photograph" for the revenge hoax it always was. And then I tell you an original story about a boy, a brother, and a warm, calm, silent night on the loch in the winter of 1889 — and the one thing the postcards will never tell you about what's waiting down there.   Turn the lights off. Just… not near the water.   #LochNessMonster #Folklore #HorrorPodcast #Nessie #Cryptid #ScottishFolklore #FreakyFolklore #Kelpie #Mythology #FolkloreHorror #ScaryStories #Legends   EXPLORE MORE SPINE-CHILLING CONTENT: Freaky Folklore: https://www.eeriecast.com/podcasts/freaky-folklore Carman's Crypt (Original Horror): https://www.carman-carrion.com/ Deadly Intent (True Crime): https://www.carman-carrion.com/ Destination Terror: https://www.eeriecast.com/podcasts/destination-terror ________________________________________ SUPPORT THE SHOW: Buy Me a Coffee: https://buymeacoffee.com/carmancarrion ________________________________________ CONNECT WITH CARMAN: Website: https://www.carman-carrion.com/ YouTube: https://www.youtube.com/@CarmanCarrion YouTube: https://www.youtube.com/@FreakyFolklore Twitter/X: https://x.com/CarmanCarrion Instagram: https://www.instagram.com/carmancarrion/ ________________________________________ SUBSCRIBE& REVIEW: Spotify: https://open.spotify.com/show/0uiX155WEJnN7QVRfo3aQY iTunes: https://podcasts.apple.com/us/podcast/freaky-folklore/id1550361184 Your support helps bring you more terrifying tales. ________________________________________ DISCOVER MORE HORROR: http://eeriecast.com/ https://www.carman-carrion.com/ ________________________________________ MUSIC CREDITS: Music and sound effects provided by: ElevenLabs Learn more about your ad choices. Visit podcastchoices.com/adchoices

Part Five of Born Wild: Koda's Odyssey, Volume Two begins with the mistake the clans always knew was coming. Summer settles over the forest and brings people with it. More hikers, more campers, more cameras scanning the ridgelines for a postcard moment to carry home.The sasquatch do what they've always done when the world crowds in, pulling back into the heavy timber, moving only in the gray hours, eating less and resting less and watching more.But discipline can only stretch so far, and out in a dense stretch of old growth four miles from the nearest trail, a wildlife photographer named David Reeves is about to point his lens at something no magazine will ever publish.David isn't a weekend tourist. He's patient, serious, and good enough at reading the backcountry to go exactly where he shouldn't. That's the problem. One glimpse, one held breath, and suddenly the secret three years of caution were meant to protect is sitting exposed in the viewfinder of a man who knows what he's looking at.What follows tests everything Koda and the clans have built. A single photograph in the wrong hands could bring the whole outside world down on them, and the choices the sasquatch make in the hours after that encounter carry a weight none of the earlier fights ever did.This is the danger the clans have always feared most, and it doesn't come with claws or howls. It comes with a camera.Email BrianJoin Our FREE NewsletterGet Brian's Books Leave Us A VoicemailVisit Our WebsiteBecome a supporter of this podcast: https://www.spreaker.com/podcast/sasquatch-odyssey--4839697/support.Have you had a Bigfoot encounter, Sasquatch sighting, Dogman experience, or other cryptid or paranormal encounter? We'd love to hear your story. Email brian@paranormalworldproductions.com to be featured on a future episode of Sasquatch Odyssey.Sasquatch Odyssey is a leading Bigfoot and cryptid podcast exploring real encounters, field research, and scientific analysis of the Sasquatch phenomenon.Follow the show and turn on automatic downloads so you never miss an episode.

What happens when a morning walk through a thick, ancient fog results in one of the most famous and heavily debated alien photographs in human history? On December 1, 1987, a retired policeman named Philip Spencer walked onto the desolate Ilkley Moor in the UK. What he encountered in the mist—a strange, 4-foot-tall entity, a humming saucer, and hours of missing time—would cement the Ilkley Moor Incident as a cornerstone of UFO lore. In this deep-dive investigation, we break down the exact timeline of Spencer's terrifying extraterrestrial encounter. But we aren't just looking at the supernatural claims; we are applying rigorous psychological analysis to the event. Was this a genuine close encounter with an otherworldly biological entity, or a terrifying mix of pareidolia, exhaustion, and leading questions during subsequent hypnosis sessions? We examine the gaping logical holes in the story—like why a photographer would snap a picture of an entity but completely ignore a massive, glowing saucer lifting into the sky. If you think you know how alien abductions and UFO sightings work, the psychological science and hidden details uncovered in this breakdown will completely shatter your perception of eyewitness testimony. You will never look at a foggy landscape the same way again. (Make sure to join our Discord and Patreon communities for deeper, behind-the-scenes mystery analysis and exclusive true crime breakdowns!) Thank you for watching Roanoke Tales! Patreon: https://www.patreon.com/c/RoanokeTalesPatreon Roanoke Gaming: https://www.youtube.com/@UCs8lYkna2S6DkcHO9o2008A Instagram: https://www.instagram.com/roanokegaming/ Twitter: https://x.com/RoannokeGaming Thank you for watching Roanoke tales Wendigo illustration made by Tania Sanchez-Fortun. Here are the links! Instagram : https://www.instagram.com/tania_sanchezfortun_art/ Cara ; https://cara.app/tsanchezfortun Artstation : https://www.artstation.com/taniasanchezfortun Go and check out his work! [00:00] - The Fog of Ilkley Moor: A Cold Morning in 1987 [01:53] - Philip Spencer's Extraterrestrial Encounter [03:32] - The Photograph, The Entity, and the "Missing Time" [05:19] - The Saucer Sighting: Why Didn't He Take a Picture? [25:22] - The Science Portion: Pareidolia & The Psychology of Fear [26:32] - The Hypnosis Trap & The Unreleased "Second Video" [27:45] - Outro & The Truth About UFO Eyewitness Accounts #UnsolvedMystery #RealHorror #RoanokeTales

Historian Mike Bell and I discuss his latest Brand Book about Captain Cookesley's Photograph

