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President Trump has announced plans to impose a levy on on American films made outside the country. It's a bold move that could have serious consequences for the global film industry. What do these proposed tariffs mean for the UK film sector, and is this a savvy strategy to revive a struggling Hollywood or just another salvo in Trump's culture war against liberal America?This podcast was brought to you thanks to the support of readers of The Times and The Sunday Times. Subscribe today: http://thetimes.com/thestoryGuest:Ed Potton, Commissioning Editor and Writer, The TimesHadley Freeman, Columnist and Features Writer, The Sunday TimesHost: Jane MulkerrinsProducer: Euan DawtreyFurther reading:‘A collective capitulation to fear': How Hollywood bowed to TrumpWill James Bond leave Pinewood for LA? UK film industry reacts to TrumpClips: Home Alone 2. © 1992 20th Century Studios. Director: Chris Columbus, The Apprentice. © 2024 Tailored Films. Director: Ali Abbasi, CNN, New York Magazine, The Wall Street Journal, Real Time with Bill Maher.Photo: Getty Images.Get in touch: thestory@thetimes.com Hosted on Acast. See acast.com/privacy for more information.
Go inside the visual world of Andor Season 2 with Oscar-nominated Set Decorator Rebecca Alleway (The Duchess, Cloud Atlas). In this exclusive interview, Rebecca reveals how she crafted the Star Wars aesthetic from scratch—designing over 500 custom pieces, working across massive stages at Pinewood and Longcross Studios, and embedding Easter eggs that true fans will obsess over. Hear about her favorite sets (hello, Chandrilan wedding!), how she collaborated with the costume and production design teams, and why this might be the most demanding—and rewarding—project of her career.Discover the Art of TV and Film Design on Decorating Pages Podcast!Step behind the scenes with Emmy-winning set decorator Kim Wannop as she explores the magic of visual storytelling. Each episode delves into the artistry of TV and film production, featuring exclusive interviews with industry professionals—production designers, set decorators, prop masters, and more. Gain rare insights into how your favorite shows and movies come to life.Whether you're a film enthusiast, design lover, or simply curious about the creative process, Decorating Pages Podcast is your ultimate guide to the world of TV and film production. Don't miss a single episode—subscribe now to start your journey behind the scenes!
Welcome to Trilith Institute Talks! In this episode of Trilith Institute Talks, host Hunter Barcroft chats with Colleen Russell, Vice President of Production Support at Trilith Studios. Colleen shares her extensive journey in the film industry, starting from answering phones at a production rental house to her current role at Trilith Studios. The conversation dives into her experiences at Turner Broadcasting and the evolution of Trilith Studios from its early days as Pinewood Studios to becoming one of the largest studio complexes in North America. Joined by film students Jane and Josh, they discuss the intricacies of production support, the importance of time management, and the unique community at Trilith. The episode also touches on memorable moments on set, the challenges of coordinating large-scale productions, and the continuous growth of the Trilith community. Episode Timestamps 00:00 Welcome to Trilith: A Magical Community 00:25 Introduction to Trilith Institute Talks 00:57 Meet Colleen Russell: A Journey in Film 01:50 Colleen's Early Career and Turner Broadcasting 02:55 Transition to Trilith Studios 03:55 The Evolution of Trilith Studios 05:28 Student Experiences at Trilith 11:07 The Importance of Relationships in Film 12:49 Balancing Multiple Productions 18:52 Colleen's Communication Skills and Personal Growth 22:18 Overcoming Public Speaking Fears 22:43 Sibling Comparisons and Self-Confidence 23:20 The Importance of Time Management 27:29 The Unique Community at Trilith 30:30 Growth and Expansion of Trilith Studios 35:25 Memorable Moments on Set 40:05 Navigating Production Challenges 43:22 Conclusion and Podcast Information About Trilith Institute Support The Next Generation of Storytellers Take A Professional Education Course Get Involved With Trilith Institute Contact Us Follow Us On Social Media! Trilith Institute Talks Instagram Trilith Institute Instagram Trilith Institute Facebook Trilith Institute LinkedIn
Pinewood.AI CEO Bill Berman joined Steve Darling from Proactive at the company's OTC studio in New York City to discuss the company's latest developments and its expanding role in transforming automotive retail through real-time data intelligence. Pinewood.AI's platform empowers retailers and OEMs by giving them complete visibility of their operations through real-time data updates. This unified data view ensures that every team member—across departments and locations—has access to the same up-to-date information, improving decision-making, streamlining workflows, and enabling a more seamless and consistent customer experience. The platform also simplifies reporting for management, making performance tracking faster and more accurate. Berman highlighted the company's strong financial performance, driven by the successful rollout of the Lithia UK system and deeper vertical sales within its existing customer base. This growth was further supported by major new customer acquisitions, positioning Pinewood.AI as a key player in the UK automotive retail technology space. The company now supplies 5 of the top 20 dealership groups in the United Kingdom. Looking ahead, Pinewood.AI is focused on its North American market entry. Preparations for the rollout in the United States are well underway, with pilot programs expected to begin in Lithia Motors stores in the second half of 2025. A full-scale U.S. deployment is targeted for 2026. As part of this strategic move, the company will also establish its North American headquarters in Florida later this year. To further align with its U.S. expansion strategy, Pinewood.AI has begun trading on the OTCQX Market under the ticker symbol PINWF. This listing allows U.S. investors access to transparent and consistent financial information, mirroring the level of disclosure provided in the UK. It also ensures that Pinewood's growing base of American stakeholders can track the company's progress through familiar U.S.-based platforms. With a powerful data platform, strong revenue momentum, and clear global ambitions, Pinewood.AI is well-positioned to reshape the future of automotive retail on both sides of the Atlantic. #proactiveinvestors #pinewoodtechnologies #pinewood.ai #otcqx #pinwf #lse #pine #AutomotiveTechnology #AutoRetail #BillBerman #OTCListing #AutoIndustry #CRMSoftware #CloudNative #NorthAmericaExpansion #SeezAI #LithiaMotors #PinewoodTechnologies #FortLauderdaleHQ
George and Ian catch up on the jumble of news, both good and bad, for UK-listed tech. Pinewood.AI and Raspberry Pi deliver – although inventory build at Raspberry Pi is an issue that must be monitored. BIG Technologies and the broken small and mid-cap due diligence stack. Whilst there's still an interesting business, there is a far more interesting story that highlights how share-based remuneration can be a useful pointer into the heart of a company and its management. And Alphawave Semi which has had Qualcomm come sniffing. Could the market be just as confused on Alphawave's departure as it was on Alphawave's arrival?
