Podcasts about Stieglitz

Worüber plaudern die lauten Wildgänse, die über unsere Köpfe fliegen? Warum gibt es in Berlin viele Spatzen - aber in Hamburg kaum noch welche? Und bringen Meisenknödel den Wintervögeln wirklich etwas? Diese Fragen beantwortet Manuel Tacke bei einem Spaziergang über das Tempelhofer Feld in Berlin. Der Naju-Bundesgeschäftsführer und Ornithologe zeigt, wie man Vogelarten wie Blau- und Kohlmeise, Rotdrossel und Stieglitz bestimmt. Und er gibt gute Tipps für angehende Vogelbeobachter:innen. Rezept des Monats: Vogelbeeren-Mark Hilfreiche Links: - http://orniberlin.de/ - https://www.naju-berlin.de/gruppen/jugendgruppen/young-birders-club/ - https://merlin.allaboutbirds.org/ - https://www.nabu.de/natur-und-landschaft/natur-erleben/spiele-apps-klingeltoene/vogelwelt.html

Hörmann, Andi www.deutschlandfunkkultur.de, Lesart

Hörmann, Andi www.deutschlandfunkkultur.de, Lesart

Hörmann, Andi www.deutschlandfunkkultur.de, Lesart

If you think you know something about Georgia O'Keeffe, be prepared to be pleasantly surprised.  Her styles at this time seems to have generally drifted away from her previous more colorful works and amorphous forms, and instead varied from monochromatic abstracts to more realistic sepia toned cityscapes reminiscent of Stieglitz' photos.  Georgia O'Keeffe: “My New Yorks” is at the Art Institute of Chicago through September 22, 2024.  For details visit  The Art Institute of Chicago (artic.edu)Podcast review by Reno Lovison.

In this episode of the Exploring Art Podcast, host Lauren, along with guests Janelle and Abraham, engage into a interesting discussion on the portrayal of Socrates through art. They explore the intriguing question of whether a portrait by Rembrandt or a photograph by Alfred Stieglitz would better capture the essence of the ancient philosopher. Through a rich conversation about the lives and techniques of Rembrandt and Stieglitz, the episode examines the impact of cultural and historical contexts on their works. The dialogue also considers the psychological and emotional insights offered by portraits and photographs, ultimately contemplating how our connection to Socrates might influence our preference for one medium over the other. Tune in to this thought-provoking episode to uncover how art and photography shape our understanding of historical figures.

Join Ben and Miya as we discuss Socrates and twoartists: Rembrandt and Stieglitz, along with theirtechniques and styles. What would it be like if wesaw them make a portrait of Socrates? Panta Rhei - Vodovoz Music Productions

Which vision of Socrates would captivate you more: the emotive brushstrokes of Rembrandt or the stark realism of Alfred Stieglitz's photography? In this episode, we embark on a fascinating exploration of how these two iconic artists might depict the legendary philosopher. Through a lively discussion, we uncover the unique ways that a painted portrait and a photograph can reveal different dimensions of Socrates' character. Join us as we blend history, philosophy, and art to illuminate the timeless question of how we connect with the past. Perfect for art lovers and philosophy ethusiasts alike, this episode promises a thought-provoking and engaging conversation that will leave you pondering: Which Socrates would you prefer to see?  

Programa 2024 06 14 Suscribite a nuestro canal en YouTube y dale a la campanita Spotify - Apple Podcast - Google Podcast Cafecito o Patreon - para ayudarnos a continuar Invitados Thomás Stieglitz y Agustina compraron un barco que bautizaron Bohemia, recorren desde hace meses los oceanos del planeta de cruzar a Colonia a cruzar el Pacifico Cambios de barcos H20 Catalina 42 Bavaria 46 Cuantos años navegando? Que recorrieron? Por que el nombre Bohemia? Pompaloose fruta exótica

“Dive into the world of philosophy and art on the Exploring Art Podcast. Hosted by Sierra and co-hosted by Arlene. In this episode, we talk about the life of Socrates through the strokes of Rembrandt and the lens of Stieglitz.”

Within this episode of the Exploring Art Podcast, I– your host– Elio, will be joined with Ty and Gabriela to discuss our perspectives regarding preserving Socrates' memory through art. We'll be jumping into the world of painting portraits and portrait photography– Rembrandt and Stieglitz– to find out what that is. You'll be sure to learn something new!

SOPHIA STIEGLITZ. Part 2. We will be discussing working as a cinematographer in Mexico, the influence of interpersonal relationships in our careers, and how she became one of the founders behind Amazonas Eléctricas an all-female crew of latina gaffers and electricians operating out of Mexico.  instagram: ⁠https://www.instagram.com/cinemasophie/⁠ website: ⁠http://www.sophiastieglitz.com/⁠

SOPHIA STIEGLITZ. Part 1. We will be discussing working as a cinematographer in Mexico, the influence of interpersonal relationships in our careers, and how she became one of the founders behind Amazonas Eléctricas an all-female crew of latina gaffers and electricians operating out of Mexico.  instagram: https://www.instagram.com/cinemasophie/ website: http://www.sophiastieglitz.com/

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2023.07.15.549130v1?rss=1 Authors: Valle, G., Katic Secerovic, N., Eggemann, D., Gorskii, O., Pavlova, N., Cvancara, P., Stieglitz, T., Musienko, P., Bumbasirevic, M., Raspopovic, S. Abstract: Artificial communication with the brain through peripheral nerve stimulation recently showed promising results in people with sensorimotor deficits. However, these efforts fall short in delivering close-to-natural rich sensory experience, resulting in the necessity to propose novel venues for converting sensory information into neural stimulation patterns, which would possibly enable intuitive and natural sensations. To this aim, we designed and tested a biomimetic neurostimulation framework inspired by nature, able 'to write' physiologically plausible information back into the residual healthy nervous system. Starting from the in-silico model of mechanoreceptors, we designed biomimetic policies of stimulation, emulating the activity of different afferent units. Then, we experimentally assessed these novel paradigms, alongside mechanical touch and commonly used, linear neuromodulations. We explored the somatosensory neuroaxis by stimulating the nerve while recording the neural responses at the dorsal root ganglion and spinal cord of decerebrated cats. Biomimetic stimulation resulted in a neural activity that travels consistently along the neuroaxis, producing the spatio-temporal neural dynamic more like the naturally evoked one. Finally, we then implemented these paradigms within the bionic device and tested it with patients. Biomimetic neurostimulations resulted in higher mobility and decreased mental effort compared to traditional approaches. The results of this neuroscience-driven technology inspired by the human body could be a model for the development of novel assistive neurotechnologies. Copy rights belong to original authors. Visit the link for more info Podcast created by Paper Player, LLC

Join our journey as we compare possible perspectives comparing and contrasting the differences provided. We will break down portraits and photographs while applying the mediums of Rembrandt and Alfred Stieglitz. We will discuss the differences these great artists could have shown when the person they are capturing in their images is philosopher Socrates. Would we rather see a portrait of Socrates by Rembrandt over a photograph? Does that answer change when the photographer is Stieglitz himself? Will the unknown of Socrates influence our beliefs? Tune in to learn and listen along.

Step into the enthralling worlds of art and philosophy as we set out to discover the genuine essence of Socrates. Join us as we argue the merits of a Rembrandt portrait vs a Stieglitz image with art fans Henry, Hailey, and Nicole. Explore the depths of artistic interpretation, undiluted reality, and historical individuals' enduring fascination. Prepare to have your views tested and your curiosity piqued in this thought-provoking investigation of art's ability to uncover Socrates' mysterious identity. Tune in to "Art Revealed" to learn the secrets of these creative masterpieces.

Join us as we discuss the different details that can be portrayed by two different art mediums if they were hypothetically made by two great artists of the 17th and 20th century, respectively: a portrait by Rembrandt and a photography by Stieglitz, when it comes to depicting the famous Greek philosopher Socrates. Through discussion we will distinguish his influence and how we perceive both artists to showcase their art to symbolize his wisdom and knowledge. Don't miss out on this episode's great rendezvous.   Soundtrack: “Aperture” by Unison Song: Unison - Aperture [NCS Release] Music provided by NoCopyrightSounds Free Download/Stream: http://ncs.io/aperture Watch: http://youtu.be/8VDjPYcL-oU

Come along with us on this journey through the different generations of art. Amir, Adele, and Valeria will discuss the influence of Rembrandt and Alfred Stieglitz. We will also discuss how we interpreted photography and portraiture and how Socrates and Stieglitz felt about art and expression. Music Used: Chill Instrumental [Non-Copyrighted Music] "Embrace" by Sappherios 

This podcast covers the Greek Philosopher Socrates and in what art form his image is more favorable. Does the knowledge of the artists, Rembrandt or Alfred Stieglitz, drive the preference toward their respective art forms? Additionally, we discuss how each artist appeals to the public and to the human visual sense. What styles can you extract from these artists and what distinctions can be made?  You'll find that out in this episode of the Exploring Art Podcast.

Today, in this podcast episode we will be debating on who can create a better portrait of Socrates: Alfred Stieglitz, a photographer, or Rembrandt, a painter. Both of these people have proven to be masterful artists as they have used amazing techniques and even created some! Who will win? Rembrandt with his chiaroscuro, or Alfred Stieglitz with Pictorialism. Let the battle begin!

