Podcasts about Photography

Episode: 3244 Bias and Diversity in Photography and Face Recognition Software.  Today, bodies, in beautiful black and white.

HT2424 - Problematic Bokeh A peculiar property of a long focal length lens is that it can render a semi-distant object ever-so-slightly outside the depth of field. Instead of looking like a nicely out of focus area from a shallow depth of field, it can look like a poor performing lens that simply can't render those objects sharply. The only answer is to stop down to increase the depth of field. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

This is The Digital Story Podcast 1,023, October 28, 2025. Today's theme is, "The OM-3 Plus DxO PhotoLab 9 for My Upcoming Workshop." I'm Derrick Story. Opening Monologue One of the things I really like about next week's Sonoma County Fall Workshop is the sheer variety of subject material. Every day is something new - perfect for the versatile OM System OM-3. And I'm pairing up my mighty MFT with some serious processing software: DxO PhotoLab 9.1. The workflow is a lot easier than you'd think. I'll explain why on this week's TDS Photography Podcast. I hope you enjoy the show.

The Halloween 2k25 special! In this lengthy public/Patreon split episode, we talk Dave's recent trip to table-tipping and spirit photography boot camp at Lily Dale; obscure Czech films and seasonal pumpkin slashers; the nature and effects of paranormal experiences; poetry's spiritual dimension; Voynich; the thinning of the veil; and lots more!  Unlock all our exclusive episodes, written content and printed publications at  https://www.patreon.com/c/consensusunreality

Des Allemands qui défilent et arpentent en uniforme les rues parisiennes, parfois aux bras de Françaises… Ces photographies inédites du Paris de l'occupation sont rassemblées dans un album doté d'une présentation intrigante, qui invite à avoir « le courage de les examiner ». D'emblée, elles fascinent Philippe Broussard, directeur adjoint de la rédaction du Monde qui en perçoit la portée historique. Il se lance alors dans une quête qui va durer plus de quatre ans pour en retrouver l'auteur.Dans ce deuxième épisode de la série documentaire du podcast « L'Heure du Monde », Philippe Broussard raconte sa découverte au Musée de la Résistance nationale. Là, à Champigny-sur-Marne, se trouve une collection ressemblant étrangement à la sienne. Celle-ci est créditée : il s'agit d'un fond appartenant à un dénommé Daniel Leduc. Serait-ce le photographe inconnu qui aurait légué ses clichés pris pendant l'occupation ?Série documentaire écrite par Marion Bothorel et adaptée de l'enquête de Philippe Broussard. Réalisation : Amandine Robillard. Rédaction en chef : Adèle Ponticelli. Dans cet épisode : extraits de discours de Philippe Pétain prononcé le 30 octobre 1940 sur Radio Vichy, d'Adolf Hitler en 1940, du général de Gaulle prononcé le 6 juin 1940, d'une allocution de Paul Reynaud le 10 juin 1940 sur la RTF. Photographies issues de la collection personnelle de Stéphane Jaegle et Stéphanie Colaux.Retrouvez l'enquête de Philippe Broussard et sa suite inédite, ainsi qu'une centaine de photos, dans le livre « Le Photographe inconnu de l'Occupation » paru aux éditions du Seuil.Cet épisode a été diffusé le 28 octobre 2025. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

HT2423 - Roads Landscape photography is inextricably tied to roads. Even if we are hiking into rough terrain, we get to the trailhead via a road. Photographically, not all roads are equal. I've been tooling down the Interstates to get home and doing no photography along the way. For me, photography is always at its best when I'm traveling down a dirt road. If you are not familiar with them, you need to know about Delorme maps. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

LW1477 - The Problem with Location-Based Projects I've returned from my 2-months on the road and am starting the long process of reviewing the 3500 RAW captures. Almost immediately I divided the images into 43 potential projects, but then realized that all of them were location-based project ideas. There is a weakness in this that is not obvious. I call these types of projects "Portrait of a Place." They are easy to unify into a project, but there are alternatives that are often better. All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10. Instant access, terabytes of content, inspiration and ideas that expand daily with new content. Sign up for instant access! You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.

Hello Denimheads and welcome to the 47th episode of The Sons of Selvedge Podcast, where a group of friends get together to talk about denim and related interests. In this episode the founders interview Lennaert Nijgh of Benzak. Please subscribe to us wherever you enjoy our content: YouTube, Spotify, Apple, Google or Stitcher. Check us out on Instagram @‌sonsofselvedgepodcast. Give us a shout with any questions, or if you'd like to join our Discord Server. Photography by @‌illcutzBackground music by Yshwa (https://freemusicarchive.org/music/Yshwa)

Find more of my photos on PixelFed Read more on this topic: Paperwhites, Sherman Oaks, California [Photography] In The Garden: First Paperwhite 2025 [Photography] Canyon Sunflower, Leo Carrillo Beach, Malibu, California [Photography] Ornamental Pear Flowers, Sherman Oaks, California [Photography] Azalea 2023, Sherman Oaks, California [Photography]

