Podcasts about photographic

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

Gauteng Hawks coordinator of narcotics cases, Colonel Francois Steyn has told the Madlanga Commission that officers Mashaba and Manganye allegedly opened a container at Scania where about 20 bags of suspected narcotics fell out and were loaded into an unmarked Nissan bakkie. He admitted he did not directly witness the incident and relied on accounts from officers on scene. Photographic evidence was later retrieved from colleagues after his phone was damaged.

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

Fluent Fiction - Italian: Chasing Rainbows: Luca's Photographic Journey in Cinque Terre Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2026-05-05-07-38-19-it Story Transcript:It: Luca e Giovanna erano seduti sul treno in viaggio verso le Cinque Terre.En: Luca and Giovanna were seated on the train traveling towards the Cinque Terre.It: Era primavera e la natura esplodeva in colori vivaci.En: It was spring, and nature was bursting with vibrant colors.It: Le case colorate si aggrappavano ai pendii delle rocce, mentre il mare azzurro rideva sotto il sole.En: The colorful houses clung to the slopes of the rocks, while the blue sea laughed under the sun.It: Il vento lieve portava odore di salsedine e nuove avventure.En: The gentle breeze carried the scent of salt and new adventures.It: Luca era un fotografo alla ricerca di ispirazione.En: Luca was a photographer in search of inspiration.It: Amava l'avventura, ma quel giorno, nel suo cuore, covava un dubbio.En: He loved adventure, but that day, in his heart, he was harboring a doubt.It: "Sei pronto a conquistare le Cinque Terre?"En: "Are you ready to conquer the Cinque Terre?"It: chiese Giovanna con un sorriso incoraggiante.En: asked Giovanna with an encouraging smile.It: Lei era pratica, una fidata amica pronta ad aiutare Luca a migliorare il suo portfolio.En: She was practical, a trusted friend ready to help Luca improve his portfolio.It: Però Luca si tormentava: e se non avesse trovato il momento giusto, lo scatto perfetto?En: Yet Luca was troubled: what if he didn't find the right moment, the perfect shot?It: Il treno si fermò a Vernazza.En: The train stopped at Vernazza.It: I due amici scesero e iniziarono a esplorare il villaggio.En: The two friends got off and began to explore the village.It: Luca cercava l'inquadratura ideale.En: Luca searched for the ideal framing.It: Le terrazze di vigne si stendevano come un verde tappeto fino al mare.En: The vineyard terraces stretched like a green carpet down to the sea.It: I fiori di primavera coloravano i sentieri.En: Spring flowers colored the paths.It: Ma lui non era ancora soddisfatto.En: But he was still not satisfied.It: "Non preoccuparti, andrà bene," disse Giovanna notando la sua tensione.En: "Don't worry, it will be fine," said Giovanna, noticing his tension.It: Il tempo cambiava in fretta.En: The weather changed quickly.It: Nuvole scure avanzavano, minacciando pioggia.En: Dark clouds advanced, threatening rain.It: "Forse dovremmo fermarci," suggerì Giovanna.En: "Maybe we should stop," suggested Giovanna.It: Ma Luca aveva un'intuizione: doveva seguire il suo istinto.En: But Luca had a hunch: he needed to follow his instinct.It: "Vado avanti," disse Luca deciso.En: "I'm going on," said Luca decisively.It: Attraversò un sentiero meno conosciuto, salì tra i vigneti, spinto dal desiderio di catturare qualcosa di unico.En: He crossed a less known path, climbed among the vineyards, driven by the desire to capture something unique.It: Mentre la tempesta si avvicinava, Luca si fermò su un promontorio.En: As the storm drew near, Luca stopped on a promontory.It: All'improvviso, il sole filtrò attraverso le nuvole, creando un arcobaleno perfetto sopra i vigneti.En: Suddenly, the sun filtered through the clouds, creating a perfect rainbow over the vineyards.It: Era magico.En: It was magical.It: Senza esitazione, Luca scattò la foto con mani tremanti dall'emozione.En: Without hesitation, Luca took the photo with hands trembling from emotion.It: Il viaggio in treno di ritorno fu diverso: Luca sorrideva, la macchina fotografica tra le mani.En: The train journey back was different: Luca smiled, the camera in his hands.It: La fotografia non solo gli confermò il suo talento, ma gli aprì anche nuove opportunità.En: The photograph not only confirmed his talent but also opened new opportunities for him.It: La Festa della Liberazione portò una nuova liberazione anche nel cuore di Luca.En: The Festa della Liberazione brought a new liberation into Luca's heart as well.It: Ora sapeva di avere la capacità di raccontare storie con le sue immagini.En: Now he knew he had the ability to tell stories with his images.It: Giovanna lo abbracciò.En: Giovanna hugged him.It: "Hai fatto un lavoro incredibile," disse fiera di lui.En: "You did an incredible job," she said, proud of him.It: Nelle Cinque Terre, tra i colori della primavera e il mare infinito, Luca aveva trovato molto più di una bella immagine.En: In the Cinque Terre, among the colors of spring and the endless sea, Luca found much more than a beautiful image.It: Aveva trovato fiducia in se stesso e una nuova direzione da seguire.En: He found confidence in himself and a new direction to follow. Vocabulary Words:the slope: il pendiothe vineyard: il vignetothe breeze: il vento lievethe adventure: l'avventurato cling: aggrapparsithe inspiration: l'ispirazioneto harbor: covarethe portfolio: il portfoliothe moment: il momentothe shot: lo scattoto explore: esplorarethe framing: l'inquadraturathe terrace: la terrazzathe path: il sentierothe hunch: l'intuizionethe instinct: l'istintothe promontory: il promontorioto filter: filtrarethe rainbow: l'arcobalenothe talent: il talentothe opportunity: l'opportunitàthe liberation: la liberazioneto hug: abbracciarethe confidence: la fiduciathe direction: la direzionethe nature: la naturathe flower: il fiorethe storm: la tempestato threaten: minacciareto tremble: tremare

