Podcasts about Royal Photographic Society

In this special episode Grant shares his personal memories of photographer Martin Parr and reflects on his influence on contemporary documentary photography. Martin Parr Born in Epsom, Surrey, Parr wanted to become a documentary photographer from the age of fourteen and cited his grandfather, George Parr, an amateur photographer and fellow of the Royal Photographic Society, as an early influence. However, it was not until he was introduced to the work of Tony Ray Jones by Creative Camera and Album editor and writer Bill Jay (www.youtube.com/watch?v=wd47549knOU&t=74s) at a talk whilst Parr was studying photography at Manchester Polytechnic that he identified how his career as a photographer would develop within documentary practice. Parr studied photography at Manchester Polytechnic from 1970 to 1973 with contemporaries Daniel Meadows and Brian Griffin.  Parr and Meadows collaborated on various projects,including working at Butlin's holiday camps as roving photographers. They were part of a new wave of documentary photographers, and the 'New British Photography'. In 1975 Parr moved to Hebden Bridge in West Yorkshire where he would complete his first body of work and spent five years photographing rural life in the area. He photographed in black-and-white, creating his series The Non-Conformistswas widely exhibited at the time and published as a book in 2013. In 1980 Parr married Susan Mitchell and, for her work, they moved to the west coast of Ireland where he set up a darkroom in Boyle, County Roscommon. In 1982 they moved to Wallasey, England, and he switched permanently to colour photography. During the summers of 1983, 1984 and 1985 he photographed working-class people at the seaside in nearby New Brighton. This work was published in the book The Last Resort: Photographs of New Brighton (1986) and exhibited in Liverpool and London. He and his wife moved to Bristol in 1987, and he began his next major project, on the middle class, who were at that time becoming increasingly affluent under Thatcherism. He photographed middle-class activities such as shopping, dinner parties and school open days, predominantly around Bristol and Bath which was published as his next book The Cost of Living (1989). Between 1987 and 1994 Parr travelled internationally to make his next major series, a critique of mass tourism, published as Small World in 1995. Between 1995 and 1999 he made the series Common Sense about global consumerism. Common Sense was an exhibition of 350 prints, and a book published in 1999. The exhibition was first shown in 1999 and was staged simultaneously in forty-one venues in seventeen countries. Parr joined Magnum Photos as an associate member in 1988. The vote on his inclusion as a full member in 1994 was divisive, with Philip Jones Griffiths circulating a plea to other members not to admit him. Parr achieved the necessary two-thirds majority by one vote. Alongside his photography he was a passionate collector and critic of photobooks. His collaboration with the critic Gerry Badger, The Photobook: A History (in three volumes) covers more than 1,000 examples of photobooks from the 19th century through to the present day. The first two volumes took eight years to complete. The Martin Parr Foundation was founded in 2014 and opened in Bristol in 2017. The Foundation houses Parr's own archive, and his collection of prints and book dummies made by other photographers—mainly British and Irish photography, and work by several photographers from abroad who have photographed in the UK. There is a gallery open to the public—its first exhibition was Parr's Black Country Stories —and it is a hub for talks, screenings and events. Parr was the Foundation's main source of income. He was diagnosed with cancer in May 2021, and died at his home in Bristol on 6 December 2025. https://martinparr.com ©Grant Scott 2025

The natural world faces unprecedented threats, challenging historical perceptions of nature as inexhaustible. Photographer Tim Flach draws on his acclaimed works, including Endangered, More Than Human, and Birds, to reveal how photography transcends traditional wildlife representation. By employing critical anthropomorphism and human portraiture techniques, Flach's images foster empathy and kinship with animals. Collaborating with social scientists, he illustrates how visual storytelling evokes emotional responses and inspires conservation action, showcasing the profound intersection of art, science, and social awareness in the Anthropocene.This lecture was recorded by Tim Flach on the 2nd of October 2025 at Barnards Inn Hall, LondonRenowned photographer Tim Flach is known for his stylised animal portraits. He has dedicated his career to documenting biodiversity and conveying empathy for our planet's endangered creatures. Driven by a desire to share stories of the natural world, he collaborates with scientists to research how imagery can better lead to pro-environmental outcomes. He has seven main bodies of work which have been exhibited worldwide, including shows at the Museums of Natural History, from Paris to Beijing. He has six internationally award-winning books translated into multiple languages. His latest publication, Feline, is scheduled for release in Fall 2025. Tim holds an Honorary Doctorate from the University of the Arts London (Norwich) and is an Honorary Fellow of the Royal Photographic Society. He is a Senior Research Fellow (Artist in Residence) at the Centre for Eudaimonia and Human Flourishing, University of Oxford, and currently serves as President of the Association of Photographers.The transcript of the lecture is available from the Gresham College website: https://www.gresham.ac.uk/watch-now/animal-portraitureGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham College's mission, please consider making a donation: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-todayWebsite:  https://gresham.ac.ukX: https://x.com/GreshamCollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeBluesky: https://bsky.app/profile/greshamcollege.bsky.social TikTok: https://www.tiktok.com/@greshamcollegeSupport Us: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-todaySupport the show

In this episode UNP Founder and Curator Grant Scott speaks with photographers Simon Roberts and Nina Emett about their project to establish an artist led collaborative space for photography on the South coast of England. Simon Roberts Robert's is based in Brighton, UK, and recognised for his large-format, tableaux photographs exploring the socio-political fabric of Britain. His practice also encompasses video, text and installation. Roberts has been recognised with numerous awards including an Honorary Fellowship to the Royal Photographic Society, the Vic Odden Award. He is the author of several critically acclaimed monographs and outside of his own practice he is involved with several not-for-profit organisations. www.simoncroberts.com Nina Emett Emett is founding Director of FotoDocument and a passionate believer in visual story-telling to engage people in powerful narratives, creating active global citizenship to effect positive change. She has commissioned and curated over 30 multi-media arts projects and exhibitions since 2012. She was Strategic Lead for Brighton & Hove City Council's anti-racism strategy (2005-09) and Director of the Salusbury World Refugee Centre (1999–03). https://www.instagram.com/nina_emett/ Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer in 2000. Alongside his photographic career he has art directed numerous advertising campaigns, foto8magazine, founded his own photographic gallery and launched Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford. © Grant Scott 2025

He's a Scottish artist, writer, musician, and educator whose work blends visual art with deep emotional resonance.Together with his wife, he runs a company dedicated to helping others find their own voice through expressive photography—a practice deeply connected to personal growth and mental well-being.His powerful book, Out of Darkness, explores the relationship between the external landscape and our internal emotional world—revealing how nature can serve as a mirror for self-acceptance and healing.That same body of work earned him one of photography's highest distinctions—being named a Fellow of the Royal Photographic Society in 2021.Through his thought-provoking YouTube channel and bestselling eBooks , he's redefining how we approach photography—not as a technical craft, but as a gateway to meaning, presence, and creative freedom.Please welcome to the show… Alister Benn----------------------------------------------ALISTER BENN SHOW LINKS• WEBSITE | EXPRESSIVE PHOTOGRAPHY | https://expressive.photography/• WORKSHOPS | https://expressive.photography/workshops/• E-BOOKS | https://expressive.photography/education/• BOOK: OUT OF DARKNESS | https://expressive.photography/out-of-darkness-home/• NEWSLETTER SIGNUP | https://expressive.photography/newsletter-signup/• YOUTUBE | https://www.youtube.com/@Alister_Benn• INSTAGRAM | https://www.instagram.com/alister_benn/• FACEBOOK | https://www.facebook.com/expressiveworkshops/• LIGHTCHASERS NATURE PHOTOGRAPHY CONFERENCE | https://lightchasersconference.com/Don't forget to like, share, and subscribe, and hit the bell to see more content from 'The Nature Photo Guys!'Thanks for watching!----------------------------------------------*Disclosure:*Some of the links are partner links, meaning if you make a purchase through them, ‘The Nature Photo Guys' may earn a small commission. There is no extra cost to you; in fact, in some cases, you may even receive a discount. Your support through these links help ‘The Nature Photo Guys' to continue creating valuable content. Thank you!*TCS | The Camera Store | Get the picture*Title Sponsor | https://thecamerastore.com/*f-stop | Elevate Your Photography with Premium Modular Bags and Backpacks!*Ambassadors | https://shop.fstopgear.com/?rfsn=5647323.2f459e*MotionHeat | Face the winter head on with Heated Wear Essentials!*Ambassadors | https://www.motionheat.ca/?ref=TNPGP15Save 15% off by using coupon code TNPGP15 at checkout*Kase Filters Canada | Unleash the Brilliance of True Colours!*Pro Partners | http://www.kasefilterscanada.com----------------------------------------------*The Nature Photo Guys*Email: info@thenaturephotoguys.caWebsite: http://www.TheNaturePhotoGuys.caFacebook: http://www.facebook.com/thenaturephotoguyspodcastInstagram: http://www.instagram.com/thenaturephotoguyspodcast*Joe Desjardins*Email: joe@joedesjardins.caWebsite: http://www.JoeDesjardins.caFacebook: http://www.facebook.com/joedesjardins.caInstagram: http://www.instagram.com/joedesjardins.ca*Chris Gibbs*Email: chris.gibbs@footprintsinnature.caWebsite: http://www.footprintsinnature.caYouTube: http://www.youtube.com/ @FootprintsInNature Facebook: http://www.facebook.com/footprintsinnature.caInstagram: http://www.instagram.com/footprintsinnature.ca----------------------------------------------© 2025 The Nature Photo Guys | Thank you for watching!Please Like, Share & Subscribe to see new content!----------------------------------------------

In this season premiere of the Change Africa Podcast, we sit down with none other than James Barnor, the legendary Ghanaian photographer and photojournalist whose work has defined generations. Often referred to as the godfather of photography in Ghana, Barnor pioneered color photography and processing in the country, capturing some of the most iconic moments in Ghanaian history.At 95 years old, Grandpa James—also known as Lucky Jim—reflects on his incredible journey from being a young apprentice in Accra to becoming a globally celebrated artist with exhibitions at Tate Modern, the Victoria & Albert Museum, and beyond. He shares insights on luck, the importance of education, and the awakening of his passion for photography. Barnor discusses capturing history through ordinary lives, the significance of celebrating forgotten heroes, and the need for community engagement in the arts. He emphasizes the importance of legacy, the pioneering spirit in national development, and the impact of technological advancements in photography. Barnor expresses his desire to inspire the next generation of photographers and his vision for the future of art in Ghana.Chapters00:00 Introduction to Change Africa Podcast01:02 The Journey of James Bano04:00 Reflections on Luck and Education06:04 The Impact of Photography on History09:58 Celebrating Forgotten Heroes12:13 The Role of Community in Photography16:02 Inspiration for the Next Generation19:59 Legacy and Institutionalization of Work24:35 Pioneering Spirit in Photography and Beyond27:02 Cultural Contributions and Community Engagement30:04 Adapting to Technological Changes in Photography36:53 Reflections on Life and Future Aspirations39:04 Political Insights and National Development PlansGuest ProfileJames Barnor, born in 1929 in Accra, Ghana, is a pioneering figure in African photography. Known for introducing color processing to Ghana in the 1970s and documenting societies in transition, his work spans street and studio photography, capturing Ghana's move toward independence and London's multicultural evolution. His exhibitions at the Tate Modern and MoMA have cemented his global influence, and he has received accolades like the Order of Volta and an honorary fellowship from the Royal Photographic Society. His official website, James Barnor, offers further insights into his legacy. This podcast is a production of Nexa Media.Do you have a question for our hosts? Email us at hello@changeafricapodcast.comFollow the podcast on Twitter, Facebook, Instagram, and LinkedIn.Watch on YouTube Hosted on Acast. See acast.com/privacy for more information.