Des Allemands qui défilent et arpentent en uniforme les rues parisiennes, parfois aux bras de Françaises… Ces photographies, rassemblées dans un album à première vue anodin trouvé sur l'étal d'une brocante gardoise, attirent immédiatement l'attention de Stéphanie Colaux, une productrice de documentaires.D'emblée, elle en perçoit la portée historique. D'autant que l'album est accompagné d'une fiche de présentation intrigante. Une main inconnue a écrit : « En juin 1940, un promeneur parisien s'est armé de son appareil photo pour fixer de nombreuses scènes de l'armée d'occupation. Il a pris de nombreux risques (…). Ce sont des témoignages souvent émouvants. Ayez le courage de les examiner. »Qui a pu prendre de telles photographies et, surtout, de tels risques ? Stéphanie Colaux se tourne alors vers Philippe Broussard, directeur adjoint de la rédaction du Monde, pour mener l'enquête.Dans cette série documentaire du podcast « L'Heure du Monde », Philippe Broussard raconte quatre années d'investigations dans les pas de ce photographe inconnu. Une quête qui, de son propre aveu, a tourné à l'obsession. Dans ce premier épisode, il évoque sa découverte de l'album photo et les premières pistes qu'il a explorées.Une série de Marion Bothorel. Réalisation : Amandine Robillard. Rédaction en chef : Adèle Ponticelli. Dans cet épisode : extraits d'interviews de Stéphanie Colaux et de l'historienne Françoise Denoyelle ; des discours de Philippe Pétain, prononcé le 30 octobre 1940 sur Radio Vichy, d'Adolf Hitler, en 1940, et du général de Gaulle, prononcé le 6 juin 1940 ; d'une allocution de Paul Reynaud, le 10 juin 1940, sur la RTF ; d'un reportage du 1er janvier 1945 et d'un défilé du 14 juillet 1932, diffusés par les Actualités françaises. Photographies issues de la collection personnelle de Stéphane Jaegle et Stéphanie Colaux.Cet épisode a été diffusé le 27 octobre 2025. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

A new exhibition here in Paris is exploring the talents of a man deemed one of the greats of French photography. Luc Delahaye worked in the 1990s covering major conflicts as a photojournalist including Afghanistan, Rwanda, Bosnia, the Gulf, Chechnya and Lebanon. Yet afterwards he decided he wanted to turn his attention more to art as he tried to explore new formats in his desire to produce larger images. "Luc Delahaye – Le bruit du Monde" or "The noise of the world" is on at the Musée du Jeu de Paume in Paris's Tuileries gardens. We spoke to the exhibition's curator Quentin Bajac in Perspective.

HT2422 - They All Come from Projects What most of us tend to show matted, framed, and hanging in a place of importance in our home are the very best images we've created. But where do these come from? My observation is that most of those super winners rise from the midst of a project and become super winners due to actions beyond our control. For example, Dorothea Lange made lots of pictures for the FSA, but Migrant Mother rose from the crowd to become iconic. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2421 - The Difficulty with Gray I've started to work on some of the images from my trip and in particular those from the Badlands of South Dakota. These are tricky images to process just right because of an unexpected issue. Light gray can look either alive or depressed depending on the surrounding mat board or digital background. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

Springsteen: Delvier Me from Nowhere was born in the U.S.A. and the rest of the world today. This has been one of my most anticipated movies of the back half of this year because I'm a big Bruce guy and I love Jeremy Allen White. The Bear is, without question, one of my favorite shows of the last couple of years and the idea of him playing The Boss was pretty awesome. The trailers ceetainly won me over and the pretty solid reviews out of the festivals have gotten me even more hyped. But, there is one elephant in the room: I am completely sick of these stupid and slight music biopics. Whetehr it was the Dylan movie, or the Elvis movie, all these movies have the same flaws and the same crowd that ends up really liking them. And I'm usually not a part of the latter. Is Springsteen an exception to that rule? Find out in this review!Springsteen: Deliver Me from NowhereWritten for the Screen and Directed by: Scott CooperBased on the book "Deliver Me from Nowhere" by Warren ZanesProduced by: Scott Cooper, Ellen Goldsmith-Vein, Eric Robinson, Scott StuberCo-Produced by: Richard Mirisch, Christopher SurgentExecutive Produced by: Tracey Landon, Jon Vein, Warren ZanesMusic by: Jeremiah FraitesDirector of Photography by: Masanobu TakayanagiEdited by: Pamela MartinCasting by: Francine MaislerProduction Design by: Stefania CellaCostume Design by: Kasia Walicka MaimoneCast: Jeremy Allen White, Jeremy Strong, Paul Walter Hauser, Stephen Graham, Odessa Young, Gaby Hoffmann, Marc Maron, David KrumholtzSynopsis: Bruce Springsteen, a young musician on the cusp of global superstardom, struggles to reconcile the pressures of success with the ghosts of his past.