Send us Fan MailYour Classroom Is Beautiful. Please Get Off the Desk.Back-to-school classroom setup videos are full of creativity, care, and an astonishing amount of teachers' personal money. But what happens if you are injured while decorating before your contract begins—or if the things you purchased are damaged, destroyed, or carried off during summer cleanup?In this episode of Teachers in Transition, Vanessa examines some risks hidden behind those beautiful classroom transformations. She discusses workers' compensation, a viral video showing a teacher's belongings covered in mold, and the important difference between documenting a workplace problem and publishing it online.Teacher Hack: Create a Classroom Purchase FileLearn how to:• Save and organize classroom receipts • Document furniture, electronics, books, and other personal property • Keep records outside district-controlled systems • Photograph valuable items without exposing student information • Understand the difference between a tax deduction and a tax creditFor eligible educators, the federal educator-expense deduction rises to $350 for expenses paid during tax year 2026. Tax laws and individual circumstances vary, so verify the current rules and consult a qualified tax professional.Career Transition and Job SearchEvery public post contributes to your personal brand. Vanessa explains how to audit your digital footprint, preserve important workplace evidence, remove content that no longer represents you, and intentionally build the professional identity you want employers to find.Ask yourself:• Is this accurate? • Is this an impression I am willing to own? • Would I be comfortable explaining it during an interview?Coming Next Week: Join the Movement: Invisible Excellence is available for pre-sellSupport the show

Asking a simple question I’ve been pondering a deceptively simple question: What makes a photograph good as part of my book club this month? But, before diving into that, a couple of quick announcements! I’ve got some new workshops lined up in 2027 at Badlands, Adventures in the Palouse, and the Oregon Coast and Redwoods. Check out the details on my website. Plus, I’ll be teaching a masterclass called “The Landscape is Language” at the Photographic Center Northwest in November 2026. As for the topic of episode 596, the source of this question comes from re-reading The View from the Studio Door by Ted Orland. In the section Art & Society, Ted comes up with an interesting answer that we will get to at the end of the podcast. Sure, the what is a good photography questionseems like it should have a straightforward answer. We could list out a bunch of qualities: composition, light, color, timing, technical skill, originality, emotion. Maybe a photo resonates because it communicates something important or makes us pause and reflect. So, what are we really talking about when we say a photograph is good? First off, we need to distinguish between “good” and “beautiful.” A photograph can be stunning without really offering much depth. Gorgeous light, perfect composition, beautiful colors—sure, but does it say anything? Conversely, a photograph can be rough around the edges but still pack an emotional punch.  Good isn’t necessarily beautiful First off, we need to distinguish between “good” and “beautiful.” A photograph can be stunning without really offering much depth. Gorgeous light, perfect composition, beautiful colors—sure, but does it say anything? Conversely, a photograph can be rough around the edges but still pack an emotional punch. Who gets to decide? Who determines what makes a photograph good? Is it because I like it? A critic? Other photographers? Does it matter if it's hanging in a museum or selling at auction? Or is it simply about whether the creator feels they achieved what they set out to do? The more I reflect, the more I realize there isn’t a universal standard for art—and maybe that's just fine. What if we judged the “goodness” of a photograph by its impact? – Does it make me stop? – Does it hold my gaze? – Does it shift my perspective? – Does it make me uncomfortable or curious? – Does it inspire creativity in me? Can a Bad Photograph Still Be Good? Suppose I take a photograph that falls flat. You have them too. You know the ones with bad composition, poor lighting, missing the mark entirely. On its own, it might not see the light of day. But what if that photo leads me to create ten better ones? What if it highlights what I don't want in my work or points me toward an unexpected direction? Does that still make it a bad photograph? Aesthetically, sure. Creatively, it could be invaluable. It makes me wonder if we're sometimes asking the wrong questions about art. Instead of “Is this good?” maybe we should be asking, “What did this make possible?” We don’t make masterpieces one at a time I feel like photographers can get caught up in the notion that their work is a collection of standalone images. You make a picture, then another, and it's easy to obsess over which ones are the “good” ones. But that’s not really how creativity works. It is a journey for us to follow, and the most important photographs aren’t necessarily the strongest ones; it might be the one that reshapes everything that follows Ted’s key point with the photograph as a stepping stone Ted Orland has this concept I keep returning to: a piece of work can be deemed good if it helps you move toward the next piece. I love this idea because it eases the pressure on each photograph. It doesn’t have to be the final say; it can be a question, an experiment, or even a failure.

Listen Ad Free https://www.solgoodmedia.com - Listen to hundreds of audiobooks, thousands of short stories, and ambient sounds all ad free!

Get a recipe and look at an old photo of Joni's sweet mother Lindy here. --------Thank you for listening! Your support of Joni and Friends helps make this show possible. Joni and Friends envisions a world where every person with a disability finds hope, dignity, and their place in the body of Christ. Become part of the global movement today at www.joniandfriends.org. Find more encouragement on Instagram, TikTok, Facebook, and YouTube.

Every photograph tells us something, but creating an image that makes people stop and feel something requires more than pointing a camera at an interesting subject.In this episode of Cowgirls with Cameras, we're breaking down what storytelling actually means in photography. We talk about creating tension, using foreground and background intentionally, and giving viewers enough information to wonder what just happened or what might happen next.We also discuss why storytelling is especially important in Western photography. These images preserve more than horses, cowboys, cattle, and scenery. They document family traditions, working relationships, quiet routines, and a way of life that continues to change.Finally, we share practical ways to choose the story you want an image to tell. You'll learn how to identify the main character, notice the smaller stories happening around the obvious action, decide what belongs in the frame, and recognize when the most memorable photograph is happening off to the side.Because strong storytelling isn't about forcing a bigger moment. It's about paying closer attention to the one already happening.

Welcome to episode 595 of the Perceptive Photographer. This week, we are exploring the importance of asking questions about our work—not questions related to critique or the meaning of our completed images, but rather questions we consider before taking the shot. I hypothesize that the questions we ask play a crucial role in shaping the central theme of the image. If we prioritize technical elements and settings over feelings or storytelling, the final image may feel off in its narrative. This disconnect occurs because we focused on the wrong aspects when creating the photograph. When we make a photograph, there is a lot happening in our minds. If we concentrate on the wrong elements, that focus may not be conveyed effectively. However, this doesn’t mean that all elements aren’t important; they are. Composition, technique, emotion, and storytelling all matter. Ultimately, it comes down to determining which of these elements you want to prioritize in your work.

