Podcasts about photographic

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-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

Kelli & Bob visit the Photo Antiquities Museum of Photographic History in Pittsburgh, the Glidden Homestead in DeKalb, Illinois, and more!

Kelli & Bob visit the Photo Antiquities Museum of Photographic History in Pittsburgh full 1772 Sun, 01 Mar 2026 21:00:00 +0000 ugEcB4XYofTuiwbgQ48jiYwpopyC0OJM society & culture Own the Road with Kelli and Bob society & culture Kelli & Bob visit the Photo Antiquities Museum of Photographic History in Pittsburgh Own the Road with Kelli and Bob is a collection of eclectic profiles, experiences and tips brought back by two longtime journalists who are on the perpetual road trip across the backroads of America. © 2025 Audacy, Inc. Society & Culture False https://

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

Gabriel O'Shaughnessy and John Butler from Drogheda Photographic Club dropped in with some of the members wonderful photographs, as the club picks up a major award on the world stage! Hosted on Acast. See acast.com/privacy for more information.

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

Fluent Fiction - Swedish: The Perfect Shot: Erik's Journey to Photographic Mastery Find the full episode transcript, vocabulary words, and more:fluentfiction.com/sv/episode/2026-02-16-08-38-20-sv Story Transcript:Sv: Stockholm Centralstation var fylld med liv.En: Stockholm Centralstation was filled with life.Sv: Resenärer skyndade förbi.En: Travelers hurried past.Sv: Högtalarna ropade ut nästa tågs avgång.En: The speakers announced the next train departure.Sv: Erik stod stilla mitt i allt kaos.En: Erik stood still in the midst of all the chaos.Sv: Hans kamera hängde runt halsen, nästan som en del av honom.En: His camera hung around his neck, almost like a part of him.Sv: Han kände kylan genom sin tjocka halsduk, men uppmärksammade det knappt.En: He felt the cold through his thick scarf, but hardly noticed it.Sv: Han tänkte bara på det perfekta fotot för tävlingen.En: He was only thinking about the perfect photo for the competition.Sv: Lena och Johan, Eriks vänner, pratade högljutt nära automaterna.En: Lena and Johan, Erik's friends, were talking loudly near the vending machines.Sv: De var uppspelta inför skolresan.En: They were excited about the school trip.Sv: Men Erik ville något annat.En: But Erik wanted something else.Sv: Han längtade efter att fånga ett ögonblick som verkligen skulle betyda något.En: He longed to capture a moment that would really mean something.Sv: Men allt runt honom verkade så rörigt.En: But everything around him seemed so messy.Sv: "Erik, kom igen!En: "Erik, come on!Sv: Vi är sena!"En: We're late!"Sv: ropade Johan och vinkade med biljetterna i handen.En: Johan shouted, waving the tickets in his hand.Sv: Erik log och vinkade tillbaka, men hans sinne var någon annanstans.En: Erik smiled and waved back, but his mind was elsewhere.Sv: Han kände att han behövde mer utrymme för att kunna se klart.En: He felt that he needed more space to be able to see clearly.Sv: Med ett djupt andetag beslutade han sig för att lämna sina vänner en stund.En: With a deep breath, he decided to leave his friends for a moment.Sv: "Jag kommer strax!"En: "I'll be right back!"Sv: ropade han.En: he shouted.Sv: Han trängde sig försiktigt genom folkmassan och bort från den huvudränna där människor jäktade fram och tillbaka.En: He carefully made his way through the crowd and away from the main thoroughfare where people bustled back and forth.Sv: Långsamt utforskade han stationens mer avlägsna hörn.En: He slowly explored the more distant corners of the station.Sv: Varje steg kändes som ett upptäcktsfärd, hans blick hela tiden fäst vid detaljerna i muren och de gamla tågskyltarna.En: Every step felt like a discovery, his gaze constantly fixed on the details in the walls and the old train signs.Sv: Plötsligt upptäckte han en plats där solen strålade genom de stora fönstren.En: Suddenly, he discovered a spot where the sun shone through the large windows.Sv: Ljuset skapade ett magiskt spel av skuggor och ljus på marmorgolvet.En: The light created a magical play of shadows and light on the marble floor.Sv: Erik stod där ett ögonblick, andrakänslan, medan kameran vilade i hans händer.En: Erik stood there for a moment, savoring the feeling, while the camera rested in his hands.Sv: Sedan, med en nyfunnen beslutsamhet, höjde han kameran och knäppte flera bilder.En: Then, with newfound determination, he raised the camera and snapped several pictures.Sv: Varje bild fångade något speciellt, men en av dem var perfekt.En: Each picture captured something special, but one of them was perfect.Sv: Solens strålar, fönstrens dekorationer och folkmassans avlägsna sorl i bakgrunden.En: The sun's rays, the decorations on the windows, and the distant murmur of the crowd in the background.Sv: Det var som om hela hans inre äventyr hade fått liv i den bilden.En: It was as if his entire inner adventure had come to life in that picture.Sv: När Erik återförenades med sina vänner, värmde känslan av framgång hans bröst.En: When Erik reunited with his friends, the feeling of success warmed his chest.Sv: Lena och Johan märkte hans nya glöd.En: Lena and Johan noticed his new glow.Sv: "Något speciellt?"En: "Something special?"Sv: frågade Lena nyfiket.En: Lena asked curiously.Sv: "Ja, faktiskt," svarade Erik med ett lugnt leende.En: "Yes, actually," Erik replied with a calm smile.Sv: Han visste att han hade fångat något unikt.En: He knew he had captured something unique.Sv: Något som speglade hans egen resa och modet att gå sin egen väg.En: Something that reflected his own journey and the courage to go his own way.Sv: I den stunden förstod Erik att hans styrka låg i hans tysta observation och viljan att våga trotsa sina rädslor.En: In that moment, Erik understood that his strength lay in his quiet observation and willingness to dare to face his fears.Sv: Foto var mer än teknik, det var att se bortom det uppenbara.En: Photography was more than technique; it was about seeing beyond the obvious.Sv: Och nu kände han sig redo för skolresan och allt den hade att erbjuda.En: And now he felt ready for the school trip and all that it had to offer. Vocabulary Words:departure: avgångamidst: mitt iscarf: halsdukcompetition: tävlingvending machines: automaternalonged: längtademessy: rörigtcrowd: folkmassanthoroughfare: huvudrännabustled: jäktadeexplored: utforskadedistant: avlägsnacorners: hörndiscovery: upptäcktsfärdgaze: blickfixed: fästwalls: murensigns: tågskyltarnarays: strålarshadows: skuggormarble: marmorgolvetsavoring: andrakänslandetermination: beslutsamhetsnapped: knäpptemurmur: sorlreunited: återförenadessuccess: framgångglow: glödjourney: resacourage: modet

