Podcasts about picards

Join us on the MuppeTrek Podcast! On Fraggle Rock, Margery tries to bring everyone together by hoarding all the radishes causing "The Great Radish Famine." And Star Trek TNG episode, "Time Squared." 2 Picards? Time travel? Say no more!

Join us on the MuppeTrek Podcast! On Fraggle Rock, Margery tries to bring everyone together by hoarding all the radishes causing "The Great Radish Famine." And Star Trek TNG episode, "Time Squared." 2 Picards? Time travel? Say no more!

Vous connaissez probablement le groupe « les Fatals Picards » qui propose un rock humoristique. Jean-Marc Sauvagnargues est le batteur du groupe et il est ce mardi 8 octobre sur la scène de l'Ecrin, à Talant. Mais avec cette représentation, vous le verrez dans un tout autre registre qui n'a rien à voir avec le rock, ni avec les Fatals Picards. En effet, Jean-Marc est fan de Michel Berger et il a créé un spectacle pour rendre hommage au chanteur disparu il y a un peu plus de 30 ans. Ce spectacle, nommé « Ton piano danse toujours », est donc proposé ce mardi soir à l'Ecrin. Nous avons échangé avec Jean-Marc Sauvagnargues avant sa venue en Côte-d'Or. Ecoutez ci-dessous le podcast de notre interview :

Thunderbolts, Last of Us, John Wick: Ballerina, Solar Opposites, Hysteria! trailer, Lanterns Bane and Deathstroke, Supergirl, Lando, "the house from...", Magic: the Gathering, Robocop, Picards tea cup, Rebecca reviews Megalopolis, lots more 

Today, the Mutagen Men seek strange new worlds on the edge of settled space! Welcome back to the 1990s, where toy aisles were overflowing with Kirks, Spocks, Picards, Borgs, Ferenghi, and many more 5" citizens of the galaxy, all competing for space in your toy collection. We beam ourselves up to the Captains' Couch to discuss the highs and lows of Playmates' trailblazing Star Trek series, one of the first action figure toylines marketed to both kids and adults. Join us! Follow along here: https://thetoycollectorsguide.com/playmates-1992/  Or here: https://www.wixiban.com/toys/playmates.htm 