Join us as we discuss whether having a painting of Socrates by Rembrandt or a photograph of Rembrandt, we discuss the pros and cons of each and discuss Rembrandt's art and Stieglitz's way of photographing. We also argue about which one is better and why, we bring up historical points as well as cultural points. We talked about how Rembrandt would make his portrait life-like, we also explained what a portrait, self-portrait and a portrait photography is. 

Come along on a thought-provoking journey as we compare the perspectives offered by a Rembrandt portrait and a photograph, examining the treasures of wisdom each medium holds, and explore the case of Socrates' portrayal. We'll discuss the possible insights provided by the Rembrandt portrait as well as the unique qualities that an Alfred Stieglitz photograph may possess. Do we prefer the image over the Rembrandt picture now that Stieglitz was involved? We'll also look at if wanting to know more about Socrates influences our choice of favorite work of art. Tune in to "Capturing Socrates" for an engaging exploration of art, philosophy, and the nature of representation.

This episode of the Foto Podcast is from a podcast I recorded with Rodney in 2012. I've re-edited this conversation to improve the sound quality from its original recording and reworked the audio presentation. I feel very fortunate that Rodney took the time to chat with me over ten years ago. When he unexpectedly passed in 2016, I realized how lucky I was to be able to spend a brief amount of time with him.Rodney was incredibly kind to me through our email exchanges, this recording, and a short 2-hour personal visit to his house in New York in the Spring of 2013. I probably spent 4 hours conversing with him in some form or another, but he left an unforgettable impression on me. I respect his work and artistic vision, but I will never forget him for his grace, openness, and thoughtfulness. We live in a boisterous and fast-moving world, but this conversation with Rodney always reminds me to slow down and turn down the noise in my life. He lived at his own pace, and what you see in his images reflects Rodney's personality. I hope this audio recording will give you a glimpse into his motivations, creative process, and the deep critical thinking he put into everything. Learn more about Rodney Smith at rodneysmith.comThe Rodney Smith Estate has released a new book entitled Rodney Smith: A Leap of Faith.“The first retrospective on the work of Rodney Smith weaves together a bio-critical essay by Getty Museum curator Paul Martineau and an assessment of Smith's technique by the Center for Creative Photography's chief curator, Rebecca A. Senf. Introduction by Graydon Carter. It maps Smith's creative trajectory—including his introduction to photography, early personal projects, teaching, commissioned pieces, and career in fashion—and provides insight into his personal life and character, contextualizing his work and creative tendencies within his complex emotional and psychological makeup. Rodney Smith is the definitive record of the life's work and worldview of a truly original artist.”I recently received a copy of A Leap of Faith, and it's an incredible book that is printed beautifully. This is not a paid sponsorship of any kind. I'm genuinely grateful for Rodney Smith taking the time to chat with me 11 years ago, and I think you'll appreciate his work and his approach to life and art. Rodney Smith Podcast Transcription:I'm 65 years old, so I've been a photographer for 45 years. I guess there's a fair amount of experience with that. And, um, and I've gone through quite a bit, um, as far as the changes in photography. but going all the way back, probably the very first, I don't know, maybe a slightly unconscious inclination that I wanted to be a photographer started when I was 16 years old and my father gave me a camera.I took a teen tour. That's what kind of popular when I was a young boy. with oth with other students my age, and we went around the United States and then we went into Mexico my father gave me a camera for that trip. on the, the, the Mexican part of the trip, we took a train from New Villa Laredo, Texas to Mexico City.I remember this actually quite well. And [00:05:00] the train, there was a landslide across the tracks on the train. And the train stopped and it was sort of took about four days for them to clear the rocks from the tracks. And during those four days, we would get out off the train or there were many young children from Mayville Villages who would come by the train trying to sell everybody something.And And it was their faces that really, um, appealed to me.And I remember when I got back after the tours all over, my father looked at these pictures and, uh, there were no pictures of my contemporaries on the trip who were my, you know, people from all over the country were my age. But there were all these pictures of Mexican children. And, um, I remember my father being kind of discouraged and saying, why aren't there any pictures of you're contemporaries, that was probably the very first, and I guess somewhat unconsciously, I said inclination. The main kind of epiphany when I actually knew I said this, I want to be a photographer, was much later [00:06:00] when I was in college, probably my senior junior, I can't remember exactly whether it was my junior or senior year in college.And I was home for the holidays, just around this time, actually, probably a little later in, in December. But, I remember I went to the Museum of Modern Art, um, which had a permanent collection of photography. Um, I'm a New Yorker and so I was home in Manhattan. and I'd been there many times before and I don't know exactly what initiated me to go to this collection of pictures I had seen before, but I did.And I think the important part of this was that Edward Steon was still the curator of photography at that point, and I think his sensibilities were much closer to Toine, than maybe more contemporary curators. the permanent collection was composed of pictures of Gene Smith, Arthur Lang, Margaret Burke, white Stieglitz, and Steon.And I remember walking through this, gallery and thinking, having an epiphany. And I remember basically having it in front of Eugene Smith picture, and thinking, oh my [00:07:00] God, I can do this. , and this is what I want to do. And I think it's a, that's a fairly simplistic response to a very complicated question.But from that moment on, I knew that this is what I was going to do with my life. Now, I don't think it meant to me that I was gonna copy the work of these people. I think what I realized at that moment was I, I could take my feelings and put them on a piece of paper.And I think that's what the revelation was to me. That I had all these anxieties and these fears and all these feelings, tremendously powerful feelings inside me without an outlet to express them. And I realized that photography was the perfect medium for me to do this. And from that moment on, and it was a number of years.Afterwards that I actually became a photographer. But from that moment on, I knew I wanted to be a photographer.[00:08:00] in college I was an English major and then I became a religious studies major and I, um, was sort of both. I graduated with both and then I went on to graduate school to study theology actually, and, but also with the intention of taking half my credits in the photography program.I wanted my degree to be in [00:09:00] theology, not photography. but I did, while I was in graduate school, singularly learn my craft, I spent a great deal of time and the program at that time was really quite wonderful. Learning, the craft of photography. We learned the Z Zone system photography.One you had to use a large format camera. And it was a really great discipline. So I learned the craft, but I also learned what I, I, I developed a vision, or I nurtured a vision of what I wanted to say is about studying theology. unfortunately, and I probably, somewhat uncomfortable for a lot of people.I think, and I, I don't wanna say this unequivocally, that I think this is the case in most time, but it's very hard to nurture a vision studying the craft of photography. I think that the, one of the last places one would really learn to be a photographer is in an art school, just studying photography.Now I know that's probably not a popular thing, but that's sort of how, what I believe, I think one has to have a vision and how [00:10:00] one nurtures and develops that vision, I think is by, doing something quite contradictory to the physical craft of making a picture.I didn't study theology with any intention for looking for any answers to questions. I, I studied theology to, to sort of initiate the questions. Um, from 40 years later, I still don't have any answers. And, and I'm not sure I actually believe I could have them, but, but what I really did love was learning how to ask the right questions.And that's, that's what studying theology did, did for me. Now, what, what do I mean by that? Asking the right questions. Well, I think theology or some of the issues that really were important to me were questions about human [00:11:00] existence. Who are we? What do we stand for? How do we fit into this world around us?What is the nature of evil? What is the nature of good? What is the nature of man? And so it's all these questions about how the human being fits into the world and the surroundings around him. And those are still some of the prevalent themes I think, that are really important in my work. So, While I was studying the craft of photography, I was sort of, I was hope anyway.And I, I think it, I think correctly I was nurturing this vision about, or learning for how to perform to my feelings intellectually so that I could sort of integrate the two when I actually began to make pictures. And I think it worked out during the time of me doing this. I mean, I had tremendous disapproval and, um, I don't know, people were kind of a guess, why are you doing this?Why are you wasting your time studying theology? You know, I was in my [00:12:00] family, I was expected to do something more business-like, or do something. They're quite different. and nobody, except for my wife or the done, no one who gave me any support, they all thought I was totally crazy. But I actually. And I probably couldn't articulate it exactly why I thought it was really important to do it.I just intuitively knew in my heart that this is what I wanted to do and um, I'm actually very happy I did it. I don't have any regretsI'm definitely of the school of thought that you sort of, your present is definitely formed from your past. Um, and so I I I, I would definitely think that probably a, a great deal of it is not, I don't know all of it, but a great deal of it derived from my upbringing. Um, my, my mother and father who are now both dead close to 40 years.Um, my mother 30 and my father 40 would be kind of shocking that they're still still such a prevalent and powerful force in my life. But they [00:13:00] are. And um, you know, I was, my parents were very, my father was very affluent. He was a CEO in, uh, some fashion companies and I grew up sort of in a 19th century.lifestyle and existence. Um, when I look what it, what seemed quite normal and natural to me as a young boy. Now when I look back on it seems, you know, really from the 19th century. there was this kind of real love of refined things.Things were always beautifully done. Everything was perfectly in its