Get a FREE Posing eBook from The Portrait System here: https://the-portrait-system.lpages.co/podcast-pose-funnel/Today's guest on this special re-release of Portrait System Podcast is Yagazie Eguare who runs a studio with a team of photographers in Lagos, Nigeria. Yagazie has a $2500 sales average, and this episode, she goes in depth about her journey and her business. If you want to learn about her unique story and get educated about the business of photography, then this podcast is for you!PODCAST LISTENER SPECIAL!! If you want to get started with the Portrait System, get a special discount using code “POD7” to get one month access for just $7 here https://theportraitsystem.com/pricing/IG https://www.instagram.com/theportraitsystem/YouTube https://www.youtube.com/c/theportraitsystemSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

HT2420 - Things or Moments Ask a photographer what it is they make pictures of and the chances are they will answer THINGS or perhaps PEOPLE. Perhaps, but more likely than not what they capture a moment, at least in their better photographs. I always try my best to remember this when I'm out photographing, like when I was at Shiprock last week. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

POP GOES PRINT—“Today, creativity feels like it's being squeezed into smaller and smaller boxes. Content is designed to chase likes, rack up views, serve a clear function—a purpose….we're here—to celebrate creativity for creativity's sake, no strings attached. Analog isn't dead; it's the new rebellion.”This manifesto is a part of a striking editorial in the first issue of Playground, a new magazine created out of Singapore by Pop Mart, the maker of the Labubu. I honestly never thought I would a) write that kind of sentence in my life, and b) understand it, but here we are. It's 2025! If  you're unfamiliar with PopMart you are unfamiliar with one of the largest creative companies in the world, one valued almost as much as Disney or Nintendo. Playground is an extraordinary editorial project, championed by creatives and executives in a company that claims its mission is to “light up passion” so that its brand can promote a “galaxy of creative possibilities.” Got all that? So by now you might be asking yourself a fundamental question: Why? Why this thing? And why print? Well, that same editorial anticipates this exact question:“So, why print? Because print makes you pause. You can't swipe past a paragraph in a magazine. You can't multitask while turning a page. Print demands your attention and invites you to linger, to savor, to think…So here it is: our first issue. Take your time with it. Flip through the pages, spill some coffee on it if you must. Just don't try to scroll.” Amen—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Attorney General Letitia James pleaded not guilty in Virginia today to federal charges brought by the Trump administration, setting up a high stakes political and legal fight between two longtime adversaries. Meanwhile, New York City voters will decide whether to move local elections to even-numbered years to coincide with presidential races and boost turnout. Also, WNYC's Ryan Kailath reports on a new museum on the Lower East Side celebrating a century old technology first unveiled in New York City.

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

In this show dedicated to the 10th edition of Also Known As Africa (AKAA), Dheepthika Laurent talks to Zimbabwean mixed-media artist Victor Nyakauru, known for being a “found-object” sculptor. He tells us why he is passionate about breathing new life into old objects and what messages he hopes to convey about environmental sustainability. Also on set: South African photographer and visual artist Gavin Goodman. He talks about his “Vela series” at AKAA, in which he blends African heritage with a minimalist perspective. Finally, we look ahead to Asia Now — the Parisian contemporary-art fair celebrating Asian art and artists at La Monnaie de Paris.

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HT2419 - Bad Light Yesterday I was photographing in the South Dakota badlands and had a moment when I thought, "This is really bad light." It took me a minute to remember my own advice that there is no such thing as good light or bad light. There is, however, light that doesn't serve our preconceived ideas. "Bad light" really means that we are imposing our will on what the landscape is giving us. In other words, there is no bad light, there are only bad expectations. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

Sean Tucker on Photography and Meaning, Protecting Highlights, Embracing Shadows, and Authentic Creating From Failure.Sean Tucker is a photographer, filmmaker, author, and public speaker from the UK. His YouTube channel, which has more than 600,000 subscribers, features videos about photography, creativity, and living a creative life.He is also the author of the highly acclaimed book The Meaning in the Making: The Why and How Behind Our Human Need to Create, which takes readers beyond craft to explore the deeper impulse behind creativity, including photography.Notable Links:Sean Tucker WebsiteSean Tucker InstagramSean Tucker YouTubeThe Meaning in the Making: The Why and How Behind Our Human Need to CreateThe War of Art by Steven Pressfield*****This episode is brought to you by Luminar Neo, an AI powered photo editor.Try Luminar Neo today at skylum.com, and use promo code "RICHARD" for a 15% discount, just for my listeners.*****This episode is brought to you by Kase Revolution Plus Filters. I travel the world with my camera, and I can use any photography filters I like, and I've tried all of them, but in recent years I've landed on Kase Filters.Kase filters are made with premium materials, HD optical glass, shockproof, Ultra-Low Reflectivity, zero color cast, round and square filter designs, magnetic systems, filter holders, adapters, step-up rings, and everything I need so I never miss a moment.And now, my listeners can get 10% off the Kase Filters Amazon page when they visit. beyondthelens.fm/kase and use coupon code BERNABE10Kase Filters, Capture with Confidence.