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

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

Fluent Fiction - French: Finding Light: Luc's Photographic Journey in Winter's Embrace Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2026-02-05-08-38-20-fr Story Transcript:Fr: Sous un ciel gris et pesant, Luc, Emilie et Henri commençaient leur randonnée dans la forêt de Fontainebleau.En: Under a gray and heavy sky, Luc, Emilie, and Henri began their hike in the Fontainebleau forest.Fr: L'hiver recouvrait le paysage d'un voile blanc.En: Winter covered the landscape with a white veil.Fr: Une brume épaisse enveloppait les arbres, créant une atmosphère mystérieuse et silencieuse.En: A thick mist enveloped the trees, creating a mysterious and silent atmosphere.Fr: Luc, le photographe passionné, se sentait etouffé par les doutes.En: Luc, the passionate photographer, felt suffocated by doubts.Fr: Il voulait à tout prix capturer une image parfaite, une photo qui prouverait à lui-même que sa passion n'était pas vaine.En: He wanted at all costs to capture a perfect image, a photo that would prove to himself that his passion was not in vain.Fr: Emilie et Henri marchaient à ses côtés.En: Emilie and Henri walked by his side.Fr: Emilie, toujours enthousiaste et joyeuse, lançait des blagues pour détourner l'attention de la froideur ambiante.En: Emilie, always enthusiastic and cheerful, cracked jokes to divert attention from the cold ambient.Fr: Henri, plus réservé, savourait la tranquillité de la forêt.En: Henri, more reserved, savored the tranquility of the forest.Fr: Mais Luc avait l'esprit préoccupé.En: But Luc was preoccupied.Fr: Son appareil photo pendait à son cou, comme une promesse qu'il doutait pouvoir accomplir.En: His camera hung around his neck, like a promise he doubted he could keep.Fr: La forêt semblait sans fin, et le brouillard, épais, dévorait tout espoir de lumière.En: The forest seemed endless, and the thick fog engulfed all hope of light.Fr: « Ne t'inquiète pas, Luc », disait Emilie en lui tapotant l'épaule.En: “Don't worry, Luc,” said Emilie, patting him on the shoulder.Fr: « La forêt te réserve toujours des surprises. »En: “The forest always has surprises in store for you.”Fr: Mais Luc restait sceptique.En: But Luc remained skeptical.Fr: Les arbres, dépouillés de feuilles, formaient un réseau complexe de branches sombres contre la blancheur du ciel.En: The trees, stripped of leaves, formed a complex network of dark branches against the whiteness of the sky.Fr: Il marchait, luttant contre le vent glacial qui courait à travers la forêt.En: He walked, battling the icy wind that swept through the forest.Fr: Chaque pas semblait alourdi par le doute qui l'assaillait.En: Each step seemed weighed down by the doubt that assailed him.Fr: Alors qu'ils s'enfonçaient plus profondément dans la forêt, Luc s'arrêta soudain.En: As they delved deeper into the forest, Luc suddenly stopped.Fr: Un éclair d'intuition le poussa à quitter le sentier principal.En: A flash of intuition drove him to leave the main path.Fr: Il leva son appareil, ajusta l'objectif, espérant secrètement un miracle.En: He raised his camera, adjusted the lens, secretly hoping for a miracle.Fr: Le froid mordait ses doigts, mais il ignorait la douleur.En: The cold bit his fingers, but he ignored the pain.Fr: Soudain, tandis qu'ils atteignaient une petite clairière, le brouillard se fendit lentement.En: Suddenly, as they reached a small clearing, the fog slowly parted.Fr: C'était comme si la nature elle-même avait choisi ce moment pour se dévoiler.En: It was as if nature itself had chosen this moment to reveal itself.Fr: Devant eux s'étendait un paysage d'une beauté saisissante.En: Before them stretched a landscape of striking beauty.Fr: Les arbres, drapés de neige, se reflétaient dans un étang calme, créant un tableau parfait.En: The snow-draped trees were reflected in a calm