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

In Part 2 of The Night Watch Mystery, we step deeper into the shadows of Rembrandt's masterpiece. This chapter traces the strange and violent history of the painting's attacks, explores the accusations that swirled around the militia it depicts, and considers what these stories reveal about Amsterdam in the 1600s. Alongside the canvas, we follow Rembrandt himself—his battles with loss, financial ruin, and the weight of -possible- depression. We also look at the theory that an eye condition may have shaped the way he saw the world, and the way he painted it.

durée : 00:03:31 - Le Regard culturel - par : Lucile Commeaux - Petite réflexion sur deux objets du moment qui mettent en scène l'angoisse de la catastrophe climatique à venir : "Les dernières écritures" d'Hélène Zimmer paru chez POL, et "Rembrandt", le dernier film de Pierre Schoeller.

In this episode, the "Dutch Wood Artist" Jakko Woudenberg describes how, as a typical wood floor pro, he felt compelled to create something more. That journey has led him to creating some of the most incredibly wood floors in the world, including the phenomenal massive tree-ring floor and, most recently, a 195,000‑piece wooden mosaic re-creation of Rembrandt's "The Night Watch". In his conversation with host Stephen Diggins, he shares his philosophy on creativity, craftsmanship and mentorship. Jakob also discusses collaboration, teaching the next generation and his vision for creating a global, pay‑it‑forward flooring artwork that connects elite wood floor pros around the world. See the article about Jakko Wounderberg's “The Night Watch in Wood” from the October/November 2025 issue of Wood Floor Business here.  See his phenomenal tree ring floor in this article. Find all the industry news, a massive archive of wood flooring articles, the latest blogs and more at woodfloorbusiness.com.  Follow Wood Floor Business on social media: Facebook Instagram LinkedIn TikTok YouTube Pinterest X Join the Wood Floor Business Community + USED Buy/Sell/Trade Facebook Group.

In this sermon, Pastor Thomas stands in for Pastor Gary to discuss the profound parable of the Prodigal Son, using insights from Henri Nouwen's book, "The Return of the Prodigal Son," and Rembrandt's painting of the same name. Pastor Thomas encourages the congregation to see themselves in the parable, which features a loving father and his two distinct sons, the younger being wayward and the older being self-righteous. The sermon challenges listeners to reevaluate how they might identify with the younger son's waywardness or the older son's self-righteousness, emphasizing that these are not defining identities, but rather conditions that we all may experience at times.

Charla pronunciada por Mons. Munilla a los alumnos de la ESO para explicar los cuadros: la Vocación de San Mateo (Caravaggio) y El Retorno del Hijo Pródigo (Rembrandt) en la Sala Idatz de San Sebastian 13.06.2018

No podcast ‘Notícia No Seu Tempo’, confira em áudio as principais notícias da edição impressa do jornal ‘O Estado de S.Paulo’ desta quarta-feira (24/09/2025): Em uma reviravolta inesperada, a Assembleia-Geral da ONU foi palco da possível aproximação entre Luiz Inácio Lula da Silva e Donald Trump, informa o enviado especial Felipe Frazão. Embora os presidentes tenham trocado acusações nos discursos, Trump aproveitou sua fala para anunciar a oportunidade de diálogo entre ambos. Lula abriu a sessão de debates. O americano falou na sequência. Nesse intervalo, os dois se encontraram e combinaram um diálogo. A data e o local serão acertados entre os governos. “Ele (Lula) me parece um homem muito bom. Ele gostou de mim, eu gostei dele”, disse Trump. “E eu só faço negócios com quem eu gosto. Eu não faço quando não gosto da pessoa. Quando não gosto, eu não gosto”, afirmou Trump, que disse ter abraçado Lula. E mais: Internacional: Americano critica a ONU, aliados, inimigos e reserva elogios para si Política: Motta veta Eduardo em posto de líder; Conselho de Ética abre processo Economia: Ata do Copom reforça tom duro e mercado vê corte da Selic só em 2026 Metrópole: Presidente da Império de Casa Verde é preso pela PF por ligação com o PCC Cultura: No Rio, mostra Rembrandt – O Mestre da Luz e da Sombra reúne 69 gravuras originais do mestre holandês marcadas pelo dramaSee omnystudio.com/listener for privacy information.

Plusieurs sorties à ne pas manquer au cinéma ce mercredi : la comédie satirique "Classe Moyenne" avec Laurent Laffite et Elodie Bouchez... le thriller "Rembrandt" avec Camille Cottin est aussi à voir, tout comme "Une bataille après l''autre" avec Léonardo Di Caprio

In this episode of the Ad Tech Godpod, host AdTechGod speaks with Hillary Slattery, Senior Director of Product Management at IAB Tech Lab. They discuss Hillary's career journey, the differences between IAB and IAB Tech Lab, the rise of programmatic advertising in CTV, challenges in transparency and data sharing, innovations in live event advertising, the role of curation, and the impact of AI on the advertising industry. Hillary emphasizes the importance of transparency, the need for standards in advertising, and her motivation as a female leader in a technical role. Takeaways Hillary Slattery has a diverse background in ad tech. IAB and IAB Tech Lab serve different but complementary roles. Programmatic advertising in CTV is a growing trend. Transparency in data sharing is a significant challenge. Curation is becoming increasingly important in advertising. AI is reshaping the advertising landscape. Hillary values her role as a female technical lead. The conversations in ad tech are always evolving and interesting. There are legitimate reasons for the lack of transparency from sellers. Hillary is motivated by the impact of her work and the people she collaborates with. Chapters 00:00 Introduction to Hillary Slattery and Her Journey 02:36 Understanding IAB and IAB Tech Lab 05:21 Programmatic Advertising and CTV Trends 07:57 Challenges in Transparency and Data Sharing 10:58 Innovations in Live Event Advertising 13:41 The Role of Curation in Advertising 16:38 AI's Impact on the Advertising Industry 19:18 Motivation and Leadership in Ad Tech TikTok's Fate, Rembrandt's Big Bet, and CTV's Transparency Leap This week's episode of The Refresh covers three major developments shaping advertising and adtech: the long-awaited resolution of the TikTok U.S. drama, a notable merger between Rembrandt and Spaceback, and Index Exchange's groundbreaking integration with Grace Note. Host Kate unpacks the details, implications, and what these shifts mean for advertisers, creators, and platforms heading into 2025. 5 Key Highlights: TikTok's U.S. operations are set to spin into a new company with majority American ownership (80%), including Oracle, Andreessen Horowitz, and Silver Lake, while ByteDance retains 20%. A new TikTok U.S. app is reportedly in testing, requiring users to migrate accounts, raising concerns about logins, content transfers, and algorithm performance. Rembrandt acquired Spaceback, adding scale with 3,000+ advertisers and expanding its AI-driven creative offerings to blend product placements with organic content. The merger reflects broader industry trends: AI-driven “intelligent creative,” creative functions shifting into buying platforms, and the blending of context with content. Index Exchange and Grace Note launched the first integration enabling show-level targeting and reporting in CTV, addressing long-standing transparency challenges for advertisers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Krekeler, anna www.deutschlandfunkkultur.de, Fazit

Nos invités de la deuxième partie de C à Vous du mardi 23 septembre 2025:

Le réalisateur Pierre Schoeller a signé des films nés de son observation du monde politique, sans jamais prendre parti. « Rembrandt » qui sort demain, est une histoire d'amour à travers laquelle il évoque l'avenir du nucléaire

Rembrandt, en salles demain signé Pierre Schoeller, réalisateur engagé ENTRE AUTRES de l'Exercice de l'Etat, est autant un thriller sur les secrets bien gardés du nucléaire qu'un drame conjugal. Mêlant le plus intime et le plus scientifique.Avec Camille Cottin, magistrale, en pleine crise de conscience poussée jusqu'au seuil de la folie. Aux côtés de Romain Duris, un mari aimant mais dépassé par les évènements.Ils sont tous les deux ce soir nos invités.Tous les soirs, du lundi au vendredi à 20h sur France 5, Anne-Elisabeth Lemoine et toute son équipe accueillent les personnalités et artistes qui font l'actualité.

