Podcasts about photographic

Photographic proof of Big Foot, plus local encounters with a sasquatch, a PBR heist and much more! Dave & Darren are your two best friends who happen to play your favorite music on your favorite radio station. For over 21 years, this award winning (no really) duo has enjoyed waking up the Quad Cities with a mix of irreverence, information, improvisational talk and humor. They have been described as, "your favorite morning show's favorite morning show assuming that your favorite morning show is in fact, Dave and Darren." Dave and Darren are live weekday mornings 6a-10a on Planet 93.9. Like Dave & Darren on Facebook HERE: https://www.facebook.com/daveanddarren

In the second of a four part 'Summer Special Series' Grant Scott revists photographer contributions answering the question 'What Does Photography Mean to You? Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), What Does Photography Mean To You? (Bluecoat Press 2020) and Inside Vogue House: One building, seven magazines, sixty years of stories, (Orphans Publishing 2024). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. © Grant Scott 2026

HT2704 - A Photographic 2-Minute Drill There is a situational strategy in football when the time runs short. It's called the "2-minute drill." Its essence is accomplishing a lot in very short time. We could borrow this idea for project-oriented photography. If you've only got 20 minutes or so to photograph, how do you turn that into short, multi-image project? How should we prepare ourselves for such opportunities? Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

In the first of a four part 'Summer Special Series' Grant Scott revists photographer contributions answering the question 'What Does Photography Mean to You? Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), What Does Photography Mean To You? (Bluecoat Press 2020) and Inside Vogue House: One building, seven magazines, sixty years of stories, (Orphans Publishing 2024). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. © Grant Scott 2026

In this week's episode photographer and filmmaker Emily Garthwaite takes on our ‘Proust Photo Quiz'. The Proust Questionnaire is a set of questions answered by the French writer Marcel Proust. Proust answered the questionnaire in a confession album, a form of parlour game popular at the end of the 1890s. The album, titled An Album to Record Thoughts, Feelings, etc. was found in 1924 and published in the French literary journal Les Cahiers du Mois. Our ‘Proust Photo Quiz' is an adaption of the original text. Emily Garthwaite Garthwaite took up photography as a teenager intendeding to pursue painting at Central Saint Martins, but found herself studying Film and Photography. After working in club and fashion photography, she completed a Master of Arts in Photojournalism and Documentary Photography at the University of Westminster in 2016. It was when she visited India for the first time to scatter her grandmother's ashes in Assam, that she decided to work within photojournalism. The photographs from her months of travel through India were exhibited at the Norman Rea Gallery in 2014 under the title Afterlife. During the summer of 2015, Garthwaite worked with the Rațiu Family Charitable Foundation in Romania, where she documented the salt flats of Turda. In 2017, the Iranian Arts Institute invited her to photograph the Arba'een Pilgrimage, which instigated the series Iraq: Road to Arba'een. She co-directed her first feature-length documentary on the subject titled 41 Days in Iraq on Arba'een or The 40th Day, which screened in 2018 at the Chehelcheragh International Festival. In 2019 she spent time in Dearborn, Michigan capturing its local Muslim community and was named in the Forbes 30 Under 30 list. In 2020, she returned to Iraq, visiting the Zagros Mountains and Tigris River accompanying the Bakhtiari people on their Kooch migration. She exhibited A Journey Down the Tigris River at the Visa pour L'Image in Perpignan, where she won the 2023 ICRC Humanitarian Visa d'or Award, and Tears of the Tigris at the Leica Gallery London. Her project Light Between Mountains received a CCFD–Terre Solidaire grant, while her contributions to the Leon McCaron Noema essay The Last of the Marsh Arabs won her the 2022 Covering Climate Now Award for Photography. In 2024, Save the Children commissioned her to photograph the Yazidi community in Iraq 10 years on from the Yazidi genocide. She is a Leica Ambassador. www.emilygarthwaite.com Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006), Crash Happy: A Night at The Bangers (Cafe Royal Books 2012) and Inside Vogue House: One building, seven magazines, sixty years of stories (Orphans Publishing 2024). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. © Grant Scott 2026

Fluent Fiction - Serbian: Awakening Creativity: A Photographic Encounter in Beograd Find the full episode transcript, vocabulary words, and more:fluentfiction.com/sr/episode/2026-07-27-22-34-01-sr Story Transcript:Sr: Лето у Београду било је у пуном сјају.En: Summer in Beograd was in full splendor.Sr: Сунце је обасјавало град, а звонарица Храма Светог Саве блистала је попут огледала.En: The sun was illuminating the city, and the bell tower of the Hram Svetog Save gleamed like a mirror.Sr: Узбудљиво шаренило културног фестивала ширило се дуж пространих дворана и дворишта храмовног комплекса.En: The exciting array of the cultural festival spread along the spacious halls and courtyards of the temple complex.Sr: У ваздуху је лебдео мирис свеже печених пецива и топлотни талас покретао је живописне текстуре штандова.En: The air was filled with the smell of freshly baked pastries, and the heatwave set the vibrant textures of the stalls in motion.Sr: Милош, фотограф са пустоловним духом али блокадом креативности, корачао је међу разноликошћу овог живописног вашара.En: Miloš, a photographer with an adventurous spirit but a creative block, walked among the diversity of this colorful fair.Sr: Трагао је за тренутком који би пробудио његову успавану уметничку страст.En: He was searching for a moment that would awaken his dormant artistic passion.Sr: Упао је унутрашњост храмa у потрази за тим савршеним снимком.En: He ventured inside the temple in search of that perfect shot.Sr: У истом простору нашла се и Јелена, студенткиња историје уметности са неизмерном љубављу према иконама и религијској архитектури.En: In the same space was Jelena, a student of art history with immense love for icons and religious architecture.Sr: Била је окупирана размишљањем о својој тези и сакупљањем материјала изнеобичних перспективa.En: She was engrossed in thoughts about her thesis and gathering materials from unique perspectives.Sr: Унутар храмa, где мермерни стубови се пружали до величанственог куполе, обоје су приметили јединствену тачку гледишта.En: Inside the temple, where marble columns stretched up to the magnificent dome, both of them noticed a unique viewpoint.Sr: Простор је био узак, погодан само за једну особу.En: The space was narrow, suitable only for one person.Sr: Погледи су им се сусрели.En: Their eyes met.Sr: Милош, осетивши искру савремене идеје, одлучио је прићи Јелени.En: Miloš, feeling a spark of a contemporary idea, decided to approach Jelena.Sr: "Можда можемо ово место делити?En: "Perhaps we can share this spot?"Sr: " предложио је сa топлим осмехом.En: he suggested with a warm smile.Sr: "Можемо комбиновати твоје знање и моје фотографије.En: "We can combine your knowledge and my photographs."Sr: "Јелена је знатижељно климнула главом, увиђајући вредност заједничког рада.En: Jelena nodded curiously, recognizing the value of collaboration.Sr: Почели су размењивати емоције и идеје, док је Милош покушавао да ухвати онај тренутак који би обеједио игра светла и сенке, архитектури и фестивалa, све у једном кадру.En: They began exchanging emotions and ideas while Miloš tried to capture that moment that would combine the play of light and shadow, architecture and festival, all in one frame.Sr: Тада се догодио изненадни миг.En: Then, a sudden moment occurred.Sr: Птица је прелетела сунчевом зраком, бацајући сенку која се пратила кроз куполу, до места где Милош и Јелена стајали, као одраз нечег већег.En: A bird flew through a sunbeam, casting a shadow that tracked through the dome to the spot where Miloš and Jelena stood, as a reflection of something greater.Sr: Милош је успео да забележи тај савршено синхронизовани тренутак.En: Miloš managed to capture that perfectly synchronized moment.Sr: Сећали су се тог тренутка док су излазили из храмa.En: They remembered that moment as they exited the temple.Sr: Милош је био испуњен новопронађеном енергијом и увидео је како сарадња може да пробуди његову инспирацију.En: Miloš was filled with newfound energy and realized how collaboration could awaken his inspiration.Sr: Јелена је, с друге стране, угледала у предмету своје студије нове перспективе и решения.En: Jelena, on the other hand, saw new perspectives and solutions in the subject of her study.Sr: Обоје су фестивал напустили задовољни, а њихове уметничке путеве сад је обгрлила нова светлост.En: Both left the festival satisfied, and their artistic paths were now embraced by a new light.Sr: Научили су да понекад истинска инспирација долази из неочекиваних партнерстава, обасјавајући путеве заједничког стварања.En: They learned that sometimes true inspiration comes from unexpected partnerships, illuminating the paths of shared creation. Vocabulary Words:full splendor: пун сјајilluminating: обасјавалоgleamed: блисталаarray: шаренилоspacious: пространихcourtyard: двориштаheatwave: топлотни таласtextures: текстуреadventurous: пустоловнимdormant: успавануblock: блокадомventure: упаоimmense: неизмерномengrossed: окупиранаnarrow: узакspark: искруcontemporary: савременеcollaboration: сарадњаemotions: емоцијеshadow: сенкеsynchronized: синхронизованиperspectives: перспективеsolutions: решенияcreative: креативностиreflection: одразunexpected: неочекиванихpartnerships: партнерставаembraced: обгрлилаmarble: мермерниdome: куполе

