Podcasts about photoshop

Co-hosts Mark Thompson and Steve Little examine Google's groundbreaking Gemini 3 release, which delivers state-of-the-art multimodal reasoning and sets a new benchmark for AI capabilities. They also explore ChatGPT's upgrade to version 5.1 with improved instruction following and better handling of longer conversation.The hosts discuss Canva's new Creative Operating System, which now generates AI-powered designs directly within the platform.This week's Tip of the Week demonstrates how Gemini 3 can use the context you provide it to greatly improve the accuracy of your hand written transcription.In RapidFire, they cover NotebookLM's new deep research mode, Nano Banana's integration into Photoshop, Anthropic's privacy policy changes regarding training data, and how Claude's new usage monitoring feature can reduce your stress level.Timestamps:In the News:04:17 Google Gemini 3's Multimodal AI Reaches New Heights13:47 ChatGPT 5.1 upgrade is now better at following your Instructions22:39 Canva Creative Operating System: AI-Powered Design GenerationTip of the Week:26:21 Adding Reasoning to Your Transcriptions Improves AccuracyRapidFire:36:40 NotebookLM Becomes a Fully Featured Research Tool43:40 Nano Banana is Now Available in Photoshop47:20 Anthropic Announces Claude Chats Will Be Used for Training Data54:13 View Your Claude Usage in SettingsResource Links:Intro to Family History AI by the Family History AI Show Academyhttps://tixoom.app/fhaishowGoogle Gemini 3Introducing Gemini 3: A New Era of Intelligencehttps://blog.google/products/gemini/gemini-3/ChatGPT 5.1A smarter, more conversationalhttps://openai.com/index/gpt-5-1/GPT-5.1 New Features Explainedhttps://scalevise.com/resources/gpt-5-1-new-features/Canva Creative Operating SystemIntroducing Canva's Creative Operating Systemhttps://www.canva.com/newsroom/news/creative-operating-system/NotebookLM Deep ResearchNotebookLM adds Deep Research and support for more source typeshttps://blog.google/technology/google-labs/notebooklm-deep-research-file-types/Nano Banana in PhotoshopCreate with unlimited generations using Google Gemini 3 (Nano Banana Pro) in Adobe Fireflyhttps://blog.adobe.com/en/publish/2025/11/20/google-gemini-3-nano-banana-pro-firefly-photoshopAnthropic Privacy Policy UpdateAnthropic Will Use Claude Chats for Training Data: How to Opt Outhttps://www.wired.com/story/anthropic-using-claude-chats-for-training-how-to-opt-out/Updates to Consumer Terms and Privacy Policyhttps://www.anthropic.com/news/updates-to-our-consumer-termsClaude Usage MonitoringUsage Limit Best Practiceshttps://support.claude.com/en/articles/9797557-usage-limit-best-practicesTags:Artificial Intelligence, Genealogy, Family History, Google Gemini, ChatGPT, Canva, NotebookLM, Nano Banana, Anthropic Claude, Photo Restoration

With so many AI tools flying around, it feels overwhelming for any creative team to choose the ones that will make a difference. This is why last week, we decided to have a conversation with Charles Migos, Chief Product Officer, Founder of Intangible.ai, Design Leaders faculty member and one of the most exciting voices in design today. He is a design executive who has spent 30 years building tools for creatives, working alongside the industry's brightest minds like Steve Jobs and in companies like Apple, Microsoft, and Unity.What we got is a powerful conversation with Charles about how designers play an important role in the age of AI, from problem-solving and aligning teams to improving collaboration. Timecodes:00:00 Introduction to design and AI with Charles Moberly (ex Apple, Microsoft, Unity)03:04 How the AI shift compares to the internet, Photoshop, and touchscreens06:12 The fundamentals of design that stay the same in the AI era08:23 How to choose AI tools for designers without feeling overwhelmed14:07 How to test and adopt AI tools in a design team16:36 Why creativity still works best as a team sport19:49 What design leaders should focus on in the AI era25:51 Balancing design and engineering cultures at scale32:20 Building Intangible AI and rethinking generative 3D workflows38:46 Copyright, IP, and ethical risks in generative AI45:08 Trust, privacy, and data choices when using AI tools45:26 A realistic look at the future of AI for creatives46:42 How designers can actively shape the future with AI50:19 New opportunities for designers using AI tools well54:09 Practical Figma Make tips for faster high fidelity prototyping01:02:04 Gender bias in AI and what design leaders can do01:22:22 Empathy and pragmatism as core design leadership skills54:09 Practical Figma Make tips Prototyping faster in high fidelity01:02:04 Gender bias in AI How design leaders respond01:22:22 Empathy and pragmatism in design leadership

In this episode, Conor and Bryce interview Sean Parent about generic programming and there is much chaos!Link to Episode 262 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: 2025-10-10Date Released: 2025-11-28Koala bear cryingabscond DefintionSean's C++ Under the Sea KeynotePacific++ 2018: Sean Parent "Generic Programming"From Mathematics to Generic Programming (FM2GP)ParrotParrot on GitHubIntro 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

A Black Friday se tornou o maior teste de estresse para qualquer operação digital e, cada vez mais, a diferença entre perder clientes e aproveitar o pico está na capacidade de escalar, analisar dados em tempo real e oferecer um atendimento realmente humano. No novo episódio do Podcast Canaltech, produzido em parceria com a AWS, conversamos com Alexandre Nardi, Solutions Architect Manager da empresa, sobre como IA generativa, computação em nuvem e análise de dados estão redefinindo o varejo e orientando decisões mais rápidas e eficientes. Ao longo da entrevista, Nardi explica como a AWS ajuda negócios a: Delegar o “trabalho pesado” para a nuvem Escalar ambientes sem risco de queda em picos como a Black Friday Personalizar o atendimento com agentes de IA que usam o tom de voz da marca Transformar dados de estoque, vendas e comportamento do cliente em ações práticas Reduzir custos e aumentar margem usando IA de forma estratégica Utilizar soluções como Amazon Bedrock e Amazon Q Developer no dia a dia O episódio também traz o case da IEL GO, que usou o Amazon Bedrock para acelerar entrevistas e melhorar processos de avaliação de candidatos com apoio de IA generativa, mantendo o especialista humano no centro da decisão. Clique aqui e acesse um E-book com as melhores práticas para a Black Friday e fale diretamente com um especialista da AWS para aplicar essas estratégias no seu negócio. Você também vai conferir: Nova picape elétrica da Ford quer peitar a BYD, Intel revela primeiros detalhes do Wi-Fi 8, companhias aéreas proíbem uso de power banks a bordo, Crianças viram alvo de apps-espiões e Photoshop chega ao Chrome com extensão oficial. Este podcast foi roteirizado por Fernada Santos e apresentado por Fernanda Santos e Adriano Ponte e contou com reportagens de Danielle Cassita, Raphael Giannotti,Jaqueline Sousa e Viviane França, sob coordenação de Anaísa Catucci. A trilha sonora é de Guilherme Zomer, a edição de Jully Cruz e a arte da capa é de Erick Teixeira.See omnystudio.com/listener for privacy information.

The last episode on Arthur Conan Doyle's History of Spiritualism...I promise. We get into the specifics of how manifestation works, the various physical proofs offered on behalf of the Spiritualism, and some of the theology behind the movement.Support the showBlue Sky - https://bsky.app/profile/wordsaboutbooks.bsky.socialDiscord - https://discord.gg/6BaNRtcP8CThreads - https://www.threads.net/@wordsaboutbookspodcastInstagram - https://www.instagram.com/wordsaboutbookspodcastBlog - https://blog.wordsaboutbooks.ninja/