pond, creating a perfect picture.Fr: Le soleil, timide à travers la brume, illumina la scène d'une lumière douce et dorée.En: The sun, shy through the mist, illuminated the scene with a soft golden light.Fr: Luc n'hésita pas.En: Luc did not hesitate.Fr: Il leva son appareil et prit le cliché.En: He raised his camera and took the shot.Fr: C'était le moment qu'il cherchait, un instant suspendu dans le temps.En: It was the moment he sought, an instant suspended in time.Fr: Le clic de l'appareil résonna comme une promesse tenue.En: The click of the camera resonated like a promise fulfilled.Fr: Rempli de joie, Luc rangea son appareil.En: Filled with joy, Luc put away his camera.Fr: Le doute s'était évaporé, balayé par la certitude qu'il avait enfin capté l'essence même de la forêt.En: The doubt had evaporated, swept away by the certainty that he had finally captured the very essence of the forest.Fr: Emilie et Henri, souriants, le félicitaient.En: Emilie and Henri, smiling, congratulated him.Fr: « Tu vois, la beauté était là, juste devant toi », dit Henri en tapotant l'épaule de Luc.En: “See, the beauty was there, right in front of you,” said Henri, patting Luc on the shoulder.Fr: Luc hocha la tête, une nouvelle confiance dans le regard.En: Luc nodded, a new confidence in his eyes.Fr: Il comprenait maintenant que la persévérance et la passion étaient ses alliées.En: He now understood that perseverance and passion were his allies.Fr: Tandis qu'ils rebroussaient chemin, Luc savourait la sérénité retrouvée.En: As they retraced their steps, Luc savored the regained serenity.Fr: La forêt de Fontainebleau, cette vaste étendue hivernale, lui avait offert plus qu'une simple photo ; elle lui avait redonné foi en lui-même.En: The Fontainebleau forest, this vast winter expanse, had offered him more than just a photo; it had restored his faith in himself.Fr: Et ainsi, en sortant de la forêt, Luc savait que chaque brouillard cache des merveilles prêtes à illuminer ceux qui ont le courage de chercher.En: And so, as they exited the forest, Luc knew that every fog hides wonders ready to illuminate those who have the courage to seek. Vocabulary Words:the sky: le cielthe mist: la brumethe atmosphere: l'atmosphèreenveloped: enveloppaitthe veil: le voilethe landscape: le paysagethe doubts: les doutesthe passion: la passionthe photographer: le photographethe branch: la branchethe wind: le ventthe promise: la promessethe intuition: l'intuitionthe lens: l'objectifthe miracle: le miraclebit: mordaitthe clearing: la clairièrethe pond: l'étangthe picture: le tableauthe light: la lumièresoft: doucethe scene: la scènethe shot: le clichéthe click: le clicthe essence: l'essencerewarded: récompenséthe serenity: la sérénitéthe fog: le brouillardthe courage: le couragethe wonder: la merveille

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

https://www.boydandkathyphotos.com

Why is it that we are driven to create art? Of course, there are hundreds, thousands, probably millions of reasons to create art – anything from personal motivations to causes that the artist supports or statements that need to be made. But there is one broad umbrella that most, if not all art falls under, I think. At its heart, art is made so that it can be enjoyed by others. Now, there is a problem with that, the enjoyment of others. And that problem is that we don't always make that connection with our audience at large. We work and we work until we have created things that we are personally proud of but when we show it to the world, it falls flat. Not an uncommon experience among photographers or artists of any kind – we all face rejection! Podcast Notes: https://www.moneymakerphotography.com/differences-photographic-public-perception/ Photography Clips Podcast: https://www.moneymakerphotography.com/podcast/ Music From the Doctor's Office: https://www.moneymakerphotography.com/music-from-the-doctors-office/