In 1905, when Broadway was already the most famous thoroughfare in New York City, a recreational photographer from Newark, New Jersey named Charles Gilbert Hine set out to document the street's entire length. Taking pictures from downtown Bowling Green and its skyscrapers to uptown Inwood with its fields and wildflowers, Hine depicted a Broadway animated by the presence of the past and the relentless pressures of change. Through his lens appear shanties, brownstones and country houses; horse-drawn wagons and trolley cars; downtown sex workers and uptown famers. Hines' photographs lingered in the collection of the New York Historical until they were discovered by Nick Yablon, a professor of history and American Studies at the University of Iowa. Now they appear in Nick's new book, From the Skyscraper to the Wildflower: C.G. Hine's 1905 Photographic Survey of Broadway (Columbia University Press, 2026). Combining Hines' photographs with his own analysis, along with maps and other images, Nick has produced an illuminating book that depicts Broadway, its peoples, its buildings, and the many neighborhoods that Broadway traverses, at a distinct moment in time. A digital companion to From the Skyscraper to the Wildflower, with a selection of Hine's photographs, an interactive map of Broadway, and more, can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In 1905, when Broadway was already the most famous thoroughfare in New York City, a recreational photographer from Newark, New Jersey named Charles Gilbert Hine set out to document the street's entire length. Taking pictures from downtown Bowling Green and its skyscrapers to uptown Inwood with its fields and wildflowers, Hine depicted a Broadway animated by the presence of the past and the relentless pressures of change. Through his lens appear shanties, brownstones and country houses; horse-drawn wagons and trolley cars; downtown sex workers and uptown famers. Hines' photographs lingered in the collection of the New York Historical until they were discovered by Nick Yablon, a professor of history and American Studies at the University of Iowa. Now they appear in Nick's new book, From the Skyscraper to the Wildflower: C.G. Hine's 1905 Photographic Survey of Broadway (Columbia University Press, 2026). Combining Hines' photographs with his own analysis, along with maps and other images, Nick has produced an illuminating book that depicts Broadway, its peoples, its buildings, and the many neighborhoods that Broadway traverses, at a distinct moment in time. A digital companion to From the Skyscraper to the Wildflower, with a selection of Hine's photographs, an interactive map of Broadway, and more, can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In episode 428 UNP founder and curator Grant Scott is reflecting on the big and small things that impact on the everyday engagement we all have with photography. Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), What Does Photography Mean To You? (Bluecoat Press 2020) and Inside Vogue House: One building, seven magazines, sixty years of stories, (Orphans Publishing 2024). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. © Grant Scott 2026

In 1905, when Broadway was already the most famous thoroughfare in New York City, a recreational photographer from Newark, New Jersey named Charles Gilbert Hine set out to document the street's entire length. Taking pictures from downtown Bowling Green and its skyscrapers to uptown Inwood with its fields and wildflowers, Hine depicted a Broadway animated by the presence of the past and the relentless pressures of change. Through his lens appear shanties, brownstones and country houses; horse-drawn wagons and trolley cars; downtown sex workers and uptown famers. Hines' photographs lingered in the collection of the New York Historical until they were discovered by Nick Yablon, a professor of history and American Studies at the University of Iowa. Now they appear in Nick's new book, From the Skyscraper to the Wildflower: C.G. Hine's 1905 Photographic Survey of Broadway (Columbia University Press, 2026). Combining Hines' photographs with his own analysis, along with maps and other images, Nick has produced an illuminating book that depicts Broadway, its peoples, its buildings, and the many neighborhoods that Broadway traverses, at a distinct moment in time. A digital companion to From the Skyscraper to the Wildflower, with a selection of Hine's photographs, an interactive map of Broadway, and more, can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography

In 1905, when Broadway was already the most famous thoroughfare in New York City, a recreational photographer from Newark, New Jersey named Charles Gilbert Hine set out to document the street's entire length. Taking pictures from downtown Bowling Green and its skyscrapers to uptown Inwood with its fields and wildflowers, Hine depicted a Broadway animated by the presence of the past and the relentless pressures of change. Through his lens appear shanties, brownstones and country houses; horse-drawn wagons and trolley cars; downtown sex workers and uptown famers. Hines' photographs lingered in the collection of the New York Historical until they were discovered by Nick Yablon, a professor of history and American Studies at the University of Iowa. Now they appear in Nick's new book, From the Skyscraper to the Wildflower: C.G. Hine's 1905 Photographic Survey of Broadway (Columbia University Press, 2026). Combining Hines' photographs with his own analysis, along with maps and other images, Nick has produced an illuminating book that depicts Broadway, its peoples, its buildings, and the many neighborhoods that Broadway traverses, at a distinct moment in time. A digital companion to From the Skyscraper to the Wildflower, with a selection of Hine's photographs, an interactive map of Broadway, and more, can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1905, when Broadway was already the most famous thoroughfare in New York City, a recreational photographer from Newark, New Jersey named Charles Gilbert Hine set out to document the street's entire length. Taking pictures from downtown Bowling Green and its skyscrapers to uptown Inwood with its fields and wildflowers, Hine depicted a Broadway animated by the presence of the past and the relentless pressures of change. Through his lens appear shanties, brownstones and country houses; horse-drawn wagons and trolley cars; downtown sex workers and uptown famers. Hines' photographs lingered in the collection of the New York Historical until they were discovered by Nick Yablon, a professor of history and American Studies at the University of Iowa. Now they appear in Nick's new book, From the Skyscraper to the Wildflower: C.G. Hine's 1905 Photographic Survey of Broadway (Columbia University Press, 2026). Combining Hines' photographs with his own analysis, along with maps and other images, Nick has produced an illuminating book that depicts Broadway, its peoples, its buildings, and the many neighborhoods that Broadway traverses, at a distinct moment in time. A digital companion to From the Skyscraper to the Wildflower, with a selection of Hine's photographs, an interactive map of Broadway, and more, can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1905, when Broadway was already the most famous thoroughfare in New York City, a recreational photographer from Newark, New Jersey named Charles Gilbert Hine set out to document the street's entire length. Taking pictures from downtown Bowling Green and its skyscrapers to uptown Inwood with its fields and wildflowers, Hine depicted a Broadway animated by the presence of the past and the relentless pressures of change. Through his lens appear shanties, brownstones and country houses; horse-drawn wagons and trolley cars; downtown sex workers and uptown famers. Hines' photographs lingered in the collection of the New York Historical until they were discovered by Nick Yablon, a professor of history and American Studies at the University of Iowa. Now they appear in Nick's new book, From the Skyscraper to the Wildflower: C.G. Hine's 1905 Photographic Survey of Broadway (Columbia University Press, 2026). Combining Hines' photographs with his own analysis, along with maps and other images, Nick has produced an illuminating book that depicts Broadway, its peoples, its buildings, and the many neighborhoods that Broadway traverses, at a distinct moment in time. A digital companion to From the Skyscraper to the Wildflower, with a selection of Hine's photographs, an interactive map of Broadway, and more, can be found here.