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

What the Stone Did Not ForgetThe lineage of the sacred feminine from Neolithic Europe all the way to the Stardust Lineage.There is an image of a woman small enough to fit in the palm of your hand. She is less than four and a half inches tall, carved from Neolithic limestone over 28,000 years ago near the Danube River in what is now called Austria. She is all curved. A sacred feminine body with a round belly, full breasts, wide hips, a body in its fullness and generative power, honored in the most permanent material available.She has no face. She does not need one. She is not a portrait of an individual woman. She is every woman. And she is a statement about what the female body means, what it carries, what it represents, and the cosmology of the people who made her. She is, of course, the Venus of Willendorf.She was once tinted with red ochre, the same iron-rich pigment as human blood, and women's blood. Even in the act of carving, there was an awareness of the connection between body, earth, and cosmos. The stone itself was not incidental. The stone holds what time cannot otherwise keep. The stone holds the story and remembers.Across a vast arc of prehistoric Europe and Asia, from France to Siberia, archaeologists have uncovered hundreds of similar figurines spanning thousands of years of human creative life. Each one encoded the same understanding. The female body is sacred. It doesn't represent the sacred. It is the sacred and created from the sacred. She is the source. She is the organizing principle of human life.Honoring the feminine because of matriarchy was not something radical, was not feminism. It was not simply embedded into the fabric of early human cultures. It was actually what the fabric was woven from — not just embedded, woven from. It is the very fibers of the tapestry.And this story lasts for thousands and thousands and thousands of years before the eventual widespread emergence of organized warfare, before the legal and theological structures that would later declare the female body a problem to be managed and named, before the invention of land ownership.The stone did not forget, even as later cultures obscured, suppressed, and reinterpreted and renamed what these figurines meant. The stone holds the story. The clay holds the imprint.Marija Gimbutas and the Language of the Sacred BodyMuch of what we know about these ancient cultures comes from the work of Marija Gimbutas, the Lithuanian-American archaeologist, Professor Emeritus at UCLA, and one of the most important and most contested scholars in the 20th century. She spent decades excavating what she called Old Europe, the Neolithic cultures of prehistoric Europe that flourished before the arrival of the patriarchal peoples from the Pontic-Caspian steppes beginning around 4000 BCE. In the regions of what is now known as Ukraine, Moldova, and Romania, the Cucuteni-Trypillia era, she documented cultures that developed sophisticated symbolic systems over thousands of years, deeply rooted in agricultural art and the cyclical understandings of life.In thousands of figurines, burial sites, ceremonial objects, and symbolic markings, she identified a coherent visual language — circles, spirals, triangles, and the female form encoding an entire civilization's understanding of life, death, the regeneration cycle, and the sacred. This is not primitive decoration. These are not fertility charms made for male desire. These are acts of reverence and collaboration, a co-creative relationship, symbols encoded into stone and clay, telling a story about who we were and perhaps who we could be.And she found no weapons there until later.Her interpretation, by the way, has been challenged and debated by subsequent scholars. Her naming, her description of the archaeomythology of the ancient mothers — to this day, archaeologists are trying to disprove her theories and relabel her findings.And yet the figurines — it's even hard to call them that. The mother. She just exists. The symbols recur across vast distances and thousands of years with a consistency that really demands no explanation. We honored her and her body. Whatever the precise nature of the social structures that produced them, the female body represented in these artifacts is the power. She is the primary symbol through which a civilization found its meaning.That understanding did not disappear when the cultures that held it were disrupted. It went underground, literally, and it survived in objects and then modern day practices that the dominant culture wasn't successful in stamping out.So much they took from us. So much we remembered. The stone remembers, and the stardust bones remember.Lenore Thomas Straus — Choosing the MotherThis is how it leads into our Stardust Lineage.In 1937, sculptor Lenore Thomas Straus received a commission through the Public Works Administration — sometimes called the Works Progress Administration — in Greenbelt, Maryland. This is one of the New Deal communities being built during the Depression, supported by the Roosevelts' vision for an American public life. Lenore worked on multiple projects connected to this era of public art, and photographs document her alongside Eleanor Roosevelt in a hard hat.Lenore also made a note that these communities were being built for white people, but by Black people. That is part of the story. The untold story.For the Greenbelt commission, Lenore was given latitude to choose her subject. It was going to go in the town square. She chose a mother and child — not a warrior, not a statesman for the area, not an allegory of progress or industry. A mother kneeling, with her child holding a cup with both hands. It is carved across three four-foot limestone blocks from Indiana, twelve feet of stone placed in public space, and functional — a water fountain. Just like a woman, she wanted to make sure it made sense. Utility and reverence made inseparable, the act of offering water given permanent form in stone. The sculpture was commissioned in 1937 and completed in 1939.This is, of course, a conscious choice. With the full range of American civic iconography available to her, with the imprimatur of federal commission behind her, Lenore Thomas Straus chose to place the sacred