place. There was an order to everything. There were many people who taken care of, you know, servants who made things perfect and beautiful. And even though part of me was rebellious against that, I always loved it. I mean, quite honestly, I did, I, not that I loved some of the accoutrements of it, but the, if you looked at it physically, I loved it.And it definitely had an effect on me. And I think my pictures represent the [00:14:00] more positive aspects. Of my life. I don't think they, my upbringing, I mean they, um, I'm not saying that at all. They are. That's the way it was. Cause there was a lot of negative things to it. Many negative things. Perhaps even more negative things than positive things.But, the pictures are represent that world at its very finest. It's sort of like an affirmation of what can be, what a gentleman really, what the word gentleman, if you define it and you just dissect it, you know, to a gentle man or a nobleman. It, it's sort of those things, if they really existed in the world, if there really were gentlemen and if they really were nobleman, it's not that it's impossible, but it's slightly out of reach.that's sort of what I think my pictures are about. Sort of how does one sort of aspire to greatness? What you have this potential inside you and how do you realize this? I think that's sort of what the pictures are. one last thing about that, now [00:15:00] I'm, as I said, 65. So one in the sixties, the very early sixties when Kennedy was president.I was in high school. I was I think a junior in high school. And, um, that era was, you know, there was like the last feig of sort of, uh, what I would refer to as elegance and grace and beauty in, in a lot of things. Not just fashion, which my father was very much a part of, but many things was still, there was a world was holding onto it.And then the hippie movement, the anti-war movement in the sixties, it all sort of tore all that apart. But the early sixties, maybe up to 65 or something like that, 64, 65 were the last remnants. Of an error, like was when Carrie Grant and, um, and Audrey Hepburn and Leslie Caron and all were still really popular.It was, it was a slightly different era and then everything changed in the, by the, by the 1970s and the world became a different place.[00:16:00] I hear that comment, something like that quite often. Um, that, that you could tell a story from the pictures that you were sort of caught in the middle of the story and you're curious about what happened prior and afterwards. I have to tell you consciously anyway, when I'm taking the pictures, I'm not aware of that at all.but I am kind of a literary soul. I've al in every book I've ever done, there's always been writing. I've done four books and that every book has writing and photographs in it in one form or another. I always been around writers. I, when I was very young in college, before I decided I wanted to be a photographer, I thought I was gonna be a novel.But I, I, I had the sentiment but not the skill, and I quickly realized that. So, but I guess [00:17:00] writing has always, um, been a part of me. So when you say that about the pictures, that's actually quite a compliment to me because I'm not aware of it. But if they do tell a story, uh, or there's like a fragment of the story, that would be kind of a wonderful thing and I would really like that.Although when I'm taking it, I'm not aware of that.the pictures are taken completely spontaneously. I know this is one of the ironies to me of, of a lot of, sort of sets off a whole discrepancy about photography in general and modern photography, but all the pictures was referred to as the lifestyle pictures of the last 10 years or 15 years are much more controlled and created.even though they look like they're spontaneous and of the moment, they're much more created pictures than mine, which look very serene, controlled. My pictures five seconds before I took the picture, I didn't know I was gonna take that picture. And not in a hundred percent of the instances, but at least 60, [00:18:00] 70 or 80% of the time, the picture is completely spontaneous and I may have set something up and so, but I don't know what the, what the end product's gonna look like.And then all of a sudden something, somebody does something or something happens, or the light changes, or it can be many things. And all of a sudden I say, take the picture and I take the picture. And I didn't know I was gonna take that exact picture five seconds before I took it. so I think that's kind of always been kind of interesting to me that although my pictures look quite serene and controlled and um, like they were art, art directed, um, or created under sort of very sort of, um, Rigid requirements.Totally the opposite.I'm definitely always first looking for the location, which would be the landscape or the environment. Once, once I've found the environment, I can always make the pictures. you know, I was, when I was very young, I was a landscape photographer, um, as well as shooting portraits. And [00:19:00] then I think one of the great things that happened to me was, , I began to integrate the two together.I began to put people into the landscape, which is a very different thing than placing somebody in front of something. I think most people take pictures in an environment and they stick a figure or a person or a thing in front of something and they refer to that. You know, as, I don't know that term.I can't stand environmental portraits or whatever that is. I the term I really do not like. But that, that's not the way I would operate. The person has to be sort of placed in an environment as part of it. And actually it goes back to the previous question about the spontaneity of the, of the pictures.The reason why I can shoot these pictures so quickly is because I can very quickly get to this place where I think everything is right. I mean, almost instantaneously I will know this is the place I need to make this picture. Now, there may be a few other places too, but I'll start at this place that feels absolutely right to me.but for me, the pictures are, are totally [00:20:00] controlled or by the environment. That's why the location work for me is by far the hardest part of making pictures is finding a location I like. and then once I've found, , which is a really rigorous and very exhausting process. but once I found this, this location, I don't want to know what the picture's gonna look like.I, you know, when I'm scouting it, it may be gray or rainy, or it may be it's sunny and then the day of the shoot it's raining. Or I may look at it in the morning and I may be there in the afternoon and the light's totally different. So I never know what the picture is I'm gonna make there, nor do I want to.I've never shot Polaroids in my life. I don't want to do any of that things. I just want to trust my instincts. And once I've found a place that seems appropriate or great, I'll say I can make pictures here and that's all I want to know. And then I'll go away until the, until the time I physically shoot the.there are sometimes requirements about what I, I need to find, but the, probably it's the same thing no matter what I'm looking for. And that [00:21:00] is a place that has a sense of history to it, which is hard for me in America. , I, it's gotta have a certain Betina to it and character to it.Um, sometimes it's the question of the light in the place, but it's, it's, it's a whole thing, a landscape. It's just gotta feel ex eccentric or original or special. To me. It's definitely my vision. but I think like if I'm looking for an interior place, There's kind of a characteristic that's involved that's in all the pictures, and that is, it's got a certain history to it and depth has been sort of aged nicely.I rarely would shoot in a brand new location that, that hasn't aged or settled into its environment. I sort of like how things fit into a place and if, unless the location does that on some level, there isn't a history there, I probably wouldn't be interested in it. you know, I was once doing a shoot in Phoenix, Arizona, you know, and I remember scouting the city of Phoenix and I [00:22:00] couldn't find anything that I really felt worked.I mean, it was to do it more hotel and a few other things I thought were great. But what I found really great was the landscape around Phoenix. I mean the part that was untouched. and that's where I ended up shooting the picture. Sometimes, often if I'm in Paris or in London, I can find hundreds of locations that appeal to me.because they have this history to them. The man or somebody has interacted with this location for, for quite a while, and it, and that you can feel the patina of the interaction of the two. and that's what, that's what really I like.And also, you know, American cities, um, they build these skyscrapers and they tint the glass to keep the light out. in Europe, luckily still, the older buildings are all oriented and, and the windows are such to let the light in. that's a, that's a huge distinction. You know, they act in European buildings, least, you know, the ones that are, I'm attracted to.The light is like a portico. [00:23:00] It's like this entryway. um, and really wonderful things happen with the light. Well, in most new American cities, it's, again, it's to keep all the light out and to keep the temperature and the humidity and the light all controlled from the inside.I teach a workshop, infrequently, but every once in a while and all these photographers come to the workshop and they do not have a voice at all. well, some of them do, but it's pretty minor. Um, and, you know, there's this discussion about whether it's a question of talent, or do you have a question that everyone has their own voice, they just can't express it.And I'm definitely of the school that everyone does have a voice. They just don't know how to express it or expose it. This pops a better word. because this enormous fear is preventing them [00:24:00] from doing it, I mean, you have to tap into the part of yourself that goes really deep.And most people don't know how to do that. Sometimes by a gift of God, somebody has that intuitively or naturally, but that's a very rare gift and I've actually never seen it. most often, people foil themselves, you know, they, they have all these fears and anxieties and frustrations, whether it be dealing with other people or their own fears, their anxieties, and they never get to the level that's required to.Really have a singular voice. I mean, that's the difference between the hundreds of thousands, if not millions of people who take pictures and the few who, who actually are photographers. And it's not so much that I, from my point of view, that one has an innately more talent than the others. Now, a lot of people would argue with that, but I don't think they do.I just think they're able to tap into the deepest, part of their emotional being. And let that part out. And then you never have to worry about being a second rate somebody else. You can much more be a frustrate yourself because no one has your life experiences.No one has your feelings, no one has your thoughts. All those things are unique and special to you. So if you can reach this level they can begin to express the things that reside deep within them, and then all of a sudden their pictures take on a special characteristic that is unique to them and they begin to develop a voice.I think people are, are sort of copying everybody and mimicking everybody and