This week, I talk with someone who's been on my dream guest list since day one—Ami Vitale. Ami is a National Geographic photographer and filmmaker whose work has taken her from war zones to wildlife sanctuaries, always in pursuit of the deeper story. But this conversation goes far beyond her remarkable resume. We talk about how picking up a camera transformed her from a shy, introverted kid into one of the world's most powerful visual storytellers. Ami opens up about what it really means to bear witness, the emotional cost of telling the truth, and why she eventually turned her lens away from conflict and toward hope, healing, and our connection with the natural world. This episode is about dignity, presence, and the quiet leadership that comes from listening well and seeing clearly. I promise, you'll never look at a photograph the same way again. In this episode: (00:00) - Intro (03:06) - How picking up a camera gave Ami a voice (05:06) - Why introverts might see the world more clearly (06:21) - Knocking on doors with a camera (12:32) - Wanting to be a photographer—and being told “no” (16:27) - Leaving a steady job to bet on herself (23:30) - What war zones taught Ami about storytelling (29:26) - The moment Ami knew she had to walk away from war zones (38:08) - From grief to hope: finding a new kind of story (51:26) - The story that changed everything (59:42) - Why wildlife stories are human stories (01:07:22) - One image that moved the world: Steve Winter's P-22 (01:13:41) - Capturing moments with dignity and depth (01:15:59) - The relationships behind the photographs (01:25:51) - Reflecting on a life of good work (01:28:02) - Barrett on the fears and hopes behind Good Work Get full show notes and links at https://GoodWorkShow.com.Watch the episode on YouTube: https://www.youtube.com/@barrettabrooks.

In this episode, Matt and Laura chat with art educator on the topic of photography. Specifically, the role photography plays in art education, how she integrates both technical skills and creative expression when teaching, how photography helps students develop critical thinking and visual literacy skills, and practical tips for making photography accessible within any budget. Listen in to hear more from Susan!

Get your 2026 sorted with 1:1 business coaching packages from a one-off session to 6-months of coaching. Building a Sustainable Business: From Problem to 7-Figure Success with Sophie Kovic, founder of Seed and Sprout. In today's episode, you'll learn:• How to validate your business idea before investing• Using Amazon and Kickstarter to test and fund your product• Building authentic personal brand without perfectionism• Scaling from solo founder to hiring better people than you• Maintaining work-life balance while growing a product business• Staying true to your values during rapid growthA massive thank you to our sponsor and our fave AI tool, Poppy AI. Use FIONA at checkout for a discount Connect with Sophie and Seed & SproutInstagram: @sophiekovic | @seedandsproutco TikTok: @sophiekovic | @seedandsproutco Website: seedandsprout.com.auConnect with My Daily Business:Instagram: @mydailybusiness_TikTok: @mydailybusinessEmail: hello@mydailybusiness.comWebsite: mydailybusiness.comResources mentioned:How to Get Your Book Published course Join our AI Chat Group for small business ownersMy Daily Business courses - mydailybusiness.com/courses ⭐️ GET MORE TIME BACK with our fave AI tool that has saved us HOURS. Use Poppy AI and code FIONA for a discount ⭐️ Get your 2026 small business marketing, brand and AI systems sorted with 1:1 business coaching packages from a one-off session to 6-months of coaching. Build your personal brand and do something incredible for your small business with your own book. Learn how to land a publishing deal, write your book, launch and market it in our How to Get Your Book Published course and coaching program, kicking off soon. Need some inspiration and tips today? Check out our new book, Business to Brand: Moving from transaction to transformation now. Get started on a more successful and sustainable small business with our range of free tools at mydailybusiness.com/freestuff Want to know more about AI and how to harness it for your small businesS? Join our new monthly AI chat for small business owners. You can join anytime at www.mydailybusiness.com/AIchat Try out my fave AI tool, Poppy AI here and use discount code FIONA. Ever wanted to write your own book and build your brand authority or start your own podcast to connect with and grow your audience? Check out our How to Start a Podcast Course or How to Get Your Book Published Course at our courses page. Connect and get in touch with My Daily Business via our shop, freebies, award-winning books, Instagram and Tik Tok.

If you've ever felt anxious about your business, your finances, or just life in general - this episode is for you. We all experience worry in different ways. Maybe it's when you have to draw a boundary with a client, send a hard email, or trust that the next booking will come through. In this episode, Alex shares 10 Bible verses that have helped her find peace in the middle of uncertainty. Each verse comes with reflection and real life encouragement for creatives and business owners who want to trade anxiety for trust. Take a deep breath, slow down, and let Scripture remind you that you're not alone - and that God's peace is available right now. Verses Mentioned: Philippians 4:6–7 Matthew 6:34 1 Peter 5:7 Isaiah 26:3 Psalm 94:19 John 14:27 Proverbs 12:25 Psalm 46:10 Joshua 1:9 Romans 8:28 _______

I am a Public Speaker Specialized in “How To Turn Fear into Power”, a Clean Comedian Available to bring Levity to any small party or big event & aStoryteller ;Offering Custom Theatre/Film Pieces with a positive message for your kids party, business seminars & summer festivals.I'm also available to do Videography(or)Photography services for your 15's, bar mitz•vah's, weddings or your professional business needs at an affordable price!Forward my contact info to anyone in need of saving money & time by obtaining a dependable entertainer/filmmaker in exchange for a finders gift