In this weeks episode we launch the new 'Proust Photo Quiz'. Friend of the podcast photographer Harry Borden is the first to take the questions on... The Proust Questionnaire is a set of questions answered by the French writer Marcel Proust. Proust answered the questionnaire in a confession album, titled An Album to Record Thoughts, Feelings, etc. The album 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. Harry Borden was born in New York and brought up on a farm in Devon in the South West of England. He studied photography at Plymouth College of Art and Design. Borden moved to London after graduation, where he worked as an assistant for the photographer Lester Bookbinder. He received his first commission from The Observer in 1994 and continued to work for the title until the present day photographing celebrities, musicians, creatives and politicians. Examples of Borden's work are held in the collections of the National Portrait Gallery, London and National Portrait Gallery, Australia and appeared regularly in Harpers & Queen, Vogue and The New Yorker. In June 2005, he had his first solo exhibition at the National Portrait Gallery, London titled Harry Borden: On Business which included 30 portraits of leading business leaders. In 2017 his book Survivor, A Portrait of the Survivors of the Holocaust was published having been shortlisted for the European Publishers Award for Photography in 2014. It was later judged among the 10 best photography books of 2018 by the Kraszna-Krausz Foundation. In 2021 his second book Single Dad was published by Hoxton Mini Press. He continues to work on a commissioned basis and on personal work, whilst also lecturing on the MA Professional Photography at Oxford Brookes University. Borden's YouTube channel which contains films made with his son Fred can be found at www.youtube.com/@fredandharryborden his photography at www.harryborden.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. Scott's book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on sale. © Grant Scott 2026

In episode 402 UNP founder and curator Grant Scott reflects 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 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), 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 episode 401 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 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

Fluent Fiction - Hindi: Capturing Joy: A Photographic Journey at Chowpatty Beach Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hi/episode/2026-01-11-08-38-20-hi Story Transcript:Hi: मुंबई के चटपटे जीवन से भरपूर चौपाटी बीच पर हलकी ठंड का अहसास हो रहा था।En: A gentle chill was being felt at Mumbai's lively Chowpatty Beach, full of excitement.Hi: मकर संक्रांति के अवसर पर आकाश रंग-बिरंगी पतंगों से सजा हुआ था।En: On the occasion of Makar Sankranti, the sky was adorned with colorful kites.Hi: परिवारों के चेहरों पर हर्षोल्लास की छटा थी।En: There was an aura of joy on the faces of families.Hi: बच्चे उछलते-कूदते हुए अपनी पतंगों को ऊपर उठा रहे थे।En: Children, jumping and frolicking, were lifting their kites high.Hi: ऐसे ही माहौल में करन और निशा अपने कैमरों के साथ विशिष्ट क्षणों की खोज में थे।En: In such an environment, Karan and Nisha were on the lookout for special moments with their cameras.Hi: करन, जो फोटोग्राफी को अपनी जिंदगी मानता था, आज थोड़ा तनाव में था।En: Karan, who considered photography his life, was a bit stressed today.Hi: उसे आने वाली फोटोग्राफी प्रदर्शनी के लिए एक शानदार तस्वीर चाहिए थी।En: He needed a stunning picture for an upcoming photography exhibition.Hi: मगर, भीड़-भाड़ और रंगीन माहौल ने उसे बलहीन कर दिया था।En: However, the crowd and colorful atmosphere had left him feeling powerless.Hi: दूसरी ओर, निशा अपनी चंचल आंखों से सामान्य दृश्यों में भी खूबसूरती तलाशने की कला जानती थी।En: On the other hand, Nisha knew the art of finding beauty in ordinary scenes with her lively eyes.Hi: "करन, क्यों ना हम कुछ पल के लिए तस्वीर खींचने के दबाव को भूल जाएं?En: "Karan, why don't we forget the pressure of taking pictures for a few moments?"Hi: " निशा ने मुस्कराते हुए सुझाव दिया।En: Nisha suggested with a smile.Hi: "कभी-कभी असाधारणता साधारणता में छिपी होती है।En: "Sometimes, extraordinariness is hidden in the ordinary."Hi: "करन ने गहरी सांस लेते हुए सहमति जताई।En: Karan took a deep breath and agreed.Hi: उन्होंने भीड़ का हिस्सा बनते हुए मानवता के सरल और सजीव क्षणों को कैमरे में कैद करना शुरू किया।En: They became part of the crowd and began to capture the simple and lively moments of humanity with their cameras.Hi: जैसे-जैसे समय बीता, सूर्य धीरे-धीरे ढलने लगा।En: As time passed, the sun began to set slowly.Hi: चारों ओर सुनहरी आभा फैल गई।En: A golden glow spread all around.Hi: अचानक करन की नजर एक अद्भुत दृश्य पर पड़ी।En: Suddenly, Karan's eyes fell upon a marvelous scene.Hi: एक छोटा बच्चा अपनी पतंग उड़ाते हुए खांटी खुशी से छलक रहा था।En: A small child, flying his kite, was brimming with pure joy.Hi: सूर्य की किरणें पतंग पर पड़कर अद्वितीय रंग बिखेर रही थीं।En: The sun's rays were falling on the kite, scattering unique colors.Hi: करन ने फुर्ती से कैमरा उठाया और वह क्षण कैद कर लिया, मानो समय थम गया हो।En: Karan swiftly picked up the camera and captured that moment, as if time stood still.Hi: निशा ने मौका न गंवाते हुए करन के चेहरे पर फैली प्रशंसा की झलक पकड़ी।En: Nisha didn't let the opportunity slip by and caught a glimpse of admiration spread across Karan's face.Hi: वे दोनों समझ गए थे कि असली खूबसूरती पल की अनायासता में ही छुपी होती है।En: Both understood that true beauty is hidden in the spontaneity of the moment.Hi: इस दिन के अनुभव से करन ने सीखा कि कभी-कभी सादगी में भी अद्वितीयता होती है, और वह अपनी नजरिए पर भरोसा करना सीखा।En: From the experience of that day, Karan learned that sometimes there is uniqueness in simplicity, and he learned to trust his perspective.Hi: निशा और करन ने चौपाटी बीच की इस यात्रा को अपने दिल में बसा लिया, जहां उन्होंने पेशेवर सफलता से ज्यादा अपनी दृष्टी की सच्चाई को समझा।En: Nisha and Karan cherished the Chowpatty Beach trip in their hearts, where they understood the truth of their vision more than professional success. Vocabulary Words:gentle: हलकीchill: ठंडlively: चटपटेadorned: सजा हुआaura: छटाfrolicking: उछलते-कूदतेstressed: तनाव मेंstunning: शानदारpowerless: बलहीनordinary: साधारणताextraordinariness: असाधारणताperspective: नजरिएspontaneity: अनायासताuniqueness: अद्वितीयताmarvelous: अद्भुतbrimming: छलक रहाscattering: बिखेर रहीswiftly: फुर्ती सेadmiration: प्रशंसाcherished: बसा लियाvision: दृष्टीmoment: क्षणhumanity: मानवताcapture: कैद करनाenvironment: माहौलflying: उड़ाते हुएglow: आभाglimpse: झलकtrust: भरोसाexhibition: प्रदर्शनी

