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

Award-winning sculptor and artist Najla El Zein is most recently known for her work on a public commission by Qatar Museums for Doha's cultural district — a work titled "Us, her, him". She joins us to talk about her creative process, the evolution of her work, and the profound impact of personal experiences on her art. Based between Beirut and Amsterdam, Najla's work explores the relationship between space, object, and the human body, often challenging conventional perceptions of sculpture. She delves into the emotional depth behind her most significant projects, including her iconic spoons sculpture, the "Distortion" series, as well as her monumental public commission in Qatar, reflecting on themes of motherhood, female identity, and collective creation amidst challenging times. 0:00 Introduction1:21 The Artist's Studio and Creative Process2:46 From Childhood Curiosity to Sculptural Expression5:36 Embracing the Unromantic Side of Sculpture7:45 The Spoons Sculptures: A Defining Project8:42 Moving to Beirut and Accessing Craftsmanship10:18 Process and Meaning Behind the Spoons Sculture11:39 Capturing Movement and Life in Static Forms12:57 The Significance of Process and Durability14:10 "Distortion" Series: Motherhood and Identity18:50 "Fragmented Pillar": Fragility and Strength21:28 "Seduction" Series: The Journey of Connection23:17 A Deepening Relationship With Stone25:06 "Group of Five": Dynamics and Discovery27:49 The Qatar Museums Project: A Public Commission Amidst Crisis30:58 The Vision for Qatar's Cultural District34:12 Craftsmanship and the Human Element in Public Art37:16 The Collaborative Process: From Lebanon to Qatar40:34 Influences: Saloua Raouda Choucair, Noguchi, and Hockney Najla El Zein's work embodies an intuitive approach to art and design, where narrative, craft, and materiality are central to her creative process. Each piece offers a personal yet universal language that evokes curiosity and emotion. Born in Beirut in 1983, she is a Lebanese-French artist and designer based in Amsterdam. She graduated from the École Camondo in Paris with a degree in Product Design and Interior Architecture, Spatial Design. In 2024, she received the Dia Al-Azzawi Prize for Public Art for her monumental installation "Us, Her, Him" in Doha, Qatar. In 2025, she was honored as one of the AD100 most important influential figures in art and design. Her works are part of prestigious collections, including Dallas Museum of Art, Saint Louis Art Museum, Qatar Museums, and the Victoria & Albert Museum.Connect with Najla El Zein

In this "Giants in Plastic Surgery" episode of the PRS Global Open Deep Cuts Podcast, we sit down with Dr. Steven Williams for an inspiring and candid conversation that goes beyond the surface of success. We dive into the moments that shaped his journey — from battling imposter syndrome to finding his calling in plastic surgery, and from his experiences at Yale University to building a technology company while still in residency. Dr. Williams reflects on the lessons learned along the way, the influences that guided him, what it means to lead as president of the American Society of Plastic Surgeons (ASPS), and his vision for breaking barriers and expanding access to care in the communities he serves. Dr. Williams is a board-certified plastic surgeon, founder of Tri Valley Plastic Surgery in Dublin, California, and the 2023-2024 president of the ASPS, the world's largest organization of board-certified plastic surgeons. He earned his undergraduate degree from Dartmouth College and went on to complete medical school and residency at Yale University, where he made history as the first African American to graduate from Yale's plastic surgery program. His career is marked by a dedication to excellence, education, and representation in medicine. As the first African American president of ASPS, Dr. Williams has focused his leadership on technology, innovation, and diversity — ensuring that plastic surgery continues to advance while remaining inclusive and accessible. His story is one of perseverance and purpose, illustrating how leadership, vision, and compassion can shape not only a career but an entire specialty. Your host, Dr. Vimal Gokani, is a senior Specialty Registrar in plastic surgery in London, England. Your producer & editor, Charlene Kok, is a Year 4 Medical Student in Imperial College London, England, with a keen interest in Plastic Surgery.  #PRSGlobalOpen #DeepCutsPodcast #PlasticSurgery #GiantsPlasticSurgery

In the 23rd episode of the AnsweRED Podcast, our hosts Sebastian Kalemba and Paweł Burza welcome Tomasz Radziewicz — a sculptor whose art bridges the worlds of fine art, games, and storytelling. Beyond the world of monuments, Tomasz has brought his artistry into the realm of games and film, working with CD PROJEKT RED and Platige Image on projects that merge craftsmanship with imagination. They discuss the relationship between the sculptor and their material, what Tomasz's creative process looks like, the differences between digital vs manual modeling, and much more!

Nigerian-Belgian artist Otobong Nkanga chose a particularly poetic title for her latest exhibition at the Museum of Modern Art in Paris: “I Dreamt of You in Colours.” This marks her largest show to date in France. Otobong joins us to talk about how living entities are in constant dialogue with the environment in her multi-media installations, and why “bling” means so much more than the glint of cheap jewelry in her artwork. The award-winning sculptor also discusses how stone, textiles and even her own voice can be shaped to tell a story, and we discuss the seminal artworks that prompted her to embrace art as a career. 

In this video, I'm sharing a live truSculpt® Flex core demonstration with my friend Meg Ellis. What it is: truSculpt® Flex uses Multi-Directional Stimulation (MDS) with three distinct modes—Prep, Tone, and Sculpt—to mimic and intensify natural muscle contractions for noticeable improvements in muscle tone and definition. Beyond the core: While today's demo focuses on abs, I also use truSculpt® Flex on other major muscle groups—including the buttocks, thighs, arms, hamstrings, and calves—to build strength and definition with no downtime. About Meg: I'm joined by Meg Ellis—Certified Conscious Life Coach, NLP Practitioner, and host of the Create Your Fate podcast—who shares what to expect and how the treatment feels in real time. Right now at Complete Midlife Wellness Center, we're offering a full truSculpt® Flex Session for $1,200 (regularly $1,400). If you're ready to feel stronger and more confident in your body, this is a great time to try it.