⚠️ WEEKEND HEADLINES PODCAST⚠️ Philip and Curtis discuss the big car retailing stories on the Motor Trade Radio podcast, powered by MOTORS. ✅ Cazoo relaunches as a used car marketplace, we chat to CEO Barry Judge ✅ Used car market steady in March as days to sell improve across all dealer types ✅ 16 OEMs and SMMT fined over vehicle recycling claims ✅ Pre-tax profit fall at Hendy Group for 2023, with 2024 set to turn a loss ✅ Saxton 4×4 posts losses for 2024 as ‘challenging' year sees profits wiped out ✅ Pinewood turns in £8.5m profit and completes its DMS rollout with Lithia UK ✅ And a welcome return to the IMI for industry legend Sarah Sillars #AllTheChatterThatMatters #automotive
Henry talks with Jill Drum from Fulton Brewery about their St. Patrick's Day deals, the Pintwood Derby this weekend, and more.
https://www.virginradio.it/audio/long-playing-stories/1383741/long-playing-stories-the-darkness-pinewood-smile.htmlhttps://www.virginradio.it/audio/long-playing-stories/1383741/long-playing-stories-the-darkness-pinewood-smile.htmlTue, 18 Mar 2025 10:40:11 +0100Virgin RadioVirgin Radiono0
Progressive Analysts, George O'Connor and Ian Robertson's regular review of the technology sector. George updates us on PLC awards winners – all well deserved and fingers crossed for none of those traditional subsequent share price declines. Ian looks to Pinewood.AI and the issue of where the value really lies in AI. It looks to have paid a ‘full' price for Seez, but it makes strategic sense, and if investors think they themselves can call the quality of the decision now, then they should be placing their bets elsewhere. This leads George onto how AI is impacting the tech services companies and to where's the real AI driven growth going to come from for the software providers. Crash landing back onto planet small-cap, we touch on which stories are truly AI related, KX being a real one, and the damage that can be done to portfolios and companies when management find themselves ‘managing to the broking story'.
In 2015 Lucie Colebeck won the individual silver medal at the World tumbling championships in Odense Denmark. Throughout her career Lucie won multiple major championships medals for Great Britain and trained at Pinewood gymnastics club under the watchful eye of coach Vladimir Podobin. She went on to perform with Cirque Du Solei following her successful tumbling career in the world famous Algeria show. Lucie's attention has now turned to content creation. She is building a large community through social media and has plans to help other athletes make the transition into retirement after sport. Lucie has found a way to use her years of tumbling training to financially support her lifestyle and share her passion for the sport of gymnastics. And this is her story.
The guys talk about scammers, pinewood derbies, and the 4 Nations hockey tournament. They also power rank Sesame Street characters and do a mock draft of Saturday Night Live sketches.Follow the show on X/twitter: @passthegravypod, @AlexJMiddleton, @NotPatDionne, and @RobertBarbosa03
This episode is all about companies in flux. First, we chat with The Verge's Alex Heath about all things Meta — whether the company is still serious about the metaverse, why its AI plans seem to be going so well, what "OG Facebook" really means, and what headsets to expect this year. After that, The Verge's Chris Welch takes us through the last year at Sonos, from the disastrous app launch to the pretty good headphones that were totally derailed by the disastrous app launch. Can the company get it together in order to launch its next big swing, a set-top box codenamed Pinewood? Finally, we answer a question on the Vergecast Hotline all about business cards. Because, yes, it's 2025, but sometimes you still need a place to put a business card. Further reading: Mark Zuckerberg tells Meta employees to ‘buckle up' in internal meeting Meta says this is the make or break year for the metaverse Meta's Ray-Bans smart glasses sold more than 1 million units last year Meta's AR / VR hardware roadmap through 2027 Meta CTO says the company is working to ‘catch' leakers Zuck wants to bring the “OG Facebook” back. The Sonos app fiasco: how a great audio brand nearly ruined its reputation Sonos CEO Patrick Spence steps down after disastrous app launch Sonos' interim CEO hits all the right notes in first letter to employees Sonos Arc Ultra review: don't call it a comeback (yet) Sonos Ace review: was it worth it? | The Verge After a bruising year, Sonos readies its next big thing: a streaming box Adobe Scan Email us at vergecast@theverge.com or call us at 866-VERGE11, we love hearing from you. Learn more about your ad choices. Visit podcastchoices.com/adchoices
In this episode of Tech News Weekly, Mikah Sargent and CNET's Abrar Al-Heeti talk the latest developments in self-driving tech, Sonos' work on a new streaming box, an AI-assisted Beatles song winning a Grammy, and the current state of Meta's Quest platform according to developers. - Uber is expanding its partnership with Waymo, allowing people in Austin to summon a Waymo robo-taxi through the Uber app. Abrar shares her experiences with self-driving cars and discusses the evolving relationship between Uber and Waymo. - Sonos is reportedly working on a new streaming box codenamed "Pinewood," which includes an HDMI switch to address inconsistencies in smart TV firmware and software. The device is expected to cost between $200 and $400, and it aims to provide a full-featured streaming sound setup. - An AI-assisted Beatles track, "Now and Then," won the Grammy for Best Rock Performance, sparking conversations about the role of AI in music and art. The US Copyright Office has stated that AI tools used to assist in the creative process don't undermine the copyright of the work. - Developers are struggling with declining sales and visibility on the Meta Quest app store, despite record revenue for Meta Reality Labs. Meta's focus on its own Horizon Worlds app seems to be at the expense of traditional VR games. Some developers find it more profitable to sell on other platforms like Steam and PlayStation VR. Hosts: Mikah Sargent and Abrar Al-Heeti Download or subscribe to Tech News Weekly at https://twit.tv/shows/tech-news-weekly. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsor: joindeleteme.com/twit promo code TWIT
In this episode of Tech News Weekly, Mikah Sargent and CNET's Abrar Al-Heeti talk the latest developments in self-driving tech, Sonos' work on a new streaming box, an AI-assisted Beatles song winning a Grammy, and the current state of Meta's Quest platform according to developers. - Uber is expanding its partnership with Waymo, allowing people in Austin to summon a Waymo robo-taxi through the Uber app. Abrar shares her experiences with self-driving cars and discusses the evolving relationship between Uber and Waymo. - Sonos is reportedly working on a new streaming box codenamed "Pinewood," which includes an HDMI switch to address inconsistencies in smart TV firmware and software. The device is expected to cost between $200 and $400, and it aims to provide a full-featured streaming sound setup. - An AI-assisted Beatles track, "Now and Then," won the Grammy for Best Rock Performance, sparking conversations about the role of AI in music and art. The US Copyright Office has stated that AI tools used to assist in the creative process don't undermine the copyright of the work. - Developers are struggling with declining sales and visibility on the Meta Quest app store, despite record revenue for Meta Reality Labs. Meta's focus on its own Horizon Worlds app seems to be at the expense of traditional VR games. Some developers find it more profitable to sell on other platforms like Steam and PlayStation VR. Hosts: Mikah Sargent and Abrar Al-Heeti Download or subscribe to Tech News Weekly at https://twit.tv/shows/tech-news-weekly. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsor: joindeleteme.com/twit promo code TWIT