Alla shownotes finns på https://www.enlitenpoddomit.se , skulle det se konstigt ut i din poddspelare så titta gärna där efter alla länkar kring det vi pratar om   Avsnitt 550 spelades in den 25 november och därför så handlar dagens avsnitt om: INTRO: - Alla har haft en vecka... Davids vecka har varit som en uppersittarkväll, varit på Microsoft Security summit, firat barnkalas med gocart, börjat läsa en bok ("Rubicon"). Björn har jobbat... Johan har kört två sessioner på Dynamics user group, och sedan var det AW med glögg, och sedan åka till Portugal för att köra session där, sprungit en runda i Lissabon, har anmält sig till Midnattsloppet, handlat lakrits - BONUSLÖNK: bok "Rubicon", Carolina Angelis: https://www.adlibris.com/se/sok?q=rubicon+angelis  FEEDBACK AND BACKLOG: - Pebble blir OpenSource   https://news.slashdot.org/story/25/11/24/2152211/pebble-goes-fully-open-source  - Slutet på Hackintoch är nära   https://appleinsider.com/articles/25/11/24/hackintosh-enjoying-its-last-hurrah-now-supporting-macos-tahoe  - Claude kan prata I evigheter   https://techcrunch.com/2025/11/24/anthropic-releases-opus-4-5-with-new-chrome-and-excel-integrations/  ALLMÄNT NYTT - "Lurad med ett klick" på SVTPlay (Kanske mer ska vara ett tips)   https://www.svtplay.se/video/KNwvwpz/lurad-med-ett-klick  - ChatGPT hjälper dig att shoppa   https://www.engadget.com/ai/chatgpt-now-offers-a-dedicated-shopping-assistant-180000034.html  - Känna lukt genom att använda ultraljud   https://writetobrain.com/olfactory  - Om man är kryptograf, och kryptonyckeln försvinner…    https://it.slashdot.org/story/25/11/22/0041203/cryptographers-cancel-election-results-after-losing-decryption-key  MICROSOFT - Microsoft ignite 2025 Keynote    https://www.youtube.com/watch?v=Gmv8YjXdbU0    https://azure.microsoft.com/en-us/blog/azure-at-microsoft-ignite-2025-all-the-intelligent-cloud-news-explained/  - Ignite: Microsoft släpper HR för AI   https://www.thurrott.com/a-i/329756/ignite-2025-microsoft-agent-365    https://aiinside.show/episode/inside-microsoft-agent-365-how-ai-workers-will-be-secured-identified-and-governed    BONUSLÖNK: https://www.hubsite365.com/en-ww/crm-pages/microsoft-agent-365-what-you-need-to-know.htm  - Ignite: Windows får agenter   https://www.thurrott.com/a-i/329763/ignite-2025-windows-11-is-getting-agents-on-the-taskbar-and-more-ai-features  - Windows 11 Insider Preview Build 26220.7271   https://blogs.windows.com/windows-insider/2025/11/21/announcing-windows-11-insider-preview-build-26100-7271-dev-beta-channels/  - Sysmon-saker i Windows 11 (tips från Excalibur)   https://techcommunity.microsoft.com/blog/windows-itpro-blog/native-sysmon-functionality-coming-to-windows/4468112  - Ansvarsfull beskrivning men inte så bra införsäljning   https://tech.slashdot.org/story/25/11/23/060221/microsoft-warns-its-windows-ai-feature-brings-data-theft-and-malware-risks-and-occasionally-may-hallucinate  - Microsoft OpenSourcar saker   https://www.thurrott.com/classic-technology/329907/microsoft-open-sources-zork-i-ii-and-iii-source-code  APPLE - Nope GOOGLE: - Airdrop för Android   https://9to5google.com/2025/11/21/googles-airdrop-support-for-pixel-10-likely-exists-because-of-the-eus-apple-ruling/  - Google nekar att de använder dina email för att träna en AI, men du kan ändå opt:a ut   https://www.zdnet.com/article/google-denies-analyzing-your-emails-for-ai-training-heres-what-happened/  - Vill du stänga av Gemini gör du så här   https://proton.me/blog/turn-off-gemini-on-android  - Google Släpper Gemini 3 och den får bra kritik   https://swedroid.se/gemini-3-lanseras-stora-forbattringar-och-nytt-granssnitt/   - Nano Banana Pro med Gemini 3 Pro: Får Photoshop att kännas gammalmodigt   https://www.geeky-gadgets.com/gemini-3-nano-banana-pro-vs-photoshop/    - BONULÄNK: https://discord.com/channels/145833008119808000/1179299449940492308/1441395296801263707  - Google har börjat prata om Aluminium OS   https://www.androidauthority.com/aluminium-os-android-for-pcs-3619092/    https://swedroid.se/mer-om-android-for-pc-kallas-aluminium-os/  PRYLLISTA - David: https://cdon.se/produkt/mini-pc-geekom-a9-max-amd-ryzen-ai-9-hx-370-32-go-ddr5-2-to-ssd-5cd1147eea535976/        BONUSLÄNK: https://www.youtube.com/watch?v=LsSBUzOt40I&t=1s - Björn: https://www.webhallen.com/se/product/317313-Playstation-5-DualSense-Handkontroll-Vit  - Johan: https://eu.elegoo.com/products/centauri-carbon           https://techcrunch.com/2025/11/24/hands-on-with-stickerbox-the-ai-powered-sticker-maker-for-kids/  EGNA LÄNKAR - En Liten Podd Om IT på webben,      http://enlitenpoddomit.se/  - En Liten Podd Om IT på Facebook,      https://www.facebook.com/EnLitenPoddOmIt/  - En Liten Podd Om IT på Youtube,      https://www.youtube.com/enlitenpoddomit  - Ge oss gärna en recension    - https://podcasts.apple.com/se/podcast/en-liten-podd-om-it/id946204577?mt=2#see-all/reviews      - https://www.podchaser.com/podcasts/en-liten-podd-om-it-158069  LÄNKAR TILL VART MAN HITTAR PODDEN FÖR ATT LYSSNA: - Apple Podcaster (iTunes), https://itunes.apple.com/se/podcast/en-liten-podd-om-it/id946204577  - Overcast, https://overcast.fm/itunes946204577/en-liten-podd-om-it  - Acast, https://www.acast.com/enlitenpoddomit  - Spotify, https://open.spotify.com/show/2e8wX1O4FbD6M2ocJdXBW7?si=HFFErR8YRlKrELsUD--Ujg%20  - Stitcher, https://www.stitcher.com/podcast/the-nerd-herd/en-liten-podd-om-it  - YouTube, https://www.youtube.com/enlitenpoddomit  LÄNK TILL DISCORD DÄR MAN HITTAR LIVE STREAM + CHATT - http://discord.enlitenpoddomit.se  (Och glöm inte att maila bjorn@enlitenpoddomit.se  om du vill ha klistermärken, skicka med en postadress bara. :) 

Click here to Shop Affirmation Decks, Oracle Decks, and more! Use Promo code: RCPODCAST20 for 20% off your first order!   Today's Power Affirmation: I decorate my life with quality relationships, experiences, and purpose.   Today's Oracle of Motivation: The world influences our desires to crave higher quantities! More money. More sex. More friends. More followers. More cars. More undies! Sadly, higher quantities only create shallow satisfaction in the moment. To be truly happy, try befriending quality, not quantity. How can you take what is already part of your life to the next level? Instead of the job you hate that pays the most, how about one you love that pays enough? Instead of 20 Tinder dates a week with the world's best Photoshop con artists, how about 1 really strong, transparent, and beneficial relationship? The anchors of your happiness are already part of your life. How can you crack open the magic within? It's time to put on the silk undies and ditch the rest!   Designed to Motivate Your Creative Maniac Mind The 60-Second Power Affirmations Podcast is designed to help you focus, affirm your visions, and harness the power within your creative maniac mind! Join us daily for a new 60-second power affirmation followed by a blast of oracle motivation from the Universe (+ a quick breathing meditation). It's time to take off your procrastination diaper and share your musings with the world!   For more musings, visit RageCreate.com     Leave a Review & Share! Apple Podcast reviews are one of THE most important factors for podcasts. If you enjoy the show, please take a second to leave the show a review on Apple Podcasts! Click this link: Leave a review on Apple Podcasts Hit “Listen on Apple Podcasts” on the left-hand side under the picture. Scroll down under “Ratings & Reviews” & click “Write A Review” Leave an honest review. You're awesome!  

durée : 00:10:13 - Le Point culture - par : Marie Sorbier - Alors que notre époque a généralisé via Photoshop la retouche de photographies, retour sur la pratique du photomontage avant l'ère du numérique, lorsque trafiquer une image se faisait avec des ciseaux, un pot de colle et une imprimante. - réalisation : Laurence Malonda - invités : Max Bonhomme Maître de conférences en design à l'Université de Strasbourg

Mit Markus Hörster und Christian Cordes. Die Adobe MAX Konferenz mit spannenden neuen Funktion in Photoshop, Lightroom & Co., Apples neue Geräte mit M5-Prozessor und ein günstiger Kopfhörer mit Active Noise Cancelling sind einige der Themen in dieser Folge. App-Tipps des Monats Adobe Project Indigo (iOS) Mighty Networks

Su frustrante experiencia con Photoshop e InDesign le llevó a fundar Canva, valorada en 42.000 millones de dólares, más accesible para cualquier usuario y adaptado a las redes sociales. Melanie Perkins ysu pareja, Cliff Obrecht, idearon herramientas intuitivas con las que crear fácilmente presentaciones, carteles para redes sociales y editar vídeos sin necesidad de descargarse ningún programa, una fórmula ganadora con la que se anticiparon a cualquier gigante tecnológico. El portal sufrió para ser un negocio rentable, pero el crecimiento exponencial de sus ingresos, que en 2024 alcanzaron los 3.300 millones de dólares, lo llevó en 2022 a registrar sus primeros beneficios. En agosto de este año, lanzó una venta de acciones para empleados que situó su valoración en los 42.000 millones de dólares, convirtiéndose en la start up más valiosa del mundo fundada por una mujer. Los redactores del periódico Amaia Ormaetxea y Antonio Santamaría analizan su legado en 'Genios de las Finanzas', un pódcast realizado por Tamara Vázquez y dirigido por Amparo Polo.See omnystudio.com/listener for privacy information.