Get a FREE Posing eBook from The Portrait System here: https://the-portrait-system.lpages.co/podcast-pose-funnel/Today, on this special re-release of The Portrait System Podcast, host Nikki Closser interviews California-based photographer Nadine Sachiko Hsu. Nadine is a former race car driver turned photographer and went from doing $150 photoshoots to running a 3000 sq ft studio where she builds sets for her clients. Listen in as Nadine dives deep into how she runs her business and how she turns one-time clients into lifelong clients.PODCAST LISTENER SPECIAL!! If you want to get started with the Portrait System, get a special discount using code “POD7” to get one month access for just $7 here https://theportraitsystem.com/pricing/IG https://www.instagram.com/theportraitsystem/YouTube https://www.youtube.com/c/theportraitsystemSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this episode of the Off the Edge with Cam Jordan Podcast, Cam is joined by 2x Superbowl champ Malcolm Jenkins to discuss his busy post playing career. Malcolm explains the purpose of his new Substack Love, Art & War, how the Malcolm Jenkins Foundation has grown in its 15 years, and his new gig as an NFL game day photographer. Malcolm and Cam also share their surprising opinions on the Tush Push, as well as their thoughts on Brandon Graham coming out of retirement to rejoin the Eagles. The Off the Edge with Cam Jordan podcast is a production of the NFL in Partnership with iHeart Media.See omnystudio.com/listener for privacy information.

HT2418 - Returning with a Zoom Lens In the 1980s, I made a photograph of the hills near my grandmother's home in Tensleep, Wyoming. I was never thrilled with that image and finally had the opportunity to revisit the area last week. I found the hill I had photographed and realized instantly why I was not happy with the previous effort. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

Newborn photography is an art—but it's also a responsibility. Ensuring baby safety while ALSO protecting your own body is key to a long, successful career. But when it comes to caring for our own bodies, how can we actually fit that into our busy photographer lives?Well, Jamie Noyes, a photographer with a background in physical therapy, is here with her best tips for caring for ourselves while we care for our infant clients.In this episode, Jamie and I talk through baby safety and proper infant posing, how to build connections with clients during sessions, and the common mistakes she sees photographers making that can lead to injuries. Plus, she's breaking down simple stretches and habits photographers can use to relieve pain that might already be bothering you.If you've been interested in body mechanics (both for yourself and your clients), this episode with Jamie is one you can't miss!What's in this episode:[00:00] Intro[01:51] Jamie's unique history in physical therapy and how it's influenced her photography career[07:40] The safety concerns around certain photography poses for babies[12:37] What photographers can do to prevent common injuries and pain from their profession[18:09] Stretches and exercises that photographers can use to relieve pain from common injuries[21:38] Small habits that photographers can incorporate to take care of their bodies[25:08] A little pep talk for photographers that are doubting themselves or their abilities[29:47] Jamie's lightning roundFor full show notes, resources, links and to download the transcript, visit our website: https://themilkyway.ca/podcast/Grab your spot for the 2025 Online Newborn Retreat!

On this episode of the Off the Edge with Cam Jordan Podcast, Cam is joined by 2x Superbowl champ Malcolm Jenkins to discuss his busy post playing career. Malcolm explains the purpose of his new Substack Love, Art & War, how the Malcolm Jenkins Foundation has grown in its 15 years, and his new gig as an NFL game day photographer. Malcolm and Cam also share their surprising opinions on the Tush Push, as well as their thoughts on Brandon Graham coming out of retirement to rejoin the Eagles. The Off the Edge with Cam Jordan podcast is a production of the NFL in Partnership with iHeart Media.See omnystudio.com/listener for privacy information.

The new Rumps & Bumps jersey just dropped! Check out afterpartyinc.com. It's the Halloween Edition of the After Party and for this one we invite our friends over from P.R.I to come on share some spooky stories and they also bring some of their EMF devices for us to check out! They also tell us about some of the spooky places they've investigated and personal encounters. Follow us on social media @AaronScenesAfterParty

Mentioned in this episode: Lee Miller www.tate.org.uk/whats-on/tate-britain/lee-miller Joy Goodman www.whitechapelgallery.org/exhibitions/joy-gregory-fierce-and-fearless/ Mark Steinmetz https://davidhillgallery.net/artists/mark-steinmetz-taken-from-light 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 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: Lee Miller Self Portrait © Grant Scott 2025