In this episode of Tech News Weekly, Mikah Sargent and CNET's Abrar Al-Heeti talk the latest developments in self-driving tech, Sonos' work on a new streaming box, an AI-assisted Beatles song winning a Grammy, and the current state of Meta's Quest platform according to developers. - Uber is expanding its partnership with Waymo, allowing people in Austin to summon a Waymo robo-taxi through the Uber app. Abrar shares her experiences with self-driving cars and discusses the evolving relationship between Uber and Waymo. - Sonos is reportedly working on a new streaming box codenamed "Pinewood," which includes an HDMI switch to address inconsistencies in smart TV firmware and software. The device is expected to cost between $200 and $400, and it aims to provide a full-featured streaming sound setup. - An AI-assisted Beatles track, "Now and Then," won the Grammy for Best Rock Performance, sparking conversations about the role of AI in music and art. The US Copyright Office has stated that AI tools used to assist in the creative process don't undermine the copyright of the work. - Developers are struggling with declining sales and visibility on the Meta Quest app store, despite record revenue for Meta Reality Labs. Meta's focus on its own Horizon Worlds app seems to be at the expense of traditional VR games. Some developers find it more profitable to sell on other platforms like Steam and PlayStation VR. Hosts: Mikah Sargent and Abrar Al-Heeti Download or subscribe to Tech News Weekly at https://twit.tv/shows/tech-news-weekly. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsor: joindeleteme.com/twit promo code TWIT
In this episode of Tech News Weekly, Mikah Sargent and CNET's Abrar Al-Heeti talk the latest developments in self-driving tech, Sonos' work on a new streaming box, an AI-assisted Beatles song winning a Grammy, and the current state of Meta's Quest platform according to developers. - Uber is expanding its partnership with Waymo, allowing people in Austin to summon a Waymo robo-taxi through the Uber app. Abrar shares her experiences with self-driving cars and discusses the evolving relationship between Uber and Waymo. - Sonos is reportedly working on a new streaming box codenamed "Pinewood," which includes an HDMI switch to address inconsistencies in smart TV firmware and software. The device is expected to cost between $200 and $400, and it aims to provide a full-featured streaming sound setup. - An AI-assisted Beatles track, "Now and Then," won the Grammy for Best Rock Performance, sparking conversations about the role of AI in music and art. The US Copyright Office has stated that AI tools used to assist in the creative process don't undermine the copyright of the work. - Developers are struggling with declining sales and visibility on the Meta Quest app store, despite record revenue for Meta Reality Labs. Meta's focus on its own Horizon Worlds app seems to be at the expense of traditional VR games. Some developers find it more profitable to sell on other platforms like Steam and PlayStation VR. Hosts: Mikah Sargent and Abrar Al-Heeti Download or subscribe to Tech News Weekly at https://twit.tv/shows/tech-news-weekly. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsor: joindeleteme.com/twit promo code TWIT
In this episode of Tech News Weekly, Mikah Sargent and CNET's Abrar Al-Heeti talk the latest developments in self-driving tech, Sonos' work on a new streaming box, an AI-assisted Beatles song winning a Grammy, and the current state of Meta's Quest platform according to developers. - Uber is expanding its partnership with Waymo, allowing people in Austin to summon a Waymo robo-taxi through the Uber app. Abrar shares her experiences with self-driving cars and discusses the evolving relationship between Uber and Waymo. - Sonos is reportedly working on a new streaming box codenamed "Pinewood," which includes an HDMI switch to address inconsistencies in smart TV firmware and software. The device is expected to cost between $200 and $400, and it aims to provide a full-featured streaming sound setup. - An AI-assisted Beatles track, "Now and Then," won the Grammy for Best Rock Performance, sparking conversations about the role of AI in music and art. The US Copyright Office has stated that AI tools used to assist in the creative process don't undermine the copyright of the work. - Developers are struggling with declining sales and visibility on the Meta Quest app store, despite record revenue for Meta Reality Labs. Meta's focus on its own Horizon Worlds app seems to be at the expense of traditional VR games. Some developers find it more profitable to sell on other platforms like Steam and PlayStation VR. Hosts: Mikah Sargent and Abrar Al-Heeti Download or subscribe to Tech News Weekly at https://twit.tv/shows/tech-news-weekly. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsor: joindeleteme.com/twit promo code TWIT
In this episode of Tech News Weekly, Mikah Sargent and CNET's Abrar Al-Heeti talk the latest developments in self-driving tech, Sonos' work on a new streaming box, an AI-assisted Beatles song winning a Grammy, and the current state of Meta's Quest platform according to developers. - Uber is expanding its partnership with Waymo, allowing people in Austin to summon a Waymo robo-taxi through the Uber app. Abrar shares her experiences with self-driving cars and discusses the evolving relationship between Uber and Waymo. - Sonos is reportedly working on a new streaming box codenamed "Pinewood," which includes an HDMI switch to address inconsistencies in smart TV firmware and software. The device is expected to cost between $200 and $400, and it aims to provide a full-featured streaming sound setup. - An AI-assisted Beatles track, "Now and Then," won the Grammy for Best Rock Performance, sparking conversations about the role of AI in music and art. The US Copyright Office has stated that AI tools used to assist in the creative process don't undermine the copyright of the work. - Developers are struggling with declining sales and visibility on the Meta Quest app store, despite record revenue for Meta Reality Labs. Meta's focus on its own Horizon Worlds app seems to be at the expense of traditional VR games. Some developers find it more profitable to sell on other platforms like Steam and PlayStation VR. Hosts: Mikah Sargent and Abrar Al-Heeti Download or subscribe to Tech News Weekly at https://twit.tv/shows/tech-news-weekly. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsor: joindeleteme.com/twit promo code TWIT