durée : 00:03:10 - Picardie Sport FB Picardie

Sometimes it's just a pleasure to sit back and listen.  This is one of those moments - for me, certainly, but hopefully for you too.  I had the pleasure of sitting and chatting with two icons of the industry - Sean Conboy and the inimatable nonagenarian, Stuart Clark who is not only still shooting at the age of 97 but is a considerable racontour (you can hear me and Sean laughing in the background throughout!) Stuart started his career in 1941, so his stories are not only entertaining but are fascinating as they cover every photography development from glass plate through to the state of the art digital wizardry we're facing today. This interview is worth listening to every one of its 90 or so minutes! Enjoy!   Cheers P. If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode. PLEASE also subscribe and leave us a review - we'd love to hear what you think! If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at paul@paulwilkinsonphotography.co.uk.    Transcript [00:00:00] Paul: So there are so, so many things I love about being in this industry, the things we get to do, and in particular, this podcast, and one of the many things is having these moments that you're about to hear, where I get to sit and chat with someone I've known for a very long time, Sean Conboy, fantastic photographer, and just a wonderful human being. [00:00:20] And someone he introduced me to, a guy called Stuart Clark.  [00:00:23] Now Stuart is 98 years old in July this year. Self proclaimed as one of the oldest working photographers in the country, and I'm not sure that anyone's going to argue with that. He started training as a photographer in 1940. That makes this, he's been working as a photographer for 84 years. [00:00:46] And the whole of this interview is taking place in what was, his photography studio in a little town just outside Leeds. It's his front living room, but it's huge. It's got a high ceiling and you can imagine how the lighting would have been hot, continuous lights and families just having the best time with someone who I learned very quickly, is a storyteller and a raconteur, uh, just a wonderful, a wonderful human being. There are lots of things to listen out for in the following interview, and let me draw your attention to just a few. Uh, listen out for the flash powder story. It's very funny. Uh, the story of, uh, People retouching, lots of retouching stories from the 1940s and billiard ball complexions. [00:01:31] . Doing multiple jobs in a day. He used to do three or four jobs in a day, and have the timing so accurate that could include photographing a wedding. He learned his craft. He's great. [00:01:42] He's spent time creating images for press, looking for alternative, alternative images and looking for PR images that no matter how much a sub editor crops them, the brand or at least the story is still very much intact. He talks about the utter love of the job and appreciating what a privileged position photographers like ourselves are in every day of the week. [00:02:07] He talks a little about the role of agencies and how they now manage messages from companies in a way that probably they never did. He talks about relationships and he talks about being positive and persistence. He also talks about the role of the Institute. [00:02:24] Finally, he talks a little bit about photographers always being the fag end of everything, but in the end, what he talks about really, It's the love of his job and the love of his clients.  [00:02:35] Why am I telling you all of this upfront? Well, this is a long interview, but the sound of Stuart's voice and the history that it represents, as well as the fact that he's more current than an awful lot of photographers who I know right now who are much younger, uh, but just, there's something in his, his entire manner that is captivating and enthralling, informative and useful. And so, although it's a long interview, I thought I'd just explain a little bit about why I found it so appealing and why I've left the edit almost entirely intact. I've removed a few lumps and bumps where we all managed to hit a microphone as we're gesticulating. [00:03:16] So picture the scene, there's myself, Sean and Stuart sitting, in armchairs and on couches. [00:03:27] And if you're wondering why it took me quite so long, this interview is actually, it goes back to February of this year, and why it took me quite so long to get it out, it was partly because there was a lot of of lumps to remove and partly because it was this trip, this interview, this podcast that I was returning home from when the Land Rover blew up. [00:03:46] And frankly, I think there's a little bit of trauma there with a six and a half thousand pound bill to re, to replace and repair piston number two. I think my heart just, I needed a minute just to not recall it every single time I try to edit this particular podcast down. It's a wonderful interview. Please enjoy. [00:04:06] I know it's quite long, um, but what an absolute legend. I'm Paul and this is the Mastering Portrait Photography Podcast.  [00:04:32] So, firstly, Stuart, thank you for welcoming us into your home. We've driven quite a long way, uh, to come and see you. Sean, uh, recommended we speak to you, because the number of stories you have make even his collection of stories look Insignificant. [00:04:48] And as we all know, Sean, The Footnote Conboy has more stories than any man I've ever met up until probably this, this moment in time. So to kick the conversation off, how did you become a photographer? [00:05:05] Stuart: It was an unfortunate or fortunate chain of events because, um, I was at the Leeds College of Art in 1940, 41, and I had the desire and intention of being a commercial artist, which is now referred as graphic designer and at that time, being wartime, there was little advertising being done, and so, uh, perhaps I was not sufficiently talented, but I finished up working for a firm who were essentially photoengravers, but they had a commercial photography studio as well, and they were short of somebody to join them, and I went in there and became virtually an apprentice photographer. This was very interesting because at that time, again, there was very little commercial photography advertising being done, and so all our efforts, or most of our efforts, were centred on war work, which involved going round the factories and, uh, Photographing for record purposes, the input of the particular company. And in those days, I can tell you that that was not a very comfortable proposition because we were on total blackout, and therefore, all the fumes in the factory, whatever they were, had very little chance of escaping, so you've got the fumes and the heat, and then of course we were only Illuminating scenes with flash powder, which was an added hazard, and, and so Photography outside in the factories was not very pleasant, but inside the factory, or in the studio, we were also doing war work, and that was to photograph silhouettes, scale models of all aircraft of both the enemy and, uh, and, uh, Home, uh, Aircraft for identification purposes, so that the air gunners were not shooting our own planes down in action. And another very interesting thing which I have always remembered was that the four, or the eight cannons In the Spitfire, that was four in each wing, were harmonized to converge at a point away from the Spitfire so that the Fire, the maximum fire point was when those two lots of cannons converged. [00:08:34] The only reference that the pilots had was a silhouette which we had photographed, so that he could visualize that silhouette in the, aiming sight of his  [00:08:50] guns.  [00:08:51] Paul: a very early heads up display.  [00:08:53] Stuart: Indeed.  [00:08:54] Paul: Yeah. [00:08:55] Stuart: And, so, that was quite an important element, I think, of our war work for the Air Ministry. [00:09:03] The main factory was engraving the, conical, rangefinder cones for 25 pound howitzers. [00:09:14] Paul: Right. [00:09:15] Stuart: And at the time of leaving school, everybody had to be doing war work.  [00:09:21] And so I went to the company on the pretext of doing war work of that nature, rather than going round snapping. [00:09:31] Paul: Right. [00:09:32] Sean: Stuart, could you also, um, I mean you've told me many great tales about your time actually in the, uh, armed services film unit, i think that might be quite interesting,  [00:09:42] Stuart: Well, I was called up and because of my interest in mechanical things and gadgetry and so forth, I finished up in the Royal Army Service Corps. But a friend of my mother's husband suggested that I applied for a trade test in photography. And one day I was called up to the orderly room and they said, We've got the movement order here for you. Um, to go to Pinewood Studios, of all places. I don't know what this is about, but anyway, here's your movement order. So, I went down to Pinewood, and we had a trade test, and I think I finished up, uh, top of the, the, uh, examination. But then I was returned to unit at Catterick, and I was up there for another few months, and then I was posted. And eventually, after about six weeks of the posting, I got another movement order to go back to Pinewood Studios, where I started my course in cinephotography, [00:11:06] and still photography. Now, this was the last course. before Pinewood closed down and the unit closed down. I'm talking about Pinewood closing down, Pinewood was the headquarters of the Army Film and Photographic Unit from when it was formed in October 41. [00:11:35] The course included preparation for action photography, essentially. when the course started, the war was still on in Central Europe. but before the course finished, it, uh, the war finished. [00:11:58] And The Japanese War was still going on until September of the same year, which was 45. But we were still being trained, and when the course finished, we had very little to do but just wait to see what happened. And so from September to, um, December of that year, we were just hanging about in the studios. [00:12:30] We were then posted to the Far East, in fact to Malaya, where the No. 9 unit was formed. Having been moved by Batten's headquarters, Mountbatten's headquarters, from Ceylon to Singapore, thought that it would be probably much more congenial there than in Ceylon, India. [00:12:57] So number nine was there and it's interesting to note that right at this moment an exhibition is being produced for the photographer's gallery on Bert Hardy's life and Bert Hardy at the time that I there was, in fact, the stills captain in charge of all the still photography in Malay Command. Or the, not Malay Command, the Far East Command, because we had outstations in Java and Hong Kong, and even, uh, one guy, uh, was in, um, in Hiroshima. So that was the formation of the, the, uh, Far East, Southeast Asia Command photographic, uh, outfit. until it closed down, uh, in September, August September of 46, and we are then dispersed Some went to the Imperial War Museum, the Imperial, uh, war, graves Commission, et cetera, and six of us went back to Vienna, where we joined number 9, Public Relations, because unit had been disbanded completely. So, there in, uh, in Austria, we were doing what they call Local Boy Stories, and we made a couple of films on the Irish regiments and also the East Yorkshire, not the East Yorkshire, the Yorkshire regiments who were guarding and on guard duties at the palace, Shurnbran Palace, which everybody has heard of, and um, and so that carried on until, uh, the Until I was demobbed in 1947, December. came home and went back to the company I originally started with because they were compelled to take people for 12 months. And at the end of that time, I decided to leave I had a bit of a a difference of opinion with the studio manager, who was RAF, and I was Army, and I was a sergeant as well, and I don't think he was quite that when he was in the RAF photographic section, but there was a resentment anyway. [00:16:02] of my presence.  [00:16:03] So, I went to the firm called C. R. H. Pickards, who were one of the finest industrial, uh, and leading industrial photographic units, companies, in the north of England. [00:16:24] It was there, then, that I began to learn industrial photography. And we photographed all sorts of various things, from factory engineering, factories, products and so forth, lathes, milling machines, railway engines, all manner of things. And that's where I cut my teeth on industrial photography. [00:16:56] Sean: And, and Stuart, what sort of, um, equipment would you be using in those days? not  [00:17:01] Stuart: so ha!  [00:17:02] Sean: but how  [00:17:03] would you be lighting these spaces in those days  [00:17:05] Stuart: um The equipment that we were using was always, almost always, whole plate, six a half, eight by, eight and a half, six a half, uh, folding field cameras. when I started, we [00:17:29] were on glass plates. But then the advent of film came in. And this was obviously much lighter stuff to carry around. And every, exposure had to count. Now in today's terms, where you press the button and pick the best out of however many, all we used to do was a duplicate at the most. So we used to There was a variation in the exposure or the aperture setting, and that was the only difference the two exposures. [00:18:19] So what we used to do was develop one side of the, uh, the double dark slides, see what they were like, if they wanted a little bit more or a bit less development, that was applied to second side. And, don't know whether you've ever heard of the expression of, um, developing by, uh, vision. But we used to have a very dim green light, and the sensitive film. [00:18:59] was not, uh, sensitive to the green light.  [00:19:03] Paul: All right.  [00:19:04] Stuart: But you had to be in the darkroom for ten minutes for your eyes to become adjusted, and you could then see absolutely every detail of the, the development process. And when the highlights started to you, to, To show a dark mark through the back of the antihalation backing, then the development was just about right, if but if you wanted a little bit more contrast, then you just pushed it on. If it had been a dull day, a dull, miserable day, then you pushed the development on a little bit further. [00:19:49] Sean: And  [00:19:49] Stuart: you've asked  [00:19:50] Sean: be, how would you be lighting some of these scenes? I'm very intrigued at that  [00:19:53] Stuart: I  [00:19:53] Sean: that  [00:19:53] Stuart: about to say that. [00:19:54] Um, for big areas, we used to use flash powder. And a little bit of flash powder goes a long way, believe me. But it was pretty dangerous stuff. And um, I remember we photographed a wedding on one occasion at the Majestic Hotel Harrogate. And there were 450 people. at the reception and they wanted a photograph to show as many of the people as possible. So we put the whole plate camera on a table stood up there with tray into which I poured flash powder. [00:20:38] Now then, this was actuated. with a percussion cap, like we used to have in little [00:20:46] hand pistols for toys. and when you pulled the release catch, that ignited the cap, [00:20:56] that ignited the flash powder. [00:21:00] So, the exposure was only going to be once. One exposure. [00:21:07] And so, the photographer I was with, he said, right everybody. Look this way, and I want to be making sure that everybody keeps still. [00:21:21] I'm going to count five for you, but don't move until I've finished counting. [00:21:29] So the idea was to take the sheath out of the slide. With having put a cap over the lens, shutter, just an open lens with a cap or a lid on the front. [00:21:46] And the technique was to take the cap off hold it in front of the lens, so that that allowed the vibration or any vibration in the camera to settle down and then take the exposure. the idea was count 1, 2, 3, 4, then take the cup off. And on four I ignited the flash gun and then the cup went on and the guy that I was worth put the sheath back and said, right, let's get out of here quick. The reason for that was that you got the brightness, got the, the buildup of the available lights. then it's just topped off, illuminated with the flash, not a very big one, I hasten to add. But the significance of flash powder was that there was a flame which simply went upwards.  [00:23:00] And that was it, that was all there was to be seen. But, it produced smoke, which used to go into, onto the ceiling, and it would roll across the ceiling, carrying with it the grains of the flash powder, which had obviously changed colour from [00:23:24] silver [00:23:25] To yellow, that was okay. But when the waiters came to move the, uh, soup plates, what they found was a white circle on a yellow  [00:23:47] cloth. [00:23:51] And you can also visualize the fact that a lot of people had a lot of. Little flash powder grains in their hair  [00:24:01] as well. well. By the time that [00:24:04] By the time that this happened, we were halfway back to Leeds.  [00:24:08] Sean: Very good.  [00:24:09] Stuart: But this this was the scourge of flash powder because you could only take one shot. Because the place used to, the whole of the place, the factory, if you using a large amount of powder, made a lot of smoke, and it just collected on the ceiling and it obscured it, the vision. So, we used to use photo floods, these were overrun pearl lamps, we used to have six on a button. And if the subject was still, we could go around on a long lead and paint scene with light. And that was, and that became established, So flash balder started to go, [00:25:08] Paul: Right. [00:25:10] Stuart: but you see, at this time, flash bulbs hadn't really got going. [00:25:17] The GEC flash bulbs, which were foil filled, were about the only thing that was available. Um, in this, in this country. And they were sympathetic. [00:25:31] And the GEC Warehouse in Leeds on one occasion, uh, a consignment of, um, bulbs came, [00:25:43] Uh, [00:25:44] in a, in a case, and, uh, one of the attendants decided that he would test them to see whether they were all alright. [00:25:54] So [00:25:54] he fired one. [00:25:57] and 50 flashbulbs, because [00:26:01] they had to be in contact with each other. If they were separate, it didn't work, but when you put them side by side, they were sympathetic. [00:26:11] Paul: What [00:26:11] happens?  [00:26:13] Stuart: Well, the whole lot  [00:26:14] went  [00:26:14] off. A whole box full of, um, flashbulbs, and they weren't cheap at that time.  [00:26:22] So  [00:26:23] really,  [00:26:23] that was, that was the basic equipment which we used to [00:26:29] use. [00:26:31] And [00:26:32] it was all, [00:26:33] it [00:26:34] was all, uh, 8x6. [00:26:37] Sometimes it was 10x8. [00:26:41] The, uh, the railway engines, which we used to photograph for the Hunsley's Engine Company [00:26:47] and hudderswell Clark's in Leeds, we always used to use 10x8 for those. Now it was interesting there because we used to have a particular date for going to photograph them. And [00:27:04] they were all finished up in black, white and grey paint. Because that served the cost of retouching the finished print. [00:27:15] There was very little photography done at that time. Apart from views and so forth. But anything that meant a machine, a lathe the, or whatever, it always had to go to the process retoucher who airbrushed the reflections or put one or two, put a shadow in or whatever it is. It was a highly skilled, uh, process. Uh, process, retoucher with white lines and so forth. But the interesting thing about these two railway engine companies was. that they only painted them on one side, the side that was being photographed. [00:27:59] Paul: And [00:28:01] Stuart: we used to go back to the studio, develop them straight away, yes, the negatives are alright, as soon as that happened, then they would strip all the black, white, and grey paint off and finish up in the customer's required, required colours. [00:28:23] Paul: Wow. [00:28:25] So, so the bit that strikes me is retouching has been part of this art  [00:28:30] Sean: a long time. Well,  [00:28:33] Paul: I mean, think about [00:28:33] it, right? Because we, there's a lot of debate about retouching and post production. That rages. Even now, but when you think about a manufacturer only painting one side of a train, they're painting it colours that repro well, and then it's being handed on to a retoucher, retouching's been going on for a very long time.  [00:28:51] Stuart: Well of course, everything at that time was, was, um, retouched, and most portraits finish up with complexions like billiard balls. There were no shadows, etc.  [00:29:03] Paul: haha, It's like nothing's changed!  [00:29:07] Stuart: Indeed. Indeed, and, and when people speak now in condemnation of, oh well you can see the retouching and so forth, well the only thing that you have to do now is to make sure that it doesn't show. But, it was, really when Photoshop and the like came in on the scene, this was manna from heaven. [00:29:32] Paul: Yeah. [00:29:33] Stuart: Because it cut out the need to do the work on the actual print. To retouch transparencies was a rather different process altogether. [00:29:48] And it was  [00:29:49] Sean: difficult process to be [00:29:50] Stuart: Oh yes, and very highly skilled. And the firm that I worked for, Giltrous Brothers, who were the photo engravers, they used to retouch twenty, twenty [00:30:02] four, twenty glass plates. Whereby, when you talk about printing today, and I think the, uh, top of the range, uh, Epson, Uh, printer works in, uh, we're printing 11 colors, but the, limited edition photolitho, uh, illustrations were, uh, certainly on, on 13 colors [00:30:36] And from 13 separate plates. All of which were retouched. [00:30:42] Paul: So [00:30:42] the plates were retouched separately?  [00:30:45] Stuart: correct?  [00:30:45] Oh yes.  [00:30:46] Paul: Wow. [00:30:48] Stuart: So [00:30:48] Paul: each of these plates is a black and [00:30:49] white plate that's going to take one color ink? [00:30:52] Sean: Correct. I understood the [00:30:52] Paul: the process right? [00:30:53] Sean: Yeah.  [00:30:54] Stuart: process, right? Retouches were earning more than photographers at any time.  [00:31:01] Sean: It's most interesting to hear this, Stuart, because you come into my era when I was learning photography and the discipline of the transparency, the 4x5 and 8 inch transparency, and of course there, retouching was an anathema because if we retouched the transparency, we started to lose some quality. [00:31:17] Stuart: Yes. we to, it was a period of photography, I think, more than ever, when we had to get everything right in the camera because the client demanded the transparency. Whereas the processes you were using enabled this retouching method, which is very, very interesting. [00:31:29] There are certain elements, as you well know, with your, even with your skills, whereby there are elements which cannot be lit out or exposed out or  [00:31:43] whatever. And there has to be some artwork, or whatever you call it, retouching done. And at the end of the day, most of the photography which, which I was taking and involved with, was going to be reproduced. And so if it was retouched at source, before it got to the retouchers on the reproduction, uh, side. [00:32:11] of the plate making, then that was, it was as we wanted it rather than what they thought it should be.  [00:32:20] Paul: As ever photographers being control freaks.  [00:32:24] Stuart: Well, after something like two to three years at Picards, by which time I got a fair amount of idea of what's going on.  [00:32:37] Um, I decided that, um, I ought to seek pastures new and became a staff photographer for the 600 Group Of Companies just on the west side of Leeds. And there I photographed secondhand machinery, which they used to recondition and I photographed the, lathes and milling machines, drilling machines and that sort of thing, and they were then printed on and they, all these were taken on the half plate camera, which is half the size of a whole plate camera, obviously, um, and, um. they were made on 6x4 glossy prints, and these were distributed by the appropriate department to potential buyers. And I was there for three and a half years. But I'd got to the stage where I'd photographed everything that didn't move, and I was becoming rather dissatisfied with life. So I  [00:33:49] Paul: Do you mind if I ask how old are you at this point? [00:33:53] Stuart: this point? Well, let me see, I would be about, twenty, twenty four, twenty, what, twenty five. Right. Twenty five, six.  [00:34:03] Paul: Right. [00:34:04] Stuart: I was dissatisfied because I didn't think I was getting anywhere. [00:34:09] Sean: So you were, you were ambitious, really, to take your photography on to another level and, and have more control, would you say, over what you were doing [00:34:16] Stuart: you could say that, yes. just say to work for yourself, Stuart?  [00:34:20] Sean: The Thing is that the, the company that I worked for. was part of the A. H. Leach corporate, uh, company at Brighouse, which was, uh, a very big organization with studios in Cambridge, Manchester, Glasgow. Um, and the prospects of moving to any one of those places was stalemate because they were well staffed was no flexibility for moving, and so I thought, well the only way to see whether I am a capable photographer was to make it on my own, see if I could make it on my own. And in fact started the business in some premises now occupied by the local library. down at the bottom end of the village. [00:35:19] Stuart: But this was going on for some time, two or three years, and then the question of getting married. [00:35:27] came into the reckoning, and this house in which we're sitting now became available, and very suitable because the front room lounge in which we now sit became my portrait studio. [00:35:46] And across the top of the window, which is facing opposite you, was a bank of Kodak, um, lighting with five, four 500 watt lamps in each for general illumination. [00:36:04] And So then I had a spotlight which is, was behind you for lighting the hair and then a fill in light on this side. And by this time, we'd moved on to two and a quarter square, real film cameras, 12 on 120. [00:36:22] I hadn't really at that stage got into, back into the industrial scene because I was doing social photography, weddings and portraits, to build up a reserve of capital to move on to buying more advanced equipment. [00:36:44] And the changes at that time were considerable. 5x4 were on the, on the fringe. At the time that I'm speaking of, German 9x12 plate cameras were still being used for press photography. And there they were, on the touchline at Heddingley, these, the local press photographers, with box of 9x12 single shot plates freezing to death, and um, and that's it, one off shots. [00:37:26] But I missed the point earlier on, I think, of saying that uh, every shot had to count. And, over the years, that has influenced me considerably, because I've always made sure that everything was right before I took the exposure. [00:37:48] And whatever the, whatever the occasion was, whether it was an industrial scene or a social scene, you look at the subject before you, to begin with, and then start looking round and see what's happening in the background. Because, if you do that, it saves retouching, and that's an absolute classical instance of today, where people, when Photoshop came, what about so and so? [00:38:22] Oh, don't bother about that, I'll take it out. I can take it out in Photoshop, and I've heard speakers come to the Institute and talk about, Oh, I do this and do that, and I've said, well, how long does it take you to do that? Oh, well, a couple of hours or so, like that. It could have all been addressed in the taking, and that would have been eliminated. [00:38:51] And when you talk about 2 or 3 hours retouching, well how much do you charge for, oh well I'll throw it all in. [00:39:00] And the number of people who I've heard say that, oh well I'll just include it. I think they've got a bit wise to it now because Uh, any extramural activities are chargeable by the hour, and, uh, and it's certainly in need of that, but what I would say to any in, up and coming photographer, they need to sure of what it is that they're taking to avoid having to retouch it afterwards, albeit that in today's terms, [00:39:40] With the relaxation of dress and disciplines and so forth, Um, I don't think it quite matters. And so, I think as far as today is concerned, I would find it difficult to go back to being a photographer in today's terms. Because, I can sit in a restaurant or in a room, somebody's room or whatever, and I'm looking at the, the vertical lines of the structure to, to see whether that line lines up with that, and it's surprising how often I can see lines that are out, even buildings. [00:40:27] I could see buildings that, that were not, um, vertical. completely vertical and line up with the I sit there looking at the streets and doors and windows and it's very, it's very difficult to get out of that discipline into the much more free and relaxed attitude towards photography today. [00:40:56] I don't know whether I, whether you would agree with that or not. [00:41:00] Sean: Stuart, I would agree with what you're saying and it's like the photographer's eye, your whole life has been trained by your eye viewing scenes and viewing situations and it's quite impossible to turn that off really. [00:41:10] That's part of you and how you see things, so no, I couldn't agree with you more. So Stuart, tell me, you obviously, the room we're in now was your studio, and you're in here, you're now married, you're doing more social photography, as you said, and obviously starting to make money. Where did the business go from there? [00:41:29] What was your sort of next stage really? Because I believe you had another studio then in the village, is that correct?  [00:41:35] Stuart: The children grew up and we were running out of room space, [00:41:40] So an opportunity came in the main street down the road to take over a building, um, which I was able to use the ground floor and turn it into a studio, a reception studio and darkroom. And, uh, during that time, I was doing, um, mainly social photography, but also, I had got associated with the local newspaper which circulated in this area, and I virtually, without being on the strength, I virtually became the staff photographer for the whole of the circulation area. [00:42:32] So on a Saturday in the summer, it was not unknown for me to do perhaps 11 cover 11 eventualities such as garden parties, a flower show, etc. and also fit in a complete wedding. So, [00:43:00] Paul: So,  [00:43:00] Stuart: so [00:43:01] my time, my, my mind used to work like a, like [00:43:07] a clock, uh, a precision clock, because it was, it was timed to the nth degree. Um, what time is the, uh, what time is the wedding? How long will the service be? Where's the reception? And I had a mental, uh, mental, uh, memo of the distance from here to there, and the length of time it takes to get from, from there to there. [00:43:36] And, as far as the, as the newspaper is concerned, I tried to take a different picture. at each occasion, so that we don't want the same picture of women serving tea, uh, for the WI, the church of this and that and the other. Um, I tried to make a different picture. So that training and experience fitted me in good stead for when the industrial scene tailed off. [00:44:15] Sean: I've just, uh, I've just, um, picked a photograph up here. [00:44:18] Stuart's got quite a number of his photographs in the room with us here. It's a very nice PR, press type shot here of Harry Ramsden's Fish and Chips shop, and it's got a very 1980s mobile phone and the world famous in this part of the world, Nora Batty which some of you may know from a famous last of the summer wine tv show and i think this is to do with the flotation of Harry Ramsden because it became quite a successful company didn't it so talk a little bit about this photograph Stuart it's very captivating and i think very very well executed [00:44:50] Stuart: Well, the story as you've already identified, I'm surprised that you have, because that was when they went public. And, uh, the, story was the Harry Ramsden fish restaurant, which, it was the center of all activities, just on the outskirts of Leeds, and they, as you said, they got Nora Batty there, who was a very leading personality at the time, and, of course, telephones, you can see the size of that, that mobile telephone, which is about the size of a half of a brick. Um, this was the, um, the story. And the essential thing was to locate the seed of the picture with the name of the, the company. across the top of the, the print or the format. [00:45:46] Sean: And if I could just butt in there Stuart just to say sorry to do this but I think it's important to get this across that I've just picked this image up and the story has come straight across to me. We've got the mobile phone. You've got the Financial Times, which is holding the fish and chips. You've got the sort of banker type chap behind her. [00:46:02] It just shows the skill that's gone into that picture, that an image is telling that story to me all these years later. Because I presume this photograph is 30 or 40 years old, Stuart. Am I correct there?  [00:46:12] Stuart: It's quite a long time. And the essential thing about that picture, uh, Sean, is that however much a sub editor chops it down. There was always be something of the story there, because the nearest or the furthest down that they could chop it would be across the top of the bloke's head, but it would still say Harry on the left hand side. [00:46:42] And, and, that was the, the art of, at that time, of getting the story across for public relations. Include the company's name or the brand in the background somewhere so that it had to be seen and it couldn't be taken out.  [00:47:03] Paul: I ask you a question? Have you always loved being a [00:47:06] Stuart: being a photographer? Oh, absolutely.  [00:47:09] I wouldn't do anything else. Um, had a very enjoyable life in every aspect of it. And I'll tell you one thing about it, and Sean will agree with me on this. Photography, photographers are in a very privileged position, and they don't realize how much so. Because so often, they are in, at the ground floor of activity. A conference, a confidential conference projecting the aims of the company. [00:47:46] I was in a company when I was in the conference actually, when the whole of the regional bank managers were in a conference at Harrogate, and they were told then, that we were going to dispose of the buildings, our assets, and I photographed several banks which were up for sale and they were simply being sold off. The managers didn't know. What's the photograph for? Oh, it's just for the estate. I knew what they were, why they were selling it. It was going on the market. [00:48:25] You know all these little convenience grocery shops and so on, on filling stations, I was in the conference there for all the ESSO managers in the region, when the the project was put to them that we're going to put these little kiosks, or whatever it is, and, and, and there I was. Um, and we were privy to information that was light years ahead of the actual official announcement. [00:48:59] Paul: Yeah. [00:48:59] Stuart: Metahall, for instance, um, I was in the conference when they were talking about what their footprint was needed to be to make that viable. And there are several instances such as that. And you do get it to a more personal level, where we've got, uh, injuries, personal injuries to photograph. [00:49:26] Oh well, what about Snow? [00:49:29] Well, [00:49:29] And you just can't get involved with passing that or repeating that information. [00:49:35] Paul: Yeah. [00:49:36] Stuart: It's confidential. And as I said, photographers are so often right in the heart of things. And I'm sure, Sean, that in today's terms, you'll be more exposed to it than I was with them. [00:49:51] Sean: Well, very much so Stuart. [00:49:52] Very much so. Yeah. I mean, it's, I can't tell you how many NDAs I've signed in my career, so, yeah, absolutely. Absolutely.  [00:50:00] So Stuart, so you've now got the studio, the, the biggest studio now on in the, in the, in the village here. And you're obviously doing your social, your weddings, you're obviously doing a lot of PR. [00:50:11] Did you start to do, did the industrial photography come back a little bit more as well? [00:50:15] Stuart: Yes But I was, I was extremely fortunate and the odd thing about it was that the connection came through the, uh, the work of the local paper because three miles from here was the control room for the Central Electricity Generating Board and they were having an open night and the local paper was invited to to cover the, the event. So I went along and took a few photographs of whatever was going on and had a bit of a look around the place and subsequently then I was approached by their, their public relations department for the northeast region. Would I take a photograph of something else?  [00:51:13] From that stemmed the work, which really became the mainstay of my activities with the Central Electricity Generating Board. [00:51:26] Again, I wasn't on the staff, but I was vir, virtually became the staff photographer for the Northeast Region. And the amazing thing is that here I was, photographing power stations, the grand openings of power stations, starting with Thorpe Marsh, which was the, down in Doncaster, which had two 400 megawatt sets, which were the f The Forerunner, they Thorpe Marsh was really the testbed for the, um, the 400 megawatt stations which followed. [00:52:13] And there again, this was being in on the ground floor whenever there was a fault down there or whatever. or a problem, um, I was called in to, to, to take the photographs.  [00:52:27] Sean: So [00:52:28] Stuart, would you say that, um, he's very interesting listening to this about how your business built. Would you say that networking was a great part of building your business? [00:52:37] Stuart: Networking, well they call it networking now, and it's, it's contacts really. And I think, I'm sure that you'll agree that being in the right place at the right time, and that really applies to anything, the theatrical world, et cetera, and, not necessarily knowing the people, the right people, but getting on with them, and being able to mix with people, and behave in a way that people expect you to. So  [00:53:10] Sean: Would you have any sort of advice or tips for a young photographer or somebodnew breaking into photography and how to. build a business? Have you anything to add there at all?  [00:53:22] Stuart: I think that in today's terms, it is extremely difficult for photographers. And I'll tell you why, because I think that the opportunities which I just mentioned are remote, probably remote in the extreme. Social photography is something else, and the, the website, and all the various media opportunities, with which I am unfamiliar and have no knowledge of because I've not had the need to do it. But I am aware because I look at what people are doing. And that's another instance of success. Of keeping an eye on what other people are doing. If you admire anybody's particular work, then that sets the example and the criteria to work to. But as far as going back to contact is concerned, I have the distinct impression now that not only photography, but everything now stems from public Relations and I don't know whether you've noticed it or not, but if there's, if there are any problems, on the one hand, of people's behavior or their activities, or whatever it may be, adversely or favorably, and the promotion of brands and industries and business, it all seems to stem now very much from the agencies.  [00:55:12] If you read question of the so and so company are going to introduce this product or [00:55:22] service or whatever it is, or they've taken over a business. the [00:55:27] statements attributed to the managing director or chief executive or accountant or whatever it is, right across the board, a great many of the people that are being quoted, I would suggest, are not capable of speaking and thinking the way that the statement appears in print. And it raises sometimes, a lot of suspicion as to just what is behind this thing. This business with the post office. It's full of it. And so the point that I'm making is that advertising agencies, that's another one, the advertising agencies are in direct contact with the, um, with the brand or the company. [00:56:24] And so the opportunities of the photographers, in my judgment, are minimized because of the hold. that the advertising agencies have on the job.  [00:56:43] And  [00:56:43] they,  [00:56:45] they will say who they want and who should be employed. They may think them best or otherwise. And it also then comes down to, rights, and I bet you are right in the thick of this, that, uh, you are the, the favorite bloke on the, on the block, and whilst ever that person is engaged in that company, your situation is secure. But suddenly, if he goes to pastures new, and they've already got their established photographers, as far as you're concerned, you've lost that company. [00:57:28] Sean: Very  [00:57:28] Stuart: company.  [00:57:29] Sean: very true. Yeah, yeah.  [00:57:30] Stuart: Is it true? [00:57:31] Paul: But there's always opportunities with these things, I mean, in the end, there are more photographs being created today than ever historically, I think you're right about the structures of advertising agencies, though this isn't my world, when someone moves on, there's an opportunity, and there's always the opportunity to stay as well, there is risk, of course there's risk, but equally, you could be the guy he takes with you. [00:57:54] So how do you make that happen? [00:57:56] Sean: Well, I think it's very apt because I've had two or three key clients in my career that have moved numerous times, you know, seriously big companies and they've taken me with them, yeah. And not only that, in some cases, they've taken me to their new company. And it's gone well. They've then moved on to another company and taken me with them, but the company they've left still retains me. [00:58:19] So there's a benefit that way. But I think it's really, I greatly believe in the, in the networking, keeping in touch with people, making an effort at all times. And I think, I know we've got today's digital world and there's lots of advantages to that, but also personal contact I think is still really, really important. [00:58:38] Relationships and personal contact. [00:58:40] Stuart: What you are saying is, is correct. And I remember an uncle of mine who was a milkman and, had a, a big dairy, and he once said to my mum, oh, well, it's so and so, he's come again, a rep has come. It's been three times, so really it deserves an order. [00:59:03] There's a  [00:59:04] lot  [00:59:05] Paul: in [00:59:05] Stuart: a lot in [00:59:06] truth in that, backs and it backs up what you were just saying, of keeping in contact, and, of course as far as advertising is concerned, or mail shots. the first one they take no notice of and throw away. The second one, oh well, there's another one from this so and so. The third one, it is usually reckoned that the person will be activated by that And so, as you said, keeping in contact is very important. [00:59:42] But I'm bound to say that breaking in a lot of it is by accident, but certainly the persistence of contact is very important. [00:59:56] And when you consider, you see, over the years we have thought of Only the Institute, or I have, and I've done, I've put a lot of time and work into it, as other people have, without which we might have been a lot more better off or a lot wealthier than we in fact are. [01:00:20] Sean: Stuart, did, did, when we say the institute, it's the British Institute Professional Photography we're talking about here. And I, I'm a member too, and that's how I met Stuart through the institute. Through your long career as a photographer, how important did you find the, The Institute and the ability to mix and talk and, and, and work, you know, get information from other photographers, I suppose. [01:00:41] How important did you find that  [01:00:44] Stuart: Photographers, um, are, as you know, very, very much individualists. they work a lot on their own, and when you consider that there are probably 7 or 10, 000 practicing photographers in this country, and so few of them belong to anything.  [01:01:10] It makes you wonder how all those people survive. but, it really comes back to, to, uh, what we were saying earlier, of contact, those people must be in contact with other people. [01:01:29] Their reputation goes before them, obviously, and when you consider the situation with the Royals, for instance, who, from time to time, have official photographs taken, um, by names that I've never heard of, where you would perhaps expect that they are members of the, this organization, the Royal Photographic Society, as a case in point. Um, these people are not members of them and so how they I'm not talking about the Litchfields, I'm talking about the other people who officially, officially photograph, uh, in recent times, the, um, William and Kate's family, the, their birthday or whatever anniversary it was. So, those people, um, are plowing their own furrow. [01:02:33] But going back to the the meaning of the institute, whereby people are individual, the opportunity over the past years was for all these individuals to rub shoulders with each other and the networking that went on then. For instance, you go to a meeting and you're chatting away, and a couple of blokes have a common, common interest, uh, uh, or they're equal practitioners, but suddenly, one of them comes up with a problem that he can't answer, and so he's able to phone this guy in Nottingham, or wherever, because he is not in competition down the street. He can't ask the guy down the street how to tackle the question, but the man in Nottingham will willingly bare his soul for you, and keeping in contact with, um, with other people to solve problems where they have them is incredibly useful, in my judgment.    NOTE: to see the rest of the transcript, head over to https://masteringportraitphotography.com (it exceed the normal limit for podcast texts!)