Could a single photograph strengthen your testimony of the Restoration?For years, countless images have claimed to be authentic photographs of the Prophet Joseph Smith—but none have been universally accepted. So what happens when a long-forgotten daguerreotype is discovered in a family heirloom, and the evidence begins pointing in an unexpected direction?In this fascinating episode of Latter-Day Lights, researcher Curtis Weber shares how his initial attempt to disprove the image's authenticity led him down a years-long journey through forensic anthropology, historical records, facial analysis, and Church history.Join us as Curtis unpacks the remarkable research behind what may be the strongest case yet for an authentic photograph of Joseph Smith. Along the way, you'll discover how careful investigation, expert collaboration, and an honest pursuit of truth can deepen faith and offer a fresh appreciation for the life and legacy of the Prophet of the Restoration.*** Please hit SUBSCRIBE to get our latest episodes, and hit the SHARE button to help us share Curtis' story and light with others. ***To WATCH this episode on YouTube, visit: https://youtu.be/RisRIe1je5M-----To CONNECT with Curtis on Facebook, visit: https://www.facebook.com/curtis.weber.5-----To READ Scott's new book “Faith to Stay” for free, visit: https://www.faithtostay.com/-----Follow us on Facebook: https://www.facebook.com/latterdaylightsAlso, if you have a faith-promoting or inspiring story, or know someone who does, please let us know by going to https://www.latterdaylights.com and reaching out to us.

In this episode of GardenDC: The Podcast about Mid-Atlantic Gardening, we talk with photographer Becca Mathias about capturing better images of our home gardens. The plant profile is on Lemongrass and we share what's going on in the garden as well as some upcoming local gardening events in the What's New segment. We close out with the Last Word on "How to Zoodle Your Zucchinis" from Christy Page of GreenPrints.BTW, YOU can become a listener supporter for as little as $0.99 per month! See how at: https://creators.spotify.com/pod/show/gardendc/subscribeIf you liked this episode, you may also enjoy listening to:~ GardenDC Podcast Episode 238: Flower Photography Tipshttps://washingtongardener.blogspot.com/2025/04/gardendc-podcast-episode-238-flower.html~ GardenDC Podcast Episode 202: Documenting Gardenshttps://washingtongardener.blogspot.com/2024/07/gardendc-podcast-episode-202.html~ GardenDC Podcast Episode 17: Garden Photographyhttps://washingtongardener.blogspot.com/2020/06/gardendc-podcast-episode-17-garden.htmlShow Notes will be posted after 8/15/2026.We welcome your questions and comments! You can leave a voice mail message for us at: https://podcasters.spotify.com/pod/show/gardendc/message Note that we may use these messages on a future episode.And be sure to leave us a 5-star review on your favorite podcast platform plus share us on social media with #GardenDC, so other gardeners can find us too!Episode Credits:Host and Producer: Kathy JentzMusic: Let the Sunshine by James MulvanyRecorded on 8-1-2026.

What if the tray is the reason your whitening results are inconsistent?Why would a dentist who owns a whitening lab — and holds four patents on making bleaching trays — tell you to skip the tray?Trayless whitening does not mean strips. It means the patient puts in a retractor and paints the gel directly onto the teeth, twice a day, for half an hour. No impression, no lab bill, no two-week wait, and no soft plastic reservoir quietly absorbing your peroxide.This is Part 1 of a two-part conversation with Dr Wyman Chanand Dr Elvis Law, recorded live in their central London whitening practice. Wyman has done nothing but whitening since 2002, has a PhD on the efficacy and safety of whitening processes, and — despite owning the lab that makes the trays — now does most of his cases without one. Elvis trained under him and reckons around 90% of his own cases are now trayless.Part 1 is the mechanism, the protocol and an honest list of who it doesn't suit. Part 2 takes it into the hard cases.Protrusive Dental Pearl: Let the Patient Pick the ShadeMost of us ask “how white do you want to go?”, get a laugh about Hollywood white or Simon Cowell white, then hold a B1 tab against the canine and call that the destination. Try flipping it.Under corrected light, record where the patient is now. Then hand over the whole shade guide, arranged by value, and let them choose the tab they want to reach. Photograph both.This is the VITA Shade guide arranged by value:B1 → A1 → B2 → D2 → A2 → C1 → C2 → D4 → A3 → D3 → B3 → A3.5 → B4 → C3 → A4 → C4Two things change. You now know the target precisely instead of inferring it, and you can track progress against a fixed reference. Most patients land on B1 — it's the last shade before the bleach range, and it reads natural rather than veneered. Some will point at 0M1 and that's a different conversation, which is exactly the point.Because whatever they choose dictates how many weeks, how much gel and how many reviews the case needs — and therefore what it should cost. A single flat whitening fee assumes every case takes the same work. They don't. Someone starting at C4 who wants a bleach shade can get there, but it takes more gel, more time, more reviews and probably a protocol change along the way. Price that honestly.Only you can decide what the tiers look like in your practice. But it might be worth sitting down as a team of dentists and therapists and asking: how are we delivering whitening? Two tiers? More? Based on what?What You'll Take From This EpisodeConscious bleaching — why an awake patient with an open mouth is a completely different chemical situation to a sealed tray worn overnight, and what that does to sensitivity.The formulation constraint — peroxide needs acid to stay stable on the shelf, which is why pre-mixed products lean acidic and why two-component gels exist at all.The full trayless protocol — wear schedule, spacing, patient positioning, review intervals and what to troubleshoot first when a case is behind.Who it doesn't suit — an honest contraindications list, including the one objection patients raise most often and the answer to it.Tray hygiene as a clinical instruction — the reason results vary so much between patients using the identical gel.An A3.5 to B1 case — start to finish in three weeks, with the review points and the maintenance plan.Highlights of This Episode00:00     TEASER01:05     Trayless Teeth Whitening Explained03:40     Protrusive Dental Pearl: Let Patients Pick Their Whitening Shade06:05     Meet the Guests: A Career Built on Teeth Whitening10:27     What Is Trayless Whitening? (It's Not Whitening Strips)13:44     Why Whitening Trays Waste Your Bleaching Gel15:37     Are Whitening Strips Acidic? Gel Formulation Explained19:17     Conscious Bleaching and Whitening Sensitivity24:43     When NOT to Use Trayless Whitening29:05     The Trayless Whitening Protocol: 30 Minutes Twice a Day32:55     Midroll42:45     How to Clean Whitening Trays Properly50:02     A3.5 to B1 in Three Weeks: A Case Walkthrough56:16     Tooth Porosity and the 45-Degree Recline Rule1:02:09   Whitening Top-Ups and the Five-Year Guarantee1:06:49   How to Price Teeth Whitening and Let Patients Pick the Shade1:07:45   OUTRO1:12:56   What's Coming in Part 2Start Offering Trayless Whitening for Your OfficeUK Dentists:In the UK you need the Get2Smile Kit which is 6% formulation applied twice daily for 30 minutes.Head to directoralcare.com and register for a free professional account. Approval unlocks the full shop, pricing, offers and their upcoming educational courses.At checkout, use code: DOCSUMMER20The Trayless whitening system is called Get2Smile.International Dentists wishing to offer Get2Smile, please enquire from Dr Chan's website. The international version uses 10% formulation applied for 15 minutes, twice daily.