Nancy Pinkerton is a mixed media artist originally from Canada, now residing in Edinburgh for the past 18 years. Her work seamlessly blends history, tourism, and culture, captivating audiences and earning her an associate distinction from the Royal Photographic Society in 2020 for my "Scotland's Chequered Throne" series. Nancy's unique approach to art, particularly through the use of levitation photography, allows her to create magical and distinctive photographs that tell compelling stories. One of Nancy's most celebrated collections, "Scotland's Chequered Throne," uses objects, playing cards, and a chessboard to narrate the tales of Scottish Monarchs. This innovative series exemplifies her talent for making history accessible and engaging for tourists and enthusiasts alike. Nancy's work continues to highlight her skill in blending artistic creativity with historical narrative, offering viewers a fresh perspective on Scotland's royal past. After immigrating to Scotland from Canada, Nancy worked with children with visual impairments for 17 years and recently started her business as a mixed media artist. This is something she had wanted to do for a very long time and she is excited that she is able to incorporate her love of travel, history and culture. Contact Nancy Pinkerton: Website: www.nancypinkerton.comShop: www.nancypinkerton.co.ukFacebook: www.facebook.com/ncpinkertonphotography Instagram: www.instagram.com/nancypinkertonphotoX: https://twitter.com/npinkertonphototik tok: www.tiktok.com/@npinkertonphotolinkedin: https://www.linkedin.com/in/nancy-pinkerton-0bb94574/ Dr. Kimberley Linert Speaker, Author, Broadcaster, Mentor, Trainer, Behavioral Optometrist Event Planners- I am available to speak at your event. Here is my media kit: https://brucemerrinscelebrityspeakers.com/portfolio/dr-kimberley-linert/ To book Dr. Linert on your podcast, television show, conference, corporate training or as an expert guest please email her at incrediblelifepodcast@gmail.com or Contact Bruce Merrin at Bruce Merrin's Celebrity Speakers at merrinpr@gmail.com 702.256.9199 Host of the Podcast Series: Incredible Life Creator Podcast Available on... Apple: https://podcasts.apple.com/us/podcast/incredible-life-creator-with-dr-kimberley-linert/id1472641267 Spotify: https://open.spotify.com/show/6DZE3EoHfhgcmSkxY1CvKf?si=ebe71549e7474663 and on 9 other podcast platforms Author of Book: "Visualizing Happiness in Every Area of Your Life" Get on Amazon: https://amzn.to/3srh6tZ Website: https://www.DrKimberleyLinert.com Please subscribe, share & LISTEN! Thanks. incrediblelifepodcast@gmail.com Social Media Links LinkedIn: https://www.linkedin.com/in/dr-kimberley-linert-incredible-life-creator/ Facebook: https://www.facebook.com/kimberley.linert/ The Great Discovery eLearning Platform: https://thegreatdiscovery.com/kimberley l

Anthony Luvera is an Australian socially engaged artist, writer, and educator based in London. The long-term collaborative work he creates with individuals and communities has been exhibited widely in galleries, public spaces, and festivals, including the UK House of Commons, Tate Liverpool, The Gallery at Foyles, the British Museum, London Underground's Art on the Underground, National Portrait Gallery London, Four Corners, Belfast Exposed Photography, Australian Centre for Photography, PhotoIreland, Malmö Fotobiennal, Goa International Photography Festival, Les Rencontres D'Arles Photographie, Oslo Negative, and Landskrona Foto Festival. His writing has appeared in a range of publications including Trigger, Photography and Culture, Visual Studies, Photoworks, Source, and Photographies. Anthony is Associate Professor of Photography in the Centre for Arts, Memory and Communities at Coventry University, and editor of Photography For Whom?, a periodical about socially engaged photography. Anthony is Chair of the Education Committee at the Royal Photographic Society, and a Trustee of Photofusion. He has designed education and mentorship programmes, facilitated workshops, and given lectures for the public education departments of National Portrait Gallery, Tate, Magnum, Royal Academy of Arts, The Photographers' Gallery, Barbican Art Gallery, and community photography projects across the UK.   Anthony's official website. https://www.luvera.com/ Follow Anthony on Instagram to keep up to date with his projects. https://www.instagram.com/anthony_luvera/   Michael Dooney https://beacons.ai/michaeldooney   This episode of Subtext & Discourse Art World Podcast was recorded on 30. October 2024 between Perth and London. Portrait photo supplied by guest.

n this special episode Grant Scott speaks with editor, writer and curator of photography David Campany. This conversation was instigated by an Instagram post Campany made which Grant responded to thanks to one of his podcast listenners. Grant and David's rigorous debate deals with the subject of how a photographer should/could present themselves and issues with gatekeepers. David Campany is a curator, writer, editor who has worked worldwide with institutions including Tate, Whitechapel Gallery London, MoMA New York, Centre Pompidou, Le Bal Paris, ICP New York, Stedelijk Museum Amsterdam, The Photographer's Gallery London, ParisPhoto, PhotoLondon, The National Portrait Gallery London. His work has been published with Aperture, Steidl, MIT Press, Thames & Hudson, Phaidon, MACK, Frieze, The New Yorker, The FT Weekend, and The Telegraph. He has written over three hundred essays for monographs, museums, and magazines, he has a Phd and has received the ICP Infinity Award, the Kraszna-Krausz Book Award, the Alice Award, a Deutscher Fotobuchpreis, and the Royal Photographic Society award. Instagram: davidcampany https://davidcampany.com Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott continues to work as a photographer, writer and filmmaker and is the Subject Coordinator for both undergraduate and post graduate study of photography at Oxford Brookes University, Oxford, England. Scott's book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on sale. © Grant Scott 2024

In this episode of PhotoWork with Sasha Wolf, Sasha is joined by Pauline Vermare, Curator of Photography at the Brooklyn Museum, and Lesley Martin, Executive Director of Printed Matter. They discuss their collaborative efforts on "I'm So Happy You Are Here: Japanese Women Photographers from the 1950s to Now," published by Aperture. This publication offers a counterpoint, complement, and challenge to historical precedents and the established canon of Japanese photography. Lesley and Pauline share their connections to Japanese society and their interest in the representation of women in photography. Together, Sasha, Lesley, and Pauline explore how they balanced the academic and historical aspects of their work with the artistic appeal of a photobook that highlights the contributions of Japanese women photographers. https://aperture.org/books/im-so-happy-you-are-here-japanese-women-photographers-from-the-1950s-to-now/ || https://www.instagram.com/la.martin_/ || https://www.instagram.com/paulinevermare/ Pauline Vermare is the Phillip and Edith Leonian Curator of Photography, Brooklyn Museum. She was formerly the cultural director of Magnum Photos NY, and a curator at the International Center of Photography (ICP), The Museum of Modern Art (MoMA), and the Henri Cartier-Bresson Foundation, in Paris. She sits on the boards of the Saul Leiter Foundation and the Catherine Leroy Fund. Lesley A. Martin is executive director of Printed Matter. Prior to that, she was the creative director of Aperture, founding publisher of The PhotoBook Review, and co-founder of the Paris Photo–Aperture Foundation PhotoBook Awards. She has edited more than one-hundred and fifty books of photography, including An-My Lê's Small Wars; Illuminance by Rinko Kawauchi; LaToya Ruby Frazier: The Notion of Family; and Zanele Muholi: Somnyama Ngonyama. Martin has curated several exhibitions of photography, including The Ubiquitous Image; the New York Times Magazine Photographs, co-curated with Kathy Ryan; Aperture Remix, a commission-based exhibition celebrating Aperture's sixtieth anniversary; and most recently, I'm So Happy You Are Here: Japanese Women Photographers Since the 1950s, co-curated with Pauline Vermare and Mariko Takeuchi. She received the Royal Photographic Society award for outstanding achievement in photographic publishing in 2020, and has been a visiting critic at the Yale University Graduate School of Art since 2016. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

In this episode Gary Mansfield speaks to Tom Hunter (tomhunterphotography) Tom Hunter is an artist using photography and film, living and working in East London. He is an Honorary Fellow of the Royal Photographic Society and has an Honorary Doctorate from the University of East London. Tom has earned several awards during his career, including the Rose Award for Photography at the Royal Academy, London and the Photographic Portrait Prize at the National Portrait Gallery, London. Tom graduated from the London College of Printing in 1994 with his work ‘The Ghetto', which is now on permanent display at the Museum of London. He studied for his MA at the Royal College of Art, where, in 1996, he was awarded the Photography Prize by Fuji Film for his series ‘Travellers'. In 1998 ‘Woman Reading a Possession Order' from his series ‘Persons Unknown', won the Photographic Portrait Award at the National Portrait Gallery. In 2006 Tom became the only artist to have a solo photography show at the National Gallery, London with his series ‘Living in Hell and Other Stories'. For more information on the work of Tom Hunter go tohttps://www.tomhunter.org 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.

Photographer Frans Lanting has spent decades capturing the Earth's diverse wildlife and landscapes, weaving a personal visual narrative that highlights both the beauty and the fragility of our planet.Born in Rotterdam, in the Netherlands, his work has led him across the globe, from the lush rainforests of the Amazon to the stark wilderness of Antarctica. Throughout his career, Lanting has been recognized with numerous accolades, solidifying his reputation as a master of his craft. Notably, he has been honored as a Fellow of the Royal Photographic Society in the UK and awarded the title of Wildlife Photographer of the Year by the Natural History Museum in London, one of the most prestigious awards in the field.His approach to wildlife photography goes beyond mere documentation. His images are a blend of art, observation, and advocacy, aiming to engage audiences in environmental conservation. His acclaimed project, “Life: A Journey Through Time,” is a great example of where he uses photography to chronicle the evolutionary history of life on Earth. This project has been transformed into an exhibition viewed by millions and a stunning photographic book, showcasing his skill in using the camera to tell profound stories – and there aren't many stories bigger than the the story of LIFEAdditionally, Lanting has collaborated with organizations like the World Wildlife Fund, the National Geographic Society, and NASA, bringing attention to critical conservation issues through his photographs. He might be best known for his long-standing association with National Geographic, resulting in more than a dozen magazine covers and numerous articles that bring wilderness and wild creatures right to the readers' doorsteps.Notable Links:Frans Lanting WebsiteBay of Life WebsiteBay of Life BookEye To Eye BookInstagram: @FransLantingFacebook: @FransLantingLinkedin: @Frans LantingTwitter/X: @LantingFrans*****This episode was brought to you by Luminar Neo, Kase Filters, and Mutual of Omaha's Wild Kingdom Podcast

The landscape photographer Charlie Waite is a true national treasure. A fellow of the Royal Photographic Society, he has published dozens of photography books and founded the Landscape Photographer of the Year awards back in 2006.We're absolutely delighted that he joined us on the Country Life Podcast, telling host James Fisher about his life in photography, how he was shaped by his early years in theatre and film, and his philosophy on how to produce — not just 'take' — a photograph has evolved.Listen to Country Life podcast on Apple PodcastsListen to Country Life podcast on SpotifyListen to Country Life podcast on AudibleHe tells us about how he has been inspired by some of the greats of the craft, from Ansel Adams to Henri Cartier-Bresson, quoting some of the advice he has taken on board from his heroes. Charlie is also passionate about sharing his love of landscape photography with as many people as possible, both through his Light & Land workshops and tours, and with his latest venture, an exhibition at the Mall Galleries in September 2024 in which Charlie's pictures will hang alongside those of other landscape photographers, amateur and professional, from across the world. Episode creditsHost: James FisherGuest: Charlie WaiteEditor and Producer: Toby KeelMusic: JuliusH via PixabaySpecial thanks: Adam Wilbourn Hosted on Acast. See acast.com/privacy for more information.