Host Richie Tevlin and Co-Host Evan Blum talk with Melissa Schipke, founder of Pitch-A-Friend, a social event series where participants give a 3–5 minute slide presentation to introduce their single friends to the crowd at local breweries and bars. In just two years, Pitch-A-Friend has expanded to 48 chapters across the United States and 12 internationally, creating a fun and engaging way to connect people through community events.   Pitch-a-Friend: https://www.pitch-a-friend.com/ @pitchafriend.philly @pitchafriend.hq _____________________________________________ THANK YOU TO OUR SPONSOR:   The Beer Accountant: https://www.paddymaccpa.com/brewerysolutions Email: pmcdonald@paddymaccpa.com 267-566-4077 - Patrick McDonald - Licensed CPA _______________________________________ EPISODE NOTES: Mentioned Breweries Evil Genius Beer - Philadelphia, PA Punch Buggy Brewing - Philadelphia, PA Fiddlehead Brewing - Shelburne, VT Guinness Brewing - Ireland Mentioned People Wendy Jo Hartsock - Associate Director of Alumni Relations Smeal PennState Liam Nielsenshultz - Epi 55 - Director of Photography & Producer of The BrewedAt Podcast Ariana Brogan - Co-Creator of Pitch-a-Friend Keith Tomaselli - Philly Runner Sam Mattiola - Owner of the Boozy Mutt Amanda Borowski - Pitch-a-Friend Denver Chapter Lead Mentioned Businesses Smeal Alumni Association - PennState University Altria - Tabacco Suppliers Tassl - Collegiate Alumni Software Company Snake Oil - Board Game The Boozy Mutt - Epi 4 - Dog Park, Bar & Grille Regal Cinemas - Movie Theater Chain  Philly Foster Program Chick's Philly - Philly Bar Figo - Philly Bar - CLOSED Libertee Grounds - Philly Bar Ladder 15 - Philly Bar GoPuff - Food Delivery Company Rowan University _______________________________________ What We Drank? Dune Buggy Mexican Lager | 4.0% Punch Buggy Brewing ---------------------------------- Angus Ale IPA | 6.3% Punch Buggy Brewing ---------------------------------- _______________________________________ STAY CONNECTED: Instagram: ⁠⁠@brewedat⁠⁠ / ⁠⁠@thebrewedatpodcast⁠⁠ Tik Tok: ⁠⁠@brewedat ⁠⁠/ ⁠⁠@thebrewedatpodcast⁠⁠ YouTube: ⁠⁠@brewedat⁠⁠ / ⁠⁠@thebrewedatpodcast⁠ LinkedIn: ⁠BrewedAt Website: ⁠⁠www.brewedat.com

We chat with the new leader of the Milwaukee Art Museum, who formerly led the Smithsonian's National Portrait Gallery. We learn about Milwaukee's first professional women's basketball team. A photography book featuring the Great Lakes.

Chris, Ade and Jeremiah explore the ways new technology can help you make fantastic photos.

In this special episode of Thelema Now!, host Harper Feist engages with artist Gast Bouschet, whose haunting, alchemical works blur the boundaries between ritual, landscape, and transformation. Because speaking is physically painful for Bouschet, this episode takes a unique form: a reading of a text conversation that unfolded between Harper and Gast on Instagram. Bouschet's words—brought to life by Frater Acher—reveal deep reflections on art as a living current, the role of resistance and decay in creative process, and the interplay between spirit and matter. Through this intimate exchange, listeners are invited into Bouschet's shadowed yet luminous world, where the borders between the seen and unseen dissolve. To see Gast's work, visit his website or Instragram page.

Daniel, CEO and creative director of EyeCam photography and Gotham Glam Fashion shows, sits down to chat with Victoria Elizabeth, host of Backstage Pass on Iheart Radio and FCB Radio network about the blood, sweat, tears, and rigorous logistics which go behind producing a grand scale NYFW Fashion Show.Recorded live within the fashion district at NYFW Sept ‘25

HT2417 - Gathering Strategies I've talked on numerous occasions about my strategy of gathering assets while I'm in the field rather than pre-visualizing finished images. I've never mentioned, however, what I actually do while I'm gathering assets. Here's a quick overview of how I work in the field. Some may see this as indecision; I see it as providing options for when I'm back home making art. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

This is The Digital Story Podcast 1,022, October 21, 2025. Today's theme is, "How I Lost My Shirt on a Wedding Photo Assignment." I'm Derrick Story. Opening Monologue We all know that wedding photo assignments can be challenging, but you shouldn't lose your shirt in the process. Here's one such story that happened last week. Plus, DxO FilmPack 8, Annie Leibovitz, and more. All waiting for you on today's TDS Photography Podcast. I hope you enjoy the show.

Piper hosts Plaidcast in Person in front of a live audience at Wills Park Equestrian Center in Alpharetta, GA with guests Cheryl Sims and Kelly Berry.Host: Piper Klemm, publisher of The Plaid HorseGuest: Cheryl Sims's involvement in the horse industry spans decades. Her love of the sport and passion for running horse shows was driven by her daughter Alison who grew up riding and is now an Atlanta area professional. Cheryl saw how much joy the horses and showing brought Alison and wanted to be able to see that same joy happen for more riders. For many years, Cheryl served as a show secretary and in 2003, she founded Cheryl & Co. Since then she has became an influential member of our sport in the southeast. She has served on the GHJA Board of Directors for many years and is responsible for much of the growth and development of our sport in Georgia. Cheryl is influential in working with the city of Alpharetta, and in 2018 she founded the Wills Park Equestrian Foundation, which will help benefit the renovation of Wills Park Equestrian Center.Guest: Kelly Berry is the visionary entrepreneur behind KB Media, recognized for its captivating visual storytelling. With a Bachelor of Fine Arts in Photography and a passion for equestrian life, she expertly captures her clients' unique narratives while empowering them to achieve their business dreams. Driven by dedication and the wisdom gained from her four-legged partners, Kelly crafts stunning content that propels her clients' brands forward, making each project a testament to her unwavering commitment to their success. Subscribe To: The Plaid Horse MagazineRead the Latest Issue of The Plaid Horse MagazineSponsors: Taylor, Harris Insurance Services, BoneKare, Great American Insurance Group, Virginia Horse Industry Board and Equine Affaire Join us at an upcoming Plaidcast in Person event!