Charlie Kirk's assassination last week has prompted a nationwide conversation on free speech, a founding principle of a Texas startup university that correspondent Jon Wertheim first reported on in November. The University of Austin has been labeled by some as “anti-woke,” but founders, students and advisors tell Wertheim they believe they're grounded in free speech, disrupting modern academia by fostering debate and ideological openness in their classrooms. Researchers on Nantucket are attempting something unprecedented: using genetic engineering to curb Lyme disease, a tick-borne illness spreading across the U.S. Instead of targeting deer or ticks, they hope to release genetically altered wild mice that are immune to Lyme disease and thereby curb its transmission. CBS News chief medical correspondent Dr. Jon LaPook visits the island to meet the scientists and hear how their first-of-its-kind approach could reshape the future of disease prevention. One of the most awe-inspiring and mysterious migrations in the natural world stretches from the United States and Canada to Mexico. This incredible spectacle involves millions of monarch butterflies embarking on a monumental aerial journey. Correspondent Anderson Cooper reports from the mountains of Mexico, where the monarchs spend the winter months sheltering in trees before emerging in February to take flight again. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Motheo Khoaripe speaks to James Delaney, a Johannesburg-based multidisciplinary artist, about his transformative work in public art and urban regeneration, including his celebrated restoration of The Wilds park and his innovative sculptures that reimagine the city’s relationship with nature and heritage. The Money Show is a podcast hosted by well-known journalist and radio presenter, Stephen Grootes. He explores the latest economic trends, business developments, investment opportunities, and personal finance strategies. Each episode features engaging conversations with top newsmakers, industry experts, financial advisors, entrepreneurs, and politicians, offering you thought-provoking insights to navigate the ever-changing financial landscape.    Thank you for listening to a podcast from The Money Show Listen live Primedia+ weekdays from 18:00 and 20:00 (SA Time) to The Money Show with Stephen Grootes broadcast on 702 https://buff.ly/gk3y0Kj and CapeTalk https://buff.ly/NnFM3Nk For more from the show, go to https://buff.ly/7QpH0jY or find all the catch-up podcasts here https://buff.ly/PlhvUVe Subscribe to The Money Show Daily Newsletter and the Weekly Business Wrap here https://buff.ly/v5mfetc The Money Show is brought to you by Absa     Follow us on social media   702 on Facebook: https://www.facebook.com/TalkRadio702 702 on TikTok: https://www.tiktok.com/@talkradio702 702 on Instagram: https://www.instagram.com/talkradio702/ 702 on X: https://x.com/CapeTalk 702 on YouTube: https://www.youtube.com/@radio702   CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/Radio702 CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

Was a mighty pleasure to chat with the alchemical Lucrecia Dalt. She's playing with THOSE forces. Sculpting the slippery into sound. Both primal and refined. This is not free noise by any means, it's a crafted and highly tuned set of worlds that all feel both intimate and deliberate at the same time. Wonderful music. Wonderful art. In your face and unapologetic. Bravo!!! Her new album is called "A Danger to Ourselves" Out Sept 5th Here's a Bandcamp link. Hightly recommend you check it out. It cuts deep. https://lucreciadalt.bandcamp.com/album/a-danger-to-ourselves ** Shout out to Dana Wachs for the intro here. She's doing sound for Lucrecia during her live dates and she's opening too. Love to see it  

How do you go from writing hit jingles for major brands to helping people design lives filled with purpose and creativity? On this episode of The Story Engine Podcast, I sit down with Paul Hoffman, a master creator who transformed his career in music into a mission to guide others in sculpting their lives. Paul shares how his early days as a musician and jingle-writer taught him the power of storytelling, rhythm, and discipline—skills he now uses to help people consciously create their daily habits, shape their mindset, and design an “epic life.” We dive into the art of living with intention, the importance of crafting small daily rituals, and the mindset shifts that allow you to move from being reactive to becoming the true author of your story. If you've ever felt like life is happening to you instead of through you, this episode will inspire you to start sculpting with purpose. ⏱ On This Episode [02:11] – Paul shares his early career creating jingles and what it taught him about influence and creativity [05:36] – The turning point: how Paul shifted from music into personal development and leadership [08:52] – Why sculpting your life starts with small daily rituals and consistent habits [12:07] – The difference between living reactively vs. consciously designing your life [15:22] – How mindset patterns can either build or break your ability to create an epic life [18:39] – Paul's framework for “sculpting” life one decision and detail at a time [22:05] – Kyle and Paul discuss how creativity in music translates into creativity in life design [25:47] – A story of transformation: how one of Paul's clients rewrote their life narrative through this process [29:18] – Closing thoughts on how to begin sculpting your epic life today  

Send us a textPlease take our survey and provide feedback! Thank you.https://cincinnati.ca1.qualtrics.com/jfe/form/SV_bfnkUqsHT6PIj3MSummaryIn this episode of 'We Love Our Team', hosts Jack and Randy interview renowned artist Tom Tsuchiya, who shares his journey as a Cincinnati native and his experiences creating iconic baseball bronze statues and the gazebo for the Great American Ballpark: Statues of Johnny Bench, Joe Morgan, Tony Perez, and Pete Rose being the most recent, along with the gazebo featuring the 1869 Red Stockings.Tom discusses his early memories of being a Reds fan, the significance of the 1990 Reds team, and the artistic process behind his sculptures, including the upcoming statue of announcer Marty Brennaman. The conversation highlights Tom's passion for art, baseball, and his deep connection to Cincinnati culture.TakeawaysTom Tsuchiya is a proud Cincinnatian and Reds fan.His parents were baseball fans, which influenced his love for the sport.The 1990 Reds team exemplified the essence of teamwork in baseball.Tom's journey into sculpture was inspired by his childhood experiences in Japan.He created the statues for Great American Ballpark after winning a bid.Tom's artistic process involves collaboration with players and the Reds organization.The upcoming statue of Marty Brenneman is a significant project for Tom.Each statue captures a unique moment in baseball history.Tom emphasizes the importance of fan engagement with the statues.Future projects may include more statues of Reds legends.Sound Bites"The whole team is the MVP.""I think the ball would be at that spot.""I love Gold Star more."