Elle est à l'affiche du film "Rembrandt", qui sort mercredi, avec également Romain Duris et Céleste Brunnquell au casting : Camille Cottin s'est confiée au micro RTL de Stéphane Boudsocq. De son côté, Isabelle Morini-Bosc a croisé Michel Drucker, 63 ans de carrière et qui démarre la 26e saison de "Vivement Dimanche". Nos idées de lectures : le roman "L'angle mort du destin" d'Antoine Rault paru chez Fayard, choix de Sophie Aurenche. Et Arnaud Mulpas nous présente la BD RTL de la rentrée, "Les cheveux d'Edith", de Fabienne Blanchu, Catherine Locandro et Dawid, parue chez Dargaud. Ecoutez Laissez-vous tenter avec Anthony Martin du 21 septembre 2025.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This week, we discuss a series of "intellectual crimes" in which the stolen objects were more valuable for their history and status than for their resale price.  And stick around for an artsy "Last Thing Before We Go". Thank you to this week's sponsors! Help your liver and save 25% on your first month of subscription by going to dosedaily.co/MOMS or entering MOMS at checkout. Get organized now, with Skylight! Right now, Skylight is offering our listeners $30 off their 15-inch Calendars by going to SkylightCal.com/MOMS. Download the free Rakuten App or go to Rakuten.com to start saving today.  And right now, IQBAR is offering our special podcast listeners twenty percent off all IQBAR products—including the sampler pack—plus FREE shipping. To get your 20% text MOMS to 64000.  Message and data rates may apply. See terms for details. The Boston Public Library's "Lost" Art: We dive into the bizarre case of two priceless artworks—an Albrecht Dürer engraving and a Rembrandt van Rijn etching—that went missing from one of the country's most prestigious libraries. The disappearance caused a media uproar and led to the resignation of the library's president . But in a twist, the art was never stolen; it was just in the wrong spot for an entire year.  The Man Who Loved Books Too Much: We explore the story of John Charles Gilkey, a man driven by intellectual vanity who used stolen credit card numbers to amass a collection of rare books worth over $200,000. Gilkey wasn't in it for the money; he simply wanted to appear to be a sophisticated intellectual . His obsessive "bibliokleptomania" forced the rare book community to tighten security and share information on thefts.  The Notorious Map Thief: Next, we cover Edward Forbes Smiley III, a charming and respected rare map dealer whose financial troubles led him to a life of crime. Using an X-Acto blade, he would carefully slice rare maps out of centuries-old atlases from institutions like Yale and Harvard. We reveal how a single misplaced blade led to his downfall, exposing his theft of nearly 100 maps . The Notorious Map Thief: Next, we cover Edward Forbes Smiley III, a charming and respected rare map dealer whose financial troubles led him to a life of crime. Using an X-Acto blade, he would carefully slice rare maps out of centuries-old atlases from institutions like Yale and Harvard. We reveal how a single misplaced blade led to his downfall, exposing his theft of nearly 100 maps. Check-out bonus episodes up on Spotify and Apple podcast now! Get new episodes a day early and ad free, plus chat episodes, at Patreon.com/momsandmysteriespodcast .    To advertise on the show, contact sales@advertisecast.com or visit https://www.advertisecast.com/MomsandMysteriesATrueCrimePodcast.    Listen and subscribe to Melissa's other podcast, Criminality!! It's the podcast for those who love reality TV, true crime, and want to hear all the juicy stories where the two genres intersect. Subscribe and listen here: www.pod.link/criminality    Check-out Moms and Mysteries to find links to our tiktok, youtube, twitter, instagram and more.     

French pop star Mylène Farmer makes a rare appearance as the voice of an AI-powered virtual assistant in "Dalloway", which deals with some of the darker sides of creativity in Yann Gozlan's latest film. Manon Kerjean, the founder of Lost in Translation, a film club screening French features in Paris for non-French speakers, joins us to discuss the merits of this "Black Mirror"-adjacent movie. We also discuss Pierre Schoeller's psychological thriller "Rembrandt" and reflect on the complexities at the centre of the troubled relationship between Yves Montand and Simone Signoret, as the actress and singer's lives are examined by Diane Kurys in "C'est Si Bon". And Manon flags up a Maurice Pialat retrospective at the Cinémathèque Française that provides an insight into the iconoclastic French filmmaker.

Talked with Scott Simmons from the Norton Museum of Art.  They have a great line up events for this Fall season.  There are some big exhibitions coming: Art and Life in Rembrandt's Time: Masterpieces from The Leiden Collection, Shara Hughes: Inside Out, and Anastasia Samoylove: Atlantic Coast.  They have a great line up of Art After Dark series that happens every Friday night. And have Sunday Jazz brunch on 9/21. Coming up they are celebrating Hispanic Heritage Month with Nuestra Cultura their Free Community Day, Saturday October 4th from 11am-4pm. Visitors can take docent led tours, enjoy live music by Marimba Anhelos Del Copal, Mariachi Pancho Villa, Cuban Flavor Band and dance, crafts, food and more. They also have The Norton has a Chinese collection, spanning 5,000 years. Listeners can find out more info by going to www.norton.org.

This is the second part of our conversation about Mieke Bal's Moments of Meaning-Making: On Anachonism, Becoming, and Conceptualizing, published by Valiz. Mieke Bal (1946) is a Dutch theorist, video artist, and a well-known writer and feminist. She has been a Professor in Literary Theory (University of Amsterdam). In 1994 she was a co-founder of the Amsterdam School for Cultural Analysis (ASCA). Bal has been teaching at many institutes and universities in Europe, US, and beyond. She is known for her specific ways of ‘deep-reading' artworks (e.g. Caravaggio, Rembrandt, Louise Bourgeois, Nalini Malani), and intertwining her research with various disciplines, such as contemporary and nineteenth-century literature, psycho-analysis, gender studies, philosophy, bible studies. Bal also works as a video artist, which she approaches as a specific form of cultural analysis.  Now that Mieke Bal is getting older —being very active and involved in many art and research projects—she has been ruminating on how to reflect on a full life with different roles and experiences. She did not want to write a navel-staring autobiography and came up with an ABC of Memories, and the concepts these have generated: key terms that have a specific value to her, that interlink as a mesh of meaning, weaving together daily experiences and teaching, her know-how to art making, to the core concepts of her analytical work.  This is my substack: https://marioveen.substack.com/  You can now order my Dutch language book about Plato's allegory of the cave: https://noordboek.nl/boek/hoe-plato-je-uit-je-grot-sleurt/ (also available as e-book) My previous interview with Mieke Bal is Episode 21: https://open.spotify.com/episode/2nJr0OdC11WiZVcvAcVCOR?si=LSKWhfz5Sq-fuBLtK_KfDw 

Send us a textUnlock Proven Strategies for a Lucrative Business Exit—Subscribe to The Deep Wealth Podcast TodayHave Questions About Growing Profits And Maximizing Your Business Exit? Submit Them Here, and We'll Answer Them on the Podcast!“ Numbers get buyers in the door. Culture seals the deal.” - Jeffrey FeldbergExclusive Insights from This Week's EpisodesCulture isn't a “soft issue.” It's the silent deal killer that buyers spot before you ever see it coming. You can have rock-solid financials, strong margins, and growth curves that look unstoppable—but if your culture is toxic, your deal is dead. Jeffrey Feldberg reveals why culture can slash millions off your valuation and how to turn it into a hidden Rembrandt that makes buyers line up. 00:01 Why toxic culture is the silent deal killer that buyers fear00:05 A true story of how one casual employee comment collapsed a deal00:17 Profitability vs. growth—why culture determines if revenue is real or vanity00:21 The hidden red flags buyers always spot before entrepreneurs do00:26 How operational chaos signals toxic culture to buyers00:29 Three proven cultural multipliers to transform culture into cash00:36 Future pacing—what happens when buyers see a thriving culture00:43 The three-step action plan to protect your legacy and valuationClick here for full show notes, transcript, and resources:https://podcast.deepwealth.com/472Essential Resources to Maximize Your Business ExitLearn More About Deep Wealth MasteryFREE Deep Wealth eBook on Why You Suck At Selling Your Business And What You CaUnlock Your Lucrative Exit and Secure Your Legacy

Przed Wami najcenniejszy zachowany obraz z dawnej kolekcji Stanisława Augusta Poniatowskiego - Jeździec Polski Rembrandta. Obecnie można go podziwiać we Frick Collection w Nowym Jorku, ale jeszcze do 1910 roku znajdował się w polskich zbiorach. W tym odcinku krok po kroku prześledzimy losy i wspólnie zastanowimy się nad tym, czy obraz faktycznie może przedstawiać polskiego żołnierza.---------------Zrealizowano w ramach stypendium Ministra Kultury i Dziedzictwa Narodowego-------Transkrypcję i reprodukcje omawianych obrazów znajdziesz na stronie podcastu:https://przedobrazem.pl/frick-collection-w-nowym-jorku-rembrandt-jezdziec-polski Muzyka wykorzystana w odcinku pochodzi ze strony Epidemic Sounds oraz Free Music Archivemontaż: Eugeniusz Karlov-------IG: https://www.instagram.com/przed_obrazemFB: https://www.facebook.com/podcast.przedobrazem

La présentation en présence du réalisateur, Pierre Shoeller.