Pour ce nouveau numéro, Christophe Pélissier, l'actuel coach de l'AJ Auxerre, passé auparavant par le banc de Lorient et Amiens, se confie au micro de Darren Tulett pour raconter les 5 matchs qui ont marqué sa vie !Match 1. On est le 12 mai 1976 au stade de Hampden Park, à Glasgow. L'AS Saint-Etienne affronte le grand Bayern Munich de Beckenbauer, Gerd Müller, Rummenigge et Uli Hoeness en finale de la C1 ! Et Christophe Pélissier, âgé de 10 ans, est au stade !  Match 2. Le 8 juillet 1982 à Séville. Demi-finale de la Coupe du Monde. France 3-3 RFA. Puis la défaite aux tab... Le match qui a marqué toute une génération. Match 3. Le 12 juillet 1998 pour la victoire des Bleus en finale de la Coupe du Monde face au Brésil !  Match 4. Le 19 mai 2017 et Amiens, le club que Christophe entraines désormais, va jouer un match à Reims. Il faut une victoire pour monter en Ligue 1 pour la première fois dans l'histoire d'Amiens ! Grâce à un but à la dernière seconde, les Picards montent dans l'élite !  Match 5. C'est justement ce premier match pour Amiens, et pour Christophe Pélissier, en Ligue 1 : le 5 août 2017 et ça se passe au Parc des Princes, contre le PSG. Baptême du feu, soldé par une défaite face au futur champion de France.Tous les mardis, Darren Tulett reçoit un invité qui raconte les cinq matchs de football qui ont le plus marqué sa vie. À travers ces rencontres, notre invité parle de son amour pour ce sport et se confie ainsi sur quelques chapitres de sa vie. Raffolez-vous des anecdotes racontées par des anciens joueurs, mais aussi des humoristes, chanteurs, comédiens, journalistes, politiciens... Bref, tous ceux qui aiment le foot risquent de se retrouver sur la liste éclectique de notre hôte anglais ! 