In this episode of Tech News Weekly, Mikah Sargent and CNET's Abrar Al-Heeti talk the latest developments in self-driving tech, Sonos' work on a new streaming box, an AI-assisted Beatles song winning a Grammy, and the current state of Meta's Quest platform according to developers. - Uber is expanding its partnership with Waymo, allowing people in Austin to summon a Waymo robo-taxi through the Uber app. Abrar shares her experiences with self-driving cars and discusses the evolving relationship between Uber and Waymo. - Sonos is reportedly working on a new streaming box codenamed "Pinewood," which includes an HDMI switch to address inconsistencies in smart TV firmware and software. The device is expected to cost between $200 and $400, and it aims to provide a full-featured streaming sound setup. - An AI-assisted Beatles track, "Now and Then," won the Grammy for Best Rock Performance, sparking conversations about the role of AI in music and art. The US Copyright Office has stated that AI tools used to assist in the creative process don't undermine the copyright of the work. - Developers are struggling with declining sales and visibility on the Meta Quest app store, despite record revenue for Meta Reality Labs. Meta's focus on its own Horizon Worlds app seems to be at the expense of traditional VR games. Some developers find it more profitable to sell on other platforms like Steam and PlayStation VR. Hosts: Mikah Sargent and Abrar Al-Heeti Download or subscribe to Tech News Weekly at https://twit.tv/shows/tech-news-weekly. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsor: joindeleteme.com/twit promo code TWIT
In this episode of Tech News Weekly, Mikah Sargent and CNET's Abrar Al-Heeti talk the latest developments in self-driving tech, Sonos' work on a new streaming box, an AI-assisted Beatles song winning a Grammy, and the current state of Meta's Quest platform according to developers. - Uber is expanding its partnership with Waymo, allowing people in Austin to summon a Waymo robo-taxi through the Uber app. Abrar shares her experiences with self-driving cars and discusses the evolving relationship between Uber and Waymo. - Sonos is reportedly working on a new streaming box codenamed "Pinewood," which includes an HDMI switch to address inconsistencies in smart TV firmware and software. The device is expected to cost between $200 and $400, and it aims to provide a full-featured streaming sound setup. - An AI-assisted Beatles track, "Now and Then," won the Grammy for Best Rock Performance, sparking conversations about the role of AI in music and art. The US Copyright Office has stated that AI tools used to assist in the creative process don't undermine the copyright of the work. - Developers are struggling with declining sales and visibility on the Meta Quest app store, despite record revenue for Meta Reality Labs. Meta's focus on its own Horizon Worlds app seems to be at the expense of traditional VR games. Some developers find it more profitable to sell on other platforms like Steam and PlayStation VR. Hosts: Mikah Sargent and Abrar Al-Heeti Download or subscribe to Tech News Weekly at https://twit.tv/shows/tech-news-weekly. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsor: joindeleteme.com/twit promo code TWIT
Öt szuper dolog, amire használhatjuk a Perplexity magyar nyelvű AI asszisztensét (és egy, amire nem) Rakéta 2025-02-06 06:12:08 Infotech Mesterséges intelligencia A Perplexity AI asszisztense a mobilon végzett feladatok elvégzését könnyíti meg a felhasználók számára, és jó hír, hogy más asszisztensekkel ellentétben magyarul is tökéletesen ért. Sonos Pinewood, az univerzális streaming box ITBusiness 2025-02-06 04:37:35 Mobiltech A Sonos számára az elmúlt kilenc hónap volt a cég történetének egyik legnehezebb időszaka, azonban most egy új termékkategóriába lépve próbálja visszaszerezni a piac bizalmát. A vállalat a következő hónapokban mutatja be első streaming lejátszóját, amely a Pinewood kódnevet viseli, és a hírek szerint 200 és 400 dollár közötti áron kerülhet piacra. Az Ügyfélkapu+ súlyos hibájáról beszél a könyvelők egyesülete, a fejlesztő szerint csak túl sokszor ronthatták el a bejelentkezést Telex 2025-02-06 12:42:14 Tudomány Ügyfélkapu Az IdomSoft szerint a kifogásolt esetben valójában nem rendszerhiba, hanem felhasználói hiba miatt nem sikerült a belépés. A DeepSeek az Androidra is rátörte az ajtót ICT Global 2025-02-06 14:12:09 Mobiltech Mesterséges intelligencia Android DeepSeek A DeepSeek nevű mesterséges intelligencia (AI) alkalmazás egyre nagyobb figyelmet kap az Android-felhasználók körében is. De milyen hatással lehet az Android ökoszisztémára? Honlapot a cégeknek! Kilenc milliárd forintos program indult Mínuszos 2025-02-06 13:33:58 Infotech Pályázatok Demján Sándor Február 3-tól elérhető a Demján Sándor Program keretén belül meghirdetetett kilenc milliárd forint keretösszegű program, amely az ötven fő alatti vállalkozások digitális fejlődését támogatja. A „Demján Sándor Minden vállalkozásnak legyen saját honlapja Programot” olyan utalványrendszerű pályázatként hirdeték meg, amely hazai költségvetési forrásból Az AI-cég azt kéri, hogy a hozzájuk jelentkezők ne használjanak AI-t a felvételinél 444.hu 2025-02-06 07:51:58 Infotech Oktatás Felvételi "Szeretnénk megérteni az Ön személyes érdeklődését az Anthropic iránt és szeretnénk értékelni a nem AI-asszisztált kommunikációs készségeit is" – írják az álláshirdetésekben. A Nasa ismét egy magyar asztrofotós munkáját választotta a nap csillagászati képének Player 2025-02-06 12:57:02 Tudomány Világűr NASA A Nasa egy magyar asztrofotós, Fényes Lóránd munkáját választotta a nap csillagászati képének február 6-án. Történelmi csúcson zárt a Google anyavállalata – mégis zuhannak a részvények Igényesférfi.hu 2025-02-06 09:34:01 Infotech Mesterséges intelligencia Befektető Részvény Google Az Alphabet, a Google anyacége 2024-ben rekordot döntött, és először lépte át a 100 milliárd dolláros éves profitot, mégis a befektetők aggodalommal fogadták a híreket. Az oka? A cég 75 milliárd dollárt tervez mesterséges intelligencia kutatásra költeni, ami sokak szerint kockázatos befektetés lehet. Lenyűgöző galaxist örökített meg a Hubble űrtávcső, aminek gyűrűi egy ritka kozmikus ütközésben születtek Qubit 2025-02-06 10:20:54 Tudomány Világűr Egy friss kutatás szerint 50 millió évvel ezelőtt egy törpegalaxis találta el a Tejútrendszernél több mint kétszer nagyobb LEDA 1313424 galaxist, ami fiatal csillagoktól fénylő, koncentrikus gyűrűket alakított ki. Jól járnak a Samsung telefonok tulajdonosai TechWorld 2025-02-06 14:46:06 Infotech Telefon Samsung A futurisztikus kvantum titkosítás segítségével teszi biztonságosabbá a telefonjait a Samsung. A Samsung a Galaxy S25 szériával egy új korszakot nyit a mobilbiztonság terén, bevezetve a posztkvantum-kriptográfiát (PQC). A technológia célja, hogy a kvantumszámítógépek jelentette lehetséges biztonsági fenyegetések ellen védelmet nyújtson, megerősítve Új John Deere autonóm gépek és technológiák a Ces 2025-ön GépMax 2025-02-06 08:12:02 Mezőgazdaság Cégvilág Mesterséges intelligencia Generáció Kamera CES A második generációs autonóm rendszer a fejlett látástechnológiát, a mesterséges intelligenciát és a kamerákat kombinálja. Az oktatás jövője: digitalizáció, mesterséges intelligencia és új szabályozások Diplomátszerzek 2025-02-06 12:25:01 Karrier Oktatás Mesterséges intelligencia Trend Az Ifjúságkutató Intézet évente közzéteszi az ifjúság legfontosabb trendjeit bemutató jelentését, amely részletes képet ad a fiatalok politikai, gazdasági és társadalmi helyzetéről. A legfrissebb, Ifjúság'24 jelentés nemcsak a jelenlegi állapotokat elemzi, hanem rávilágít a jövő kihívásaira is. Az oktatás helyzetének, jövőjének egy külön fejezet sz 50 dollárból hoztak létre alternatívát az OpenAI o1 "érvelési" modelljére ITBusiness 2025-02-06 12:12:05 Infotech egyetem Mesterséges intelligencia Washington OpenAI DeepSeek A Stanford és a Washingtoni Egyetem kutatói mindössze 50 dollárnyi felhőalapú számítási kapacitás felhasználásával hoztak létre egy nyílt forráskódú MI "érvelési"-modellt, amely a csúcskategóriás modellekkel, például az OpenAI o1 és a DeepSeek R1 modelljeivel hasonló teljesítményt nyújt matematikai és programozási feladatokban. Az "s1" névre keresz A további adásainkat keresd a podcast.hirstart.hu oldalunkon.