I went to a sculpting class in Athens, Greece, with my husband. I learned a lot, had fun, and am glad I met two Greek brothers who are very good at their job.

How Sade Cole Went from Celebrity Stylist to VC Boss and Renowned SculptorLearn the mindset and moves that lead to real results. Please visit my website to get more information: http://diversifiedgame.com/

When we think of the Wright Brothers, we think of two extraordinary men that pulled off an impossible feat all by their lonesome. And that is correct . . . sort of. There was actually a third person involved in this amazing accomplishment, but he is rarely ever discussed and, still to this day, is relatively unknown. His name was Charlie Taylor. It was Charlie that built the first plane engine. And without that miracle engine, human controlled flight simply would not have taken place. In the work of salvation, the Father and the Son get a good deal of our focus (as they deserve). But there is a Third Person involved in the saving of our souls that is mysteriously and purposely hidden in the process. And without this Third Person, we would all still be lost.

Duck. Breathe. Pulse. Repeat. The beat hits, and everything else steps aside. In this episode, Chris & Jody journey into the hidden choreography of sound—where one signal controls another, and side-chaining becomes more than a trick. It becomes feel. What starts as a lesson in DAW setup and MPC Live integration quickly morphs into a deconstruction of space, impact, and the rhythm behind rhythm. Compression is the hammer. Side-chaining is the sculptor. Basslines yield to kicks. Pads inhale and exhale. You'll learn the how, sure. The routing. The thresholds. The tools. But more importantly, you'll learn the why—the artistic intent behind the technical choices. Oh, and the usual chaos? It's there. Along with Friday Finds that might just blow a few fuses (in the best way). Plug in. Tune out. Let the side-chain lead. #SideChainSecrets #StudioAlchemy #SonicSculpting #MixingWithEmotion #HomeStudioCraft #AudioMovement #InsideTheRecordingStudio #CreativeMixing

Episode 170 July 31, 2025 On the Needles 2:43 ALL KNITTING LINKS GO TO RAVELRY UNLESS OTHERWISE NOTED.  Please visit our Instagram page @craftcookreadrepeat for non-Rav photos and info     Succulents 2025 Blanket CAL by Mallory Krall, Hue Loco DK in Himalayan Skies– DONE!!   Sophie Scarf by PetiteKnit, Haidmaiden Fine Yarns Camelspin in Tourmaline (70% Silk, 30% Camel)-- DONE!!   Rikke Hat by Sarah Young, Playful Day Yarns Funfetti DK in Blue Bonnet   SSAL Delectable Collectible Socks by Stephen West, Dark Omen Yarns Sock in Electric Minis (navy, royal, light blue with speckles, cream with speckles, cream) On the Easel 12:51 Painting flowers. Attempting to GROW flowers. Sculpting flowers. And sewing! Seamwork's Design Your Wardrobe class. On the Table 24:32   Earl grey = fruit loops at the Ice Cream Bar   Miso mushroom pasta and Creamy Miso potato salad from Pass the Plate by Carolina Gelen   Papardelle bolognese with lentils and sausage from Dinner Changing the Game by Melissa Clark (couldn't find good link although there are some similar ones out there if you search)   Chicken & gnocchi with sun-dried tomatoes and spinach.   Jagalchi field trip!   On the Nightstand 40:34 We are now a Bookshop.org affiliate!  You can visit our shop to find books we've talked about or click on the links below.  The books are supplied by local independent bookstores and a percentage goes to us at no cost to you! The Knight and the Moth by Rachel Gillig Lady Macbeth by Ava Reid Worth Fighting For by Jesse Q. Sutanto Beautiful Summer by Cesare Pavese, trans by Peter Owen (1949) The Phoenix Pencil Company by Allison King   Heartwood by Amity Gaige Rich People Problems by Kevin Kwan Run for the Hills by Kevin Wilson   Bingo 1:03:36 Starts friday  may 23, ends Mon Sept 1 Need to post a photo of completed Bingo with #CCRRsummerbingo2025 to instagram or Ravelry.  Get a blackout for a second entry.    Monica: Summer book: Beautiful Summer Faraway place: phoenix pencil company Summery craft: sophie scarf   Cortney: Summer book: Heartwood Monica rec: Run for the Hills

Text Kristen your thoughts or feedback about the showGet ready for a little lesson in confidence 101 - with some sandy vibes!Janel Hawkins shares her journey from courageously quitting her job to moving back home to Alabama to pursue her passion for building sandcastles.Janel attributes her "false confidence" and "secondary confidence" to allowing her to keep moving forward, despite some skepticism and negativity around building a business in the sand; she was determined to figure things out, no matter what!Today, as the owner of Sandcastle University, Janel is redefining the art of sand sculpting. Her awe-inspiring creations grace the shores of Alabama, bringing joy to all who encounter them before they vanish with the tide. She also shares her knowledge and passion with people of all ages and skill levels through her classes. In this conversation, Janel discusses the challenges she faced, her strategic approach to overcoming obstacles, and how she expanded her business into teaching sandcastle building classes and creating custom sculptures for events. She also offers valuable advice to aspiring entrepreneurs and insights into her business model, including navigating seasonality and leveraging social media for growth.Tune in to discover Janel's resilience, creativity, and unwavering commitment to her craft and her team.Learn more about Janel and Sand Castle University at sandcastleu.com or follow her on social: Tik Tok | YouTube | Instagram *** Freebie alert! Build Your Lead Management Fairytale Workflow with 17hats Say "goodbye" to inbox chaos and "hello" to streamlined lead management that saves time and boosts your business. This free guide will walk you through how to build a lead management workflow with 17hats'.

