Podcasts about photoshop

DxO is offering PetaPixel Podcast listeners 20% off any DxO software, including Nik Collection 8, by using the code ‘PetaPixel' at checkout. If you're a Photoshop user looking to elevate your color grading and creative editing, Nik Collection 8's redesigned UXP panel, enhanced masking capabilities, and non-destructive Smart Object workflow make it a game-changer. Create your own non-destructive workflow in Photoshop, Lightroom Classic and DxO's own powerful PhotoLab 9, that will transform simple captures into compelling, professional-grade photographs.Head over to dxo.com and check out Nik Collection 8. Use code ‘PetaPixel' to save 20%!Now saving when you shop for your favorite gear at B&H Photo is even easier with the B&H Payboo Credit Card which lets you Save the Tax — you pay the tax, and B&H pays you back instantly! (Save the Tax on eligible purchases shipped to eligible states.) OR you can pay over time with our 6 & 12 month financing (on minimum purchases of $199 for 6 months, and $599 for 12 months). Terms apply, learn more at bhphoto.com/payboo. Credit card offers are subject to credit approval. Payboo Credit Card Accounts are issued by Comenity Capital Bank.This week on The PetaPixel Podcast, the team is joined by photographer David Imel and PetaPixel's Jeremy Gray for a unique challenge: who can draft the best fantasy camera team? Based loosely on fantasy football rules, all five must create a dream team based on eight categories. We use Riverside to record The PetaPixel Podcast in our online recording studio.In This Episode00:00 - Intro 11:55 - Affinity went the DaVinci Resolve route, and is now free13:50 - Lightroom Classic's updates are an example of what AI should be doing17:08 - Sony is the first company to authenticate video files19:35 - The LemurStrap is an innovative approach to camera carry21:50 - A photographer has decided to make anamorphic M-mount lenses24:44- Moment's new line of ultra-light camera bags have some innovative design elements29:07 - Feel good story of the week32:49 - The Fantasy Camera Draft, feat. David Imel and Jeremy Gray

I had the opportunity to sit with down with Nick McWhirter or SHM Architects to explore the nuances of transitional design, the delicate dance between modern and traditional elements, and the intentionality behind every architectural choice. From furniture-driven layouts to aspirational lighting strategies, Nick shares the thought process, research, and we discuss philosophy that transform houses into harmonious, living machines. Listeners will gain insight into how design, balance, and playfulness converge to create both beauty and functionality in contemporary residential architecture. Designer Resources Pacific Sales Kitchen and Home. Where excellence meets expertise. Design Hardware - A stunning and vast collection of jewelry for the home! TimberTech - Real wood beauty without the upkeep LOME-AI.com, simple, inexpensive, text to video harnessing the power of AI to grow your firm, beautifully. What makes a home truly exceptional isn't just the materials or the finishes—it's the careful orchestration of space, light, and style. In this episode, Nick breaks down his approach to transitional design, revealing how subtle choices like shutter placement, dormer adjustments, or color balance can shift a home's aesthetic from modern to traditional. The conversation spans everything from lighting plans and hidden technology to furniture-first design principles and the philosophy behind architecture as a living, breathing machine.  Of course, that idea comes from Le Corbusier and his thoughts on this very subject.  We also discuss the role of photography, the tension between realism and aspirational imagery, and the evolving vernacular of form and function in modern homes. This episode is a masterclass in thoughtful, intentional, and style-agnostic design. Topics and Ideas Introduction & Context Welcome and setup: Exploring transitional design Nick's philosophy: Style agnostic but deeply researched Transitional Design: Modern vs. Traditional Subtle moves: Shutters, dormers, cut stone, and symmetry Playfulness in design: How small details create balance Color palette: Black-and-white schemes as intentional high-contrast statements Design Process & Interior Layouts Inside-out approach: Furniture-driven architecture Achieving balanced asymmetry Experimentation and editing: Knowing when less is more Lighting as a Core Component Invisible vs. visible fixtures: Philosophy of recessed lighting Lighting as both function and art Integration with technology: Wi-Fi, AV, and smart home systems Photography, Aspirational Design & Reality Balancing reality and idealized imagery in marketing Photoshop as a tool to highlight design intent How photography conveys quality of light, space, and atmosphere Form Follows Function & Architectural Philosophy Homes as “machines for living” The role of beauty and human experience in architecture Historical perspective: Corbusier, Frank Lloyd Wright, and modern vernacular Outdoor Spaces & Technology Integration Creative solutions: Two TVs on a patio LED walls and emerging tech as part of design storytelling Closing Thoughts & Personal Insights The freedom in design: Few right or wrong answers Nick's passion for music, smoked meats, and lifestyle influence Preview of future conversations and projects Thank you, Nick for the time and conversation. Thank you for listening. If you liked this episode, share it with a friend or colleague who loves design and architecture like you do, subscribe to Convo By Design wherever you get your podcasts. And continue the conversation on Instagram @convo x design with an “x”. Keep those emails coming with guest suggestions, show ideas and locations where you'd like to see the show. Convo by design at outlook.com.

Want Matt's favorite AI tools + playbook? Get it here: https://clickhubspot.com/vgb Episode 83: Are Adobe's new AI tools the future of creative work, or could generative models spell the end for legacy platforms like Photoshop? Matt Wolfe (https://x.com/mreflow) is joined by Matthew Berman (https://x.com/MatthewBerman), creator of Forward Future and a leading voice covering the front lines of artificial intelligence, from major tech events like Dreamforce to hands-on interviews with the innovators shaping tomorrow. In this episode, Matt and Matthew break down the biggest headlines from the week in AI: Adobe's conversational assistant and existential business challenges, Nvidia's mind-bending new investments and political maneuvering, OpenAI's bold timeline to build a self-improving AI researcher, and the viral Neo Humanoid robot—are we ready to trust a home robot with our privacy? Packed with fresh takes, inside scoops, and speculative predictions, this fast-moving conversation is your front row seat to the unfolding era of AI and robotics. Check out The Next Wave YouTube Channel if you want to see Matt and Nathan on screen: https://lnk.to/thenextwavepd — Show Notes: (00:00) AI Insights and Future Predictions (03:41) Photoshop Adds AI Chat Assistant (08:08) Adobe, AI, and Creative Future (10:26) Adobe's AI Future Concerns (15:53) Nvidia GTC Highlights (17:23) Nvidia's Investment Cycle Explained (20:23) AI Investment: Over-Investing Now (26:06) Automated AI Researcher Timeline (29:00) AGI vs Self-Improving AI (30:47) AGI Verification Panel Announced (36:04) First US Humanoid Robot Launch (39:18) Robot Tasks: Autonomy vs. Operators (41:50) Affordable Car with Practical Benefits (44:07) Future Live Streams Enthusiasm — Mentions: Matthew Berman: https://www.linkedin.com/in/matthewberman Forward Future: https://www.forwardfuture.ai/ TechCrunch Disrupt: https://techcrunch.com/events/tc-disrupt-2025/ Nano Banana: https://nanobanana.ai/ Nvidia GTC: https://www.nvidia.com/gtc/ Neo Humanoid Robot: https://www.1x.tech/order Get the guide to build your own Custom GPT: https://clickhubspot.com/tnw — Check Out Matt's Stuff: • Future Tools - https://futuretools.beehiiv.com/ • Blog - https://www.mattwolfe.com/ • YouTube- https://www.youtube.com/@mreflow — Check Out Nathan's Stuff: Newsletter: https://news.lore.com/ Blog - https://lore.com/ The Next Wave is a HubSpot Original Podcast // Brought to you by Hubspot Media // Production by Darren Clarke // Editing by Ezra Bakker Trupiano

 If you want to understand the full spectrum of AI software, from "straightforward problem-solving tool" to "never-ending slop machine," all you need to do is pay attention to everything Adobe launched at its conference this week. David and Nilay run through the news, which will change how people use Photoshop but also maybe change our social feeds forever. After that, they talk about OpenAI's conversion to a for-profit business, and specifically the truly wild way OpenAI and Microsoft talk about the future of AGI. Finally, in the lightning round, they discuss Brendan Carr, Cybertrucks, the Trump Phone, Ghost Posts, and more. Help us improve The Verge: Take our quick survey at theverge.com/survey. Further reading: ⁠Photoshop and Premiere Pro's new AI tools can instantly edit your work ⁠ ⁠You can tell Adobe Express's new AI assistant to edit designs for you⁠ ⁠Adobe's AI social media admin is here with ‘Project Moonlight' ⁠ ⁠Mark Zuckerberg is excited to add more AI content to all your social feeds⁠ ⁠Meta CEO Mark Zuckerberg defends AI spend: 'We're seeing the returns'⁠ ⁠OpenAI completed its for-profit restructuring — and struck a new deal with Microsoft ⁠  ⁠The next chapter of the Microsoft–OpenAI partnership⁠ ⁠OpenAI lays groundwork for juggernaut IPO at up to $1 trillion valuation | Reuters⁠ ⁠OpenAI has an AGI problem — and Microsoft just made it worse ⁠ ⁠OpenAI made ChatGPT better at sifting through your work information ⁠ ⁠Sam, Jakub, and Wojciech on the future of OpenAI with audience Q&A⁠ ⁠The Kingmaker | WIRED⁠ ⁠Congratulations to the Tesla Cybertruck on its 10th recall.⁠ ⁠Trump℠ Mobile | All-American Performance. Everyday Price. $47.45/Month⁠ ⁠Threads is getting disappearing posts ⁠ ⁠Ads will arrive on Samsung Family Hub smart fridges next month. ⁠ ⁠The FCC is going after broadband nutrition labels. ⁠ ⁠Brendan Carr is a Dummy⁠ ⁠Bending Spoons is buying AOL for some reason ⁠ Subscribe to The Verge for unlimited access to theverge.com, subscriber-exclusive newsletters, and our ad-free podcast feed.We love hearing from you! Email your questions and thoughts to vergecast@theverge.com or call us at 866-VERGE11. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Adobe Max 2025 just revealed a treasure trove of AI-powered updates. Addy and Joey break down the most significant announcements including Firefly 5's improved human generation, automatic layer segmentation in Photoshop, integrated Topaz upscaling, and new tools for relighting images. Plus, they explore Adobe's venture into 3D space, Frame.io's new media intelligence features, and practical AI integrations that make everyday tasks faster.--The views and opinions expressed in this podcast are the personal views of the hosts and do not necessarily reflect the views or positions of their respective employers or organizations. This show is independently produced by VP Land without the use of any outside company resources, confidential information, or affiliations.

It's also introducing new AI tools for Illustrator, Premiere Pro and Lightroom. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Megaoperação deixa 64 mortos em dia de ação policial mais letal do Rio de Janeiro. Castro acusa Brasília de omissão, Planalto reage e envia comitiva ao RJ. Senado dos EUA derruba tarifaço contra Brasil, mas Câmara deve votar proposta. Estados Unidos fazem novos ataques no Caribe e matam 14. Adobe lança assistentes de IA para Photoshop e Premiere com edição por comando de texto. E história do Secos e Molhados vira série de TV. Essas e outras notícias, você escuta No Pé do Ouvido, com Yasmim Restum.See omnystudio.com/listener for privacy information.

Can one image really power an entire visual campaign — from product mockups to video ads — in minutes?Absolutely. In this episode of Leveraging AI, host Isar Meitis breaks down how a single visual asset can be transformed into high-converting static images, promotional content, and even multi-scene videos using one powerful tool: Weavy.Forget hours with Photoshop or coordinating creative teams — Isar reveals how to build a full visual content machine with no technical skills, no coding, and no graphic design background. Just drop your image, and let the AI do the rest.Whether you're in e-commerce, branding, or just want to playfully test new hairstyles on yourself (spoiler alert: Isar does), this is a must-listen masterclass on creative AI automation.In this session, you'll discover:How to turn one image into 10+ ad-ready visuals in minutesThe secrets behind automated, scalable visual workflowsHow to create full product mockups using only a logo and product photoThe AI tools Isar stacks to generate multi-scene videos from scratchA surprisingly easy way to generate photorealistic interior design editsThe fastest route from input to ideation to final visual assetHow to leverage AI templating + community knowledge to save hoursBonus: Isar tests AI hairstyles on himself — and it's gloriousTry Weavy today: https://weavy.ai?ref=isar12 About Leveraging AI The Ultimate AI Course for Business People: https://multiplai.ai/ai-course/ YouTube Full Episodes: https://www.youtube.com/@Multiplai_AI/ Connect with Isar Meitis: https://www.linkedin.com/in/isarmeitis/ Join our Live Sessions, AI Hangouts and newsletter: https://services.multiplai.ai/events If you've enjoyed or benefited from some of the insights of this episode, leave us a five-star review on your favorite podcast platform, and let us know what you learned, found helpful, or liked most about this show!