Öt szuper dolog, amire használhatjuk a Perplexity magyar nyelvű AI asszisztensét (és egy, amire nem) Rakéta 2025-02-06 06:12:08 Infotech Mesterséges intelligencia A Perplexity AI asszisztense a mobilon végzett feladatok elvégzését könnyíti meg a felhasználók számára, és jó hír, hogy más asszisztensekkel ellentétben magyarul is tökéletesen ért. Sonos Pinewood, az univerzális streaming box ITBusiness 2025-02-06 04:37:35 Mobiltech A Sonos számára az elmúlt kilenc hónap volt a cég történetének egyik legnehezebb időszaka, azonban most egy új termékkategóriába lépve próbálja visszaszerezni a piac bizalmát. A vállalat a következő hónapokban mutatja be első streaming lejátszóját, amely a Pinewood kódnevet viseli, és a hírek szerint 200 és 400 dollár közötti áron kerülhet piacra. Az Ügyfélkapu+ súlyos hibájáról beszél a könyvelők egyesülete, a fejlesztő szerint csak túl sokszor ronthatták el a bejelentkezést Telex 2025-02-06 12:42:14 Tudomány Ügyfélkapu Az IdomSoft szerint a kifogásolt esetben valójában nem rendszerhiba, hanem felhasználói hiba miatt nem sikerült a belépés. A DeepSeek az Androidra is rátörte az ajtót ICT Global 2025-02-06 14:12:09 Mobiltech Mesterséges intelligencia Android DeepSeek A DeepSeek nevű mesterséges intelligencia (AI) alkalmazás egyre nagyobb figyelmet kap az Android-felhasználók körében is. De milyen hatással lehet az Android ökoszisztémára? Honlapot a cégeknek! Kilenc milliárd forintos program indult Mínuszos 2025-02-06 13:33:58 Infotech Pályázatok Demján Sándor Február 3-tól elérhető a Demján Sándor Program keretén belül meghirdetetett kilenc milliárd forint keretösszegű program, amely az ötven fő alatti vállalkozások digitális fejlődését támogatja. A „Demján Sándor Minden vállalkozásnak legyen saját honlapja Programot” olyan utalványrendszerű pályázatként hirdeték meg, amely hazai költségvetési forrásból Az AI-cég azt kéri, hogy a hozzájuk jelentkezők ne használjanak AI-t a felvételinél 444.hu 2025-02-06 07:51:58 Infotech Oktatás Felvételi "Szeretnénk megérteni az Ön személyes érdeklődését az Anthropic iránt és szeretnénk értékelni a nem AI-asszisztált kommunikációs készségeit is" – írják az álláshirdetésekben. A Nasa ismét egy magyar asztrofotós munkáját választotta a nap csillagászati képének Player 2025-02-06 12:57:02 Tudomány Világűr NASA A Nasa egy magyar asztrofotós, Fényes Lóránd munkáját választotta a nap csillagászati képének február 6-án. Történelmi csúcson zárt a Google anyavállalata – mégis zuhannak a részvények Igényesférfi.hu 2025-02-06 09:34:01 Infotech Mesterséges intelligencia Befektető Részvény Google Az Alphabet, a Google anyacége 2024-ben rekordot döntött, és először lépte át a 100 milliárd dolláros éves profitot, mégis a befektetők aggodalommal fogadták a híreket. Az oka? A cég 75 milliárd dollárt tervez mesterséges intelligencia kutatásra költeni, ami sokak szerint kockázatos befektetés lehet. Lenyűgöző galaxist örökített meg a Hubble űrtávcső, aminek gyűrűi egy ritka kozmikus ütközésben születtek Qubit 2025-02-06 10:20:54 Tudomány Világűr Egy friss kutatás szerint 50 millió évvel ezelőtt egy törpegalaxis találta el a Tejútrendszernél több mint kétszer nagyobb LEDA 1313424 galaxist, ami fiatal csillagoktól fénylő, koncentrikus gyűrűket alakított ki. Jól járnak a Samsung telefonok tulajdonosai TechWorld 2025-02-06 14:46:06 Infotech Telefon Samsung A futurisztikus kvantum titkosítás segítségével teszi biztonságosabbá a telefonjait a Samsung. A Samsung a Galaxy S25 szériával egy új korszakot nyit a mobilbiztonság terén, bevezetve a posztkvantum-kriptográfiát (PQC). A technológia célja, hogy a kvantumszámítógépek jelentette lehetséges biztonsági fenyegetések ellen védelmet nyújtson, megerősítve Új John Deere autonóm gépek és technológiák a Ces 2025-ön GépMax 2025-02-06 08:12:02 Mezőgazdaság Cégvilág Mesterséges intelligencia Generáció Kamera CES A második generációs autonóm rendszer a fejlett látástechnológiát, a mesterséges intelligenciát és a kamerákat kombinálja. Az oktatás jövője: digitalizáció, mesterséges intelligencia és új szabályozások Diplomátszerzek 2025-02-06 12:25:01 Karrier Oktatás Mesterséges intelligencia Trend Az Ifjúságkutató Intézet évente közzéteszi az ifjúság legfontosabb trendjeit bemutató jelentését, amely részletes képet ad a fiatalok politikai, gazdasági és társadalmi helyzetéről. A legfrissebb, Ifjúság'24 jelentés nemcsak a jelenlegi állapotokat elemzi, hanem rávilágít a jövő kihívásaira is. Az oktatás helyzetének, jövőjének egy külön fejezet sz 50 dollárból hoztak létre alternatívát az OpenAI o1 "érvelési" modelljére ITBusiness 2025-02-06 12:12:05 Infotech egyetem Mesterséges intelligencia Washington OpenAI DeepSeek A Stanford és a Washingtoni Egyetem kutatói mindössze 50 dollárnyi felhőalapú számítási kapacitás felhasználásával hoztak létre egy nyílt forráskódú MI "érvelési"-modellt, amely a csúcskategóriás modellekkel, például az OpenAI o1 és a DeepSeek R1 modelljeivel hasonló teljesítményt nyújt matematikai és programozási feladatokban. Az "s1" névre keresz A további adásainkat keresd a podcast.hirstart.hu oldalunkon.
Episode 207: Den Leader Duties, Pinewood Races, and Dad Style Debates”This week on theTop Dad Podcast: Top Dad Ken finds himself in his new role as Den Leader—because if scouting needs anything, it's more dad jokes!