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

WBZ NewsRadio's Carl Stevens reports. 

In this episode of Fork in the Road, I chat with Chris Choi, the artist behind Mecha Panda, about his incredible return to art after a decade-long break—and how he taught himself to sculpt.We talk honestly about:The transition from drawing and painting to sculptureThe spontaneous creative process behind his eerie, beautiful creationsWhy he blends beauty with horrorThe real struggle of building a sustainable art careerWhy community and human connection are still everythingIf you're an artist navigating your own path—or curious about the ups and downs of a creative life—this conversation is for you.Follow Chris Choi: https://www.instagram.com/the_mecha_panda/Follow Andy Marshall: https://andycmarshall.com/Support the podcast on Patreon:https://www.patreon.com/c/ForkInTheRoadPodcastPatreon members receive:The Scenic Route: Extended 1 hour video interviewThe Short Cut: Get to ask podcast guests questions, access to the weekly deep dive blogs and the extended hour long video podcast.The Artists Highway: Monthly one-on-one video call to talk about ways we can help your art business thrive. Get to ask podcast guests questions, access to the weekly deep dive blogs and the extended hour long video podcast.

836 · Inside Imagineering: Zsolt Hormay on Sculpting Stories in Disney ParksDo you ever walk through the Disney Parks and say, "How did they do that?" or better yet, "WHO helped bring these incredible places and spaces to life?"I was recently invited into the hallowed halls of Walt Disney Imagineering to discover the answers to those questions, and will have a full recap of what (and who) I saw, as well as just some of Imagineering's legacy, people, and projects as I was taken behind the scenes into where Disney magic is made. And while I was there, I has the privilege of sitting down with Zsolt Hormay, Creative Executive at Walt Disney Imagineering and the sculptor behind some of Disney's most breathtaking environments – from the Tree of Life to Cars Land to the floating mountains of Pandora and Galaxy's Edge. I have known of him and admired his work for decades, so this was not only a special moment for me personally, but we had a wonderful, one-on-one conversation not just about his journey from Hungary to becoming a leading figure in theme park design, but how rockwork becomes storytelling, and the emotional and cultural depth behind the places and spaces he and his team create. From the Tree of Life to Fantasy Springs in Tokyo DisneySea, his work is quite literally etched into the parks we love.I also posted the entire video version on the WDW Radio YouTube channel, and will share even more about what I saw, experienced, and learned during my unforgettable visit to Imagineering on an upcoming podcast episode, so stay tuned!

In this powerful episode of The MisFitNation, Rich LaMonica welcomes Doyle Glass—a man who doesn't just write history, he sculpts it into memory.

In this inspiring episode, Melissa is joined by Lindsey Simcik and Krista Williams, the founders of the Almost 30 podcast. They reflect on how they met at SoulCycle, bonded over a desire for something deeper, and built a business rooted in friendship, purpose, and growth. The conversation explores what it's like working with your best friend, becoming more discerning with age, and learning to own your preferences as a woman without guilt. They dive into spiritual practices, the impact of Saturn returns, and the journey toward creating a life that truly feels like your own. Krista opens up about her divorce and choosing not to settle for an “okay” relationship, while Lindsey shares her path to grounded love and clarity. Melissa shares her special connection to Ibiza, the healing power of parts work, and how burnout can often be a journey back to self. Plus, a behind-the-scenes look at Krista and Lindsey's new book—and how Melissa's story became part of it.Head over to eightsleep.com/melissa/ and use the code MELISSA to get $350 off the Pod 5 Ultra.You can get an additional 15% off their 90-day subscription Starter Kit by going to fatty15.com/MWH15 and using code MWH15 at checkout.Follow us on Instagram at @melissawoodtepperberg and @melissawoodhealthLimited Time Offer: Use code movewithheart when you sign up for a monthly membership to get your first month FREE on melissawoodhealth.com.Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.

Episode 89: In this episode of the Last Looks podcast, host Jaime Leigh McIntosh welcomes Kazu Hiro, an acclaimed special effects makeup artist known for his work on films like Darkest Hour and Bombshell. Kazu shares his journey from a challenging childhood in Japan to becoming an Oscar-winning artist in Hollywood. He discusses his creative process, the importance of sleep to manage stress, and the impact of winning an Oscar on his career. Kazu also offers insights into his collaborations, the tools he can't live without, and his approach to sculpting lifelike prosthetics. Additionally, he answers questions from listeners and offers advice for aspiring makeup artists. Episode brought to you by: https://johnblakeswigs.com 15% OFF LSB: https://linearbelts.com/lastlooks YouTube Channel: https://www.youtube.com/@lastlookscrew BUY the podcast a COFFEE: https://www.buymeacoffee.com/lastlooks Join Last Looks Crew & Stay in the Loop: https://www.last-looks.com/join-last-looks-crew