Co-hosts Mark Thompson and Steve Little explore how Google's Nano Banana photo restoration tool will revolutionize image restoration by integrating with Adobe Photoshop. This move will greatly reduce unintended changes to historical photos when editing them with AI.Next, they unpack OpenAI's move to make ChatGPT Projects available to free-tier users, making research organization more accessible for genealogists.This week's Tip of the Week provides essential guidance on the responsible use AI when editing historical photos using AI tools like Nano Banana, ensuring transparency and trust in historical photographs.In RapidFire, they cover OpenAI's new Sora 2 AI-video social media platform, Claude's new ability to create and edit Microsoft Office files, memory features in Claude Projects, advancements in local language models, and how OpenAI's massive infrastructure deals are changing the AI landscape.Timestamps:In the News:02:43 Adobe improves historical photo restoration by adding Nano Banana to Photoshop09:34 ChatGPT Projects are Now FreeTip of the Week:13:36 Citations for AI-Restored Images Build Trust in AI-Modified PhotosRapidFire:21:24 Sora 2 Goes Social27:23 Claude Adds Microsoft Office Creation and Editing34:26 Memory Features Come to Claude Projects38:32 Apple and Amazon both create Local Language Model tools44:47 OpenAI's Big Data Centre Deal with Oracle Resource LinksOpenAI announces free access to ChatGPT Projectshttps://help.openai.com/en/articles/6825453-chatgpt-release-notesEngadget: OpenAI Rolls Out ChatGPT Projects to Free Usershttps://www.engadget.com/ai/openai-rolls-out-chatgpt-projects-to-free-users-215027802.htmlForbes: OpenAI Makes ChatGPT Projects Freehttps://www.forbes.com/sites/quickerbettertech/2025/09/14/small-business-technology-roundup-microsoft-copilot-does-not-improve-productivity-and-openai-makes-chatgpt-project-free/Responsible AI Photo Restorationhttps://makingfamilyhistory.com/responsible-ai-photo-restoration/Claude now has memory, but only for certain usershttps://mashable.com/article/anthropic-claude-ai-now-has-memory-for-some-usersNew Apple Intelligence features are available todayhttps://www.apple.com/newsroom/2025/09/new-apple-intelligence-features-are-available-today/Introducing Amazon Lens Livehttps://www.aboutamazon.com/news/retail/search-image-amazon-lens-live-shopping-rufusAmazon Lens Live Can Scan and Pull Up Matcheshttps://www.pcmag.com/news/spot-an-item-you-wish-to-buy-amazon-lens-live-can-scan-and-pull-up-matchesA Joint Statement from OpenAI and Microsoft About Their Changing Partnershiphttps://openai.com/index/joint-statement-from-openai-and-microsoft/The Verge: OpenAI and Oracle Pen $300 Billion Compute Dealhttps://www.theverge.com/ai-artificial-intelligence/776170/oracle-openai-300-billion-contract-project-stargateReuters: OpenAI and Oracle Sign $300 Billion Computing Dealhttps://www.reuters.com/technology/openai-oracle-sign-300-billion-computing-deal-wsj-reports-2025-09-10/?utm_source=chatgpt.comTagsArtificial Intelligence, Genealogy, Family History, Photo Restoration, AI Tools, OpenAI, Google, Adobe Photoshop, ChatGPT Projects, Nano Banana, Image Editing, AI Citations, Sora 2, Video Generation, Claude, Microsoft Office, Apple Intelligence, Amazon Lens, Oracle, Cloud Computing, Local Language Models, AI Infrastructure, Responsible AI, Historical Photos

In this episode, we dive into the often-overwhelming world of building a tech stack for your coaching business! We know the thought of sorting through all the technology options can make your eyes glaze over, but fear not! We break it down into manageable pieces, discussing everything from accounting software to payment processors, calendaring systems, and even email marketing tools. Adding tech to your process should save you time and money, not cause you headaches and cost you cash. Our goal is to help you streamline your processes so you can focus on what you do best – coaching! Are you ready to take your coaching business to the next level? Listen in as we share our personal experiences with different tools and provide recommendations that can help you build a solid tech foundation for a thriving coaching practice.

Fluent Fiction - Swedish: Autumn Awakening: Elin's Journey to Self-Care and Balance Find the full episode transcript, vocabulary words, and more:fluentfiction.com/sv/episode/2025-10-26-22-34-02-sv Story Transcript:Sv: Det var en kylig höstdag i Stockholm när Elin, en flitig frilansande grafisk designer, satt djupt koncentrerad vid sitt favoritbord i Freelancer's Home, ett mysigt café i Gamla Stan.En: It was a chilly autumn day in Stockholm when Elin, a diligent freelance graphic designer, sat deeply concentrated at her favorite table in Freelancer's Home, a cozy café in Gamla Stan.Sv: Doften av nybryggt kaffe fyllde rummet medan Elin försökte slutföra ett viktigt projekt.En: The scent of freshly brewed coffee filled the room as Elin tried to finish an important project.Sv: Hon befann sig under tidspress, driven av rädslan att göra sina kunder besvikna.En: She was under time pressure, driven by the fear of disappointing her clients.Sv: Elin kände plötsligt en svag yrsel.En: Elin suddenly felt a slight dizziness.Sv: Hon ignorerade det först, så fokuserad på sin deadline.En: She ignored it at first, so focused was she on her deadline.Sv: Sidan i photoshop rullade ner över skärmen, men hennes syn blev suddig.En: The page in Photoshop scrolled down the screen, but her vision became blurry.Sv: Hon svepte hastigt ner stora klunkar kaffe och bet ihop.En: She quickly took large gulps of coffee and clenched her teeth.Sv: Magnus, den uppmärksamma baristan, märkte Elins allt mer ansträngda ansikte.En: Magnus, the attentive barista, noticed Elin's increasingly strained face.Sv: Genom hans ögon var kunder inte bara kunder; de var människor som behövde omsorg.En: Through his eyes, customers were not just customers; they were people who needed care.Sv: När Elin insåg att yrseln inte ville ge med sig, reste hon sig för att gå mot caféets toalett, men benen svajade under henne.En: When Elin realized that the dizziness wouldn't subside, she got up to head towards the café's bathroom, but her legs wobbled beneath her.Sv: Det var då Magnus, som följde henne noggrant, närmade sig henne försiktigt.En: It was then that Magnus, who was closely watching her, approached her carefully.Sv: "Mår du bra?" frågade han med en orolig blick.En: "Are you okay?" he asked with a concerned look.Sv: Elin log svagt och viftade bort hans oro.En: Elin smiled faintly and waved away his concern.Sv: "Jag... jag har bara mycket att göra," mumlade hon, fast besluten att återgå till sitt arbete.En: "I... I just have a lot to do," she mumbled, determined to get back to her work.Sv: Men hennes kropp orkade inte längre.En: But her body couldn't take it any longer.Sv: Strax innan Elin nådde dörren, blev världen runt henne svart och hon föll.En: Just before Elin reached the door, the world around her went black and she fell.Sv: Magnus fångade henne precis i tid.En: Magnus caught her just in time.Sv: Hjärtat bankade av skräck när han ropade på hjälp och ringde efter ambulans.En: His heart pounded with fear as he called for help and dialed for an ambulance.Sv: När Elin vaknade nästa gång, låg hon i en sjukhussäng, omgiven av steril enkelhet.En: When Elin next awoke, she was lying in a hospital bed, surrounded by sterile simplicity.Sv: Magnus hade följt med och väntade oroligt i korridoren.En: Magnus had followed and was waiting anxiously in the corridor.Sv: Läkaren förklarade lugnt att Elins kropp behövde vila; pressen hade tagit ut sin rätt.En: The doctor calmly explained that Elin's body needed rest; the stress had taken its toll.Sv: Det blev en ögonöppnare för Elin.En: It was an eye-opener for Elin.Sv: Hon förstod att hälsa måste komma först.En: She understood that health must come first.Sv: När Magnus besökte henne, log hon tacksamt.En: When Magnus visited her, she smiled gratefully.Sv: "Tack för att du hjälpte mig," sa hon mjukt.En: "Thank you for helping me," she said softly.Sv: Magnus log tillbaka.En: Magnus smiled back.Sv: "Ibland behöver man stanna upp och andas," svarade han.En: "Sometimes you need to stop and breathe," he replied.Sv: Elin nickade och lovade att ta hans ord till hjärtat.En: Elin nodded and promised to take his words to heart.Sv: Hon lärde sig en värdefull läxa om självvård och att det är okej att be om hjälp.En: She learned a valuable lesson about self-care and that it's okay to ask for help.Sv: Även om hösten utanför fortsatte med sina kalla vindar och fallande löv, kände Elin en ny värme och lättnad inom sig.En: Even though the autumn outside continued with its cold winds and falling leaves, Elin felt a new warmth and relief within her.Sv: Hon skulle återgå till sitt arbete, men med en ny prioritering: sig själv.En: She would return to her work, but with a new priority: herself. Vocabulary Words:chilly: kyligdiligent: flitigconcentrated: koncentreradbrew: bryggadizzy: yrselblurry: suddiggulp: klunkclench: bita ihopstrained: ansträngdsubside: vikawobble: sväjaconcerned: oroligmumble: mumladefaintly: svagtpound: bankadial: ringaawake: vaknasterile: sterilanxiously: oroligttoll: ta ut sin rätteye-opener: ögonöppnarerelief: lättnadpriority: prioriteringsterile simplicity: steril enkelhetvaluable: värdefullfalling: fallandebreathe: andascare: omsorgcorridor: korridorgratefully: tacksamt

In this episode of What in the Wedding, hosts Hannah and Ashley discuss the challenges and changes in wedding planning, including the importance of coordination, vendor expectations, and the impact of social media on weddings. They share personal experiences, trends in the industry, and creative ways to engage guests during the celebration. The conversation also touches on the significance of timely communication with hair and makeup teams and the evolving nature of unplugged weddings.TakeawaysExpect the unexpected in wedding planning.Coordination is key to a successful wedding day.Photoshop skills are essential for photographers.Pricing should reflect the value of services offered.Don't be afraid to ask vendors about their capabilities.Engaging guests creatively can enhance the wedding experience.Unplugged weddings are becoming less common.Table racing can be a fun way to engage guests.Hair and makeup teams need advance notice for start times.Communication with vendors is crucial for a smooth event.Keywordswedding planning, podcast, coordination, photography, vendor expectations, trends, unplugged weddings, guest engagement, buffet lines, hair and makeup@Riverside...we love you for podcasting! Thank you! Hosted on Acast. See acast.com/privacy for more information.

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.  

TikTok Videos Promoting Malware InstallationTikTok Videos Promoting Malware Installation Tiktok videos advertising ways to obtain software like Photoshop for free will instead trick users into downloading https://isc.sans.edu/diary/TikTok%20Videos%20Promoting%20Malware%20Installation/32380 Google Ads Advertise Malware Targeting MacOS Developers Hunt.io discovered Google ads that pretend to advertise tools like Homebrew and password managers to spread malware https://hunt.io/blog/macos-odyssey-amos-malware-campaign Satellite Transmissions are often unencrypted A large amount of satellite traffic is unencrypted and easily accessible to eavesdropping https://satcom.sysnet.ucsd.edu

Brewery Breach Brings Bitter Blow to Beer Buffs.  Windowless Wonders: Digital Daylight for the Jet Set.  Collar Communication: Cows Connect Through Clever, Cloud-Controlled Collars.  Clever Cameras or Cautious Concerns: Can AI Eyes Really Protect Our Homes?  Cleaning Conqueror: The Deebot Delivers Dirt-Defying Design and Drive.  Flash, Fuse, and Frame: Gemini's Generative Genius Gets a Photoshop-Free Future.  Talking Tech: Translating Travel through Tongues and Tech.  Call Combat: Clever Call-Screening Cuts Cold-Caller Chaos.  Shark Shield or Style Statement? Scientists Suit Up for Bite-Resistant Breakthroughs. 

We're going back to May 2016 to look at the Ads & Features in Romantic Times magazine. The kilts are kilting and the abs are ab-ing, and we've got some questions.How do we feel about the terms “book boyfriend” and “pre-con”?How much of the 2016 conference depended on Twitter to announce pop up signings and special limited time events?And do you remember how important Twitter was to a conference?How many different ways are there to photograph a very muscled shirtless man? I think we're going to see all of them.So hop into the time machine, we've got the snacks, and we're off to May 2016.Patreon folks, you have an extended cut of this episode, available through the app or through your private feed.We also mentioned Elyse's review of Imagines, complete with Amanda's specialty Photoshop....Please consider joining our Patreon campaign to turn off all the dynamic insertion ads. We're more than halfway there! Hosted on Acast. See acast.com/privacy for more information.

We're going back to May 2016 to look at the Ads & Features in Romantic Times magazine. The kilts are kilting and the abs are ab-ing, and we've got some questions.How do we feel about the terms “book boyfriend” and “pre-con”?How much of the 2016 conference depended on Twitter to announce pop up signings and special limited time events?And do you remember how important Twitter was to a conference?How many different ways are there to photograph a very muscled shirtless man? I think we're going to see all of them.So hop into the time machine, we've got the snacks, and we're off to May 2016.Patreon folks, you have an extended cut of this episode, available through the app or through your private feed.We also mentioned Elyse's review of Imagines, complete with Amanda's specialty Photoshop....Please consider joining our Patreon campaign to turn off all the dynamic insertion ads. We're more than halfway there! Hosted on Acast. See acast.com/privacy for more information.

“We thought — why not make trading a sport?”

Is the camera store dead in 2025? Not if you ask Stewart Leigh-Firbank from Camera Centre UK. In this episode, we explore how a family-run camera business is thriving in the age of online shopping by focusing on community, education, and authentic connection.Stewart shares how events like the Wales & West Photography Show help build lasting relationships with customers, why the film photography comeback is bringing younger shooters back through the doors, and how honest, creator-driven YouTube content drives real engagement and trust. We also dig into DSLR vs mirrorless, the value of hands-on experiences, and what the future of photography retail looks like when done right.If you're passionate about photography, videography, or the photography business, this episode gives you real-world lessons on content marketing, customer experience, and retail evolution in today's creative economy.