Google lanza Nano Banana Pro con texto claro, control avanzado y mejor razonamiento visual para creadores  Por Félix Riaño @LocutorCo  Si quieres apoyar este pódcast y escucharlo sin comerciales en la app de Spreaker, puedes unirte al Club de Supporters por solo 2 dólares al mes. Gracias por apoyar el Flash Diario y ayudar a que siga creciendo.  Nano Banana Pro mejora la creación visual con texto legible, razonamiento avanzado y controles de edición precisos.Google presentó Nano Banana Pro, una actualización que hace más natural la creación de imágenes dentro de Gemini. El texto dentro de las fotos ya no parece escrito al revés, las referencias se mezclan con más orden y las instrucciones largas se entienden sin enredos. Es una mejora que se siente cuando la herramienta responde por fin como querías desde el principio.Y eso deja una duda muy realista: si ya crea imágenes con tanto detalle, ¿cuánto falta para que también arme una serie completa… y la historia tenga más sentido que la última temporada de nuestra serie favorita?Invitación al apoyo del pódcast  Nano Banana Pro evoluciona lo que ya hacía el modelo anterior, pero ahora se apoya en Gemini 3 Pro para interpretar mejor las instrucciones. El cambio más visible está en el texto dentro de las imágenes. Ya no hay letras deformes ni frases incompletas. Las palabras aparecen bien formadas, incluso en varios idiomas, lo que permite crear etiquetas, diagramas y diseños con más claridad.El modelo también permite usar hasta 14 imágenes de referencia y conserva la identidad de hasta cinco personas dentro de una misma composición. No distorsiona rasgos ni cambia rostros cuando se mezclan varias fuentes. Esto ayuda en diseño, publicidad, educación y creación de personajes. La herramienta entiende mejor la idea general y arma una imagen final con más orden y coherencia.  Esta mejora trae un reto que no podemos ignorar: ya no es tan fácil detectar imágenes creadas con IA. Las fallas tipográficas eran una pista rápida para saber si una foto era falsa. Esa pista desapareció. Esto complica la verificación de contenido en redes sociales, donde las imágenes se comparten sin contexto.Google usa SynthID, un marcador invisible que permite identificar si una imagen viene de sus modelos. Pero algunos estudios demostraron que estas marcas se pueden borrar con herramientas avanzadas. Además, muchas plataformas todavía no muestran alertas automáticas sobre imágenes generadas con IA. Eso significa que la verificación queda en manos de cada usuario, lo que abre una brecha entre lo que vemos y lo que podemos confirmar.  Nano Banana Pro ofrece controles que antes solo se encontraban en estudios profesionales. Puedes ajustar iluminación, ángulos de cámara, profundidad de campo, colores y transformaciones completas en escenas, como cambiar de día a noche. También genera contenido en 2K y 4K para pantallas grandes o impresos.El modelo está disponible en la app de Gemini, en la API para desarrolladores, en Google Ads, en Workspace, en NotebookLM y dentro de Adobe Firefly y Photoshop. En estas herramientas permite crear piezas visuales complejas, ajustar detalles con precisión y trabajar con varias referencias sin perder coherencia. Con este lanzamiento, Google acerca funciones avanzadas a más personas.  Nano Banana Pro convierte instrucciones simples en diagramas e infografías basadas en datos reales. Gracias a su conexión con Google Search, puede representar recetas, estados del tiempo o información educativa sin pasos intermedios. Esto puede ser útil para estudiantes, profesores, periodistas o equipos creativos.En precios, la orientación profesional es clara. Una imagen 2K cuesta $0,139 dólares y una imagen 4K cuesta $0,24 dólares. En la app de Gemini, las cuentas gratuitas tienen un número limitado de generaciones antes de volver al modelo anterior.Las imágenes generadas llevan SynthID y, en planes básicos, un distintivo visible llamado “Gemini sparkle”. En el plan Ultra, esta marca visible no aparece. Google planea llevar la verificación también a audio y video con esta misma tecnología.Segmento adicional: agradecimiento para oyentesGracias por estar aquí cada día. Este espacio existe para que entendamos juntos la tecnología sin ruido y con buena energía. A quienes escuchan desde hace tiempo, gracias por su compañía constante. Y a quienes llegan por primera vez, bienvenidos. Este pódcast es para ustedes.  Nano Banana Pro ya aparece en varios servicios de Google. En Workspace funciona dentro de Slides y Vids para crear presentaciones visuales completas. En Google Ads permite generar piezas adaptadas a campañas. En Google Antigravity ayuda a diseñar prototipos e interfaces desde bocetos.Adobe integró el modelo dentro de Firefly y Photoshop. En Photoshop impulsa Generative Fill con ajustes de iluminación, perspectiva y textura. En Firefly combina referencias y genera composiciones complejas para proyectos editoriales o publicitarios. Esto acelera la creación visual y sube el nivel de detalle disponible para cualquier persona. Medios, empresas y creadores independientes verán una transformación en sus flujos de trabajo.  )Nano Banana Pro mejora la creación visual con texto claro, ediciones detalladas y composiciones más estables. Ofrece nuevas opciones creativas y abre preguntas sobre cómo verificamos lo que vemos en pantalla.Puedes seguir el pódcast en Flash Diario en Spotify.  Nano Banana Pro crea texto claro, mezcla referencias y trabaja en 4K. Facilita diseños avanzados y complica distinguir imágenes reales.Bibliografía The VergeInteresting EngineeringAdobe BlogCNETThe RegisterZDNetTechRadarTechCrunchGoogle Blog – TipsGoogle Blog – DeepMindGoogle Blog – Español

If you've ever stared at a “competition worthy” image and thought, “Is this actually any good, or am I just emotionally attached and mildly delusional?” then this episode is for you. In this one, I'm lifting the lid on what really happens inside a judge's head when your prints hit the panel: the mindset you need, the mistakes we see over and over again, and the tiny details that can quietly kill an otherwise beautiful image. We'll talk blown highlights, grubby greys, over sharpening, dodgy mounts, vignettes turned up to eleven, and why blindly following the latest photo trend might actually sink your chances. We'll also get into mentors, titles, paper choice, time pressure (my personal kryptonite), and why the only real failure in competitions is not to enter at all. If you're thinking about qualifications, print comps or you just want to finish your images to a higher standard, grab a drink, have a listen, and then go and do something brave with your work. Links from this episode Workshops & mentoring: Come and spend a day (or more) with us at the studio, learning lighting, posing, dogs, families, workflow and everything in between.

If reputation is your selfie, then character is the unfiltered security cam footage. In this eye-opening (and occasionally eye-watering) episode, Josh C. Jones cracks open the deep stuff—character. And no, we're not talking about your quirky sitcom persona or that D&D rogue you played in college. We're talking about who you really are… when no one's watching and the Wi-Fi is down. Through chilling historical examples, laugh-worthy self-checks, and practical advice backed by both science and Scripture, this episode will challenge you to stop curating your life like a highlight reel and start building one worth living. Spoiler alert: You can't Photoshop your way to integrity. But you can choose character, one decision at a time. Bonus: you'll get to hear what happens when an actor builds backstory for a minor film role—and accidentally unlocks destiny. Don't miss it.     This 7-part series is brought to you by the book DESTINY: Rich or Poor, Life or Death, Choose Your Destiny.                   NOTES: Intro/Outro Bumper Music: Evening Melodrama Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/   This podcast uses these sounds from freesound: sounds by deleted_user_96253 (https://freesound.org/s/351304/)

O mercado da fotografia profissional está vivendo uma ruptura sem precedentes. Enquanto algumas marcas históricas batem recordes apostando em experiência, legado e imperfeição humana, outras gigantes da tecnologia estão perdendo terreno em velocidade surpreendente. Ao mesmo tempo, o Google dispara na frente na corrida da IA visual, congressos tradicionais perdem força, fotógrafos se fragmentam em nichos e a sensação de estar sempre atrasado virou regra entre profissionais experientes.Neste episódio, analiso as 5 forças tectônicas que estão redefinindo a fotografia em 2025 e criando o que chamo de C.A.O.S. Fotográfico.1. A crise silenciosa da AdobeA gigante do software criativo perdeu quase 35% de valor de mercado em um ano e enfrenta seu possível “momento Kodak”. A pressão da IA nunca foi tão grande.2. O verdadeiro vencedor da corrida da IANão é quem você pensa. O Google assumiu a liderança com o Nano Banana, uma virada tão profunda quanto o Photoshop nos anos 90. E o ritmo de avanço está só começando.3. O fim dos mega congressosEventos gigantes entraram em declínio. Surge um novo ecossistema descentralizado, feito de microencontros, nichos específicos, itinerância e conexões mais profundas.4. A contraofensiva da autenticidadeEnquanto a IA domina os holofotes, marcas como Leica, Sigma, Fuji e até a Corona crescem apostando em legado, experiência física, minimalismo e imperfeição real.5. O verdadeiro inimigo do fotógrafoNão é a IA. É o excesso. Segundo a pesquisa “Estado da Fotografia Profissional 2025”, 54% dizem que o mercado muda mais rápido do que conseguem acompanhar. Mesmo fotógrafos com mais de 10 anos de carreira sentem o impacto.Este episódio é um mergulho direto e sem ruído no caos que define o presente da fotografia e nas oportunidades que surgem para quem consegue ler o movimento antes da onda bater.Atenção: Vision Friday (última semana até 24/11)Se você quer acompanhar análises como esta toda semana e ter acesso ao Radar IA, curadoria aprofundada, conteúdos exclusivos e um ambiente estratégico para pensar o futuro da fotografia, estamos na última semana da Vision Friday.Durante esse período, você pode entrar para a Fotograf.IA + C.E.Foto por uma condição especial, com metade do valor anual e vantagens extras.

