Podcasts about Threes

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

The Denver Nuggets are now running more inside out actions rather than outside (dribble hand off) and it might produce more open threes this season. Additionally your Denver Broncos need to look out for letdown and jet lag when they face the Jets in London. Enjoy the show! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Crime on a WednesdayFirst,  a look at this day in History.Then, Barrie Craig Confidential Investigator starring William Gargan, originally broadcast October 8, 1952, 73 years ago, Murder by Threes.  One sure way to reduce the body beautiful and eliminate excess fat is horizontal living...lie prone and don't blow your lid, your coffin lid, that is!Followed by Boston Blackie starring Dick Kollmar, originally broadcast October 8, 1946, 79 years ago, Murdered Show Dog Owner.  A wealthy woman is murdered shortly after her two dogs win "best in show" at the kennel club. Then, The Adventures of Philip Marlowe starring Gerald Mohr, originally broadcast October 8, 1949, 76 years ago, The Open Window.   A beautiful girl with amnesia visits Marlowe and ends up getting pushed out of the window! Followed by Calling All Cars, originally broadcast October 8, 1936, 89 years ago, The Holy Twenty-One.  A fire has broken out on Brandon Street; a pyromaniac is on the loose.  Finally, Claudia, originally broadcast October 8, 1947, 78 years ago, Mama's Early Birthday.   Claudia learns how to put together a shirt. Going out to dinner on Mama's birthday. Thanks to Richard G for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.html

Bridgett and Sarah cover the second installment of the biggest trilogies in film history. Listen to our hosts have their own entmoot. Features: Other Bridgett and Sarah podcasts: https://www.instagram.com/bspodcasting/ Bridgett Greenberg: https://www.instagram.com/bridgett_greenberg Sarah Griffith: https://www.tiktok.com/@sk_griffith Support Small Beans and access Additional Content: https://www.patreon.com/SmallBeans Check our store to buy Small Beans merch! https://www.teepublic.com/stores/the-small-beans-store

Ben Criddle talks BYU sports every weekday from 2 to 6 pm.Today's Co-Hosts: Ben Criddle (@criddlebenjamin)Subscribe to the Cougar Sports with Ben Criddle podcast:Apple Podcasts: https://itunes.apple.com/us/podcast/cougar-sports-with-ben-criddle/id99676

Ben Criddle talks BYU sports every weekday from 2 to 6 pm.Today's Co-Hosts: Ben Criddle (@criddlebenjamin)Subscribe to the Cougar Sports with Ben Criddle podcast:Apple Podcasts: https://itunes.apple.com/us/podcast/cougar-sports-with-ben-criddle/id99676

Check out our other show from Blighthouse Studio - Four Top Threes - friends from different countries giving our top threes' in various subjects. We'll hopefully be learning, but we'll definitely be laughing! Find Four Top Threes here: https://open.spotify.com/show/2HT8MWVhDzAAAXSZ4FKWjj Support The Sprouting, Four Top Threes and our other shows by checking out our Patreon for ad free and early access - https://www.patreon.com/Blighthouse --- In this episode, we talk about our favourite Disney movies. Ok well maybe a little more “any-movie-that-is-the-property-of-the-Mouse-from-way-back-when-we-were-younger”. We chat about Icelandic and German Disney songs, how we all repeated a lot as kids, compare Lilo and Stitch's arcs, and watching movies on phones. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this heartfelt conversation, Dr. Zach sits down with worship leader, recording artist, and teaching pastor, Charles Billingsley, to explore the topics of leadership, calling, and the power of a quiet life. In this power packed conversation, Dr. Zach and Charles begin by reflecting on the upcoming Refuel Conference: a free, two-day conference at Thomas Road Baptist Church (Oct 6–7) designed to encourage and equip pastors, staff, ministry leaders, and you. Charles speaks candidly about burnout in ministry and why intentional moments of worship, rest, and learning matter now more than ever. He traces his story from a childhood on the road with his evangelist dad, to early mentors who invested in his calling, to seasons with NewSong, and years serving local churches from coast to coast. Charles explains how he reconciled platform and humility, seeing every song as a “four-minute sermon”, and why he chooses intimacy over immediacy, margin over hurry, and faithfulness over flash. Additionally, in this conversation, they unpack three disciplines for ministry: solitude (creating margin for God and people), study (Charles writes messages nearly word-for-word, then leaves room for the Spirit), and suffering (his harrowing COVID valley which included pneumonia, low oxygen, blood clots and how those moments became a school of worship where songs like “Great Are You Lord” and “Goodness of God” anchored his trust). The result is a raw, hope-filled invitation to abide in Christ, on the mountaintops and in the valleys, and to lead from overflow, not emptiness. Calls to Action Register for Refuel (Oct 6–7): Save your spot at www.refuel.org and bring your team. It’s free and open to everyone! Learn about Thomas Road Baptist Church: Plan a visit, watch messages, or get involved with ministries at Thomas Road Baptist Church (Lynchburg, VA) by visiting https://trbc.org/ Follow Charles Billingsley: Keep up with new music, messages, and events on his social channels - https://www.instagram.com/charlesbillingsley/ Visit Charles’s Website: https://www.charlesbillingsley.com/ Listen to The Charles Billingsley Podcast: Add it to your queue and share an episode with a friend in ministry - https://www.charlesbillingsley.com/podcast Share This Episode: Text it to a pastor, spouse, or team member who needs encouragement and refueling. Subscribe to Built Different: Follow, rate, and review the show to help more listeners find these conversations. Practice the Three S’s This Week: Schedule a solitude block, study one passage deeply, and worship in whatever “valley” you’re walking through. Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