Girl, I am so over these creepy AI “fitness” ads. Filters are bad enough but now we have actual robots preaching toxic diet culture BS! It's wild how far we've come from Photoshop and filters — now we're literally being sold body image standards that don't even exist.In this episode, I'm venting (because seriously, what is happening?!) but also unpacking what this means for those of us healing our relationship with our bodies. Because if you're already struggling to feel good in your skin, seeing these fake “fitfluencers” can seriously mess with your head.We'll talk about: 

EP166 Interview With Mark & Simon From Elinchrom UK I sit down with Mark Cheatham and Simon Burfoot from Elinchrom UK to talk about the two words that matter most when you work with light: accuracy and consistency. We dig into flash vs. continuous, shaping light (not just adding it), why reliable gear shortens your workflow, and Elinchrom's new LED 100 C—including evenly filling big softboxes and that handy internal battery. We also wander into AI: threats, tools, and why authenticity still carries the highest value.   Links: Elinchrom UK store/info: https://elinchrom.co.uk/ LED 100 C product page: https://elinchrom.co.uk/elinchrom-led-100-c Rotalux Deep Octa / strips: https://elinchrom.co.uk/elinchrom-rotalux-deep-octabox-100cm-softbox/ My workshop dates: https://masteringportraitphotography.com/workshops-and-mentoring/ Transcript: Paul: as quite a lot of, you know, I've had a love affair with Elinchrom Lighting for the past 20 something years. In fact, I'm sitting with one of the original secondhand lights I bought from the Flash Center 21 years ago in London. And on top of that, you couldn't ask for a nicer set of guys in the UK to deal with. So I'm sitting here about to talk to Simon and Mark from Elinchrom uk. I'm Paul and this is the Mastering Portrait Photography podcast. Paul: So before we get any further, tell me a little bit about who you are, each of you and the team from Elinchrom UK Mark: After you, Simon. Simon: Thank you very much, mark. Mark: That's fine. Simon: I'm, Simon Burfoot. I have, been in the industry now for longer than I care to think. 35 years almost to the, to the day. Always been in the industry even before I left school because my father was a photographer and a lighting tutor, working for various manufacturers I was always into photography, and when he started the whole lighting journey. I got on it with him, and was learning from a very young age. Did my first wedding at 16 years old. Had a Saturday job which turned into a full-time job in a retail camera shop. By the time I was 18, I was managing my own camera shop, in a little town in the Cotswolds called Cirencester. My dad always told me that to be a photographic rep in the industry, you needed to see it from all angles, to get the experience. So I ended up, working in retail, moving over to a framing company. Finishing off in a prolab, hand printing, wedding photographers pictures, processing E6 and C41, hand correcting big prints for framing for, for customers, which was really interesting and I really enjoyed it. And then ended up working for a company called Leeds Photo Visual, I was a Southwest sales guy for them. Then I moved to KJP before it became, what we know now as Wex, and got all of the customers back that I'd stolen for them for Leeds. And then really sort of started my career progressing through, and then started to work with Elinchrom, on the lighting side. Used Elinchrom way before I started working with them. I like you a bit of a love affair. I'd used lots of different lights and, just loved the quality of the light that the Elinchrom system produced. And that's down to a number of factors that I could bore you with, but it's the quality of the gear, the consistency in terms of color, and exposure. Shooting film was very important to have that consistency because we didn't have Photoshop to help us out afterwards. It was a learning journey, but I, I hit my goal after being a wedding photographer and a portrait photographer in my spare time, working towards getting out on the road, meeting people and being involved in the industry, which I love. And I think it's something that I'm scared of leaving 'cause I dunno anything else. It's a wonderful industry. It has its quirks, its, downfalls at points, but actually it's a really good group of people and everyone kind of, gets on and we all love working with each other. So we're friends rather than colleagues. Paul: I hesitate to ask, given the length of that answer, to cut Simon: You did ask. Mark: I know. Paul: a short story Mark: was wondering if I was gonna get a go. Paul: I was waiting to get to end into the podcast and I was about to sign off. Mark: So, hi Mark Cheatham, sales director for Elinchrom uk this is where it gets a little bit scary because me and Simon have probably known each other for 10 years, yet our journeys in the industry are remarkably similar. I went to college, did photography, left college, went to work at commercial photographers and hand printers. I was a hand printer, mainly black and white, anything from six by four to eight foot by four foot panels, which are horrible when you're deving in a dish. But we did it. Paul: To the generation now, deving in a dish doesn't mean anything. Simon: No, it doesn't. Mark: And, and when you're doing a eight foot by four foot print and you've got it, you're wearing most of the chemistry. You went home stinking every night. I was working in retail. As a Saturday lad and then got promoted from the Saturday lad to the manager and went to run a camera shop in a little town in the Lake District called Kendall. I stayed there for nine years. I left there, went on the road working for a brand called Olympus, where I did 10 years, I moved to Pentax, which became Rico Pentax. I did 10 years there. I've been in the industry all my life. Like Simon, I love the industry. I did go out the industry for 18 months where I went into the wonderful world of high end commercial vr, selling to blue light military, that sort of thing. And then came back. One of the, original members of Elinchrom uk. I don't do as much photography as Simon I take photos every day, probably too many looking at my Apple storage. I do shoot and I like shooting now and again, but I'm not a constant shooter like you guys i'm not a professional shooter, but when you spent 30 odd years in the industry, and part of that, I basically run the, the medium format business for Pentax. So 645D, 645Z. Yeah, it was a great time. I love the industry and, everything about it. So, yeah, that's it Paul: Obviously both of you at some point put your heads together and decided Elinchrom UK was the future. What triggered that and why do you think gimme your sales pitch for Elinchrom for a moment and then we can discuss the various merits. Simon: The sales pitch for Elinchrom is fairly straightforward. It's a nice, affordable system that does exactly what most photographers would like. We sell a lot of our modifiers, so soft boxes and things like that to other users, of Prophoto, Broncolor. Anybody else? Because actually the quality of the light that comes out the front of our diffusion material and our specular surfaces on the soft boxes is, is a lot, lot more superior than, than most. A lot more superior. A lot more Mark: A lot more superior. Paul: more superior. Simon: I'm trying to Paul: Superior. Simon: It's superior. And I think Paul, you'll agree, Paul: it's a lot more, Simon: You've used different manufacturers over the years and, I think the quality of light speaks for itself. As a photographer I want consistency. Beautiful light and the effects that the Elinchrom system gives me, I've tried other soft boxes. If you want a big contrasty, not so kind light, then use a cheaper soft box. If I've got a big tattoo guy full of piercings you're gonna put some contrasty light to create some ambience. Maybe the system for that isn't good enough, but for your standard portrait photographer in a studio, I don't think you can beat the light. Mark: I think the two key words for Elinchrom products are accuracy and consistency. And that's what, as a portrait photographer, you should be striving for, you don't want your equipment to lengthen your workflow or make your job harder in post-production. If you're using Elinchrom lights with Elinchrom soft boxes or Elinchrom modifiers, you know that you're gonna get accuracy and consistency. Which generally makes your job easier. Paul: I think there's a bit that neither of you, I don't think you've quite covered, and it's the bit of the puzzle that makes you want to use whatever is the tool of your trade. I mean, I worked with musicians, I grew up around orchestras. Watching people who utterly adore the instrument that's in their hand. It makes 'em wanna play it. If you own the instrument that you love to play, whether it's a drum kit a trumpet a violin or a piano, you will play it and get the very best out of your talent with it. It's just a joy to pick it up and use it for all the little tiny things I think it's the bit you've missed in your descriptions of it is the utter passion that people that use it have for it. Mark: I think one of the things I learned from my time in retail, which was obviously going back, a long way, even before digital cameras One of the things I learned from retail, I was in retail long before digital cameras, retail was a busier time. People would come and genuinely ask for advice. So yes, someone would come in and what's the best camera for this? Or what's the best camera for that? Honestly there is still no answer to that. All the kit was good then all the kit is good now. You might get four or five different SLRs out. And the one they'd pick at the end was the one that they felt most comfortable with and had the best connection with. When you are using something every day, every other day, however it might be, it becomes part of you. I'm a F1 fan, if you love the world of F1, you know that an F1 car, the driver doesn't sit in an F1 car, they become part of the F1 car. When you are using the same equipment day in, day out, you don't have to think about what button to press, what dial to to turn. You do it. And that, I think that's the difference between using something you genuinely love and get on with and using something because that's what you've got. And maybe that's a difference you genuinely love and get on with Elinchrom lights. So yes, they're given amazing output and I know there's, little things that you'd love to see improved on them, but that's not the light output. Paul: But the thing is, I mean, I've never, I've never heard the F1 analogy, but it's not a bad one. When you talk about these drivers and their cars and you are right, they're sort of symbiotic, so let's talk a little bit about why we use flash. So from the photographers listening who are just setting out, and that's an awful lot of our audience. I think broadly speaking, there are two roads or three roads, if you include available light if you're a portrait photographer. So there's available light. There's continuous light, and then there's strobes flash or whatever you wanna call it. Of course, there's, hybrid modeling and all sorts of things, but those are broadly the three ways that you're gonna light your scene or your subject. Why flash? What is it about that instantaneous pulse of light from a xenon tube that so appealing to photographers? Simon: I think there's a few reasons. The available light is lovely if you can control it, and by that I mean knowing how to use your camera, and control the ambient light. My experience of using available light, if you do it wrong, it can be quite flat and uninteresting. If you've got a bright, hot, sunny day, it can be harder to control than if it's a nice overcast day. But then the overcast day will provide you with some nice soft, flat lighting. Continuous light is obviously got its uses and there's a lot of people out there using it because what they see is what they get. The way I look at continuous light is you are adding to the ambient light, adding more daylight to the daylight you've already got, which isn't a problem, but you need to control that light onto the subject to make the subject look more interesting. So a no shadow, a chin shadow to show that that subject is three dimensional. There are very big limitations with LED because generally it's very unshapable. By that I mean the light is a very linear light. Light travels in straight lines anyway, but with a flash, we can shape the light, and that's why there's different shapes and sizes of modifiers, but it's very difficult to shape correctly -an LED array, the flash for me, gives me creativity. So with my flash, I get a sharper image to start with. I can put the shadows and the light exactly where I want and use the edge of a massive soft box, rather than the center if I'm using a flash gun or a constant light. It allows me to choose how much or how little contrast I put through that light, to create different dynamics in the image. It allows me to be more creative. I can kill the ambient light with flash rather than adding to it. I can change how much ambient I bring into my flash exposure. I've got a lot more control, and I'm not talking about TTL, I'm talking about full manual control of using the modifier, the flash, and me telling the camera what I want it to do, rather than the camera telling me what it thinks is right. Which generally 99% of the time is wrong. It's given me a beautiful, average exposure, but if I wanted to kill the sun behind the subject, well it's not gonna do that. It's gonna give me an average of everything. Whereas Flash will just give me that extra opportunity to be a lot more creative and have a lot more control over my picture. I've got quite a big saying in my workshops. I think a decent flash image is an image where it looks like flash wasn't used. As a flash photographer, Paul, I expect you probably agree with me, anyone can take a flash image. The control of light is important because anybody can light an image, but to light the subject within the image and control the environmental constraints, is the key to it and the most technical part of it. Mark: You've got to take your camera off P for professional to do that. You've got to turn it off p for professional and get it in manual mode. And that gives you the control Paul: Well, you say that, We have to at some point. Address the fact that AI is not just coming, it's sitting here in our studios all the time, and we are only a heartbeat away from P for professional, meaning AI analyzed and creating magic. I don't doubt for a minute. I mean, right now you're right, but not Mark: Well, at some point it will be integrated into the camera Paul: Of course it will. Mark: If you use an iPhone or any other phone, you know, we are using AI as phone photographers, your snapshots. You take your kids, your dogs, whatever they are highly modified images. Paul: Yeah. But in a lot of the modern cameras, there's AI behind the scenes, for instance, on the focusing Mark: Yeah. Paul: While we've, we are on that, we were on that thread. Let's put us back on that thread for a second. What's coming down the line with, all lighting and camera craft with ai. What are you guys seeing that maybe we're not Simon: in terms of flash technology or light technology? Paul: Alright. I mean, so I mean there's, I guess there's two angles, isn't there? What are the lights gonna do that use ai? What are the controllers gonna do, that uses ai, but more importantly, how will it hold its own in a world where I can hit a button and say, I want rebrand lighting on that face. I can do that today. Mark: Yeah. Simon: I'm not sure the lighting industry is anywhere near producing anything that is gonna give what a piece of software can give, because there's a lot more factors involved. There's what size light it is, what position that light is in, how high that light is, how low that light is. And I think the software we've all heard and played with Evoto we were talking about earlier, I was very skeptical and dubious about it to start with as everybody would be. I'm a Photoshop Lightroom user, have been for, many years. And I did some editing, in EEvoto with my five free credits to start with, three edits in, I bought some credits because I thought, actually this is very, very good. I'll never use it for lighting i'd like to think I can get that right myself. However, if somebody gives you a, a very flat image of a family outside and say, well, could you make this better for me? Well, guess what? I can do whatever you like to it. Is it gonna attack the photographer that's trying to earn a living? I think there's always a need for people to take real photographs and family photographs. I think as photographers, we need to embrace it as an aid to speed up our workflow. I don't think it will fully take over the art of photography because it's a different thing. It's not your work. It's a computer generated AI piece of work in my head. Therefore, who's responsible for that image? Who owns the copyright to that image? We deal with photographers all the time who literally point a camera, take a picture and spend three hours editing it and tell everyone that, look at this. The software's really good and it's made you look good. I think AI is capable of doing that to an extent. In five years time, we'll look back at Evoto today and what it's producing and we'll think cracky. That was awful. It's like when you watch a high definition movie from the late 1990s, you look at it and it was amazing at the time, but you look at it now and you think, crikey, look at the quality of it. I dunno if we're that far ahead where we won't get to that point. The quality is there. I mean, how much better can you go than 4K, eight K minus, all that kind of stuff. I'm unsure, but I don't think the AI side of it. Is applicable to flash at this moment in time? I don't know. Mark: I think you're right. To look at the whole, photography in general. If you are a social photographer, family photographer, whatever it might be, you are genuinely capturing that moment in time that can't be replaced. If you are a product photographer, that's a different matter. I think there's more of a threat. I think I might be right in saying. I was looking, I think I saw it on, LinkedIn. There is a fashion brand in the UK at the moment that their entire catalog of clothing has been shot without models. When you look at it on the website, there's models in it. They shoot the clothing on mannequins and then everything else is AI generated they've been developing their own AI platform now for a number of years. Does the person care Who's buying a dress for 30 quid? Probably not, but if you are photographing somebody's wedding, graduation, some, you know, a genuine moment in someone's life, I think it'd be really wrong to use any sort of AI other than a little bit of post-production, which we know is now quite standard for many people in the industry. Paul: Yeah, the curiosity for me is I suspect as an industry, Guess just released a full AI model advert in, Vogue. Declared as AI generated an ai agency created it. Everything about it is ai. There's no real photography involved except in the learning side of it. And that's a logical extension of the fact we've been Photoshopping to such a degree that the end product no longer related to the input. And we've been doing that 25 years. I started on Photoshop version one, whatever that was, 30 years More than 33. So we've kind of worked our way into a corner where the only way out of it is to continue. There's no backtracking now. Mark: Yeah. Paul: I think the damage to the industry though, or the worry for the industry, I think you're both right. I think if you can feel it, touch it, be there, there will always be that importance. In fact, the provenance of authenticity. Is the high value ticket item now, Simon: Mm-hmm. Paul: because you, everything else is synthetic, you can trust nothing. We are literally probably months away from 90% of social media being generated by ai. AI is both the consumer and the generator of almost everything online Mark: Absolutely. Paul: Goodness knows where we go. You certainly can't trust anything you read. You can't trust anything you see, so authenticity, face-to-face will become, I think a high value item. Yeah. Mark: Yeah. Paul: I think one problem for us as an industry in terms of what the damage might be is that all those people that photograph nameless products or create books, you know, use photography and then compositing for, let's say a novel that's gone, stock libraries that's gone because they're faceless. Simon: Mm-hmm. Paul: there doesn't have to be authentic. A designer can type in half a dozen keywords. Into an AI engine and get what he needs. If he doesn't get what he needs, he does it again. All of those photographers who currently own Kit are gonna look around with what do we do now? And so for those of us who specialize in weddings and portraits and family events, our market stands every chance of being diluted, which has the knock on effect of all of us having to keep an eye on AI to stay ahead of all competitors, which has the next knock on effect, that we're all gonna lean into ai, which begs the question, what happens after Because that's what happened in the Photoshop world. You know, I'm kind of, I mean, genuinely cur, and this will be a running theme on the podcast forever, is kind of prodding it and taking barometer readings as to where are we going? Mark: Yeah. I mean, who's more at threat at the moment from this technology? Is it the photographer or is it the retouch? You know, we do forget that there are retouchers That is their, they're not photographers. Paul: I don't forget. They email me 3, 4, 5 times a day. Mark: a Simon: day, Mark: You know, a highly skilled retouch isn't cheap. They've honed their craft for many years using whatever software product they prefer to use. I think they're the ones at risk now more so than the photographer. And I think we sort of lose sight of that. Looking at it from a photographer's point of view, there is a whole industry behind photography that actually is being affected more so than you guys at the moment. Simon: Mm-hmm. Paul: Yeah, I think there's truth in that, but. It's not really important. Of course, it's really important to all of those people, but this is the digital revolution that we went through as film photographers, and probably what the Daguerreotype generators went through when Fox Tolbert invented the first transfer. Negative. You know, they are, there are always these epochs in our industry and it wipes out entire skillset. You know, I mean, when we went to digital before then, like you, I could dev in a tank. Yeah. You know, and really liked it. I like I see, I suspect I just like the solitude, Mark: the dark, Paul: red light in the dark Mark: yeah. Paul: Nobody will come in. Not now. Go away. Yeah. All that kind of stuff. But of course those skills have gone, has as, have access to the equipment. I think we're there again, this feels like to me a huge transition in the industry and for those who want to keep up, AI is the keeping up whether you like it or not. Mark: Yeah. And if you don't like it, we've seen it, we're in the middle of a massive resurgence in film photography, which is great for the industry, great for the retail industry, great for the film manufacturers, chemical manufacturers, everything. You know, simon, myself, you, you, we, we, our earliest photography, whether we were shooting with flash, natural light, we were film shooters and that planes back. And what digital did, from a camera point of view, is make it easier and more accessible for less skilled people. But it's true. You know, if you shot with a digital camera now that's got a dynamic range of 15 stops, you actually don't even need to have your exposure, that accurate Go and shoot with a slide film that's got dynamic range of less than one stop and see how good you are. It has made it easier. The technology, it will always make it. Easier, but it opens up new doors, it opens up new avenues to skilled people as well as unskilled people. If you want, I'm using the word unskilled again, I'm not being, a blanket phrase, but it's true. You can pick up a digital camera now and get results that same person shooting with a slide film 20 years ago would not get add software to that post-production, everything else. It's an industry that we've seen so many changes in over the 30 odd years that we've been in it, Simon: been Mark: continue Simon: at times. It exciting Mark: The dawn of digital photography to the masses. was amazing. I was working for Olympus at the time when digital really took off and for Olympus it was amazing. They made some amazing products. We did quite well out of it and people started enjoying photography that maybe hadn't enjoyed photography before. You know, people might laugh at, you know, you, you, you're at a wedding, you're shooting a really nice wedding