There's controversy in the Ockham Book Awards as two books by notable authors are withdrawn from competition because their covers were created using AI. Stephanie Johnson's collection of short stories 'Obligate Carnivore' and Elizabeth Smither's collection of novellas 'Angel Train' are the two books cancelled. Their covers were created using AI and the book awards are on high alert for anything that takes the place of human activity. The decision to amend the criteria around AI was spurred by a desire to support creative and copyright interests of the country's writers and illustrators. So I understand the concern from the creative industries about the rise of AI, but I wonder if they really understand how AI was used in these circumstances. Covers are created by graphic designers. Sometimes they may commission an artist to draw the cover, but more often they've been creating images using computer programmes like Photoshop and various Adobe programmes. But in all cases a human is in charge, and there's no difference here. Elizabeth Smither's team had a specific image in mind combining a steam locomotive and an Angel inspired by Marc Chagall. A human asked AI to do it. It popped it out and the human refined it. Is that any different to a graphic designer pulling it together in Adobe? AI has spooked the creatives. AI bands have had hit albums. Now Paul McCartney is releasing a single that is silent in protest at AI stealing his sound. Morgan Freeman is railing against AI copy of his distinctive voice. But Elizabeth Smithers and Stephanie Johnson wrote their books. In Stephanie's case the short stories have been written over 20 years. But now her work has been cancelled because of a virtue signalling protest against progress. AI is out of the genie's bottle. It's important that it's influence is credited, but it still can't do it's own thing. It still needs a human to guide it and so it is like any other tool, including a pen and a piece of paper. Meanwhile Thursday we hear the Nvidia result. The bellwether stock of AI. There are bears and bulls and people talking about the bursting of the AI tech bubble as being a thing. I just want to warn that AI is still in it's infancy and there's a long way to go before it becomes a Terminator film. But what interesting times we live in See omnystudio.com/listener for privacy information.

Klik je týždenný komentovaný prehľad technologických správ, o udalostiach, ktoré sa udiali vo svete IT, médií a sociálnych sietí. Moderátori: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ondrej Podstupka⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, Martin Hodás Discord diskusný server nájdete tu: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/eqeqBcw2V8⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Linky: Najväčšia konkurencia Photoshopu je zadarmo https://www.techmeme.com/251030/p35#a251030p35 Google sa dohodol s Epicom https://www.theverge.com/policy/813991/epic-google-proposed-settlement Valve majú vlastnú konzolu https://www.techmeme.com/251112/p32#a251112p32 Slovenský superpočítač https://www.sme.sk/domov/c/prace-na-spusteni-superpocitaca-perun-sa-blizia-do-finale Spravili sme chybu, máte pripomienku? Napíšte nám na ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠klik@sme.sk⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Kapitoly 00:00 Úvod00:55 Photoshop, ale zadarmo17:44 Google sa dohodol s Epicom22:56 Slovenský Superpočítač32:44 Valve majú vlastnú konzolu44:41 GTA VI bude meškať1:09:48 Záver a tipySee omnystudio.com/listener for privacy information.

Jeffrey Epstein's own words have now obliterated the last surviving excuse of the people who spent years swearing the photo of Prince Andrew with Virginia Roberts was fake. In his newly revealed emails, Epstein makes it clear—flat-out, unequivocally—that the photo is real. No hedging, no “maybe,” no conspiratorial tap-dancing. The man at the center of the entire operation confirmed its authenticity himself. And with that single admission, he torpedoed every hack, every opportunist, every palace-adjacent clown who built their entire reputations around insisting that the image was doctored, fabricated, or some kind of elaborate smear.Epstein's admission doesn't just undercut the “fake picture” crowd—it vaporizes their entire narrative. Every pundit, PR lackey, and self-styled “expert” who pushed that nonsense wasn't just wrong; they were pushing a lie that the trafficker himself never believed for a second. For years, these people tried to gaslight the public and smear a trafficking survivor to protect a disgraced royal. Now, with Epstein's own confirmation standing in black and white, their talking points have collapsed. There's no Photoshop mystery, no deepfake theory, no palace spin-cycle left. The picture is real. It always was. And the truth just came from the one man they never expected to hear it from.to contact me:bobbycapucci@protonmail.comto contact me:source:Epstein said Andrew did have photo taken with Virginia Giuffre, emails show | US News | Sky News

Adobe Generative Credits were introduced as a way to offset the larger amount of costs incurred by using AI in Photoshop and other Adobe products. Essentially it's a way to charge people that use more expensive features the most, rather than pass the costs on to everyone - no matter what tools they use. Well, it's getting out of hand a bit and Matt Blake take this episode to talk about some of the problems the industry has with it.

Jeffrey Epstein's own words have now obliterated the last surviving excuse of the people who spent years swearing the photo of Prince Andrew with Virginia Roberts was fake. In his newly revealed emails, Epstein makes it clear—flat-out, unequivocally—that the photo is real. No hedging, no “maybe,” no conspiratorial tap-dancing. The man at the center of the entire operation confirmed its authenticity himself. And with that single admission, he torpedoed every hack, every opportunist, every palace-adjacent clown who built their entire reputations around insisting that the image was doctored, fabricated, or some kind of elaborate smear.Epstein's admission doesn't just undercut the “fake picture” crowd—it vaporizes their entire narrative. Every pundit, PR lackey, and self-styled “expert” who pushed that nonsense wasn't just wrong; they were pushing a lie that the trafficker himself never believed for a second. For years, these people tried to gaslight the public and smear a trafficking survivor to protect a disgraced royal. Now, with Epstein's own confirmation standing in black and white, their talking points have collapsed. There's no Photoshop mystery, no deepfake theory, no palace spin-cycle left. The picture is real. It always was. And the truth just came from the one man they never expected to hear it from.to contact me:bobbycapucci@protonmail.comto contact me:source:Epstein said Andrew did have photo taken with Virginia Giuffre, emails show | US News | Sky NewsBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Jeffrey Epstein's own words have now obliterated the last surviving excuse of the people who spent years swearing the photo of Prince Andrew with Virginia Roberts was fake. In his newly revealed emails, Epstein makes it clear—flat-out, unequivocally—that the photo is real. No hedging, no “maybe,” no conspiratorial tap-dancing. The man at the center of the entire operation confirmed its authenticity himself. And with that single admission, he torpedoed every hack, every opportunist, every palace-adjacent clown who built their entire reputations around insisting that the image was doctored, fabricated, or some kind of elaborate smear.Epstein's admission doesn't just undercut the “fake picture” crowd—it vaporizes their entire narrative. Every pundit, PR lackey, and self-styled “expert” who pushed that nonsense wasn't just wrong; they were pushing a lie that the trafficker himself never believed for a second. For years, these people tried to gaslight the public and smear a trafficking survivor to protect a disgraced royal. Now, with Epstein's own confirmation standing in black and white, their talking points have collapsed. There's no Photoshop mystery, no deepfake theory, no palace spin-cycle left. The picture is real. It always was. And the truth just came from the one man they never expected to hear it from.to contact me:bobbycapucci@protonmail.comto contact me:source:Epstein said Andrew did have photo taken with Virginia Giuffre, emails show | US News | Sky NewsBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