Rembrandt - Rencontre - 09/09/2025 by Cinémas Les 400 coups

Fr Toby reflects on forgiveness in light of this parable and Fr Henri Nouwen's reflections on Rembrandt's beautiful painting of the same.If you enjoyed this programme, please consider supporting us with a one-off or monthly donation. It is only through the generosity of our listeners that we are able to be a Christian voice by your side. ⁠⁠⁠⁠https://radiomariaengland.uk/donations/

Boston is one of those cities that just gets under your skin in the best way possible. Equal parts old-school history and modern-day hustle, it's where cobblestone streets meet glass skyscrapers, where the story of America was born, and where you can eat your body weight in lobster rolls without a shred of regret.Founded in 1630 by English Puritans, Boston has played host to some of the most pivotal events in U.S. history—the Boston Tea Party, the Battle of Bunker Hill, and even the first public park in America. Today, it's a vibrant mix of college-town energy, cutting-edge innovation, and diehard sports fandom (you'll never hear a “Go Sox!” shouted with more passion than here).I recently spent five days exploring Boston like a local, armed with a loose plan, comfy walking shoes, and an appetite big enough to conquer the city's legendary food scene. Here's how it all went down—my perfect Boston adventure. Day 1: Arrival & First Taste of the CityFlying into Logan International Airport is a breeze—it's practically right in the city. But here's your first Boston pro-tip: skip renting a car if you can. Boston traffic is next-level chaotic, parking is expensive, and the city is surprisingly walkable. Between the subway (locals call it “the T”) and Uber, you'll get around just fine.Of course, I had to test the rental car waters—$368 for two days of a Nissan Rogue—and let me tell you, the line alone made me question my life choices. If you do rent, book with a company that lets you walk straight to the garage and grab your car. Otherwise, hop in an Uber and save yourself the headache.Where to StayI split my stay between two totally different vibes:Hampton Inn & Suites Watertown – Budget-friendly ($100 a night) and great if you don't mind being just outside the city. Parking in Boston can run you $30 a day, so staying here helped balance the budget.Copley Square Hotel (FOUND Hotels) – Right in the heart of Back Bay, this historic gem ranges from $300–$600 a night. My corner-view studio overlooked the breathtaking Trinity Church at sunset, and it felt like waking up inside a postcard. Designed in 1877 by architect H.H. Richardson, this place is dripping with Richardsonian Romanesque charm—arched windows, rough stone, and colorful details. Around Copley, you'll also find:Fairmont Copley Plaza (1912) – A Gilded Age beauty and part of the Historic Hotels of America.Boston Public Library McKim Building (1895) – A Renaissance Revival masterpiece with white marble halls and free daily tours at 2 pm. Don't skip it; the architecture is jaw-dropping.Old South Church (1873) – A National Historic Landmark in Northern Italian Gothic style, complete with multicolored stone and a towering bell.John Hancock Tower (1976) – Boston's tallest skyscraper at 790 feet, shimmering in blue glass.After a long travel day, we celebrated our first night with dinner at Lolita Cocina & Tequila Bar. Order the lobster guacamole and grilled elote—and when in Boston, remember the golden rule: always order seafood. Steaks are for later. Oh, and if you see Scrod on the menu? Don't panic. It's not a weird mythical fish; it's just the white catch of the day—usually cod or haddock. Day 2: Walking Through HistoryIf Boston had a greatest hits album, it would be the Freedom Trail—a 2.5-mile path that connects 16 historic sites and tells the story of America's revolution. You can do it self-guided, join a regular tour, or go all out with an actor-led adventure (think Paul Revere cosplay).Morning Coffee & Boston CommonStart with caffeine at Thinking Cup Coffee Bar, then wander into Boston Common, the oldest public park in America (1634). It's massive, filled with monuments, and now home to the striking Embrace Memorial, honoring Martin Luther King Jr.From there, the trail unfolds like a time machine:Massachusetts State House (1798) – Charles Bulfinch's golden-domed wonder, still home to the state government.Park Street Church (1809) – Once Boston's tallest landmark, it sits on the site of the city's old grain storage.Granary Burying Ground (1660) – Final resting place of heavyweights like John Hancock, Sam Adams, and Paul Revere.King's Chapel & Burying Ground (1686) – Boston's first Anglican church, with over 330 years of history.Boston Latin School Site (1635) – The oldest public school in America; today it's marked by a Benjamin Franklin statue.Old Corner Bookstore (1718) – Once the publishing hub of legends like Hawthorne, Longfellow, and Thoreau. Now… a Chipotle (I wish I were kidding).Lunch at Union Oyster HouseBy now, you'll be starving. Enter Union Oyster House, America's oldest continuously operating restaurant (since 1826). The JFK booth is a must-sit, and yes—you're ordering a lobster roll.Afternoon: Monuments & Baseball MagicDon't miss the New England Holocaust Memorial—six glass towers etched with survivor stories, both sobering and moving.Then, if you're lucky enough to visit in season, cap off your night at Fenway Park. Whether it's catching a Red Sox game, snagging early batting practice passes, or just soaking up the energy at Cask 'n Flagon across the street (hot tip: persistence pays when getting a table here), Fenway is pure Boston. Day 3: More Freedom Trail & North End TreatsStart with breakfast at Quincy Market, the ultimate food hall. Then dive back into history:Old South Meeting House (1729) – Where colonists debated tea taxes and kicked off the Boston Tea Party.Old State House (1713) – Boston's oldest public building, central to colonial politics.Boston Massacre Site (1770) – A simple cobblestone marker for one of America's darkest sparks of revolution.From here, pop back into Quincy Market for another lobster roll (yes, it's worth a second one).Keep following the trail:Faneuil Hall (1742) – “Cradle of Liberty” where fiery speeches once filled the air. Today, it's mostly a giant souvenir shop, but the echoes of history remain.Paul Revere House (1680) – The patriot's humble home. Tours are intimate but no photos allowed inside.Old North Church (1723) – Where lanterns signaled “One if by land, two if by sea.” Take the tour to see the crypt and bell chamber.Cannoli TimeBoston's North End is an Italian dreamland, so refuel at Mike's Pastry with a giant cannoli. (Pro tip: get a few extra to-go. You'll thank me later.)End the night at Bell in Hand Tavern (1795), America's oldest continuously operating tavern. It's rowdy, it's historic, and it's the perfect spot for your nightcap. Day 4: Big Battles & Big ShipsIf your legs aren't jelly yet, tackle the Bunker Hill Monument. Climb the 294 steps for killer views of the city.From there, wander over to the USS Constitution, aka “Old Ironsides,” the oldest commissioned warship afloat. The ship and museum are free and make for an epic history-meets-maritime adventure.For a modern twist, hop in an Uber to the JFK Presidential Library & Museum—a sleek, inspiring deep dive into the Camelot era. Afterward, head to Sam Adams Brewery in Jamaica Plain. Tours start at $10, include tastings, and give you all the Boston beer vibes. Day 5: Art, Rainy-Day Magic & Sunset on the HarborBoston weather can turn on a dime, so I saved indoor treasures for day five.Morning: Museum of Fine ArtsThe MFA is massive, so choose wisely:Jewelry lovers: Beyond Brilliance exhibit (ancient to modern sparkle, with Chanel and Bulgari highlights).Classicists: Greek, Roman, and Byzantine collections.Painters-at-heart: Dutch & Flemish gallery with works by Rembrandt and Rubens.Quirky souls: Dollhouses and temporary Van Gogh exhibits.Fuel up at the museum café before heading out.Evening: Sunset Harbor CruiseOur trip ended on the water, with a Boston Harbor sunset cruise. Even in the rain, the top deck views were worth it. There's a buffet dinner, DJ, and plenty of space to dance—because no Boston trip is complete without one last celebration. Other Boston Must-Dos (If You Have Time)Duck Boat Tour – Amphibious buses that roam the streets then splash into the Charles River. Cheesy? Yes. Fun? Also yes.Cheers Pub – Grab a drink where everybody used to know your name.Green Dragon Tavern – A revolutionary haunt turned modern-day pub.Boston Burger Co. or Wahlburgers – Because you need at least one outrageous burger on this trip. Final ThoughtsBoston is the kind of city that can be done in a weekend but deserves a week. It's history you can touch, seafood you'll crave long after, and neighborhoods that feel like they've been waiting just for you.If you only had one day, I'd say walk the Freedom Trail—it's Boston in a nutshell. But if you want to experience the city like a local? Take your time, eat the lobster rolls, get lost in the cobblestone streets, and maybe—just maybe—let Fenway turn you into a Red Sox fan for life.Boston, you're wicked awesome.