In 1905, when Broadway was already the most famous thoroughfare in New York City, a recreational photographer from Newark, New Jersey named Charles Gilbert Hine set out to document the street's entire length. Taking pictures from downtown Bowling Green and its skyscrapers to uptown Inwood with its fields and wildflowers, Hine depicted a Broadway animated by the presence of the past and the relentless pressures of change. Through his lens appear shanties, brownstones and country houses; horse-drawn wagons and trolley cars; downtown sex workers and uptown famers. Hines' photographs lingered in the collection of the New York Historical until they were discovered by Nick Yablon, a professor of history and American Studies at the University of Iowa. Now they appear in Nick's new book, From the Skyscraper to the Wildflower: C.G. Hine's 1905 Photographic Survey of Broadway (Columbia University Press, 2026). Combining Hines' photographs with his own analysis, along with maps and other images, Nick has produced an illuminating book that depicts Broadway, its peoples, its buildings, and the many neighborhoods that Broadway traverses, at a distinct moment in time. A digital companion to From the Skyscraper to the Wildflower, with a selection of Hine's photographs, an interactive map of Broadway, and more, can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

In episode 427 UNP founder and curator Grant Scott is reflecting on the big and small things that impact on the everyday engagement we all have with photography. Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), What Does Photography Mean To You? (Bluecoat Press 2020) and Inside Vogue House: One building, seven magazines, sixty years of stories, (Orphans Publishing 2024). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. © Grant Scott 2026

Ever wish your iPhone could capture your photos with a look that actually feels like you? Learn how Apple's photographic styles hand you control over color, tone, and even skin tones, with no generic filters required. Differences in photographic styles between older and newer iPhones How to set up and select photographic styles in iOS settings Exploring and customizing style presets like amber, gold, and rose gold Using the control pad to fine-tune tone, color, and intensity Adjusting or resetting styles, plus limitations on older versus newer devices Saving and editing photo styles after capture on latest iPhones Host: Mikah Sargent Download or subscribe to Hands-On Apple at https://twit.tv/shows/hands-on-apple Want access to the ad-free audio and video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord. Sponsor: blackhat.com/us-26 and use code TWIT

Ever wish your iPhone could capture your photos with a look that actually feels like you? Learn how Apple's photographic styles hand you control over color, tone, and even skin tones, with no generic filters required. Differences in photographic styles between older and newer iPhones How to set up and select photographic styles in iOS settings Exploring and customizing style presets like amber, gold, and rose gold Using the control pad to fine-tune tone, color, and intensity Adjusting or resetting styles, plus limitations on older versus newer devices Saving and editing photo styles after capture on latest iPhones Host: Mikah Sargent Download or subscribe to Hands-On Apple at https://twit.tv/shows/hands-on-apple Want access to the ad-free audio and video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord. Sponsor: blackhat.com/us-26 and use code TWIT

Ever wish your iPhone could capture your photos with a look that actually feels like you? Learn how Apple's photographic styles hand you control over color, tone, and even skin tones, with no generic filters required. Differences in photographic styles between older and newer iPhones How to set up and select photographic styles in iOS settings Exploring and customizing style presets like amber, gold, and rose gold Using the control pad to fine-tune tone, color, and intensity Adjusting or resetting styles, plus limitations on older versus newer devices Saving and editing photo styles after capture on latest iPhones Host: Mikah Sargent Download or subscribe to Hands-On Apple at https://twit.tv/shows/hands-on-apple Want access to the ad-free audio and video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord. Sponsor: blackhat.com/us-26 and use code TWIT

Ever wish your iPhone could capture your photos with a look that actually feels like you? Learn how Apple's photographic styles hand you control over color, tone, and even skin tones, with no generic filters required. Differences in photographic styles between older and newer iPhones How to set up and select photographic styles in iOS settings Exploring and customizing style presets like amber, gold, and rose gold Using the control pad to fine-tune tone, color, and intensity Adjusting or resetting styles, plus limitations on older versus newer devices Saving and editing photo styles after capture on latest iPhones Host: Mikah Sargent Download or subscribe to Hands-On Apple at https://twit.tv/shows/hands-on-apple Want access to the ad-free audio and video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord. Sponsor: blackhat.com/us-26 and use code TWIT

Ever wish your iPhone could capture your photos with a look that actually feels like you? Learn how Apple's photographic styles hand you control over color, tone, and even skin tones, with no generic filters required. Differences in photographic styles between older and newer iPhones How to set up and select photographic styles in iOS settings Exploring and customizing style presets like amber, gold, and rose gold Using the control pad to fine-tune tone, color, and intensity Adjusting or resetting styles, plus limitations on older versus newer devices Saving and editing photo styles after capture on latest iPhones Host: Mikah Sargent Download or subscribe to Hands-On Apple at https://twit.tv/shows/hands-on-apple Want access to the ad-free audio and video and exclusive features? Become a member of Club TWiT today! https://twit.tv/clubtwit Club TWiT members can discuss this episode and leave feedback in the Club TWiT Discord. Sponsor: blackhat.com/us-26 and use code TWIT

National Geographic Photographer, Anand Varma on Zombie Parasites, Wonder, Mystery, and Photographic Problem Solving.Anand Varma is a National Geographic Explorer and photographer based in Berkeley, California. He has devoted years of his life to developing innovative and creative techniques to create intimate, dramatic and surprising images of nature most people never see. He earned a degree in integrative biology from University of California and he's become a photographic regular contributor to National Geographic.Anand's ultimate goal is to spark a sense of wonder about our natural world. He highlights creatures whose incredible details typically go unseen, and discovers new stories behind the science along the way.Notable Links:Anand Varma WebsiteWonderlabInvisible Wonders by Anand VarmaTED Talk: The First 21 Days of a Bee's Life*******MUENCH WORKSHOPS GIVEAWAY** Win a free workshop with me to Bosque del Apache, New Mexico in January, 2027. Application is free! CLICK HERE to learn more.National Geographic Museum of Exploration - Discovery begins here.Kase Filters - My listeners can get 10% off the Kase Filters Amazon page when they visit. beyondthelens.fm/kase and use coupon code BERNABE10 Follow Richard Bernabe:Substack: https://richardbernabe.substack.comInstagram: https://www.instagram.com/bernabephoto/Twitter/X: https://x.com/bernabephotoFacebook: https://www.facebook.com/bernabephoto

In episode 426 UNP founder and curator Grant Scott is reflecting on the big and small things that impact on the everyday engagement we all have with photography. Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), What Does Photography Mean To You? (Bluecoat Press 2020) and Inside Vogue House: One building, seven magazines, sixty years of stories, (Orphans Publishing 2024). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. © Grant Scott 2026