Husky voice, Friday night whiskey, and a mountain of cheese from the book launch. In this episode I lift the lid on what really happens inside a print judging room. The rotation of five from a pool of seven. Silent scoring so no one nudges anyone else. How a challenge works, what the chair actually does, and why we start with impact, dive through craft, then finish on impact again to see what survives. Layout over composition, light as the whole game, and a final re-rank that flattens time drift so the right image actually wins. If you enjoy a peek behind the curtain, you will like this one. You can grab a signed copy of the new Mastering Portrait Photography at masteringportraitphotography.com and yes, I will scribble in it. If you already have the book, a quick Amazon review helps more than you know. Fancy sharpening your craft in person? Check the workshops page for new dates and come play with light at the studio.  The book: https://masteringportraitphotography.com/resource/signed-copy-mastering-portrait-photography-new-edition/ Workshops: https://masteringportraitphotography.com/workshops-and-mentoring/   Transcript [00:00:00]  Hey, one and all. How are you doing? Now? I'll be honest, I still have the remnants of a cold, and if you can hear that in my voice, I do apologize, I suppose you could call it slightly bluesy, but you can definitely hear that I'm ever so slightly husky. It's Friday night, it's eight 30, and I was, I've been waiting a week to record this podcast, hoping my voice would clear it hasn't, and so I've taken the opportunity having a glass of whiskey and just cracking on. So if you like the sound of a slightly bluesy voice, that's great. If you don't, I'm really sorry, but whichever, which way I'm Paul. And this is the Mastering Portrait Photography podcast. So it's been a busy month or two. You can always tell when it's busy [00:01:00] 'cause the podcasts. Get, don't really get delivered in quite the pace I would like. However, it really has been a busy couple of weeks the past few. Let me, I'm gonna draw your attention to it. The past couple of weeks, we've, there's a ton of stuff going on around us for a moment. I was up in Preston. I've been up in Preston twice over the past couple of weeks. The first one was working as a qualifications judge for the BIPP, the British Institute Professional photographers. Um. Which I love judging. I love judging. It's exhausting, but I love it. And that was qualifications, panels. Then last week was the launch. Of the updated edition of Mastering Portrait Photography, the book, which is where it all started, where Sarah Plata and I published this book that seems to have been incredibly popular. 50,000 copies translated from English into four other languages. Chinese, Korean, German. And Italian, do not ask me, do not ask me the logic on why the book is in those [00:02:00] particular languages. To be fair, we only found out about the Chinese and Korean when we were trying to get some marketing material together to talk about the new book Nobody had told us. I'm not even sure the publisher knew, to be honest. Uh, but we have found copies. We have a Chinese copy here in the studio. I'm still trying to get a Korean version. So if you are listening to this. Podcast in Korea. Please tell me how to get hold of a version in Korean because we'd love to complete the set. There's, in fact, there's two Italian versions. We knew about that. There's a German version we knew about that hardback version. It's great. It's really beautiful. Very I, like I, I don't live in Germany and I don't like to stereotyping entire nation, but the quality of the book is incredible. It's absolutely rock solid, properly engineered. Love it. We have a Chinese version here but the Korean version still alludes us. However, this week the new version, mastering portrait photography is out. And as you know, I, Sarah interviewed me for the podcast last week to talk about it. Well, it's out. We've had our launch party, uh, we invited everybody who [00:03:00] has featured in the book who, everybody, every picture in the book that we asked the person in it to come to the studio for a soiree. And it was brilliant. I've never seen so much cheese in all my life, and by I don't mean my speech, I mean actual cheese. We had a pile of it, still eating it. So it's been a week and I'm still eating the cheese. I dunno quite how, well, quite by how much we vacated, but probably by several kilos. Which I'm enjoying thoroughly. I've put on so much weight this week, it's unreal, but I'm enjoying the cheese. And then on Sunday we had an open day where we had set the studio out with some pictures from the book and some notes of the different people. Who featured and what I might do, actually, I'd, I wonder if I can do a visual podcast. I might do a visual podcast where I talk about those images, at some point on the website, on masteringportraitportraitphotography.com. I will do the story and the BTS and the production of every single image that's in the book, but it's gonna take me some [00:04:00] time. There's nearly 200 images in there. Um, and every one of them, bar one is a new image or is, is. It is, it is a new image in the book, and it has been taken in the 10 years or the decades subsequent to the first book, all bar one. Feel free to email me. Email me the image you think it might be. You'll probably guess it, but it's it's definitely in there. Um, and so it's been really busy. And then at the beginning of this week, I spent two days up in Preston again, judging again, but this time it was for the British Institute of Professional Photographers print Masters competition. Ah, what, what a joy. Six other judges and me, a chair of judges. Print handlers, the organizers. Ah, I mean, I've seen so many incredible images over those 48 hours, and in this podcast I want to talk a bit about how we do it, why we do it, what it feels like to do it, [00:05:00] because I'm not sure everybody understands that it's it, it's not stressful, but we do as judges, feel the pressure. We know that we are representing, on the one hand, the association as the arbiters of the quality of the curators of these competitions, but also we feel the pressure of the authors because we are there too. We also enter competitions and we really, really hope the judges pay attention, really investigate and interrogate the images that we've entered. And when, when you enter competitions, that heightens the pressure to do a good job for the authors who you are judging. So in this podcast, I'm gonna talk through some of the aspects of that. Forgive me if it sounds like I'm answering questions. It's because I wrote myself some questions. I wrote some [00:06:00] questions down to, how I structures the podcast usually, uh, the podcast rambles along, but this one I actually set out with a structure to it, so forgive me if it sounds like I'm answering questions. It's 'cause I'm answering my own questions. What does it feel like? How do you do it? Et cetera, et cetera. Anyway, I hope it's useful. Enjoy. And it gives you an insight into what it's like to be a competition judge. Okay. As you walk into the judging room. For me at least, it's mostly a sense of excitement. There's a degree of apprehension. There's a degree of tension, but mostly there's an adrenaline rush. Knowing that we're about to sit and view, assess, score these incredible images from photographers all over the world, and let's remember that every photographer when they enter a print competition, which is what I'm talking about primarily here. Every photographer [00:07:00] believes that print that category that year, could win. Nobody enters an image thinking that it doesn't stand a chance. Now you might do that modest thing of, I don't know, you know? Oh no, I don't. I I just chance my arm. No one enters a print they don't think has a chance of doing well. That just doesn't happen. It's too expensive. It takes too much time. And as judges. We are acutely aware of that. So when you walk into the room, lots of things are going in your on, in your heads. Primarily, you know, you are there to do a job. You are there to perform a task. You are going to put your analytical head on and assess a few hundred images over the next 48 hours. But as you walk in, there's a whole series of things. You, you are gonna assess the room. You see that your fellow judges, you're gonna see the print handlers. You're going to see the chair, you're gonna see the people [00:08:00] from whichever association it is who are organizing it, who or who have organized it. You'll see stacks of prints ready to be assessed. There's a whole series of things that happen. A lot of hugging. It's really lovely. This year the panel of judges, uh, had some people in it I haven't seen for quite a few years, and it was beyond lovely to see them. So there's all of that, but you, there's this underlying tension you are about to do. One of the things you love doing more than anything else in as part of your job. So there's the excitement of it and the joy of it, but there's always this gentle underlying tone of gravitas of just how serious it is. What we are doing. So there will be plenty of laughter, plenty of joy, but you never really take your eye off the task in hand. And that's how it feels as you go to take your seats on the judging [00:09:00] panel. So the most important thing, I think, anyway, and I was chair of qualifications and awards for the BIPP for a number of years, is that the whole room, everybody there is acting as a team. If you are not gonna pull as a team, it doesn't work. So there has to be safety, there has to be structure. There has to be a process and all of these things come together to provide a framework in which you assess and create the necessary scores and results for the association, for the photographers, for the contestants. So you take your seats, and typically in a room, there are gonna be five judges at any one time assessing an image. It's typically five. I've seen it done other ways, but a panel of judges is typically five. The reason we have five is at no point do all of the judges agree. [00:10:00] We'll go through this later in more detail, but the idea is that you have enough judges that you can have contention, you can have. Disagreements, but as a panel of judges, you'll come up with a score. So you'll have five judges sitting assessing an image at any one time. To the side of the room, there'll be two more judges typically. Usually we have a pool of seven, five judges working, two judges sitting out every 10 prints or 10 minutes or whatever the chair decides. They'll we'll rotate along one, so we'll all move along one seat and one of the spare judges will come in and sit on the end and one of the existing judges will step off. And we do that all day, just rotating along so that everybody judges, broadly speaking, the same number of images. Now, of course there is a degree of specialism in the room. If a panel has been well selected, there'll be specialists in each of the categories, but you can't have, let's say there's 15 categories. You [00:11:00] can't have five specialist judges per category. That's simply impractical. Um, you know, having, what's that, 75 judges in a room, just so that you can get through the 15 categories is. A logistics task, a cost. Even just having a room that big, full of judges doesn't work. So every judge is expected to be reasonably multi-talented, even if you don't shoot, for instance, landscapes. You have to have a working knowledge of what's required of a great landscape. Because our job as a panel isn't that each of us will spot all of the same characteristics in an image, all of the same defects, all of the same qualities. Each judge has been picked to bring their own. Sort of viewpoint, if you like, to the image. Some judges are super technical, some judges, it's all about the atmosphere. Some judges, it's all about the printing and there's every bit of image production is [00:12:00] covered by each of the individual specialisms of the judges. And so while there is a degree of specialism, there will be a landscape. Specialist in the room or someone who works in landscape, there will be plenty of portrait photographers, wedding photographers, commercial photographers. The idea is from those seven, we can cover all of those bases. So we have seven judges all at fellowship level, all highly skilled, all experienced. And then there's the chair. Now the chair's role is not to affect the actual score. The chair's role is to make sure the judges have considered everything that they should be considering. That's the Chair's job, is to make sure the judges stay fresh, keep an eye on the scores, keep an eye on the throughput. Make sure that every image and every author are given a. The time and consideration that they are due. What do I mean by that? Well, I just mean the photographers spent a lot of time and effort and [00:13:00] finance putting this print in front of us, and so it's really important that we as judges give it due consideration. The chair, that's their role is to make sure that's what really happens. So the process is pretty simple, really. We will take our seats as a panel of judges and when we are settled. The chair will ask for the print, one of the print handlers. There's normally a couple of print handlers in the room, one to put the image on, one to take the image off. The print handler will take the first image or the next image off the pile and place it in front of us on the light box. They will then check the print to make sure there's no visible or obvious dust marks, um, or anything, and give with an air blower or with the back of a a handling glove, or very gently take any dust spots away. They will then step back. Now, the way the judges are set, there are five seats in a gentle arc, usually around the light [00:14:00] box. The outer two judges, judges one and five will step into the light box and examine or interrogate the print carefully. They will take as much time as they need to ascertain what they believe the score for that image should be. They will then take their seats. The next two judges in, so let's say Judge two and four, they will step in to interrogate the print and do exactly the same thing. When they're ready, they'll step back and sit down. And then the middle judge, the final judge in seat three, they will step up and interrogate the print. And the reason we do it that way is that everybody gets to see the print thoroughly. Everybody gets to spend enough time. Examining the print. And at that point, when we all sit down, we all enter our scores onto whatever the system is we're using either using iPads or keypads. There's all sorts of ways of doing it, but what's really important is we do all of this in total silence and we don't really do it because we need to be able to [00:15:00] concentrate. Though that has happened, sort of distracting noises can play havoc. Um, we really do it so that we are not influencing any other judge. So there's no, oh, this is rubbish, or, oh, this is amazing. Or any of this stuff, because the idea is that each judge will come to their own independent score. We enter them, and then there's a process as to what happens next. So that's the process. If at some point a single judge when the image appears, says, I can't judge this for whatever reason, usually it's because they've seen the image before. I mean, there's one this week where I hadn't directly influenced the image. But the author had shown me how they'd done it, so they'd stepped me through the Photoshopping, the construction, the shooting, everything about the image. I knew the image really well, and so when the image appeared on the light box, I knew while I could judge it, it wasn't fair to the author or to the other [00:16:00] competitors that I should. So I raised my hand, checked in with the chair, chair, asked me what I wanted. I said, I need to step off this. I'm too familiar with the work