feminine body in a public square — a mother and a child.She also carved in a separate commission the Preamble to the Constitution in stone, also in Maryland.She knew what she was doing. She was doing what the Neolithic carvers had done across thousands of years — inscribing the female body and the values of a society that honors life in the most permanent material available.She wrote of her relationship to carving stone as an artist: Quietly, I bow to the stone.To our community, this summarizes the root system of Intentional Creativity. The sentence holds an entire philosophy. The sculptor does not dominate the material. She listens to it. She honors what it carries. She brings her full devotion to bear before she raises a hand to shape it.Greenbelt, Maryland is where Lenore Thomas Straus is from — Prince George's County, Maryland.Lenore Thomas Straus became the teacher of a young artist named Sue Hoya Sellers. She recognized Sue when Sue was seventeen years old. Sue had ridden seven miles on dirt roads to find her, a portfolio strapped to her bicycle, clothes starched and ironed, two years of preparation. Lenore called her a young artist, and Sue was one.Among the things Lenore passed to Sue was an understanding that the sacred feminine image belonged in the hands of women — that carving was not decoration, that it was transmission, and honestly, a form of decolonizing the female body.Sue carried this forward in her own large-scale work, including a monumental pregnant woman carved in wood commissioned for Alice Walker that stands at Stardust Ranch in Sonoma — the sacred feminine body again in the most permanent material available, given to the woman who had sat at the table with Sue, given to the writer who told me that to be happy is one of the most revolutionary acts.And Sue passed this assignment to me when I was twenty-four. Sue co-mothered me, and this was among the most sacred things she passed forward.A Cold Day and a Palm-Sized PrayerI remember the day.It was cloudy and cold on the mountain. Sue and I, months before, had gone out to dig the very clay from the earth — red clay. She wanted me to understand the whole cycle of making. Finally, the clay was made. It was placed in my hands, and she said: make it fit the palm of your hand. For prayer. Put your intention into it.I brought the clay into my hands and began to shape it. I didn't know what it would become, but I knew that I was called to make the Sacred Mother. It was the first thing I ever made out of clay.Amazingly, years after Sue's death, Lenore's daughter Nora sent me a small figurine carved in stone — one of Sue's earliest works — a goddess figurine, small enough to fit in the palm of your hand. It was only then, holding that piece, understanding what Sue had been handed and what she handed to me, that I received the full weight of the assignment — not as an instruction, as a lineage, as a specific, unbroken transmission of an understanding that Lenore had carried from her own teachers, and they from theirs, all the way back to the women who pressed their hands into cave walls and shaped limestone into figurines small enough to fit in the palm of your hand.It makes me think of my recent visit to Malta — how the Sleeping Lady of Malta is so tiny she can almost fit in the palm of your hand. But there were also sculptures so huge they were claimed to be made by giantesses. Lenore and Sue did the same thing — made the tiny and the large.Lenore was a Norwegian woman. She decided to carve an enormous sculpture, a mother and child. She went on to carve the Preamble to the Constitution in stone. She taught Sue and Sue taught me — from hand to hand and really from heart to heart.And when I think of this teaching and share it with my students today, I feel the throughline of the sacred feminine image always emerging and becoming and arriving in and through our hands. Back at the beginning, right at the time I made that sculpture, I knew I wanted to change the way that women were treated and the way that the face of the feminine was regarded in my lifetime.Thousands of paintings are part of it. The carrying on of a Stardust Lineage — from Neolithic limestones to these stardust bones.Us. We.Footnotes(1) The Venus of Willendorf is housed in the Naturhistorisches Museum, Vienna, Austria. On the red ochre tinting and its connection to blood symbolism in prehistoric ritual contexts, see: Jill Cook, Ice Age Art: Arrival of the Modern Mind (British Museum Press, 2013); Marija Gimbutas, The Language of the Goddess (HarperCollins, 1989).(2) On the geographic distribution of similar prehistoric female figurines: Gimbutas, The Language of the Goddess (1989), Introduction; Cook, Ice Age Art (2013).(3) Marija Gimbutas, The Civilization of the Goddess: The World of Old Europe (HarperCollins, 1991). On the Kurgan hypothesis and the cultural transition beginning around 4000 BCE.(4) On the Cucuteni-Trypillia culture: Gimbutas, The Language of the Goddess (1989). See also: John Chapman, Fragmentation in Archaeology (Routledge, 2000) for a more recent treatment.(5) Gimbutas, The Language of the Goddess (1989). On the visual symbolic language of prehistoric European artifacts.(6) For scholarly critique of Gimbutas's methodology, see: Lynn Meskell, “Goddesses, Gimbutas and ‘New Age' Archaeology,” Antiquity 69 (1995): 74–86. For a balanced recent assessment, see: Douglass Bailey, Prehistoric Figurines: Corporeality and Representation in the Neolithic (Routledge, 2005).(7) Lenore Thomas Straus, Mother and Child, Indiana limestone water fountain, commissioned 1937, completed 1939, Greenbelt Homes Inc., Greenbelt, Maryland. Commissioned through the Public Works Administration / Works Progress Administration Federal Art Project. Photographic documentation of Straus with Eleanor Roosevelt held in the Stardust Lineage archive. For archival verification, consult Greenbelt Museum records.(8) Lenore Thomas Straus, Preamble to the Constitution, stone, Greenbelt, Maryland. Documented by personal visit. For archival citation, consult Greenbelt Museum records and WPA Federal Art Project documentation.(9) Lenore Thomas Straus, Stone Dust. Exact page number to be confirmed before publication. Get full access to Tea with the Muse at teawiththemuse.substack.com/subscribe