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

We kickstart Season 18 with Vanessa Winship, an artist and freelance photographer renowned for her poignant exploration of humanity, land, and history. From marginalized communities to migration, her lens unveils the fragility of human and non-human landscapes. Stay tuned for an enlightening episode with host Payal Nayar, as we delve into Vanessa's evocative work and it's profound impact on our understanding of the world.Step into the world of Vanessa Winship, a trailblazer whose lens has redefined the art of photography. With a distinguished career adorned with accolades such as two World Press Photo prizes and the prestigious Henri Cartier Bresson Foundation Prize, Vanessa's work stands as a testament to her unparalleled talent.From the revered halls of Rencontres d'Arles to the iconic galleries of the Barbican Art Gallery, Vanessa's exhibitions have mesmerized audiences worldwide. Her mid-career surveys at Fundación MAPFRE, Madrid, and the Barbican Art Gallery, London, have showcased her profound impact on the art world.In 2018, Vanessa was honored with an Honorary Fellowship from The Royal Photographic Society, recognizing her exceptional contributions to the field. Her photographs grace esteemed collections across the globe, including the Henri Cartier Bresson Foundation and Tate Britain.Apple Podcasts: https://buff.ly/2Vf8vv8⠀Spotify: https://buff.ly/2Vf8uHA⠀Google Podcasts:https://buff.ly/2Vds6LX⠀-Original music credit: Rish Sharma.His music is available on Spotify, Apple Music, YouTube and other streaming platforms.-October2019 voicesandmore Pte Ltd All rights reservedBeyond her artistic endeavors, Vanessa's collaborations with her partner, George Georgiou, as artists in residence in locations like Sardinia and Sete, France, reflect her commitment to pushing boundaries and exploring new frontiers in visual storytelling.Join us as we delve into the extraordinary achievements and creative brilliance of Vanessa Winship in an upcoming episode with our host, Payal Nayar. Become a member at https://plus.acast.com/s/melting-pot. https://plus.acast.com/s/melting-pot. Hosted on Acast. See acast.com/privacy for more information.

Brian Griffin was born in Birmingham in 1948 and grew up in the neighbouring Black Country, in the English midlands. He started his working life at 16 working in a factory, where he remained for 5 years, before finally making his escape to Manchester Polytechnic where he took a degree in photography, shortly after which he left for London in pursuit of a photographic career as a fashion photographer. It was there that he met and was mentored by Roland Schenk, the charismatic art director on Management Today magazine, who offered him a job as a corporate photographer. The rest, as they say, is history. Brian was later considered 'the photographer of the decade' by the Guardian Newspaper in 1989; 'the most unpredictable and influential British portrait photographer of the last decades' by the British Journal of Photography in 2005 and 'one of Britain's most influential photographers' by the World Photography Organisation in 2015. In 1991, his book Work was awarded the ‘Best Photography Book in the World' prize at Barcelona Primavera Fotografica. Brian is patron of the Format Photography Festival in Derby; in September 2013, he received the ‘Centenary Medal' from the Royal Photographic Society in recognition of a lifetime achievement in photography; and in 2014 he received an Honorary Doctorate from Birmingham City University. Brian Griffin's photographs are held in the permanent collections of many major art institutions and he has published twenty or so books, including his latest, Pop which features some of the highlights of his album artwork and band photography from decades working in the music industry with such artists as Iggy Pop, Elvis Costello, Depeche Mode and Kate Bush. In other words, he's a bit of a legend. Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.

The Royal Photography Society This week Marcus is doing the show solo, without Sam, and talking to Dr Michael Pritchard from the Royal Photography Society(RPS).  Michael's story Photography has been something Michael has been involved in since he was 11  years old.  He started working as a Saturday boy in a professional studio in the late 70s. The studio did a wide range of different work from weddings, studio and commercial work. He also got to work in the black and white darkroom. This really sparked Michael's passion for photography. They allowed him to do his own work there, using the professional dark room. Michael went to university, but would always come back in the holidays and do more work and use the dark room. He started to develop a love of the history of photography and joined the RPS as a junior member as he wanted access to the historical group within the society. He used to go to the RPS's London location in London and meet with the historical group. Michael got a job at Christie's as they knew of his historical knowledge of cameras and photographs. He was organising auctions at Christie's. Michael learnt a huge amount about the history of photography through this work.  Michael still now has a small amount of historical cameras which he still uses from time to time. He worked in Christie's for about 20 years. He then moved to do a Phd in the history of photography. While there he still did some work from Christie's and for the British Library who had gained the Kodak library and needed help organising it. Michael also did some teaching at DeMontford university on a module on the history of photography. Then in 2011 as he was finishing his Phd he was approached about applying for a role of the RPS as director general. Since then the role has been split in two and he then moved to the programs and education side of the role.   What does the RPS do for photographers? The RPS is a registered charity and a membership organisation. There ultimate goal is member education, helping them become better photographers. Most members of the RPS are amateur, although some are professional. Some photographers get letters after their name showing their work has been recognised by the RPS. The RPS has a journal the has been going for over 150 years. The RPS do a lot of work with the local universities. The RPS has moved from Bath to Bristol. The Bristol location gives them a large exhibition space and an auditorium. Their exhibition changes every year, but some of the work can date back to the start of the RPS. The RPS is a community of people, about ten thousand members. Part of the RPS's work is building that community. Michael also reminds us that photography should be fun and sometimes we can forget this.   Artificial intelligence Marcus asked Michael about AI. The RPS has issued a statement about AI. Generative AI is something the RPS is wrestling with. The RPS doesn't see AI generated images as photography. There is also the use of AI in software. So the software in your smartphone, the software in photoshop all uses AI. The RPS is comfortable about most of that, be it autofocus, setting enhancement etc. But then this software is starting to go forward doing things like replacing the sky. That is then an issue as it is no longer really a photograph. The RPS is actively wrestling with these issues. A lot of photographers are already using AI in their practice and Michael thinks it is better to work with AI than fight against it, but within certain parameters. He sees no reason why photographers can't embrace it into their practice, as they did with digital when that came out.      

Maureen Taylor is thrilled to have Dr. Michael Pritchard on the podcast. He's a celebrated historian and the author of A History of Photography in 50 Cameras. They discuss cameras, history, and the art of capturing moments.Introduction to Dr. Michael Pritchard: His background and expertise in the history of photography.Discussion on “A History of Photography in 50 Cameras”: Insights into the book's approach to storytelling through cameras.Evolution of Camera Collecting: Trends in camera collecting from the 1980s to the present.The Importance of the Camera Obscura: Discuss the significance of this device in the history of photography.Digital Photography and its FutureRelated Episodes:Episode 170: Snapshot Cameras in Your Family with Peter DumasEpisode 120: Good Pictures: Amateur Photography and Our Family with art historian Kim BeilLinks:British Photo HistorySign up for my newsletter.Watch my YouTube Channel.Like the Photo Detective Facebook Page so you get notified of my Facebook Live videos.Need help organizing your photos? Check out the Essential Photo Organizing Video Course.Need help identifying family photos? Check out the Identifying Family Photographs Online Course.Have a photo you need help identifying? Sign up for photo consultation.About My Guest:Dr. Michael Pritchard, a renowned figure in photography, has a diverse career spanning various roles. Initially a photography specialist at Christie's, he set record auction prices for cameras. Holding a PhD in photographic history, he has extensively written and lectured on the subject both in the UK and internationally. His expertise extends to teaching MA courses and consulting for the British Library on the Kodak Historical Collection. He contributes significantly to the field as the director of the Royal Photographic Society's public programs. His practical experience includes studio and location photography, darkroom techniques, and alternative processes. Michael has also been prominent in curating exhibitions and judging international photography competitions. His published works include notable titles like “A History of Photography in 50 Cameras,” and he edits The PhotoHistorian and the British Photo History blog. About Maureen Taylor:Maureen Taylor, The Photo DetectiveÒhelps clients with photo-related genealogical problems. Her pioneering work in historic photo research has earned her the title “the nation's foremost historical photo det I'm thrilled to be offering something new. Photo investigations. These collaborative one-on-one sessions. Look at your family photos then you and I meet to discuss your mystery images. And find out how each clue and hint might contribute to your family history. Find out more by going to maureentaylor.com and clicking on family photo investigations. Support the show

Creativity through the lens of a photographer and author"I'm always looking for interesting things, people or places to photograph. Any picture you can create emotion from is priceless."In the 1960s Peter Dazeley, known as Dazeley, started his working life as a photographer at a studio in Fleet Street, London. He was educated at Holland Park School, now known as the Socialist's Eton, which had amazing facilities including studios and darkrooms. Being wildly dyslexic he left school at 15 without any formal qualifications. Dazeley states that ‘Dyslexia should be seen as a superpower; it givesme the ability to see the world differently.' Dazeley's career has spanned over 60 years, in 1976 he started working out of his own studio in Chelsea, London. He is a meticulousplanner and imaginative problem solver. "Making the ordinary lookextraordinary is Dazeley's gift" says Sarah Ryder Richardson, whorepresents Dazeley. Working with 31 Studios, the foremost specialist for Platinumprinting in the UK, Dazeley produced his first book: 21 st CenturyPlatinum (2003), which he likened to taking photography back to itsorigins. As a born and bred Londoner, he has also fulfilled his passion torecord the history of London, in four highly successful books: UnseenLondon (2014), London Uncovered (2016), London Theatres (2017)and London Explored (2021). In 2013 Dazeley was honoured to be awarded a Fellowship from The Royal Photographic Society, which is the highest distinction of theRPS and recognises original work and outstanding ability. Dazeley is a life member of the Association of Photographers and was delighted to be awarded a British Empire Medal in the Queen's 2017 New Year's Honor's list, for his services to photography and charity. Dazeley is married with two children and lives in Coombe Hill, Surrey, UK.http://peterdazeley.comhttp://www.dazeleyfineart.comhttps://www.linkedin.com/in/peter-dazeley-91434310/https://www.instagram.com/peterdazeley/https://www.facebook.com/peter.dazeley.7

  Who is the photographer Peter Dazeley and how did we meet Peter Dazeley studied photography at Holland Park Comprehensive (now known as the Socialist Eton). He possesses a meticulous planning approach and an imaginative problem-solving ability, pioneering numerous photographic techniques that have since become standard practices. Sarah Ryder Richardson, who represents Dazeley in the UK, states, "Dazeley's gift lies in making the ordinary look extraordinary." His work has earned awards from organizations worldwide, including the Association of Photographers, the Royal Photographic Society in the UK, EPICA in France, Applied Arts Magazine in Canada, and Graphis Inc. in the USA. Platinum prints of Dazeley's fine artwork are produced by 31 Studios in Gloucestershire. A few months ago, Lauren Bell, a publicist from Trope Publishing, approached me. She asked if I would be interested in engaging in a conversation with Peter. Naturally, I agreed, and the rest, as they say, became history. Despite the timezone difference and his hectic schedule, Peter was more than accommodating. He sat down with me to record this conversation. This marked only his second podcast interview, yet he performed exceptionally well for a podcasting newcomer. Take a look at his work; I'm confident you'll be impressed by his photographic skills.     Links to Peter's Work   Trope Publishing About Peter Dazeley PreOrder Monochrome London Theater   Sign Up for the Create Art Podcast Newsletter       Reach Out To The Podcast   To reach out to me, email timothy@createartpodcast.com I would love to hear about your journey and what you are working on. If you would like to be on the show or have me discuss a topic that is giving you trouble write in and let's start that conversation.   Email: timothy@createartpodcast.com YouTube Channel: Create Art Podcast YT Channel IG: @createartpodcast Twitter: @createartpod   Special Message   If you have found value in this podcast, please share it with a friend as that is the best way to discover new podcasts. I want this to be a 5-star podcast in your eyes so let me know what you would like to see. Speaking about sharing with a friend, check out my other podcast Find A Podcast About where I help you outsmart the algorithm and find your next binge-worthy podcast. You can find that podcast at findapodcastabout.xyz. I am trying to utilize YouTube more, so make sure to check out my YouTube Channel to see me doing the episodes right in front of you.  