In this special 400th episode UNP founder and curator Grant Scott looks back over the podcast's evolution from idea to reality, from shed to garage and from one man talking into a microphone to live events. Engaging in trans-Atlantic conversations and building an incredible archive of photographers thoughts on photography. Contributors to the mega mix in order of appearance: Tom Stoddart Daniel Meadows Alys Tomlinson Ilona Langbroek Ashleigh Coleman David Rothenberg The Guzman Harry Borden Fabio Ponzio Jason Langer Kenneth Jarecke Katherine MacDaid Jill Hannes Mark Klett Greg Marinovich Paul Lowe Anna Boyiazis Andrew Jackson Jeremy Nicholl Simon Roberts Yukari Chikura Polly Alderton Seamus Murphy Sirrka Konttinen Yael Martinez Venetia Dearden Derek Ridgers Dan Burn Forti David Eustace Julia Fullerton Batten JM Golding Stephen Dupont Tim Davis Robert Trachtenberg Ruth Lauer Manetti Richard Ansett Reuben Wu Pixy Liao Paul Russell Mona Kuhn Melissa Breyer Buku Sarker Chris Floyd Alys Tomlinson Aaron Turner AD Coleman Brian Griffin Claire Thomas Cathal McNaughton Craig Easton Dafydd Jones Danna Singer Ed Kashi Jim Mortram Daniel Meadows David Eustace Art Streiber Tom Oldham Clare Strand 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

Finding Your Photographic Voice with Craig Blacklock (Lake Superior, Style, Composition & Creative Freedom)   Please don't forget to rate and subscribe!

In this special episode, editor, writer and curator of photography Bill Shapiro, art director, creative director and lecturer Fiona Hayes and UNP founder and curator Grant Scott look back on 2025 and forward to 2026 reflecting on photo exhibitions, books, social media, publishing and the expectations of the Twenty First Century photographer. Bill Shapiro Bill Shapiro served as the Editor-in-Chief of LIFE, the legendary photo magazine. He was the founding Editor-in-Chief of LIFE.com, which won the 2011 National Magazine Award for digital photography. 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. 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. She currently divides her time between design consultancy for commercial clients, and lecturing. 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. 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 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 2025