What if the tray is the reason your whitening results are inconsistent? Why would a dentist who owns a whitening lab — and holds four patents on making bleaching trays — tell you to skip the tray? Trayless whitening does not mean strips. It means the patient puts in a retractor and paints the gel directly onto the teeth, twice a day, for half an hour. No impression, no lab bill, no two-week wait, and no soft plastic reservoir quietly absorbing your peroxide. This is Part 1 of a two-part conversation with Dr Wyman Chan and Dr Elvis Law, recorded live in their central London whitening practice. Wyman has done nothing but whitening since 2002, has a PhD on the efficacy and safety of whitening processes, and — despite owning the lab that makes the trays — now does most of his cases without one. Elvis trained under him and reckons around 90% of his own cases are now trayless. Part 1 is the mechanism, the protocol and an honest list of who it doesn't suit. Part 2 takes it into the hard cases. https://youtu.be/aAAoUxTIkxo Watch PDP277 on YouTube Protrusive Dental Pearl: Let the Patient Pick the Shade Most of us ask “how white do you want to go?”, get a laugh about Hollywood white or Simon Cowell white, then hold a B1 tab against the canine and call that the destination. Try flipping it. Under corrected light, record where the patient is now. Then hand over the whole shade guide, arranged by value, and let them choose the tab they want to reach. Photograph both. This is the VITA Shade guide arranged by value: B1 → A1 → B2 → D2 → A2 → C1 → C2 → D4 → A3 → D3 → B3 → A3.5 → B4 → C3 → A4 → C4 Two things change. You now know the target precisely instead of inferring it, and you can track progress against a fixed reference. Most patients land on B1 — it's the last shade before the bleach range, and it reads natural rather than veneered. Some will point at 0M1 and that's a different conversation, which is exactly the point. Because whatever they choose dictates how many weeks, how much gel and how many reviews the case needs — and therefore what it should cost. A single flat whitening fee assumes every case takes the same work. They don't. Someone starting at C4 who wants a bleach shade can get there, but it takes more gel, more time, more reviews and probably a protocol change along the way. Price that honestly. Only you can decide what the tiers look like in your practice. But it might be worth sitting down as a team of dentists and therapists and asking: how are we delivering whitening? Two tiers? More? Based on what? What You'll Take From This Episode Conscious bleaching — why an awake patient with an open mouth is a completely different chemical situation to a sealed tray worn overnight, and what that does to sensitivity. The formulation constraint — peroxide needs acid to stay stable on the shelf, which is why pre-mixed products lean acidic and why two-component gels exist at all. The full trayless protocol — wear schedule, spacing, patient positioning, review intervals and what to troubleshoot first when a case is behind. Who it doesn't suit — an honest contraindications list, including the one objection patients raise most often and the answer to it. Tray hygiene as a clinical instruction — the reason results vary so much between patients using the identical gel. An A3.5 to B1 case — start to finish in three weeks, with the review points and the maintenance plan. Highlights of This Episode 00:00     TEASER 01:05     Trayless Teeth Whitening Explained 03:40     Protrusive Dental Pearl: Let Patients Pick Their Whitening Shade 06:05     Meet the Guests: A Career Built on Teeth Whitening 10:27     What Is Trayless Whitening? (It’s Not Whitening Strips) 13:44     Why Whitening Trays Waste Your Bleaching Gel 15:37     Are Whitening Strips Acidic? Gel Formulation Explained 19:17     Conscious Bleaching and Whitening Sensitivity 24:43     When NOT to Use Trayless Whitening 29:05     The Trayless Whitening Protocol: 30 Minutes Twice a Day 32:55     Midroll 42:45     How to Clean Whitening Trays Properly 50:02     A3.5 to B1 in Three Weeks: A Case Walkthrough 56:16     Tooth Porosity and the 45-Degree Recline Rule 1:02:09   Whitening Top-Ups and the Five-Year Guarantee 1:06:49   How to Price Teeth Whitening and Let Patients Pick the Shade 1:07:45   OUTRO 1:12:56   What’s Coming in Part 2 Start Offering Trayless Whitening for Your Office UK Dentists: In the UK you need the Get2Smile Kit which is 6% formulation applied twice daily for 30 minutes. Head to directoralcare.com and register for a free professional account. Approval unlocks the full shop, pricing, offers and their upcoming educational courses. At checkout, use code: DOCSUMMER20 The Trayless whitening system is called Get2Smile. International Dentists wishing to offer Get2Smile, please enquire from Dr Chan’s website. The international version uses 10% formulation applied for 15 minutes, twice daily.

While clearing out her late mother's house, Annabelle finds a decades-old family photo of a gathering at a house no one recognizes, presided over by a stranger who stares straight into the camera while everyone else looks away. The more relatives she consults, the more names she recovers and the less she learns about the one face that matters — until the figure in the corner becomes less a mystery to solve than a presence she can't quite put down.Tales From The Blue Line: Every morning at three, Mason and Ally ride the Blue Line into downtown Chicago together. The train brings out its own brand of weird, which has led to Mason and Ally trading spooky stories to help their commute pass a little faster.If you have a story you'd like to contribute to the series, you can visit https://submissions.soundconceptmedia.com/You can support the show by becoming a paid subscriber on Substack: https://auditoryanthology.substack.comBy becoming a paid subscriber you can listen to every episode completely ad-free!Curator: Keith Conrad linktr.ee/keithrconradNarrator: Darren Marlar https://darrenmarlar.com/Other shows hosted by Darren:Weird Darkness: https://weirddarkness.com/Paranormality Magazine: https://weirddarkness.tiny.us/paranormalitymagMicro Terrors: Scary Stories for Kids: https://weirddarkness.tiny.us/microterrorsRetro Radio – Old Time Radio In The Dark: https://weirddarkness.tiny.us/retroradioChurch of the Undead: https://weirddarkness.tiny.us/churchoftheundead Hosted on Acast. See acast.com/privacy for more information.

When a guest has a severe allergic reaction from a bee string, photographer John Ruddock of @highorbitmedia made a snap decision as to how much of the moment to capture. What do you do when unexpected things happen during weddings. Put the camera down and give it space, or document everything?   

Smoking Joe Kubek & Bnois King perform live at the 2011 Blues Music Awards on this Edition of the Blues Radio International Podcast.Photograph courtesy of Alligator Records.Find more at BluesRadioInternational.net

FFoDpod.com   Patreon   Merchandise   CC-BY-SA  Can be found at scpwiki.com and was written by TL333s. Posted on Apr 19, 2012.