Steven McCurry is an American photographer who has captured some of the world's most iconic photographs of the 20th and 21st centuries. From the war-ravaged landscapes of Afghanistan to the vibrant, colorful streets of India, his ability to capture the raw emotions and the spirit of humanity over the course of five decades has made his work both timeless and universally revered.His most famous photograph, the  haunting portrait of the 'Afghan Girl,'  first graced the cover of National Geographic Magazine in June of 1985 and is considered one of the most recognized photographs of all time.McCurry has photographed many assignments for National Geographic and has been a member of Magnum Photos since 1986McCurry is the recipient of many prestigious awards, including the Robert Capa Gold Medal, the Magazine Photographer of the Year, awarded by the National Press Photographers Association, the Centenary Medal for Lifetime Achievement from the Royal Photographic Society in London, and induction into the International Photography Hall of Fame.Notable Links:Steve McCurry WebsiteTwitter/XInstagramThis episode is brought to you by Lexar.For more than 25 years, Lexar has  been trusted as a leading global brand of memory solutions so they know first-hand just how quickly content is transforming our world.Their award-winning lineup performs second-to-none and includes professional memory cards, card readers, and solid-state drives for creators of all skill levels.Whether shooting photos, capturing video, or transferring content on the go, Lexar provides the quality and performance you can rely on to get the shot with confidence.I've been using the Lexar Professional CFexpress Type B GOLD memory cards with my Canon mirrorless cameras for years and they deliver the blazing speed and durability for the extreme weather conditions I encounter anywhere in the  world.To learn more about Lexar memory solutions, visit www.lexar.com.

Welcome to the Photofocus Roundtable Podcast, where each month, our panel discusses some current trends and topics on our minds. This month, we are joined by Chris Marquardt of Photography Tips from the Top Floor, and new author Peter Dazeley. Thank you Photomatix for sponsoring. You can try the original application for High Dynamic Range Photography for free. YouTube recommendations We all learn from the internet these days. We used to say that if you want to learn something, Google it. Now, we say YouTube it. So, what is a great YouTube channel that you like to learn from? What you would recommend to our listeners? Rob's Recommendation - https://www.youtube.com/@badxstudio Ron's Recommendation -  When the director is reeeally good at their job Chris's Recommendation - Adam Savage's Tested Peter's Recommendation -  Click on BBC Show notes Influencer prefers using screenshots to the iPhone selfie camera Peter's Book, 'Monochrome' Street Photographer Uses AI Face Swap to Hide His Subjects' Identities Neural radiance fields (NeRF) Stability AI Boss Admits to Using ‘Billions' of Images Without Consent AI will go open source and on-device About your hosts Peter Dazeley studied photography at Holland Park Comprehensive (now known as the Socialist Eton). He is a meticulous planner and imaginative problem solver and has pioneered many photographic techniques that have become the norm.  His work has won awards from organisations across the world, including the Association of Photographers, the Royal Photographic Society in the UK, EPICA in France, Applied Arts Magazine in Canada, Graphis Inc. in the USA. Chris Marquardt is a seasoned podcaster, accomplished photographer, and acclaimed author. His podcasts delve into a range of topics from the nuances of photography to the future of creativity, inspiring listeners to explore their own artistic journeys. His photo tours and workshops offer hands-on experiences, guiding enthusiasts to capture stunning visuals and develop their skills. As an author, his insightful books on photography and film, available in four languages, provide deep dives into these fascinating subjects. Ron Pepper is a Bay Area photographer specializing in 360° panoramic images for businesses, destinations, homes, schools and more. He's a LinkedIn Learning author, mentor and trainer. You can follow him on his website or Instagram. Rob Moroto is a commercial photographer based in Vancouver Island. From homes to people to businesses, Rob loves showing a different perspective through his lens. He sees depth in every person and every object, no matter how plain they may seem. You can follow him on his website or at CalgaryPhotos.ca.

Ep.157 Karen Navarro is an Argentinian-born multidisciplinary artist currently living and working in Houston. Navarro works on a diverse array of mediums that include photography, collage, the use of text and sculpture. Her image-based work and multimedia practice investigate the intersections of identity, representation, race, and belonging in reference to her migrant experience, her Indigenous identity and the history of colonization and its influence. Her constructed portraits are known for pushing the boundaries of traditional photography and the use of color. Navarro has won numerous awards and grants for her mixed-media photography, among them the Artadia Fellowship and the Top Ten Lensculture Critics' Choice Award, and has been shortlisted for several more, including the Photo London Emerging Photographer of the Year Award and The Royal Photographic Society, IPE 163. Her work has been exhibited in the US and abroad. Selected shows include Contemporary Arts Museum Houston (CAMH), USA; Galerija Upuluh, Zagreb, Croatia; FAR Center for Contemporary Arts, Bloomington, USA; Holocaust Museum Houston, USA; Artpace, San Antonio, USA and Melkweg Expo, Amsterdam, The Netherlands. Navarro's work has been featured in numerous publications, including ARTnews, The Guardian, Observer, Rolling Stone Italia, and Photo Vogue Festival Italia. Photo credit: Self portrait Karen Navarro www.karennavarroph.com Dovetail https://dovetailmag.com/karen-navarro/ Lenscratch http://lenscratch.com/2023/01/karen-navarro-somos-millones-foto-relevance/ Aesthetica https://aestheticamagazine.com/the-constructed-self/ Houstonia Magazine https://www.houstoniamag.com/arts-and-culture/2021/09/houston-women-artists-radical-portraits OBSERVER https://observer.com/2020/03/spring-museum-exhibitions-2020-moma-guggenheim/ ARTnews https://www.artnews.com/art-news/news/artadia-1202680318/ The Guardian https://www.theguardian.com/artanddesign/gallery/2020/oct/15/best-of-photo-london-digital-2020-in-pictures Harper's Magazine https://harpers.org/archive/2020/05/diary-of-a-foreigner-in-paris-katherine-jackson-french-on-lighthouses/ Rolling Stone Italia https://blackcamera.it/karen-navarro-la-fotografia-ai-confini-dellidentita/ PaperCity https://www.papercitymag.com/society/contemporary-arts-museum-houston-art-ladies/#374810

One of the greatest contemporary photographers and directors of our generation, Nadav Kander receives us in his London studio. Nadav has received an Honorary Fellowship from the Royal Photographic Society and won the Prix Pictet award for his striking images of China's Yangtze River. In 2009, he had 52 full colour portraits published in one issue of The New York Times Magazine surrounding US President Barack Obama. There is a certain melancholic beauty, an uncanniness, in Nadav's work that I've always admired. Hosted on Acast. See acast.com/privacy for more information.

Art Wolfe is a legendary American wildlife, landscape, and cultural photographer, as well as explorer and conservationist. His career spans more than five decades and he shows no sign of slowing down! Art is a Canon Explorer of Light, an Honorary Fellow of the Royal Photographic Society, and the creator of more than 100 books. He was the host of the popular TV series on PBS, Art Wolfe's Travels To The Edge.Many of his photographs are classics and two in particular are featured on US postage stamps. Art will be releasing a new book this Fall called Wild Lives, documenting animals' relationship with humanity. The topics Richard and Art cover:Himalayan hikes.Don't let technology get in the way of your vision.Creating for yourself and surprising your audience.Pre-visualization and spontaneity. Abstract expressionism. Why you should broaden your perspective.How classic artists have influenced Art's vision and photography.Digital Illustrations: success and controversy.Technology in photography - where are we heading?Re-editing Art's classic photography with new processing tools.A close call during an encounter with two rhinos.100+ books - but who's counting?All this and more!Find Art Wolfe at:WebsiteTwitterInstagram ***This episode was brought to you by Luminar Neo. Luminar Neo helps photographers with everything needed to edit and process photos that look amazing on the screen and in print. Luminar Neo was designed for hobbyists and pros alike and includes the most effective AI-powered editing tools and extensions all in one intuitive and easy-to-use app. You can use Luminar Neo as a standalone app on Windows and Mac computers or as a plugin for Adobe Lightroom and Photoshop so you can keep your existing workflow while having access to powerful editing tools you just can't find anywhere else. Learn more about Luminar Neo and how it can help you improve your creativity in photo editing by visiting the Skylum website.

In episode 251 UNP founder and curator Grant Scott is in his shed reflecting on the importance of magazine photography, finding subject matter, respecting popular culture and possibly the first ever touring exhibition of contemporary photography in the UK. Plus this week, photographer Carolyn Mendelsohn takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which she answer's the question ‘What Does Photography Mean to You?' Carolyn Mendelsohn originally trained as an actor and director, before moving into filmmaking, and then photography. Her practice is rooted in telling stories and amplifying the voices of those who are not always heard. Mendelsohn is recognised for her portraits, including her portrait series and 2020 book, Being Inbetween, and is the founder of Through Our Lens, a workshop and mentoring programme that enables people to tell their stories through the medium of photography. Her work has been exhibited internationally, with solo and group exhibitions in national galleries across the UK and Europe, and has been published by the BBC, in The Guardian, The Sunday Times, The Telegraph, La Monde and the British Journal of Photography amongst many others. Mendelsohn's awards include BJP Portrait of Britain 2017, 2019 and 2021, and she was the winner of the Single Image Award for Open Wall Arles.  She was the Finalist in the The Kuala Lumpa International Portrait Awards 2021, The Royal Photographic Society International Photography exhibitions RPS IPE 159 gold and finalist for RPS IPE 160. In 2020, Carolyn was named winner of the Portrait Series category for the 15th Julia Margaret Cameron Awards. She is the Artist in Residence for Born In Bradford and a Nikon Europe Ambassador and an Ambassador for the Royal Photographic Society. www.carolynmendelsohn.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. © Grant Scott 2023

This week Connor is joined by photographer Marcus Doyle. Marcus is the assistant professor of photography at IWU, and has served as associate professor at Azusa Pacific and Christchurch Canterbury University. He has been in the field of photography for 30 years where he has hosted 35 solo exhibitions, and is a member of the Royal Photographic Society and Association of Photographers. Listen in to hear about composition in photographs, making a living while being a photographer, and how to best display your work. Link to Marcus' Website: https://www.marcusdoylephotography.com/

"Keith, you of all people should know today's the anniversary of the birth of cinema"

 In this episode, host Danielle Radojcin travels to East London to meet Hannah Starkey, the British photographer. Since she first came to prominence in the 90s, Starkey has built up an impressive body of work focusing on women and how they are represented. Born in Belfast in 1971, she studied photography and film at Edinburgh's Napier University in the 90s and went on to study photography at the Royal College of Art in London. Today, her work can be found in major collections including the Tate and the Victoria & Albert Museum and In 2019 she was awarded the Honorary Fellowship of the Royal Photographic Society.From autumn 2022 until the end of April 2023, the Hepworth Wakefield gallery in West Yorkshire presents the first major survey exhibition of Starkey's work. In this episode, Radojcin and Starkey discuss Starkey's process and how she works with her subjects;  what she calls “the consumer gaze” and the tyranny of social media, porn and the fashion and beauty industries on young women; and the power of photography as a tool for communication. Episode photo: Jeff Moore