Alexander Dunlop is author of Play Your Cards Right: A Sacred Guide To Life On Earth. Join us as we discuss what the Source Cards say about Charlie Kirk.(03:00) Kirk's Public Platform & Bobby Kennedy ConnectionAlexander shares how Kirk welcomed Bobby Kennedy into dialogue and his impressions of Kirk's debates and openness.(05:25) Personal Awakening & The CallingAlexander parallels Kirk's teenage mission with his own spiritual awakening at 17, describing his role as “a priest in the world with no religion.”(06:40) Christian Conservatism & Cultural DivisionA deep dive into Kirk's respectful debating style, but also Alexander's critique of Christian conservatism as a root of cultural conflict.(08:16) Violence in the Name of BeliefDiscussion of the historical roots of violence tied to biblical monotheism and the dangers of us-versus-them ideology.(11:20) Empathy, Sympathy & Evolving ThoughtExploring Kirk's views on empathy versus sympathy, his young age, and potential for evolving beliefs.(17:28) Purity, Sin & Cultural ConditioningTracing the Christian mythos of purity, Virgin archetypes, and the ingrained assumption of imposing morality “for your own good.”(23:13) Beyond Biblical MonotheismAlexander argues for uprooting monotheistic frameworks to return to astrology, numerology, and source cards as systems of personal truth.(26:39) Charlie Kirk's Birth & Personality CardsReading Kirk's Eight of Clubs birth card and Four of Spades personality card, revealing his mental power, stubbornness, and vision.(31:41) Dialogue & Nonviolent CommunicationScott and Alexander emphasize listening, needs-based dialogue, and Marshall Rosenberg's framework as antidotes to polarization.(35:01) Submitting to “One Truth”Unpacking how biblical monotheism entrenches binaries of true/false, creating cycles of domination, repression, and backlash.(43:41) Healing Collective TraumaConnecting monotheism to the psychological split of conscious/unconscious; Alexander frames the work ahead as collective healing.(46:44) God, Substance & the SplitContrasting pantheistic unity with biblical monotheism's sinner/saint dichotomy and its impact on cultural divisions.(49:17) Pluto in Aquarius & Future ReckoningsSpeculation on whether Kirk's death may fuel right-wing violence and how astrology frames cultural turning points.(52:27) Synchronicity of Numbers & Memorial TimingAnalyzing Kirk's assassination on September 10 and his memorial on September 21, highlighting 33 numerology and the Jack of Diamonds.(57:44) Meaning of Threes in MemorialAlexander interprets 33 as creative energy pointing a new way forward, urging dialogue over conservatism as the solution.(1:02:03) Confusion, Propaganda & ControlExploring CIA-style disinformation tactics, societal distrust of media, and the deliberate obfuscation of truth.(1:06:01) As Above, So BelowScott and Alexander reflect on whether events are staged or simply esoteric mirrors of astrological energy.(1:11:10) The Search for PatternsHow the human need for order can lead to paranoia or faith, depending on awareness of intelligent design and cosmic codes.(1:17:22) Turning Point & LegacyKirk's founding of Turning Point, his Eight of Clubs idealism, and how his life and death represent a compass for future directions.Alexander Dunlop: ⁠⁠⁠https://www.thesourcecards.com/⁠⁠⁠⁠⁠⁠https://www.theweeklytransit.com/⁠⁠⁠