pool and there's always a couple of guests there which have got equipment as good as yours. Better, better than yours. Yeah. Got Simon: jobs and they can afford it. Mark: They've got proper jobs. Their pitches aren't going to be as good as yours. They're the ones laughing at everyone shooting on their phone because they've spent six grand on their new. Camera. But if shooting on a phone gets people into photography and then next year they buy a camera and two years later they upgrade their camera and it gets them into the hobby of photography? That's great for everyone. Hobbyists are as essential, as professional photographers to the industry. In fact, to keep the manufacturers going, probably more so Simon: the hobbyists are a massive part. Even if they go out and spend six or seven or 8,000 pounds on a camera because they think it's gonna make them a better photographer. Who knows in two years time with the AI side, maybe it will. That old saying, Hey Mr, that's a nice camera. I bet it takes great pictures, may become true. We have people on the lighting courses, the workshops we run, the people I train and they're asking me, okay, what sessions are we gonna use? And I'm saying, okay, well we're gonna be a hundred ISO at 125th, F 5.6. Okay, well if I point my camera at the subject, it's telling me, yeah, but you need to put it onto manual. And you see the color drain out their faces. You've got a 6,000 pound camera and you've never taken it off 'P'. Mark: True story. Simon: And we see this all the time. It's like the whole TTL strobe manual flash system. The camera's telling you what it wants to show you, but that maybe is not what you want. There are people out there that will spend a fortune on equipment but actually you could take just as good a picture with a much smaller, cheaper device with an nice bit of glass on the front if you know what you're doing. And that goes back to what Mark was saying about shooting film and slide film and digital today. Paul: I, mean, you know, I don't want this to be an echo chamber, and so what I am really interested in though, is the way that AI will change what flash photography does. I'm curious as to where we are headed in that, specific vertical. How is AI going to help and influence our ability to create great lip photography using flash? Mark: I think, Paul: I love the fact the two guys side and looked at each other. Mark: I, Simon: it's a difficult question to answer. Mark: physical light, Simon: is a difficult question to answer because if you're Mark: talking about the physical delivery of light. Simon: Not gonna change. Mark: Now, The only thing I can even compare it to, if you think about how the light is delivered, is what's the nearest thing? What's gotta change? Modern headlamps on cars, going back to cars again, you know, a modern car are using these LED arrays and they will switch on and switch off different LEDs depending on the conditions in front of them. Anti dazzle, all this sort of stuff. You know, the modern expensive headlamp is an amazing technical piece of kit. It's not just one ball, but it's hundreds in some cases of little arrays. Will that come into flash? I don't know. Will you just be able to put a soft box in front of someone and it will shape the light in the future using a massive array. Right? I dunno it, Simon: there's been many companies tested these arrays, in terms of LED Flash, And I think to be honest, that's probably the nearest it's gonna get to an AI point of view is this LED Flash. Now there's an argument to say, what is flash if I walk into a living room and flick the light on, on off really quickly, is that a flash? Mark: No, that's a folock in Paul: me Mark: turn, big lights off. Paul: Yeah. Mark: So Simon: it, you, you might be able to get these arrays to flush on and off. But LED technology, in terms of how it works, it's quite slow. It's a diode, it takes a while for it to get to its correct brightness and it takes a while for it to turn off. To try and get an LED. To work as a flash. It, it's not an explosion in a gas field tube. It's a a, a lighter emitting diode that is, is coming on and turning off again. Will AI help that? Due to the nature of its design, I don't think it can. Mark: Me and s aren't invented an AI flash anytime soon by the looks of, we're Simon: it's very secret. Mark: We're just putting everyone off Paul, Simon: It's alright. Mark: just so they don't think Simon: Yeah, Mark: Oh, it's gonna be too much hard work and we'll sort it. Paul: It's definitely coming. I don't doubt for a minute that this is all coming because there's no one not looking at anything Simon: that makes perfect sense. Paul: Right now there's an explosion of invention because everybody's trying to find an angle on everything. Simon: Mm-hmm. Paul: The guys I feel the most for are the guys who spent millions, , on these big LED film backdrop walls. Simon: Yep. Mark: So you can Paul: a car onto a flight sim, rack, and then film the whole lot in front of an LED wall. Well, it was great. And there was a market for people filming those backdrops, and now of course that's all AI generated in the LED, but that's only today's technology. Tomorrow's is, you don't need the LED wall. That's here today. VEO3 and Flow already, I mean, I had to play with one the other day for one of our lighting diagrams and it animated the whole thing. Absolute genius. Simon: Mm-hmm. Paul: I still generated the original diagram. Mark: Yeah, Paul: Yeah, that's useful. There's some skill in there still for now, but, you gotta face the music that anything that isn't, I can touch it and prod it. AI's gonna do it. Mark: Absolutely. If you've ever seen the series Mandalorian go and watch the making of the Mandalorian and they are using those big LED walls, that is their backdrop. Yeah. And it's amazing how fast they shift from, you know, they can, they don't need to build a set. Yeah. They shift from scene to scene. Paul: Well, aI is now building the scenes. But tomorrow they won't need the LED wall. 'cause AI will put it in behind the actors. Mark: Yeah. Say after Paul: that you won't need the actors because they're being forced to sign away the rights so that AI can be used. And even those that are standing their ground and saying no, well, the actors saying Yes. Are the ones being hired. You know, in the end, AI is gonna touch all of it. And so I mean, it's things like, imagine walking into a studio. Let's ignore the LED thing for a minute, by the way, that's a temporary argument, Simon: I know you're talking about. Paul: about today's, Simon: You're about the. Mark: days Paul: LEDs, Simon: we're in, We're in very, very interesting times and. I'm excited for the future. I'm excited for the new generation of photographers that are coming in to see how they work with what happens. We've gone from fully analog to me selling IMACON drum scanners that were digitizing negatives and all the five four sheet almost a shoot of properties for an estate agent were all digitized on an hassle blood scanner. And then the digital camera comes out and you start using it. It was a Kodak camera, I think the first SLRI used, Paul: Yeah. Simon: and you get the results back and you think, oh my God, it looks like it's come out of a practica MTL five B. Mark: But Simon: then suddenly the technology just changes and changes and changes and suddenly it's running away with itself and where we are today. I mean, I, I didn't like digital to start with. It was too. It was too digital. It was too sharp. It didn't have the feel of film, but do you know what? We get used to it and the files that my digital mirrorless camera provide now and my Fuji GFX medium format are absolutely stunning. But the first thing I do is turn the sharpness down because they are generally over sharp. For a lovely, beautifully lit portrait or whatever that anybody takes, it just needs knocking back a bit. We were speaking about this earlier, I did some comparison edits from what I'd done manually in Photoshop to the Evoto. Do you know what the pre-selected edits are? Great. If you not the slider back from 10 to about six, you're there or thereabouts? More is not always good. Mark: I think when it comes to imagery in our daily lives, the one thing that drives what we expect to see is TV and most people's TVs, everything's turned up to a hundred. The color, the contrast, that was a bit of a shock originally from the film to digital, crossover. Everything went from being relatively natural to way over the top Just getting back to AI and how it's gonna affect people like you and people that we work with day to day. I don't think we should be worried about that. We should be worried about the images we see on the news, not what we're seeing, hanging on people's walls and how they're gonna be affected by ai. That generally does affect everyone's daily life. Paul: Yeah, Mark: Yeah. But what Paul: people now ask me, for instance, I've photographed a couple head shots yesterday, and the one person had not ironed her blouse. And her first question was, can we sort that out in post? So this is the knock on effect people are becoming aware of what's possible. What's that? Nothing. Know, and the, the smooth clothing button in Evoto will get me quite a long way down that road and saves somebody picking up an eye and randomly, it's not me, it's now actually more work for me 'cause I shouldn't have to do it. But, you know, this is my point about the knock on effect. Our worlds are different. So I didn't really intend this to be just a great sort of circular conversation about AI cars and, future technology. It was more, I dunno, we ended up down there anyway. Simon: We went down a rabbit hole. Mark: A Paul: rabbit hole. Yeah Mark: was quite an interesting one. Simon: And I'm sorry if you've wasted your entire journey to work and we Paul: Yeah. Simon: Alright. It wasn't intended to be like that. Paul: I think it's a debate that we need to be having and there needs to be more discussion about it. Certainly for anybody that has a voice in the industry and people are listening to it because right now it might be a toddler of a technology, but it's growing faster than people realize. There is now a point in the written word online where AI is generating more than real people are generating, and AI is learning that. So AI is reading its own output. That's now beginning to happen in imagery and film and music. Simon: Well, even in Google results, you type in anything to a Google search bar. When it comes back to the results, the first section at the top is the AI generated version. And you know what, it's generally Paul: Yep. Simon: good and Paul: turn off all the rest of it now. So it's only ai. Simon: Not quite brave enough for that yet. No, not me. Mark: In terms Paul: of SEO for instance, you now need to tune it for large language models. You need to be giving. Google the LLM information you want it to learn so that you become part of that section on a website. And it, you know, this is where we are and it's happening at such a speed, every day I am learning something new about something else that's arriving. And I think TV and film is probably slightly ahead of the photography industry Mark: Yeah. Paul: The pressures on the costs are so big, Simon: Yes. Paul: Whereas the cost differential, I'm predicting our costs will actually go up, not down. Whereas in TV and film, the cost will come down dramatically. Mark: Absolutely. Simon: They are a horrifically high level anyway. That's Paul: I'm not disputing that, but I watched a demo of some new stuff online recently and they had a talking head and they literally typed in relight that with a kiss light here, hairlight there, Rembrandt variation on the front. And they did it off a flat picture and they can move the lights around as if you are moving lights. Yes. And that's there today. So that's coming our way too. And I still think the people who understand how to see light will have an advantage because you'll know when you've typed these words in that you've got it about right. It doesn't change the fact that it's going to be increasingly synthetic. The moment in the middle of it is real. We may well be asked to relight things, re clothe things that's already happening. Simon: Yeah. Paul: We get, can you just fill in my hairline? That's a fairly common one. Just removing a mole. Or removing two inches round a waist. This, we've been doing that forever. Simon: Mm-hmm. Paul: And so now it'll be done with keyword generation rather than, photoshop necessarily. Simon: I think you'll always have the people that embrace this, we can't ignore it as you rightly say. It's not going away. It's gonna get bigger, it's gonna feature more in our lives. I think there's gonna be three sets of people. It's gonna be the people like us generally on a daily basis. We're photographers or we're artists. We enjoy what we do. I enjoy correctly lighting somebody with the correct modifier properties to match light quality to get the best look and feel and the ambience of that image. And I enjoy the process of putting that together and then seeing the end result afterwards. I suppose that makes me an artist in, in, in loose terms. I think, you know, as, as, as a photographer, we are artists. You've then got another generation that are finding shortcuts. They're doing some of the job with their camera. They're making their image from an AI point of view. Does that make up an artist? I suppose it still does because they're creating their own art, but they have no interest 'cause they have no enjoyment in making that picture as good as it can be before you even hit the shutter. And then I think you've got other people, and us to an extent where you do what you need to do, you enjoy the process, you look at the images, and then you just finely tune it with a bit of AI or Photoshop retouching so I think there are different sets of people that will use AI to their advantage or completely ignore it. Mark: Yeah. I think you're right. And I think it comes down, I'm going to use another analogy here, you, you know, let's say you enjoy cooking. If you enjoy cooking, you're creating something. What's the alternative? You get a microwave meal. Well, Paul Simon: and Sarah do. Mark: No. Paul: Sarah does. Simon: We can't afford waitress. Mark: You might spend months creating your perfect risotto. You've got it right. You love it. Everyone else loves it. You share it around all your friends. Brilliant. Or you go to Waitrose, you buy one, put it three minutes in the microwave and it's done. That's yer AI I Imagery, isn't it? It's a microwave meal. Paul: There's a lot of microwave meals out there. And not that many people cook their own stuff and certainly not as many as used to. And there's a lesson. Simon: Is, Mark: but also, Simon: things have become easier Mark: there Simon: you go. Mark: I think what we also forget in the photographic industry and take the industry as a whole, and this is something I've experienced in the, in the working for manufacturers in that photography itself is, is a, is a huge hobby. There's lots of hobbyist photographers, but there's actually more people that do photography as part of another hobby, birdwatching, aviation, all that sort of thing. Anything, you know, the photography isn't the hobby, it's the birds that are the hobby, but they take photographs of, it's the planes that are the hobby, but they take photographs. They're the ones that actually keep the industry going and then they expand into other industries. They come on one of our workshops. You know, that's something that we're still and Simon still Absolutely. And yourself, educating photographers to do it right, to practice using the gear the right way, but the theory of it and getting it right. If anything that brings more people into wanting to learn to cook better, Paul: you Mark: have more chefs rather than people using microwave meals. Education's just so important. And when it comes to lighting, I wasn't competent in using flash. I'm still not, but having sat through Simon's course and other people's courses now for hundreds of times, I can light a scene sometimes, people are still gonna be hungry for education. I think some wills, some won't. If you wanna go and get that microwave risotto go and microwave u risotto. But there's always gonna be people that wanna learn how to do it properly, wanna learn from scratch, wanna learn the art of it. Creators and in a creative industry, we've got to embrace those people and bring more people into it and ensure there's more people on that journey of learning and upskilling and trying to do it properly. Um, and yes, if they use whatever technology at whatever stage in their journey, if they're getting enjoyment from it, what's it matter? Paul: Excellent. Mark: What a fine Paul: concluding statement. If they got enjoyment outta it. Yeah. Whatever. Excellent. Thank you, Mark, for your summing up. Simon: In conclusion, Paul: did that just come out your nose? What on earth. Mark: What Paul: what you can't see, dear Listener is the fact that Mark just spat his water everywhere, laughing at Si. It's been an interesting podcast. Anyway, I'm gonna drag this back onto topic for fear of it dissolving into three blokes having a pint. Mark: I think we should go for one. Simon: I think, Paul: I think we should know as well. Having said that with this conversation, maybe not. I was gonna ask you a little bit about, 'cause we've talked about strobes and the beauty of strobes, but of course Elinchrom still is more than that, and you've just launched a new LED light, so I know you like Strobe Simon. Now talk about the continuous light that also Elinchrom is producing. Simon: We have launched the Elinchrom LED 100 C. Those familiar with our Elinchrom One and Three OCF camera Flash system. It's basically a smaller unit, but still uses the OCF adapter. Elinchrom have put a lot of time into this. They've been looking at LED technology for many years, and I've been to the factory in Switzerland and seen different LED arrays being tested. The problem we had with LEDs is every single LED was different and put out a different color temperature. We're now manufacturing LEDs in batches, where they can all be matched. They all come from the same serial number batch. And the different colors of LED as well, 15 years ago, blue LEDs weren't even possible. You couldn't make a blue LED every other color, but not blue for some unknown reason. They've got the colors right now, they've got full RGB spectrum, which is perfectly accurate a 95 or 97 CRI index light. It's a true hundred watts, of light as well. From tosin through to past daylight and fully controllable like the CRO flash system in very accurate nth degrees. The LED array in the front of the, the LEDA hundred is one of the first shapeable, fully shapeable, LED arrays that I've come across and I've looked at lots. By shapeable, I mean you put it into a soft box, of any size and it's not gonna give you a hotspot in the middle, or it's not gonna light the first 12 inches of the middle of the soft box and leave the rest dark. I remember when we got the first LD and Mark got it before me And he said, I've put it onto a 70 centimeter soft box. And he said, I've taken a picture to the front. Look at this. And it was perfectly even from edge to edge. When I got it, I stuck it onto a 1 3 5 centimeter soft box and did the same and was absolutely blown away by how even it was from edge to edge. When I got my light meter out, if you remember what one of those is, uh, it, uh, it gave me a third of a stop different from the center to the outside edge. Now for an LED, that's brilliant. I mean, that's decent for a flash, but for an LED it's generally unheard of. So you can make the LED as big as you like. It's got all the special effects that some of the cheaper Chinese ones have got because people use that kind of thing. Apparently I have no idea what for. But it sits on its own in a market where there are very cheap and cheerful LEDs, that kind of do a job. And very expensive high-end LEDs that do a completely different job for the photographer that's gone hybrid and does a bit of shooting, but does a bit of video work. So, going into a solicitor's or an accountant's office where they want head shots, but also want a bit of talking head video for the MD or the CEO explaining about his company on the website. It's perfect. You can up the ISO and use the modeling lamp in generally the threes, the fives, the ones that we've got, the LEDs are brilliant. But actually the LED 100 will give you all your modifier that you've taken with you, you can use those. It's very small and light, with its own built-in battery and it will give you a very nice low iso. Talking head interview with a lovely big light source. And I've proved the point of how well it works and how nice it is at the price point it sits in. But it is our first journey into it. There will be others come in and there'll be an app control for it. And I think from an LED point of view, you're gonna say, I would say this, but actually it's one of the nicer ones I've used. And when you get yours, you can tell people exactly the same. Paul: Trust me, I will. Simon: Yes. Mark: I think Paul: very excited about it. Mark: I think the beauty of it as well is it's got an inbuilt battery. It'll give you up to 45 minutes on a full charge. You can plug it in and run it off the mains directly through the USB socket as well. But it means it's a truly portable light source. 45 minutes at a hundred watt and it's rated at a hundred watt actual light output. It's seems far in excess of that. When you actually, Simon: we had a photographer the other day who used it and he's used to using sort of 3, 2 50, 300 watt LEDs and he said put them side by side at full power. They were virtually comparable. Paul: That is certainly true, or in my case by lots. Simon: I seem to be surrounded Paul: by Elinchrom kit, Which is all good. So for anybody who's interested in buying one of these things, where'd you get them? How much are they? Simon: The LED itself, the singlehead unit is 499 inc VAT. If you want one with a charger, which sounds ridiculous, but there's always people who say, well, I don't want the charger. You can have one with a charger for 50 quid extra. So 549. The twin kit is just less than a thousand quid with chargers. And it comes in a very nice portable carry bag to, to carry them around in. Um, and, uh, yeah, available from all good photographic retailers, and, Ellen crom.co uk. Paul: Very good. So just to remind you beautiful people listening to this podcast, we only ever feature people and products, at least like this one where I've said, put a sales pitch in because I use it. It's only ever been about what we use here at the studio. I hate the idea of just being a renta-voice. You it. Mark: bought it. Paul: Yeah. That's true. You guys sold it to me. Mark: Yeah, Simon: if I gave you anything you'd tell everyone it was great. So if you buy it, no, I've bought Paul: Yeah. And then became an ambassador for you. As with everything here, I put my money where my mouth is, we will use it. We do use it. I'm really interested in the little LED light because I could have done with that the other night. It would've been perfect for a very particular need. So yes, I can highly recommend Elinchrom Fives and Threes if you're on a different system. The Rotalux, system of modifier is the best on the planet. Quick to set up, quick to take down. More importantly, the light that comes off them is just beautiful, whether it's a Godox, whether it's on a ProPhoto, which it was for me, or whether if you've really got your common sense about you on the front of an Elinchrom. And on that happy note and back to where we started, which is about lighting, I'm gonna say thanks to the guys. They came to the studio to fix a problem but it's always lovely to have them as guests here. Thank you, mark. Thank you Simon. Most importantly, you Elinchrom for creating Kit is just an absolute joy to use. If you've enjoyed the podcast, please head over to all your other episodes. Please subscribe and whatever is your podcast, play of choice, whether it's iTunes, Spotify, YouTube, or a other. After you head, if you head across to masteringportraitphotography.com the spiritual home of this, particular, podcast, I will put in the show notes all the little bits of detail and where to get these things. I'll get some links off the guys as to where to look for the kit. Thank you both. I dunno when I'll be seeing you again. I suspect it will be the Convention in January if I know the way these things go. Simon: We're not gonna get invited back, are we? Mark: Probably not. Enough. Paul: And I'm gonna get a mop and clean up that water. You've just sprayed all over the floor. What is going on? Simon: wish we'd video. That was a funny sun Mark: I just didn't expect it and never usually that sort of funny and quick, Simon: It's the funniest thing I've ever seen. Paul: On that happy note, whatever else is going on in your lives, be kind to yourself. Take care.