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://nederlandsfotomuseum.nl/en/ www.edvanderelsken.nl www.vivianesassen.com https://antoncorbijn.com/index.html Charles Bukowski https://en.wikipedia.org/wiki/Charles_Bukowski Bas Jan Ader www.meliksetianbriggs.com/artists/bas-jan-ader Stacii Samidin www.staciisamidin.com/videography/ Hans Poley www.imdb.com/title/tt1691153/ 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, Cosmopolitan, House & Garden, GQ India, Myself, Germany and Russian Vogue (twice). Between 2013 and 2019, sh was Art Director of New Markets and Brand Development for Condé Nast International, and oversaw 14 magazines, including seven editions of Vogue. She still consults as Design Director at Large for Vogue Hong Kong. In 2002 she founded her photography magazine DayFour. She is Co-Author and Art Director of The Fashion Yearbook, and creative director of books for South African media consultancy Legacy Creates. She has been Art Director of contemporary art auction house Phillips de Pury in London and New York and currently divides her time between design consultancy for commercial clients, and lecturing. @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

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.

Fluent Fiction - Spanish: Blossoms of Courage: A Springtime Photographic Journey Find the full episode transcript, vocabulary words, and more:fluentfiction.com/es/episode/2026-04-17-07-38-20-es Story Transcript:Es: El sol de primavera brillaba en el Jardín Botánico, llenando el aire de un aroma floral y dulce.En: The sol de primavera shone in the Jardín Botánico, filling the air with a floral and sweet aroma.Es: Flores de todos los colores salpicaban el paisaje, mientras los árboles altos ofrecían una sombra refrescante.En: Flowers of every color dotted the landscape, while the tall trees offered refreshing shade.Es: Era el escenario perfecto para el Taller de Fotografía, donde Lucía y Santiago, dos apasionados de la fotografía, se encontraron por primera vez.En: It was the perfect setting for the Taller de Fotografía, where Lucía and Santiago, two photography enthusiasts, met for the first time.Es: Lucía era una joven reservada, siempre con su cámara al cuello, pero rara vez alzaba la voz.En: Lucía was a reserved young woman, always with her camera around her neck, but she rarely raised her voice.Es: En cambio, Santiago, el carismático instructor del taller, irradiaba confianza.En: In contrast, Santiago, the charismatic workshop instructor, radiated confidence.Es: Sin embargo, en su interior, ambos lidiaban con inseguridades.En: However, inside, both struggled with insecurities.Es: Lucía, aunque apasionada por su hobby, dudaba de sus habilidades.En: Lucía, though passionate about her hobby, doubted her abilities.Es: Santiago, aunque exitoso, buscaba revivir su amor por capturar momentos.En: Santiago, although successful, sought to rekindle his love for capturing moments.Es: Durante la sesión del taller, Santiago explicaba técnicas mientras el grupo escuchaba atentamente.En: During the workshop session, Santiago explained techniques while the group listened attentively.Es: Lucía anotaba cada palabra, pero su voz permanecía en silencio.En: Lucía wrote down every word, but her voice remained silent.Es: El jardín, lleno de vida en su esplendor primaveral, se veía a través de las lentes de las cámaras, pero Lucía se preguntaba si alguna vez capturaría algo verdaderamente especial.En: The garden, full of life in its springtime splendor, was seen through the lenses of the cameras, but Lucía wondered if she would ever capture something truly special.Es: En un receso, mientras el grupo se dispersaba, Lucía se armó de valor.En: During a break, while the group dispersed, Lucía gathered her courage.Es: Miró a Santiago desde lejos y decidió enfrentarse a sus miedos.En: She looked at Santiago from afar and decided to face her fears.Es: Acercándose lentamente, tocó suavemente su hombro.En: Approaching slowly, she gently tapped his shoulder.Es: "Santiago, ¿podrías darme algún consejo sobre mis fotos?"En: "Santiago, could you give me some advice on my photos?"Es: preguntó, su voz apenas audible.En: she asked, her voice barely audible.Es: Santiago, sorprendido y a la vez complacido, vio en Lucía una oportunidad para compartir su historia.En: Santiago, surprised yet pleased, saw in Lucía an opportunity to share his story.Es: "Por supuesto, Lucía," respondió, sonriendo.En: "Of course, Lucía," he replied, smiling.Es: "Déjame contarte algo.En: "Let me tell you something.Es: Hubo un tiempo en que yo también dudaba de mi pasión.En: There was a time when I also doubted my passion.Es: Pensaba que nunca podría capturar algo único.En: I thought I could never capture something unique.Es: Pero un día, todo cambió con una simple mariposa."En: But one day, everything changed with a simple butterfly."Es: Esta confesión resonó en Lucía, llenándola de una nueva determinación.En: This confession resonated with Lucía, filling her with a newfound determination.Es: Inspirada, ajustó su cámara e inició la búsqueda de un momento mágico.En: Inspired, she adjusted her camera and began the search for a magical moment.Es: Fue entonces, en el rincón más escondido del jardín, que una mariposa de colores vivos se posó entre las flores.En: It was then, in the most hidden corner of the garden, that a brightly colored butterfly perched among the flowers.Es: Con un solo clic, Lucía atrapó la gracia del insecto en una foto que brillaba con vida.En: With a single click, Lucía captured the insect's grace in a photo that shone with life.Es: Al finalizar el taller, Lucía decidió compartir su foto con los demás.En: At the end of the workshop, Lucía decided to share her photo with the others.Es: Era un acto de valentía para ella.En: It was an act of bravery for her.Es: Santiago, al ver su trabajo, no pudo evitar sonreír con orgullo.En: Santiago, upon seeing her work, couldn't help but smile with pride.Es: "Tu visión es única, Lucía," dijo, emocionado.En: "Your vision is unique, Lucía," he said, excited.Es: "Has capturado algo hermoso."En: "You have captured something beautiful."Es: Esa tarde, en medio del jardín, sucedió algo inesperado.En: That afternoon, in the middle of the garden, something unexpected happened.Es: Lucía sintió cómo su confianza florecía junto al jardín, mientras Santiago redescubría su amor por enseñar y fotografiar la belleza del mundo.En: Lucía felt her confidence bloom alongside the garden, while Santiago rediscovered his love for teaching and photographing the world's beauty.Es: Ambos, en su respectivo viaje, encontraron más de lo que buscaban: una nueva perspectiva y la conexión genuina con otro artista.En: Both, on their respective journeys, found more than what they were looking for: a new perspective and a genuine connection with another artist.Es: Así, rodeados por la primavera y sus colores, Lucía y Santiago se despidieron, sabiendo que aquel encuentro había cambiado sus vidas para siempre.En: Thus, surrounded by spring and its colors, Lucía and Santiago said their goodbyes, knowing that this encounter had changed their lives forever.Es: El sol comenzaba a caer, pero en el corazón de ambos, una nueva luz brillaba con fuerza.En: The sun began to set, but in both of their hearts, a new light shone brightly. Vocabulary Words:the workshop: el tallerthe shadow: la sombrathe instructor: el instructorthe aroma: el aromato sprinkle: salpicarto struggle: lidiarto doubt: dudarthe foliage: el follajethe insecurities: las inseguridadesto rekindle: revivirto inspire: inspirarconfession: confesiónthe break: el recesoto disperse: dispersarto capture: capturarto resonate: resonarto face: enfrentarsethe lens: la lenteto doubt: dudarthe moment: el momentothe bravery: la valentíaunexpected: inesperadoto bloom: florecerto smile: sonreírthe grace: la graciathe courage: el valorto perch: posarseto startle: sobresaltarthe encounter: el encuentrothe determination: la determinación

Kauri gum's rich history in Aotearoa is the focus of a new Auckland exhibition, and expert David Pickens joins Emile Donovan to discuss.