running around buying the right equipment and doing everything that's completely unnecessary to develop a voice. They think that's what they need to do, but it's the last thing that they need to do. If anything, they need to step back and let something begin to emerge from deep within them.That's what will create this special voice. And it's a very hard thing to do. And I think Chuck Close's comment is right. I think photography is particularly through the digital age, much more than even prior when there was a real craft to printing. that there is the most sort of facile of mediums that one can learn even through by taking with a, telephone.You can take a pretty competent picture, but what I mean, but, but what distinguishes one picture from another is the kind of the emotional content of that picture.I've been doing this for 45 years and I still use the same camera that I did when I started 40 years ago. I'm very, very rigorous with my craft. I mean, I'm extremely rigorous. Um, you know, I expose the film very properly and, and so when the day, and I went through a many years of really learning how to expose my film and make prints that represented [00:27:00] my emotional psyche.I mean, I really like dark sh shadow detail and differentiation between that. And my prince used to represent that. And if I was much more interested in highlights, I would've done things quite differently anyway. Anyway, I really loved and grew to really know film. And then when the digital world came along, um, I, there's, there's a great aphorism, but changes, not necessarily an improvement.And I've been watching the digital world very closely and we know I'm kind of a consultant to Epson and we produce digital prints as well as prints that are done in the dark room. You know, we scan the film and then, Make really beautiful, large mural prints, so I, I definitely in it and everybody works for me, is very digitally competent.For myself personally, I haven't seen any reason to change. Personally, I don't really like the digital cameras. Um, I don't like seeing the picture immediately. As I said, I never shot Polaroids. I like the experience. I like to focus on the [00:28:00] experience of making the picture not on what the pic. Every single time everyone stops and looks at the picture, you've interrupted the whole process of making the picture.That would be a terrible thing for me. I like to just to go through the whole process, focus on the thing I am doing, and I like the mystery of not knowing exactly what's on the film. Um, I, I, I don't really like the digital process that much. Now, it may get to a point where I can't get film, which is sort of beginning to happen already, or I can't do the thing and I may have to make that change.But at this point, I would hope actually I have so many people, young people coming to me who say that they really love film much better than digital and they, they shoot on film. So there seems to be a kind of a minor resurgence in film. And it's not that I'm just, you know, such a recluse that I don't engage in the world.I mean, I live in New York, so I'm pretty much so on some level, you know, engaged with what's going on. And if I ever felt that the digital thing was so [00:29:00] much better than what I'm doing, I would change. But so far, most people seem to really love the pictures I make on film. And when we blow them up really big, there's a certain quality to them that people really love.Like I've had many shows at very, you know, at Brooks or um, all the technical schools and all the students who are really technically minded, love the Prince. They keep saying, how did you do this print? No. So, um, for me it's just that there's really no reason to change and of anything, I was kind of in shock that just because something became new, that everyone immediately embraced it.I, I think they must have felt they had to, that, you know, art directors required it or, uh, the world required or, or whatever. And quite honestly, I've never, no art directors ever required me ever that I shoot digitally and they actually kind of like that I shoot on film. They all say, oh my God, this is great. I, I like the fact that, you know, I'm gonna get contact sheets. I really like this. [00:30:00] You know, so, um, I'm sure that there are constraints put on people that they want this, they want that, but I think it's more important for you to tell them what you like best.my previous father-in-law was a really wonderful playwright and, um, very well known American playwright. And over his desk, he used to have this little sign that said, no one asked you to, no one ever asked you to be a playwright. and I think that that's really true. I mean, you, I could wallpaper my walls with rejections.I mean, I've, over my life I've had 50 to one rejection, um, maybe a hundred to one rejection. Um, and since it's such a personal medium, um, for me, this is not a job. This is my exposing my life and my soul and my [00:31:00] pictures. There's no way one can take it personally. It is personal. and I've had many high points.I've had really good years and really, really terrible years, both from financial points of view, from creative points of view, from everything. , but I just, must have something in the way down deep inside me, this knowledge that this is what I chose to do. No one put a gun to my head and said, this is what you must do.And so I chose this, you know, freely and when I'm really down, I just say, you know, you've gotta stick with it. And there have been hundreds of times I thought, I don't want to do this anymore. Um, um, either I have nothing more to say or I don't want to do it, or financially it's been so difficult in my early years it was so difficult and it's still, there was terrible years.I mean, like after nine 11, it was really, I mean, there's been many, many years when things were really terrible from a financial point of view and a creative point of view, or the job, everything. And so [00:32:00] there's like, at times 45% of me that doesn't ever want to take a picture again, that I'm done. And, but there's, luckily there's 55% of me that wants to keep on doing it.that just sort of gets me through it. You know, Hemingway used to always talk about that he would always stop writing the day before and someplace that he wanted to continue because if he didn't have that place the next day to go to, he is not sure he'd ever pick up a pen again. But he looked, had this place where he looked forward to going forward.And, um, I'm not sure I have that. I mean, I definitely can get kind of burnt out and I think the environment or the location or the model sometimes, but, um, many times it's the sense of place around me is what motivates me to take, make pictures. And so that sometimes has to be in a new place and so I can get kind of stuck like everybody else and then I just, um, have to force myself to keep on on going., after 45 years, [00:33:00] I've kind of, um, got this regimen that I. It's not perfect by any means. There's definitely problems with it, but I kind of like, you know, I'm, I don't shoot, you know, I probably only shoot, you know, 30, 40, 50 days a year. which is plenty, which provides me with a lot of, and then, you know, I work on exhibitions or I do all kinds of other things as well.I'm always working around photography, I mean, all the time, but I don't have to be physically shooting to do that. when I was very young, I used to collect, like convince people to buy photography and when nobody wanted to, and this is in the seventies, and I once went to Andre Cortez's apartment and I was talking to him when I was buying a print for somebody.He told me that he would go six months or a year without ever taking a picture. I could understand that perfectly. I could go six months or a year without taking a picture yet. I'd still always be a photographer. for other people I know they have to shoot every day or all the time, or they feel that they're gonna lose it or they're not a [00:34:00] photographer, but that's not the way I work.I think most fashion photography today is pretty mediocre. I think it's all about celebrity and status and they all have the right lunch and the right, they know they date the right models and they all meet the, you know, the right art directors and it's just like in a group that just supports itself, but it's all very mediocre.I don't think that there's this great vision that drives the photographs. Okay. Now having said that, that's just one thing. And I think there have been, I think fashion photography's had its periods where it was the mo really distinguished in the world of photography. I think, you know, in the forties and fifties and perhaps in the sixties, I think Irving Penn.and Norman Parkinson and a few other people were incredible photographers, had a great vision and were quite extraordinary. I think today there's all this celebrity about around these photographers, but I think it's what you do about nothing. And I think the models are the same way. but I do think what is lacking in photo, in fashion photography is not something that, that's, it's actually that hard to find.Again, I find, I, I guess [00:35:00] I have to digress for a second and tell you a story. I probably wrote this once in a blog many years ago. This wasn't quite a fashion shoot. I did, but it was close to it in the sense of the, what, what I thought was wonderful about fashion. I did, I used to God, oh, 20 years ago, 25 years ago, coach Leather had a campaign called Descendants of Famous People, and they photographed all the grandchildren or the daughters or the aunts or whatever of well-known people.And I did about four or five of them. I, I remember the Nathan Daniel Boone's nephew, and I did, the one I'm talk, gonna talk about was Babe Ruth's niece. I photographed her at Yankee Stadium in, um, New York, which is kind of the appropriate place to do it.And I didn't have a chance. Usually I, sometimes I, sometimes I have a chance to meet the person I'm gonna photograph. Um, prior to, but in this case, she lived, I think in Maryland or Virginia, I'm not sure. And they had a flyer up for the shoot. [00:36:00] And I meet her the morning of the shoot in a, you know, in a location van, um, outside the stadium.And I meet her and, you know, I could tell that she feels really terrible about herself. She's looking down, she's kind of forlorned. She, I can just feel like she wants to just disappear. in, into the background, I understood that she was raised in a small trailer, um, in, in Virginia, wherever. And she had really no relation to Babe Ruth other than the fact that she was his niece.But she came from very humble means and was really kind of almost embarrassed about this whole. Thing of taking a picture and just pushed the whole thing would go away. I could feel all this in her presence. So I introduced myself. I tell her, I'm the photographer who's gonna take your picture and if we're gonna take you into this location van, and there's gonna be a woman who's gonna do your hair and another woman's gonna do your makeup and we're gonna style you and dress you and all that.And, and I said, while, while they're doing all that, I'm gonna go away for an hour and go look and find the right location to make the picture of you. [00:37:00] So I go away for an hour and I come back, and I go into the location van and there's this totally different person than the person I had first met before she went into the van.She was standing upright. She