In episode 241 UNP founder and curator Grant Scott is in his shed reflecting on photography now and how we got here, whilst suggesting advice on photographic practice from Jack Kerouac and Tony Ray-Jones. Plus this week, photographer Mitra Tabrizian takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which she answer's the question ‘What Does Photography Mean to You?' Mitra Tabrizian is an Iranian‐British artist and filmmaker whose photographic work has been exhibited and published widely and represented in major international museums and public collections. Solo museum shows include at Tate Britain in 2008 and the Venice Biennale, Iranian Pavilion in 2015. She was awarded the Royal Academyʼs Rose Award for Photography in 2013 and selected as one of Hundred Heroines: Celebrating Women in Photography Today, by the Royal Photographic Society in 2018. Her short film The Insider was made in collaboration with the Booker Prize Winner, Ben Okri and commissioned to accompany Albert Camus' The Outsider, adapted for the stage by Okri. Screenings of her film-work include at the British Museum and the Smithsonian Institution, Washington. Tabrizian's latest photographic book Off Screen was published in 2019. Her critically acclaimed debut feature Gholam had a theatrical release in 2017 and is now available on BFI player, Amazon Prime and Itunes worldwide. Mitra is currently developing her second feature The Far Mountains with the British Film Institute. www.mitratabrizian.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. © Grant Scott 2022

A special report from the third annual BoP Bristol photobook festival at the Martin Parr Foundation, in conjunction with the Royal Photographic Society.Featuring:Tom Booth WoodgerCraig EastonAaron SchumannRoger DeakinsKeith Cullen from Setanta BooksMartin Amis from photobookstore.co.uk and Photo EditionsTom Broadbent from The Photobook Club CollectiveAndi Galdi VinkoMartin ParrMatthew KillipChilli PowerSam BinyminAlys TomlinsonMatt Martin from Photobook CafeInstagram

In episode 232 UNP founder and curator Grant Scott is in his shed reflecting on photographer and photo editor Eamon McCabe, finding context to get paid and the positive and negative aspects of the photo community online. Plus this week, photographer Jane Hilton takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which she answer's the question ‘What Does Photography Mean to You?' Jane Hilton is a London based photographer and filmmaker renowned for her work documenting American Culture, in particular the American West, which she has explored for the past twenty-five years. Her monographs include, 2010s Dead Eagle Trail depicting the lifestyle of the twenty-first century cowboy, 2013s Precious featuring intimate nude portraits of working girls in Nevada and most recently 2016s LA Gun Club exploring American gun culture with a collection of unique 'shot up' target posters. Hilton is fascinated by subjects that are legal, but not socially acceptable. In 2000 she was commissioned by the BBC to make a series of ten documentary films about two brothels in Nevada, titled Love for Sale, the only state in America where prostitution is legal. She was awarded an Honorary Fellowship of the Royal Photographic Society in 2014 and chosen as one of the 'Hundred Heroines' representing internationally the most inspirational women in photography today. Her work has appeared in numerous major publications including The Sunday Times Magazine, The Telegraph Magazine and FT Magazine. Hilton's work is widely collected and exhibited with recent solo shows including, LA Gun Club, at the Eleven Gallery, London in 2016, American Cowboy at the Nailya Alexander Gallery, New York in 2015, Jane Hilton's America, at the Schilt Gallery, Amsterdam in 2014. She has spent the last five years filming the The Last Lion Tamer following a family's fight to save their lifestyle as the government intends to ban all wild animals performing in circuses. https://janehilton.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. © Grant Scott 2022

My guest on this episode is the absolute legend that is Gered Mankowitz - he is the photographer who created the enduring and defining image of the rock star as we know it today. Inspired to take up photography by the comedian Peter Sellers, Gered opened his first studio in 1963. Finding himself at the centre of Swinging London, he soon established himself as one of the most prominent music photographers on the scene. His portfolio showcases striking and beautiful photographs from the 1960s to the 2000s, encompassing the Rolling Stones, Jimi Hendrix , Small Faces, Marianne Faithfull, P.P. Arnold, Led Zeppelin, Eurythmics, Kate Bush, Oasis and many others. Check out his collection here. There are two links with Paul Weller. The photograph for the cover of The Jam's second album This Is The Modern World and a lovely shot for an advert for Vox Amps with The Style Council... In 2016 Gered was awarded the distinction of a Fellowship of The Royal Photographic Society. Find out more about Gered at mankowitz.com and check out my show notes at paulwellerfanpodcast.com/episode-112-gered-mankowitz If you enjoy this episode of the podcast - please share on your social media channels - and leave a review and if you want to support the podcast financially, you can buy me a virtual coffee at paulwellerfanpodcast.com/store

In this episode, Albert Watson shares his Photographic Memory: a fashion image he took as part of a campaign for Blumarine in Miami in 1989.Albert is one of the most prolific artists of the last century as he blends art, fashion and commercial photography to create stark, powerful images. His celebrity portraits include Alfred Hitchcock, Steve Jobs, Kate Moss, Prince, Michael Jackson, Andy Warhol and Mick Jagger with his work featuring on more than 100 covers of Vogue. His accolades also include an OBE from the Queen, a lifetime achievement award from the Royal Photographic Society and even a Grammy.Albert turned 80 this year and his career spans nearly 60 years. In the conversation he covers his education in Scotland and his later move to Los Angeles and then New York City, where he currently resides.In conversation with Vogue, Mr Porter & New York Times photographer Jonathan Daniel Pryce aka GarçonJon. Find more info on the guests and photographs mentioned in this episode below:Web:https://photographicmemory.show/Instagram:https://www.instagram.com/garconjon/

“I'm not just taking beautiful pictures. I'm collecting their voices, collecting their movement, collecting different aspects, and preserving this moment because they will not always be here. I don't just see myself as a photographer, an artist. I also see myself as an archiver. Someone who is archiving as a researcher.”Etinosa Yvonne is a self-taught documentary photographer and videographer born and raised in Nigeria. Her work focuses on the human condition and social injustice. She has received grants from Women Photograph, National Geographic in partnership with Lagos Photo and Art X and an award from the Royal Photographic Society for her project; It's All In My Head. In 2020, she was one of six photographers selected the World Press Photo 6*6 Global talent in Africa.· www.etinosayvonne.me· www.creativeprocess.info

“I'm not just taking beautiful pictures. I'm collecting their voices, collecting their movement, collecting different aspects, and preserving this moment because they will not always be here. I don't just see myself as a photographer, an artist. I also see myself as an archiver. Someone who is archiving as a researcher.”Etinosa Yvonne is a self-taught documentary photographer and videographer born and raised in Nigeria. Her work focuses on the human condition and social injustice. She has received grants from Women Photograph, National Geographic in partnership with Lagos Photo and Art X and an award from the Royal Photographic Society for her project; It's All In My Head. In 2020, she was one of six photographers selected the World Press Photo 6*6 Global talent in Africa.· www.etinosayvonne.me· www.creativeprocess.info

“I'm not just taking beautiful pictures. I'm collecting their voices, collecting their movement, collecting different aspects, and preserving this moment because they will not always be here. I don't just see myself as a photographer, an artist. I also see myself as an archiver. Someone who is archiving as a researcher.”Etinosa Yvonne is a self-taught documentary photographer and videographer born and raised in Nigeria. Her work focuses on the human condition and social injustice. She has received grants from Women Photograph, National Geographic in partnership with Lagos Photo and Art X and an award from the Royal Photographic Society for her project; It's All In My Head. In 2020, she was one of six photographers selected the World Press Photo 6*6 Global talent in Africa.· www.etinosayvonne.me· www.creativeprocess.info

In episode 194 UNP founder and curator Grant Scott is in his shed reflecting on photography as evidence of important events, what it takes to get commissioned and why you don't need to buy more cameras and lenses. Plus this week photographer Frederic Aranda take's on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Self-taught portrait photographer Frederic Aranda was born in Geneva, Switzerland in 1980 and came to the UK over 20 years ago to undertake a degree in Japanese at Oxford University. He has been based in London ever since and is known for a colourful but pared-down form of portraiture and group portraits for clients such as Vanity Fair and Patek Philippe, Harrods. Two books of his work have been published, Electric Fashion in 2017 and California Elegance: Portraits From the Final Frontier in 2021. He has had three solo exhibitions of his work in London, the most recent of which was in the Raphael Gallery at the Victoria & Albert Museum. Aranda was given a Fellowship to the Royal Photographic Society in 2021 and his work has also been recognised by the International Photography Awards, the RPS International Photography Exhibition and The Swiss Photo Award. Aranda was also a finalist in the Sony World Photography Awards and the Aesthetica Art Prize. Last year his work was part of a group show on Holocaust Survivors living in the UK at the Imperial War Museum, London. https://fredericaranda.com Dr. Grant Scott is the the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). Podcast music: Written and performed by Dr. Laura Ritchie www.lauraritchie.com © Grant Scott 2022