for me to give this a cold read, an objective read. So I if, if possible, if there's another judge, could they just step in and score this one image for me? And that means it's fair for all of the contestants. So that's that bit of process when we come to our score. Let's assume the score's fine. Let's assume, I dunno, it gets an 82, which is usually a merit or a bronze, whatever the system is. The chair will log that, she'll say that image scored 82, which is the average of all five of us. She'll then check in with the scores and the panel of judges. He or she rather, uh, they, so they will look at us and go, are you all happy with that result? That's really important. Are you all happy? Would that result? Because that's the opportunity as judges for one of us, if we're not comfortable that the image is scored where we think it probably should. And [00:17:00] remember with five of you, if the score isn't what you think, you could be the one who's not got your eye in or you haven't spotted something, it might well be you, but it's your job as a judge to make sure if there's any doubt in your mind about the scoring of an image that. You ask for it to be assessed again, for there to be discussion for the team to do its job because it might be that the other members of the panel haven't seen something that you have or you haven't seen something that they have, that both of those can be true. So it's really important that you have a process and you have a strict process. And this is how it works. So the chair will say you are happy. One of the judges may say. No, I'm not happy or may say I would like to challenge that or may simply say, I think this warrants a discussion. I'm gonna start it off. And then there's a process for doing that. [00:18:00] So the judge who raises the challenge will start the dialogue and they'll start in whichever direction it is that they think the scoring is not quite right. They will start the dialogue that way. So let's say the score, the judge who's raising a challenge says the score feels a little low. What happens then is raise a challenge and that judge will discuss the image or talk to the image in a way that is positive and trying to raise the score. And they're gonna do that by drawing attention to the qualities that they feel the image has, that maybe they're worried the other judges haven't seen when they're done, the next judge depends, depending on the chair and how you do it. The next judge will take their turn and he goes all the way around with every judge having their say. And then it comes back to the originating judge who has the right of a rebuttal, which simply means to answer back. So depending on how the [00:19:00] dialogue has gone it may be that you say thank you to all of the judges. I'm glad you saw my point. It would be great if we could give this the score that I think this deserves. Similarly, you occasionally, and I did do one of these where I raised a challenge, um, where I felt an image hadn't scored, or the judges hadn't seen something that maybe I had seen in the image, and then very quickly realized that four judges had seen a defect that I hadn't. And so my challenge, it was not, it's never a waste of a challenge. It's never ever a waste because it's really important that every image is given the consideration it deserves. But at the end of the challenge that I raised, the scoring stayed exactly the same. I stayed, I said thank you to all of the judges for showing me some stuff that I hadn't noticed. And then we moved on. More often than not, the scores move as the judges say, oh, do you know what, you're right, there is something in this. Or, no, you're right. We've overinflated this because we saw things, but we missed these technical defects. It's those kinds of conversations. So that's a, a chair, that's a, a judge's [00:20:00] challenge. Yeah, this process also kicks in if there's a very wide score difference between the judge's scores, same process, but this time there's no rebuttal. Every judge simply gives their view starting with the highest judge and then working anywhere on the panel. Um, and then there's a rare one, which does happen which is a chair's challenge, and the chair has the right in, at least in the competitions that I judge, the chair has the right to say to the panel of judges. Could you just give this another consideration? I think there might be things you've missed or that feels like you're getting a little bit steady in your scoring. 'cause they, the chair of course, has got a log of all the scores and can see whether, you know, you're settling into like a 78, 79 or one judge is constantly outta kilter. The chair can see everything and so your job as the chair is to just, okay guys, listen, I think this image that you've just assessed. Possibly there's some things one way or the [00:21:00] other that you might need to take into consideration. It doesn't feel like you have. I'd like you to discuss this image and then just do a rescore. So those are the, those are the mechanisms. So in the room you've got five judges plus two judges who are there ready to step in when required either on the rotation or when someone recuses themself and steps out. Usually two print handlers and then usually there's at least one person or maybe more from the association, just doing things like making sure things are outta their boxes, that the scores are recorded on the back of the prints, they go back into boxes, there's no damage because these prints are worth quite a lot of money. And so, there's usually quite a few people in the room, but it's all done in silence and it's all done to this beautiful process of making sure it's organized, it's clear it's transparent, and we're working as one team to assess each image and give it the score that it deserves. so when the print arrives on the box. It has impact. Now, whether you like it or not, [00:22:00] whether you understand it or not, whether you can define it or not, the print has an impact. You're gonna see it, you're gonna react to it. How do you react to it? Is it visceral? Does your heart rate climb? Do you. Do you explore it? Do you want to explore it? Does it tell a clear story? And now is when you are judging a competition, typically the association or the organization who are running the competition will have a clear set of criteria. I mean, broadly speaking, things like lighting, posing layout or composition storytelling. Graphic design, print quality, if it's a print competition. These are the kinds of things that, um, we look for. And they're listed out in the competition guides that the entrant, the author will have known those when they submitted their print. And the judges know them when we're assessing them, so they're kind of coherent. Whatever it is that the, the entrance were told, that's what we're judging [00:23:00] to the most important. Is the emotional connection or the impact? It's typically called visual impact or just impact. What's really important about that is that it's very obvious, I think, to break images down into these constructed elements like complimentary colors or tonal range or centers of interest, but they don't really do anything except create. Your emotional reaction to the picture. Now, we do use language around these to assess the image, but what we're actually looking for is emotional impact. Pictures tell stories. Stories invoke emotions. It's the emotions we're really looking for. But the trick when you are judging is you start with the initial impact. Then you go in and you in real tiny detail, look at the image. Explore it, interrogate it, [00:24:00] enjoy it, maybe don't enjoy it. And you look at it in all of the different categories or different areas, criteria that you are, that the judges that the organization have set out. And then really, although it never gets listed twice, it should do, impact should also be listed as the last thing you look at as well. Because here's the process. You look at the image. There's an impact. You then in detail investigate, interrogate, enjoy the image. And then at the very end you ask yourself, what impact does it still have? And that's really important because the difference between those two gives you an idea of how much or how well the image is scoring in all of the other areas. If an image has massive impact when you, let's put 'em on the light box, and then you explore it and you [00:25:00] enjoy it, and you look at it under the light, and then at the end of it you're still feeling the same thing you did when it came on the light box, that's a pretty good indicator that all the criteria were met. If on the other hand, as you've explored the image, you've realized. There are errors in the production, or you can see Photoshopping problems or blown highlights or blocked blacks, or things are blurred where they should be sharp or you name it. It's these kinds of things. You know, the printing has got banding in the sky, which is a defect. You see dust spots from a camera sensor. These gradually whittle away your impact score because you go back to the end and you ask, what impact does the image now have? And I've heard judges use terms like at the end of the process, I thought that was gonna be amazing when it first arrived on the light box. I just loved the look of it from a distance, but when I stepped in, there were just too many things that [00:26:00] weren't quite right. And at the end of it, I just felt some would, sometimes I've heard the word disappointed you. So that's certainly how I feel. When an image has this beautiful impact and the hair stand up on the back of your neck and you just think, I cannot wait to step in and explore this image in detail. 'cause I tell you one thing, most authors don't own a light box. When you see a print on a beautiful light box, the, there's something about the quality. The way the print ESS is you actually get to see what a print should look like. So when you step in, you are really excited to see it. And if at the end of that process you're slightly disappointed because you found defects in the printing or problems with the focusing or Photoshop or whatever it is. You really are genuinely disappointed. So that's how you approach it. You approach it from this standpoint of a very emotional, a very emotional connection with the image to start with, and then you break [00:27:00] it down into its elements, whatever those elements are for the competition. And then at the end, you ask yourself really, does it still have the impact? I thought it would because if it does, well, in that case, it's done really, really well. one of the things that's really interesting about judging images is we, we draw out, we write out all of these criteria and. Every image has them really. I mean, well, I say that of course every image doesn't have them. If you are, if you're thinking about landscape or a picture of a shampoo bottle, it doesn't have posing, for instance, if that's one of your criteria. But typically there's a standard set of criteria and every image has them layout, color uh, photographic technique, et cetera. So if we look at let's say composition, let's talk about composition. Personally, I like to use the term layout rather than composition because it [00:28:00] feels a little bit more like a verb. You lay the image out, you have all of the bits, you lay them out. I like that because when we are teaching photography when we say to someone, right, what are all of the bits that you have in front of you? How are you gonna lay them out? It feels a lot more, to me, at least more logical than saying, how are you gonna compose the image? Because it allows. I think it allows the photographer to think in terms of each individual component rather than just the whole frame. So we are looking for how the image is constructed. Remember that every photographer really should think about an image. As telling a story, what's the story that you want somebody else? Somebody that you've never met. In this case a judge, but it could be a client or it could just be somebody where your work is being exhibited on a wall. What do you want them to look at? What do you want them to see? Where do you want that eye to go? And there are lots of tricks to [00:29:00] this, and one of them is layout or composition. So we've got through the initial impact, boom. And the excitement. And then you start to think, is the image balanced? I like to think of an image having a center of gravity. Some photographers will use center of interest, which is a slightly different thing, but I think an image has a center of gravity. The component parts of the image create balance. So you can have things right down in the edges of the frame, but you need something to balance it like a seesaw. You can't just. Throw in, throw parts of the puzzle around the frame. So you are looking for where do they land? And of course, as photographers, we talk about thirds, golden ratios, golden spirals, all of these terms. But what we are really looking for is does the image have a natural flow? Does it feel like everything's where it should be? Does your eye go to the bit that the author probably wanted you to look at? Have they been effective in their [00:30:00] storytelling? And by storytelling, I don't necessarily mean storytelling as in photojournalism or narrative rich photography. What I mean is what did they want you to see, and then did you go and see it? Separation? Is the background blurred? And let's say the, the subject is sharp. That's a typical device for making sure you look at the subject. Is the color of the background muted in a way that draws your attention? Again to whatever it is in the foreground. So layouts one of those tools. So we work our way around it and try and figure out does the positioning of all of the elements of the image does their positioning add or distract from the story? We think that author was trying to tell. Let's remember that it's not the judge's job to understand the story. It's the author's job to tell the story in a way that the judges can get it. Too often, you know, when I, when I've judged [00:31:00] a competition, someone will come and find me afterwards and say, did you understand what that was about? I was trying to say this, and it's like, well, I didn't see that, but that's not my fault. You know, it's, it's down to you to lead me pictorially to. Whatever it is you're trying to show. Same with all judges, all viewers, clients. It doesn't really matter. It's the author's job, not the judges. So at the end of that, you then move on to whatever's the next criteria. So you know, you assess these things bit by bit, and by the way, every judge will do it in a slightly different order. There'll be written down in an order. But each judge would approach it in a different manner. For me, typically it's about emotional connection more than anything else, it's about the emotion. I love that genuine, authentic connection of a person in the image. To me, the viewer. I will always go there if, if it's a portrait or a wedding or fashion image, if there's a person in it or a dog, I suppose, [00:32:00] then I will look for that authenticity, that, that visceral, it feels like they're looking at me or I'm having a dialogue with them. That's my particular hot button, but every judge has their room and that's how you approach it. So when it comes to a photograph in the end, you don't really have anything other than light when you think about it, right? That's, you pick up a camera, it's got a sensor, it's got film, it's got a lens on the front, and a shutter stopping light coming, or it goes through the lens, but the, the shutter stops it hitting a sensor. And at some point you commit light to be recorded. And it's the light that describes the image. There's nothing else. It's not something you can touch or hear, it's just light. And of course light is everything. I think, I think the term pho photography or photograph is a mix of a couple of words, and it's a relatively