looked really beautiful. She became. I saw what a little bit of hair, makeup and new clothes and being pampered, what it could really do to, not just the physical look of this person, but the whole internal emotional sense of who she was. She was transformed and I thought, oh my God, this is an incredible experience.This is a wonderful look. Look, look what fashion can do. Instead of making people feel intimidated or that they're unattractive or something like that, it can make them feel empowered and beautiful and wonderful. This is like a Cinderella story, so I take her for a few hours, I make her portrait. She's looking really beautiful and you know, she, she just looked content and happy and I [00:38:00] think really enjoyed the experience.Goes back to the location. Van takes off all the clothes, you know, goes back to her original clothes and walks out of the van exactly who the person was when she first entered the van with her head down and she goes back to the person she was. Now, I think the important thing of this story for me, it's not really a fashion story, but it is what fashion can do.It is about style and grace and elegance and feeling beautiful and wonderful and special. And it's not about being intimidated because you don't have the money to buy these clothes or you have to have this closed, or you have to have the hottest, newest, ugliest thing imaginable in order to be valuable and worthwhile, that you can have a sense of style and grace intrinsic to yourself.That it comes from inside you, not from the outside. the outside stuff. The accoutrements can help you realize who you really are. So that's again, another place where a personal style is very [00:39:00] helpful I do, I do, I love shooting fashion. It's actually really fits me. and I like the big production of it.I like I'm the kind of photographer that can work with 20 people around me and it. It doesn't bother me in the slightest. I sort of like it. I like the collaboration of everybody, the stylists I've worked with for years. And she'll say, you know, look at this, or This person looks like great here. Or my assistant will say, oh, you should look over there.It looks really great. I love when people do that. I feel it's like this collaborative effort. I like the whole experience of it. I do think that women, this is, you know, I think the world is kind of, so particularly now our soul full of ironies.I think, you know, that most women would not agree with me about this at all, but I think it's been a real give and take before women in the last 25 years, and I'm not sure that they've been given more than, than they. Wanted, yes, they've achieved incredible power to be sort of equal to men. They, you know, they're now working on getting the same rewards as men.Financially [00:40:00] they've achieved great. And I think all that's wonderful. But I always thought, even though my father was a very powerful person, you, you know, as I mentioned, he was the CEO of many companies, and he was, people were really intimidating him. I always thought my mother was the real power in the family.He would never, she in her own private way, controlled everything and got exactly what she wanted. It was a, it wasn't as overt as it is today. It wa it was more subtle, but there was this kind of wonderful thing, quality about her. And she had this incredible life and my father worked very hard to support her.Um, and so she could do what she wanted to do. So, I am not sure what we've gained is better than what we lost. Uh, maybe it is. Probably it is. And anyway, it's not going backwards. That's the way it is. But there is something really wonderful about, um, a kind of more graceful or a delicate, maybe understated power, like that quote you gave of me, [00:41:00] rather than the more overt one.Like when I shot Elizabeth Hurley, who is all about give it, give it to me baby. I mean, she was, um, you know, um, and versus a woman who has a real sense of herself and walks more delicately and quietly,I think, you know, one of the things was, I sort of animated or discussed slightly before was when I was very young, I didn't have a penny. Um, and I was really struggling. One of the ways I was able, I taught a great deal, but one of the other ways I was able to at least make a living pay my mortgage was I convinced people that photography was a really good investment and I would make a small commission.I would buy photographs for people. And one of the things I learned was how little, the curators of photography and the art gallery directors and all these people who were sort of the professionals and experts in [00:42:00] photography knew about photography.They basically knew nothing. They knew how to sell it, , they knew how to talk about it, but they really had not a clue about really what it meant to be a photographer or what the struggles that somebody like Stieglitz or Strand or anybody who's really first grade would go through to really distinguish themselves photographically.Um, it's not so much the financial hardships or meeting the right people or getting the right equipment or all the things on the surface. Those things everybody has in whatever work they do. And there's really no difference. It's just a different set of rules.And what the struggle really comes down to is the emotional struggle. And that is knowing that, you know, the all Socratic oath of no thy self. And learning how to come to grips and deal with the emo your emotional [00:43:00] core, and being able to express and expose that onto a two-dimensional flat piece of paper, is a very, very difficult thing.And then asking people who have not had your experiences, who do not care about you, who do not even know, like people in Russia who don't even know anything about you or the place you live or your experiences, and say, look at this picture and think it's worthwhile. The only way you can really do that on a consistent basis.Yes, you can do something kind of titillating or interesting or on a few pictures, but over a whole body of work. The only way you can really do that is if you are touching something universal. If you are speaking from your heart in a language that everyone can understand because the human psyche and spirit goes way deeper than the culture.And so if you are able to transcend or translate your own personal feelings and put them onto a piece of paper that is a very rigorous [00:44:00] and difficult thing to do and, and requires enormous struggle and turmoil on your part, that's why living kind of the artistic life is not something to be denigrated.It is a very, very difficult and very rare process that very few people, not that they're not capable of doing it, but are willing to take the risks. That that involves 99% of people are not capable or able or knowledgeable enough to do it. It's not that they can't, it's just that they won.um, I have a got a good fortune to be an intern for. Ansel Adams for a week in Carmel when I was in my twenties. And I noticed, you know, he used to meet people and I, I noticed, first of all, I went there. My photographs when I was very young, looked absolutely nothing like his, but I learned all my [00:45:00] technique from him within his own system.So I was really very anxious to have a chance to meet him and work with him. And it was great. Um, and I learned every time when I would go in the dark room with him or when I was sitting around talking to him, I would, he, I would ask him every technical question I could think of that I wanted resolved.And he was very generous and would answer me. But, and what I learned after this week of sort of probing and listening and having him listening sometimes talk to other people and stuff, was that he would tell you exactly what was necessary in order to do something. And basically, just generally what he'd be saying was like, if you want to be a classic scholar, you gotta learn German, you have to learn Latin, you have to read, you have to study, you have to pay your dues, you have to do all these things.and that's how you really get to a place through experience, through testing, through knowledge, through all these different things that will get you to this place where you can be really competent and capable. And I found that nobody, although they all listened to him, [00:46:00] And they nodded their head in agreement.In the end, nobody wanted to pay any attention to 'em. They went off and go, they really, what they really wanted from Ansel Adams was tell me this pill, give me this pill I can take so I can make my pictures look like yours or tell me the quick answer so I can learn how to do something as well as you do it.I want this in five minutes or less, you know? But I really don't wanna spend all the time that's required and all the effort and work you've put into it to do this. And unfortunately, that's not the way the world is. You know, you, you, you sort of get what you pay for, kind of metaphorically speaking about your craft, your technique, your vision, everything.It's not something that you can just, you know, meet the right person, do all this, take a pill, wear the right clothes, be in the right place, whatever it is, have the right camera, have the right, you know, equipment, whatever that is also beside the point. The point is [00:47:00] nurturing and learning and developing a vision that is special and unique to you.Learning what equipment that best represents that vision. Developing it, nurturing it, working on it, reflecting on it, struggling with it. That's what's required to do it, and it's not easy. Takes years. I've never, and I've had the good opportunity to meet many, many well-known people that I really care about, whether mostly writers or playwrights or painters or people of, of great esteem, and not one of them, at least in my, my personal experience, I've never met anybody who was instantaneously successful in my experience.Every one, oh, I totally respect, has worked years to get to that place.I mean, it's, it's, it's, but it's fun to do this. That's, you see, the thing is nobody wants to do it, but when they get immersed in it, it's part of the adventure. the best part of being a photographer is going out, engaging the world, meeting people. And taking, and making the picture, [00:48:00] the actual product, the end result, the artifact is never as good as the experience of making the picture.To me, it's always a disappointment. Now, for other people, like if I mess my wife, she would say that the, the artifact is much better than the experience. And I think many people have said that I can make the world look perhaps slightly better than it was right in front of me. So for many people, the observer, the, the photograph is even better than the experience.But for me, person who's taking the picture or making the picture, the experience of making the picture is the reason why I'm a photographer. I love the interaction with the world, meeting people, engaging people, being a part of the world, having it being sunny, rainy, cloudy, overcast.and somehow having something wonderful immersed from it. That's what I love about being a photographer. that's why being in the studio, all of that has no appeal to me. It's, it's engaging the world we live in. Having an [00:49:00] excuse to participate in it, in a kind of really positive and wonderful way.Saying yes to life over and over again, despite how many hardships you may have. That's the part that I really love. Get full access to Foto at fotoapp.substack.com/subscribe