We've loved having Christien Anholt as our guest! This week, he talks more about his father Tony's career, and shares memories of sitting in a Space 1999 Eagle cockpit at Pinewood!Meanwhile, Jamie has news about the Gerry Anderson website and online store, while the gang settle down to watch Space 1999, Voyager's Return Part 2, courtesy of the Randomiser! All this, and the Podsterons get in touch...00:27 Welcome to the Gerry Anderson Podcast! 01:24 Your Youtube Comments03:13 The Gerry Anderson News!07:05 Christien Anholt - Part 235:44 The Voice Of The Podsterons42:54 The Randomiser1:12:45 Wrapping things up! Links MentionedGuest LinksNews LinksNever Miss An EpisodeJoin the Podsterons Facebook groupSubscribe wherever you get your podcastsThe Randomiser with Chris DaleHelp The ShowLeave us a review on Apple PodcastsTweet about it! Use the hashtag #GerryAndersonPodcast@ImJamieAnderson / @RichardNJames / @ChrisDalekJoin the Anderson Insiders for Extra ContentStay In TouchEmail Podcast AT GerryAnderson.comJoin the Email Newsletter
On connait les studios Cinecitta, en Italie, et le Royaume-Uni possède les studios de Pinewood. Depuis des années, la France a accumulé du retard, voilà qui est en train de s'arranger avec la naissance de nouveaux lieux entièrement dédiés aux tournages de cinéma ou pour la télé. Visite du Paris-Bis, dans les studios TSF de Coulommiers et les futurs studios de cinéma, lieu de formation et recyclerie de Sarlat en Dordogne. Dans "Tout savoir sur", du lundi au vendredi, la rédaction de RTL revient sur un fait marquant de l'actualité avec les reporters, les correspondants et les experts de RTL.
On connait les studios Cinecitta, en Italie, et le Royaume-Uni possède les studios de Pinewood. Depuis des années, la France a accumulé du retard, voilà qui est en train de s'arranger avec la naissance de nouveaux lieux entièrement dédiés aux tournages de cinéma ou pour la télé. Visite du Paris-Bis, dans les studios TSF de Coulommiers et les futurs studios de cinéma, lieu de formation et recyclerie de Sarlat en Dordogne. Dans "Tout savoir sur", du lundi au vendredi, la rédaction de RTL revient sur un fait marquant de l'actualité avec les reporters, les correspondants et les experts de RTL.
On connait les studios Cinecitta, en Italie, et le Royaume-Uni possède les studios de Pinewood. Depuis des années, la France a accumulé du retard, voilà qui est en train de s'arranger avec la naissance de nouveaux lieux entièrement dédiés aux tournages de cinéma ou pour la télé. Visite du Paris-Bis, dans les studios TSF de Coulommiers et les futurs studios de cinéma, lieu de formation et recyclerie de Sarlat en Dordogne. Dans "Tout savoir sur", du lundi au vendredi, la rédaction de RTL revient sur un fait marquant de l'actualité avec les reporters, les correspondants et les experts de RTL.
Keir Starmer delivered his ‘plan for change' in a key speech at Pinewood Studios, Buckinghamshire, setting out what he called 'milestones' for his government. It comes after a challenging five months in office for Labour, but they denied that it was an emergency relaunch, despite their plummeting approval rates.Camilla and Ben Riley-Smith are at Pinewood to react to the Government's new plans and ask the current Cabinet (including Lisa Nandy, Yvette Cooper, and Ed Miliband) what it all means.And as France falls into political turmoil after their Prime Minister resigns following a vote of no confidence, Kamal speaks to our Europe Editor James Crisp about what this means for the country's future and its role within Europe.ReadCrisis for France and Germany comes at terrible moment for EU, James CrispWe want to hear from you! Email us at TheDailyT@telegraph.co.uk or find us on X, Instagram and TikTok @dailytpodcastProducers: Lilian Fawcett and Georgia CoanSenior Producer: John CadiganPlanning Editor: Venetia RaineyExecutive Producer: Louisa WellsVideo Editor: Aaron WheelerSocial Media Producer: Niamh WalshCamera Operator: Lilian FawcettEditor: Camilla TomineyOriginal music by Goss Studio Hosted on Acast. See acast.com/privacy for more information.
This week Jenny and Jack discuss the penultimate episode of series 18, including what record Andy Zaltzman could break next week, whether or not trousers are technology, the practicalities of up cycling toilets and what the best way to get to Pinewood is. Plus there are some classic pedant wording debates from task 3 and a few emails along the way.Get your last minute Series 18 thoughts in to us: fans@taskmaster.tv Order An Absolute Casserole book: taskmasterstore.com Book the Taskmaster Live Experience: https://taskmasterliveexperience.com/ Visit jennyeclair.com to buy Jenny's memoir Jokes, Jokes, Jokes, out now!Watch all of Taskmaster on All 4 www.channel4.com/programmes/taskmasterVisit the Taskmaster Store for all your TM goodies!taskmasterstore.comCatch up with old episodes from anywhere in the worldtaskmastersupermaxplus.vhx.tvVisit the Taskmaster YouTube Channelyoutube.com/taskmasterTaskmaster the Podcast is Produced and Edited by Christine Macdonald for Avalon Television
Beyond the Buckets | Episode #168 | Chris Jackson - Boys Varsity Head Coach Pinewood High School Chris Jackson has recently been appointed as the head basketball coach at Pinewood High School. He brings a wealth of experience and a deep understanding of the game, having previously served as a long-time assistant coach at Archbishop Mitty High School under the esteemed Tim Kennedy. During his tenure at Mitty, Chris was integral in developing the program and mentoring young athletes.A former standout player himself, Chris played high school basketball at Archbishop Mitty before continuing his career at Westmont College, where he competed at the collegiate level. His journey from player to coach reflects his dedication to the sport, and he looks forward to bringing his expertise and passion to Pinewood High School.#podcast #beyondthebuckets #show #basketball #coach #life #lifestyle #coaching #entrepreneur #business #ceo #lifecoach #mentalperformance #YouTube http://ow.ly/3kdI30qOSc6 #Applehttp://ow.ly/cAeV30qOSc8 #Spotify http://ow.ly/7EIe30qOSc9
Yay, welcome Mary Faber to the pod, the iconic Kathryn Pinewood of the Pawnee Restaurant Association!! First, we talk about all things Parks, like auditioning, working with her old college pal Gregory Levine (script supervisor), improvising some lines and being the nememis to Leslie!Then I dive into asking questions about her professional Broadway experiences! (she's been in Avenue Q, How to Succeed in Business Without Really Trying and American Idiot!) I loved getting to hear her process and how she goes in phases with Film/TV, voice-over and musical theater. Currently, she's in a workshop for a new musical in New York! Plus, did you know we're both from Virginia? Whodduthunk!?Make sure you follow her Instagram to be updated and thank you so much again Mary!!!!!!!!!! A delight!