Control Body Odor ANYWHERE with @Shop.Mando and get 20% off sitewide + free shipping with promo code [PHILLYTAKE5] at http://shopmando.com!The Sixers held Day 1 of Training Camp at the practice facility! Today, we take a look at all of the footage from Day 1 and break down everything important that you need to know.ADVERTISE WITH US: https://forms.gle/BHCmXV9XZs41CKPGACHECK OUT THE NEW MERCH: https://phillytakewithrb.com/Playback: https://www.playback.tv/phillytakewithrbPhilly Take Discord: https://discord.gg/vEXh2AqpVenmo: https://venmo.com/phillytakewithrbCashApp: https://cash.app/$phillytakewithrbSubscribe to Philly Take with RB on YouTube: https://www.youtube.com/channel/UCZ6xo8_BSzZJVYfWEqEt1GwINSTA: https://www.instagram.com/rbphillytake/TWITTER: https://twitter.com/RBPhillyTake

Join Oli and Anthony as they recap a third straight win and clean sheet vs. Udinese, preview the Lecce cup game and look ahead to a huge game against Napoli. This week's topics include… ↳ 3-0 win in Udine↳ Time to rotate vs. Lecce?↳ Allegri and Conte renew battle↳ Player flavours and other questions This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit sempremilan.substack.com/subscribe

Keith Murphy is joined by Chris Hassel to discuss Iowa's Friday night game against Rutgers before diving into Hassel's Top Threes to rehash a lot of old skits, Scott Siepker competes in a Steinholding Competition, and MORE! LIVE from the Des Moines Biergarten to kick off Oktoberfest. Learn more about your ad choices. Visit megaphone.fm/adchoices

Check out our other show from Blighthouse Studio - Four Top Threes - friends from different countries giving our top threes' in various subjects. We'll hopefully be learning, but we'll definitely be laughing! Find Four Top Threes here: https://open.spotify.com/show/2HT8MWVhDzAAAXSZ4FKWjj Support Counterbalance, Four Top Threes and our other shows by checking out our Patreon for ad free and early access - https://www.patreon.com/Blighthouse --- In this episode, we talk about our favourite Disney movies. Ok well maybe a little more “any-movie-that-is-the-property-of-the-Mouse-from-way-back-when-we-were-younger”. We chat about Icelandic and German Disney songs, how we all repeated a lot as kids, compare Lilo and Stitch's arcs, and watching movies on phones. Learn more about your ad choices. Visit megaphone.fm/adchoices

Before joining Threes (https://threesbrewing.com), Josh Penney spent the better part of a decade brewing in Southern California, with nearly half of that time at hoppy-lager innovators Highland Park. Now at the helm of Threes in Brooklyn, he's taking the knowledge he built in lager fermentation and layering in hops of various formats to create beers that pop from the package and the glass. In this episode, Penney discusses: the preservative power of lager fermentation and modern hop products in hop-forward styles building hazy IPA to evoke “hop ice cream” that doesn't feel heavy or sweet using flowable hop products during active fermentation using thiol-enriched hops such as Freestyle's Mega Motueka selecting for positive characteristics in New Zealand hops optimizing contact time with Southern Hemisphere hops adding terpenes during active fermentation and building deeper flavor blends with advanced hop products fermentation profiles that optimize dry yeast performance adjusting the timing of diacetyl rests based on dry-hopping regimens And more. This episode is brought to you by: G&D Chillers (https://gdchillers.com): For years G&D Chillers has chilled the beers you love, partnering with 3,000+ breweries across North America and beyond. With our 24/7 service and support, your brewery will never stop. Remote monitor your chiller for simple and fast access to all the information you need, and gain peace of mind your operation is running smoothly. Berkeley Yeast (https://berkeleyyeast.com). Berkeley Yeast bioengineers ordinary strains and make them extraordinary—enhancing the flavors you want and eliminating the ones you don't. Visit berkeleyyeast.com to learn more and start brewing with science on your side. Old Orchard (https://www.oldorchard.com/brewer): As breweries expand beyond beer into other segments like mocktails and CBD beverages, Old Orchard is here to help. We can formulate custom blends featuring specialty ingredients. More information and free samples are waiting at oldorchard.com/brewer. Indie Hops (https://indiehops.com) Celebrating 16 years of delivering compelling new hop varieties along with classics that thrive in Oregon's terroir, Indie is the original source for Strata, Luminosa, Lórien, Meridian, and their newest variety Audacia. Release your creativity with the magic of pure, uncut Oregon hops from Indie. Indie Hops — Life is short. Let's make it flavorful. XTRATUF (https://xtratuf.com) XTRATUF has been making rugged and reliable boots for 75 years. Built for the harshest conditions, the Legacy Collection styles are oil, acid, and chemical resistant with a non-slip rated outsole. Be prepared for whatever comes your way and shop the latest XTRATUF boots on xtratuf.com. Canoe Wild Rice (https://breweryworkshop.com) Brewers, have you ever considered brewing with North America's only Ancient Grain—Wild Rice? Joe at Canoe Wild Rice has a stockpile of this unique roasted grain ready to ship to you. Send Canoe Wild Rice an email at joe@canoewildrice.com or give the office a call at 1-800-626-3809