Photographers Jarod Lew and Reagan Louie join PhotoWork with Sasha Wolf to discuss how they explore cultural identity, personal loss, and trauma through photography. Lew and Louie are Asian American photographers from different generations, and their work reflects how the exploration of cultural identity in contemporary photography has evolved over the decades. While Louie takes a documentary photography approach, Lew works through more conceptual constructs. Their conversation with Wolf highlights the visual differences between their practices while revealing striking resonances in how they discuss their approach. https://www.jarodlew.com https://www.reaganlouie.com Jarod Lew is an artist who draws on photography to explore intergenerational encounters with diasporic loss, displacement, and postmemory. Through this exploration, his work contends with the performativity of race and its instability as a locus of meaning. His project, Please Take Off Your Shoes was shortlisted for the Aperture Portfolio Prize in 2021, and was exhibited in a group exhibition at SFMOMA titled Kinship: Photography and Connection in 2023. His other project, In Between You and Your Shadow, examines his relationship with his mother, who was the fiancé of Vincent Chin--the subject of a hate-crime that brought national attention to matters of Asian American civil rights. In 2025, Lew will mount his first museum exhibition at the University of Michigan Museum of Art titled- Strange You Never Knew.  His works are held in public and private collections including the Cantor Art Center, Detroit Institute of Arts, Kadist, San Francisco, Harvard Art Museum, University of Michigan Museum of Art and the San Francisco Museum of Modern Art. Lew's work has been written about in Aperture, Artforum, Elephant Magazine, and Aesthetica Magazine. Lew graduated with an MFA in photography at the Yale School of Art. Reagan Louie's photography and installations explore global transformation and cultural identity. He is currently at work on several projects that focus on the relationship between home and homeland; including a book about his family's immigration from China to America. And a Virtual Reality experience about his ancestral home, Wing Wor. His work is exhibited at institutions: San Francisco Museum of Modern Art, Museum of Modern Art NY, Philadelphia Art Museum, Fotomuseum Winterthur, Gwangju Biennale. Louie's photographs are in the public collections of the Metropolitan Museum of Art, San Francisco Museum of Modern Art, Museum of Modern Art NY, Los Angeles County Museum of Art, Oakland Museum, Cantor Art Museum. Louie's photographs are widely published. His books have received critical acclaim. The New York Times Book Review named his first book on China, “Toward a Truer Life”, the photography book of the year. He is the recipient of numerous awards - The Guggenheim fellowship, National Endowment for the Arts Fellowship, Lange-Taylor Prize, and Fulbright Fellowship.

Fluent Fiction - Mandarin Chinese: From Solitude to Solidarity: A Photographic Journey Find the full episode transcript, vocabulary words, and more:fluentfiction.com/zh/episode/2026-07-02-22-34-01-zh Story Transcript:Zh: 夏天的一个清晨，日出温柔地洒在广西龙脊梯田，形成一片片翡翠般的层层波浪。En: One summer morning, the sunrise gently spread over the Guangxi Longji terraced fields, forming wave-like patterns of emerald green.Zh: 梅站在梯田边，深吸一口气，感觉到内心满满的期待。En: Mei stood at the edge of the terraces, taking a deep breath, feeling a heart full of anticipation.Zh: 龙舟节即将到来，她心里充满了想要拍摄节日美景的渴望。En: The Dragon Boat Festival was approaching, and she was filled with a desire to capture the beauty of the festival through her photography.Zh: 她一直梦想独自到顶端，用相机记录下最美的瞬间。En: She had always dreamed of reaching the top alone to record the most beautiful moments with her camera.Zh: 梅开始向上攀登，脚下的石阶因为露水微滑。En: Mei started climbing upwards, the stone steps beneath her feet slightly slippery with dew.Zh: 她聚精会神地走着，每一步都很谨慎。En: She walked with deep concentration, taking each step cautiously.Zh: 天空蔚蓝，太阳渐升，空气中充满茶树的香气。En: The sky was a clear blue, the sun rising higher, and the air was filled with the scent of tea trees.Zh: 然而，就在她专注于欣赏梯田美景时，一个不小心，梅的脚扭了一下，她感到一阵刺痛，身体不由自主地倾斜了一下。En: However, just as she was focused on admiring the beauty of the terraces, she accidentally twisted her foot, feeling a sharp pain, and her body involuntarily tilted to the side.Zh: “糟糕，我的脚踝。”梅低声嘀咕。En: "Oh no, my ankle," Mei murmured softly.Zh: 她试图站起来，却发现疼痛难忍。En: She tried to stand up but found the pain unbearable.Zh: 眼看时间一分一秒地过去，梅心急如焚。En: With time ticking away, she was anxious.Zh: 她不想依赖别人，总觉得自己能克服一切困难。En: She didn't want to depend on others, always feeling she could overcome any difficulty.Zh: 这时，两个年轻人出现在不远处。En: At this moment, two young people appeared not far away.Zh: 一个是梁，他是一位活泼的旅行摄影师；另一个是倩，温柔而细心。En: One was Liang, an energetic travel photographer; the other was Qian, gentle and attentive.Zh: 梅曾在前一天的旅途中与他们对过几句话。En: Mei had exchanged a few words with them during yesterday's journey.Zh: “需要帮忙吗？”梁看到梅坐在地上，关切地问道。En: "Do you need help?" Liang asked with concern when he saw Mei sitting on the ground.Zh: “不用了，我自己可以。”梅逞强地回答，努力想要站起来。En: "No need, I can do it myself," Mei replied stubbornly, trying hard to stand up.Zh: 但梁和倩没有走远，他们就在一旁默默等待，仿佛在等梅改变主意。En: But Liang and Qian did not go far, waiting quietly nearby, as if expecting Mei to change her mind.Zh: 随着太阳升高，梅开始感到无奈。En: As the sun rose higher, Mei began to feel helpless.Zh: 她明白，自己或许真的需要帮助。En: She realized that she might really need assistance.Zh: “也许，我们可以一起走。”倩微笑着说，声音如同夏日的凉风。En: "Perhaps, we can walk together," Qian said with a smile, her voice as refreshing as a summer breeze.Zh: 梅终于点了点头。En: Mei finally nodded.Zh: 梁和倩小心翼翼地扶着她，慢慢地向上走。En: Liang and Qian carefully helped her, slowly moving upwards together.Zh: 一路上，他们有说有笑，分享各自的旅行故事。En: Along the way, they exchanged stories and laughter, sharing their travel experiences.Zh: 梅感到有些安心，也开始喜欢这样轻松的氛围。En: Mei felt some relief and began to enjoy the relaxed atmosphere.Zh: 终于，他们到达了梯田的最高处。En: Finally, they reached the top of the terraces.Zh: 太阳快要落山，夕阳染红了天际。En: The sun was about to set, painting the sky red.Zh: 梅举起相机，拍下龙舟在江面上飞驰的那一刻。En: Mei raised her camera to capture the moment when the dragon boats raced across the water's surface.Zh: 船只的鼓声震撼了整个梯田，所有旅人的欢笑声也回荡在整个山谷。En: The sound of the drums from the boats resonated throughout the terraces, echoed by the laughter of all the travelers in the valley.Zh: 梅放下相机，看着旁边的梁和倩，心里充满感激。En: Mei put down her camera and looked at Liang and Qian beside her, her heart filled with gratitude.Zh: 因为他们的帮助，她不仅达成了目标，还学到了关于友情和支持的重要性。En: With their help, she not only achieved her goal but also learned about the importance of friendship and support.Zh: 夕阳的余晖下，梅意识到接受别人的帮助并不意味着软弱，那是一种识别自身极限并拥抱身边群体的力量。En: In the afterglow of the sunset, Mei realized that accepting help from others doesn't signify weakness; it is a recognition of one's own limits and an embrace of the community around.Zh: 从此，她再也不会独自一人迎接未来的挑战。En: From now on, she would no longer face future challenges alone. Vocabulary Words:terraced: 梯田emerald: 翡翠anticipation: 期待approaching: 即将到来capture: 拍摄photography: 摄影dew: 露水concentration: 专注cautiously: 谨慎地admiring: 欣赏involuntarily: 不由自主地stubbornly: 逞强地anxious: 心急如焚depend: 依赖gentle: 温柔attentive: 细心concern: 关切helpless: 无奈assistance: 帮助refreshing: 凉风relief: 安心resonated: 震撼gratitude: 感激importance: 重要性afterglow: 余晖signify: 意味着embrace: 拥抱community: 群体recognition: 识别limits: 极限