durée : 00:03:23 - Quels Picards aux JO de Paris ?

Mit Jörg bespreche ich Star Trek: Der Aufstand.

Celebrating 100 episodes of OPP with a review of TNG's beloved episode "Tapestry"  We are joined by an amazing artist Stormy Clowdis and we discuss how exactly this episode is nothing more than a Star Trek Christmas Carol! Plus some interesting takes on Marta and how Jean Luc literally ruined that relationship in 5 minutes!  This is a rich episode that offers commentary on life, leadership, and when exactly taking risks makes life worth living! Join us as we embark on another excursion into podcasting excellence!  Stormy Clowdis Art Instagram: @StormyClowdisArt    WWW.JASONTALKSMOVIES.WORDPRESS.COM

Get your tickets for Intelligent Speech Online (November 4th 2023) and use discount code ROYALE Josh Zucker from the Grand Dukes of the West podcast joins us to talk about yet another Duke of Burgundy, John the Fearless. And while John may not match his father for statecraft or shrewdness, he more than makes up for it in scandaliciousness. How will Ben's rival candidate, Bernard of Armagnac, fare against John in this posthumous showdown?In this episode you'll hear a rendition of "Reveillez-Vous, Picards", a folk song sung by Burgundian soldiers in the 15th Century. If you enjoyed it, the full track is available on YouTube, however we were unable to find the original artist. If you know who we should credit with this absolute banger, please let us know!Join us again next week when we'll have on Katy of the Queens podcast to talk about two great matriarchs of the Hundred Years' War: Yolande of Aragon and Isabeau of Bavaria.Visit our Wordpress for episode images, score summaries, contact details and more!Make sure you leave us a review on Apple Podcasts, Spotify or wherever you listen.You can also support the show on Patreon! Join the official Angry Mob and get access to our bonus content: movie reviews, deep dives and bonus judgements.Support the showSupport the show⚜️CATEGORIESBen and Eliza each give a score out of 10 for the first 4 categories. The 5th is determined by maths! The result is a total score out of 100. Enchanté: The shallow, first-impressions round: How fabulous and iconic an image have they passed down to us? En Garde: (A.K.A. “Selfish Wins”) How well did they gain and increase their personal power, either through scheming, statesmanship or good old fashion battles? Voulez-Vous: (A.K.A. “Selfless Wins”) How much would we want to live under their regime? How well did they better the world around them through law reforms and cultural projects? Ouh-Là-Là: How pearl-clutchingly scandalous were the events of their life, both in their time and down through the ages? How mad, bad and dangerous were they to know? La Vie en Throne: How many years did they reign, and how many of their children survived them? For more details on the scores, how they are calculated and how our kings are ranking, visit our website.