What does it mean to build a luxury brand and business? In today's episode, I'm welcoming Kelly Bullock back to the podcast to chat all about her experience with growing a luxury photography business. Kelly gives her advice for stepping into the luxury space and providing an above-and-beyond client experience. The Shoot It Straight Podcast is brought to you by Sabrina Gebhardt, photographer and educator. Join us each week as we discuss what it's like to be a female creative entrepreneur while balancing entrepreneurship and motherhood. If you're trying to find balance in this exciting place you're in, yet willing to talk about the hard stuff too, Shoot It Straight Podcast is here to share practical and tangible takeaways to help you shoot it straight. This episode is brought to you by Root To Rise, the coaching experience and mastermind built for female photographers who are looking to level up their business. Throughout this five-month experience, students have access to group support, one-on-one coaching, and training with guest experts. Students may join online only or upgrade their experience to include an incredible in-person retreat. Spots are limited; get on the waitlist now. Review the Show Notes: Meet Kelly (1:40)How Kelly became a luxury photographer (2:33)What it means to have be “luxury” (6:26)Small but powerful touchpoints in the client experience (8:02)Mindset shifts to reach the luxury level (10:20)Making your business feel luxurious (13:15)The role of automation in a luxury business (18:14)Shifting into luxury marketing (19:54)How a luxury business feels (21:51)Our exciting announcement! (22:49)Rapid-fire questions (25:34)Mentioned In This Episode:Root To Rise Mastermind: sabrinagebhardt.com/mastermind-waitlistEpisode 159 Real Women, Real Stories with Kelly Bullock: sabrinagebhardt.com/podcast/159-real-women-real-stories-with-kelly-bullockConnect with Kelly:Website: kellybullockphotography.com/mentoringInstagram: instagram.com/kellybullockphotographyConnect with Sabrina:Website: sabrinagebhardt.comInstagram: instagram.com/sabrinagebhardtphotography Hosted on Acast. See acast.com/privacy for more information.

My guest Emily Tornga joins the show to chat about her enjoyment of fall migration in her back yard, the joy she finds from connecting with and creating community on social media, and she shares about her first experience photographing a seabird colony which is where we met in person for the first time. Follow Emily at: Instagram: @the_peck_deck

Today on the show, I get to chat with Marielena Ferrer and Viktorsha Uliyanova, a multidisciplinary artist and educator working with alternative photography, installation, video, and fiber art. Her work explores impermanence, the notions of home, and cultural identity narrated through the prism of memory. Her practice is informed by her upbringing in the Soviet Union, political repression, and the immigrant experience. In her research, Uliyanova explores neglected and overlooked histories, often using archives as a catalyst for her work. She received her BA in English Literature, Language, and Criticism from Hunter College and an MFA in Photography and Related Media at State University of New York at New Paltz. Her work has been exhibited at Samuel Dorsky Museum of Art, Baxter St., MOMA PS1, Participant Inc, Collarworks, among others. She is the recipient of New York State Council on the Arts Grant, Arts Mid-Hudson Culture Grant, Traverso Photography Award, Women's Studio Workshop SAI Grant, Sojourner Truth Diversity Fellowship, and Research for Creative Projects Grant. Recently, she completed a residency at Vermont Studio Center. She lives in the Hudson Valley and teaches photography at SUNY New Paltz.Viktorsha's upcoming solo exhibit “Quieter than Water, Lower than Grass” is a multimedia installation that examines the fragility of memory and its impact on history, immigrant narratives ,and cultural identity. This work explores themes of migration, belonging, and domesticity. The opening is November 8 at Roundabouts Now Gallery in Kingston, with a panel discussion on November 16 featuring Marielena, Viktorsha, and two additional women artists whose work addresses these same themes.Today, we talk about the meaning of the show title, and how this Russian idiom permeated culture and played a role in repression and control. Viktorsha shares about the layers of her creative process and how this show came to be. We discuss some of the pieces, their meaning, the process in creating them, and the meaning behind that process. One of the main pieces in the exhibition is an installation of suspended large scale cyanotypes of "Brezhnevka"s, prefabricated  panel buildings that were built in the Soviet Union from 1964-1980. They were built fast and cheap and can still be found and seen throughout former Soviet states. Our conversation weaves through themes of assimilation, (uniform)ity, culture, healing, memory, domestication, femininity, the multidimensionality of softness, and belonging.Viktorsha's Project Statement: “Quieter Than Water, Lower than Grass'” is a multimedia project that explores the intersection between history, memory, and photographic evidence. The work employs analogue photographic processes , fabric, and video to explore remembrance, storytelling, and ancestral healing. Drawing from family albums, oral histories, and archival images, I construct narrativesthat have been hidden by the Soviet regime and are often invisible within the dominant historical discourse. The project takes its name from an old Soviet proverb which instills a behavior of keeping a low profile, avoiding any attention from the self, and acting in a way that does notgenerate conflict. The phrase has been used as a deliberate linguistic tool to disseminate imperialist ideologies, generate fear, and maintain repressive socio-political tactics throughout the USSR. This project outlines the importance of critically engaging with mainstream narrativesin order to unlearn them and see their limitations and biases.Quilts are powerful conveyors of the human experience. They are valuable historical documents and memory transmitters that honor storytelling and intergenerational knowledge. Using bed sheets , I hand-sew patchwork of imagery into quilt forms preserving not only my personal memories but also those obscured within the larger cultural and geo-political discourse.Each fabric piece will source from historical documents, family albums, and collected objects to explore, visualize, and underscore the complexity of post-Soviet trauma and immigrant experience. Blue is a color of peace, a color found in our dreams, our hopes, and our memories. It is the color of the sky, water, and our planet, Earth. The cyanotype process uses the natural elements of sun and water to register a photograph. While it is stable, the final result is prone to changing over time. Using this photographic technique allows me to address all of the themes that show up in my work such as identity, history, and memory, all of which are fragmented, mutating, and ever-changing.The project combines a collection of materials and techniques that reference matrilineage, ancestry, and transgenerational trauma. Through layering of fabrics and utilizing the deep blue hues of the cyanotype process, the work visualizes histories that have been hidden, obscured, and lost. The project examines the selective nature of memory, challenging historical biases and emphasizing the importance of community knowledge and healing. The final project will be presented to the public in an exhibition fostering cultural exchange, community dialogue, andbridging the gap between the personal and collective memories.Here's your New Moon Astrology!Today's show was engineered by Ian Seda from Radiokingston.org.Our show music is from Shana Falana!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFYITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCAFollow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcast