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HT1403 - Georgia's Hands There is a history of photographers photographing their loved ones, not as family snapshots, but rather as an artistic pursuit. Stieglitz photographing Georgia O'Keeffe's hands; Harry Callahan and those portraits of Eleanor; Edward Weston and his portrait of Charis. This idea intrigues me.

HT1381 - Stieglitz' Mediocre Image, The Steerage Let's talk turkey and be honest. That famous 1907 Stieglitz image The Steerage isn't a very good photograph. It's slightly out of focus, there's no detail in the shadows, people on the edges of the frame are cut off, the verticals and horizontals are not rectified, and there's not really much going on. But it's one of the most famous photographs in all of photographic history. Why?

Raus aus der Abhängigkeit: Die Bundesregierung arbeitet hart daran, neue Energiepartner zu finden. Sich auf wenige große Gas-Lieferanten wie Russland zu konzentrieren, war pragmatisch und lukrativ, aber ebenso gefährlich. Diese Abhängigkeit ist eine große Gefahr für die deutsche Wirtschaft. Denn ähnlich wie Putin ist auch Xi Jinping bereit, im Zweifel einen Krieg mit seinem Nachbarn zu starten. Sollte China Taiwan angreifen, müsste sich Deutschland aufgrund transatlantischer Loyalität an Sanktionen gegen China beteiligen, so die Einschätzung von Experten. Sanktionen, die die deutsche Wirtschaft ebenfalls hart treffen würden. Wirtschaftlich wäre das also ein Eigentor.Um sich aus dieser Abhängigkeit zu lösen, braucht Deutschland mehr Handelspartner und eine größere Auswahl an Produktionsstandorten. Eine Schlüsselrolle könnte hierbei Indien spielen. Der Präsident der Frankfurt School of Finance & Management, Nils Stieglitz, sieht mit Blick auf Indien jetzt eine Zeitenwende, die er im Podcast "Wirtschaft Welt & Weit" mit den Worten "der Aufstieg des indischen Tigers" beschreibt.Und tatsächlich tut sich in der größten Demokratie der Welt gerade viel: In Indien entsteht ein echter Binnenmarkt. Präsident Narendra Modi investiert Milliardensummen in die Infrastruktur des Landes: Laut dem Straßenbauprogramm der Zentralregierung sollen bis Ende 2025 rund 84.000 Kilometer Land- und Schnellstraßen fertiggestellt werden. Zudem wurde bereits 2017 die größte Steuerreform seit der Unabhängigkeit Indiens vor 75 Jahren eingeführt. Dazu gehört auch die landesweit einheitliche Umsatzsteuer, die als wichtiger Baustein für einen indischen Binnenmarkt gilt.Außerdem schreitet die Privatisierung voran: Erst vor kurzem hat die indische Regierung die Fluggesellschaft Air India an die Tata Group verkauft. Nils Stieglitz sieht hier ein erhebliches Bekenntnis indischer Großkonzerne: "Indische Konglomerate wie Tata, Adani und Reliance glauben fest an einen Industriestandort Indien und sind bereit, in den nächsten fünf bis acht Jahren mehr als 250 Milliarden US-Dollar zu investieren." All das sind Anzeichen für ein starkes Aufstreben der Wirtschaftsnation Indien. Und dabei ist nicht zu vergessen: Das Land ist bereits jetzt die fünftgrößte Volkswirtschaft der Welt.Stieglitz blickt deshalb mit besonderer Spannung auf das geplante Freihandelsabkommen, das bis Ende 2023 finalisiert werden soll: "Hier liegt eine sehr große Chance für die deutsche, die europäische und die Weltwirtschaft, denn wir brauchen wieder eine Lokomotive für den Freihandel." Rund neun Jahre pausierten die Gespräche über ein Freihandelsabkommen mit Indien. Jetzt soll es - wohl auch aufgrund der geopolitischen Veränderungen - schnell gehen.Dass Indien als Produktionsstandort damit auch für deutsche Firmen immer relevanter wird, sieht auch Indien-Experte Christian Wagner so. Im Podcast gewährt er aber auch Einblicke in die innenpolitischen Widerstände: "Die indische Mittelschicht, kleine Ladenbesitzer zum Beispiel, haben kein Interesse daran, dass große europäische Großhandelsfirmen sich etablieren. Das gefährdet ihr Geschäftsmodell."Ein Problemlöser könnte hierbei der Ausbau Erneuerbarer Energien sein. Eine Branche, die in Indien mittlerweile eine bedeutende Rolle spielt und in der viele neue Jobs entstehen könnten. Das Land investiert Milliarden in den Ausbau von Solarkraft und ist führend bei der Nutzung von Wasserkraft als Energiequelle. Deutschland unterstützt Indien schon heute beim Ausbau Erneuerbarer Energien. Hier liegt mit Blick in die Zukunft sicher noch viel Potenzial.Schreiben Sie Ihre Fragen, Kritik und Anmerkungen gern an www@n-tv.deUnsere allgemeinen Datenschutzrichtlinien finden Sie unter https://datenschutz.ad-alliance.de/podcast.htmlUnsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

In this special, first episode of season 3, Joe interviews our very own, newly "minted," *Dr.* Adam Stieglitz! The co-hosts discuss his Action Research dissertation and his experiences as a PhD student. Tune in to learn about the ups, downs, and adventures of Dr. Stieglitz! References Herr, K., & Anderson, G. L. (2014). The action research dissertation: A guide for students and faculty. Sage publications. Coghlan, D., & Brydon-Miller, M. (Eds.). (2014). The SAGE encyclopedia of action research. SAGE. Cousins, J. B., & Chouinard, J. A. (2012). Participatory evaluation up close: An integration of research based knowledge. Information Age Publishing, Inc. Coghlan, D. (2019). Doing action research in your own organization. London: SAGE. Stringer, E. T., & Aragón, A. O. (2020). Action research. Sage publications. **If you have your own questions about Action Research or want to share any feedback, contact us on Twitter@The_ARpod or write to us at ActionResearchPod@gmail.com.**

HT1289 - Once Again, the Pace of History Amazes Do you realize that 100 years ago, [well, technically 105 years ago when Stieglitz published issue #48 — the final issue — of Camera Work] high quality photography publications used tipped-in photogravure prints? It would be another 30 years before offset lithography was used in state-of-the art books like Edward Weston's My Camera on Point Lobos, another 60 years before Ansel Adams' Yosemite and the Range of Light used duotones. Today, we can share our work instantly via the Internet to people all over the world. How is this not the best time in the history of photography to be a photographer?

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2022.09.08.507081v1?rss=1 Authors: Li, J., Cao, D., Yu, S., Wang, H., Imbach, L., Stieglitz, L., Sarnthein, J., Jiang, T. Abstract: Working memory (WM) is the ability to actively maintain information for a short time and is central to human behavior. Rodent studies have proposed that hippocampal-entorhinal communication supports WM maintenance. However, the exact neural mechanisms of this interaction in WM remains unclear in humans. To address these questions, we combined machine learning analyses with intracranial electroencephalography (iEEG) recordings from the hippocampus and the entorhinal cortex (EC) in human participants, who maintained a set of letters in their WM. We found that WM maintenance was accompanied by elevated bidirectional hippocampal-EC information exchange via the theta band (2-8 Hz) and bidirectional cross-region theta-gamma phase-amplitude coupling (PAC). Further decoding analyses showed that the unidirectional inter-regional communication, with both theta oscillations in the hippocampus modulating EC gamma activity and theta band-coordinated information flow from the hippocampus, could decode correct performance at the level of participants. Taken together, our results demonstrate that theta functional coupling in the hippocampal-EC supports the maintenance of WM information via a specific pattern of frequency and direction. This connectivity-based coding could shed light on the neural mechanisms of WM processing. Copy rights belong to original authors. Visit the link for more info Podcast created by PaperPlayer

Alfred Stieglitz (1864–1946) was an enormously influential photographer and champion of other artists.Join us with Phyllis Rose, acclaimed critic, biographer, and author of Alfred Stieglitz: Taking Pictures, Making Painters, as we explore Stieglitz's role as a revolutionary force in the history of American art.

David Stieglitz v. City of Chicago

C'est LE PLUS GRAND monument new yorkais ! Non… Cet épisode ne parle pas de l'Empire State Building mais du célèbre photographe Alfred Stieglitz.Avec son groupe Photo-Secession, il tente de faire de la photographie un art à part entière et de la hisser au niveau de la peinture. Pas gagné pour l'époque… Dans cette démarche, Stieglitz introduit un grand courant artistique : le pictorialisme. La photographie Winter, Fifth Avenue prise en 1893 en est une parfaite illustration. Cette scène d'une voiture à cheval dans le blizzard dégage une atmosphère vaporeuse très poétique. Un véritable exploit photographique !Cliquez ici pour voir l'oeuvreAuteure des textes : Anne SchmauchDirection Editoriale: Pénélope BoeufVoix : Pénélope BoeufProduction : La Toile Sur Écoute Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Join us today to discuss what the self means when it comes to art. If you had to pick a portrait of Socrates by Rembrandt or a photograph of Socrates, which would you choose? I know this looks overwhelming… so join us and embark on our journey as we analyze Socrates, Rembrandt, Stieglitz, and their role in the meaning of self.

Recently I interviewed art historian, curator, and museum director Barbara Bloemink, who shared the backstory of one of the most fascinating artists of the early 20th century: American artist Florine Stettheimer. Florine Stettheimer was a feminist, multi-media artist who documented New York City's growth as the center of cultural life, finance, and entertainment between the World Wars. During her first forty years, spent mostly in Europe, Florine Stettheimer studied academic painting and was aware of the earliest modernist styles prior to most American artists. Returning to New York, she and her sisters led an acclaimed salon for major avant-garde cultural figures including Marcel Duchamp, the Stieglitz circle, and numerous poets, dancers, and writers. During her life, Stettheimer showed her innovative paintings in more than forty of the most important museum exhibits and salons. She also wrote poetry, designed unique furniture, and gained international fame for the sets and costumes she created for the avant-garde opera, Four Saints in Three Acts. Stettheimer's work was also socially progressive: she painted several identity-issue paintings, addressing African American segregation, Jewish bigotry, fluid sexuality, and women's new independence. Florine Stettheimer: A Biography presents one of the first comprehensive readings of Stettheimer's art. Barbara Bloemink establishes Stettheimer's place as one of the twentieth century's most significant and progressive artists and examines why her unique work remains relevant today. Please enjoy this bonus episode, featuring my discussion, via Zoom, with Barbara Bloemink. New episodes of ArtCurious coming soon! Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Twitter / Instagram / Facebook Don't forget to show your support for our show by purchasing ArtCurious swag from TeePublic! Buy Florine Stettheimer: A Biography SPONSORS: BetterHelp: Get 10% off your first month of counseling Want to advertise/sponsor our show? We have partnered with AdvertiseCast to handle our advertising/sponsorship requests. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started. https://www.advertisecast.com/ArtCuriousPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Tim Spindler, the Executive Director of the Long Island Library Resources Council and Sally Stieglitz, Communications and Outreach Coordinator for LILRC give the wrap up of the conference, recapping the issues and discussions of the speakers. As always, this conference has amazing guests and we thank the Resources Council for continuing to invite the podcast […]

In this episode of the exploring art podcast, Sofia and Christina explore the artistic capabilities of Alfred Stieglitz and Rembrandt in their respective artistic fields. This is a deeper dive into their styles of portrait and how each one approaches creating a portrait of an important figure. Sofia and Christina discuss Socrates' legacy through his students and the different representations given of him throughout history. They conclude with a debate and fun discussion of their preference of a Stieglitz photograph or a Rembrandt painting of Socrates- if they can make the choice at all. The artist of the music is Paul Werner. It is called "Fresh n Hot" and is from the Adobe stock music site.