In this monthly conversation series Grant Scott speaks with editor, writer and curator of photography Bill Shapiro. In an informal conversation each month Grant and Bill comment on the photographic environment as they see it. This month Bill and Grant take on the concept versus context debate. Mentioned in this episode: www.edwardburtynsky.com https://www.instagram.com/anseladams/?hl=en https://www.youtube.com/watch?v=Ei_63HdYO7I Bill Shapiro Bill Shapiro served as the Editor-in-Chief of LIFE, the legendary photo magazine; LIFE's relaunch in 2004 was the largest in Time Inc. history. Later, he was the founding Editor-in-Chief of LIFE.com, which won the 2011 National Magazine Award for digital photography. Shapiro is the author of several books, among them Gus & Me, a children's book he co-wrote with Rolling Stones guitarist Keith Richards and, What We Keep, which looks at the objects in our life that hold the most emotional significance. A fine-art photography curator for New York galleries and a consultant to photographers, Shapiro is also a Contributing Editor to the Leica Conversations series. He has written about photography for the New York Times Magazine, Vanity Fair, the Atlantic, Vogue, and Esquire, among others. Every Friday — more or less — he posts about under-the-radar photographers on his Instagram feed, where he's @billshapiro. Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. © Grant Scott 2026

In this week's episode photographer, filmmaker and artist Roger Ballen takes on our ‘Proust Photo Quiz'… The Proust Questionnaire is a set of questions answered by the French writer Marcel Proust. Proust answered the questionnaire in a confession album, a form of parlour game popular at the end of the 1890s. The album, titled An Album to Record Thoughts, Feelings, etc.was found in 1924 and published in the French literary journal Les Cahiers du Mois. Our ‘Proust Photo Quiz' is an adaption of the original text. Roger Ballen Ballen was born in New York in 1950, but for nearly 40 years he has lived and worked in South Africa. It was his work as a geologist that took him into the countryside with his camera in 1981 to explore the hidden world of small South African towns. At first he explored the empty streets in the glare of the midday sun but, once he made the step of knocking on people's doors, he discovered a world inside these houses which was to have a profound effect on his work. After 1994 he no longer looked to the countryside for his subject matter finding it closer to home in Johannesburg. Over the past thirty-five years his photography has evolved using a simple square format in stark black and white. A style he describes as ‘documentary fiction'. After 2000 the people he first discovered and documented living on the margins of South African society became a cast of actors. Ballen has made a number of short films including the collaborative film I Fink You Freeky in 2012, which has over 125-million hits on YouTube.  He also made an animated film, Theatre of Apparitions, which has been nominated for various awards. In 2017 Thames & Hudson published a volume of his collected photography with extended commentary by Ballen titled Ballenesque Roger Ballen: A Retrospective to accompany an exhibition of his work at Halle Saint Pierre in Paris, which took over the entire space for more than a year. ​In 2020, Hatje Cantz published Roger the Rat in which Ballen creates and documents a part-human, part-rat creature who lives an isolated life outside of mainstream society. Ballen has published over twenty-five books internationally and his works are in more than fifty of the most important international museum collections. He still lives in Johannesburg, South Africa. www.rogerballen.com Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott continues to work as a photographer, writer and filmmaker and is the Subject Coordinator for both undergraduate and post graduate study of photography at Oxford Brookes University, Oxford, England. © Grant Scott 2026

In this monthly conversation series Grant Scott speaks with art director, lecturer and creative director Fiona Hayes. In an informal conversation each month Grant and Fiona comment on the photographic environment as they see it through the exhibitions, magazines, talks and events that Fiona has seen over the previous weeks. Mentioned in this episode: www.japanhouselondon.uk/whats-on/ www.michaelhoppengallery.com/exhibitions/254-sarah-moon-10-portland-road/ https://huxleyparlour.com www.npg.org.uk/whatson/exhibitions/2026/marilyn-monroe-a-portrait Fiona Hayes Fiona Hayes is an art director, designer, consultant and lecturer with over 30 years' experience in publishing, fashion and the art world. She has been a magazine art director ten times: on Punch, Company, Eve, the British and Russian editions of Cosmopolitan, House & Garden,GQ India (based in Mumbai), MyselfGermany (in Munich), and Russian Vogue (twice). Between 2013 and 2019, as Art Director of New Markets and Brand Development for Condé Nast International, based in London and Paris, she oversaw all the company's launches – 14 magazines, including seven editions of Vogue. She still consults as Design Director at Large for Vogue Hong Kong. In 2002 she founded independent photography magazine DayFour, publishing it continuously until 2012. She is Co-Author and Art Director of The Fashion Yearbook, and creative director of books for South African media consultancy Legacy Creates. Outside the publishing world, she has been Art Director of contemporary art auction house Phillips de Pury in London and New York, and Consultant Art Director of Russian luxury retail group Mercury/TSUM. (Fiona would like to point out she is not Russian: she is proudly Irish and studied Visual Communication and History of Art and Design at NCAD Dublin.) She currently divides her time between design consultancy for commercial clients, and lecturing at Oxford Brookes University, the Condé Nast College of Fashion and Design, London, Nottingham Trent University, Ravensbourne University, and Leeds University. She lives in West London. @theartdictator Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. © Grant Scott 2026

Ahead of ten years since Vote Leave, Barry Delaney, an Irish photographer has captured the people and places of post-Brexit Britain in his book This England.

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography

Félix Nadar took the first aerial photograph in 1858, so the story goes. The evidence, Emily Doucet notes, is mixed. In Inventing Nadar: A History of Photographic Firsts (Duke UP, 2026), Doucet analyzes the historical and material production of the nineteenth-century Parisian photographer's famous and numerous photographic firsts. Focusing on these oft-labeled groundbreaking elements of his career, she deconstructs Nadar's legacy as a prime protagonist in the history of photography by interrogating the media techniques used to construct his invention narratives. Doucet highlights this highly mediated process as one that canonized novel applications of photography as discrete techniques with single authors and inventors. Looking to this process of mediation through the institutions and individuals that shaped Nadar's archives, Doucet unpacks assumptions of Nadar as a master of early photography and shows how the medium is enmeshed in larger histories of media, science, and technology. The result is both a new account of Nadar's place in photographic history and a critical study of how stories of innovation take shape. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