In this special episode recorded at our A Photographic Life Live 2025 event at Oxford Brookes University Grant speaks with photographic historian Dr Michael Pritchard concerning the importance of creating an organised archive, making money from an archive and how to leave your archive for those who will inherit it. Dr Michael Pritchard Dr Michael Pritchard has a practical knowledge of studio and location photography, darkroom processing and printing, and digital photography.  He joined Christie's, the fine art auction house, as a photography specialist in 1986 and grew auctions of cameras and photographic equipment and associated material, setting many world auction records. He was also an auctioneer, and became a Christie's Director and International Business Director for collectibles across the company. In 2007 he became a consultant for Christie's working on a new cataloguing and property control system. He also undertook a PhD in history of photography between 2007 and 2010. His thesis examined photographic manufacturing and retailing from 1839-1914.  He has taught history of photography at MA level at De Montfort University and catalogued and organised the Kodak Historical Collection at the British Library for public access. Pritchard was recruited to the Royal Photographic Society (RPS) in 2011 as Chief Executive, becoming Director of Programmes from 2018-2023. During his tenure he brought a renewed public profile for the RPS  and oversaw an expansion in its public activities, not least growing its membership to the largest in its history. In 2024 he established his own consultancy. He continues to support the RPS. Pritchard continues to actively research the history of photography and regularly delivers conference papers and publishes across the field. He edits the British Photographic History blog and The PhotoHistorian. His knowledge is regularly sought and he shares his expertise and knowledge of photography and its history with other academics and institutions, students, collectors and the general public.  He gives regular talks and has broadcast on a wide range of photographic subjects. His most recent book is A History of Photography in 50 Cameras (Bloomsbury).  https://mpritchard.squarespace.com Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work zas 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 February 2024. © Grant Scott 2025

Oliver's monologue on a Thursday.

In this special episode recorded at our A Photographic Life Live 2025 event at Oxford Brookes University Grant speaks with photographer and filmmaker Chris Floyd focusing on his approach to the photographic portrait, and the physical, spiritual and mental requirements of photographing celebrities. Chris Floyd Chris Floyd is a British photographer and film maker.  His photographic work has appeared in some of the world's most highly respected publications, including Vogue, Vanity Fair, The New Yorker, Harpers Bazaar, GQ, Esquire, The New York Times Magazine, The Sunday Times Magazine and Wallpaper* among others. In April 2021 Floyd was commissioned by The Duke and Duchess of Cambridge to photograph them at Kensington Palace in London in honour of their tenth wedding anniversary. In 2022 he published his first monograph dedicated to the broad sweep of his career 'NOT JUST PICTURES' is a 320 page volume, of portraits, with 60 pieces of written text that tell the stories behind some of his favourite pictures. Floyd has produced commercial work for Apple, Avis, Berry Bros. & Rudd, Glenfiddich, Haleon, Open University, Philips, Sony, The National Lottery, and Virgin Radio. As a director he has produced moving image work for Avis, BMW, Anthropologie, Nissan, Mr Porter, Sleaford Mods, The Smithsonian, Space NK, UBS, and Virgin Radio. www.chrisfloyd.com Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work zas 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 2025

Sadly Groden's website is no longer up, so best optiion to purchase is Amazon....Amazon Link - https://a.co/d/1sQDGgxBBB&JOEBBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-lone-gunman-podcast-jfk-assassination--1181353/support.

In this special episode recorded at our A Photographic Life Live 2025 event at Oxford Brookes University Grant speaks with photographer and filmmaker focusing on her dedication to the long form project, her film Mother Vera and the the need for dedicated research when building a body of work. Alys Tomlinson Tomlinson was born and grew up in Brighton, UK and studied English, literature and communications at the University of Leeds.After graduating in the mid-1990s, she moved to New York City for a year, where she undertook her first commission as a photographer, shooting all the pictures for the Time Out Guide to the city. She returned to London to study photography at Central Saint Martins College of Art and Design and later completed a part-time MA in the anthropology of travel, tourism and pilgrimage at SOAS University of London. During each of several later trips to New York City over four years, she walked the 14 mile length of Broadway, first in full taking 10 hours then in sections, and making street portraits. This resulted in the book Following Broadway (2013). Tomlinson's book Ex-Voto (2019) documents ex-voto (votive offerings made to a saint or to a divinity) left at several European destinations of Christian pilgrimage: the Sanctuary of Our Lady of Lourdes, France; Ballyvourney, Ireland; and the Grabarka Holy Mount in Podlaskie Voivodeship, Poland, close to the border with Belarus. Tomlinson's film Mother Vera, accompanies her Ex-Voto work. https://www.motherverafilm.co.uk Lost Summer (2020) is a book of black and white portraits of young people aged between 15 and 19 in north London. With the cancellation of final exams and ritual events such as proms and graduations due to the COVID-19 pandemic, Tomlinson photographed her subjects in the outfits they would have worn to prom, in their gardens and local parks. Her latest project Gli Isolani (The Islanders) was published by GOST Books in 2022. Alys's work is collected privately and is in the following collections: National Portrait Gallery (London), The Rencontres d'Arles Collection, The Bodleian Library, AmberSide Collection. https://alystomlinson.co.uk Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work zas 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 February 2024. Image: Vera by Alys Tomlinson © Grant Scott 2025