This week Simon and Nick discuss if Apple are planning their car to launch without a steering wheel or pedals in 2025. The surprise announcement you will be able to fix it yourself soon - if you really want. How Simon's new iPhone 13 setup didn't go smoothly. 50 years of chips, and more. GIVEAWAYS & OFFERS Steve at Geeks Corner has a podcast which is usually a 5-15 min show of his thoughts on tech. Also keep an eye on his site or follow him on Twitter @GeekCorner_uk to watch for regular giveaways. The next meeting of Suffolk Mac User Group is on Wednesday 24 November at 7.30pm GMT, when member Tony Bramley, professional photographer and Fellow of the Royal Photographic Society, will be ripping the lid off DaVinci Resolve, and illustrating how easy it is to use. Amazingly, a free piece of software, way beyond iMovie and GarageBand and used quite often for high end work in Hollywood, DaVinci Resolve has incredible power that rivals Final Cut Pro and Adobe Premier Pro. If anyone is interested in a guest invitation to this send your Real Name, and Email Address to: Michael Kwasniak davincisuffolk@gmail.com and mention you're with Essential Apple Why not come and join the Slack community? You can now just click on this Slackroom Link to sign up and join in the chatter! Recorded 21st November 2021 NICK RILEY @spligosh (https://twitter.com/spligosh) on Twitter very occasionally. Sometimes appears on Bart Busschots' Let's Talk Apple Sutton Park Circuit church worship on YouTube Nick's church stream videos – You Tube APPLE Mark Gurman: Apple's car deadline of 2025 fits with company playbook – Irish Examiner Apple reportedly aims to debut a fully self-driving car in 2025 – Autoblog Apple announces new Self Service repairs for iPhone 12, iPhone 13 – iMore Only a 'Small Fraction' of iPhone Users Will Use Self Service Repair Program, Study Suggests – MacRumors Mark Gurman: Apple's car deadline of 2025 fits with company playbook – Irish Examiner Apple reportedly aims to debut a fully self-driving car in 2025 – Autoblog Apple announces new Self Service repairs for iPhone 12, iPhone 13 – iMore Only a 'Small Fraction' of iPhone Users Will Use Self Service Repair Program, Study Suggests – MacRumors Apple's macOS Monterey memory leak blamed on custom cursors – The Register Giving iPhones cool features is no good if people don't understand what they do – iMore Here's What Data Apple Will Give Your Family When You Pass Away – MacRumors Amazon launches a dedicated Prime Video app for Mac – Engadget Capture One to Launch iPhone App for Photo Capture and Editing – PetaPixel macOS Monterey Includes Network Quality Test – The Mac Observer Network Toolbox (via Mac Geek Gab] – Mac App Store Epic Game CEO Says 'Apple Must Be Stopped'– The Mac Observer TECHNOLOGY The Chip That Changed the World – WSJ These smart glasses offer a glimpse at the future Apple and Facebook are planning – CNBC Twitter makes big changes for devs as it eyes decentralized future – The Verge Arla creates poo-powered batteries to highlight AD potential – Bioenergy News Apple-1 computer sells for $400,000 – Geeks Corner WORTH A CHIRP / ESSENTIAL TIPS From Donny: Brydge Air MAX+ Wireless Keyboard Case with Multi-Touch Trackpad for iPad Air 4th Generation and iPad Pro 11-inch, Detachable Magnetic SnapFit Case and MIL-STD-810G 4-Foot Drop Protection – Amazon $100–$200 USD / £100–£108 UKP dependent on iPad model 100+ Mac Keyboard Shortcuts You Should be Using to Work More Efficiently – TechPP iOS 15: 10 hidden features you need to know – Macworld Ex-Apple Genius Bar worker shares little-known iPhone tricks – Newsweek All-new Spigen OneTap Ring brings MagSafe compatibility to most cases, more – 9to5Toys JUST A SNIPPET For things that are not worth more than a flypast Steve Wozniak's Startup Privateer Plans to Launch Hundreds of Satellites to Study Space Debris – Daring Fireball NEMO'S HARDWARE STORE (49:07) Ten Questions in Ten Minutes with Raviv from Kino Also, here's the promo code for 2 months on our monthly premium plan: KINOWITHJOHNNEMO Kino is: Free/$12 USD/$100 USD per month depending on plan Essential Apple Recommended Services: All Things Secured – Online security made simple by Josh Summers. Pixel Privacy – a fabulous resource full of excellent articles and advice on how to protect yourself online. Doug.ee Blog for Andy J's security tips. Ghostery – protect yourself from trackers, scripts and ads while browsing. Simple Login – Email anonymisation and disposable emails for login/registering with 33mail.com – Never give out your real email address online again. AnonAddy – Disposable email addresses Sudo – get up to 9 “avatars” with email addresses, phone numbers and more to mask your online identity. Free for the first year and priced from $0.99 US / £2.50 UK per month thereafter... You get to keep 2 free avatars though. ProtonMail – end to end encrypted, open source, based in Switzerland. Prices start from FREE... what more can you ask? ProtonVPN – a VPN to go with it perhaps? Prices also starting from nothing! Comparitech DNS Leak Test – simple to use and understand VPN leak test. Fake Name Generator – so much more than names! Create whole identities (for free) with all the information you could ever need. Wire and on the App Stores – free for personal use, open source and end to end encryted messenger and VoIP. Pinecast – a fabulous podcast hosting service with costs that start from nothing. Essential Apple is not affiliated with or paid to promote any of these services... We recommend services that we use ourselves and feel are either unique or outstanding in their field, or in some cases are just the best value for money in our opinion. Social Media and Slack You can follow us on: Twitter / Slack / EssentialApple.com / Soundcloud / Spotify / Facebook / Pinecast Also a big SHOUT OUT to the members of the Slack room without whom we wouldn't have half the stories we actually do – we thank you all for your contributions and engagement. You can always help us out with a few pennies by using our Amazon Affiliate Link so we get a tiny kickback on anything you buy after using it. If you really like the show that much and would like to make a regular donation then please consider joining our Patreon or using the Pinecast Tips Jar (which accepts one off or regular donations) And a HUGE thank you to the patrons who already do. Support The Essential Apple Podcast by contributing to their Tip Jar: https://tips.pinecast.com/jar/essential-apple-show This podcast is powered by Pinecast.

Gemma and Ian chat to Elaine Whiteford.  Elaine learned to dive in 2002 and qualified as an Instructor (Master Scuba Diver Trainer) in 2005. She is based in Scotland and dives all year round in the North Sea and the sea lochs of the Scottish west coast. A photographer before she was a diver, taking pictures underwater was a natural development for Elaine, who was awarded a Licentiate of the Royal Photographic Society with a portfolio of underwater images.   She has had articles published in a range of magazines, both general interest and diving, including Scottish Wildlife, Diver, The Undersea Journal, The Sea, BBC Wildlife and the Scot's Magazine. Her work has also featured in a number of exhibitions, such as the Royal Photographic Society's Projected Image Exhibition, the Edinburgh International Exhibition of Photography and the Scottish Parliament's Biodiversity Exhibition. She had a solo exhibition, Scotland's Waters Brought To Life, in Stirling's Smith Museum. Her images have appeared in a range of books and she is a contributor to Wild & Temperate Seas, 50 Favourite UK Dives, which was published in November, 2020.   Elaine was shortlisted in the 2020 Scottish Nature Photography Awards and her image appears in the Portfolio Yearbook which was published in the autumn of 2021.   https://www.sublimescubaphotography.com/ https://www.facebook.com/SublimeScubaPhotography https://www.instagram.com/sublimescubaphotography/   https://www.ford.co.uk/vans-and-pickups/transit-custom/nugget https://blueotwo.com/     ISSN Number 2752-6127   Contact Gemma and Ian with your messages, ideas and feedback via The BiG Scuba Bat Phone    +44 7810 005924 Or use our social media platforms.   We are on Instagram    @thebigscuba   We are on Facebook     @thebigscuba   We are on Twitter  @the_big_scuba    The BiG Scuba Website     www.thebigscuba.com

https://www.bossequity.com/about-us/mark-edwardsCEO of Boss Equity - 100 AcquisitionsIn April 1999 Mark set up Document Boss (now Boss Equity), with his then partner, David Shieldhouse. Together, they created the blueprint for a new type of specialist service provider aimed at senior executive business leaders in the software tech sector.Over the ensuing 19+ years, Mark has been personally involved in over 100 Software Tech acquisitions. His wide-ranging knowledge, contacts and experience in this sector have proved invaluable in finding ‘the right fit' for client companies and acquirers alike.Rapid Growth for Client CompaniesOver the past 5 years, Mark has developed and refined Boss Equity's “Equity Value Accelerator” (EVATM) service. This is a bespoke framework which assists software tech CEO's and business owners to grow the equity in their business.By examining 5 critical areas of a business, the EVA service uncovers its strengths. It also identifies those areas where improvement can mean a rapid increase in growth, adding to the overall equity value of the company and enhancing sale price at exit.Business transfer industryHaving worked early on in his career at W&T Avery (now GEC Avery), Mark then worked in the business transfer market alongside one of the UK's top transfer agents - John Oakes. This proved to be an excellent learning trajectory in the art of selling businesses.ECM Experience & First European MBOFrom the early 1990's Mark specialised in the Document Management sector. Head-hunted, he became the UK General Manager for DSA; a German document software vendor management and scanning company, operating across Europe. As well as managing the UK operation, Mark was also part of their pan-European management team, working alongside colleagues from France, Germany, Italy, Switzerland, Spain, Poland and Greece. It was during this time that Mark was involved in raising investment for several established and start-up eDM companies. He also facilitated the MBO of DSA to form the Pan European company, Novadys.Software Tech ExperienceAt the start of the 80's UK recession, Mark's next move was to enter the thriving computer industry, where he was involved in selling data-storage products - such as Exabyte tape drives and Quantum hard drives - throughout the UK. During this time, Mark introduced a sales incentive programme that was adopted in the UK, Canada and the US.Entrepreneurial BackgroundMark has successfully run several businesses, one of which was based upon a flotation belt he created, called the "Aqua Runner Belt". This was later developed by Mark and his then wife, Isabel, into a fitness class and training school for fitness professionals. The belts and classes were sold throughout Australia, Argentina, France, USA, Germany, South Africa and Brazil and were used to help athletes and individuals recovering from injury, by allowing them to exercise, suspended in deep water (Aqua-runner belt & Flotation Aerobics).A number of top athletes used Mark's flotation belt to maintain their fitness whilst recovering from injury: these included Liverpool football club, Glasgow Rangers and a number of Olympic athletes.Mark also formed Acumen, a document management file management company that bridged the gap between the paper document management world and electronic documents, using RFID's - tiny electronic transmitters that held information regarding location and content.Personal - Interests & HobbiesMark is an award-winning photographer and an Associate of The Royal Photographic Society; he is working on a portfolio of images towards becoming a Fellow. A selection of some of Mark's images can be found at flickr .He has studied with The Coaching Academy as an executive coach, which he finds very useful in his current role, mentoring clients and facilitating M&A assignments.Mark is a keen keep-fit enthusiast,

Warren Sklar (of Mac To The Future, In Touch With iOS, and more) joins Simon and Nick to chat over the goings on this week including “hidden features” in Monterey, Siri Apple Watch commands, a MyCharge safety recall, a Quick Notes tip, and more stuff that caught our eye this week... GIVEAWAYS & OFFERS Steve at Geeks Corner has a podcast which is usually a 5-15 min show of his thoughts on tech. Also keep an eye on his site or follow him on Twitter @GeekCorner_uk to watch for regular giveaways. The next meeting of Suffolk Mac User Group is on Wednesday 24 November at 7.30pm GMT, when member Tony Bramley, professional photographer and Fellow of the Royal Photographic Society, will be ripping the lid off DaVinci Resolve, and illustrating how easy it is to use. Amazingly, a free piece of software, way beyond iMovie and GarageBand and used quite often for high end work in Hollywood, DaVinci Resolve has incredible power that rivals Final Cut Pro and Adobe Premier Pro. If anyone is interested in a guest invitation to this send your Real Name, and Email Address to: Michael Kwasniak on davincisuffolk@gmail.com and mention you're with Essential Apple Why not come and join the Slack community? You can now just click on this Slackroom Link to sign up and join in the chatter! Recorded 7th November 2021 WARREN SKLAR Co-host of Mac To The Future Go! Co-host of In Touch With iOS Appears on MacVoices Live NICK RILEY @spligosh (https://twitter.com/spligosh) on Twitter very occasionally. Sometimes appears on Bart Busschots' Let's Talk Apple Sutton Park Circuit church worship on YouTube Nick's church stream videos – You Tube APPLE Apple's Extended Return Policy Now in Effect for 2021 Holiday Season – MacRumors Tim Cook on Twitter 12 Hidden Features in macOS Monterey Worth Finding – LifeHacker Hands-on: 'Magicut' is a free iOS video editor app for your new iPad mini 6 – 9to5Mac From @MacJim feedback for you regarding Magicut on the iPad Pro M1... It crashes all the time M1 Pro/M1 Max MacBook Pro Crashes When Playing HDR Videos on YouTube, Report Users — iPhone in Canada Apple fixes macOS Monterey glitch that prevented some Macs from booting – Apple World Today 11 Siri Commands on Apple Watch You Need to Try – iDropNews What macOS Monterey's 'Relocated Items' are, and how to delete them — AppleInsider Apple hires former Tesla Autopilot software exec to bolster self-driving car effort — 9to5Mac Third-party iPhone 13 screen repairs disable Face ID, iFixit confirms – BGR TECHNOLOGY 'Squid Game' cryptocurrency collapses in a $3 million scam – Engadget Intel Alder Lake Chips For Desktop Beats Apples M1 Pro, M1 Max in Benchmarks. – Wccftech Microsoft OneDrive app will stop syncing with Windows 7 and 8 on March 1st 2022 – Engadget Urgent recall issued after people were burned, so stop using this phone charger now – BGR WORTH A CHIRP / ESSENTIAL TIPS Interesting point - had difficulty trying to activate the new Quick Note (generally said to be put the mouse in the bottom right of the screen… courtesy of MacGeekGab I learned that Fn-Q will activate it, also I looked into the hot corners settings and lo and behold the reason it didn't work for me is because I already use that as a hot corner for “show desktop” but New Quick Note is a hot corner option - so actually you can set it to any corner (with or without an extra modifier key) From @Donny NEW Apple Microfiber Cleaning Cloth Wipe GENUINE 5-pack – eBay JUST A SNIPPET For things that are not worth more than a flypast 5 Dumb Phone Accessories That We Cant Help But Love Anyway – Digital Trends I've created human-style eyes for robots – with some inspiration from Jabba the Hut. – The Conversation Essential Apple Recommended Services: All Things Secured – Online security made simple by Josh Summers. Pixel Privacy – a fabulous resource full of excellent articles and advice on how to protect yourself online. Doug.ee Blog for Andy J's security tips. Ghostery – protect yourself from trackers, scripts and ads while browsing. Simple Login – Email anonymisation and disposable emails for login/registering with 33mail.com – Never give out your real email address online again. AnonAddy – Disposable email addresses Sudo – get up to 9 “avatars” with email addresses, phone numbers and more to mask your online identity. Free for the first year and priced from $0.99 US / £2.50 UK per month thereafter... You get to keep 2 free avatars though. ProtonMail – end to end encrypted, open source, based in Switzerland. Prices start from FREE... what more can you ask? ProtonVPN – a VPN to go with it perhaps? Prices also starting from nothing! Comparitech DNS Leak Test – simple to use and understand VPN leak test. Fake Name Generator – so much more than names! Create whole identities (for free) with all the information you could ever need. Wire and on the App Stores – free for personal use, open source and end to end encryted messenger and VoIP. Pinecast – a fabulous podcast hosting service with costs that start from nothing. Essential Apple is not affiliated with or paid to promote any of these services... We recommend services that we use ourselves and feel are either unique or outstanding in their field, or in some cases are just the best value for money in our opinion. Social Media and Slack You can follow us on: Twitter / Slack / EssentialApple.com / Soundcloud / Spotify / Facebook / Pinecast Also a big SHOUT OUT to the members of the Slack room without whom we wouldn't have half the stories we actually do – we thank you all for your contributions and engagement. You can always help us out with a few pennies by using our Amazon Affiliate Link so we get a tiny kickback on anything you buy after using it. If you really like the show that much and would like to make a regular donation then please consider joining our Patreon or using the Pinecast Tips Jar (which accepts one off or regular donations) And a HUGE thank you to the patrons who already do. Support The Essential Apple Podcast by contributing to their Tip Jar: https://tips.pinecast.com/jar/essential-apple-show This podcast is powered by Pinecast.