Kathleen Liggio, a senior investigator with the New York City Office of the Chief Medical Examiner, prepared an investigative report documenting the scene findings and physical evidence surrounding Jeffrey Epstein's death inside the Special Housing Unit of the Metropolitan Correctional Center on August 10, 2019. Her investigation focused on reconstructing the conditions inside the cell and the physical circumstances in which Epstein was discovered. The report described Epstein being found unresponsive in a seated or kneeling position near the lower bunk with a ligature fashioned from a bedsheet tied to the bunk frame. Liggio documented the condition of the cell, the bedding materials used in the hanging, and the absence of evidence indicating a violent struggle within the confined space. The investigative summary also noted that the ligature marks on Epstein's neck were consistent with the type of suspension observed in hangings involving improvised materials such as torn bedding. Photographic documentation, scene measurements, and evidence collection were conducted as part of the investigation, and the information was forwarded to the forensic pathologist responsible for the autopsy determination. Liggio's role was primarily to document the death scene and gather the physical evidence that would inform the medical examiner's final ruling regarding cause and manner of death.The investigative findings described in Liggio's report supported the medical examiner's determination that Epstein died from suicidal hanging. The report reviewed injuries identified during the autopsy, including fractures of structures in the neck, and concluded that these injuries were consistent with the mechanics of hanging, particularly in older individuals where such fractures can occur more readily. Liggio also documented the lack of defensive injuries, the positioning of the ligature, and the availability of bedding materials within the cell that could be used to construct the hanging device. Her findings did not identify physical evidence suggesting the involvement of another individual inside the cell at the time of death. The report therefore concluded that the scene evidence, autopsy findings, and investigative observations were all consistent with a self-inflicted hanging while Epstein was alone in his housing unit. While the report addressed the forensic reconstruction of the death scene, it did not evaluate the operational failures within the prison that allowed Epstein to remain unmonitored for extended periods prior to his death.to contact me:bobbycapucci@protonmail.comsource:EFTA00063517.pdf

In episode 422 UNP founder and curator Grant Scott is reflecting on the big and small things that impact on the everyday engagement we all have with photography. Mentioned in this episode: Do Not Bend: The Photographic Life of Bill Jay www.youtube.com/watch?v=wd47549knOU Minimata www.youtube.com/watch?v=UzQv5nVH85o Funny Face www.youtube.com/watch?v=Hs6ASCq9YtY Fur: An Imaginary Portrait of Diane Arbus www.youtube.com/watch?v=SODvv2xxvgI Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), What Does Photography Mean To You? (Bluecoat Press 2020) and Inside Vogue House: One building, seven magazines, sixty years of stories, (Orphans Publishing 2024). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. © Grant Scott 2026

Kathleen Liggio, a senior investigator with the New York City Office of the Chief Medical Examiner, prepared an investigative report documenting the scene findings and physical evidence surrounding Jeffrey Epstein's death inside the Special Housing Unit of the Metropolitan Correctional Center on August 10, 2019. Her investigation focused on reconstructing the conditions inside the cell and the physical circumstances in which Epstein was discovered. The report described Epstein being found unresponsive in a seated or kneeling position near the lower bunk with a ligature fashioned from a bedsheet tied to the bunk frame. Liggio documented the condition of the cell, the bedding materials used in the hanging, and the absence of evidence indicating a violent struggle within the confined space. The investigative summary also noted that the ligature marks on Epstein's neck were consistent with the type of suspension observed in hangings involving improvised materials such as torn bedding. Photographic documentation, scene measurements, and evidence collection were conducted as part of the investigation, and the information was forwarded to the forensic pathologist responsible for the autopsy determination. Liggio's role was primarily to document the death scene and gather the physical evidence that would inform the medical examiner's final ruling regarding cause and manner of death.The investigative findings described in Liggio's report supported the medical examiner's determination that Epstein died from suicidal hanging. The report reviewed injuries identified during the autopsy, including fractures of structures in the neck, and concluded that these injuries were consistent with the mechanics of hanging, particularly in older individuals where such fractures can occur more readily. Liggio also documented the lack of defensive injuries, the positioning of the ligature, and the availability of bedding materials within the cell that could be used to construct the hanging device. Her findings did not identify physical evidence suggesting the involvement of another individual inside the cell at the time of death. The report therefore concluded that the scene evidence, autopsy findings, and investigative observations were all consistent with a self-inflicted hanging while Epstein was alone in his housing unit. While the report addressed the forensic reconstruction of the death scene, it did not evaluate the operational failures within the prison that allowed Epstein to remain unmonitored for extended periods prior to his death.to contact me:bobbycapucci@protonmail.comsource:EFTA00063517.pdfBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Kathleen Liggio, a senior investigator with the New York City Office of the Chief Medical Examiner, prepared an investigative report documenting the scene findings and physical evidence surrounding Jeffrey Epstein's death inside the Special Housing Unit of the Metropolitan Correctional Center on August 10, 2019. Her investigation focused on reconstructing the conditions inside the cell and the physical circumstances in which Epstein was discovered. The report described Epstein being found unresponsive in a seated or kneeling position near the lower bunk with a ligature fashioned from a bedsheet tied to the bunk frame. Liggio documented the condition of the cell, the bedding materials used in the hanging, and the absence of evidence indicating a violent struggle within the confined space. The investigative summary also noted that the ligature marks on Epstein's neck were consistent with the type of suspension observed in hangings involving improvised materials such as torn bedding. Photographic documentation, scene measurements, and evidence collection were conducted as part of the investigation, and the information was forwarded to the forensic pathologist responsible for the autopsy determination. Liggio's role was primarily to document the death scene and gather the physical evidence that would inform the medical examiner's final ruling regarding cause and manner of death.The investigative findings described in Liggio's report supported the medical examiner's determination that Epstein died from suicidal hanging. The report reviewed injuries identified during the autopsy, including fractures of structures in the neck, and concluded that these injuries were consistent with the mechanics of hanging, particularly in older individuals where such fractures can occur more readily. Liggio also documented the lack of defensive injuries, the positioning of the ligature, and the availability of bedding materials within the cell that could be used to construct the hanging device. Her findings did not identify physical evidence suggesting the involvement of another individual inside the cell at the time of death. The report therefore concluded that the scene evidence, autopsy findings, and investigative observations were all consistent with a self-inflicted hanging while Epstein was alone in his housing unit. While the report addressed the forensic reconstruction of the death scene, it did not evaluate the operational failures within the prison that allowed Epstein to remain unmonitored for extended periods prior to his death.to contact me:bobbycapucci@protonmail.comsource:EFTA00063517.pdfBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

In this monthly conversation series Grant Scott speaks with editor, writer and curator of photography Bill Shapiro. In an informal conversation each month Grant and Bill comment on the photographic environment as they see it. This month Bill and Grant take on the process and the reality of selling photographic prints. Bill Shapiro Bill Shapiro served as the Editor-in-Chief of LIFE, the legendary photo magazine; LIFE's relaunch in 2004 was the largest in Time Inc. history. Later, he was the founding Editor-in-Chief of LIFE.com, which won the 2011 National Magazine Award for digital photography. Shapiro is the author of several books, among them Gus & Me, a children's book he co-wrote with Rolling Stones guitarist Keith Richards and, What We Keep, which looks at the objects in our life that hold the most emotional significance. A fine-art photography curator for New York galleries and a consultant to photographers, Shapiro is also a Contributing Editor to the Leica Conversations series. He has written about photography for the New York Times Magazine, Vanity Fair, the Atlantic, Vogue, and Esquire, among others. Every Friday — more or less — he posts about under-the-radar photographers on his Instagram feed, where he's @billshapiro. Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. ©Grant Scott 2026