In this special episode Grant shares his personal memories of photographer Martin Parr and reflects on his influence on contemporary documentary photography. Martin Parr Born in Epsom, Surrey, Parr wanted to become a documentary photographer from the age of fourteen and cited his grandfather, George Parr, an amateur photographer and fellow of the Royal Photographic Society, as an early influence. However, it was not until he was introduced to the work of Tony Ray Jones by Creative Camera and Album editor and writer Bill Jay (www.youtube.com/watch?v=wd47549knOU&t=74s) at a talk whilst Parr was studying photography at Manchester Polytechnic that he identified how his career as a photographer would develop within documentary practice. Parr studied photography at Manchester Polytechnic from 1970 to 1973 with contemporaries Daniel Meadows and Brian Griffin.  Parr and Meadows collaborated on various projects,including working at Butlin's holiday camps as roving photographers. They were part of a new wave of documentary photographers, and the 'New British Photography'. In 1975 Parr moved to Hebden Bridge in West Yorkshire where he would complete his first body of work and spent five years photographing rural life in the area. He photographed in black-and-white, creating his series The Non-Conformistswas widely exhibited at the time and published as a book in 2013. In 1980 Parr married Susan Mitchell and, for her work, they moved to the west coast of Ireland where he set up a darkroom in Boyle, County Roscommon. In 1982 they moved to Wallasey, England, and he switched permanently to colour photography. During the summers of 1983, 1984 and 1985 he photographed working-class people at the seaside in nearby New Brighton. This work was published in the book The Last Resort: Photographs of New Brighton (1986) and exhibited in Liverpool and London. He and his wife moved to Bristol in 1987, and he began his next major project, on the middle class, who were at that time becoming increasingly affluent under Thatcherism. He photographed middle-class activities such as shopping, dinner parties and school open days, predominantly around Bristol and Bath which was published as his next book The Cost of Living (1989). Between 1987 and 1994 Parr travelled internationally to make his next major series, a critique of mass tourism, published as Small World in 1995. Between 1995 and 1999 he made the series Common Sense about global consumerism. Common Sense was an exhibition of 350 prints, and a book published in 1999. The exhibition was first shown in 1999 and was staged simultaneously in forty-one venues in seventeen countries. Parr joined Magnum Photos as an associate member in 1988. The vote on his inclusion as a full member in 1994 was divisive, with Philip Jones Griffiths circulating a plea to other members not to admit him. Parr achieved the necessary two-thirds majority by one vote. Alongside his photography he was a passionate collector and critic of photobooks. His collaboration with the critic Gerry Badger, The Photobook: A History (in three volumes) covers more than 1,000 examples of photobooks from the 19th century through to the present day. The first two volumes took eight years to complete. The Martin Parr Foundation was founded in 2014 and opened in Bristol in 2017. The Foundation houses Parr's own archive, and his collection of prints and book dummies made by other photographers—mainly British and Irish photography, and work by several photographers from abroad who have photographed in the UK. There is a gallery open to the public—its first exhibition was Parr's Black Country Stories —and it is a hub for talks, screenings and events. Parr was the Foundation's main source of income. He was diagnosed with cancer in May 2021, and died at his home in Bristol on 6 December 2025. https://martinparr.com ©Grant Scott 2025

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 reflects on his recent trip to Paris Photo, whilst he and Grant lock horns over AI and agree about the importance of experts. Mentioned in this episode: Jack Davison www.jackdavison.co.uk Marie-Laure de Decker www.mep-fr.org/en/event/marie-laure-de-decker-3/ Nino Migliori www.keithdelellisgallery.com/artists/nino-migliori Erica Lennard https://ericalennardphotography.com Fred Herzog www.equinoxgallery.com/our-artists/fred-herzog/ Emma Hartvig www.emmahartvig.com Kit Young www.kityoung.co.uk Henry O. Head www.henryohead.com Michael Wolf https://photomichaelwolf.com The Hulett Collection https://thehulettcollection.com Louis Stettner https://louisstettner.co Todd Webb www.toddwebbarchive.com Phillip Toledano https://mrtoledano.com Sean Scully www.tate.org.uk/art/artists/sean-scully-1917 Paul Strand www.icp.org/browse/archive/constituents/paul-strand www.bluephoto.co 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 2025