Les Fatals Picards sont en concert ce samedi soir au zénith de Dijon. Ils sont accompagnés à cette occasion de « Marcel et son orchestre ».Depuis une vingtaine d'années, les Fatals Picards sillonnent la France avec leur rock humoristique destiné à faire bouger et à faire sourire. « La sécurité de l'emploi », « sucer des cailloux » et surtout « A la vie, à l'Armor » font partie des chansons de leur répertoire. Après un concert organisé par K6 il y a quelques années à Longvic, ils reviennent donc en Côte d'Or ce week-end avec ce concert au zénith de Dijon. Nous avons contacté Jean-Marc, le manager et batteur du groupe. Ecoutez ci-dessous le podcast de notre interview :

Josh Zucker from the Grand Dukes of the West podcast joins us for the first episode in our 5-part miniseries on the regents of King Charles VI of France. This episode, we're pitting Josh's candidate Philip of Burgundy against Ben's candidate Louis of Orléans, and seeing which of them Eliza deems to be the supreme regent. In this episode, we'll see the kickoff of the infamous rivalry between the Orléanist and Burgundian branches of the House of Valois. And if you think this episode is chaotic, you ain't seen nothing yet! Throughout this episode you'll hear a rendition of "Reveillez-Vous, Picards", a folk song sung by Burgundian soldiers in the 15th Century. If you enjoyed it, the full track is available on YouTube, however we were unable to find the original artist. If you know who we should credit with this absolute banger, please let us know!Join us again next week when we'll have on Veronica Fortune of the Passed podcast to compare the "nice uncles" John of Berry and Louis of Bourbon, though there's plenty more scandal to be had between these two. Visit our Wordpress for episode images, score summaries, contact details and more! Make sure you leave us a review on Apple Podcasts, Spotify or wherever you listen.You can also support the show on Patreon! Join the official Angry Mob and get access to our bonus content: movie reviews, deep dives and bonus judgements.Support the show⚜️CATEGORIESBen and Eliza each give a score out of 10 for the first 4 categories. The 5th is determined by maths! The result is a total score out of 100. Enchanté: The shallow, first-impressions round: How fabulous and iconic an image have they passed down to us? En Garde: (A.K.A. “Selfish Wins”) How well did they gain and increase their personal power, either through scheming, statesmanship or good old fashion battles? Voulez-Vous: (A.K.A. “Selfless Wins”) How much would we want to live under their regime? How well did they better the world around them through law reforms and cultural projects? Ouh-Là-Là: How pearl-clutchingly scandalous were the events of their life, both in their time and down through the ages? How mad, bad and dangerous were they to know? La Vie en Throne: How many years did they reign, and how many of their children survived them? Read how these points are awarded. View all scores.

Loyal, verantwortungsbewusst, diplomatisch: Ein Chef, wie man ihn sich wünscht, der verantwortungsbewusste und unbeugsame Captain Jean-Luc Picard vom Raumschiff Enterprise. Aber leider nur Fiktion. Das wollten die Fans nicht so stehen lassen und errechneten deshalb Picards irdischen Geburtstag.

durée : 00:01:37 - La minute Picarde FB Picardie

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Le jeu est crucial dans la construction de l'enfant. Avecl' apparition des jeux virtuels la donne a changé. Comment passer l'été loin des écrans,Véronique Macary nous attend à Montdidier chez les Picards.

Summary: Adam J Purcell, Andy Simpkins, Fake Keith, Jean Riddler and the Real Keith Dunn review Doctor Who: Destiny of the Daleks and the third and final season of Star Trek: Picard, discuss their visit to The Capitol 6 (Doctor Who convention), find some general news, and a variety of other stuff, specifically: 00:00 – […]

Die 2. Folge der dritten Staffel Star Trek Picard, "Disengage", hat einige Überraschungen im Frachtraum geschmuggelt. Nach der spannenden ersten Folge war klar, hier geht's jetzt erstmal darum, ob der Admiral und seine Nummer 1 Forever sich an Bord der Titan durchsetzen können. Welche Rolle Seven dabei spielt und ob der mufflige Captain den Feindkontakt unterschätzt, lag auf der Hand. Die Frage, wer Jack Crusher ist, wird in "Disengage" zwar beantwortet, aber Eve's Meinung nach nicht ausreichend geklärt. Regnet es rote Heringe oder fischen wir im Nebel erstmal nach Kopfgeldjägern und Piraten? Lasst eure Kommentare hier oder auf Twitter da und wir lesen für euch im Teesatz von Picards kalt gewordenem Earl Grey.