Apple reported record results {again) - analysts moaned (again), shares went down (again) - Nick and Simon decide to mostly ignore that and talk about other things from the week including the OpenBike, the Apple Polishing Cloth, the M1 MacBook Air as the everyman Mac laptop and more... GIVEAWAYS & OFFERS Steve at Geeks Corner has a podcast which is usually a 5-15 min show of his thoughts on tech. Also keep an eye on his site or follow him on Twitter @GeekCorner_uk to watch for regular giveaways. The next meeting of Suffolk Mac User Group is on Wednesday 24 November at 7.30pm GMT, when member Tony Bramley, professional photographer and Fellow of the Royal Photographic Society, will be ripping the lid off DaVinci Resolve, and illustrating how easy it is to use. Amazingly, a free piece of software, way beyond iMovie and GarageBand and used quite often for high end work in Hollywood, DaVinci Resolve has incredible power that rivals Final Cut Pro and Adobe Premier Pro. If anyone is interested in a guest invitation to this send your Real Name, and Email Address to: Michael Kwasniak on davincisuffolk@gmail.com and mention you're with Essential Apple Why not come and join the Slack community? You can now just click on this Slackroom Link to sign up and join in the chatter! Recorded 31st October 2021 Listen to the show: This and other episodes are available at: Apple Podcasts | Overcast | Essential Apple | Pocket Casts | My Mac | Pinecast | Soundcloud | RadioPublic | Listen Notes | Podchaser | PlayerFM | TuneIn | Google Podcasts | Spotify | Amazon Music | Direct Download | RSS NICK RILEY @spligosh on Twitter very occasionally. Sometimes appears on Bart Busschots' Let's Talk Apple Sutton Park Circuit church worship on YouTube Nick's church stream videos – You Tube APPLE Apple announces record fourth quarter – Six Colors Apple Reports Fourth Quarter Results – Apple Apple Reports All-Time Quarterly Revenue Record for Macs – MacRumors USB hub not working with macOS Monterey? You're not alone – iMore Former Mac chief and Windows head both stress vast scale of Apple's lead over Intel – 9to5Mac iFixit teardown confirms the $19 Apple cleaning cloth is a repairability disgrace – Mashable iFixit teardown Apple's worst shipping delay is for a $19 polishing cloth – Engadget Fun with the Notch – Twitter Bartender Vanilla TECHNOLOGY Are SSDs Really More Reliable Than Hard Drives? – Backblaze Facebook changes its company name to Meta – CNN Truth Social Violated Mastodon's ToS; Trump's Entire Platform Might Now Be DOA – The Bulwark SECURITY & PRIVACY Microsoft finds new macOS vulnerability, Shrootless, that could bypass System Integrity Protection – Microsoft Security Blog Hackers Breach iOS 15, Windows 10, Google Chrome During Massive Cyber Security Onslaught – Forbes WORTH A CHIRP / ESSENTIAL TIPS Is That Rain? New Tricks to Try on Apple's Weather App for iPhone, Appl... – PC Mag Airy Pose – App Store ‘Openbike' is an open-source wooden bicycle you can make from plywood – Input JUST A SNIPPET For things that are not worth more than a flypast Native Union celebrates iPod 20th anniversary with iPod Socks-inspired AirPod Beanies – 9to5Mac Essential Apple Recommended Services: All Things Secured – Online security made simple by Josh Summers. Pixel Privacy – a fabulous resource full of excellent articles and advice on how to protect yourself online. Doug.ee Blog for Andy J's security tips. Ghostery – protect yourself from trackers, scripts and ads while browsing. Simple Login – Email anonymisation and disposable emails for login/registering with 33mail.com – Never give out your real email address online again. AnonAddy – Disposable email addresses Sudo – get up to 9 “avatars” with email addresses, phone numbers and more to mask your online identity. Free for the first year and priced from $0.99 US / £2.50 UK per month thereafter... You get to keep 2 free avatars though. ProtonMail – end to end encrypted, open source, based in Switzerland. Prices start from FREE... what more can you ask? ProtonVPN – a VPN to go with it perhaps? Prices also starting from nothing! Comparitech DNS Leak Test – simple to use and understand VPN leak test. Fake Name Generator – so much more than names! Create whole identities (for free) with all the information you could ever need. Wire and on the App Stores – free for personal use, open source and end to end encryted messenger and VoIP. Pinecast – a fabulous podcast hosting service with costs that start from nothing. Essential Apple is not affiliated with or paid to promote any of these services... We recommend services that we use ourselves and feel are either unique or outstanding in their field, or in some cases are just the best value for money in our opinion. Social Media and Slack You can follow us on: Twitter / Slack / EssentialApple.com / Soundcloud / Spotify / Facebook / Pinecast Also a big SHOUT OUT to the members of the Slack room without whom we wouldn't have half the stories we actually do – we thank you all for your contributions and engagement. You can always help us out with a few pennies by using our Amazon Affiliate Link so we get a tiny kickback on anything you buy after using it. If you really like the show that much and would like to make a regular donation then please consider joining our Patreon or using the Pinecast Tips Jar (which accepts one off or regular donations) And a HUGE thank you to the patrons who already do. Support The Essential Apple Podcast by contributing to their Tip Jar: https://tips.pinecast.com/jar/essential-apple-show This podcast is powered by Pinecast.

In episode 171 UNP founder and curator Grant Scott is in his shed reflecting on mentorship, teaching and the passing on of information. He also provides his final found rules for life. Plus this week photographer Peter Fraser on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Peter Fraser bought his first camera at the age of 7 and went to school in Wales until 1971, when he left to study Civil Engineering for three months at Hatfield Polytechnic, before deciding to study photography at Manchester Polytechnic between 1972 and 1976, repeating his final year due to becoming seriously ill crossing the Sahara Desert in early 1975. Fraserwas an early adopter of colour photography in the UK, and began exhibiting colour photographs in 1982. In 1984, he travelled to Memphis, USA to spend two months with William Eggleston, after meeting him at Eggleston's first UK exhibition opening the previous year. Between 1983 and 1986, Fraser made the exhibitions, Twelve Day Journey, The Valleys Project, Everyday Icons and Towards an Absolute Zero which led to his first publication Two Blue Buckets in 1988. This book won the Bill Brandt Award hosted by the Photographers' Gallery in 1989. In 1990 Fraser was invited to be the British Artist in Residence in Marseilles, which led to the subsequent exhibition and publication Ice and Water. He travelled widely in the early 1990s to scientific research establishments photographing machines at the cutting edge of technology, proposing a series of ‘Portraits' of machines shown and published as Deep Blue. While visiting nearly 60 scientific sites, he frequently photographed in scientific ‘Clean Rooms' where particles of dust above a certain size were not admitted. Subsequently, he decided to start photographing ‘dirt and other low status' material. Simultaneous to this work was a University of Strathclyde commission to make new Art in their Applied Physics Department. This led to two series being combined into a single new series of photographs, Material published in 2002. The same year The Photographers' Gallery showed a 20-year overview of Fraser's work, and in 2004 he was shortlisted alongside Robert Adams, David Goldblatt and Joel Sternfeld for the Citigroup International Photography Prize. In 2006 Fraser was invited to be an Artist in Residence at Oxford University to make photography for the Biochemistry Department. In 2009 he was commissioned by Ffotogallery, Wales, to make work across the country that resulted in the exhibition and publication Lost For Words. In 2012 Fraser exhibited A City in the Mind at the Brancolini Grimaldi Gallery, London. In 2013 Tate St Ives exhibited a selected retrospective of his work, and published a monograph containing photographs from all of Fraser's major series to date. In 2013 Fraser received an Honorary Fellowship from the Royal Photographic Society. In 2017 his exhibition Mathematics was exhibited as part of PhotoEspana 17, and Skinnerboox, Italy, published Mathematics. The first UK exhibition of Mathematics opened at Camden Arts Centre, London in 2018. The accompanying File Notes no 120 published by the gallery, featured a specially commissioned essay The Things that Count by Amy Sherlock, deputy editor of Frieze. www.peterfraser.net Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). © Grant Scott 2021

In episode 168 UNP founder and curator Grant Scott is in his shed reflecting on ego within photography, keeping it simple and inaccessible inspirational photo books. Plus this week photographer Tadas Kazakevičius takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Tadas Kazakevičius is a documentary and portrait photographer based in Vilnius, Lithuania. After spending five years in the United Kingdom, Kazakevičius returned to his native Lithuania where he is particularly interested in the social aspects of the people living there. Kazakevičius' ongoing series Soon to be Gone was a finalist in LensCulture's Exposure Awards 2017 and featured in The Royal Photographic Society's 160 exhibition. In 2018, he was picked as a finalist in the ZEISS Photography Awards and the series was shown in Les Photaumnales festival in Le Quadrilatère Gallery, Beauvais, France. With his series Between Two Shores, Kazakevičius was one of the finalists of the LensCulture Emerging Talent Awards in 2018. The British Journal of Photography featured the series Soon to be Gone in 2019, and he was one of the Leica Oskar Barnack Award 2019 finalists. In 2019 he became a member of the international documentary photography cooperative, 'Inland Stories'. https://tadaskazakevicius.com Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). © Grant Scott 2021