recent idea. I think [00:33:00] it was Victorian and it's, isn't it light and art photographic or photograph, um. So that's what it is. It's capturing light and creating a reaction from it. So the quality of light is possibly the most important thing. There is too much of it, and you're gonna have blown highlights, nasty white patches on your prints, too little of it. You're gonna have no detail in the shadows and a lot of noise or grain, whether it's film or whether it's off your sensor. And then there's the shape of the light. The color of the light, and it doesn't really matter whether it's portrait, wedding, landscape, product, avant garde, it's light that defines things. It's light that can break an image. So with portraiture, for instance, we tend to talk about. Sculpting or dimensionality of light. We tend to talk about the shape of the subject. We talk about flattering light. We talk about hard and soft light, and all of these things [00:34:00] mean something. This isn't the podcast to talk about those in detail, but that's what we're looking for. We are looking for has the light created a sense of shape, a sense of wonder, a sense of narrative. Does the lighting draw your eye towards the subject? And when you get to the subject, is it clear that the lighting is effective and by effective, usually as a portrait photographer anyway. I mean flattering. But you might be doing something with light that's counterintuitive, that's making the subject not flattered. That's maybe it's for a thriller style thing, or maybe it's dark and moody. Harsh, as long as in tune with the story as we are seeing it, then the lighting is assessed in that vein. So we've seen some incredible beauty shots over the past couple of days where the lighting sculpted the face. It had damaged ality, but it was soft. There were no hard shadows, there were no [00:35:00] blown highlights. The skin, it was clear that the texture of the skin, the light, it caught the texture. So we knew exactly what that would be. It had. Captured the shape. So the way the gens or shadows ripple around a body or a face tell you its shape. They haven't destroyed the shape. It's it's catch shape, but it hasn't unnecessarily sculpted scars or birthmarks or spots, you know? And that's how lighting works. So you look for this quality, you look for control, you look for the author, knowing what they're doing. With landscapes, typically it's, it is very rare, in my opinion, for a landscape. To get a good score if it isn't shot at one end of the day or the other. Why? Well, typically, at those points of the day, the light from the sun is almost horizontal. It rakes across the frame, and you get a certain quality to the way the shadows are thrown. The way the [00:36:00] light, sculpts hills, buildings, clouds, leaves, trees, the way it skips off water, whether it's at the beginning of the day or the end of the day. It's quite unusual though we do see them for an amazing photograph of escape to be taken at midday. But you can see how it could be if you have the sun directly overhead, because that has a quality all of its own. And you know, if when an author has gone to the effort of being in the right place to shoot vertical shadows with a direct overhead son, well maybe that's so deliberate that the, the judges will completely appreciate that and understand the story. So it's looking for these things and working out. Has the lighting been effective in telling the story? We think the author was trying to tell? Lighting is at the heart of it. So when we've been through every criteria, whatever they are, lighting, composition, color, narrative, et cetera, et cetera, et cetera, [00:37:00] we've assessed every image, hundreds of them. We've had challenges, we've had conversations. We have a big pile of prints that have made it over the line. To whatever is your particular association scoring, whether it's merit or bronze or whatever. The puzzle isn't quite complete at that stage because there is of course, a slight problem and that problem is time. So if you imagine judging a section of images might take a couple of hours to do 70 prints, 60, 70 prints might take longer than that. In fact, it might take the best part of an afternoon. During that time. There's every chance the scores will wander. And the most obvious time is if a category spans something like a lunch break. We try to make sure categories don't do that. We try to complete categories before going for a break. We always try to be continuous, but [00:38:00] you've still got fatigue. You've got the judges rotating. So all of these things are going on. It sometimes it depends what images come up in what order could conceivably affect the scoring. For instance there's an image that came up this year where I think probably I was the judge that felt the strongest about it. There was something about this particular image that needed talking about, and so when it came up and it was scores that I raised a challenge and my heart rate, the minute the print hit the stand, my heart rate climbed through the roof. It was. Something about it that just connected with me. And then when I explored the image on the lights, on the light box, to me, there was very little that was technically holding it back. There were a couple of bits, but nothing that I felt warranted a lower score. And so I raised a [00:39:00] challenge. I said my point, I went through it in detail. I asked the other judges to consider it. From my viewpoint, they gave their views as to why they hadn't. But each of them understood where I was coming from and unlike the challenge I talked about earlier where no one changed their mind on this one, they did on this one. They also saw things that I saw when we went through it. But at the end of the process, the image was got a higher score, which is great, but. I didn't feel that I could judge the next image fairly because whatever came in, my heart rate was still battering along after seeing this one particular image. And that happens sometimes. It's not common, but I felt I needed to step off the panel before the next image came up. Which I did in work, working with the chair and the team. I stepped off for a couple of prints before stepping back on [00:40:00] just to let my eye settle and let myself get back into the right zone. But during the day, the zone changes. The way you change your perception of the images, as the images come through is so imperceptible, imperceivable, imperceptible. One of those two words is so tiny that you don't notice if there's a slight drift. And so there's every opportunity for an image to score a couple of points lower or a couple of points higher than it possibly could have done. If it had been seen at another point in the day. Maybe it had been, maybe if the image was seen after a series of not so strong images, maybe it would get a higher score. Or of course, the other way round. Maybe after seeing a series of really, really powerful, impactful images that came up, maybe it scored be slightly diminished. Both of those can be true. And so it's really important that we redress that any possible imbalance and every competition I've ever done has a final round. And the [00:41:00] way this is done is that we take the highest scoring images, top five, top 10, depending on the competition, and we line them up. And all of the judges now, not just the judges who are the five on the panel, all seven judges. Get an opportunity to bring each image back onto a light box if they wish, if they haven't seen them already. Because remember, some of those images may not have been assessed by the, well. It cannot have been assessed by all seven of the judges, so there's always gonna be at least two judges who haven't seen that image or seeing it for the first time as a judge. So we bring them back, we look at them, and then we rank them using one of numerous voting mechanisms where we all vote on what we think are the best images and gradually whittle it down until we're left with a ranked order for that category. We have a winner, a second, a third, a fourth, sometimes all the way down to 10 in order, depending on the competition. And that's the fairest way of doing it, because it means, okay, during the judging, [00:42:00] that image got, I dunno, 87. But when we now baseline it against a couple of images that got 90 something, when we now look at it, we realize that that image probably should have got a 90 as well. We're not gonna rescore it, the score stands, but what we are gonna do is put it up into there and vote on it as to whether it actually, even though it got slightly lower, score, is the winning image for the category. And every competition does something similar just to redress any fluctuations to, to flatten out time. It takes time outta the equation because now for that category, all seven judges are judging the winner at the same time, and that's really important. We do that for all the categories, and then at the end of that process, we bring back all of the category winners and we vote on which one of those. Wins the competition. Now, not every competition has an overall winner, but for the one we've just done for the print masters, for the BIPP print masters, there is an overall winner. And so we set them all out [00:43:00] and we vote collectively as a winner on the winner. And then, oh, we rank them 1, 2, 3, 4, or whatever. Um, really we're only picking a winner, but we also have to have some safety nets because what happens if for instance. Somebody unearths a problem with an image. And this has happened, sadly, this has happened a couple of times in my career where a photographer has entered an image that's not compliant with the rules but hasn't declared it. And it's always heartbreaking when it does happen, but we have to have a backup. So we always rank one, two, and three. So that's some backups, and that's the process. That's how we finish everything off. We have finished, we've got all the categories judged, the category winners judged, and then the overall one, two, and three sorted as well. at the end of the process? I can't speak for every judge. I can speak for me, I feel, I think three things. Exhaustion. It's really hard to spend 48 hours or longer [00:44:00] assessing images one by one, by one by one, and making sure that you are present and paying attention to every detail of every image. And you're not doing an author or an image a disservice. You pay each image or you give each image, you pay each image the due attention it deserves. I feel exhilaration. There's something energizing about assessing images like this. I know it's hard to explain, but there's something in the process of being alongside some of the best photographers that you've ever met, some photographers that you admire more than any others, not just as photographers, but as human beings. The nicest people, the smartest people, the most experienced people, the most eloquent people. There's something in that. So there's this [00:45:00] exhilaration. You are exhausted, but there's an exhilaration to it. And then finally, and I don't know if every photographer feels this or every judge feels this, I do. Which is massively insecure, I think. Can't think of the right words for it. There must be one. But I come away, much like when you've been out on the beers and you worry about all the things you've said, it's the same process. There was that image I didn't give enough credit for. There was this image I was too generous on. There were the things I said in a challenge when it gets a little bit argumentative or challenging. 'cause the clues in the title, you know, maybe I pushed too hard, maybe I didn't push hard enough. There are images you've seen that you wished you'd taken and you feel like. I'm not good enough. There's an insecurity to it too, and those are the three things I think as you leave the room, it's truly [00:46:00] energizing. Paradoxically, it's truly exhausting, but it's also a little bit of a head mush in that you do tend to come, or I do tend to come away a little bit insecure about. All the things that have gone on over the two days prior, and I've done this a long time. I've been judging for, I dunno, 15, 16, 17 years. And I've got used to those feelings. I've got used to coming away worrying. I'm used to the sense of being an underachiever, I suppose, and it's a wonderful , set of emotions that I bring home. And every time I judge. I feel better for it. I feel more creative. I feel more driven. I feel more determined. I feel like my eyes have been opened to genres [00:47:00] of photography, for types of imagery, for styles of posing or studio work that I've never necessarily considered, and I absolutely adore it every single second. So at the end of that, I really hope I've described or created a picture of what it's like to be a judge for this one. I haven't tried to explain the things we saw that as photographers as authors, you should think about when you are entering. I'm gonna do that in a separate podcast. I've done so many of those, but this one was specifically like, what does it feel like to be a judge? Why do we do it? I mean, we do it for a million reasons. Mostly we do it because people helped us and it's our turn to help them. But every photographer has a different reason for doing it. It's the most joyful process. It's the most inspiring process and I hope you've got a little bit of that from the podcast. So [00:48:00] on that happy note, I'm gonna wrap up and I'm gonna go and finish my glass of whiskey which I'm quite excited about if I'm honest. 'cause I did, it's been sitting here beside me for an hour and I haven't drunk any of it. I do hope you're all doing well. I know winter is sort of clattering towards us and the evenings are getting darker, at least for my listeners in the north and the hemisphere. Don't forget. If you want more information on portrait photography or our workshops we've announced all of the upcoming dates or the next set of upcoming dates. Please head across to mastering portrait photography.com and go to the workshop section. I love our workshops and we've met so many. Just lovely people who've come to our studio. And we've loved being alongside them, talking with them, hopefully giving a bit of inspiration, certainly taking a little bit of inspiration, if I'm honest, because everyone turns up with ideas and conversations. Uh, we would love to see you there. The workshops are all are all there on the website and the workshop section. You can also, if you wish, buy a signed copy of the book from mastering portrait photography.com. Again, just go to the [00:49:00] shop and you'll see it there on the top. Amazon has them for sale too. It is great. Amazon typically sells them for less than we do, but we have a fixed price. We have to buy them from the wholesaler at a particular price, whereas Amazon can buy many, many more than we can, so they get a better deal if I'm honest. However, if you want my paw print in there, then you can order it from us and it's supports a photographer and it's really lovely to hear from you. When you do, uh, one thing, I'd love to ask anyone who has bought the updated edition of the book, if you are an Amazon customer. Please could you go on to amazon.com and leave us a review? It's really powerful when you do that, as long as it's a good review. If it's a rubbish review, just email me and tell me what I could have done differently, and I'll email you back and tell you, tell you why I didn't. But if it's a half decent review, a nice review. Please head over to Amazon. Look for mastering portrait photography, the new version of the book, and leave us a review. It's really important particularly in the first couple of [00:50:00] weeks that it's been on sale. Uh, it would be really, really helpful if you did that. And on that happy note, I wish you all well. I've grabbed my glass of whiskey and I'm gonna wrap up and whatever else you do. Until next time, be kind to yourself. Take care.   