Linda K. Goldman, author of "Breaking Out of Pinewood," shares her journey from opening an employment agency to studying anthropology at UCLA and working in dispute resolution before embracing her passion for writing. Discover how her diverse experiences shape her storytelling and the fascinating posse of characters in her novel: the girlfriends, con men, hustlers, drifters, truckers and lovers. Tune in for inspiring tips on writing, self-publishing, and staying true to your vision. Don't miss this episode—it's a treasure trove of wisdom and wit!Linda K. Goldman's Bio: A native born Angeleno, Linda also lived in New York as a single and then London as a young married. She worked at the Agency for the Performing Arts, UCLA's Neuropsychiatric Institute and eventually went into the employment agency business, opening her own with a partner at age 39. Since Linda had always been interested in other cultures, she went back to school in her mid-40s after marrying her second husband, and received a BA in Sociocultural Anthropology. That skill set lent itself to becoming a mediator through the LA City Attorneys Office Dispute Resolution Program. Soon after the Rodney King riots, she facilitated dialogue circles on race relations all over the city and also specialized in employment and workplace disputes. Linda started writing classes in her 60s and completed her novel, "Breaking Out of Pinewood", a few months ago. Her third grade essay, Silkworms, was published in 1952 Her first piece as an adult, Moving Mom, was published in 2021 Linda's two grown sons left big city life for Lake Tahoe and Bend, Oregon. She resides in West LA with her two pugs, Ollie and AbbyYou can find Linda's book "Breaking Out of Pinewood" online at Barnes and Noble or Amazon. It is also available at Diesel Bookstore in Brentwood and Village Well in Culver City.Thank you for listening. Please check out @lateboomers on Instagram and our website lateboomers.biz. If you enjoyed this podcast and would like to watch it or listen to more of our episodes, you will find Late Boomers on your favorite podcast platform and on our new YouTube Late Boomers Podcast Channel. We hope we have inspired you and we look forward to your becoming a member of our Late Boomers family of subscribers.
Amazon has purchased the U.K.'s Bray Studios. Could future Bond films be filmed there instead of Pinewood?
Doc Scheppler attended San Francisco State University and received his B.A. and M.A. degrees in Physical Education, and a Single Subject Teaching Credential, Physical Education. As a youngster growing up, he developed an intense passion for sports. In high school, because of the positive influence of great coaches, he decided to teach and coach. After earning his degrees and credential in 1978, he began a career coaching sports at Burlingame High School and working at several athletic clubs designing fitness programs. He came to Pinewood School in 1995 on the recommendation of one of his former players at Burlingame High School, and “it has been a wonderful twenty years teaching Physical Education and coaching girls basketball.” Doc and his wife have two children and three wonderful grandchildren. Married to Patricia 2 children Kacey and Kyle 3 grandchildren Teagan Conway anj Declan Boys h s coach 17 years Girls h s coach 29 years 27 league 14 section 10 NorCal 6 State championships Basketball Skills Development Coach since 1986-All ages! --- Support this podcast: https://podcasters.spotify.com/pod/show/kevin-furtado/support
On the July 12 Friday LIVE, host Genevieve Randall and guests have lively conversations about: TADASTOCK 5; author Laura Essay's new book; Angels Theatre Company's "First Flight Festival;" The Two Tracks in Brownville: The Metro Gallery's "Inward This, Outward That;" and "Disney's Tarzan" at Pinewood Bowl. Also, poetry from Matt Mason and a look at a new production in Papillion.
This time will be the best time of all! Episode 52 is soaring high with a Christopher Reeve Legacy favorite! Paul Kaethler, who played Ricky in Superman III, not only got to fly on the big screen but also got behind the controls of some super explosives! All the stories you've been waiting for are here, and this episode is also a special video podcast with tons of never-before-seen photos and stories! Join Jim, Jay, Paul, and maybe even Buster! The Caped Wonder Superman Podcast is back! Don't miss this video podcast on capedwonder.com, youtube, and facebook!
Britain. Fish and chips. Cups of tea. The smell of the theatrical greasepaint, the roar of the football crowd. A diverse nation grappling with its own long, complex history, always with one tongue firmly in cheek. Over the last century, British film has ebbed and flowed, from Ealing comedy to Carry on sauciness, from the British New Wave to Cool Britannia, from Hammer horror to… Hammer horror again. Forget Hollywood - embrace Pinewood. I'm A. J. Black. Author, writer and podcaster, and I love British film. Join me in a celebration of its quirks, its successes, its failure and its unique gems, At the Pictures in Britain… Coming July 5th exclusively on the Film Stories Podcast Network! Subscribe via Spotify, Apple Podcasts or your podcast player of choice, and don't miss the first episode. https://linktr.ee/atthepicturesinbritain Learn more about your ad choices. Visit megaphone.fm/adchoices
Join us on the latest episode of Making Tracks as we join a number of fellow podcasts and websites to chat with showrunner, Executive Producer, writer and director of The Acolyte Leslye Headland ahead of the UK premiere of the first two episodes of the Disney Plus show. We discuss the shows links to The High Republic, diversity, working with Neal Scanlan's Creature Cantina creature shop at Pinewood studios and much more on this very special episode of Making Tracks. Remember to tune in to Good Morning Tatooine, LIVE Sunday evenings at 9.00pm UK, 4.00pm Eastern and 1.00pm Pacific on Facebook, YouTube, X, Instagram and Twitch and check out our Fantha Tracks Radio Friday Night Rotation every Friday at 7.00pm UK for new episodes of The Fantha From Down Under, Planet Leia, Desert Planet Discs, Start Your Engines, Collecting Tracks, Canon Fodder and special episodes of Making Tracks, and every Tuesday at 7.00pm UK time for your weekly episode of Making Tracks. You can contact any of our shows and send in your listeners questions by emailing radio@fanthatracks.com or comment on our social media feeds: https://www.youtube.com/@FanthaTracksTV/ https://links.fanthatracks.com/ https://link.chtbl.com/fanthatracksradio www.instagram.com/fanthatracks www.facebook.com/FanthaTracks www.twitter.com/FanthaTracks www.pinterest.co.uk/fanthatracks/ www.fanthatracks.tumblr.com/ www.tiktok.com/@fanthatracks www.twitch.tv/fanthatracks www.threads.net/@FanthaTracks
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!)