In this week's episode photographer Lynn Goldsmith takes on our ‘Proust Photo Quiz'… Lynn Goldsmith's photography has appeared on and between the covers of Life, Newsweek, Time, Vanity Fair, Rolling Stone, Sports Illustrated, National Geographic Traveler, People, Elle, Interview, and the The New Yorker amongst many others. Her subjects have varied from entertainment personalities to sports stars, from film directors to authors and her work is held in numerous museum collections and personal art collections. Fifteen books of Goldsmith's imagery have been published and she has also received two New York Art Direction awards. In 1971, she was a director for the first company to present video magnification for rock groups entertaining at large venues and in 1972, she became a director for the first rock show on late night television titled In Concert. In 1973, she stopped directing TV to co-manage the band Grand Funk Railroad. In 1976 Goldsmith left management to focus on a career as a photographer and founded a photo agency that licensed her work and others to publications across the globe. By the early 80's she expanded her creativity as 'Will Powers', and wrote and produced the album Dancing For Mental Health. Working with noted musicians Sting, Steve Winwood, Todd Rundgren and Nile Rodgers, the album won critical acclaim. In 2016 a lawsuit was brought against her by the Andy Warhol Foundation for her studio portrait of Prince. For seven years she fought to protect her copyright, and that of all artists, to their work. The legal battle went to the Supreme Court, and 2023, she won a 7-2 victory. 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 episode 413 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: https://fwo3.com www.mattmahurin.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), 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

This case provides four elements rarely present in UFO sightings: 1. Trained military witnesses 2. Independent radar detection 3. Photographic evidence 4. And a military investigation

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 photo competition. 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

You Don't Have to Choose Between Making Art and Building a Career. James Miille Proves It. Photographic artist James Miille has shown work in New York, Paris, Miami, and Mexico City, built two companies, and never stopped making the art that started it all. In this episode he pulls back the curtain on how he actually does it. James creates surreal composite photographs entirely from scratch, every element shot by him, every image sparked by a song. He breaks down his creative process, why documenting your work is now more important than ever, and how he thinks about the business of being an artist without letting it kill the passion. This one is packed with real, actionable insight for artists at any stage. Episode Highlights How a song becomes a surreal photograph and what James is building right now Why showing your process is your biggest competitive advantage in the age of AI The through line running through all his work: men having feelings and why that still feels radical His upcoming coffee table book mapping emotions through surreal portraiture The video game based on his art universe currently in the concepting phase How co-founding Superfine Art Fair led to launching Studio Chamiilleon The mindset shift that makes the business side of art feel less like a chore His plan to take entire exhibitions on the road in a single suitcase Connect with James jamesmiille.com studiochamiilleon.com Join the Create! Community Read artist features, discover new voices, and get resources built for working creatives at createmagazine.co

In this week's episode photographer Perry Ogden 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. Perry Ogden Perry Ogden was born in Shropshire, England, grew up in London and now lives in Dublin, Ireland. His photographs have appeared in countless magazines worldwide including Italian Vogue, Luomo Vogue, British Vogue, W, The Face and Arena. He has photographed advertising campaigns for Ralph Lauren, Chloe and Calvin Klein amongst many others. These have supplemented his personal projects including his Pony Kids body of work, which was published by Jonathan Cape/Aperture in 1999. His photographs of the artist Francis Bacon's studio,7 Reece Mews, were published by Thames and Hudson in 2001 and exhibited widely at galleries and museums including The Hugh Lane in Dublin, the Fondation Beyeler in Basle and the Fondation van Gogh in Arles. His first film Pavee Lackeen (The Traveller Girl) premiered in 2005 and won numerous awards around the world including the Satyajit Ray award for Best First Film at the London Film Festival and the Irish Film & Television Award for Best Film. Exhibitions of his work since 2010 include: Inspiration at the Sebastian Guinness Gallery, Dublin, 2010. Twenty at the Irish Museum of Modern Art in 2011, a group show celebrating the first twenty-years of the museum and Reined In, 2020, at The National Gallery of Ireland. Ogden's most recent book Paddy & Liam documenting two Traveller brothers Paddy and Liam Doran was published in 2018. In 2019 his 16 minute film FÍ made for the Design and Craft Council of Ireland was screened in Dublin, Paris, Tokyo and New York. A film about Perry's work Skin & Soul:The Life and Work of Perry Ogden was premiered at the Dublin International Film Festival in March 2020. www.perryogden.com and www.ifiinternational.ie/film/skin-soul/ 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

Saturday Night Live UK - Life Aid in the National Photographic Archive - Rembrandt's Promise

Join Consensus Unreality Patreon for just $5 a month and get access to biweekly exclusive episodes, our full 6 year episode archive, written content, discord and more. Plus we present our printed Journal of Shells magazine exclusively through our Print Club Tier. Its the best and only way to support the show. https://www.patreon.com/c/consensusunreality In this interview with returning guest, artist and writer Shannon Taggart, we discuss her recent article and continued work on SORRAT, one of the most misunderstood and fascinating groups in parapsychological history. From their founder John Neihardt's important Black Elk Speaks and Cycle of the West, through the tragedy which inspired the founding of SORRAT and the inner workings and later works of the group, we dive deep into this strange history. We also chat at length on Shannon's thoughts on photography's artistic legacy in the modern era, its inherent paranormality, her work at Lily Dale, and the photographic manifestations of Ted Serios. A lengthy and wide ranging conversation with one of the best in the biz!  ⁠https://www.shannontaggart.com/

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: Don Mcullin https://holburne.org/opening-in-january-don-mccullin-broken-beauty/ and https://www.hauserwirth.com/hauser-wirth-exhibitions/don-mccullin-90/ Gordon Parks https://alisonjacques.com/exhibitions/gordon-parks-we-shall-not-be-moved Catherine Opie https://www.npg.org.uk/whatson/exhibitions/2026/catherine-opie-to-be-seen Jack Davison https://www.cobgallery.com/exhibitions/131-portraits-1416-november-jack-davison/ 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