Today Dr. Gil Stieglitz and I sat down to discuss how I can become a better husband. Dr. Gil is the author of the book Becoming A Godly Husband: The hardest thing a man will ever do is really love his wife. In this book he breaks down dozens of proven tactics into an easy to remember acronym: Honor Understanding Security Building Unity/ Direction Agreement Nurture Defender We spoke on the difference between saying I'm sorry and asking for forgiveness. How to show praise, ignore criticism and extend comfort instead. And how Dr. Gil agrees with me that we should be staying on our honeymoon forever and that we need to continually put effort into our marriages. We covered all of this and much, much more on this episode, so please enjoy! In this episode, you'll discover: -Common turning points in marriage where separation is more likely to occur...03:20 -What women are deciding they no longer like about their husbands...05:00 -Where we should have been learning relationship skills before our 20's...10:50 -Men don't know how to meet women's emotional needs...13:00 -This wisdom can be taught to sons and daughters..16:35 -A story about living with your wife in understanding...19:05 -Questions that you can ask to start the dialogue towards understanding...23:20 -Help your children plan their lives...27:15 -If there is a problem in your marriage, it is one of the categories in the HUSBAND acronym...31:15 -It takes about 3 1/2 months to prove to your wife that she is the most important thing in your life...34:15 -How to recover when you don't pass the woman's test...38:05 -Sarcasm is good for presentations, but bad for interpersonal relationships...45:45 -Be open to feedback from the person who probably knows you the best...52:00 -Security allows a wife to blossom...1:00:35 -"Do you want me to listen, or do you want me to help fix this?"...1:07:05 -Emotional connection and physical intimacy; the delicate dance of which comes first...1:11:30 -How to identify warning signs early enough to save a marriage...1:16:40 -Where you can follow and support Dr. Gil Stieglitz and his work...1:24:30 About the guest: Dr. Gil Stieglitz is a prolific author, engaging speaker, change directing catalyst, encouraging pastor, dynamic professor, insightful counselor and relentless leadership coach. He now serves as Pastor to Staff at Bayside Church, a dynamic Multi-site Church on the Northside of Sacramento, CA and as president of Principles to Live By, a parachurch organization committed to causing as many people as possible to live by God's amazing principles. He and his wife Dana enjoy a ridiculously delightful life in Northern California. Resources mentioned: https://www.ptlb.com/ (Principles to Live By website) https://www.udemy.com/course/godly-husband/ (Dr. Stieglitz's Online Course) https://amzn.to/3fDQjVq (Becoming a Godly Husband, by Gil Stieglitz ) https://soundcloud.com/ptlb/sets/godly-husband (Free Audio Course w/ Gil)

Join us for an interesting debate between a photographic or painted portrait of Socrates, a painting by Rembrandt, and the photography of Stieglitz.

Pedro Fuentes Pozo, "Artista". Artista Área Pintura, Escultura, Fotografía, Cine, Música, Literatura Movimientos Abstracción figurativa, Posromanticismo, Existencialismo Web Sitio web www.pedrofuentes.es Pedro Fuentes Pozo (Madrid, 19 de diciembre de 1962) es un artista multidisciplinar español. Especializado en pintura, también es escultor, fotógrafo, cineasta, escritor y compositor musical. Actualmente reside en Madrid. Tras cursar estudios con los jesuitas en Madrid, formación que establece sus bases artísticas, literarias, plásticas y musicales, a través de la polifonía, Pueri Cantores e instrumentación, obtiene las titulaciones en Humanidades por la Universidad Internacional de La Rioja (UNIR), Bachelor of Science: Fine Arts and Economics y MBA of Sciencie por la P.W. University de los Ángeles. Realizó también, a principios de los ochenta, estudios de Primer Ciclo de Economía General en la Universidad Complutense de Madrid y es profesor de Arte, Humanidades y Comunicación Audiovisual. Pintura y escultura A finales de los años setenta comienza a realizar sus primeros dibujos y óleos de la mano de Miguel de la Puerta, pintor de la Escuela de Madrid discípulo de Daniel Vázquez Díaz. El expresionismo de Goya, el Postimpresionismo y las ensoñaciones inglesas de Turner son las primeras influencias que marcarán su trabajo hasta principios de los años noventa. A la edad de 23 años inaugura varias exposiciones de sus obras en salas estudio (Fundación ZAYAS) y en diversos centros culturales. En esa época escribe también su primera novela El Valle Amargo (1984), obra influenciada por Juan Rulfo y la Generación Perdida. En 1986 sus pinturas son seleccionadas en el Premio Nacional de Blanco y Negro para artistas jóvenes y, al año siguiente, para el Premio Nacional de Caja Madrid. Comienzan a aparecer las primeras críticas sobre su obra por parte de la poeta Ángeles Ambert y el editor del Correo del Arte, Antonio Morales, entre otros. En 1990 entra a formar parte de la Asociación de Escritores y Artistas Españoles avalado por la pintora María de los Ángeles de Armas.[4] y de la Asociación Española de Escultores y Pintores. En ese tiempo participa activamente en la vida cultural de Madrid, sobre todo, en las tertulias de los círculos artísticos y literarios en los que su obra se da a conocer entre críticos y escritores con los que, a lo largo de su trayectoria, tendrá una estrecha relación: José Gerardo Manrique de Lara, Antonio Cobos, Mario Antolín y Leopoldo de Luis, son algunos de ellos. Esta etapa le servirá también de preparación y marcará el giro intelectual que experimenta su quehacer artístico. Se marcha a vivir a Dublín desde principios del otoño de 1993 hasta el invierno del año siguiente. Su estancia en esta ciudad, el contacto con el Trinity College con sus aulas de música, el directo en Temple Bar y, sobre todo, la exposición de sus pinturas en la Castle Art Gallery de Dublín cambian su visión del arte. Cuando regresa a España, su estilo aparece liberado de las trabas formales para desembocar en un entramado simbólico, simplificado al máximo, que conecta al hombre con el paisaje. El color se desenvuelve con soltura dando la impresión de movimiento. Los tonos marrones y ocres están casi siempre presentes en su obra, de la cual se desprende un lirismo que combina con diferentes efectos. Otros críticos, como Carmen Rocamora, han destacado que valora la interpretación psicológica y metafísica del arte pictórico como un fenómeno puro. Manrique de Lara definió al artista como ?enemigo de la ambigüedad expresiva?. Sus diferentes facetas creativas son parte de un proceso global de búsqueda: ?Todas las disciplinas que trabajo son distintas herramientas al servicio de un mismo lenguaje, de una idea. Yo no busco la representación de lo que el espectador ya conoce a través de sus sentidos, sino que desde esa base figurativa, destruyo y llego a la abstracción con una leve referencia figurativa, y así le entrego al espectador un pensamiento?. (Pedro Fuentes, Tempo lento). Durante este periodo Pedro Fuentes estudia la pintura de Rembrandt y se especializa en el uso de las veladuras durante más de cinco años. Su obra es seleccionada en el Salón de Otoño de los años 1995 y 1996, recibe un accésit en el V Salón de Dibujo y Grabado de Madrid y aparecen numerosas críticas en revistas especializadas. Hacia finales de la década de los noventa conoce al pintor abstracto Segundo Gámez, vinculado al entorno de Fernando Zóbel, el cual, influirá en la concepción abstracta figurativa de su posterior pintura. De su contacto con Gerardo Rueda deriva en gran parte el giro de su trabajo hacia el Informalismo. Asimismo, de manera paulatina, el conocimiento y análisis de la obra de Torres García le influirá en la elaboración de sus esculturas en madera y posteriormente en planchas de zinc, derivadas del proceso informalista. De forma simultánea durante esos años, sus creaciones fotográficas empiezan a adquirir protagonismo con las series en blanco y negro expresionistas derivadas de su estudio de la cinematografía. (About New York, Madrid en el silencio En los albores del siglo XXI su obra se exhibe en ámbitos internacionales: Goya Art Gallery de Nueva York (1995 y 1997), Salón Internacional Kioto (2002), Galería Lochio Roma (2002) y Ocean City Gallery de New Jersey, entre otras. En España destacan sus exposiciones en el Auditorio Príncipe Felipe de Oviedo (2001), comisariada por Carmen Aragón, Galería Detursa (2003), Fermín Echauri (2006), Paz Feliz (2010), Galería Alfama (2013), Fundación Pons (2016), Selected Photos (2017), así como su participación en Ferias nacionales (ESTAMPA) e internacionales (AAF London, Porto Arte obteniendo numerosos reconocimientos, como la Mención de Honor en el X Salón ACEAS de Barcelona, Diploma en el IX EUROPART de Roma, entre otros. Obra fotográfica Hacia 1980, Pedro Fuentes, comienza a crear composiciones fotográficas por simbiosis con la cinematografía clásica. Realiza las obras en blanco y negro analógico hasta 2012, año en que alterna con el digital. De carácter expresionista, sus principales series son: Agujas de New York (2004), Madrid en el silencio (2005), Arkhe (2011), Civitas (2012), Rhein (2014-2016), London Lights (2016) y Noctis Die (2017). El proceso creador de esta última serie ha sido definido así por el propio artista: ?Desde la reflexión de la luz, la noche y el día conviven como amantes antagónicos que transforman la realidad del objeto. En la profunda oscuridad desaparece y en el destello luminoso, se esfuma?. (Pedro Fuentes, Noctis Die) Influenciado por los clásicos Stieglitz y Bresson, algunas de sus creaciones fotográficas forman parte de las colecciones de la Biblioteca Nacional de España y del Museo de Arte Contemporáneo de Madrid. (Artistas fotógrafos). Obra cinematográfica Siguiendo la huella del blanco y negro del cine clásico, realizó como cineasta independiente los cortometrajes Atrapados (1999), una evocación del viaje homérico clásico al mundo de Hades. y la Trilogía del alma -Ausente, Anónimos y Al otro lado- (2003-2009), de influencias expresionistas y ocultistas. En 2011 dirige el largometraje experimental Sombra en el alma, que se estrena en Madrid ese mismo año. y ha participado en los cortometrajes Alhaja y Reflejo dirigidos por Javier Figuero. Es autor de varios ensayos sobre cine, además de colaborar habitualmente como crítico en revistas especializadas en esta materia e impartir conferencias sobre temas relacionados con el séptimo arte. Obra musical De formación temprana autodidacta, su integración en la Escolanía de los Jesuitas de Madrid le permitió explorar la vocalización, canto y solfeo, además de avanzar en el estudio de Händel, Bach y la guitarra clásica tomando como referencia la obra del maestro Rodrigo. Tras su vuelta de Irlanda con la idea musical de ?sostener el silencio en sus notas? escribió unos breves poemas sinfónicos y poemas para cuerda, compases que conforman la base de su Sinfonía nº 3, Op. 3. Pedro Fuentes (Concierto de Navidad 2015) La combinación de las raíces americanas del blues y jazz con el expresionismo sinfónico constituye la base de las obras Adagio para cuerda Op.6 y los Concierto de Cello nº1, Op.8 y Concierto de violín nº1, Op.7, composiciones que son el origen y la evolución del universo atonal al tonal de raíces clásicas que sirven de plataforma a sus cuatro siguientes sinfonías y los conciertos de violín n.º 2 y n.º 3. En 2015 se estrena en el Museo Lázaro Galdiano (Madrid) su concierto El sueño de las meditaciones, interpretado por el cuarteto de cuerdas de la Fundación Excelentia. Su obra como compositor consta, además, de varios Preludios, tres conciertos para piano, cuatro sinfonías y numerosos estudios de cuerda y piano. En el estilo de estas composiciones se observan vestigios de la música de transición de los siglos XIX y XX y la huella de Franz Liszt y de los Románticos impresionistas Debussy y Rachmaninov. Obra literaria Influenciado desde temprana edad por los grandes clásicos de la literatura comienza a escribir guiones y relatos cortos en 1978, publicando su primera novela El Valle Amargo en 1984. A esta seguirán La sombra imperfecta (1999), El nombre de la luz oscura (2015), El suspiro y la lluvia (2015), Larga posada a la noche (2016) y El nocturno desnudo (2017). Pedro Fuentes y Eduardo Torres-Dulce En su Obra poética (2006-2017) se aprecian influencias del misticismo y la filosofía del color del Goethe. Esa tendencia a aunar o integrar las diversas disciplinas artísticas bajo el prisma de la estética del pensamiento, que la crítica señala como característica en toda su producción, se transfiere también a sus ensayos sobre cine: Una mirada clásica: Cine y conciencia (2009), Cine y Tradición Clásica (2013), en otros sobre pintura o arte en general: La pintura vista por un pintor joven (2000, CSIC), La Ausencia Kantiana en el arte actual (2015. UNIR) y en los numerosos artículos aparecidos en publicaciones especializadas en cada una de estas disciplinas: Revista Arbor, Descubrir el Arte o Los papeles mojados de Río Seco, entre otras.