Marcus Bell discusses his move from corporate life to international acclaim as a photographer. After experiencing personal loss, Marcus reconnected with photography through his late father's camera—a turning point that sparked a deep passion for storytelling through the lens. From capturing wedding day emotions to crafting contemplative landscape images, Marcus shares how his work reflects a broader quest for connection—to nature, to memory, and to the human spirit.   With more than 25 years in the field and accolades such as AIPP Grand Master of Photography and recognition by American Photo as one of the world's top 10 photographers, Marcus brings both technical mastery and soul to his art. He draws inspiration from iconic photographers like Cartier-Bresson and Salgado, and the influence of classic painters such as Vermeer and Rembrandt has shaped his approach to light and form.   In this conversation, Marcus discusses balancing personal artistic expression with professional work, the use of vintage lenses for mood and imperfection, and how vulnerability in art helps others feel seen. He reflects on the role of planning and intuition in crafting meaningful images, and how photography has become a lens through which he processes and appreciates life's complexities.   I hope you enjoy the show! You can find Marcus' work here: Website: https://www.marcusbell.com/ Instagram: https://www.instagram.com/marcusbell Facebook: https://www.facebook.com/marcusbellphotographer   Listen to this and other episodes wherever you find your podcasts or on https://grantswinbournephotography.com/lpw-podcast Or subscribe to my YouTube channel https://youtube.com/@grantswinbournephotography   Theme music: Liturgy Of The Street by Shane Ivers - https://www.silvermansound.com #marcusbell #australianphotographer #storytellingphotography #weddingphotography #landscapephotography #emotivephotography #blackandwhitephotography #fineartphotography #creativeexpression #photographyjourney #humanconnection #visualnarrative #photographytips #classicinfluences #personalstorytelling

durée : 00:23:52 - Les Nuits de France Culture - par : Mathilde Wagman - L'autoportrait occupe une place majeure dans l'œuvre de Rembrandt. Que tente d'exprimer le peintre à travers ses tableaux, ses représentations de lui-même ? En 1979, l'émission "Œuvres et chefs-d'œuvre en France" propose une analyse comparative de trois autoportraits conservés au musée du Louvre. - réalisation : Virginie Mourthé

Discover how one of the most famous artists lived, loved, created, and failed. Visit his House-Museum in Amsterdam to trace Rembrandt's career, art, and success. Video on YouTube: https://youtu.be/-WpakXGmLjA Article with images: https://veronicasart.com/revealing-rembrandts-artistic-career-inside-the-amsterdams-house-museum/ If you'd like to support my work, subscribe & rate this podcast on Spotify and Apple | Show your support for the podcast: here | Host: Veronica Winters, MFA | veronicasart.com The post Rembrandt's Rise & Fall: inside Amsterdam's House-Museum appeared first on Veronica Winters Painting.

En la segunda mitad del siglo XVI las provincias septentrionales de los Países Bajos controlados por los Habsburgo se rebelaron contra el monarca, que en aquel momento era Felipe II de España. Esta rebelión, cuya motivación fue religiosa, tuvo importantes consecuencias en la historia de Europa ya que, tras varias décadas de guerra, estas provincias consolidaron su independencia creando un Estado de nuevo cuño: la república de las Siete Provincias Unidas. Se trataba de una entidad política con un sistema de gobierno muy particular, una confederación que combinaba un Gobierno republicano encarnado en los Estados Generales, y una suerte de monarca elegible, el estatúder, que se encargaba de los asuntos militares. Tan pronto como consiguió la independencia, la recién nacida república comenzó a enriquecerse y expandirse por el mundo. La base de su prosperidad fue la apertura y el pragmatismo. Los Países Bajos se convirtieron en un gigantesco emporio comercial gracias a su estratégica ubicación geográfica y a una serie de innovaciones financieras como el Banco y la Bolsa de Ámsterdam, pioneras del capitalismo. Las Compañías de las Indias Orientales y Occidentales, corporaciones con tanto poder comercial como militar, permitieron a la República romper los monopolios de España y Portugal en el Atlántico y el Índico y forjar un gran imperio colonial. La sociedad neerlandesa, entretanto, asistió al ascenso de una burguesía urbana que adoptó valores calvinistas como el trabajo, el ahorro y la austeridad que se reflejaban en su cultura y estilo de vida. Pero, aunque el calvinismo era la religión oficial, la república practicó cierta tolerancia religiosa que atrajo a comerciantes y pensadores de toda Europa y contribuyó a su prosperidad al evitar conflictos internos y fomentar el comercio. Este ambiente de relativa libertad intelectual dio lugar a un florecimiento cultural y científico. El arte, impulsado por la burguesía como nueva mecenas, se alejó de los temas religiosos y aristocráticos para centrarse en la vida cotidiana y los paisajes. Maestros como Rembrandt, Vermeer o Frans Hals revolucionaron la pintura con su realismo y dominio de la luz. En el ámbito científico, figuras como Christiaan Huygens y Anton van Leeuwenhoek hicieron descubrimientos fundamentales. La cartografía neerlandesa, impulsada por las necesidades de los navegantes y el comercio, se convirtió en el referente mundial gracias a la precisión y la belleza de los mapas que realizaban geógrafos como Gerardus Mercator, Abraham Ortellius o Willem Blaeu. Los años de esplendor neerlandés comenzaron a declinar a finales del siglo XVII. En 1672, que ha pasado a la historia como el "año del desastre”, la República fue atacada simultáneamente por Francia e Inglaterra y consiguieron resistir de milagro. A lo largo del siglo XVIII, fueron perdiendo su preeminencia ultramarina ante el auge de potencias como Gran Bretaña. Las guerras en el continente, entretanto, eran continuas y muy costosas. El fin de la república llegó en 1795 con la invasión francesa. A pesar de su ocaso, el legado que dejaron aquellos neerlandeses de los siglos XVI y XVII llega hasta nuestros días. Sentaron las bases del capitalismo moderno e hicieron grandes contribuciones a la ciencia y a la historia del arte. En El ContraSello: 0:00 Introducción 3:45 El esplendor de Holanda 1:10:57 La guerra de sucesión austriaca 1:21:00 Josefina Bonaparte Bibliografía: - "The dutch golden age" de Helmer J. Helmers - https://amzn.to/46S1LZf - "Dutch Golden Age" de Jan Blanc - https://amzn.to/46S1QMx - "History of the Dutch Golden Age" de Junior Scofield - https://amzn.to/3HAr2wG - "The Frigid Golden Age" de Dagomar Degroot - https://amzn.to/45QwWTF · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #holanda #paisesbajos Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