Bet you didn't know the US Government shutdown also applied to Recyclon podcasts did you? Well despite the fact that we're not being paid for this - we've decided to shop up anyway - partly because we have a great guest to bring you. Have you seen Chris Barker's brilliant year-in-review montages? You can see them all on his website.He's been doing them for a decade and this year will be his last. So before he hangs up his Photoshop tools we wanted to find out what inspired them, what stands out and importantly what we can tell from ten years of 'humanity' It's a fascinating conversation - so do enjoy! Hosted on Acast. See acast.com/privacy for more information.

La société Adobe qui est derrière Photoshop et lllustrator a tenu sa conférence annuelle ; focus sur Grokipedia, revue des modèles de la semaine, d'innovation en intelligence artificielle et le reste de l'actu tech dont l'étude qui souligne les limites des résolutions des TV pour l'oeil humain. Essence Substance Participants

Fast X your seatbelts! The only graphic designer in Los Angeles, Andrei Dominiq (better known as James Junk), sits down with Sean to talk about his design mistakes… as well as inspirational Photoshop tools, getting trapped in a box of your own creation, and Los Angeles' angels and demons.You can find Andrei's work all over Instagram, where the James Junk account originated, at @jamesjunk.co. The James Junk account started with writing about mental health, and I was particularly taken with Andrei's recent visual essay from early September, “Is It Too Late to Reclaim the Internet?”—give it a read here if you want to read more about the complications of making stuff that doesn't happen to have the algorithm in mind. You can also see his larger portfolio of work, and get linked out to some of the other stuff he does online, from his website jamesjunk.co!If you want to follow Westin Luca, you can follow them on Instagram as @westinthemascot. Though the Meatball Man is always seeking out followers, it is imperative that you resist his siren call.This episode was recorded in Los Angeles, California, during AIGA Design Conference 2025. Special thanks to Lee-Sean Huang and AIGA for inviting me to attend, and to all the new folks I met there. An even more special thanks to Andrei for being generous enough to host me at his home for this recording—this literally wouldn't have been possible without you! Hosted on Acast. See acast.com/privacy for more information.

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

My Family Cinema e mais streamings piratas saem do ar no Brasil! Entenda motivo; O WhatsApp finalmente deve ganhar um app próprio para o Apple Watch! E se liga: Trump mandou o recado que os melhores chips de IA da Nvidia serão só para os EUA. Rumores fortes indicam que o iPhone 18 Pro e Pro Max podem chegar com três cores novas. Para quem usa design, o Canva meteu o pé na porta da Adobe e liberou o app Affinity de graça, pra competir com as mensalidades do Photoshop!

Welcome to The Photography Pubcast (Season 6, Episode 5). This week Gary, Daz, Sam and Adam dive into patience in photography—how long to wait for the perfect light, from 3–4 hours on a Lake District fell to entire days with no keeper. We compare landscape vs street photography (reactive vs deliberate), talk wave photography addiction, wildlife hides, and practical fieldcraft. We also read your Facebook comments, share an image critique, and announce details of our ongoing photo competition (low entries = higher chance to win!)Then it kicks off: the panel debate Adobe subscriptions, Lightroom & Photoshop value, AI credits, and real-world alternatives like DxO PhotoLab and the “buy once, upgrade later” model. If you've searched for best Lightroom alternative 2025, Photoshop vs DxO, how long to wait for landscape light, or wide-angle vs intimate landscapes, this episode is for you.Subscribe, drop your questions in the Facebook group, and enter the competition—prizes incoming!

 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.  

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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?”

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: 

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:

“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