In this forward-thinking episode of Rethink Real Estate, host Ben Brady, CEO of Harcourts Auctions, is joined by Chris Cochran, Director of Marketing at Harcourts Auctions, to unpack Google Gemini's latest AI release — the bizarrely named yet incredibly powerful “Nano Banana” update — and why it's a game-changer for real estate marketing and content creation.From creating hyper-realistic agent headshots to instantly restaging homes, Nano Banana brings Photoshop-level image control to anyone who can type a simple prompt. Chris breaks down how agents can leverage Gemini's new likeness recognition and inpainting tools to produce professional-grade flyers, team photos, and listing visuals without a designer. Meanwhile, Ben explores how these tools might reshape listing presentations, branding, and the creative arms race in real estate.Together, they dig into the competition heating up between Google, OpenAI, and Adobe — and how these tools are redefining what it means to market property. Whether you're tech-curious or AI-skeptical, this episode will leave you rethinking how fast the real estate industry is evolving and how to stay one step ahead.Timestamps & Key Topics:[00:00:00] – Welcome to Rethink Real Estate[00:00:36] – What on earth is Google's “Nano Banana” update?[00:01:18] – The AI image revolution: realistic headshots and likeness accuracy[00:03:22] – Gemini vs. Photoshop: how Google is closing the gap[00:05:18] – Real estate flyers, prompts, and social media automation[00:06:11] – Can AI clean up old headshots and generate team photos?[00:07:01] – The power (and limits) of restaging interiors and exteriors[00:08:01] – Turning blank rooms into design-ready showpieces[00:10:02] – Elon Musk, Grok, and the broader AI ecosystem[00:11:30] – How agents can blend creativity with accountability[00:12:00] – Real-world real estate use cases for Gemini AI[00:15:39] – How AI helps agents visualize and communicate value[00:16:18] – Final thoughts: exploring Gemini's full potential