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In the 1970s and 1980s, Boston and the greater New England region seem plagued by art thieves. Myles Connor becomes the most notorious thief of the era, and he and others notice that the eclectic Isabella Stewart Gardner Museum is a vulnerable target. The FBI likely thwarts an attempted robbery, and, as the 1980s progress, events start to align for the biggest art heist in history. Join Black Barrel+ for ad-free episodes and bingeable seasons: blackbarrel.supportingcast.fm/join   Apple users join Black Barrel+ for ad-free episodes, bingeable seasons and bonus episodes. Click the Black Barrel+ banner on Apple to get started with a 3-day free trial.   On YouTube, subscribe to INFAMOUS+ for ad-free episodes and bingeable seasons: hit “Join” on the Legends YouTube homepage.   For more details, please visit www.blackbarrelmedia.com. Our social media pages are: @blackbarrelmedia on Facebook and Instagram, and @bbarrelmedia on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

Fluent Fiction - Dutch: Mystery at the Museum: The Secret Behind Amsterdam's Pride Find the full episode transcript, vocabulary words, and more:fluentfiction.com/nl/episode/2025-08-02-22-34-02-nl Story Transcript:Nl: Het was een bruisende zomerdag in Amsterdam.En: It was a lively summer day in Amsterdam.Nl: De vrolijke kleuren van de Pride Parade dansten door de stad.En: The cheerful colors of the Pride Parade danced through the city.Nl: Maar in het Rijksmuseum hing er een ander soort spanning in de lucht.En: But in the Rijksmuseum, there was a different kind of tension in the air.Nl: Sander, de plichtsgetrouwe kunsthistoricus, stond met een frons voor een lege plek op de muur.En: Sander, the conscientious art historian, stood with a frown before an empty spot on the wall.Nl: Waar Rembrandt's meesterwerk had moeten hangen, was nu slechts een kaal stuk zeemuur.En: Where Rembrandt's masterpiece should have hung, there was now only a bare piece of plaster wall.Nl: Marijke, zijn goede vriendin en gids in het museum, kwam snel naar hem toe.En: Marijke, his good friend and guide in the museum, quickly approached him.Nl: "Sander, wat is er gebeurd?"En: "Sander, what happened?"Nl: vroeg ze bezorgd.En: she asked worriedly.Nl: Sander zuchtte diep.En: Sander sighed deeply.Nl: "Het schilderij is weg.En: "The painting is gone.Nl: Geen alarmen, geen sporen."En: No alarms, no traces."Nl: "Dit kan de reputatie van het museum schaden," vervolgde hij, met een ongerust gezicht.En: "This could damage the museum's reputation," he continued, with a worried face.Nl: Hij wist dat hij de waarheid moest vinden voor het te laat was.En: He knew he had to find the truth before it was too late.Nl: Sander en Marijke begonnen hun onderzoek.En: Sander and Marijke began their investigation.Nl: Ze keken naar de beveiligingsbeelden en merkten een vaak voorkomende bezoeker op.En: They looked at the security footage and noticed a frequent visitor.Nl: Bram, een mysterieuze man met een voorliefde voor Nederlandse kunst, was er weer.En: Bram, a mysterious man with a fondness for Dutch art, was there again.Nl: Hij leek altijd net iets te geïnteresseerd.En: He always seemed just a little too interested.Nl: "Sander, misschien weet Bram iets," stelde Marijke voor.En: "Sander, maybe Bram knows something," Marijke suggested.Nl: "Ik ga hem een beetje in de gaten houden."En: "I'll keep an eye on him."Nl: Bram was moeilijk te peilen.En: Bram was hard to figure out.Nl: Hij hing rond, bestudeerde gedetailleerd de schilderijen maar liet nooit te veel los in gesprekken.En: He lingered around, studied the paintings in detail, but never revealed too much in conversations.Nl: Marijke maakte echter met haar enthousiaste verhalen soms gaten in zijn pantser.En: However, Marijke, with her enthusiastic stories, sometimes managed to break through his armor.Nl: Ze kwam erachter dat Bram een grote interesse had in restauratieprojecten.En: She discovered that Bram had a keen interest in restoration projects.Nl: Op de dag van de Pride Parade, toen de stad pulsde op muziek en leven, besloot Sander dat het tijd was om met Bram te praten.En: On the day of the Pride Parade, when the city pulsed with music and life, Sander decided it was time to talk to Bram.Nl: Samen met Marijke wachtte hij hem op in het museum, terwijl de klanken van de parade buiten weergalmden.En: Together with Marijke, he waited for him at the museum while the sounds of the parade echoed outside.Nl: "Waarom ben je hier zo vaak, Bram?En: "Why are you here so often, Bram?Nl: Wat weet je over de Rembrandt?"En: What do you know about the Rembrandt?"Nl: vroeg Sander rechtstreeks.En: Sander asked directly.Nl: Bram keek op, een glinstering in zijn ogen.En: Bram looked up, a sparkle in his eyes.Nl: "Jullie moeten weten," begon Bram langzaam, "dat de directie bezig is met een geheime restauratie.En: "You should know," Bram began slowly, "that the management is working on a secret restoration.Nl: Het schilderij is veilig weggezet om voor te bereiden op een speciale viering.En: The painting is safely put away to prepare for a special celebration.Nl: Onze meesters willen niet dat te veel mensen hiervan weten om het veilig te houden."En: Our masters don't want too many people to know to keep it safe."Nl: Sander keek Marijke aan, verbijsterd.En: Sander looked at Marijke, bewildered.Nl: "Waarom wisten wij hier niets van af?"En: "Why didn't we know anything about this?"Nl: Met een schouderophalen antwoordde Bram glimlachend, "Soms moet kunst in stilte worden voorbereid.En: With a shrug, Bram answered with a smile, "Sometimes art needs to be prepared in silence.Nl: Ik hielp alleen om te zorgen dat alles goed ging."En: I was just helping to make sure everything went well."Nl: De opluchting was bijna tastbaar.En: The relief was almost palpable.Nl: Het schilderij was niet gestolen.En: The painting hadn't been stolen.Nl: Marijke lachte vol lof naar Sander.En: Marijke laughed admiringly at Sander.Nl: "Je deed het, we hebben de waarheid!"En: "You did it, we found the truth!"Nl: In de nasleep van hun avontuur hadden Sander en Marijke meer begrip voor de draden achter de schermen.En: In the aftermath of their adventure, Sander and Marijke had a greater understanding of the threads behind the scenes.Nl: Sander begreep nu dat open communicatie zelfs de diepste mysteries kan verlichten.En: Sander now understood that open communication can illuminate even the deepest mysteries.Nl: Terwijl de vrolijke parade doorging, keerde de vrede terug naar het museum.En: As the joyful parade continued, peace returned to the museum.Nl: Het Rembrandt schilderij zou zijn terugkeer onder luid gejuich maken, net als de kleurrijke viering van de menselijkheid buiten.En: The Rembrandt painting would make its return amid loud cheers, just like the colorful celebration of humanity outside.Nl: En in het hart van Amsterdam bleef de kunst ongeschonden.En: And in the heart of Amsterdam, the art remained unscathed. Vocabulary Words:lively: bruisendecheerful: vrolijketension: spanningconscientious: plichtsgetrouwefrown: fronsplaster: zeemuurworriedly: bezorgdsigh: zuchttetraces: sporenreputation: reputatiesecurity footage: beveiligingsbeeldenmysterious: mysterieuzefondness: voorliefdelinger: hing rondarmor: pantserrestoration: restauratiepulsed: pulsdesparkle: glinsteringmanagement: directiecelebration: vieringbewildered: verbijsterdshrug: schouderophalenrelief: opluchtingpalpable: tastbaarilluminate: verlichtenjoyful: vrolijkeaftermath: nasleepunscathed: ongeschonden

Candy and Rembrandt are in the car, tailing Ray Mallard through traffic. Candy fills in Rembrandt, and the listener, about strange behavior, and possible secrets that Ray is keeping from…