Mede mogelijk gemaakt door: Bluefield Kees de Kort Elke dag, even over twaalf, bespreekt presentator Thomas van Zijl met macro-econoom en commentator Kees de Kort de economische stand van zaken.Boardroompanel Bij de transitie van Binck-klanten naar het nieuwe Saxo-platform gaat zo veel mis, dat Saxo klanten nu gratis laat vertrekken. En ransomware-criminelen eisen 50 miljoen dollar van de Mediamarkt. Dat en meer bespreken we in het boardroompanel met: Hugo Reumkens (partner en advocaat bij Van Doorne & voorzitter raad van toezicht Tilburg University) en Jeroen Vercauteren (overname- en fusiespecialist Factor Bedrijfsovernames). Luister l BoardroompanelA.I. in Nederland Vandaag draagt de Wetenschappelijke Raad voor het Regeringsbeleid het rapport 'Opgave A.I.' over aan de regering, maar wat houdt dat rapport in? Te gast is Corien Prins, voorzitter van de Wetenschappelijke Raad voor het Regeringsbeleid.Zakenpartner De zakenpartner van de week is Caro Niestijl Ecostoof. Zij vertelt ons hoe je aan de juiste zakelijke connecties komt. Contact & abonneren BNR Zakendoen zendt elke werkdag live uit van 12:00 tot 14:00 uur. Je kunt de redactie bereiken via e-mail en Twitter. Abonneren op de podcast van BNR Zakendoen kan via bnr.nl/zakendoen, of via Apple Podcast en Spotify. See omnystudio.com/listener for privacy information.

De hotelindustrie heeft ook last van het personeelstekort, maar komt dat door de coronacrisis of door de sector zelf? In De Top van Nederland een uitgebreid gesprek met Regine von Stieglitz, bestuursvoorzitter van Hotelschool Den Haag.

Hotelschool Den Haag heeft haar deuren weer geopend voor studenten, en hopelijk blijven die ook volgende week nog open. Ondertussen loopt het personeelstekort in de horeca op. Topvrouw Regine von Stieglitz is te gast in BNR Zakendoen, vandaag live vanuit de Fokkerterminal bij het ECP Festival in Den Haag.

Halloweekend rocks on! Andrew Stieglitz of The Lyric Boys Podcast is here to discuss the cult classic to end all cult classics: Richard O'Brien's 1975 horror musical The Rocky Horror Picture Show. Make this episode a “Science Fiction/Double Feature” by checking out their pod, as well! Be sure to follow @31for31podcast on Instagram for updates and the full list! Learn more about your ad choices. Visit megaphone.fm/adchoices

01:02 - A conversation with photographer Mona Kuhn. Kuhn is an internationally recognized art photographer known for her sublime study of the human form. Her work can be found in collections such as LACMA, the Hammer and the Getty, where she serves as an independent scholar. Our discussion touches on a number of topics around her past, her motivations and her methodology.49:44 - The week's top art headlines.

HT0881 - Stieglitz and Those Damned Equivalents I give up. I've read no less than two dozen essays in which the writer / photographer attempts to explain what Stieglitz was getting at with his concept of equivalence and his pictures of clouds and trees. Perhaps I'm just too dense to grasp it all, but it always seems like another example of lipstick on a pig. His photographs are beautiful, but all the philosophical musings he can heap on it don't seem to make them more interesting.

Die Jahreszeiten und ihr Wechsel in der Natur haben viele bildende Künstler inspiriert, aber auch Musiker wie Giuseppe Verdi oder Astor Piazzolla. Die berühmtesten Jahreszeiten sind zweifellos «Le quattro stagioni» von Antonio Vivaldi. In vier Violinkonzerten schildert Vivaldi plastische Landschaftsbilder, die bis heute nichts von ihrer Faszination verloren haben: süss murmelnde Bächlein und sanften Wind, schlafende Hirten, aber auch Blitz und Donner – der Fantasie sind bei dieser Musik keine Grenzen gesetzt. Vivaldi stellt den einzelnen Konzerten Sonette voran, die er wahrscheinlich selbst geschrieben hat. Der «Sommer» mit seiner unerträglichen Hitze, den surrenden Fliegen, dem Gesang von Kuckuck, Turteltaube und Stieglitz, aber auch dem heftigen Gewitter steht im Zentrum der Diskothek. Eva Oertle vergleicht mit ihren Gästen, den beiden Geigerinnen Barbara Doll und Leila Schayegh sechs Aufnahmen von Antonio Vivalidis berühmtem Violinkonzert op. 8 Nr. 2.

This Episode begins with Recap from the Debut of the #PBConESPN that featured an upset by way of KO Willie Nelson over previously unbeaten Tony Harrison. Also, breakdown Keith Thurman's performance against the grizzled-vet Luis Collazo and Recap from the HBO Lation fight between Mauricio Herrera and Hank Lundy. Plus, Preview for a bust fight weekend that includes a card on ShoBox, Two Cards from the PBC on CBS and Showtime, and the fourth installment of the Abraham vs. Stieglitz rivalry. Other Topics For Discussion-Mayweather vs. Berto on CBS heavy rumored to be a done deal. -Preview Scott Quigg vs. Kiko Martinez in the UK! -Golovkin vs. Hopkins rumors gaining some steam for the Fall. Plus, More Current News Topics! Follow on Twitter @RopeADopeRadio