Ella Hubber, Caroline Roper and Tom Lum from 'Let's Learn Everything!' face questions about academic admissions, eight-legged equines and five-dollar flights. LATERAL is a comedy panel game podcast about weird questions with wonderful answers, hosted by Tom Scott. For business enquiries, contestant appearances or question submissions, visit https://lateralcast.com. HOST: Tom Scott. QUESTION PRODUCER: David Bodycombe. EDITED BY: Julie Hassett at The Podcast Studios, Dublin. MUSIC: Karl-Ola Kjellholm ('Private Detective'/'Agrumes', courtesy of epidemicsound.com). ADDITIONAL QUESTIONS: Steven W., Jeff Wright, Kate, Rotar, Jagan, Carlos, Noah Goob, Adrian. FORMAT: Pad 26 Limited/Labyrinth Games Ltd. EXECUTIVE PRODUCERS: David Bodycombe and Tom Scott. © Pad 26 Limited (https://www.pad26.com) / Labyrinth Games Ltd. 2026. Learn more about your ad choices. Visit megaphone.fm/adchoices

For 52 years, citizen-scientists have documented Mt. Shasta’s melting glaciers as the planet warms from climate change. They’ve taken a series of photographs over decades that shows these glaciers shrinking.   These citizen-scientists say they’re hoping to reduce “environmental amnesia” by presenting this visual evidence of climate change.   Washington journalist and author of “The Earth Said Remember Me,” Jason Dove Mark, joins us to discuss his experience on Mt. Shasta, and its broader implications.  

After sharing photos from her stepdaughter's sixteenth birthday, Paula found herself at the center of a wave of harsh criticism from strangers who believed they knew everything about her family from a single Instagram post.    In this episode, she uses that experience to explore the psychology of judgment, projection, entitlement, and the assumptions people make based on appearances. She also explains the philosophy behind raising children with an abundance mindset rather than a scarcity mindset, and why she refuses to apologize for creating opportunities for the people she loves. If you've ever been judged unfairly—or caught yourself judging someone else—this episode offers a perspective that may change the way you see both yourself and others.  

This episode Amy and Chris don their fanciest pair of waders and hop upon a sturdy backwater boat to review the worker placement strategy game Feya's Swamp. But before they start throwing any celebratory fish-festivals, they discuss Photograph (aka Wind the Film!) and Pandemic Legacy: Season 1. The review of Feya's Swamp begins at 32:19.

The Photograph in Jamie s Backpack Changed Everything I Thought I KnewBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-cheating-wives-and-girlfriends-stories-2026-true-cheating-stories-podcast--5689182/support.

What an interesting show...Meet Larry Hansen, representing new sponsor Make a Scene Media from Wasilla, Alaska and promoting touring artist Natalie Gelman and her Mountain Mama Tour. Natalie's songs include Heavy Heavy Heart, The Lion, Some People, Photograph and The Way Things Go

Nina Alvarez joins Dr. Sandie Morgan to unpack a question raised after The New York Times published images from Figueroa Street: was legal consent enough to prevent harm? Together they explore the ethical duty of care journalists owe survivors, the lasting life of images, and why covering trafficking responsibly takes more than good intentions.Chapters(00:00) - Introduction: welcoming journalist Nina Alvarez (03:46) - What "ethical duty of care" means for journalists (06:00) - Consent, trauma, and the limits of a release form (16:42) - Why "rescue" is the wrong word for trafficking recovery (22:14) - What editors and organizations should ask before publishing (28:44) - Power, images, and protecting sources long after publication (38:03) - Media narratives, public misunderstanding, and what needs to change (43:14) - Closing thoughts and how to get involved About Nina AlvarezNina Alvarez is a journalist, documentarian, video photographer, and the CBS Assistant Professor of International Journalism at Columbia Journalism School. She has spent more than twenty-five years reporting breaking news, feature stories, radio reports, broadcast segments, and long-form documentaries around the world.Alvarez began her career at ABC News, working on the documentary series Turning Point before covering the southeast U.S. and Latin America from ABC's Miami Bureau and helping establish the network's Mexico City Bureau in 1997. Her work has aired on World News Tonight with Peter Jennings, Good Morning America, Nightline, and 20/20, earning three national Emmy Awards.Since 2001, she has reported and produced for Univision, NBC, CNN, NPR, MTV News, and Al Jazeera, with work spanning the Middle East, Africa, Central Asia, Latin America, and the Caribbean. She produced, directed, and photographed Very Young Girls, a Showtime documentary following New York City girls who had been sexually exploited and trafficked domestically, and was a producer on the Oscar-nominated Which Way Home.Key Points• Nina Alvarez explains that the ethical duty of care means weighing the lasting impact a story will have on the person in it, since a published story is permanent and the subject may not fully grasp what that means when they agree to participate.• Consent is not the same as a signed release form; Alvarez describes consent as an ongoing process that journalists have to revisit before, during, and after a story is published.• Alvarez points out that turning 18 makes someone legally able to consent, but it doesn't erase the effects of years of trauma, so journalists still have to weigh whether a survivor's "yes" is solid.• Morgan and Alvarez agree that "rescue" is the wrong frame for trafficking recovery, since most survivors leave and return to their situations multiple times before they're fully out.• Alvarez explains that rescue-centered narratives draw more funding and legislative attention toward policing, while recovery-centered approaches that give survivors housing and health resources get less support.• Alvarez says editors should be asking why minors' first names and identifying details were included in a story at all, and whether a survivor understood that their words to police would end up published nationally.• Alvarez encourages organizations to set ground rules with journalists, including reviewing the story and images in advance, and warns that survivors who depend on an organization for access may feel pressure to say yes.• Alvarez reflects that Very Young Girls, made in 2007, didn't anticipate how permanently images would circulate online, and the women in that documentary now say they can never fully escape those images.Resources• Figueroa Street and the Ethical Duty of Care (Columbia Journalism Review)• Very Young Girls (documentary)• GEMS (Girls Educational and Mentoring Services)• Humanitarian Initiative Bridges• Columbia Journalism School

The Photograph That Decided Who Would Disappear NextBecome a supporter of this podcast: https://www.spreaker.com/podcast/dark-mysteries-unsolved-mysteries-forgotten-secrets-unanswered-questions--5684156/support.Darkest Mysteries Online