Candy and Rembrandt are in the car, tailing Ray Mallard through traffic. Candy fills in Rembrandt, and the listener, about strange behavior, and possible secrets that Ray is keeping from…

THIS EPISODE BROUGHT TO YOU BY: You'll notice that there's no sponsor in this episode.  We'd love it if you'd consider supporting on Patreon.   PATREON - patreon.com/nodumbquestions  NDQ EMAIL LIST - https://www.nodumbquestions.fm/email-list  STUFF IN THIS EPISODE: Sony Mavica Frontline - The Merchants of Cool Robert D. Putnam - Bowling Alone Viacom Mastering Rembrandt Lighting CONNECT WITH NO DUMB QUESTIONS: Support No Dumb Questions on Patreon if that sounds good to you Discuss this episode here NDQ Subreddit Our podcast YouTube channel Our website is nodumbquestions.fm No Dumb Questions Twitter Matt's Twitter Destin's Twitter SUBSCRIBE LINKS: Subscribe on iTunes Subscribe on Android OUR YOUTUBE CHANNELS ARE ALSO FUN: Matt's YouTube Channel (The Ten Minute Bible Hour) Destin's YouTube Channel (Smarter Every Day)

Stan and Marshall talk about the frustrating "intermediate plateau" a stage where artists feel stuck. They explore causes like boredom, complacency, and unclear goals, and give advice on how to push through using feedback, mentorship, passion projects, and risk-taking. SHOW LINKS (some contain affiliate links): Animal Anatomy For Artists by Joe Weatherly (Foreword by Marshall Vandruff) - https://amzn.to/4f1Fquk George Woodbridge (Mad Magazine Artist) - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-mad-magazine-george-woodbridge-catch-22-issue.jpg Jack Davis (Mad Magazine Artist) - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-mad-magazine-jack-davis-catch-22-issue.jpg 23 Habits for Artists - Draftsmen S1E14 - https://youtu.be/WrKyzUMERKc?si=xAt2uqF3JawxIYAm Mastery by George Leonard - https://amzn.to/4o1zxBc Marshall's small artwork from his 30's - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-marshall-vandruff-drawing-small-caterpillar-framed-with-size-text.jpg https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-marshall-vandruff-drawing-small-caterpillar-full-size.jpg Rembrandt (photo by Olivier Middendorp) - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-stan-prokopenko-pikachu-wolverine.jpg Leonardo da Vinci - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-leonardo-da-vinci-bear-sketch-framed.jpg https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-leonardo-da-vinci-bear-sketch-full.jpg When by Daniel Pink - https://amzn.to/44HYjir Masterclass (Ron Howard) - https://www.masterclass.com/classes/ron-howard-teaches-directing Masterclass (Mira Nair) - https://www.masterclass.com/classes/mira-nair-teaches-independent-filmmaking Masterclass (Martin Scorsese) - https://www.masterclass.com/classes/martin-scorsese-teaches-filmmaking Masterclass (Margaret Atwood) - https://www.masterclass.com/classes/margaret-atwood-teaches-creative-writing Creativity by Mihaly Csikszentmihaly - https://amzn.to/45elml4 Think Like a Freak by Steven D. Levitt - https://amzn.to/3IDvElY Freakonomics by Steven D. Levitt - https://amzn.to/3Uq4YHS Kristian Nee's youtube channel - https://www.youtube.com/@KristianNeeTV Kristians Podcast with Marshall - “What Every Artist Needs to Hear (But Nobody Says)” - https://youtu.be/ptXnRU-HGxQ?si=qSKU8po6gqpU1MgJ Stan's Anatomy Course - https://proko.com/anatomy Anatomy Course Drawings (only on screen briefly for how much work went into them) - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-stan-prokopenko-popeye-stan.jpg Pinocchio (1940) - https://amzn.to/44RzdO0 Frankenstein by Bernie Wrightson - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-frankenstein-by-bernie-wrightson-illustration-1.jpg https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-frankenstein-by-bernie-wrightson-illustration-2.jpg The Upside of Quitting - Freakonomics Radio - https://freakonomics.com/podcast/the-upside-of-quitting-3/ Cops TV Show (1989-present) - https://amzn.to/4mqyb1F Sexy Beast (2000) - https://amzn.to/3UtbugY Kimon Nicolaïdes - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-kimon-nicolaides-gesture-sketches.jpeg Learn to Draw - www.proko.com Marshall Vandruff - www.marshallart.com Stan Prokopenko - instagram.com/stanprokopenko Kristian Nee - https://www.kristiannee.com/  Learn more about your ad choices. Visit megaphone.fm/adchoices

Step into the shadows of Rembrandt's most famous painting. Was The Night Watch always this dark, or is something hidden beneath the varnish? In this first episode, we begin unraveling a centuries-old art mystery that's more than meets the eye. Whispering Gallery+ After Dark: https://www.patreon.com/c/whisperinggallery www.whisperinggallerypodcast.com whisperingcontact@gmail.com Thank you to my friends Fig and Wisp for their help while I was writing this episode, with editing, feedback and fresh points of view! +AI

Website:  https://www.themnemonictreepodcast.com/Facebook:  https://www.facebook.com/themnemonictreepodcastRembrandt - Top 6 Paintings·         Intro·         Wikipedia Summary·         Mnemonic·         Five Fun Facts·         Three-Question Quiz·         Word of the Week

We discuss Mieke Bal's Moments of Meaning-Making: On Anachonism, Becoming, and Conceptualizing, published by Valiz. Mieke Bal (1946) is a Dutch theorist, video artist, and a well-known writer and feminist. She has been a Professor in Literary Theory (University of Amsterdam). In 1994 she was a co-founder of the Amsterdam School for Cultural Analysis (ASCA). Bal has been teaching at many institutes and universities in Europe, US, and beyond. She is known for her specific ways of ‘deep-reading' artworks (e.g. Caravaggio, Rembrandt, Louise Bourgeois, Nalini Malani), and intertwining her research with various disciplines, such as contemporary and nineteenth-century literature, psycho-analysis, gender studies, philosophy, bible studies. Bal also works as a video artist, which she approaches as a specific form of cultural analysis.  Now that Mieke Bal is getting older —being very active and involved in many art and research projects—she has been ruminating on how to reflect on a full life with different roles and experiences. She did not want to write a navel-staring autobiography and came up with an ABC of Memories, and the concepts these have generated: key terms that have a specific value to her, that interlink as a mesh of meaning, weaving together daily experiences and teaching, her know-how to art making, to the core concepts of her analytical work.  This is my substack: https://marioveen.substack.com/  You can now order my Dutch language book about Plato's allegory of the cave: https://noordboek.nl/boek/hoe-plato-je-uit-je-grot-sleurt/ (also available as e-book) My previous interview with Mieke Bal is Episode 21: https://open.spotify.com/episode/2nJr0OdC11WiZVcvAcVCOR?si=LSKWhfz5Sq-fuBLtK_KfDw 

Rob Follows, founder and chairman of STS Capital, shares his expertise on helping business owners achieve maximum value when selling their companies by targeting strategic buyers rather than financial buyers. His passion stems from his own experience selling a business for 27 times EBITDA, only to later discover the buyer had valued it at 100 times EBITDA.• The concept of "Rembrandts in the attic" - identifying hidden value that strategic buyers can leverage more effectively than current owners• How STS Capital helps business owners sell directly to strategic buyers for 2-3 times what financial buyers typically offer• Strategic buyers see value others miss - Rob shares examples of businesses selling for 60x EBITDA through careful buyer selection• Private equity firms are middlemen using other people's money to "buy low, sell high" - business owners can bypass them• Business owners should plan their exit 3-5 years in advance rather than waiting for the "six Ds" (death, disease, divorce, disability, disenchantment, disintermediation)• STS Capital typically works with businesses in the $100M-$1B enterprise value range, but can sometimes work with businesses valued at $30-50M• How financial advisors and consultants can become certified in "selling to strategics" to better serve their business owner clientsTo learn more or become an ambassador of the STS Capital program, contact Rob at rob@stscapital.com.STS Capital Partners4 Robert Speck Pkwy, Mississauga, ON L4Z 1S1, Canada+1 905-804-1934Hear Past episodes of the Way2Wealth Podcast!https://theway2wealth.com Learn more about our Host, Scott Ford, Managing Director, Partner & Wealth Advisorhttps://www.carsonwealth.com/team-members/scott-ford/ Investment advisory services offered through CWM LLC, an SEC-registered investment advisor. Carson Partners, a division of CWM LLC, is a nationwide partnership of advisors. The opinions voiced in the Way to Wealth with Scott Ford are for general information only and are not intended to provide specific advice or recommendations for an individual. Past performance is no guarantee of future results. All indices are unmanaged and may not be invested into directly. Investing involves risk, including possible loss of principal. No strategy assures success or protects against loss. To determine what may be appropriate for you, consult with your attorney, accountant, financial or tax advisor prior to investing. Guests on Way to Wealth are not affiliated with CWM, LLC. Legado Family is not affiliated with CWM LLC. Carson Wealth 19833 Leitersburg Pike, Suite 1, Hagerstown, Maryland, 21742.