In episode 167 UNP founder and curator Grant Scott is in his shed reflecting on nostalgia, the photographic happening and a celebrity photo shoot in New York. Plus this week photographer Simon Roberts takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' exhibited widely and his photographs reside in major public and private collections, including the George Eastman House, Deutsche Börse Art Collection and V&A Museum. In 2010 he was commissioned as the official British Election Artist by the House of Commons Works of Art Committee to produce a record of the General Election and in 2014 he represented Britain during the UK-Russia Year of Culture. He has been commissioned to make several large-scale public artworks and recognised with numerous awards including an Honorary Fellowship to the Royal Photographic Society, the Vic Odden Award and grants from Arts Council England and the John Kobal Foundation. He is the author of several critically acclaimed monographs including Motherland in 2007, We English in 2009), Pierdom in 2013 and Merrie Albion in 2017. Roberts work has been profiled and published widely including in the New Yorker, Granta, National Geographic, ArtForum, Wallpaper, amongst others. He holds a BA Hons in Cultural Geography from The University of Sheffield, and is a regular public speaker and visiting lecturer at the Royal Academy of Fine Arts Antwerp. Outside of his own professional practice he is involved with several not for profit organisations having served as a trustee of Photoworks and currently working as an ambassador for FotoDocument and the Positive View Foundation. Roberts is a member of the European artist collective, Piece of Cake and lives in Brighton, England. www.simoncroberts.com You can now subscribe to our weekly newsletter at https://www.getrevue.co/profile/unofphoto Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). © Grant Scott 2021

In episode 165 UNP founder and curator Grant Scott is in his shed reflecting on learning and teaching photography, formally, informally and unintentionally! Plus this week photographer Harry Borden takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Harry Borden is a British portrait photographer based in London, born in New York and brought up in Devon in the UK. He studied photography at Plymouth College of Art and Design from 1985-7 and moved to London shortly afterwards, where he worked as an assistant for the photographer Lester Bookbinder. Borden received his first commission from The Observer in 1994 and as his profile grew his portraits appeared regularly in this and other Sunday supplements, as well as magazines such as Harpers & Queen, Vogue and The New Yorker. Borden was awarded the Kobal Photographic Portrait Prize in1998 and 2000 and World Press Photo awards in 1997 and 1999. In 2005, he had his first solo exhibition at the National Portrait Gallery, London titled Harry Borden: On Business. The National Portrait Gallery holds more than 100 examples of Borden's work in its photographic collection and in 2014, he was awarded an Honorary Fellowship of the Royal Photographic Society. In 2017 his book Survivor, A Portrait of the Survivors of the Holocaust was published having been short-listed for the European Publishers Award for Photography and in 2014 judged among the 10 best Photography books of 2018 by the Kraszna-Krausz Foundation. His second book, Single Dad was published in 2021. https://harryborden.co.uk You can now subscribe to our weekly newsletter at https://www.getrevue.co/profile/unofphoto Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). Grant's book What Does Photography Mean to You? including 89 photographers who have contributed to the A Photographic Life podcast is on sale now £9.99 https://bluecoatpress.co.uk/product/what-does-photography-mean-to-you/ © Grant Scott 2021

In episode 127 UNP founder and curator Grant Scott is in his shed marking the death of Harry Evans and his importance to photography, rejecting the need to label photographers by practice and celebrating the serendipity of consequence.  Plus this week photographer Clare Strand takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which she answer's the question ‘What Does Photography Mean to You?' Clare Strand is a British conceptual photographer based in Brighton and Hove, England. Her photography has been published in the Gone Astray, 2003, Clare Strand: Photoworks Monograph, 2009, Skirts, 2013 and Girl Plays with Snake, 2016. Strands work has been widely exhibited in venues such as The Centre Pompidou, Tate Britain, Salzburg Museum of Modern Art and the Victoria and Albert Museum. Her work is held in the collections of MOMA, SFMoma, The Center Pompidou, The British Council, The Arts Council; The NY Public Library and Cornell University.  In 2019 she was nominated for the Deutsche Börse Photography Foundation Prize and awarded an Honorary Fellowship of the Royal Photographic Society. Clare is also one half of the collaborative partnership MacDonaldStrand  and Head of the Intangiable for The Institute of Unnecessary Research. Clare Strand is a British conceptual photographer based in Brighton and Hove, England. Her photography has been published in the Gone Astray, 2003, Clare Strand: Photoworks Monograph, 2009, Skirts, 2013 and Girl Plays with Snake, 2016. Strands work has been widely exhibited in venues such as The Centre Pompidou, Tate Britain, Salzburg Museum of Modern Art and the Victoria and Albert Museum. Her work is held in the collections of MOMA, SFMoma, The Center Pompidou, The British Council, The Arts Council; The NY Public Library and Cornell University.  In 2019 she was nominated for the Deutsche Börse Photography Foundation Prize and awarded an Honorary Fellowship of the Royal Photographic Society. Clare is also one half of the collaborative partnership MacDonaldStrand  and Head of the Intangiable for The Institute of Unnecessary Research.

In episode 111 UNP founder and curator Grant Scott is in his shed considering the documentation of political upheaval, the importance of ethics and morals in a photographic practice and the need for empathy as a photographer. Plus this week photographer Mandy Barker takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which she answer's the question ‘What Does Photography Mean to You?' Mandy Barker is an award-winning photographer whose work involving marine plastic debris over the past 10 years has received global recognition. Working with scientists she aims to raise awareness about plastic pollution in the world's oceans. Her work has been published in the National Geographic Magazine, TIME Magazine, The Guardian, The Financial Times, The New Scientist, amongst others and used to illustrate key scientific research papers. Barker was shortlisted for the Prix Pictet Award SPACE 2017, and nominated for the Magnum Foundation Fund and Deutsche Borse Foundation Photography Prize 2020. In 2012 she was awarded The Royal Photographic Society's Environmental Bursary and in 2018 she was a recipient of the 2018 National Geographic Society Grant for Research and Exploration. Her first book Beyond Drifting: Imperfectly Known Animals was selected as one of the Ten Best Photography Books of 2017, by the Smithsonian and  her book Altered Ocean was chosen by The Royal Photographic Society as one of their Top 10 Photobooks of 2019. Also, in 2019 Barker collaborated with Stanford University with the launch of the virtual reality experience, Ripple: the unintended life of plastics in the sea. Her latest body of work LUNASEA created as part of the Henderson Island Plastic Pollution Expedition has just been released on her website. Barker is a member of the Union of Concerned Photographers (UCP), which is dedicated to using the power of imagery to underline the urgency of environmental concerns. www.mandy-barker.com If you have enjoyed this podcast why not check out our A Photographic Life Podcast Plus. Created as a learning resource that places the power of learning into the hands of the learner. To suggest where you can go, what you can read, who you can discover and what you can question to further your own knowledge, experience and enjoyment of photography. It will be inspiring, informative and enjoyable! You can find out here: www.patreon.com/aphotographiclifepodcast You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-life and Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His book New Ways of Seeing: The Democratic Language of Photography was published by Bloomsbury Academic in 2019. His documentary film, Do Not Bend: The Photographic Life of Bill Jay can now be seen at www.youtube.com/watch?v=wd47549knOU&t=3915s. © Grant Scott 2020

In episode 108 UNP founder and curator Grant Scott is in his shed considering the photographic response to isolation, the importance of the client relationship and the reality of commissioned photography. Plus this week photographer Jason Bell takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Jason Bell was born in Camden, London, in 1969 and was given his first camera at the age of 5. He decided on a career as a portrait photographer whilst studying Politics, Philosophy and Economics at Oxford University, from which he graduated in 1990. His work has since appeared in publications including Vanity Fair and Vogue, featuring celebrities such as Angelina Jolie, Leonardo DiCaprio, Scarlett Johansson, Johnny Depp, Nicole Kidman, Tilda Swinton, Eddie Redmayne, and Kate Winslet. Jason has shot numerous film, theatre and TV campaigns, including Netflix's The Crown, Billy Elliot, About A Boy and Love Actually. Many of his photographs have been acquired by the National Portrait Gallery for their permanent collection and his work has received critical acclaim including the Royal Photographic Society's Terence Donovan Award for an outstanding contribution to photography, the New York Photo Awards' Best Advertising Image and the Best British Black & White Photographer at the British Picture Editors' Awards. His Out 100 Portfolio was one of five finalists in the American Society of Magazine Editors' 2010 National Magazine Awards. He has published four books of his work, the most recent being An Englishman in New York. A selection of photographs from the book was exhibited at the National Portrait Gallery in London. In 2011 he was awarded an Honorary Fellowship of The Royal Photographic Society. Jason lives in New York and London. www.jasonbellphoto.com If you have enjoyed this podcast why not check out our A Photographic Life Podcast Plus. Created as a learning resource that places the power of learning into the hands of the learner. To suggest where you can go, what you can read, who you can discover and what you can question to further your own knowledge, experience and enjoyment of photography. It will be inspiring, informative and enjoyable! You can find out here: www.patreon.com/aphotographiclifepodcast You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-life and Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His book New Ways of Seeing: The Democratic Language of Photography was published by Bloomsbury Academic in 2019. His documentary film, Do Not Bend: The Photographic Life of Bill Jay can now be seen at www.youtube.com/watch?v=wd47549knOU&t=3915s. © Grant Scott 2020

In episode 79 UNP founder and curator Grant Scott is in his shed considering the audience for photo books, paying for work to appear in a magazine and the teaching of digital visual literacy. Plus this week photographic critic, historian, educator, curator and writer A.D.Coleman takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-life and Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast A. D. Coleman (Allan Douglass) was born in Brooklyn, New York in 1943. During the McCarthy era (1951-3) his family moved to France, and then briefly to England, before returning to the U.S. Aside from that interruption he was raised in Manhattan, where he went to school in Greenwich Village, and Hunter College. He received a B.A. in English Literature from Hunter in 1964 and started writing in 1967 taking up the position as the first photo critic for The New York Times, authoring 120 articles during his tenure. He has contributed to the Village Voice, New York Observer and numerous magazines, artist monographs and other publications worldwide, published eight books and more than 2000 essays on photography and related subjects. Coleman has lectured and taught internationally and his work has been translated into 21 languages and published in 31 countries. He received the first fellowship awarded to a photography critic by the National Endowment for the Arts in 1976, was a Guest Scholar at the J. Paul Getty Museum, Los Angeles in 1993. Coleman has served as Publisher and Executive Director of The Nearby Café, a multi-subject electronic magazine where his blog on photography, Photocritic International, appears. He also founded and directs Photography Criticism CyberArchive (photocriticism.com), the most extensive online database ever created of writing about photography by authors past and present, and he co-directs The New Eyes Project (www.k12photoed.org), an online resource for everyone teaching photography to young people. In 2010 he received the J Dudley Johnston Award for “lifetime achievement in writing about photography,” from the Royal Photographic Society, UK. In 2014 he received the Insight Award from the Society for Photographic Education and in 2015 he received the Society of Professional Journalists Sigma Delta Chi (SDX) Award for Research About Journalism, as well as The Photo Review Award for Outstanding Contributions to Photography. Coleman's first major curatorial effort, Saga: the Journey of Arno Rafael Minkkinen, made its debut in both book and exhibition form in September 2005 and now tours internationally. A second museum-scale curatorial project, China: Insights, premiered in 2008 and continues to tour the U.S. Since 2005, exhibitions that Coleman has curated have opened at museums and galleries in Canada, China, Finland, Italy, Rumania, Slovakia, and the U.S. His book Critical Focus received the International Center of Photography's Infinity Award for Writing on Photography in 1995. He still writes and talks on photography internationally and lives in New York. www.nearbycafe.com/artandphoto/photocritic Image of A.D.Coleman by Bill Jay Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His next book New Ways of Seeing: The Democratic Language of Photography will be published by Bloomsbury Academic in 2019. © Grant Scott 2019