A reporter asked Trump if he'd pardon Ghislaine Maxwell now that the Supreme Court killed her last appeal, and he immediately went into his usual “Who? Never heard of her” routine like he was auditioning for Men in Black. It was pure comedy—he acted like Ghislaine was some random lady who wandered into his photos by accident, not someone who used to orbit the same high-society circles as him and Epstein. The man delivered his line so confidently you'd think he really believed it: “I don't know her, but I hear she's doing well.” Yeah, sure, Don—she's “doing well” in prison. Real cozy setup between chow line and lockdown. The guy could be caught holding a selfie stick with her and still swear it's Photoshop and “fake news.”Trump's selective amnesia is practically a stage show at this point. Every time one of his old pals gets indicted, he suddenly turns into a witness protection participant. “Never met them, don't know them, wish them well.” It's become a brand. The funniest part is how he says it with total confidence, like he's daring the world to remember what he's pretending to forget. When asked about a pardon, you could see the wheels spin—“What's in it for me?”—but in true Trump fashion, he skipped the answer and rewrote history instead. Because in his world, he doesn't need to pardon anyone; he just deletes them from existence. One minute you're clinking glasses at Mar-a-Lago, the next you're “Ghislaine who?”to contact me:bobbycapucci@protonmail.comsource:

A reporter asked Trump if he'd pardon Ghislaine Maxwell now that the Supreme Court killed her last appeal, and he immediately went into his usual “Who? Never heard of her” routine like he was auditioning for Men in Black. It was pure comedy—he acted like Ghislaine was some random lady who wandered into his photos by accident, not someone who used to orbit the same high-society circles as him and Epstein. The man delivered his line so confidently you'd think he really believed it: “I don't know her, but I hear she's doing well.” Yeah, sure, Don—she's “doing well” in prison. Real cozy setup between chow line and lockdown. The guy could be caught holding a selfie stick with her and still swear it's Photoshop and “fake news.”Trump's selective amnesia is practically a stage show at this point. Every time one of his old pals gets indicted, he suddenly turns into a witness protection participant. “Never met them, don't know them, wish them well.” It's become a brand. The funniest part is how he says it with total confidence, like he's daring the world to remember what he's pretending to forget. When asked about a pardon, you could see the wheels spin—“What's in it for me?”—but in true Trump fashion, he skipped the answer and rewrote history instead. Because in his world, he doesn't need to pardon anyone; he just deletes them from existence. One minute you're clinking glasses at Mar-a-Lago, the next you're “Ghislaine who?”to contact me:bobbycapucci@protonmail.comsource:Become a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

A reporter asked Trump if he'd pardon Ghislaine Maxwell now that the Supreme Court killed her last appeal, and he immediately went into his usual “Who? Never heard of her” routine like he was auditioning for Men in Black. It was pure comedy—he acted like Ghislaine was some random lady who wandered into his photos by accident, not someone who used to orbit the same high-society circles as him and Epstein. The man delivered his line so confidently you'd think he really believed it: “I don't know her, but I hear she's doing well.” Yeah, sure, Don—she's “doing well” in prison. Real cozy setup between chow line and lockdown. The guy could be caught holding a selfie stick with her and still swear it's Photoshop and “fake news.”Trump's selective amnesia is practically a stage show at this point. Every time one of his old pals gets indicted, he suddenly turns into a witness protection participant. “Never met them, don't know them, wish them well.” It's become a brand. The funniest part is how he says it with total confidence, like he's daring the world to remember what he's pretending to forget. When asked about a pardon, you could see the wheels spin—“What's in it for me?”—but in true Trump fashion, he skipped the answer and rewrote history instead. Because in his world, he doesn't need to pardon anyone; he just deletes them from existence. One minute you're clinking glasses at Mar-a-Lago, the next you're “Ghislaine who?”to contact me:bobbycapucci@protonmail.comsource:Trump says he will talk to DOJ about Maxwell pardon, says Diddy asked for one | ReutersBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

October 6, 2025: Cole Deike

Photoshop, Lightroom, Capture One, Luminar, Topazlabs, filters, maskers, AI… waar stopt het? In deze aflevering duiken je fotografievrienden Niels en Michiel in het grijze gebied van nabewerking. Is het altijd nodig? Hoe ver ga je? En wat kun je eigenlijk al in je camera doen?We bespreken bewerken versus verbeteren, stijl versus overdaad, en hoe verwachtingen van klanten (of volgers) daar invloed op hebben. Soms zit de kracht in subtiele aanpassingen. Soms moet je gewoon niets doen. En soms is een preset gewoon even lekker makkelijk.

Bienvenidos a FailAgain, una newsletter / podcast sobre crear contenido y estrategia.Analizo un creador que nos explica su crecimiento brutal en Instagram… y descubro que no tiene ni idea de lo que dice.CAUTIONMe topé con un vídeo donde un creador explicaba cómo había ganado 70.000 seguidores en Instagram con carruseles super estéticos. Photoshop, imágenes de Pinterest con esa luz aesthetic, tipografías bonitas...Y mientras lo veía, pensaba: “Esto ya lo he visto antes. Alguien lo va a copiar, no le va a funcionar, y se va a frustrar durante tres meses”.Probablemente ni siquiera él sabe por qué está creciendo de verdad.El problema de copiar sin analizarTodos hemos caído en esta trampa.Ves algo que funciona, piensas “yo puedo hacer eso”, te pones a crear... y pasan dos o tres meses sin que pase nada. Te frustras. Sorry, has perdido tiempo creando contenido que no va a ninguna parte.¿Por qué pasa esto?Porque solo estás viendo la punta del iceberg. Te fijas en el formato, en el diseño, en lo visible. Pero no analizas los factores que realmente importan y que están debajo de la superficie.Necesitas un filtro. Un sistema para detectar cuándo algo no va a funcionar para ti, aunque le haya funcionado a otra persona.Las 4 capas de análisis (para no copiar sin sentido)Cuando analizo cualquier caso de éxito, trabajo con cuatro capas. No son opcionales. Están siempre presentes. Lo que cambia es el peso de cada una.Capa 1: Demanda temática¿Hay gente buscando o necesitando ese contenido?Aquí analizas el tema en sí. ¿Cuánta gente potencial existe en ese nicho? ¿Hay tendencia o está en declive?No es lo mismo hablar de criptomonedas ahora que en 2021. Mismo contenido, demanda totalmente diferente.Capa 2: Conexión emocional¿El tema genera engagement de forma natural o tienes que forzarlo?Hay temáticas donde la conexión emocional ocurre sola:* Contenido polarizante: Genera opiniones y comentarios* Identidad: La gente se ve reflejada y reacciona* Transformación: Promete un cambio en tu vidaPiénsalo así: contenido de humor vs. fórmulas de Excel. Ambos son útiles. Pero uno se comparte 10.000 veces más porque cuando te ríes, quieres compartirlo.Capa 3: EjecuciónAquí es donde se centran los que te venden cursos.Formato, diseño, copy, producción. Todo el “cómo hacer”.Es importante, sí. Pero sin las otras capas, no sirve para nada. Puedes tener el mejor vídeo del mundo, pero si el tema no cumple con las capas anteriores, no vas a conseguir esos resultados explosivos que te prometen.Capa 4: Distribución y timing¿El formato aprovecha una tendencia natural de la plataforma?Si Instagram está premiando Reels, tiene sentido usar ese formato. Pero ojo: lo que funciona en una plataforma puede no funcionar en otra.El caso real: cuando el formato es solo un 10%Volvamos al creador de los 70.000 seguidores.Toda su estrategia, según él, se basa en carruseles estéticos. Pero cuando miras su contenido, descubres algo que apenas menciona: habla de Jesús, fe y espiritualidad para jóvenes.Ese detalle como que no importa, ¿no?Pues lo analicé con el framework:* Demanda: 2,1 billones de cristianos en el mundo. Millennials y Gen Z buscando respuestas espirituales. Competencia baja en contenido religioso bien producido y adaptado al formato digital.* Conexión emocional: Contenido religioso. Obviamente vas a tener una conexión profunda. Es altamente compartible entre personas que comparten la misma fe.* Ejecución: Sí, el diseño está cuidado. Las imágenes están bien trabajadas. Pero hay mil creadores con diseños igual de buenos en otros nichos que no crecen.* Timing: Carruseles pueden ser tendencia. El movimiento espiritual puede estar en auge. Pero no es el factor diferencial.La conclusión que nadie te cuentaEl creador atribuye el 100% de su éxito al formato.Para mí, el formato supone un 10-15%. El resto, el 85%, viene del tema que eligió. Eligió un tema con demanda masiva y capacidad de conexión brutal.Y esto no significa que sus contenidos no sean buenos. Lo son. Pero no es lo que él cree que está funcionando.Qué hacer con estoLa próxima vez que veas un caso de éxito y pienses “voy a hacer lo mismo”:* Para un momento* Aplica las 4 capas* Pregúntate: ¿qué está haciendo realmente que esto funcione?No se trata de que nada funciona o de que todo es mentira. Se trata de que lo que para ellos fue una explosión, para ti puede no serlo. Aunque tus contenidos sean buenos, bonitos e interesantes.Si no se cumplen las otras capas, no van a tener esa capacidad de explosión.Y ojo, esto no es para desanimarte. Es para que inviertas tu tiempo en cosas que tengan posibilidades reales de funcionar para ti.¿Has comprado algún cursito o seguido algún tutorial que luego te has dado cuenta que no iba a funcionar en tu proyecto? Soy todo orejas.Esta semana en YouTubePDSi quieres más análisis como este, pásate por Factoría Creativa. Ahí analizamos creadores, herramientas y compartimos info pensada para que crezcas sin caer en los cantos de sirena.Un abrazo, GuillermoPD2: ¿Quieres que analice algún creador o caso en concreto? Responde a este email y lo miro. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.guitermo.com

More resources? ----------------------- Watch Full Episodes in my YouTube channel! https://youtube.com/@drtjahn ---------------------- Get Your Free Copy of my book, "Podiatry Profits Book: Crafting A Seven-Figure Lifestyle Practice" to grow your podiatry practice. You just cover the shipping: https://www.podiatryprofitsbook.com ---------------------- Do you want to build your dream private practice without the hassles of insurance networks? Then schedule a FREE 45-min Strategy Session with me. We will dive to look at your current practice and I will provide you with a crystal game plan for you: https://drtjahn.com/the-profit-accelerator-session/ ---------------------- I've created this EXCLUSIVE Private Facebook Group community of like-minded podiatrists who are coming together to build their DREAM PRIVATE PRACTICE, and FREE to join!! https://www.facebook.com/groups/podiatryprofits

Inside SheClicks: Building a Global Photo Community — In this Camera Shake Podcast interview, photographer, journalist and SheClicks founder Angela Nicholson shares how community can transform your photography. We dive into the origin and growth of SheClicks, why representation matters for women in photography, and how inclusive spaces accelerate learning, confidence and creative growth. Angela also breaks down her gear testing process from 20+ years in photography journalism, what to look for when choosing a camera or lens, and how usability affects real-world shooting. We talk Squeezy Media, balancing entrepreneurship with community building, and the creative side of Angela's work (landscapes, wildlife, dogs), including her post-processing approach.