Charles and Jon compare notes from their recent trips to China, and talk the joys of travel there, especially the country's superb mammalwatching opportunities. Charles and his family spent 10 days in China's Qinghai Province in May, while Jon was in China for a month from mid-April, including almost two weeks in Yunnan Province and a few days in Qinghai.We discuss the Gouli Valley, and the extraordinary carnivore watching there, due in large part to a guide with superhuman vision. Charles has a close encounter with some Tibetan caterpillar connoisseurs and Jon discovers that seeing any species might be possible with the help of the right friends in China, especially when one is the 'mammal lord'.Notes: Jon's 2026 reports from China - Yunnan, Qinghai, Tangjiahe, Guangxi and Zhejiang - are already available on mammalwatching's China page. If you are interested in details of the tour he will lead across Qinghai next year, including to the original Valley of the Cats, please email.The study of Fishers predating Lynxes that Charles discussed at the start is here.If you would like to submit you own notes from the field then please get in touch with Jon at info@mammalwatching.comYou can support mammalwatching and buy us a coffee here https://buymeacoffee.com/mammalwatchingFinally did you know you can sign up to receive a weekly mammalwatching newsletter here? https://www.mammalwatching.com/subscribe-to-updates/Cover art: Pallas's Cat in the Gouli Valley, February 2026. Photograph by Man Fu.Dr Charles Foley is a mammalwatcher and biologist who, together with his wife Lara, spent 30 years studying elephants in Tanzania. They now run the Tanzania Conservation Research Program at the Lincoln Park Zoo in Chicago.Jon Hall set up mammalwatching.com in 2005. Genetically Welsh, spiritually Australian, currently in New York City. He has looked for mammals in almost 120 countries.

Search for Venezuela's quake survivors continues as thousands remain missing, more international aid has been pledged. Also in the programme: a statement from Russia's Vladmir Putin on fuel shortages; and the forgotten dinosaur of Antarctica.(Photograph: destroyed buildings in La Guaira. Credit: UKIsar)

Trudy Lynn and Sugaray Rayford perform live with the Anthony Paule Soul Orchestra at the 2018 Blues Music Awards in Memphis.Photograph by Jay SkolnickFind more at BluesRadioInternational.net

The camera only records what is in front of it, but the photograph begins before that. It begins when something makes me stop. Sometimes it is a certain kind of light. Sometimes it is a face in a crowd. Sometimes it is a shadow falling across a wall, making an ordinary place look different for a moment. Other times, it is something quiet that most people would walk past without giving it much thought. That is usually where photography starts for me. Not with the camera. Not with the settings. Not with trying to make something impressive. It starts with noticing. I have taken enough photographs to know that the first thing I see is not always the best photograph. Sometimes it is only the thing that gets my attention. The real photograph may be off to the side. It may be in the background. It may be in the light, the shape, the shadow, or the space around the subject rather than the subject itself. That is why I try not to rush. When something makes me stop, I want to give myself enough time to understand why. A strong photograph does not usually come from simply pointing the camera at something interesting. There needs to be a reason behind it. Sometimes that reason is clear right away. The sky looks heavy before a storm. A street has a lonely feeling. A person's expression says more than words could. A small object catches the light in a way that makes it seem more important than it did a minute earlier. Other times, I may not fully understand why something has my attention. I know there is something there. That is when I slow down and start working the scene. I look at it from one angle, then another. I ask myself what is really pulling me in. Is it the light? Is it the shape? Is it the mood? Is it the way everything seems ordinary, but still worth remembering? Podcast Notes: https://www.moneymakerphotography.com/thought-process-behind-every-photograph/ Photography Clips Podcast: https://www.moneymakerphotography.com/podcast/ Music From the Doctor's Office: https://www.moneymakerphotography.com/music-from-the-doctors-office/

Creative photography is becoming increasingly popular, and with more people than ever pushing artistic boundaries, Rob and Josh discuss what actually makes a photograph creative. Join the two for a candid discussion as they delve into another interesting topic.WildArt is also returning in the guise of the new WildArt Bird Photography Awards. Rob and Josh explain the new format, who's behind it and what the awards will be looking for. Visit the all new WildArt website - https://www.wabpa.com/As well as wildlife photographers, we are passionate about conservation and do everything we can to support grass-roots conservation initiatives across the globe. This year, through both WildArt and the podcast, we are supporting Western Australia's Black Cockatoos through efforts coordinated by Perth NRM. If you have enjoyed the content, then why not say thank you by making a small donation directly to this conservation effort? Click the link to go directly to the donation page for more information and to part with some cash!https://www.perthnrm.com/wildart-bird-photography-awards-donations/About the Hosts:Rob Read has spent many years as a photography competition organiser; firstly as a founding director of, and primary organiser of Bird Photographer of the Year for the first five years of the competition, and more recently as founder, owner, and organiser of WildArt Bird Photography Awards. Josh Galicki has been entering competitions for many years and has had significant success in many, including Bird Photographer of the Year. He is now an intergral part of WildArt Bird Photography Awards.Connect with the Podcast Instagram Account and Facebook Page using the following links:https://www.instagram.com/wildphotopodcast/https://www.facebook.com/profile.php?id=61570623586727Get in touch with us directly by sending an email to wildphotopodcast@gmail.comFind out more about your host's and view their work on their Instagram profiles:Rob - https://www.instagram.com/robreadphotos/Josh - https://www.instagram.com/galicki_photography/The WildArt Bird Photography Awards website can be found here - https://www.wabpa.com/Jiří Hřebíček - https://www.jirihrebicek.com/

Lauren's guests are renowned photographers Inez van Lamsweerde and Vinoodh Matadin, who just published the book Can Love Be a Photograph, riffing off their 40-year retrospective at Kunstmuseum The Hague in the Netherlands, which runs through September 6. They discuss their working and romantic relationship, the way the fashion industry has changed over the course of their career, the evolution of fashion image-making, their favorite (and least favorite) brands, working with various designers, New York, their process, why (and how) they never leave each other's side, and so much more. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Before we dive into this week’s episode (number 588, btw), just a quick reminder: two spots are still available in the Photo Book Club—Click on the link under the workshop menu for more details.  This week, the inspiration for this episode came from the book we are reading for the book club — Robert Adams’s Why People Photograph. But before we dig into our topic. We lost two great photographers this past week. Both Duane Michals and David Hockney passed away. Duane pushed photography into the realms of narrative, imagination, and personal expression, and reminded us that photographs could ask questions rather than provide answers. David said he took pictures (30,000) from time to time, and he continually encouraged us to reconsider how we see and work with ideas as complex and dynamic rather than as frozen moments. While they will be missed, we have such a great archive of their work. If you haven’t looked at their work, it’s worth your time.  Our main topic for the week is about those exact moments of the shutter clicking. For many, photography is something we do almost automatically. Cameras are always within reach, and images are made billions of times a day. Yet beneath every photograph lies a simple question: Why did we choose to photograph that particular moment? In this episode, I explore some of the ideas behind the why of our photographs. For some of us, photography begins with attention. Before there is a photograph, there is an act of noticing. Something in the world captures our interest, interrupts our routine, and asks us to pause. The camera becomes a way to acknowledge that moment. We might photograph to remember, but photographs aren’t records of the past. They become memory triggers, opening doors to experiences, emotions, and stories that often fade or are forgotten.  We also photograph to understand who we are and the world we live in. The camera allows us to investigate the world, ask questions, and discover meanings we might have overlooked. It allows us to push back when things aren’t right and celebrate what is good. Maybe our photographs reveal something about who we are. The subjects we return to, the moments that move us, and the scenes that capture our attention all provide clues about what we value and how we see the world, all acting like a form of self-portraiture.  Ultimately, photography may not be about collecting images at all. It may be about collecting these moments and places of attention and creating a deeper connection to the world around us.