In this episode of F-Stop Collaborate and Listen, host Matt Payne interviews wildlife photographer and conservationist Ian Wood, delving into his impactful work raising awareness for orangutans and badgers. Ian Wood shares the story behind his award-winning urban badger photograph, which sparked renewed public attention and activism regarding the controversial UK badger cull, ultimately contributing to policy change. He discusses his passion for conservation-driven photography, from rewilding land in Dorset to fundraising for the Orangutan Foundation UK, and offers practical wisdom about making a difference, the importance of passion, and the responsibilities photographers have when their work intersects with public opinion and policy. Throughout, Ian Wood highlights hopeful conservation stories and encourages photographers to follow their passion, build relationships, and trust in their ability to drive change. Links and Resources: Ian Wood Ian Wood's Instagram Ian's winning image on Wildlife Photographer of the Year Muench Workshops Support the show on Patreon Orangutan Foundation UK Badger Trust Protect the Wild Chris Packham Save Me Trust (Brian May) Gorilla Doctors Jane Goodall Institute Wildlife Photographer of the Year Ross Hoddinott (Recommended Photographer)

김영철의 파워FM - 진짜 영국식 영어 603회 - 인증샷 = Photographic Evidence

In this week's episode documentary photographer and photo editor Cengiz Yar takes on our ‘Proust Photo Quiz'. The Proust Questionnaire is a set of questions answered by the French writer Marcel Proust. Proust answered the questionnaire in a confession album, a form of parlour game popular at the end of the 1890s. The album, titled An Album to Record Thoughts, Feelings, etc. was found in 1924 and published in the French literary journal Les Cahiers du Mois. Our ‘Proust Photo Quiz' is an adaption of the original text. Cengiz Yar Yar is a New Jersey born documentary photographer and editor now based in El Paso, Texas who has worked in visual journalism for over a decade. He currently works as a visuals editor at ProPublica, where he edits, photographs, and art-directs stories across the site focusing on the visual coverage of projects in the US Midwest, Southwest, and Texas. Before joining ProPublica, Yar edited for publications such as Rest of World, Roads & Kingdoms, and the Guardian. As a photographer his work has primarily focused on human migration and the conflicts in Iraq and Syria. He is the inaugural recipient of the James Foley Award for Conflict Reporting, a Pulitzer Prize finalist, and a Dart Center Ochberg Fellow in Journalism and Trauma. His photography clients include Vanity Fair, Rolling Stone, WIRED, The Guardian, The Wall Street Journal, Instagram, Google, UNHCR, and The New York Times among others. He is a HEFAT, RISC, and FAA drone certified pilot and his first monograph, This Alabaster Grave, exploring the overwhelming destruction faced by the Iraqi city of Mosul was published in 2025. Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006), Crash Happy: A Night at The Bangers (Cafe Royal Books 2012) and Inside Vogue House: One building, seven magazines, sixty years of stories (Orphans Publishing 2024). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. © Grant Scott 2026

In this monthly conversation series Grant Scott speaks with art director, lecturer and creative director Fiona Hayes. In an informal conversation each month Grant and Fiona comment on the photographic environment as they see it through the exhibitions, magazines, talks and events that Fiona has seen over the previous weeks. Mentioned in this episode: https://photolondon.org www.peckham24.com https://tomwoodarchive.com www.theguardian.com/artanddesign/gallery/2026/may/07/twiggy-bella-freud-steven-meisel-london-portraits-in-pictures-photo-london Ute Mahler www.ostkreuz.de/en/photoseries/photographer/ute-mahler/ Mona Lisas of the Suburbs” by Ute Mahler & Werner Mahler here. Jane Evelyn Atwood, "Women in Prisons": https://agencevu.com/en/serie/women-in-prison-1990/ https://agencevu.com/en/photographer/jane-evelyn-atwood/ Fiona Hayes Fiona Hayes is an art director, designer, consultant and lecturer with over 30 years' experience in publishing, fashion and the art world. She has been a magazine art director ten times: on Punch, Company, Eve, the British and Russian editions of Cosmopolitan, House & Garden,GQ India (based in Mumbai), MyselfGermany (in Munich), and Russian Vogue (twice). Between 2013 and 2019, as Art Director of New Markets and Brand Development for Condé Nast International, based in London and Paris, she oversaw all the company's launches – 14 magazines, including seven editions of Vogue. She still consults as Design Director at Large for Vogue Hong Kong. In 2002 she founded independent photography magazine DayFour, publishing it continuously until 2012. She is Co-Author and Art Director of The Fashion Yearbook, and creative director of books for South African media consultancy Legacy Creates. Outside the publishing world, she has been Art Director of contemporary art auction house Phillips de Pury in London and New York, and Consultant Art Director of Russian luxury retail group Mercury/TSUM. (Fiona would like to point out she is not Russian: she is proudly Irish and studied Visual Communication and History of Art and Design at NCAD Dublin.) She currently divides her time between design consultancy for commercial clients, and lecturing at Oxford Brookes University, the Condé Nast College of Fashion and Design, London, Nottingham Trent University, Ravensbourne University, and Leeds University. She lives in West London. @theartdictator Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott's next book is Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is on sale now wherever you buy your books. © Grant Scott 2026

New photographic techniques have shown that that walls in Pompeii were covered with graffiti, including pictures of gladiator fights, lewd poetry, and inscriptions in non-local languages like Safaitic. So sort of like New York City subways in the 1970s. Who says the past doesn't repeat itself?