Harry Weber takes us on a captivating journey through the world of sculpture and art. From his early days drawing to creating monumental works that grace parks and public spaces, Harry shares the stories behind his inspirations and the creative process that fuels his artistry. With a casual, conversational style, he reflects on the importance of drawing from life, the challenges of sculpting, and the collaborative nature of his work. Listeners will find themselves laughing and learning as Harry playfully navigates through his experiences, touching on everything from his military background to his fascination with the human form in art. This episode serves not just as a glimpse into the life of a sculptor, but also as a reminder of the passion and dedication that goes into the creation of every piece of art. So join us as we explore the intricacies of Harry's craft, from the conceptual drawings that start it all to the final installation of his larger-than-life sculptures. Through his engaging storytelling, Harry not only showcases his artistic journey but also highlights the universal themes of perseverance, creativity, and the joy of making art that resonates with people. Whether you're an aspiring artist or simply someone who appreciates the beauty of sculpture, this episode is a delightful mix of humor, insight, and inspiration that you won't want to miss.[00:00] Welcome and Introduction[00:27] Meet Harry Weber: Renowned Sculptor[01:26] The Art of Drawing and Sculpting[02:49] Creating Iconic Sculptures[04:42] The Process of Sculpting Large Pieces[06:46] Challenges and Techniques in Sculpture[19:44] Military Service and Personal Reflections[27:51] Transition to Full-Time Sculptor[28:39] Competing for Commissions[28:55] The Impact of Public Sculptures[30:10] Evolution of Technique[31:50] Listening While Sculpting[32:57] Historical Perspectives and Influences[33:44] Meeting Influential Figures[35:18] Parallels in History[37:23] The Role of Money and Success[47:13] Advice for Aspiring Artists[57:08] Conclusion and ReflectionsTakeaways:Harry Weber emphasizes the importance of drawing from life rather than photographs to capture true essence.Creating sculptures involves a mix of talent, hard work, and a sprinkle of luck, according to Harry.Harry's journey into art has been a lifelong passion, beginning at the age of four with drawing.The artistic process is a collaborative effort, especially when sculpting large pieces with engineers and other artisans.His sculptures include representations of historical figures and sports icons, making his work a significant part of American culture.The conversation highlights Harry's humorous take on the artistic process, revealing both the struggles and joys of being a sculptor.His sculptures are not just art pieces; they serve as cultural narratives, representing the stories and histories of the figures they depict.Sculptures/Items Mentioned in the ConversationHarry Weber in his studio

In this week's episode I'm sharing some insights I've noticed during my newest creative exploration into the world of ceramics. Trying my hand at pottery has been something I've wanted to do for decades but have only recently decided to give it a whirl. While it has stirred some joy for me, there's been a LOT of frustration and failure as well. I'll be pressing pause on the podcast for the summer and will be off immersing myself in some other artistic endeavors but will be back in a bit with more tales to tell of my ventures into more right brain adventures. In the meantime, you can keep up with me by following me on Instagram at: ⁠⁠⁠@karen.e.osborne⁠⁠⁠

Artist and educator Hae Won Sohn returns for a reflective conversation on process, adaptability, and making art that holds up—materially and conceptually.Now based in Queens, Hae Won shares what's evolved since her 2021 Sondheim Prize win and how her process-first approach has deepened through teaching, repurposing materials, and balancing art with life. Recorded after her Surface Tension exhibition in Baltimore, this episode covers the intersections of sculpture, craft, and creative discipline.From plaster scraps to sculptures: why her grandfather's resourcefulness still shapes her practiceBalancing artistic growth between Baltimore and New YorkHow she teaches sculptural thinking by modeling failure and experimentationHer thoughts on anti-branding, creative integrity, and resisting aesthetic stagnationWhy Surface Tension challenged her to rethink scale, space, and drawing as sculpture

Send us a textChris sits down with Kayla Logue, bestselling author and founder of Move Into Words, who shares her transformative journey from following society's expectations to creating a purpose-driven life defined on her own terms.• Walking away from a traditional path during the pandemic with just $900 to start fresh• Discovering journaling as a transformative daily practice that provides mental clarity• Implementing radical self-accountability by focusing only on what you can control• Creating Operation One Million Journals to help others find purpose and clarity• Building confidence through consistent physical and mental health practices• Redefining success beyond external validation to focus on personal fulfillment• Finding freedom through entrepreneurship and controlling your own time• Avoiding comparison traps that derail your progress and satisfaction• Celebrating small victories along the journey instead of fixating on big goals• Developing resilience by doing difficult things when you don't feel like itConnect with Kayla at KaylaLogue.com for resources, coaching opportunities, and information about her nonprofit work.Support the showThis episode is NOT sponsored. Some product links are affiliate links, meaning we'll receive a small commission if you buy something. =========================== ⚡️PODCAST: Subscribe to our podcast here ➡ https://elevatemedia.buzzsprout.com/ ⚡️Need post-recording video production help? Let's chat ➡ https://calendly.com/elevate-media-group/application ⚡️For Support inquires or Business inquiries, please email us at ➡︎ support@elevate-media-group.com Our mission here at Elevate Media is to help purpose-driven entrepreneurs elevate their brands and make an impact through the power of video podcasting. Disclaimer: Please see the link for our disclaimer policy for all our episodes or videos on the Elevate Media and Elevate Media Podcast YouTube channels. https://elevatemediastudios.com/disclaimer