This time around, our "Breakout Album" is by Def Leppard--the smash from '83, "Pyromania." Frankie will share his story about the band from England, and Tim will fill you in on how that "Union Jack" t-shirt worn in the famous "Photograph" video came to be. Next up: "The Grand Illusion" by the Chicago band, Styx. Enjoy!

Matt Kay is a Cape Town-based photographer who came up through photojournalism, spent formative years on a Texas ranch with a Pulitzer Prize winner he didn't know was a Pulitzer Prize winner, and has spent the better part of two decades thinking seriously about what photography is actually for.In this episode, we get into why a photograph is never real, the collapse of photojournalism and how weddings filled the gap financially, why the boudoir work is less about taking saucy pictures and more about giving someone permission to be seen, and how the saturation of imagery has made it almost impossible for a single photograph to change anything anymore. We also get into snake catching clubs, growing up in the Midlands, and a yellow-billed kite named Napoleon. Enjoy. Hosted on Acast. See acast.com/privacy for more information.

Elijah Vue's biological father was in prison. The man his mother chose to care for him had a felony for harming a child, trafficking charges, and a federal drug conviction. His mother had once told police that the same man had trafficked her — and then, years later, placed her three-year-old in his apartment for “disciplinary reasons.” There was nowhere safe for this child to land. And no one intervened.The criminal complaint in this case lays out a relationship between Katrina Baur and Jesse Vang that goes back years — through trafficking allegations, federal prison, and a power dynamic Baur herself described to investigators as a “structure” with Elijah's father as “the alpha.” By February 2024, that dynamic had put a toddler inside a Two Rivers apartment where he was being subjected to what Vang called “boot camp.” Standing timeouts lasting hours. Cold water. His one toy confiscated. One diaper change per day. Text messages between Baur and Vang show them coordinating: Vang promised to make the boy hate him, and Baur replied with a correction — not hate, fear.A deleted photograph showed Elijah blindfolded and bruised at 3:13 in the morning. His mother took it, erased it, and drove home. Both Baur and Vang now face felony charges in connection with Elijah's death. Both have pleaded not guilty. Vang faces life in prison. Tony Brueski goes deep on who these people were, how they were connected, and the question that defines this first segment: how did a three-year-old end up surrounded by adults who were either locked up, accused, or complicit — with nobody standing between him and what happened next?Join Our SubStack For AD-FREE ADVANCE EPISODES & EXTRAS!: https://hiddenkillers.substack.com/ Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/channel/UC8-vxmbhTxxG10sO1izODJg?sub_confirmation=1 Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/TrueCrimePodThis publication contains commentary and opinion based on publicly available information. All individuals are presumed innocent until proven guilty in a court of law. Nothing published here should be taken as a statement of fact, health or legal advice.#ElijahVue #JesseVang #KatrinaBaur #TwoRivers #Wisconsin #TrueCrime #JusticeForElijah #ManitowocCounty #TrueCrimeToday #TrueCrimePodcast

Bob Brigham always knew he was adopted, but growing up, he didn't know anything about his biological parents. When he was seven years old, a social worker came for a visit and Bob heard her whisper something to his mother – something about the Vietnam War. “Within a nanosecond, I created a story in my head.” Bob Brigham's book is This Is a True War Story. My Improbable History with Vietnam. Say hello on Facebook and Instagram. Follow the show and review us on Apple Podcasts. Want to listen to This is Love ad-free? Sign up for Criminal Plus – you'll get to listen to This is Love, Criminal, and Phoebe Reads a Mystery without any ads. Plus, you'll get behind-the-scenes bonus episodes of Criminal and other exclusive benefits. Learn more and sign up here. We also make Criminal and Phoebe Reads a Mystery. Artwork by Julienne Alexander. Check out our online shop. Episode transcripts are posted on our website. Learn more about your ad choices. Visit podcastchoices.com/adchoices