Jimmy hops a train to Gowanus, Brooklyn, to visit Josh Penney of Threes Brewing. The duo discuss Josh's new role as head brewer, the modern IPA, intentional brewing, and winning awards!-Josh Penney, the newly appointed, award-winning Head Brewer at Threes Brewing, the beloved Brooklyn-based brewery and community space. With his extensive background in the craft beer space and his current position at the helm of one of New York's most respected craft breweries, Josh can provide a unique perspective into the evolution of the industry over the years, and what he's most excited to bring to the taps at Threes today. Josh's tenure at Threes is defined by innovation, intentionality, and an unwavering commitment to quality. He joins the team after an acclaimed run as Head Brewer at Highland Park Brewery in Los Angeles, where he helped lead the brewery to multiple World Beer Cup awards and four gold medals at the 2024 Great American Beer Festival. Highland Park also took home the coveted “Brewery Group Brewery and Brewer of the Year” title under his leadership.His inspired approach to brewing is on full display in Threes most recent releases, which includes the West Coast Pilsner Don't Blink, an aromatic hop-driven brew with notes of tropical fruit, and the Luger Lager, a Bavarian brew launched in collaboration with New York's iconic Peter Luger Steakhouse. The brewery even expanded into hard seltzers and NA options like their Plot Twist hop water – another indication of exciting innovations to comeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The boys talk about Miami's win over the Wildcats at Hard Rock Stadium. Carson Beck had another great day, as did CJ Daniels, Malachi Toney, Mark Fletcher, and Marty Brown. Then the Two and Threes got in and got plenty of experience. Next up for the Canes are the Bulls of USF, who beat UF in the Swamp and are 2-0 after beating Boise State and The Gators. It's a Top 25 matchup at Hard Rock on Saturday and it won't be a cake walk. Make sure you check out Cam and his staff's great work at StateofTheU.

Do bad things really come in threes? In this episode, Andrew tells you four mini stories from his week that will make you wonder about this old superstition. From unexpected moments during his evening run to tech troubles that tested his patience, you'll hear authentic English storytelling that takes you from frustrating lows to feel-good highs. You'll improve your listening skills by hearing how Andrew tells stories in natural, everyday English. You'll learn common expressions that native speakers use, like "holding back," "buying into something," "fiddle around with," and "clear sailing." You'll discover interesting things about English-speaking culture, including superstitions and childhood experiences. You can practice your English on our Discord server by telling other learners about your own week and what happened to you. Make sure to check out the free interactive transcript and vocabulary glossary to get the most out of this episode. Important links: Become a Culips member Study with the interactive transcript Join the Culips Discord server Small-group speaking class schedule

What happens when three of the most high-energy Enneagram types (Threes, Sevens, and Eights) work together? In this conversation with guest co-host Demetrius “D” Parker, we dig into the unique strengths and challenges of these assertive types, how they interact with each other, and the dynamics they create with other styles on a team. We also explore practical growth paths for each type, helping them channel their drive, enthusiasm, and power into stronger professional relationships and sustainable leadershipIf you happen to still be on your typing journey and stuck between two or all three of these types, be sure to check out the bonus episode where D and I talk about the similarities and key differences between these three to give you additional insight and reflection points as you narrow down your top type. Have a request for a future episode? Drop a text here!

The good (and bad) in “threes.”     To advertise on our podcast, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/TheJeffWardShow

They say god doesn't give with both hands, but sometimes he gives with all three! Tyler and Isaac sit down with Libby, Greg, and Karl, three queer siblings from middle America. They discuss the queer sibling bond, queer family dynamics, and growing up in Ohio.Join us on all major socials @nogaysinmontana for exclusive content!