For the first time, the Chief Change Officer podcast returns to its birthplace—Hong Kong—to spotlight local artist and community builder May Yeung.From doodling on walls at age two to sculpting giant dim sum steamers for public exhibitions, May's journey is anything but typical. She swapped Goldman Sachs for gallery spaces, battled cancer with faith (and clay), and now leads Art of My Family, a charity that brings art, healing, and heritage to underprivileged youth across Hong Kong. Whether it's mental wellness programs, intergenerational education, or marine-themed installations made from recycled shells, May turns every life experience into a canvas for good. Bonus: her baby son Archer makes a surprise guest appearance—arguably stealing the show.Key Highlights of Our Interview:Draw First, Write Later: A Childhood in Color“I drew on walls before I could write my name… by twelve, I knew I'd be an artist.”When Music Shapes the ClayFrom piano lessons with Hong Kong's top musicians to dance-sculpture mashups, May's art listens before it speaks.The Goldman Pivot: Finding Purpose Through CSR“I helped organize community art after Hurricane Sandy. That's when the impact bug bit.”From Cancer to Conviction: The ALT of Art“Faith, feeling alive, touching lives—cancer gave me a new mission, not just new scars.”Archer Joins the Show: A Toddler-Sized Shift in Artistic Purpose“Motherhood made me realize: my art must nourish the next generation—his and others'.”Dim Sum, Ping Pong, and Bamboo DreamsFrom Chinese checkers to handmade steamers, May's art honors Hong Kong's everyday beauty.‘What If' and ‘Blossom Love': Sculpting Global Conversations“What If” made her the first Asian sculptor to exhibit at Rockefeller Chapel; “Blossom Love” built a cultural bridge between Hong Kong and the Netherlands.Why ‘Art of My Family' Isn't Just a NameMay's nonprofit uses art to serve mental health, sustainability, and inclusion—with the three C's: co-design, co-create, co-learn.Mission: Teaching Artists Who Teach From Life“I'm not just instructing—I'm modeling the mess, joy, and resilience of the creative path.”______________________Connect with us:Host: Vince Chan | Guest: May Yeung  --Chief Change Officer--Change Ambitiously. Outgrow Yourself.Open a World of Expansive Human Intelligencefor Transformation Gurus, Black Sheep,Unsung Visionaries & Bold Hearts.EdTech Leadership Awards 2025 Finalist.18 Million+ All-Time Downloads.80+ Countries Reached Daily.Global Top 1.5% Podcast.Top 10 US Business.Top 1 US Careers.>>>170,000+ are outgrowing. Act Today.

In this May The 4th episode, we had the pleasure of sitting down with Speciality Costume Manufacturer, Marcus Napuri. Join us for a chat about all things art, props, the Mandoverse, and so much more!

Send us a textIn this episode of The Real Santa Fe, Bunny Terry sits down once again with renowned bronze sculptor Star Liana York — a true icon in Santa Fe's art world. From her early days cutting wooden animal shapes in her father's basement to becoming one of the Southwest's most collected artists, Star shares the story of a life shaped by art, animals, and the power of place.They dive deep into how Santa Fe's foundries, cultures, landscapes, and generous community have influenced her decades-long career. You'll hear stories about her creative process, the personalities behind her animal sculptures, her spiritual connection to Maria Martinez, and the quiet discipline it takes to let inspiration come through. Whether you're an art lover, a Santa Fe local, or someone dreaming of a life rooted in creativity, this episode is rich with insight and soul.

Today, the Spotlight shines On digital media artist Tamiko Thiel.To mark our special milestone of 250 episodes, we are kicking off a two-part conversation with media artist Tamiko Thiel.Tamiko has lived at the crossroads of art and technology for over 40 years. She designed the Connection Machine, the first commercial AI supercomputer that now sits in New York's Museum of Modern Art. She's worked with everyone from Steven Spielberg to Richard Feynman, and pioneered virtual reality art before most people had heard of VR. Her Connection Machine even inspired Steve Jobs when he built his post-Apple computer, the NeXTcube.In part one, Tamiko shares her journey from Stanford engineer to acclaimed artist, and how her Japanese-American roots shape her work exploring identity, place, and space. Part two drops next week.–Dig DeeperVisit Tamiko Thiel at tamikothiel.comFollow Tamiko Thiel on Bluesky, Instagram, and LinkedInDanny Hillis, Richard Feynman, Tamiko Thiel & Colleagues Design the Connection MachineThe Female Supercomputer Designer Who Inspired Steve JobsCM-1/CM-2 "Feynman" T-shirtsDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our new online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines On digital media artist Tamiko Thiel.To mark our special milestone of 250 episodes, we are kicking off a two-part conversation with media artist Tamiko Thiel.Tamiko has lived at the crossroads of art and technology for over 40 years. She designed the Connection Machine, the first commercial AI supercomputer that now sits in New York's Museum of Modern Art. She's worked with everyone from Steven Spielberg to Richard Feynman, and pioneered virtual reality art before most people had heard of VR. Her Connection Machine even inspired Steve Jobs when he built his post-Apple computer, the NeXTcube.In part one, Tamiko shares her journey from Stanford engineer to acclaimed artist, and how her Japanese-American roots shape her work exploring identity, place, and space. Part two drops next week.–Dig DeeperVisit Tamiko Thiel at tamikothiel.comFollow Tamiko Thiel on Bluesky, Instagram, and LinkedInDanny Hillis, Richard Feynman, Tamiko Thiel & Colleagues Design the Connection MachineThe Female Supercomputer Designer Who Inspired Steve JobsCM-1/CM-2 "Feynman" T-shirtsDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our new online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Miranda Rumfelt is a trailblazer in the automotive world, proudly standing as the only female owner of a custom vehicle design business in metro Detroit. Born and raised in The Motor City, her passion for American Muscle cars was ignited at a young age by her family of "wrenchers." From tagging along with her father Kevin, to car shows and racetracks as his "mini me," to rebuilding engines and painting her own minibike, her life has revolved around automobiles. Her journey took a pivotal turn at age 13 when she enrolled in the DRIVE One Detroit program, where she discovered automotive design and clay sculpting under the guidance of industry mentors. where this early exposure set the foundation for a remarkable career leading her to become a full-time clay sculptor at General Motors Design and the founder of MR Design LLC, where she creates stunning vehicle designs and custom parts. Connect with Miranda here: https://www.instagram.com/mirandarumfelt https://www.youtube.com/@mirandarumfelt https://www.tiktok.com/@mirandarumfelt https://www.facebook.com/people/Miranda-Rumfelt/100090457860344/ Connect with Red Line Oil: www.redline.com Connect with Mecum Auctions: www.Mecum.com Connect with JP Emerson: www.jpemerson.comFor more podcasts on cars check out Ford Mustang The Early Years Podcast at www.TheMustangPodcast.com, at Apple Podcasts or anywhere you get your podcastsFor more information about sponsorship or advertising on The JP Emerson Show or podcast launch services, contact Doug Sandler at doug@turnkeypodcast.com or visit www.turnkeypodcast.com