Neale has connecting flight blues, and Kev's trying to remember his anniversary date, but shhh, don't tell Gemma that! Meanwhile, on the show today, will the concave sensor catch on, and what does that actually mean? We talk about Fujifilm's incredible promotional videos and who we'd like to see promote the brand in the future, the best Fujifilm street camera, street technique, the next FujiCast meet-up, finding your photographic voice and post-processing style. Email the show with your questions: click@fujicast.co.uk  For links go to the showpage. If you'd like to travel to far-off places with a camera: https://www.thejourneybeyond.uk/

Fluent Fiction - Mandarin Chinese: Unexpected Serendipity: A Photographic Journey in Jiuzhaigou Find the full episode transcript, vocabulary words, and more:fluentfiction.com/zh/episode/2026-03-15-07-38-19-zh Story Transcript:Zh: 阳光在九寨沟的湖面上闪烁，映照出一幅生动的春天画卷。En: The sunlight flickered on the lake surface in Jiuzhaigou, painting a lively picture of spring.Zh: 微风轻拂，带来淡淡青草与新叶的清香。En: A gentle breeze swept through, carrying the subtle fragrance of fresh grass and new leaves.Zh: 魏站在这片自然天堂里，手握相机，心中充满着寻求灵感的渴望。En: Wei stood in this natural paradise, camera in hand, filled with a longing to seek inspiration.Zh: 魏是一名热爱大自然的摄影师，这次来到九寨沟，他希望捕捉一只曾在某张照片中一瞥的罕见鸟儿。En: A nature-loving photographer, Wei hoped to capture a rare bird glimpsed in a past photograph during this visit to Jiuzhaigou.Zh: 他曾一度认为，那是个遥不可及的梦想。En: He once thought it was an unattainable dream.Zh: 与魏同行的朋友，李和小，则陶醉于山间小道上的小摊位，搜罗着各种各样的纪念品。En: Accompanying Wei were his friends, Li and Xiao, who were engrossed in the small stalls along the mountain paths, collecting various souvenirs.Zh: 春天不是旅游旺季，但仍有许多游客四处观光。En: Spring is not the peak tourist season, yet many visitors were sightseeing.Zh: 李指着一个摊位说：“我们去看看那边的木雕吧，也许能找到好东西。”En: Li pointed to a stall and said, "Let's check out those wood carvings over there; maybe we'll find something good."Zh: 小也点头赞同，兴奋地说道：“我想为家人买个特别礼物。”En: Xiao nodded in agreement, excitedly saying, "I want to buy a special gift for my family."Zh: 尽管热爱摄影，魏也想找到一个纪念品，纪念这次旅行中的美好瞬间。En: Despite his passion for photography, Wei also wanted to find a keepsake to remember the beautiful moments of this trip.Zh: 然而，拥挤的人群让他难以专注。En: However, the crowded people made it hard for him to focus.Zh: 每当他快要找到完美的拍摄角度时，游客们的身影总是遮挡着景色，让他心焦不已。En: Whenever he nearly found the perfect shooting angle, tourists would obstruct the view, causing him impatience.Zh: 魏决定改变策略。En: Wei decided to change his strategy.Zh: 他告诉李和小：“明天我想早点起来，走不同的路，也许能找到更多惊喜。”En: He told Li and Xiao, "Tomorrow, I want to get up early and take a different path. Maybe I'll find more surprises."Zh: 第二天清晨，魏背起相机，趁着露水未干，独自踏上小径。En: The next morning, Wei shouldered his camera, and while the dew was still fresh, set off alone on the path.Zh: 山间寂静无声，只有鸟儿在枝头鸣唱。En: The mountains were silent, with only birds singing on the branches.Zh: 魏的内心宁静而满足。En: Wei felt a peaceful and contented heart.Zh: 当魏走到一处小摊位时，意外的事情发生了。En: When Wei reached a small stall, something unexpected happened.Zh: 他驻足在一个手工木雕摊前，看到一个小而精美的木雕小鸟，栩栩如生。En: He stopped at a handmade wood carving stall and saw a small, exquisite wooden bird carving, lifelike and vivid.Zh: 就在这一时，阳光洒在摊位边的树枝上，魏惊奇地看见那只罕见的鸟儿，它的羽毛在晨光中熠熠生辉。En: At that moment, sunlight spilled onto the branches by the stall, and Wei was amazed to see that rare bird, its feathers gleaming in the morning light.Zh: 魏屏住呼吸，将相机举起，终于拍下了这激动人心的一幕。En: Holding his breath, Wei raised his camera and finally captured the thrilling scene.Zh: 他心花怒放，满怀感激。En: He was overjoyed and full of gratitude.Zh: 魏买下了那只木雕鸟，觉得它完美地象征着这次邂逅。En: Wei purchased the wooden bird, feeling it perfectly symbolized this encounter.Zh: 魏学会了，有时幸福和宁静来自意料之外的时刻。En: Wei learned that sometimes happiness and tranquility come from unexpected moments.Zh: 他感觉心灵被丰富的经历填满，带着那份意外的馈赠离开了九寨沟，满怀对未来旅程的期待和新生活的热情。En: He felt his soul enriched by the experience and left Jiuzhaigou with that unexpected gift, full of anticipation for future journeys and a renewed passion for life. Vocabulary Words:flickered: 闪烁subtle: 淡淡fragrance: 清香longing: 渴望unattainable: 遥不可及engraved: 陶醉souvenirs: 纪念品obstruct: 遮挡impatience: 心焦strategy: 策略shouldered: 背起dew: 露水contented: 满足exquisite: 精美lifelike: 栩栩如生vivid: 熠熠生辉gleaming: 闪光thrilling: 激动人心gratitude: 感激tranquility: 宁静unexpected: 意料之外enriched: 丰富anticipation: 期待journeys: 旅程renewed: 新生活的热情paradise: 天堂capture: 捕捉glimpsed: 一瞥rare: 罕见shouldered: 背起

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 409 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: W. Eugene Smith: Shadow and Substance - The Life and Work of an American Photographer: Jim Hughes, 1989. Gene Smith's Sink: A Wide-Angle View - Sam Stephenson, 2017. Minamata (2020) theatrical trailer https://www.youtube.com/watch?v=hOXN6zgNwfk W. Eugene Smith: Photography Made Difficult (1989) https://www.youtube.com/watch?v=E3nNDOrJWjA W.Eugene Smith: The Camera as Conscience (1998) Thames & Hudson 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-moscow-murders-and-more--5852883/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-epstein-chronicles--5003294/support.