Hey, everybody—it's Monday, September 29, and this is your Monday Motivation Podcast by FWACATA.What's up, heathens? You sweaty, creative masses of chaos? Yeah, that thing that happened—wild, right? I mean, I don't know what happened, because I pre-recorded this. But thanks to the internet's nonstop firehose of madness, I'm sure something insane just went down. So now it sounds like I know what's happening. See how that works? “Dude, did you SEE that shit?” Boom. Timeless.Anyway. Welcome back to the other Monday Motivation—the one where we drag your creative bird out of bed, slap it around a little, pour some coffee on it, and shove it back into the ring.Today's episode? Creative Reboots.Restarting stalled projects with fresh energy.Here's a confession: I have drawers—literal drawers—of half-finished comics, folders of “someday novels,” Google Docs of script fragments, and sketchbooks that look like serial killer ransom notes. Every time I open them, these projects look up at me like, “Bro, remember us? You abandoned us like a Tamagotchi in '98.”We all have them. Projects that start hot—burning like first love—and then three weeks later you're wondering: Why the hell did I think a 400-page Gundam-meets-Full-Metal-Jacket-meets-Mad-Max comic was a good idea? (Spoiler: it wasn't. But I still tried.)Creative projects are like relationships. They start steamy. You doodle hearts around their name. Then reality shows up like a chaperone at prom, and you're sitting in the corner with your unfinished script, not even getting to second base.So what do you do? How do you reboot?Look at your project like it's someone else's. Pretend you found it in a thrift store. What's cool about it? What sucks? Sometimes distance gives you fresh eyes. Go get a coffee. Go stare at a wall. Hell, go smoke a cigarette if that's still your thing. Come back. You'll see it differently.Maybe the project stalled not because it sucks—but because you made it too damn big. Instead of a 400-page epic, make it a 12-page comic. Instead of a novel, a short story. Instead of a film, a TikTok. Give yourself permission to shrink it. Small wins build momentum.If you're stuck, switch the medium. Writing on a laptop? Try pen and paper. Painting with acrylics? Try markers, charcoal, Photoshop—hell, carve it into a potato if you have to. Creativity thrives on novelty. Sometimes the project isn't stuck—you are.Ask yourself: Why did I start this? Was it the story? The character? The mood? Go back to the original spark. I make soundtracks for my projects—yeah, actual playlists. When I hear certain songs, I remember what I wanted the story to feel like, and suddenly, boom—the fire's back.A reboot doesn't mean you finish it tomorrow. It means breathing life back into it. One sketch. One page. One note. That's CPR for your project.Look—unfinished doesn't mean failed. It just means paused. You can hit “play” again anytime. And if it really is dead? That's okay too. Bury it, honor it, and move on. Not every sketch becomes a masterpiece. But every sketch leads somewhere.So this week: dust off one stalled project. Give it a reboot. Look at it with new eyes. Shrink it down. Switch your tools. Reconnect with your why. Do something. Anything. And maybe, just maybe, that creative corpse gets back up and dances.That's it for today's Monday Motivation. If you're digging this podcast, support me on Patreon at patreon.com/fwacata—get behind-the-scenes chaos, comics, art, and maybe the occasional zombie project resurrection.And hey—the Kickstarter for issue 3 of FWACATA is live. Go check it out. Support if you can, or at least spread the word. Even a repost works wonders. https://www.kickstarter.com/projects/ThisisJuan/fwacata-3-comics-to-the-face?ref=9gnlxmAlright weirdos—reboot, restart, and as always… be good.1. Step Back.2. Scale It Down.3. Change the Tools.4. Reconnect with the “Why.”5. Celebrate Progress, Not Perfection.

Alibaba unveils Wan 2.5, an AI model competing with Veo 3 that generates video with integrated audio and speech in a single output. In this week's AI Roundup, Joey and Addy analyze the flurry of new AI models and tools transforming media production, including Qwen-Image-Edit-2509, Google's Mixboard, Topaz's new upscaling models, Nano Banana's integration with Photoshop, and more.--The views and opinions expressed in this podcast are the personal views of the hosts and do not necessarily reflect the views or positions of their respective employers or organizations. This show is independently produced by VP Land without the use of any outside company resources, confidential information, or affiliations.

In this episode, Conor and Bryce chat with Sean Parent about AI and Cursor!Link to Episode 253 on WebsiteDiscuss this episode, leave a comment, or ask a question (on GitHub)SocialsADSP: The Podcast: TwitterConor Hoekstra: Twitter | BlueSky | MastodonBryce Adelstein Lelbach: TwitterAbout the Guest:Sean Parent is a senior principal scientist and software architect managing Adobe's Software Technology Lab. Sean first joined Adobe in 1993 working on Photoshop and is one of the creators of Photoshop Mobile, Lightroom Mobile, and Lightroom Web. In 2009 Sean spent a year at Google working on Chrome OS before returning to Adobe. From 1988 through 1993 Sean worked at Apple, where he was part of the system software team that developed the technologies allowing Apple's successful transition to PowerPC.Show NotesDate Recorded: 2025-08-21Date Released: 2025-09-26C++ Under the SeaBetter codeAdobe ASL Adam & Eve ArchitectureAdobe Software Technology LabASL LibrariesRust Programming LanguageIntro Song InfoMiss You by Sarah Jansen https://soundcloud.com/sarahjansenmusicCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: http://bit.ly/l-miss-youMusic promoted by Audio Library https://youtu.be/iYYxnasvfx8

Nathan Snell is a founder, executive, and three-time entrepreneur best known for co-founding nCino, the global leader in cloud banking, and now Raleon, an AI retention platform for DTC brands. With 15+ years in fintech, marketing technology, and AI, Nathan has built products that don't just scale companies, they transform entire markets, including a 10-figure exit.With Raleon, Nathan is reimagining retention for Ecommerce. Instead of bloated teams or endless manual work, Raleon acts like a teammate, helping DTC brands and agencies handle retention 50% faster while driving more revenue. From campaign planning to segmentation, it automates the tactical grind so marketers can focus on strategy and growth.Nathan's story blends technical expertise with market-shaping vision. From scaling nCino into a public company, to investing as an active angel, to now tackling one of Ecommerce's biggest pain points, retention, he's seen how AI can accelerate results but still requires human pilots to go beyond “average” output.Whether you're building a lean DTC team, rethinking retention marketing, or trying to cut through the hype of AI, Nathan offers a grounded look at how to combine automation, brand taste, and strategy to drive the next era of Ecommerce growth.In This Conversation We Discuss: [00:22] Intro[00:46] Building expertise in workflow automation[01:46] Experimenting with LLMs in workflows[03:18] Comparing AI models for DTC marketing[04:01] Starting email AI with copywriting[05:08] Fine-tuning prompts for better outputs[06:40] Elevating outputs with better context setting[08:08] Analyzing past campaigns to guide outputs[09:50] Stay updated with new episodes[10:02] Automating segmentation and copy at once[11:57] Recognizing AI delivers average by default[13:38] Editing outputs instead of chasing perfect prompts[15:20] Connecting Klaviyo and Shopify for campaigns[17:41] Automating learning cycles across campaigns[19:14] Guiding systems instead of replacing teamsResources:Subscribe to Honest Ecommerce on YoutubeAutomate DTC retention marketing with AI raleon.io/Follow Nathan Snell linkedin.com/in/nathansnellIf you're enjoying the show, we'd love it if you left Honest Ecommerce a review on Apple Podcasts. It makes a huge impact on the success of the podcast, and we love reading every one of your reviews!

In this episode of Camera Shake Podcast, we sit down with Rick Sammon—often called the Godfather of Photography—to unpack a lifetime of image-making. From his early underwater adventures to wildlife, travel, and people photography, Rick shares practical lessons that will elevate your work today. We dig into composition, light, timing, and the mindset shifts that help you create rather than just take pictures. You'll hear field-tested tips for bird and wildlife photography, how to connect with people on the road, and where iPhone photography fits into a pro's toolkit. We also discuss staying inspired, building a sustainable photography career, and adapting to new tech (yes, even AI) without losing your voice.

Most Graphic Designers think success comes from creating the perfect logo, expensive gear, or waiting to be discovered. Wrong.The real killers of Graphic Design careers are perfectionism, overthinking, and flexing for likes instead of creating real value. With over 5 million subscribers and 1,000+ Photoshop tutorials, Unmesh Dinda, the face of Piximperfect, proves that consistency and process beat “perfect” every single time.This week on The Angry Designer, we dig into how Unmesh built one of the biggest design education platforms on the planet without chasing trends or showing off. This is the straight truth Graphic Designers need if they actually want to grow a career that lasts.In this episode, you'll discover:- Why chasing perfection keeps designers broke and invisible- How teaching and sharing process creates authority and opportunity- The real limits of AI in Photoshop and why human designers still winThis isn't fluff. It's the reality check you need if you're tired of waiting for perfect and ready to start building a Graphic Design career that actually matters.Stay Angry our Friends –––––––––––Join Anger Management for Designers Newsletter at https://tinyurl.com/mr4bb4j3Want to see more? See uncut episodes on our YouTube channel at youtube.com/theangrydesigner Read our blog posts on our website TheAngryDesigner.comJoin in the conversation on our Instagram Instagram.com/TheAngryDesignerPodcast

Send us a textGet insight into what other sellers are actually watching the most when it comes to growing on Amazon. These topics cover product listings, SEO, seller setup, A+ content, storefronts, and conversion rates. All original videos featured in this list are linked below so you can watch them in full for more details.Struggling to move your brand forward? Book a call and see what's really working for sellers like you: https://bit.ly/43N1bZDTop 10. How to Design Enhanced Brand Content A+ for Amazon Seller Central with Photoshop & Keyword Research: https://www.youtube.com/watch?v=m45Cn7s2BZ0Top 9. Amazon Seller Identity Verification - Now with Live Video: https://www.youtube.com/watch?v=qOQALWbVh_ETop 8. How to Rank #1 on Amazon with SEO (No PPC required): https://www.youtube.com/watch?v=vYbA6U65cUc&t=29sTop 7. Amazon Brand Registry in 2022 - How to Get Brand Registry on Amazon [Full Guide of Benefits]: https://www.youtube.com/watch?v=bxxKUFjibywTop 6. How to Change Your Amazon Seller Central Seller Name - YES You Can Change Your Seller Central Name!: https://www.youtube.com/watch?v=Kh8a3NHlxLoTop 5. Amazon PPC [Master Class] - ACOS Hacks: https://www.youtube.com/watch?v=gudIjpDMLtoTop 4. I Dry Fasted for 3 Days - How it Helps Me Become a Better Leader: https://www.youtube.com/watch?v=FSEtlM6RXB0Top 3. Amazon - How to Build Enhanced Content using Brand Registry on Amazon: https://www.youtube.com/watch?v=9wzxxUdu5sgTop 2. How to Grow Amazon FBA Sales: Traffic & Conversion: https://www.youtube.com/watch?v=0VNxWOThrUc&t=10sTop 1. How to Create an Amazon Store Brand Storefront: https://www.youtube.com/watch?v=3BBiOaMehpc&t=22s-------------------------------------------------------------------------------Stay ahead of platform shifts, download the PPC guide sellers are using to adapt fast: https://bit.ly/4lF0OYXSelling across programs? The SEO toolkit helps you get found where it matters most: https://bit.ly/457zjSlDon't wait for customer drop-offs, download the Crisis Kit and protect your listings now: https://bit.ly/4maWHn0Stop chasing retail gimmicks, get serious about DTC and grow a brand you control: https://bit.ly/4kOz6rrTimestamps00:17 - #10: Designing A+ Content from Scratch00:41 - #9: New Seller Identity Verification Changes01:19 - #8: Steps to Rank #1 on Amazon01:56 - #7: Full Walkthrough of Brand Registry02:33 - #6: How to Change Seller Central Name03:14 - #5: Honest Amazon PPC Masterclass03:38 - #4: 74-Hour Fast & Seller Health Tips04:17 - #3: Beginner Enhanced Content Tips04:51 - #2: 2 Simple Ways to Grow Sales05:19 - #1: How to Use Amazon Storefronts-------------------------------------------------Follow us:LinkedIn: https://www.linkedin.com/company/28605816/Instagram: https://www.instagram.com/stevenpopemag/Pinterest: https://www.pinterest.com/myamazonguys/Twitter: https://twitter.com/myamazonguySubscribe to the My Amazon Guy podcast: https://podcast.myamazonguy.comApple Podcast: https://podcasts.apple.com/us/podcast/my-amazon-guy/id1501974229Spotify: https://open.spotify.com/show/4A5ASHGGfr6s4wWNQIqyVwSupport the show

In this episode, Jacob sits down with Joshua Meier, co-founder of Chai Discovery and former Chief AI Officer at Absci, to explore the breakthrough moment happening in AI drug discovery. They discuss how the field has evolved through three distinct waves, with the current generation of companies finally achieving success rates that seemed impossible just years ago.  The conversation covers everything from moving drug discovery out of the lab and into computers, to why AI models think differently than human chemists, to the strategic decisions around open sourcing foundational models while keeping design capabilities proprietary. It's an in-depth look at how AI is fundamentally changing pharmaceutical innovation and what it means for the future of medicine. Check out the full Chai-2 Zero-Shot Antibody report linked here: https://www.biorxiv.org/content/10.1101/2025.07.05.663018v1.full.pdf (0:00) Intro(1:25) The Evolution of AI in Drug Discovery(5:14) Current State and Future of AI in Biotech(10:08) Challenges and Modalities in Therapeutics(14:44) Data Generation and Model Training(22:52) Open Source and Model Development at Chai(29:52) Open Source Models and Their Impact(34:36) How Should Chai-2 Be Used?(38:53) The Future of AI in Pharma and Biotech(42:46) Key Milestones and Metrics in AI-Driven Drug Discovery(47:20) Critiques and Hesitation(54:01) Quickfire Out-Of-Pocket: https://www.outofpocket.health/

Thu, 18 Sep 2025 16:45:00 GMT http://relay.fm/material/534 http://relay.fm/material/534 Andy Ihnatko and Florence Ion Google has just empowered bots to spend your money, and Reddit is seeking more intimacy. Plus, how Google is inserting itself into Windows _and_ Photoshop. Google has just empowered bots to spend your money, and Reddit is seeking more intimacy. Plus, how Google is inserting itself into Windows _and_ Photoshop. clean 5173 Google has just empowered bots to spend your money, and Reddit is seeking more intimacy. Plus, how Google is inserting itself into Windows and Photoshop. This episode of Material is sponsored by: Vitally: A new era for customer success productivity. Get a free pair of AirPods Pro when you book a qualified meeting. Factor: Healthy, fully-prepared food delivered to your door. Use code material50off Links and Show Notes: Announcing Agent Payments Protocol (AP2) Reddit Seeks to Strike Next AI Content Pact With Google, OpenAI Google's experimental Windows app is better than Microsoft's built-in search Search Labs Nano Banana is coming to Adobe Photoshop