Ever feel trapped shooting the same bright, clean images everyone expects? Photographer Sage East knows that struggle. After landing her first big Puma campaign with perfectly lit, commercial-ready shots, she realized something was missing - soul.  In this episode, the photographer behind campaigns for Nike, Google, Netflix, and Dior reveals how she transformed her work from safe and sterile to moody and magnetic. Learn how she developed her mantra "I don't shoot what it looks like, I shoot what it feels like" and discover the specific techniques she used to find her signature warm, Caribbean-influenced style that makes clients like Don Cheadle and Simone Biles feel vulnerable in front of her lens. Chapters 00:00 Introduction to Sage East's Vision  04:04 From the Medical Field to a Camera  05:30 Starting Out: Finding a Muse and Shooting Weddings  06:29 The First Big Gig: PUMA  09:10 The Motto: "I Don't Shoot What It Looks Like, I Shoot What It Feels Like"  10:25 Evolving a Signature Style: Moody, Warm, and Experimental  15:15 The Power of Color Theory and Jamaican Heritage  17:30 How to Communicate Your Vision: The Art of the Treatment  24:43 Adding "Director" to the Title  28:51 Creating Vulnerability with High-Profile Talent  31:30 Defining "Main Character Moments"   Connect with Sage:   Follow Sage on Instagram: https://www.instagram.com/sage.east Sage's Website: https://www.sageeast.com/   Support the Show Website: http://www.martineseverin.comFollow on Instagram: @martine.severin | @thisishowwecreate_ Subscribe to the Newsletter: http://www.martineseverin.substack.com This is How We Create is produced by Martine Severin. This episode was edited by Daniel Espinosa.   Subscribe wherever you get your podcasts Leave a review Follow us on social media Share with fellow creatives  

LW1476 - Minor White and the Symbolic Image Minor White (one of my all-time favorite photographers) advised us not to photography only what it is, but to photograph what else it is. A catchy quote, but what does this actually mean? One answer is to think of photography as a medium to express metaphors and symbols. This prompts three levels of thinking: photography of something, photography about something, and photography that points to something. All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10. Instant access, terabytes of content, inspiration and ideas that expand daily with new content. Sign up for instant access! You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.

HT2416 - The Most Important Thing We Need We photographers are always on the hunt for a subject, a new technique, better equipment, and more time. I've come to realize, however, that the most important thing we need is access. How many times have you driven past a gorgeous scene with beautiful light but there's no place to pull off the road to make a picture? Or there's a fence, or gate, or barrier, or a regulation that blocks us from the position we need to make the picture. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

Kev shares his memories (those he can still recall through cocktail-infused eyes) of the Judo boys-on-tour trip to Gibraltar, and Neale is wrestling with a washing machine that's doing its best to flood the house. Questions for the show include decisions on why to shoot wide open, whether a GFX will cause editing problems on an older iMac, if a GFX can be a decent travel companion, and electronic zoom or zooming in Lightroom - what's less destructive? We're still noodling over AI, we talk about Google Maps, cameras with patina, what art forms inspire your photography and why your pictures may be muddy in post-production. 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/