National Be a dork day.  Entertainment 1987.  Rosetta Stone found in Eygypt, Zebulon Pike sets out on expediton, Duck billed platypus put on display.  Todays birthdays - Rembrandt, Linda Ronstadt, Alicia Bridges, Willie Aames, Forest Whitaker, Brigitte Nielsen, Scott Foley, Brian Astin Green, Gabriel Iglasias.  Gianni Versace died.Intro - God did good - Dianna Corcoran    https://www.diannacorcoran.com/Dork for you - Pepper Jill & JackAlone - HeartI know where I'm going - The JuddsBirthdays - In da club - 50 Cent    https://www.50cent.com/ When will I be loved - Linda RonstadtI love the night life - Alicia BridgesCharles in Charge TV themeExit - Three words away - Wes Ryan    https://wesryan.pro/countryundergroundradio.comHistory & Factoids webpage

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1====================================================DEVOCIÓN MATUTINA PARA ADULTOS 2025“CON JESÚS HOY”Narrado por: Exyomara AvilaDesde: Bogotá, ColombiaUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist Church ===================|| www.drministries.org ||===================10 de JunioEl abrazo del padre«Entonces se levantó y fue a su padre. Cuando aún estaba lejos, lo vio su padre, y fue movido a misericordia, y corrió, y se echó sobre su cuello, y lo besó» (Luc. 15: 20).Uno se los cuadros más emotivos que conozco lleva por título El regreso del hijo pródigo y se encuentra en el Museo del Hermitage de San Petersburgo (Rusia). Henri Nouwen describe así el impacto que le causó su descubrimiento: «La primera vi el cuadro de Rembrandt, en el otoño de 1963, toda mi atención fue captada por las manos del anciano padre, estrechando contra su pecho al hijo arrepentido. Esas manos hablaban de perdón, de reconciliación, de sanación, pero también de seguridad, de reposo, de regreso al hogar. Pero si esta imagen del abrazo revivificante de un padre a su hijo pudo afectarme tan profundamente fue porque todo mi ser deseaba más que nada ser acogido como el hijo pródigo. Este encuentro marcó el principio de mi propio regreso a Dios» (Le retour de l'enfant prodigue, Québec: Bellarmin, 1995, pág. 167).Después de toda una vida consagrada al servicio de los demás, Henri Nouwen concluye: «Cuando regresé a San Petersburgo, hace cuatro años, para volver a ver El regreso del hijo pródigo, no sospechaba que iba a tener que vivir yo mismo lo que estaba viendo. Me asombra constatar hasta dónde me ha llevado Rembrandt. Me ha llevado del joven arrodillado y harapiento al anciano de pie, inclinado hacia él, del lugar de quien recibe la bendición al lugar de quien bendice. Al observar mis manos, ahora envejecidas, sé que me han sido dadas para acoger a los que sufren, para posarse sobre los hombros de quienes vienen a mí, y sobre todo, para transmitir la bendición que procede del inmenso amor de Dios» (ibid., pág. 173).Quien ha vivido hasta el fondo la experiencia del perdón, sabe cuán importante es transmitirla a otros. Del propio Esaú se dice que, cuando vio a su hermano Jacob regresar al hogar, le perdonó tan profundamente sus engaños y fraudes que» «corrió a su encuentro y, echándose sobre su cuello, lo abrazó y besó» (Gén. 33: 4). Y Jacob, al verse perdonado tan generosamente, le rogó que lo aceptase de regreso al hogar, añadiendo: «Porque he visto tu rostro como si hubiera visto el rostro de Dios, pues que con tanta bondad me has recibido» (vers. 10).Señor, hazme capaz de ver el rostro de Dios en el de mis seres queridos, como el pródigo lo vio en su padre y Jacob en su hermano. 

Fluent Fiction - Dutch: Bridging Friendship: A Day at the Rijksmuseum's Rembrandt Exhibit Find the full episode transcript, vocabulary words, and more:fluentfiction.com/nl/episode/2025-06-08-22-34-02-nl Story Transcript:Nl: Zomerzon scheen helder in Amsterdam.En: The summer sun shone brightly in Amsterdam.Nl: Sven, Johan en Elsa stapten de statige zalen van het Rijksmuseum binnen.En: Sven, Johan, and Elsa stepped into the grand halls of the Rijksmuseum.Nl: Het was druk.En: It was busy.Nl: Mensen liepen nieuwsgierig rond, ogen gericht op de majestueuze kunstwerken.En: People wandered around curiously, eyes fixed on the majestic artworks.Nl: "Wow," zei Johan, terwijl hij naar de hoge plafonds keek.En: "Wow," said Johan, as he looked up at the high ceilings.Nl: "Het is hier groot."En: "It's big here."Nl: Hij haalde zijn camera tevoorschijn.En: He took out his camera.Nl: Elsa keek rond, een beetje onverschillig, maar wel benieuwd naar wat ze zou zien.En: Elsa looked around, a bit indifferent, but curious about what she would see.Nl: Voor Sven was het museum een droom.En: For Sven, the museum was a dream.Nl: Als kunstgeschiedenisstudent was hij dol op Rembrandt.En: As an art history student, he loved Rembrandt.Nl: Hij wilde zijn passie delen.En: He wanted to share his passion.Nl: "Kom," riep hij opgewonden.En: "Come," he called excitedly.Nl: "De nieuwe Rembrandt-tentoonstelling is die kant op."En: "The new Rembrandt exhibition is that way."Nl: Ze liepen naar de grote zaal met de beroemde Nachtwacht.En: They walked to the large hall with the famous Night Watch.Nl: De hal was groots en vulde zich met het zachte geroezemoes van bewonderaars.En: The hall was grand and filled with the soft murmur of admirers.Nl: Sven straalde van enthousiasme, maar Johan en Elsa leken afgeleid.En: Sven beamed with excitement, but Johan and Elsa seemed distracted.Nl: Johan stopte om een selfie te maken, terwijl Elsa een glimp van het café opving.En: Johan stopped to take a selfie, while Elsa caught a glimpse of the café.Nl: "Rembrandt gebruikte licht en schaduw op een magische manier," begon Sven, proberend hun aandacht te winnen.En: "Rembrandt used light and shadow in a magical way," Sven began, trying to capture their attention.Nl: Maar Johan richtte zijn camera op de schilderijen en Elsa keek naar de wachrij bij het café.En: But Johan aimed his camera at the paintings, and Elsa looked at the line at the café.Nl: Gefrustreerd nam Sven een beslissing.En: Frustrated, Sven made a decision.Nl: Hij ging voor de Nachtwacht staan, zijn ogen glanzend van passie.En: He stood in front of the Night Watch, his eyes sparkling with passion.Nl: Hij vertelde over de verborgen details, de avonturen erachter, de emoties gevangen in verf.En: He spoke about the hidden details, the adventures behind them, the emotions captured in paint.Nl: Zijn stem werd warm, zijn ogen groot van bewondering.En: His voice grew warm, his eyes wide in admiration.Nl: Langzaam maar zeker trok hij hun aandacht.En: Slowly but surely, he drew their attention.Nl: Johan stopte met klikken en Elsa zocht de blikken van mensen langs het doek.En: Johan stopped clicking, and Elsa followed the glances of people along the canvas.Nl: Ze luisterden, geboeid door de verhalen die Sven vertelde.En: They listened, captivated by the stories Sven told.Nl: Bij de Nachtwacht, midden tussen de drukte, voelden ze een moment van gedeelde verwondering.En: By the Night Watch, amidst the hustle and bustle, they felt a moment of shared wonder.Nl: Johan lachte, Elsa stelde vragen.En: Johan laughed, and Elsa asked questions.Nl: Ze zagen Rembrandt's werk met nieuwe ogen.En: They saw Rembrandt's work with new eyes.Nl: De tentoonstelling werd hun gezamenlijke avontuur.En: The exhibition became their shared adventure.Nl: Glimlachend liepen ze verder, elk schilderij nieuw bekeken en besproken.En: Smiling, they moved on, each painting newly seen and discussed.Nl: Sven zag Johan en Elsa eindelijk genieten.En: Sven saw Johan and Elsa finally enjoying themselves.Nl: Hun interesse was gewekt, hun appreciatie gegroeid.En: Their interest was sparked, their appreciation grew.Nl: Ze verlieten het museum met een gevoel van verbondenheid.En: They left the museum with a feeling of connection.Nl: Buiten, in de warme zomerzon, voelde Sven trots.En: Outside, in the warm summer sun, Sven felt proud.Nl: Hij had geleerd geduldig te zijn.En: He had learned to be patient.Nl: Zijn passie was een brug geworden tussen hem en zijn vrienden.En: His passion had become a bridge between him and his friends.Nl: En zo eindigde hun dag.En: And so their day ended.Nl: Drie vrienden verrijkt door kunst, met verhalen om nog lang over na te praten.En: Three friends enriched by art, with stories to talk about for a long time. Vocabulary Words:majestic: majestueuzegrand: statigewandered: liepencuriously: nieuwsgierigindifferent: onverschilligexcitedly: opgewondenexhibition: tentoonstellingmurmur: geroezemoesbeamed: straaldefrustrated: gefrustreerdsparkling: glanzendcaptured: gevangenadmiration: bewonderingcaptivated: geboeidhustle: druktewonder: verwonderingenrichment: verrijkingenthusiasm: enthousiasmeshared: gedeeldglance: glimpnewly: nieuwcanvas: doeksparked: gewektbridge: brugpatience: geduldattention: aandachtrembrandt: rembrandtartworks: kunstwerkenstories: verhalenwarm: warm