This week, Wes and Todd talk with Photographer, Bailey Russel. Bailey talks about teaching photography at the University of Wyoming, his art related experience before teaching, wet plate collodion, getting his M.A. from NYU in conjunction with the International Center of Photography, Vera Lutter, what made him want to become a photographer, Emmet Gowin, camera obscuras & the process, the Sesquicentennial Colorado River Exploring Expedition, his trailer camera, chemigrams, cyanotypes & his series on energy production, and his solo exhibition, “Western Extraction”, at Bitfactory Gallery.Join us for an informative and fascinating conversation with Bailey Russel!Check out Bailey's work at his website https://baileyrussel.wordpress.comFollow Bailey on social media:Instagram - www.instagram.com/bailey_russel/ - @bailey_russel Check out Bailey's solo exhibition, “Western Extraction”, at Bitfactory Gallery through March 14th, 2026For more information go to www.bitfactory.netSend a text Follow us on Instagram: @tenetpodcast - www.instagram.com/tenetpodcast/ @wesbrn - www.instagram.com/wesbrn/ @toddpiersonphotography - www.instagram.com/toddpiersonphotography/ Follow us on Facebook: www.facebook.com/TenetPodcast/ Email us at todd@toddpierson.com If you enjoyed this episode or any of our previous episodes, please consider taking a moment and leaving us a review on your favorite podcast platform. Thanks for listening!

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 rigorously respond to listeners questions and comments concerning Instagram for photographers. Mentioned in this episode: Ezra Klein podcast https://overcast.fm/+AAoiPULZ3V4 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 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

HT2550 - The Best Way to Add Value to Your Photographic Artwork Not everyone is pursuing the sale of their photographic artwork, but it's also not uncommon. The foundation of this pursuit is to try to build value into your artwork. If history teaches us anything, there are two keys to building value in your artwork: produce your prints prior to 1975; be sure you died in the 20th century. Both are difficult tasks here in 2026, but at the very least, announce you are not feeling well and you fear your art producing days are limited. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

Send a textWelcome back to Photographic Connections with Kim Grant.After some time away from the microphone, the podcast returns for a third series and this one brings something a little different.What's New in Series Three?This season features an eight-part series of conversations, but instead of interviewing well-known photographers, Kim sits down with eight of her own clients.Over the winter months, Kim hosted a three-and-a-half-month online community experience called the Winter Wellness Club — a space dedicated to mindful photography during the darkest (and often hardest) months of the year. Through this experience, she reconnected with long-time clients and built meaningful relationships with new ones.One thing became clear: everyone has a story to tell.And many of the most inspiring photographic journeys come from everyday people who have discovered what owning a camera helps them see, feel, and experience.What You Can Expect?Across the next eight episodes, you'll hear:How each guest first discovered photographyWhat inspires them to pick up their cameraWhat they most enjoy photographingHow photography shapes the way they see the worldThe impact mindful photography has had on their wellbeing and personal journeyAt the end of every episode, each guest shares practical exercises, techniques, or advice, so you won't just be inspired, you'll walk away with ideas to try yourself.Why This Series MattersPhotography isn't just about technical skill or recognition. It's about connection — to ourselves, to others, and to the world around us.This series is a reminder that meaningful creative journeys belong to all of us.---Sign up for FREE Mindful Photography Guide: https://kimgrant.net/mindful-photography-guide Upcoming workshops and courses: https://www.kimgrant.net/ Follow the Photographic Connections journeyInstagram: http:/www.instagram.com/photographicconnectionsFollow Kim's photography journey YouTube: http://www.youtube.com/@kimgrantphotographyInstagram: http://www.instagram.com/kimgrantnetMusic by Mark RobinsonSong: A Thousand LifetimesWebsite: http:/www.markrobinsonmusic.comYouTube: https://www.youtube.com/@MarkRobinsonMusic

In this week's episode photographer Pete Souza 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. Pete Souza is a best-selling author, speaker and freelance photographer. He started his career working for two small newspapers in Kansas. From there, he worked as a staff photographer for the Chicago Sun-Times;  an Official Photographer for President Reagan; a freelancer for National Geographic  and other publications; the national photographer for the Chicago Tribune based in their Washington, D.C. bureau; and an assistant professor of photojournalism at Ohio University. While at the Tribune, Souza was part of the staff awarded the Pulitzer Prize in 2001. After 9/11, he was among the first journalists to cover the fall of Kabul, Afghanistan. In 1992, Souza published, Unguarded Moments: Behind-the-Scenes Photographs of President Reagan, based on his 5 1/2 years in the Reagan White House. Souza was also the official photographer for the 2004 funeral of President Reagan. His 2008 book, The Rise of Barack Obama, includes exclusive photographs of Obama's rise to power. For all eight years of the Obama administration, Souza was the Chief Official White House Photographer and the Director of the White House photo office. His book, Obama: An Intimate Portrait, was published in 2017. His 2018 book, Shade: A Tale of Two Presidents, tells the tale of the Obama and Trump administrations. In 2021, Souza was inducted into the International Photography Hall of Fame. In 2022, he was honored with the Lifetime Achievement Award from the Professional Photographers of America. Based on his best-selling books, Souza became the subject of a documentary film in 2020, The Way I See It. The film was nominated for an Emmy. Souza's most recent photography book, The West Wing and Beyond: What I Saw Inside the Presidency, was published in 2022. He has won numerous photojournalism awards and had solo exhibits of his photographs at numerous galleries. He is also Professor Emeritus of Visual Communication at Ohio University. www.petesouza.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 the start of our 11th year, episode 572 of The Perceptive Photographer, I dive back into a often discussed topic that every photographer eventually faces: conflicting critique. It is bound to happen to all of us. That moment when two thoughtful people look at the same photograph and see completely different things. One person calls it powerful and restrained. Another calls it distant and unresolved. Same image. Same moment. Completely different reactions. When that happens, it can shake your confidence. So I thought we might try to unpack why critique in a slightly different way and remind everyone at the start of this 11th year that not all feedback lives at the same level. Some comments are about taste. Others are about craft. And sometimes the disagreement reveals something deeper about seeing in the image. After all meaning isn't owned solely by the photographer. It's created in the encounter between the image and the viewer. My goal this week was to share a simple framework to help you filter critique: How does it relate to your original intent? Is it about structure or preference? Does it resonate when you sit quietly with your work? Most importantly, I explore how you can separate your identity from your photographs so that feedback becomes useful instead of personal. If you're navigating disagreement in your own work or with feedback from more than one source, I hope that you can think about critique not as contradiction, but as clarity emerging through differences. After all the goal isn't consensus, It's understanding.