Thu, 18 Sep 2025 16:45:00 GMT http://relay.fm/material/534 http://relay.fm/material/534 Google Inserting Itself 534 Andy Ihnatko and Florence Ion Google has just empowered bots to spend your money, and Reddit is seeking more intimacy. Plus, how Google is inserting itself into Windows _and_ Photoshop. Google has just empowered bots to spend your money, and Reddit is seeking more intimacy. Plus, how Google is inserting itself into Windows _and_ Photoshop. clean 5173 Google has just empowered bots to spend your money, and Reddit is seeking more intimacy. Plus, how Google is inserting itself into Windows and Photoshop. This episode of Material is sponsored by: Vitally: A new era for customer success productivity. Get a free pair of AirPods Pro when you book a qualified meeting. Factor: Healthy, fully-prepared food delivered to your door. Use code material50off Links and Show Notes: Announcing Agent Payments Protocol (AP2) Reddit Seeks to Strike Next AI Content Pact With Google, OpenAI Google's experimental Windows app is better than Microsoft's built-in search Search Labs Nano Banana is coming to Adobe Photoshop Support

Improve your sleep today! Head to https://evening.ver.so/toe to get 15% off your first order of Verso's Nightcap Elixir. As a listener of TOE you can get a special 20% off discount to The Economist and all it has to offer! Visit https://www.economist.com/toe Live from MIT Media Lab's Augmentation Lab Summit, I speak with Andres Gomez-Emilsson of the Qualia Research Institute about modeling consciousness and rendering it. You haven't seen psychedelic visuals /experiences explained like this before. We separate qualia from sensory input and map the “geometry” of experience through color—synesthesia, pure hues, after-images, and “is your blue my blue?” Andres demos QRI's GPU tool, a Photoshop for psychedelia built on coupled oscillators and feedback. It recreates LSD/psilocybin's fractal tapestries, DMT's entity-like mirror tunnels, global synchrony, and “white-out.” We cover “psychedelic thermodynamics,” neural annealing and valence flips, and pseudo-time—loops and timeless stretches. The episode makes a case for real-time, in-state phenomenology over questionnaires. This was specifically structured to be informative to both those who have never experienced psychedelics and those who are, let's say, well acquainted. Thank you to Dunya Baradari, Addy Cha, and Andres, of course. Join My New Substack (Personal Writings): https://curtjaimungal.substack.com Listen on Spotify: https://open.spotify.com/show/4gL14b9... SUPPORT: Become a YouTube Member (Early Access Videos):    / @theoriesofeverything   Support me on Patreon:   / curtjaimungal   Support me on Crypto: https://commerce.coinbase.com/checkou... Support me on PayPal: https://www.paypal.com/donate?hosted_... Twitter:   / toewithcurt   Discord Invite:   / discord   SOCIALS: Guests do not pay to appear. Theories of Everything receives revenue solely from viewer donations, platform ads, and clearly labelled sponsors; no guest or associated entity has ever given compensation, directly or through intermediaries. Learn more about your ad choices. Visit megaphone.fm/adchoices

The main video for this post is a tutorial showing how to process images of the recent total lunar eclipse, and two other related videos. Visit https://mbp.ac/848 to view the videos and see links.

Bellio's New Hairsytyle makes noise all-over Instagram!

“If you look very intensely and slowly things will happen that you never dreamed of before.” This Aaron Siskind quote neatly sums up the deeply contemplative discussion we had with landscape photographers John Paul Caponigro and Joel Simpson in this week's podcast. Siskind's name is mentioned several times in our chat—as are many other 20th century photography legends—making this show both an exploration of photo history and an exercise in a holistic way to envision and record the world around us. Our focus on landscape quickly diverges from realistic depictions in favor of terrain that celebrates abstraction and metaphor. Follow along as we unpack the unwieldy term Pareiolia—the tendency to see familiar things in otherwise random patterns—and discover unique pathways to relate to the natural world. As John Paul Caponigro aptly points out, “I think of every exposure that I make as having a conversation with the subject and myself. I think of every move that I make in Photoshop as having a conversation with the image that started one way and is developing in another. And I ask, you know, what does the image want?”   Guests: John Paul Caponigro & Joel Simpson   Episode Timeline: 3:30: Joel Simpson describes his early landscapes as a way to re-experience being elsewhere. 9:24: Pareidolia: what it means and its relationship to Joel's photographs. 13:24: John Paul's relationship to the term pareidolia: a way to find patterns and make sense out of chaos. 19:12: The influence of Gestalt psychology when interpreting abstract patterns and photographing the bare bones of the earth. 24:55: Differences between making pictures with the aid of pre-visualization vs going in empty and refining ones' vision in post using digital tools. Plus insights about getting beyond the imitation phase to find a path to originality in your work. 35:58: How do you know when your unique vision from the pictures you make are ready to be released into the world? 42:12: Episode Break 43:24: John Paul's approach to post-processing—using the tools as a laboratory to make multiple iterations. 47:00: Joel describes the discoveries he made when finessing photos of a wonderous landscape from Zhangjiajie, China. 50:21: How does AI factor into crafting an authentic vision, plus the mind as the original AI. 1:03:18: Using photography to tap into things that haven't yet been discovered and elicit a sense of wonder from viewers' responses. 1:06:50: Joel and John Paul talk about the places that inspire their respective photographic projects.   Guest Bios: John Paul Caponigro is a digital media pioneer, combining his painting background with a variety of photographic processes using the latest in digital technology. His work is about the perception of nature and the nature of perception. Widely respected as an authority on creativity, photography, and fine art printing, John Paul's images and writings are widely published in periodicals and books, and he's been a contributing editor to a variety of magazines and websites. He's also author of the video training series R/Evolution and the book “Adobe Photoshop Master Class,” now in its second edition. As a highly sought-after speaker and educator, John Paul has presented lectures and workshops around the globe. His art has been exhibited internationally, and his prints are housed in numerous public and private collections. Select clients include Adobe, Apple, Canon, Kodak, and Sony, and he is a member of the Photoshop Hall of Fame, Epson's Stylus Pros, and X-Rite's Coloratti.   Joel Simpson began making pictures as a teen in the 1960s, turning pro in 2002. Since that time, he's had more than 50 exhibitions in the US and abroad. His work has also been widely published and received numerous awards, including a Nautilus Gold Award for Art and Photography for his 2019 book Earthforms: Intimate Portraits of our Planet. His new book, Faces in the Rocks: Beyond Landscape to Psycho-Geological Photography, organizes his discoveries about the aesthetics of abstract and figurative forms in the earth, concluding with a tongue-in-cheek collection of imagined extra-terrestrial landscapes and future cityscapes. In addition to his career in photography, Simpson holds a PhD in comparative literature, and spent 22 years as a professional jazz pianist. He lives in Union, New Jersey.   Stay Connected: John Paul Caponigro Website Instagram Facebook YouTube 1980's Guardian advertisement “Multiple Points of View”   Joel Simpson Website Instagram YouTube   Credits: Host: Derek Fahsbender Senior Creative Producer: Jill Waterman Senior Technical Producer: Mike Weinstein Executive Producer: Richard Stevens

It's another mixed bag of business topics on this week's episode of the pod: X's Head of Product shares the suspiciously simple playbook to getting rich on the platform, Google's “Photoshop Killer” is officially on the loose, emerging thoughts on pivoting away from the Philippines for outsourcing remote talent, luxury lifestyle for a fraction of the cost in Thailand, and more. Quick reminder that we'll be in Bangkok next month with Dynamite Circle for a week of sheer business nerdery. Details in the links below! LINKS Hang out with us at DCBKK in Bangkok this October (https://dynamitecircle.com/dcbkk) Connect with 7+ figure founders and join us in NYC this December (https://dynamitecircle.com/dc-black) X's Head of Product shares how to get rich on X in 6 months (https://x.com/nikitabier/status/1963498520805007470) Google's “Photoshop killer” Nano Banana (https://gemini.google/overview/image-generation/) Nick Huber's thoughts on outsourcing to the Philippines in 2025 (https://x.com/sweatystartup/status/1963588036102348943) Dan's next read (https://www.amazon.com/100M-Money-Models-Make-Acquisition-com-ebook/dp/B0FMXTZ4MH) This week's sponsor: https://spp.co “Your billing, onboarding & projects in one client portal” (https://spp.co/) 22 FREE business resources for location-independent entrepreneurs (https://tropicalmba.com/resources) CHAPTERS Audio: (00:00:00) Intro (00:01:29) How to Get Rich on X in 6 Months (00:04:51) How to Stay Consistent with Content (00:10:14) Google's “Photoshop Killer”: Nano Banana (00:13:58) PH No Longer a Hotspot for Remote Recruiting?
 (00:18:29) Sponsor Shout-out: SPP.co
 (00:19:47) Luxury Location-Independent Lifestyle in Thailand
 (00:27:22) Hits of the Week: Hormozi, Feldman, DCBKK CONNECT: Dan@tropicalmba.com Ian@tropicalmba.com Past guests on TMBA include Cal Newport, David Heinemeier Hannson, Seth Godin, Ricardo Semler, Noah Kagan, Rob Walling, Jay Clouse, Einar Vollset, Sam Dogan, Gino Wickam, James Clear, Jodie Cook, Mark Webster, Steph Smith, Taylor Pearson, Justin Tan, Matt Gartland, Ayman Al-Abdullah, Lucy Bella. PLAYLIST: Why $120K From Your Biz Beats $150K at a Job (https://tropicalmba.com/episodes/balancing-wealth-freedom-mindset) The Content Flywheel Behind a 7-Figure Education Business ft. Timothy Moser (https://tropicalmba.com/episodes/content-flywheel-behind-7-figure-business) Health Advice That Goes Against Everything You Know ft. Jay Feldman (https://tropicalmba.com/episodes/health-advice-against-everything-you-know) The Freedom Line, 7+ Figure Founders, and Extended DCBKK Recap (https://tropicalmba.com/episodes/dcbkk-recap-2023)

Hey friends, Chase here. I'm writing this from the beach, staring at the ocean, and I've got one big reminder for you today: You are your future. Sure, AI is everywhere. New tools pop up daily. You've probably seen the tweets: “Anyone can type a prompt and become a world-class designer, writer, photographer.” Sounds nice. But let's be real—that's not how this works. You make the work. Not the tools. AI is powerful. No doubt. But it's still just a tool. A $10,000 camera won't make you Ansel Adams. And a shiny new AI app won't magically give you taste, vision, or experience. Those come from the reps—from showing up, failing, refining, and creating again. So if you've spent years honing your craft, here's the truth: You're at an advantage. Your taste, scars, and hard-won skills can't be downloaded. And no AI prompt can replicate them. Here's what we get into: Why your creative vision is the differentiator that separates pros from amateurs How fluency in your craft helps you direct tools (instead of guessing with them) Why every new tool—from Photoshop to AI—is just another layer on the same creative job How to flip the “AI makes me obsolete” narrative into fuel for your next chapter Why your fundamentals—taste, style, voice—matter more now than ever The big idea? The tool is the least important part of the work. You don't need to become a “prompt engineer.” You just need to keep showing up as the creative badass you already are—one who adapts, experiments, and leads with vision. Keep pushing, keep experimenting, and above all—make work only you can make.

The photo world is filled with remarkable young and up-and-coming talents. They often don't get the visibility they deserve, so we created Next Frame—a new monthly series aiming to shine a light their way. These bite-sized episodes are equally inspired by the guests we speak with and the invaluable contributions of local creative arts programs that have played a key role in their development. We're launching this series with photographer, filmmaker, and boxing & music aficionado Josh Nass, an alumnus of Baltimore's Wide Angle Youth Media programs. From nailing his Photoshop skills while still in middle school to trading in his boxing gloves for a camera during college and beyond, Josh regales us with practical tips about both the successes and challenges all young creatives must face as they transition from trading pictures for access to molding media skills into a profitable career. Looking back on his early days chasing both music and fashion scenes, Josh notes, “Your main role as a photographer—especially with talent and famous people—you know, I thought I was just making them look cool, but I'm making them money. I'm marketing them for their next tour, for their current tour. Looking back, I've learned a thing or two about how to get users' attention online.” Guest: Josh Nass   Episode Timeline: 2:04: Baltimore/DC-based photographer Josh Nass talks about first picking up a camera to fill his time after hanging up his boxing gloves. 3:40: Leveraging social media to get on stage and photograph his favorite Caribbean singer, then trading free pictures for ongoing access. 7:25: Navigating one's comfort level as an up-and-coming photographer, plus making a distinction between comfort with gear and social ease with subjects and clients. 9:08: Making pictures of cool moments, creative editing decisions to draw out the cool factor, and being first to deliver the files are all key to Josh's success. 14:02: Street hustling at New York Fashion Week to gain access to photograph top artists and celebrities, and the tough lessons Josh learned in the process. 19:06: Josh's connection to Baltimore's Wide Angle Youth Media and the formative role their programs have played in his early photography success. 22:50: Being referred by Wide Angle for a Comcast commercial, and the backstory to what transpired behind-the-scenes.  29:49: Josh weighs future career options and whether he'll choose to pursue photography full time.  35:40: Essential advice for emerging photographers: Prioritize building your skills and don't overvalue your work early on. Plus, a look at Josh's first big paid gig for a Keke Palmer concert and marketing campaign.    Guest Bio: Josh Nass is a Baltimore/DC-based freelance photographer and a senior at the University of Maryland, College Park, where he's pursuing a bachelor's degree in information science. As a high school graduate of The Baltimore School for the Arts and a participant Baltimore's Wide Angle Youth Media non-profit, he's honed his subject-based style to give each of his shoots, whether its celebrities, musicians, athletes, or models, a unique “wow” factor.   Stay Connected: Website Instagram Facebook Wide Angle Youth / Comcast Video   Host: Derek Fahsbender Senior Creative Producer: Jill Waterman Senior Technical Producer: Mike Weinstein Executive Producer: Richard Stevens