In this episode, we scour through the archives for irresistible stories behind breed names. Breed names are a vital tool for classifying our canine companions, yet it's the individuals, the Lunas and Maxs, the Rovers, Spots, and Fidos who breathe meaning into who these breeds become in our lives. Many breeds acquired their names from the prey they hunted, the location in which they were discovered, or by inheriting the names of the people who developed or fancied them. The names we give dogs highlight times, places, and people in every chapter of the human story. Dogs accompanied our earliest ancestors and will undoubtedly be there to guide our descendants.   Bonafide Bits: Huskies were not named for their strong, hefty physiques or sled-pulling abilities. Elvis, a beagle, sniffs polar bear poop at zoos to detect pregnancies. There is no such breed as a “French” Poodle, as Poodles were originally developed in Germany. A heart-wrenching story of Abraham Lincoln's dog popularized the name Fido. Luna and Max top the AKC's list of most popular dog names for 2022.   Featured Breeds: Cairn Terriers Cairn Terriers are happy, busy little earth dogs originally bred to fearlessly root out foxes and other small, furred prey in the rocky Scottish countryside. Curious and alert, Cairns like having a place where they can explore and dig. The Cairn's unique qualities, called “Cairnishness,” include a short, wide head and a free-moving, short-legged body that exudes strength but not heaviness, topping out at about 10 inches high and about 15 inches long. The double coat is harsh and wiry on top and downy beneath. A Cairn presents as a small, shaggy, alert dog, with head, tail, and ears up, and eyes shining with intelligence. A British breed club promotes Cairns as the “best little pal in the world.” Cairns are small enough for a laptop snuggle and sturdy enough for a good romp on the lawn. They do best with lots of close family contact. For owners who cherish the terrier qualities of gameness, independent thinking, and true-blue loyalty, no other breed will do. Discover more about Cairn Terriers at AKC's Cairn Terrier Breed Biography.   Siberian Husky The graceful, medium-sized Siberian Husky's almond-shaped eyes can be either brown or blue and sometimes one of each, and convey a keen but amiable, and even mischievous expression. Quick and nimble-footed, Siberians are known for their powerful but seemingly effortless gait. Tipping the scales at no more than 60 pounds, they are noticeably smaller and lighter than their burly cousin, the Alaskan Malamute. As born pack dogs, they enjoy family life and get on well with other dogs. The Sibes' innate friendliness renders them indifferent watchdogs. These are energetic dogs who can't resist chasing small animals, so secure room to run is a must. An attractive feature of the breed: Sibes are naturally clean, with little doggy odor. Discover more about Siberian Huskies at AKC's Siberian Husky Breed Biography.   Beagle Not only is the Beagle an excellent hunting dog and loyal companion, but it is also happy-go-lucky, funny, and — thanks to its pleading expression — cute. They were bred to hunt in packs, so they enjoy company and are generally easygoing. Discover more about Beagles at AKC's Beagle Breed Biography.   Scottish Deerhound Stand back: You need a little distance to fully appreciate the majesty of this ancient beast. In silhouette we see a noble coursing hound struck from the classic Greyhound template. Deerhounds are, though, much larger and more substantial than Greyhounds; a good-sized male can stand 32 inches at the shoulder and weigh 110 pounds. The crisp coat is seen in several colors; breed aficionados prefer the dark blue-gray coat. The tapered head and long neck add extra lift to an already stately hound. Discover more about Scottish Deerhounds at AKC's Scottish Deerhound Breed Biography.   American Foxhound American Foxhounds are good-natured, low-maintenance hounds who get on well with kids, dogs, and even cats, but come with special considerations for prospective owners. They are closely associated with Revolutionary heroes and the rolling estates of old Virginia. Discover more about American Foxhounds at AKC's American Foxhound Breed Biography.   Otterhound Big, boisterous, and affectionate, the Otterhound was bred in medieval England for the now-outlawed activity of otter hunting. This scarce breed is known for its dense shaggy coat, webbed feet, an acute sense of smell, and affinity for swimming. Discover more about Otterhounds at AKC's Otterhound Breed Biography.   Norwegian Elkhound The Norwegian Elkhound is a robust spitz type known for his lush silver-gray coat and dignified but friendly demeanor. The durable Elkhound is among Europe's oldest dogs. They sailed with the Vikings and figured in Norse art and legend. Norwegian Elkhounds are hardy, short-bodied dogs standing about 20 inches at the shoulder. They have a dense silver-gray coat and a tail curling tightly over the back. The deep chest, sturdy legs, and muscular thighs belong to a dog built for an honest day's work. The eyes are a dark brown and the ears are mobile and erect. Overall, an Elkhound is the picture of an alert and steadfast dog of the north. Elkhounds are famously fine companions and intelligent watchdogs. Agility and herding trials are good outlets for their natural athleticism and eagerness. Reserved until introductions are made, an Elkhound is a trustworthy friend ever after. These strong, confident dogs are truly sensitive souls, with a dash of houndy independence. Discover more about Norwegian Elkhound at AKC's Norwegian Elkhound Breed Biography.   Cocker Spaniel The merry and frolicsome Cocker Spaniel, with his big, dreamy eyes and impish personality, is one of the world's best-loved breeds. They were developed as hunting dogs, but Cockers gained wide popularity as all-around companions. Discover more about Cocker Spaniels at AKC's Cocker Spaniel Breed Biography.   Bernese Mountain Dog Big, powerful, and built for hard work, the Bernese Mountain Dog is also strikingly beautiful and blessed with a sweet, affectionate nature. Berners are generally placid but are always up for a romp with the owner, whom they live to please. The Bernese Mountain Dog is a large, sturdy worker who can stand over 27 inches at the shoulder. The thick, silky, and moderately long coat is tricolored: jet black, clear white, and rust. The distinctive markings on the coat and face are breed hallmarks and, combined with the intelligent gleam in the dark eyes, add to the Berner's aura of majestic nobility. A hardy dog who thrives in cold weather, the Berner's brain and brawn helped him multitask on the farms and pastures of Switzerland. Berners get along with the entire family and are particularly gentle with children, but they will often become more attached to one lucky human. Berners are imposing but not threatening, and they maintain an aloof dignity with strangers. Discover more about Bernese Mountain Dogs at AKC's Bernese Mountain Dog Breed Biography.   Portuguese Water Dog The bright and biddable Portuguese Water Dog was bred to be an all-around fisherman's helper. The robust, medium-sized body is covered by a coat of tight, low-shedding curls. They are eager and athletic companions built for water work. Discover more about Portuguese Water Dogs at AKC's Portuguese Water Dog Breed Biography.   Sealyham Terrier The Sealyham Terrier is brave and spirited, but not as spiky as smaller terriers. These sturdy, outgoing companions are recognized by their “fall,” the mass of hair covering the forehead. Sealy fans enjoy their dog's sly sense of humor. Standing less than 11 inches at the shoulder and weighing about 24 pounds, Sealys are not big enough to be considered medium-sized dogs, but they stand among the strongest and most substantial of what we think of as small dogs. A typical Sealy is well-muscled, built low to the ground, and moves easily with long, determined strides. The weatherproof coat is predominantly white, and a long, broad head is furnished with lavish facial hair. Despite their rep as the bruiser among short-legged terriers, Sealys are cute, funny, affectionate, outgoing, and trainable, if a bit stubborn. Their alertness and a big-dog bark make Sealys excellent watchdogs. Blessed with an adaptable nature, Sealys are amenable to city dwellings or country life. Discover more about Sealyham Terriers at AKC's Sealyham Terrier Breed Biography.   Staffordshire Bull Terrier From his brawling past, the muscular but agile Staffordshire Bull Terrier retains the traits of courage and tenacity. Happily, good breeding transformed this former gladiator into a mild, playful companion with a special feel for kids. Discover more about Staffordshire Bull Terriers at AKC's Staffordshire Bull Terrier Breed Biography.   Berger Picard The Berger Picard is a lanky herding dog of strong bone and sturdy build. Picards spent centuries as take-charge independent problem-solvers, so early socialization and positive training are necessary to cope with their stubborn streak. Discover more about Berger Picards at AKC's Berger Picard Breed Biography.   Czechoslovakian Vlcak An alert, primitive canine that resembles a wolf in appearance. They are highly intelligent, powerful, active, loyal, and devoted to their owner. They have superior eyesight, hearing, and sense of smell and are known for having excellent stamina and endurance. The Czechoslovakian Vlcak (CSV) was originally bred for working border patrol in Czechoslovakia in the 1950s. They are currently used in Europe and the United States for search and rescue, tracking, obedience, agility, drafting, herding, and working dog sports. The CSV is bred for versatility and hardiness in harsh elements and is much more independent in nature than many other working breeds. They are an excellent choice for tracking or trailing sport/work or as a companion for active owners who enjoy spending time doing outdoor activities such as biking, running, or hiking. They are not, however, recommended for first-time owners. Discover more about Czechoslovakian Vlcaks at AKC's Czechoslovakian Vlcak Breed Biography.   Rhodesian Ridgeback The Rhodesian Ridgeback is an all-purpose “Renaissance hound” whose hallmark is the ridge, or stripe of backward-growing hair, on his back. Though the breed was made famous in its native Africa for its skill at tracking and baying, but never, ever killing, lions, today Ridgebacks are cherished family dogs whose owners must be prepared to deal with their independence and strong prey drive. Discover more about Rhodesian Ridgebacks at AKC's Rhodesian Ridgeback Breed Biography.   German Shepherd Dog There are many reasons why German Shepherd Dogs stand in the front rank of canine royalty, but experts say their defining attribute is character: loyalty, courage, confidence, the ability to learn commands for many tasks, and the willingness to put their life on the line in defense of loved ones. German Shepherd Dogs will be gentle family pets and steadfast guardians, but, the breed standard says, there's a “certain aloofness that does not lend itself to immediate and indiscriminate friendships.” Discover more about German Shepherd Dogs at AKC's German Shepherd Dog Breed Biography.   Poodle Forget those old stereotypes of Poodles as sissy dogs. Poodles are eager, athletic, and wickedly smart “real dogs” of remarkable versatility. The Standard, with his greater size and strength, is the best all-around athlete of the family, but all Poodles can be trained with great success. Discover more about Poodles at AKC's Poodle (Standard) Breed Biography.   Affenpinscher The Affen's apish look has been described in many ways. They've been called “monkey dogs” and “ape terriers.” The French say diablotin moustachu (“mustached little devil”), and Star Wars fans argue whether they look more like Wookies or Ewoks. Standing less than a foot tall, these sturdy terrier-like dogs approach life with great confidence. “This isn't a breed you train,” a professional dog handler tells us, “He's like a human. You befriend him.” The dense, harsh coat is described as “neat but shaggy” and comes in several colors; the gait is light and confident. They can be willful and domineering, but mostly Affens are loyal, affectionate, and always entertaining. Affen people say they love being owned by their little monkey dogs. Discover more about Affenpinschers at AKC's Affenpinscher Breed Biography.   Peruvian Inca Orchid Agile, smart, and swift, the Peruvian Inca Orchid is an elegant sighthound that developed in Peru. The breed can be hairless or coated and comes in three sizes: small, medium, and large. Lively and alert, these dogs can be very good hunters and do well in lure coursing, rally, and agility. In the hairless variety, the skin can be of any color. In the coated variety, all colors are accepted including black, brown, gray, pink, tan, and white. Discover more about Peruvian Inca Orchids at AKC's Peruvian Inca Orchid Breed Biography.   Yorkshire Terrier Beneath the dainty, glossy, floor-length coat of a Yorkshire Terrier beats the heart of a feisty, old-time terrier. Yorkies earned their living as ratters in mines and mills long before they became the beribboned lapdogs of Victorian ladies. Discover more about Yorkshire Terriers at AKC's Yorkshire Terrier Breed Biography.   For more information about a specific breed visit the breed's parent club or AKC.org.   Shareables: Of all the 200 AKC-recognized breeds, more than half are named to reference the place they were first noticed by Europeans or North Americans. Several dogs still retain the name of a country that no longer exists such as the Rhodesian Ridgeback and the Czechoslovakian Vlcak. The AKC recently published the top dog names for 2022 and they are Luna (female) and Max (male).