For most of human history, space has been a place we visited. The next chapter may be about building there.For decades, space was the domain of governments, astronauts, and science fiction. Today, falling launch costs, reusable rockets, and a new generation of ambitious founders are turning orbit into something else entirely: a place to build. The question is no longer whether humanity can construct large-scale infrastructure in space, but what we should build first—and why.In this episode of TechSurge, host Sriram Vishwanath speaks with Dr. Ariel Ekblaw, Founder and CEO of Aurelia Institute, Research Affiliate at MIT's Space Exploration Initiative, and founder of Rendezvous Robotics. Ariel has spent her career exploring one of the most fundamental challenges of the emerging space economy: how to build structures in orbit that are far larger than anything that can fit inside a rocket.Ariel explains the origins of TESSERAE, her pioneering work on autonomous self-assembling space architecture, and how ideas borrowed from biology, swarm intelligence, and modular construction could unlock a future of massive solar arrays, communications infrastructure, orbital laboratories, and eventually human habitats in space.The conversation explores the rapidly emerging market for in-orbit infrastructure, including AI data centers in space, space-based solar power, and the technologies needed to support a permanent industrial presence beyond Earth. Ariel breaks down the engineering realities behind these ideas—why cooling data centers in space is harder than most people assume, how autonomous assembly could solve the scale problem, and why the future of orbital infrastructure may look more like a business park than a collection of standalone satellites.Sriram and Ariel also discuss the broader implications of humanity's return to space: the economics unlocked by reusable launch systems, the opportunities created by dramatically lower transportation costs, and the second-order innovations that may emerge from building an industrial ecosystem in orbit. Along the way, they examine space debris, stewardship of the orbital commons, artificial gravity, and what it will take to make long-term human habitation in space viable.At the heart of the discussion is Ariel's belief that space is not an escape from Earth's problems, but a tool for solving them. Whether through advanced manufacturing, new energy systems, biotechnology research, or entirely new industries, she argues that the next era of space exploration should be focused on improving life here at home.Sign up for our newsletter at techsurgepodcast.com for updates on upcoming TechSurge Live Summits and future episodes.Links:Ariel Ekblaw on LinkedIn:https://www.linkedin.com/in/arielekblawAurelia Institute:https://www.aureliainstitute.orgRendezvous Robotics:https://www.rdvrobotics.comMIT Space Exploration Initiative:https://www.media.mit.edu/groups/space-exploration/overview/How Aurelia is Designing Self-Assembling Space Stations: https://www.fastcompany.com/91242689/how-the-aurelia-institute-is-designing-a-self-assembling-space-stationOverview Energy (Space-Based Solar Power): https://www.overviewenergy.comStarCatcher Industries (Space-to-Space Power Transmission): https://www.starcatcherindustries.comImpulse Space (Orbital Transportation): https://www.impulsespace.comReferences Mentioned During the DiscussionEarthrise - The Apollo 8 Photograph: https://www.nasa.gov/image-article/apollo-8-earthrise/Carl Sagan's “Pale Blue Dot”: https://www.planetary.org/worlds/pale-blue-dotBuckminster Fuller Institute: https://www.bfi.orgWatch Ariel's Talks & InterviewsAurelia Institute YouTube Channel: https://www.youtube.com/@AureliaInstituteAriel's TED Talk: https://youtu.be/IHrGK3Mu5K4?si=QwGHq1BEoB-QMUjkSpace Business Podcast - Self-Assembling Space Habitats with Ariel Ekblaw: https://spacebusiness.podbean.com/e/137-self-assembling-space-habitats-ariel-ekblaw-founder-ceo-aurelia-institute/Further ReadingNASA's Artemis Program: https://www.nasa.gov/artemisInternational Space Station (ISS): https://www.nasa.gov/international-space-stationAurelia Institute's Vision for Humanity's Future in Space: https://www.aureliainstitute.orgMIT News: Supporting Mission-Driven Space Innovation: https://news.mit.edu/2025/supporting-mission-driven-space-innovation-aurelia-institute-0710Timestamps:[00:00] Highlights[00:34] Welcome to the Episode[02:33] The New Space Race Begins[04:10] Meet Dr. Ariel Ekblaw[06:30] Why We Explore Space? [12:53] How She Discovered Self-Assembly at MIT [17:10] How TESSERAE Tiles Build Themselves[20:14] How the Tiles Coordinate Like a Swarm[24:47] Repairing and Reconfiguring Structures in Orbit[28:32] Why the Space Industry Is Exploding Now[34:25] The Case for AI Data Centers in Space[45:21] How Much Compute Will Move to Space?[48:40] Why This Space Era Is Different[52:24] The Growing Problem of Space Debris[55:14] Building the Next SpaceX[57:27] What Could Go Wrong in Space?[59:33 ] How Many Hours of Gravity Do Humans Need?[01:00:38] Why We Should Build in Low Earth Orbit First[01:05:09] Should We Really Colonize Mars?[01:11:27] Could You Commute to Space for Work?[01:13:50] Who Makes the Rules in Space?[01:22:30] What's Overhyped and Underhyped in Space[01:26:57]What's the Real Story in Space?

(6) Bob Zimmerman shares the backstory of the iconic Earthrise photo and the legendary Christmas Eve broadcast. He clarifies that while there was friction over who took the photograph, Bill Anders captured the famous color version. For the broadcast, which reached the largest audience in history, Frank Borman rejected PR advice and instead chose to read from Genesis. The guest notes that this choice aimed to share a message of universal goodwill that transcended specific religions. The reading brought a hush over the world, concluding with the famous sign-off wishing a Merry Christmas to everyone on the "good earth."1955

HT2638 - Photograph As Launch Pad It's easy to fall into the trap of thinking that a photograph is a destination of a viewing process. It's as though seeing a photograph puts a period at the end of an experiential sentence. The reason I call this a trap is because it seems much better to me to consider a photograph as a launch pad for an experience, one that encourages a train of thought, a series of questions, a dialog, a search for meaning and understanding. A photograph that only provides answers is easy to forget. This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process.

This week on Drinking from the Gardenhose, OB and ED tackle the true modern workplace nightmare: lunchtime meetings, surprise calendar invites, and the silent war for personal time. ED explains his elite-level strategy of blocking off his entire Outlook calendar like a corporate bunker, while OB questions whether anyone actually respects lunch anymore. The guys also dive into gym politics, prom photo etiquette, and the unwritten rules of where certain pictures should—and absolutely should not—be shared. Along the way, ED recounts a genuinely bizarre night at a beer garden involving unsupervised kids and questionable parenting decisions that left both hosts wondering if public behavior has completely unraveled. Throw in concert shirts, golf outing chaos, and one hilariously brutal insult OB has been saving for the right moment, and you've got another episode packed with observational comedy, workplace survival tactics, and pure Gardenhose energy.

Canadian author Rachel Reid talks to us about the the phenomenon which has followed the publication of her books about the romantic relationship between rival ice hockey players.We speak to author Yang Shuang-zi and translator Lin King, the author and translator of this year's International Booker Prize winning book, Taiwan Travelogue. And Mull Historical Society's latest album In My Mind There's A Photograph sees singer-songwriter Colin Macintyre work with lyrical contributions from a panoply of world-leading authors. He reveals his collaborative process with the likes of Irvine Welsh, Ali Smith, Irenosen Okojie, Yiyun Lee, and Sir Alexander McCall Smith, and performs a track live in the Front Row studio. Presenter: Kirsty Wark Producer: Mark Crossan

Photograph by the incredible Frederikke Jensen We're joined by Dan Kilpatrick to talk through the strange feeling of Tottenham actually giving us something to believe in again. We get into the Villa performance, De Zerbi's immediate impact, whether the Tottenham way actually exists, the power vacuum behind the scenes, Johan Lange's role, Palhinha, Vuskovic, survival, and the deeply uncomfortable question of whether we hate Arsenal more than we love Spurs. Learn more about your ad choices. Visit podcastchoices.com/adchoices

6. Zimmerman covers the iconic "Earthrise" photograph and the crew's Christmas Eve television broadcast. He describes how the astronauts chose to read from Genesis to deliver a universal message to a global audience. The broadcast combined high-tech exploration with deep moral significance during a tumultuous era. (6)1918