Before cat-eye glasses were a fashion staple, they were a radical act of design — and behind them was Altina Schinasi: sculptor, filmmaker, inventor, and unapologetic creative force. In this episode, Stauney and Sadie follow Altina's kaleidoscopic life, from designing the iconic harlequin frame to creating politically charged art and championing social causes. A daughter of immigrants who defied expectations at every turn, Altina made a spectacle of herself in all the best ways — shaping not just how we look, but how we see. Join us as we explore the bold vision of a woman who refused to stay in the lines — and made the world a little sharper because of it. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we sit down with the incredibly talented Chuck Bertrand—sculptor, artist, and mask maker—whose creations have haunted horror fans for years.From bringing Psycho Vicky to life in the Terrifier franchise to crafting iconic pieces like The Haunted Mask from Goosebumps and his terrifying take on Dr. Jekyll and Mr. Hyde, Chuck has made a name for himself in the world of horror collectibles and film-quality creations.We dive into his love for horror, how he got started in the industry, and what it takes to transform nightmares into reality. Chuck shares his experiences working in the haunt industry, why he's passionate about Halloween Horror Nights at Universal Orlando, and how haunted attractions continue to inspire his work.We also explore the crossover between horror fans and their love for collecting, why people are drawn to physical pieces of their favorite movies, and where he sees the horror industry heading.Plus, Chuck gives us an inside look at his latest venture, Chuck's Curiosities, and what terrifying creations he has in store next!If you're a fan of horror movies, masks, collectibles, or the art of bringing fear to life, this is an episode you don't want to miss!Check out more of my content here - https://linktr.ee/FirstClassHorrorCheck out Chuck's work here - https://www.youtube.com/@Chuckscuriosities chuckscuriosities.etsy.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/class-horror-cast--4295531/support.

Join Maggie Perotin as she interviews Lina Waled, an innovative haircutting specialist who transformed her career from a psychology graduate to an international hair artist and content creator. In this episode, discover how following your creative intuition can lead to unexpected success and business growth.Key Highlights:• Lina's unique journey from a psychology degree to becoming a sought-after hairstylist• How she developed her signature razor-cutting technique and "sculpted hair" concept• Strategic approach to content creation across YouTube, Instagram, and TikTok• Tips for relocating a service-based business internationally• Managing creative entrepreneurship while maintaining focus on business goalsTopics Covered:[00:00:00] - Introduction and Lina's background[00:02:00] - The story behind becoming a hairstylist[00:04:00] - Developing unique razor-cutting techniques[00:08:00] - Content creation strategy across different platforms[00:12:00] - Relocating from Canada to Dubai[00:15:00] - Managing creativity and business focus[00:19:00] - The importance of business coaching and supportKey Takeaways:• Different social media platforms require different approaches:YouTube: Long-form, detailed tutorialsInstagram: Professional business presence and client bookingTikTok: Casual, personal connection content• Success strategies for creative entrepreneurs:Brain dumping for idea managementCreating systems for focusRegular journaling and planningStrategic experimentationFeatured Guest: Lina Waled (@linadoeshair)Haircutting specialist and content creator based in Dubai, known for her innovative razor-cutting technique and viral hair content.Resources Mentioned:• Instagram: @linadoeshair• Diamond Effect Group Coaching ProgramFollow Lina on Instagram @linadoeshair to see her amazing hair transformations and content creation strategies in action.

Send us a textWhat happens when music meets muscle? Meet Trea, the "fit artist" whose mission bridges the gap between creative expression and physical wellbeing. Growing up in a small Mississippi Delta town where church choirs shaped his musical foundation, Trea's journey from writing emotional poems about his grandmother to founding Next World Fitness reflects the powerful intersection of artistic passion and physical discipline.Trea recognizes a critical truth most fitness professionals miss: artists, musicians, and entertainers face unique wellness challenges. Constantly on the road, subjected to irregular schedules, and literally using their bodies as instruments of their craft, performers need specialized approaches to fitness that traditional gym routines simply can't provide. "Your body is the instrument," Trea emphasizes, highlighting how improved stamina, energy, and mental clarity directly enhance creative output and stage performance.The genius of Trea's method lies in its accessibility. Rejecting the discouraging "all-or-nothing" mindset that derails so many fitness journeys, he advocates for small, sustainable changes that build momentum over time. His innovative HIIT-style workouts can be completed in just 10-20 minutes anywhere—from tour buses to hotel rooms—making fitness feasible even for the most demanding entertainment careers. This practical approach acknowledges the reality of creative professionals' lives while still delivering meaningful results.Beyond individual training, Trea has created Fit Masterpiece Collabs, a community where artists support each other's wellness goals while networking professionally. His newly launched "Sculpt and Create" podcast further explores the symbiotic relationship between creativity and physical health through conversations with fellow artists and wellness professionals. Ready to treat your creative career as seriously as your creative output? Discover how Trea's specialized approach to fitness can amplify your artistry and extend your career longevity at nextworldfitness.com. Your body deserves the same dedication as your art.Want to be a guest on Living the Dream with Curveball? Send Curtis Jackson a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/1628631536976x919760049303001600