Fluent Fiction - Danish: Capturing Spring: Lars' Photographic Journey in Tivoli Gardens Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2026-05-17-07-38-19-da Story Transcript:Da: Tivoli Gardens blomstrer om foråret.En: Tivoli Gardens bloom in the spring.Da: Farverne af tulipaner og tulipaner lyser op langs stierne.En: The colors of tulips and tulips brighten up the paths.Da: Det er Lars' første besøg i Tivoli, og hans kamera er fast i hånden.En: It is Lars' first visit to Tivoli, and his camera is firmly in his hand.Da: Han leder efter det perfekte billede, det der indfanger forårets ånd i København.En: He is searching for the perfect picture, one that captures the spirit of spring in Copenhagen.Da: Ved siden af Lars går Erik, hans ældre bror, som ikke kan lade være med at drille.En: Next to Lars walks Erik, his older brother, who can't help but tease.Da: "Du tror, du finder noget særligt her?"En: "Do you think you're going to find something special here?"Da: spørger Erik med et smil.En: Erik asks with a smile.Da: "Det er bare et tivoli."En: "It's just a carnival."Da: Lars lytter kun halvt.En: Lars only half listens.Da: Han drages af lysene, lydene og de smilende ansigter omkring ham.En: He is drawn by the lights, the sounds, and the smiling faces around him.Da: Erik fortsætter, "Måske skal du bare nyde festen i stedet for at jage et billede."En: Erik continues, "Maybe you should just enjoy the party instead of chasing a picture."Da: Denne kommentar rammer Lars.En: This comment hits Lars.Da: Med en let rynke i panden beslutter han at vove sig længere ind i parken.En: With a slight furrow in his brow, he decides to venture further into the park.Da: Han ved, at Sofie, hans barndomsven, arbejder her.En: He knows that Sofie, his childhood friend, works here.Da: Måske kan hun vise ham et sted uden alle de mennesker.En: Maybe she can show him a spot without all the people.Da: Sofie finder han ved en bod fyldt med farverige balloner.En: He finds Sofie at a stall filled with colorful balloons.Da: "Hej Lars!En: "Hi Lars!Da: Hvordan går det?"En: How's it going?"Da: Hun smiler varmt til ham og ser straks hans bekymrede blik.En: She smiles warmly at him and immediately sees his concerned look.Da: "Jeg har brug for at finde et roligt sted," siger Lars.En: "I need to find a quiet place," Lars says.Da: "Jeg vil tage et billede, som virkelig siger noget."En: "I want to take a picture that really says something."Da: Sofie nikker forstående.En: Sofie nods understandingly.Da: "Jeg kender lige stedet.En: "I know just the place.Da: Følg mig."En: Follow me."Da: De går gennem smalle veje, der fører væk fra larmen.En: They walk through narrow paths that lead away from the noise.Da: De ender ved en lille sø omringet af blomster og med udsigt over hele parken.En: They end up at a small lake surrounded by flowers with a view over the entire park.Da: Lars føler øjeblikkelig ro.En: Lars feels an immediate calm.Da: "Sofie, dette er perfekt," siger Lars taknemmeligt.En: "Sofie, this is perfect," says Lars gratefully.Da: Idet aftenen falder på, holder Lars fast om sit kamera.En: As evening descends, Lars holds his camera tightly.Da: Sofie og Erik står ved hans side.En: Sofie and Erik stand by his side.Da: Erik taler nu mere stille, måske også påvirket af stedets skønhed.En: Erik speaks more softly now, perhaps also influenced by the beauty of the place.Da: "Det ville være et flot billede," siger Erik med et anerkendende nik.En: "It would make a beautiful picture," says Erik with an approving nod.Da: Pludselig brager fyrværkeriet over himlen.En: Suddenly, fireworks burst over the sky.Da: Farver eksploderer, og Lars trykker på udløseren på det helt rigtige tidspunkt.En: Colors explode, and Lars presses the shutter at just the right moment.Da: Klik!En: Click!Da: Han har det.En: He's got it.Da: Det perfekte billede.En: The perfect picture.Da: Lars ser på skærmen.En: Lars looks at the screen.Da: Hans ansigt lyser op.En: His face lights up.Da: Han har fanget magien af Tivoli og foråret.En: He has captured the magic of Tivoli and spring.Da: Selv Erik kan ikke skjule sin overraskelse.En: Even Erik can't hide his surprise.Da: "Det er virkelig flot, Lars," siger han med oprigtig beundring.En: "That's really beautiful, Lars," he says with genuine admiration.Da: Lars går fra parken med en følelse af sejr.En: Lars leaves the park with a feeling of triumph.Da: Han har ikke kun fundet det rette billede, men også troen på sig selv.En: He has not only found the right picture but also the belief in himself.Da: Erik smiler til ham, en stille anerkendelse af hans brors talent.En: Erik smiles at him, a silent acknowledgment of his brother's talent.Da: En ny selvtillid spirer i Lars.En: A new confidence blooms in Lars.Da: Tivoli vil altid være et minde om ikke kun et storslået billede, men også om at stole på sin egen vision.En: Tivoli will always be a memory of not just a magnificent picture but also of trusting his own vision.Da: Endnu en forårsdag er ved at slutte, men Lars' rejse som fotograf er kun lige begyndt.En: Another spring day is coming to an end, but Lars' journey as a photographer is just beginning. Vocabulary Words:bloom: blomstrerbrighten: lyser opfirmly: fastspirit: åndtease: drilledrawn: dragesventure: vove sigconcerned: bekymredequiet: roligtnarrow: smalleimmediate: øjeblikkeligcalm: rogratefully: taknemmeligtdescends: falder påburst: bragerexplode: eksploderershutter: udløserentriumph: sejracknowledgment: anerkendelsetalent: talentconfidence: selvtillidmagnificent: storslåettrusting: stole påvision: visionjourney: rejsecapture: fangerapprove: anerkendendeadmiration: beundringbelief: troenspring: forårsdag

In episode 418 UNP founder and curator Grant Scott is reflecting on the big and small things that impact on the everyday engagement we all have with photography. Mentioned in this episode: David Sylvian 'Red Guitar' www.youtube.com/watch?v=7tTX49CjAgo Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), What Does Photography Mean To You? (Bluecoat Press 2020) and Inside Vogue House: One building, seven magazines, sixty years of stories, (Orphans Publishing 2024). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. © Grant Scott 2026

In this special episode of The Conversation series Grant Scott speaks with award winning graphic designer Mike Dempsey. In an informal conversation they discuss the importance of understanding design, what is successful design and how this can be applied to photobooks. Mike Dempsey From the late 1960s, Dempsey worked in British book publishing houses. He has created stamps for the Royal Mail, the brand identity for English National Opera, and the South Bank Centre, London. After a decade in publishing, Dempsey formed the highly successful design consultancy Carroll, Dempsey and Thirkell in 1979, which he ran for 27 years. In 2007, he left to set up Studio Dempsey. His awards include the New York Art Director's Club Silver Cube, the CSD Minerva Award, the Reginald M. Phillips Medal for Postage Stamp Design, ten D&AD (Design and Art Direction) Silvers, the coveted Gold award, and in 2012, he received a unique D&AD Black Pencil for the most awarded designer in their 50-year history. He is a member of Alliance Graphic International, a past President of D&AD, a past Master of The Faculty of Royal Designers for Industry, and in 1994, he was made a Royal Designer for Industry. Dempsey's expertise also encompasses design for posters for art exhibitions, theatre and dance to film titles. He is a writer, photographer, broadcaster, painter, blogger and he studied acting at the Method Studio, London. Today, he lives and works in London and Dorset. https://studiodempsey.co.uk Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. ©Grant Scott 2026

In episode 416 UNP founder and curator Grant Scott is reflecting on the big and small things that impact on the everyday engagement we all have with photography. Mentioned in this episode: Cengiz Yar www.cengizyar.com Sayuri Ichida www.sayuriichida.com Angine de Poitrine - Full Performance (Live on KEXP) https://youtu.be/0Ssi-9wS1so?si=6ThZCxvnFibNcu0j Captain Beefheart & His Magic Band - Trout Mask Replica [Full Album] https://youtu.be/aF0g-2SeoMM?si=I8hFqowFRJzUsqb8 The Fall - Eat Y'Self Fitter https://youtu.be/yFCOt6wbm80?si=s6tMQgV8VolqKavU Can - Future Days [Full Album] https://youtu.be/wQxMB4Wk_y8?si=v_OVCxUY3e3IhIO8 Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), What Does Photography Mean To You? (Bluecoat Press 2020) and Inside Vogue House: One building, seven magazines, sixty years of stories, (Orphans Publishing 2024). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. © Grant Scott 2026

Welcome to episode 580 of Perceptive Photographer. and today I want to explore the ever-evolving relationship we photographers have with technology. From the most basic cameras to today's powerful digital tools, technology is always a factor but it shouldn't determine how or why we create. Embracing — and Moving Beyond — Technology Photography has always been intertwined with technology, from pinhole boxes to today's advanced cameras. While that tech is necessary, it shouldn't dictate our creative vision. When you find yourself fixating on technical gear or settings, try resetting your focus: reconnect with inspirations like literature, cinema, or conversations that remind you of the why behind your image. That might unstick you a little and let you get back on track. Know Your Own Creative Rules Living with your own work, and especially your “bad” photos, reveals patterns: some of the hard rules you always stick to, and the soft guidelines you're willing to break. For example, I have a near unwavering preference for straight horizon lines. In looking at my lesser work I can more easily gain an understanding as to the why behind this “issue”. For me, I learned it was about stability and feeling grounded which might not be the case for someone else, but at least I know my rules. There's No Substitute for Experience No number of photo books or outside influences can replace the impact of making your own images. Every hands-on moment of shooting, processing or printing can teach us lessons that theory or observation can't. I hope that when you spend more time with your work both good and not so good that you celebrate all those experiences, accepting errors and even bad results as essential to your creative growth. Just a reminder about the upcoming webinar. April 30th: “10 Organizational Things I Wish I Knew Early In My Photography” and if you can’t make it I’ll have a reply on my blog a few days later. Get the Podcast Direct to Your Inbox:Visit the website, click the podcast tab, and sign up to receive each new episode by email. Thank you for listening and being part of this creative journey. Remember: great photography begins not with the camera, but with a meaningful connection to what you want to see, say, and feel through your work.