TRIGGER WARNING: Detailed allegations of sexual abuse and crimes against women, girls, and children. While Americans watch other countries begin to take action against predators named in the Epstein files, many are beginning to realize just how long we've been groomed by abusers with substantial influence over our formative years. As our mainstream news channels amplify victim blaming and shaming, even in the face of blatant pedophilia, they make clear the dedication of the 1% to keep their greedy grasp on the status quo. To that end, this pod covers several victim statements, legal filings, and FBI Tip Line submissions that confirm sadistic crimes against children and once again notes the same famous names as primary co-conspirators. Additionally, it covers emails from Epstein's inbox that describe steps he took, and familiar names he worked with, in reaction to victims speaking out. Then, an email not really about shrimp ties several different threads together and makes sense of previous topics. People around the world continue to act accordingly based on what the files reveal, all as America comes to terms with the tribal vitriol of our two party system that seems to have been designed to thwart any meaningful resistance.Check your voter registration, find your polling location, or contact your representatives via USA.GOV, VOTE.GOV, and/or the "5 Calls" app. All opinions are personal and not representative of any outside company, person, or agenda. This podcast is hosted by a United States citizen, born and raised in a military family that is proud of this country's commitment to free speech. Information shared is cited via published articles, legal documents, press releases, government websites, executive orders, public videos, news reports, and/or direct quotes and statements, and all may be paraphrased for brevity and presented in layman's terms."I never have been in despair about the world. I've been enraged by it. I don't think I'm in despair. I can't afford despair. I can't tell my nephew, my niece. You can't tell the children there's no hope." - James Baldwin Wanna support this independent pod? Links below:Patreon - https://www.patreon.com/cw/BBDBBuyMeACoffee - https://www.buymeacoffee.com/BBDBVenmo @TYBBDB Hosted on Acast. See acast.com/privacy for more information.

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://gagosian.com/exhibitions/2026/nan-goldin-the-ballad-of-sexual-dependency https://gagosian.com/exhibitions/2026/richard-avedon-facing-west/ www.npg.org.uk/whatson/exhibitions/2025/taylor-wessing-photo-portrait-prize/ https://website-artlogicwebsite0087.artlogic.net/viewing-room/69/ 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 2025

HT2533 - Congratulations On Your Photographic Skill Do we admire Dickens for his extensive vocabulary? Do we admire Beethoven because of his chord progressions? Do we applaud the work of Ansel Adams because of his masterful use of depth of field? I've thought for years that if someone compliments my photographic technique the photograph has failed entirely. Tools and techniques are not supposed to be noticed accept perhaps by students and academics. This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process.

Carell Augustus is a professional photographer whose career has taken him around the world to shoot some of the biggest stars on the planet. His celebrity clients have included Viola Davis, Beverly Johnson, Mariah Carey, Elizabeth Banks, Pierce Bronson, Meghan Markle, Serena Williams, Snoop Dogg, Paris Hilton, and more. He is also an author. Carell spent 10 years making his dream project come true. That dream was to reimagine famous Hollywood movie roles with black actors, with his coffee table book, “Black Hollywood: Reimagining Iconic Movie Moments.” This interview not only covers how he pulled off such an amazing product, but also the inspiration and drive to make it happen … no matter what. An L. Ron Hubbard essay on photography was also discussed, and how it applies to successful photography. Learn more at www.carellaugustus.com

In episode 405 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 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 talk about the past present and future of Instgram for photographers. Mentioned in this episode: https://www.instagram.com/p/DS7pz7-DuZG/?utm_source=ig_embed&ig_rid=7dce65f3-a428-4e8e-9c20-99bc26bb5cd8&img_index=1 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 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 this episode Andrew and Danny chat about what a photographic safari guide actually does, and why it's basically the same job as being a golf caddie.They talk about what a photographic safari guide actually does by comparing it to being a golf caddie. A caddie knows the course, understands equipment, thinks ahead, reads conditions, and coaches their player. They do the same thing. They know animal behavior, understand cameras, anticipate what's coming, position the vehicle right, read light and wind, and coach guests on their settings. It's about preparation and trust. When guests get great shots, that's the win - they're happy in the background.Visit the Wild Eye website: https://wild-eye.com

From X-Rays to Motion Pictures: Expanding the Photographic Medium — Anika Burgess — Burgess traces the expansion of photographic technology beyond conventional image capture. She examines Alice Austin's intimate and playful photographs documenting her social circle with candid authenticity. The discovery of X-rays by Wilhelm Röntgen was rapidly branded as "the new photography" or "shadow photography," adopted swiftly for both entertainment and medical diagnostic applications despite practitioners possessing no understanding of severe radiation hazards. Burgess concludes with Paul Martin's candid street photography using concealed cameras hidden within top hats and Eadweard Muybridge's sequential motion studies, which directly enabled the invention of motion pictures. 1903 FRANCE