This episode Tony sits down with Miss Universe titleholder Angela Beyer. They talk about health, wellness and the importance of strength training. As a renowned fitness coach and health expert, she empowers women to build muscle, cultivate healthy habits, and achieve lasting well-being. Sculpting bodies and shaping lives, give her a follow her https://www.instagram.com/healthcoachangela/

You might encounter an ice sculpture of a swan at a fancy banquet, or an ice luge on a night out. But have you ever seen an 18-foot-tall punk baby with a mohawk made of ice? That’s one of the massive ice sculptures dreamt up by world-class ice carver Chris Foltz. Every winter, master sculptors from across the globe converge for the World Ice Art Championships in Fairbanks, where the temps are sub-zero, the ice blocks are sawed out of frozen ponds and the sculptures can weigh up to 20 tons. Foltz, a longtime chef who teaches ice sculpting to culinary students on the Oregon coast, has led teams to multiple world championships in Alaska.   “Oregon Field Guide” producer Noah Thomas followed Foltz and his team from Oregon to Fairbanks and joins us to share the thrills and chills of their quest for icy glory.   For more “Evergreen” episodes and to share your voice with us, visit our showpage. Follow OPB on Instagram, and follow host Jenn Chávez too. You can sign up for OPB’s newsletters to get what you need in your inbox regularly.   Don’t forget to check out our many podcasts, which can be found on any of your favorite podcast apps: Hush Timber Wars Season 2: Salmon Wars Politics Now Think Out Loud And many more! Check out our full show list here.

“Brush sculpting” is the planned, selective control of brush to enhance wildlife habitat. Think of it as applied landscaping or feng shui. Join Dr. Dale and his special guest Rory Burroughs of Comprehensive Land Management as they provide an overview of the concept, and how to increase “useable space” for quails (and other wildlife) on your property.

Ave invites Dr. Mija Khan to talk all things plastic surgery. They talk about her journey in medical school, an open Q+A and finding confidence in your natural beauty.

Joined by Liz Lewis, sculptor, bird hunter and bird dog lover we discuss Liz origins in sporting art and the sporting lifestyle along with her journey as a competitive shotgun shooter. Show Highlights: “Raised at the range” Overlanding and Uplanding: Episodes #209 and #210 A desire to help women become better shotgun shooters Shooting competitively for Team Beretta and Team USA “FITASC really separates the women from the girls!” The importance of gun fit for women Eye dominance issues… Origins in sporting and wildlife art Sculpting and the art business Foundries, bronze, patinas and more! The Liz Lewis Gallery SUPPORT | patreon.com/birdshot Follow us | @birdshot.podcast Use Promo Code | BSP20 to save 20% with onX Hunt Use Promo Code | BP15 to save 15% on Marshwear Clothing Use Promo Code | BS10 to save 10% on Trulock Chokes The Birdshot Podcast is Presented By: onX Hunt, Final Rise and Upland Gun Company Learn more about your ad choices. Visit megaphone.fm/adchoices

these sculptures are not what they seem... First CREEPYPASTA ► "I accidentally joined a sculpting class..." written by 0hShaSha, narrated by ClancyPasta ► https://www.reddit.com/r/nosleep/comments/1hl9meo/i_accidentally_joined_a_sculpting_class/ ► https://x.com/OhShaSha279480 Second CREEPYPASTA ► "The Murmuring House" written by shane-carter_, narrated by ClancyPasta ► https://www.reddit.com/r/nosleep/comments/1hlb6b9/the_murmuring_house/ Third CREEPYPASTA ► "Razormouth" written by jiltedone, narrated by ClancyPasta ► https://www.reddit.com/r/nosleep/comments/1hlwvhr/razormouth/ 0:00 - First Tale 7:14 - Second Tale 15:44 - Third Tale Here on ClancyPasta we provide audio narrations of scary stories of all kinds - from classic creepypastas, to new creepypastas, to other scary stories from the internet and beyond. Been recording since 2017! Here are ways to support the channel if you wish ~ MERCH ► http://teespring.com/stores/clancypastastore PATREON ► https://patreon.com/clancypasta MEMBERSHIP ► https://www.youtube.com/channel/UCnfg9w5hrnPT7oA1H3uRZEQ/join Here's where you can find me, and also links to the audio version of the show ~ X / TWITTER ► http://x.com/clancypasta INSTA ► https://instagram.com/clancypasta SPOTIFY ► https://open.spotify.com/show/51DHHPsFnEvDAGfRiZPMF7 ANCHOR.FM ► https://anchor.fm/clancypasta ► Background footage licensed from StoryBlocks. MUSIC ► "Gymnopedie #"1 Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Other background music and sound effects licensed from StoryBlocks. #Creepypasta #scarystories #horrorstories #ClancyPasta

October 4, 1927. The face of Mount Rushmore is transformed to make way for a gigantic carving of four American Presidents.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, the gals throw down some clay to dig into a couple of cases where art and science intersect. Topics include soft tissue scrutiny, a family annihilator on the lam, and an enterprising woman with a talent for connecting with victims (AKA our new hero). Get yourself a glass of Sculptor Cabernet Sauvignon, turn up the organ music, and tune in for Forensic Sculpting. For a full list of show sponsors, visit https://wineandcrimepodcast.com/sponsors