Celebrity relationships, the challenges of multi-player online matchmaking, Resident Evil 4 Remake hype, The Last of Us, Bob makes Alex really uncomfortable (Twice!), our favorite fast food, Tesla dropped the ball, Elon is an idiot, and round it out with Spy Family. Patreon: https://www.patreon.com/subtleinterference/membership Theme Music:Chill Wave Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution … Continue reading SI #103 – There Are Thousands of Jean-Luc Picards in Heaven

Picards back, Mark and Scott have some opinions and want you to hear them! discussing their thoughts on the episode and testing each others knowledge in the trivia round, why not play along at home :-) Discussion about episode one Quiz time Concluding episode discussion Quiz answers

As the captain of the USS Enterprise-D, Jean-Luc Picard has had an almost incalculable effect on the world of 24th century...but what if he had never existed? Join Aaron Coker of the Enterprising Individuals and BackTrekking podcasts and Joe Mazel of the ABCD:TOS podcast as we rewrite some of the critical episodes of Jean-Luc's life and imagine a world without Picard!Next Generation episodes covered:"The Drumhead""Sarek""Sins of the Father""The Measure of a Man""The Best of Both Worlds"Follow Enterprising Individuals:Twitter | InstagramFollow ABCD:TOD Podcast:Web | TwitterSupport the show

INGRÉDIENTS  (8 à10 personnes) - 12 crêpes - 6 tranches de jambon fumé - 250 g de champignons de Paris - 3 échalotes - 130 g de beurre - 30 g de farine - 75 cl de lait - 25 cl de crème fraîche liquide - 75 g de fromage râpé - 1 pincée de muscade - du sel et du poivre   PRÉPARATION ÉTAPE 1 Nettoyez et épongez les champignons. Coupez-les en lamelles. Pelez et hachez les échalotes. Faites fondre 50 g de beurre dans une poêle et faites-y dorer les échalotes. Ajoutez les champignons et laissez cuire jusqu'à ce que l'eau des champignons soit bien évaporée, salez, poivrez et mélangez bien et réservez   ÉTAPE 2 Faites fondre 30 g de beurre dans une casserole. Ajoutez la farine en pluie et mélangez bien. Ajoutez progressivement le lait tout en continuant de fouetter. Ajoutez 10 cl de crème... • La suite sur https://www.radiomelodie.com/podcasts/10578-chaussons-picards.html

This week we have two Picards and an omelette so obviously we discuss the issue of trans-space-pirates.

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Loyal, verantwortungsbewusst, diplomatisch: Ein Chef, wie man ihn sich wünscht, Captain Picard vom Raumschiff Enterprise. Aber leider nur Fiktion. Das wollten die Fans nicht so stehen lassen und errechneten Picards irdischen Geburtstag.

durée : 00:15:15 - Le monde d'Elodie - par : Elodie SUIGO - Tous les jours, une personnalité s'invite dans le monde d'Élodie Suigo. Aujourd'hui, l'auteur, batteur et chanteur du groupe Les Fatals Picards, Jean-Marc Sauvagnargues.

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Chronique extraite du dernier épisode, où Sylvain fait découvrir les Fatals Picards ! Une introduction à leur musique si vous ne les connaissez pas, et sans doute l'occasion aussi d'approfondir un peu le sujet si vous êtes déjà familiers de leur musique. Playlist associée disponible ici.

Lors du dernier tirage au sort, le destin nous avait confié la lourde tâche de trouver des chroniques culturelles autour de la page wikipedia de la corruption politique. Même pas peur ! Sylvain parle des Fatals Picards, avec une chronique de découverte pour les béotiens, et de sortie des sentiers battus pour celles et ceux qui connaissent un peu. Un groupe qui aime parler de la politique dans tout ce qu'elle peut avoir d'humain ! Florence fait un focus sur Show Me a Hero, incroyable mini-série signée David Simon, avec Oscaar Isaac, Alfred Molina, et la moustache d'Oscar Isaac. Un récit très politique et tiré d'une histoire vraie. Martin parle de Shin Godzilla (2016), le dernier film de prises de vues réelles de Godzila produit au japon, qu'on pourrait rebaptiser en "Godzilla vs King Bureaucracy". Comme d'habitude, la playlist des morceaux de musique entendus dans le podcast est disponible ici !   Très bonne écoute, et merci pour vos étoiles et commentaires !

26. April 1993: Picards alter Prof (und Vaterersatz) Galen kommt an Bord mit einem Angebot, das Jean nicht ablehnen kann – oder doch? Einige Enttäuschungen, Zwist, Tod und Vorwürfe später mutiert die Folge abrupt zur galaktischen Schnitzeljagd, zeigt so viele bekannte Star-Trek-Völker wie nie und liefert eine Antwort, deren Frage wir uns vielleicht nie stellten. Es ist "Ein total, total verrückter Weltraum"! In Deutschland: Das fehlende Fragment, ausgestrahlt am 14. Juni 1994.

Dans cet épisode, on parle des Fatals Picards, de M. Lopes, le prof d'EPS de Thomas au collège, du banquier anarchiste et Guillaume est notre invité !

Lumière sur les Fatals Picards, le groupe qui a fêté ses 20 ans en 2020. Ce n'était pas l'année idéale pour célébrer un anniversaire aussi important mais au lieu de se focaliser sur le nombre de bougies, le groupe n'a pas souffler et a travaillé sur un nouvel & 10ème album ! A découvrir sur scène, les Fatals Picards démarrent leur tournée 2022 chez nous, à Chalon sur Saône ce samedi 05 février ! Paul le chanteur du groupe est notre invité.

Lumière sur les Fatals Picards, le groupe qui a fêté ses 20 ans en 2020. Ce n'était pas l'année idéale pour célébrer un anniversaire aussi important mais au lieu de se focaliser sur le nombre de bougies, le groupe n'a pas souffler et a travaillé sur un nouvel & 10ème album ! A découvrir sur scène, les Fatals Picards démarrent leur tournée 2022 chez nous, à Chalon sur Saône ce samedi 05 février ! Paul le chanteur du groupe est notre invité.

The Enterprise gets caught in a time loop and we get two Picards for the price of one! Plus Getting to Know Extra Life, Trek Trivia, and more! Thanks for listening, hope you enjoy, and tell a friend! Follow us on twitter: @BesottedGeekPod Email the show: besottedgeek@gmail.com Check out our website: besottedgeek.com Buy some stuff: teepublic.com/user/besottedgeek  etsy.com/shop/untidyvenus, code “besotted” Support the show: patreon.com/besottedgeek Watch Stork suck at video games Tue @ 12:30 EST: twitch.tv/besottedgeek & YouTube

Finally we present Picards season 1 finale!

Today,* The Picards know how to get down and dirty.* Worf and Wesley deal with some uninteresting family stuff.And we ask the question, "who cares?"

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This week on the podcast, we get the band back together to talk about Black Panther, Jordan Peterson in Marvel Comics, Star Wars nonsense, Picards hatred of Data, Phineas' picking up of poop, Jackson being racist, Yu-Gi-Oh prize pools, Mini Mes, and cancel culture.  Email us at brownbrickspodcast@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/brown-bricks/support

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Die siebte Folge berauscht sich an der Rückkehr eines Kapitäns aus der Zukunft und deutet an, wie dieser die Welt eines Besseren belehren könnte. Dann tauchen wir mit Shakespeare unter die Decke, um zu lernen, woraus Träume gemacht sind.

A tale of two Picards - one is trapped in a cell with three strangers, the other tries to spark a romance with Dr. Crusher. Will the real Picard make it back to the Enterprise before the imposter can break into song again? Find out when we put Allegiance in the Mission Log. Got a message for us? We would love to hear it: On Facebook: On Twitter: On Skype: MissionLogPod On the phone: (323) 522-5641 Online: We may use your comments in an upcoming episode!

9 AM - 1 - Washington Examiner's Sarah Westwood talks about her story: "VA officials gamed system. wrote themselves bonus checks". 2 - Putin spoke at the UN and was right about a bunch of stuff. 3 - The News with Marshall Phillips. 4 - New Daily Show host premiered; Final Thoughts.