In this episode Gary Mansfield speaks to Jessica Gale (@Jess.Gale.Art) Jessica Gale is a British landscape artist born in 1967 in Catterick, Yorkshire. She began painting in 2010 during a period living in Amsterdam, inspired by the subdued beauty of a Dutch winter and influenced by Rembrandt's moody palette . Her work encompasses both representational and abstract landscapes. She investigates the interplay of shapes, light, and negative space, manipulating these elements through form and colour to convey the energy of her subjects. Gale trained at The Heatherley School of Fine Art in Chelsea, London, and currently resides and works in London and Dorset. Her diverse media include oil, acrylic, charcoal, pastels, and printmaking. She has exhibited widely, including at Harvey and Woodd in Edinburgh and the Otter Gallery in Dorset, and participated in the 2024 season of Sky's Landscape Artist of the Year. For more information on the work of Jessica Gale go tohttps://jessicagalefineart.com To Support this podcast from as little as £3 per month: www.patreon/ministryofarts For full line up of confirmed artists go to https://www.ministryofarts.orgEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to Huma Bhabha about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Bhabha was born in 1962 in Karachi, Pakistan, and has been based in the US since 1981—she now lives in Poughkeepsie, New York state. She has achieved a profoundly individual figurative sculptural language, exploring the rich history of her medium while also looking to the future. Informed by ancient monuments, Modernist sculpture and an array of other artforms, Huma employs various sculptural traditions—from modelling with clay, to carving, to found-object assemblage—to create figures that are monumental yet vulnerable, otherworldly yet rooted in the vicissitudes of contemporary geopolitics. Alongside her sculptures, Huma has made similarly powerful work in two-dimensions, particularly in combinations of drawing and collage. She reflects on the early and ongoing impact of Rembrandt on her work, her fascination with Pablo Picasso and Robert Smithson, the influence of the writing of Amy Goodman and Roberto Bolaño and how she has responded to the films of Jean-Luc Godard and Jean Negulesco. She also gives insight into her life in the studio and answers our usual questions, including: what is art for?Huma Bhabha—Encounters: Giacometti, Barbican, London, until 10 Aug; Huma Bhabha: Distant Star, 13 June-26 July. Hosted on Acast. See acast.com/privacy for more information.

Charles Spurgeon | Turn Away by Yeti Music | The Mill by Rembrandt van Rijn | Find more at www.ryanbush.org

May 3rd: Elsje Christiaens Executed (1664) There are some crimes that, though very little information exists, will be remembered for centuries to come. On May 3rd 1664 an execution took place in Amsterdam. One that drew a lot of attention. Including that of a famed artist. https://en.wikipedia.org/wiki/Elsje_Christiaens, https://www.metmuseum.org/art/collection/search/343628, https://andrejabrulc.wordpress.com/tag/elsje-christiaens/, https://www.executedtoday.com/2013/05/03/1664-elsje-christiaens-rembrandt-model/, https://www.metmuseum.org/art/collection/search/343628#:~:text=Elsje%20Christiaens%2C%20an%2018%2Dyear,her%20down%20the%20cellar%20stairs., https://harvardartmuseums.org/collections/object/298562 Learn more about your ad choices. Visit megaphone.fm/adchoices

We invite you to come with us inside one of America's most interesting art museums – an institution that is BOTH an art gallery and a historic home.This is The Frick Collection, located at 1 East 70th Street, within the former Fifth Avenue mansion of Gilded Age mogul Henry Clay Frick, containing many pieces that the steel titan himself purchased, as well as many other incredible works of art from master painters such as Rembrandt, Vermeer, Goya, Turner, and Whistler.Frick himself had a rather complicated legacy. As a master financier and chairman of Andrew Carnegie's massive steel enterprise, Frick helped create the materials for America's railroads and bridges. But his intolerance of labor unions led to a bloody confrontation in the summer of 1892, making him, for a time, one of the most hated men in America.New Yorkers' love for the Frick Collection, however, remains far less complicated. The institution, which as been a museum since 1935, allows visitors to experience the work of the great master painters in an often regal and intimate setting, allowing people to imagine the fanciful life of the Gilded Age. The Frick Collection reopens this month after an extensive renovation (temporarily relocating the collection to the Breuer Buildiing for a few years) and we've got a sneak preview, featuring Frick curator and art historian Aimee Ng.

THIS EPISODE BROUGHT TO YOU BY: You'll notice that there's no sponsor in this episode.  We'd love it if you'd consider supporting on Patreon.   PATREON - patreon.com/nodumbquestions  NDQ EMAIL LIST - https://www.nodumbquestions.fm/email-list    STUFF IN THIS EPISODE: Inklings Book Club Lester Del Rey The Runaway Robot by Lester Del Rey Trap Door Spiders book club Van Gogh Has a Broken Heart by Russ Ramsey Vincent Van Gogh The Art Thieves by Rooktown Salvador Dalí - The Persistence of Memory Dalí Museum The Banjo Lesson by Henry Ossawa Tanner John J. Audubon's Birds of America Haystacks by Claude Monet The Voyage of Life by Thomas Cole Nighthawks by Edward Hopper The Return of the Prodigal Son by Rembrandt Andy Goldsworthy M.C. Escher CONNECT WITH NO DUMB QUESTIONS: Support No Dumb Questions on Patreon if that sounds good to you Discuss this episode here NDQ Subreddit Our podcast YouTube channel Our website is nodumbquestions.fm No Dumb Questions Twitter Matt's Twitter Destin's Twitter SUBSCRIBE LINKS: Subscribe on iTunes Subscribe on Android OUR YOUTUBE CHANNELS ARE ALSO FUN: Matt's YouTube Channel (The Ten Minute Bible Hour) Destin's YouTube Channel (Smarter Every Day)