What do Artificial Intelligence and digital technology mean for actors and their relationship with audiences?Leading acting coach Geoffrey Colman, who has spent his working life on the sets of Hollywood movies, in theatrical rehearsal spaces, and teaching in the UK's most prestigious classrooms, wants to find out. AI, he says, may represent the most profound change to the acting business since the move from silent films to talkies. But does it, and if so how are actors dealing with it? What does that mean for the connection between actors and audiences?Geoffrey's concern is rooted in acting process: the idea that the construction of a complex inner thinking architecture resonates with audiences in an authentic almost magical way. But if performance capture and AI just creates the outer facial or physical expression, what happens to the inner joy or pain of a character's thinking? The implications for the actor's technique are profound.To get to the bottom of these questions Geoffrey visits some of those at the cutting edge of developing this new technology. On the storied Pinewood lot he visits Imaginarium Studios, and is shown around their 'volume', where actors' every movement is captured. In East London he talks to the head of another studio about his new AI actor - made up from different actors' body parts. And at a leading acting school he speaks to students and teachers about what this new digital era means for them. He discusses concerns about ethical questions, hears from an actor fresh from the set of a major new movie, quizzes a tech expert already using AI to create avatars of herself, and speaks to Star Wars fans about how this technology has allowed beloved characters to be rejuvenated, and even resuscitated.Producer: Giles Edwards
Broadway star Mary Faber joins Jim O'Heir and Greg Levine to discuss her recurring role as Pawnee's Restaurant Association member Kathryn Pinewood. In this episode, they discuss soda cups large enough to hold a liquified toddler, the first cries for Leslie Knope's recall, and the underlying attraction between Pinewood and another one of Leslie's nemeses, Councilman Jamm.Got a question for the Pawnee Town Hall? Send us an email at ParksandRecollectionTownHall@gmail.com!
Craig Collins in for Tony Katz Biden signed trillion-dollar spending package. New anti 2nd Amendment bill from the Biden Administration. What Leticia James wants to take and sell from Trump. What makes videos go Viral on the internet. There's a cheat sheet out there. Kamala Harris claps to Puerto Rico protest song, stops once aide translates what they're actually singing. AOC says Trump 'ordered a terrorist attack on the Capitol'. Boeing, Baby Names, and Iron Man in Brooklyn. Ronna McDaniel back in the news. Chuck Todd is upset about this. ISIS claims responsibility Moscow attack. Gen Z couples expecting baby after only 1 week of dating. Texas politician who changed his name “literally anybody else”. Europeans don't know why Americans take long road trips. March Gladness.. There's a “Batmobile” for sale. Antibiotics and ChikFilA. Leticia James to begin seizing Trump properties today? Trolls on the internet say Elon is lying about the govt paying for flying immigrants all over the country. Is your water sexy? Are men taking female fashion trends? Bullies in childhood tend to make more money as adults. Home Sales index coming out on Thursday. Fani Willis thinks she has a great reputation. Pinewood derby. Woman honks her horn in drive through at closed fast food restuarant. See omnystudio.com/listener for privacy information.
It's back to the 1980s in this episode of the Film Stories podcast, kicking off with one last James Bond 007 adventure for Roger Moore.A View To A Kill - teased at the end of 1983's Octopussy as From A View To A Kill - came together initially with little fuss for a James Bond movie. Roger Moore was quickly invited back. John Glen was asked to direct even before he'd finished the last film. Pinewood Studios was booked. And then the problems: question marks over whether Roger Moore was too old for the role, announcing someone for the villain who turned the part down - and then the 007 stage at Pinewood burning down.1988's Buster by comparison was a fairly smooth shoot. Phil Collins agreed to take his first lead role, Julie Walters was in the USA for the Oscars when she got the script. But the story of one of the Great Train Robbers came with questions, not least should such a movie be with such a light tone about such a serious subject. Still, it got to the Oscars...Stories of both - and their respective royal premieres too - are told in this episode... Hosted on Acast. See acast.com/privacy for more information.
Join us for the 71st anniversary celebration of the Pinewood Derby at the Worldwide Technology Raceway, hosted by the Greater St. Louis Area Council of Scouts. Discover the excitement as Cub Scouts, aged five to ten, race their meticulously crafted Pinewood cars down the track. Learn about the science behind building a winning car, from weight distribution to aerodynamics. Explore the family-oriented nature of the event, where parents and kids collaborate to create unique and speedy vehicles. Stay tuned for updates on the competition, design contests, and the special soapbox Derby partnership. Don't miss this thrilling day of STEM-inspired racing fun with Thomas P. Kroenung
Take-off on a whirlwind of nostalgia and insider tales with Episode 51 of The Caped Wonder Superman Podcast! Jay Towers & Jim Bowers sit down with Chris Richardson, who takes us on a journey behind the scenes of cinematic magic. From the breathtaking landscapes of Krypton and the Fortress of Solitude to ensuring Christopher Reeve soared as the iconic Man of Steel, Chris's experiences as a Pinewood Studios apprentice are simply awe-inspiring. But that's not all! Join Jay & Jim as they share their exhilarating DC debut in Superman '78: The Metal Curtain. Brace yourselves for an epic lineup at the Hall of Heroes Con, featuring the menacing Ursa, the formidable Non, and the unforgettable Nuclear Man. And mark your calendars for Superman in Concert as the Caped Wonder Team heads to California and prepares to serenade fans with symphonic superhero bliss.With excitement buzzing in the air, Jay & Jim are back and feeling "swell" about what promises to be another SUPER year of adventures and revelations.
Anthony Kolenc returns to the #ReadingWithYourKids #Podcast to celebrate Murder at Pinewood Manor, the fifth installment in his Harwood Mysteries series. Kolenc described that the books are aimed at middle school through high school readers and involve his protagonist Zan and friends solving mysteries in 12th century England. Kolenc provided a plot summary of Murder at Pinewood Manor and discussed how he balances accurate historical details with an engaging story. He also talked about how the series was inspired by his family's experience with homeschooling and how the books are popular educational resources. Kolenc connected his work as a law professor to the legal topics covered in the novels. He further explained how writing the series allowed him to sensitively portray other religions. Click here to visit Antony's website - http://www.antonykolenc.com/ Click here to visit our website - www.readingwithyourkids.com
"Massacre on Makeout Mountain" from They Came From Camp Murder Lake The final night and game of Mythoscon 23! Law Students from Johnny Law Community Law School are shaken to their core as a Massacre occurs in their small town of Pinewood. Can they solve the murder spree before they are the next victims?
"Massacre on Makeout Mountain" from They Came From Camp Murder Lake The final night and game of Mythoscon 23! Law Students from Johnny Law Community Law School are shaken to their core as a Massacre occurs in their small town of Pinewood. Can they solve the murder spree before they are the next victims?
In this episode I talk to Matthew Wood, from the Shaken and Stirred fan page about the event they're putting on at Pinewood. Tickets available here. We also have some 00RoundUp! News from the world of Bond, there is not a great deal happening as I'm sure you're aware but I'll dip into some of the auctions announced this week, and the interview with Jany Temime on the 007 website. I also play a clip from our Lindy Hemming interview back in the day where I get corrected on how to say Jany Temime. Don't forget the blog is the place for all the links, Newsletter, YouTube, ETC If you are speechless with admiration for this podcast then leave an honest five star review. I don't know what it does but it seems to be the trendy thing to say.
With Star Wars The Last Jedi upon us in a few short months...there have been so many things pointing towards Anakin Skywalker's return to the big screen (Hayden Christensen). With his appearance at Celebration, what he had to say there, his rumoured lines at Pinewood and the new Disney experience in Star Wars land...I know he will be in episode 8 and I'm more than excited to talk about it with you. Learn more about your ad choices. Visit megaphone.fm/adchoices
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