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

Send us a textLowell Johnson Returns In this conversation, Gareth Duignam and Lowell Johnson discusses the Stunning Evidence and the  reality of contact with higher vibrational experiences and the importance of awareness in recognizing these phenomena. They emphasizes that Light Beings Caught on Camera at Mt Shasta and genuine experiences are available to those who are attuned to them and that many people are not yet aware of this potential. Watch on Youtube https://www.youtube.com/watch?v=HcGNJe2Z6G0Watch Part 1  https://www.youtube.com/watch?v=V4bvAH08mu8Spiritual Awakening and Energy Healing: The podcast explores the journey of spiritual awakening and energy healing, featuring discussions on personal experiences and insights.Mount Shasta and Mystical Experiences: The conversation includes stories about Mount Shasta, its mystical cloud formations, and the experiences of visitors who have witnessed unusual phenomena.Lemurian Civilization and Inner Earth Cities: The discussion touches on the Lemurian civilization believed to reside within Mount Shasta and the concept of inner earth cities.Crystal Skulls and Akashic Records: The podcast delves into the mystery of crystal skulls, their origins, and their connection to Akashic records and ancient knowledge.Light Beings and Energetic Phenomena: Experiences with light beings and other energetic phenomena are shared, highlighting personal encounters and the significance of these events.Audience Engagement and Podcast Growth: The podcast's growth and audience engagement are discussed, emphasizing the impact of previous episodes and the importance of viewer interaction.

In episode 394 UNP founder and curator Grant Scott is in his shed reflecting on the big and small things that impact on the everyday engagement we all have with photography. Mentioned in this episode: https://jeanloupsieff.com www.corinneday.com www.rankinphoto.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 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. Scott's book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on sale. © Grant Scott 2025

How good is your memory? Are you more 'memory like a sieve'? Photographic or somewhere in the middle? And have you ever wondered why that is? 

Not quite a wedding, but 3000 photos later … more close than you might guess.

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://thephotographersgallery.org.uk/whats-on/boris-mikhailov-ukrainian-diary www.npg.org.uk/whatson/exhibitions/2025/cecil-beaton/ https://www.youtube.com/watch?v=rLjkQyp2Bjk www.saatchigallery.com/exhibition/futurespective 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

In episode 392 UNP founder and curator Grant Scott is in his shed reflecting on the big and small things that impact on the everyday engagement we all have with photography. Mentioned in this episode: Huger Foote https://hugerfoote.com Gille Tapie www.fashionmodeldirectory.com/photographers/gilles-tapie/ Dewey Nicks https://deweynicks.com Javier Vallonrat www.mfilomeno.com/artist/javier-vallhonrat/gallery/commercial-2/ Michel Momy https://michelmomy.photography/?photo=0 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. Scott's book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on sale. © Grant Scott 2025

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 they throw quotes from famous photographers at each other and reflect on the meanings of those quotes. 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. 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

Austin Mann shares his iPhone 17 Pro camera review in the Dolomites, in-depth explanation of Photographic Styles, benefits of 4x 48MP Telephoto, and how you can take better photos with iPhone.------------------------------Links from the showiPhone 17 Pro Camera Review: Dolomites — Travel Photographer - Austin ManniPhone 17 Pro Camera Review - Austin Mann (4K) - YouTube10 Years of iPhone — Travel Photographer - Austin Mann — Travel Photographer - Austin Mann------------------------------Send Us a Voice MemoWe want to hear from you! Send us a voice memo that may get played on the show! Click here to submit.------------------------------Show Notes via EmailSign up to get exactly one email per week from the Primary Tech guys with the full episode show notes for your perusal. Click here to subscribe.------------------------------Watch on YouTube!Subscribe and watch our weekly episodes plus bonus clips at: youtube.com/@primarytechshow------------------------------Join the CommunityDiscuss new episodes, start your own conversation, and join the Primary Tech community here: social.primarytech.fm------------------------------Support the showGet ad-free versions of the show plus exclusive bonus episodes every week! Subscribe directly in Apple Podcasts or here if you want chapters: primarytech.memberful.com/join------------------------------Reach out:Stephen's YouTube Channel@stephenrobles on ThreadsStephen on BlueskyStephen on Mastodon@stephenrobles on XJason's Inc.com Articles@jasonaten on Threads@JasonAten on XJason on BlueskyJason on Mastodon------------------------------We would also appreciate a 5-star rating and review in Apple Podcasts and SpotifyPodcast artwork with help from Basic Apple Guy.Those interested in sponsoring the show can reach out to us at: podcast@primarytech.fm (00:29) - Evolution of iPhone Cameras (04:36) - Photographic Styles (15:03) - iPhone 17 Pro 4x Lens (25:02) - iPhone Air vs Pro Camera (27:28) - Camera Control (30:05) - iOS 26 Photos App (38:03) - Choosing Pro vs iPhone Camera (40:35) - Apple Vision Pro (41:56) - Battery Percentage ★ Support this podcast ★

In 2010, photographer Brandon Stanton launched the Instagram account, "Humans of New York," which has over 12.8 million followers today. Fifteen years later, he has interviewed more than ten thousand people around the world. Stanton discusses his new collection of nearly five hundred full-color pages of portraits and stories, titled Dear New York.