Ever feel like you should be further along by now? Like, it's September, and somehow 2025 is around the corner—but your goals? Your weight loss? Still stuck in January?If you're thinking “WTF happened to the year?” and panicking that you haven't made the progress you swore you would, this episode is for you.Today I'm walking you through 3 shockingly simple shifts I've been coaching clients on lately—tiny changes that are helping real women start seeing actual results before the year's over. We're talking less perfection, more momentum. Less stress, more consistency. And the third one? It's the one you're definitely skipping… and it's the fix that finally moves the scale.This episode is your permission slip to stop overthinking and start doing what actually works. This isn't about trying harder. It's about working smarter—and doing it in a way that fits your real, messy, beautiful life.Ready to get unstuck and finish 2025 strong? Press play, pick ONE of these shifts, and let's make the next 4 months count.xoxo,JackieMORE FROM JACKIE: >

Bridgett and Sarah start their coverage of one of the biggest trilogies in film history. That's right. The one with the hobbits. Join us for the first installment of the three-part LOTR podcast. Also, apologies about the last 5 minutes. Sarah's microphone cut out. Features: Other Bridgett and Sarah podcasts: https://www.instagram.com/bspodcasting/ Bridgett Greenberg: https://www.instagram.com/bridgett_greenberg Sarah Griffith: https://www.tiktok.com/@sk_griffith Support Small Beans and access Additional Content: https://www.patreon.com/SmallBeans Check our store to buy Small Beans merch! https://www.teepublic.com/stores/the-small-beans-store?ref_id=22691

Women’s basketball writer and podcast host Jordan Robinson joins Sarah to preview the final two weeks of the WNBA regular season and dole out a team-by-team scouting report. What is Minnesota’s biggest weakness? Is this version of the Aces the real thing? And which lower seeds most deserve to make the postseason? Plus, the US Open gets heated, a social media troll f***s around and finds out, and we send our best wishes to the future Mrs. and Mr. Swift. Listen to The Women’s Hoops Show here Follow Jordan on Instagram here Watch the heated exchange between Townsend and Ostapenko here The WNBA schedule is here The NWSL schedule can be found here Leave us a voicemail at 872-204-5070 or send us a note at goodgame@wondermedianetwork.com Follow Sarah on social! Bluesky: @sarahspain.com Instagram: @Spain2323 Follow producer Misha Jones! Bluesky: @mishthejrnalist.bsky.social Instagram: @mishthejrnalist Follow producer Alex Azzi! Bluesky: @byalexazzi.bsky.social See omnystudio.com/listener for privacy information.

Three look-alike cousins. One runaway pup. And the Backwoods of Strickfield after dark… what could go wrong? When Daisy May's dog bolts into the trees, Mouse (Maddy), Eileen, and Daisy May give chase—and stumble into something hungry lurking in the brush. Engines roar, claws scrape, and a battered pickup becomes their only lifeline as the creature closes in. The girls race to escape the Backwoods before the monster makes them disappear. A fast, fun creature feature set in the Strickfield universe—equal parts scary, funny, and full-throttle adventure.Things Come in Threes by Rob Fields

Gary and Matt discusses the CFB head coaches under the most pressure going into their third season.

I want to speak directly to the feminine woman on a mission; you, the devotional warrioress, the beauty bringer, the heart-led leader who deeply desires to live in peace, power, and purpose.But there are three dragons you'll meet on this path: three internal forces that will absolutely try to keep you from living the vibrant flow life. I call them:✨ The Three S's: Shame, Self-doubt, and Seriousness.These aren't just minor mindset blocks—they're spiritual and emotional weights that, if left unexamined, will steal your joy, rob your creativity, and stall your mission. So today, we're not just naming them; we're learning how to transmute them.Keywords: feminine leadership, God-led business, feminine flow, confidence, emotional mastery, faith-based coaching, shame, self-doubt, seriousness, emotional freedom, Kingdom impact.FLOW WITH MEWin The Day Audio ActivationApply to The Fire-Heart Flow 1:1 Coaching Music: My own.

If good things come in threes, then TRIXTIMER may be the right tool to regain control of your ToDo list! The post MASTERING THE POWER OF THREES! appeared first on sound*bytes.

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Send us a textWelcome to the Builder of All Things Podcast—where we go beyond the pages of the book and explore into the Author's Cut!

Ozman The Wizard and Na'imah talk about the deaths and legacies of Malcolm Jamal Warner, and Hulk Hogan, plus more. Please subscribe, share, rate and review.

Using Self-Compassion With The Enneagram We often hear messages about what we need to fix or change. But what if the real invitation is to see and celebrate the unique way we're wired?  What if our greatest strength is learning how to show up with kindness to the exact story we're living? The Enneagram isn't about putting you in a box—it's about helping you see the unique beauty of your wiring and how to live it out with grace. Ian Morgan Cron says, “The Enneagram doesn't tell you who you are; it tells you who you think you have to be.” And in doing so, it also gently invites you back to your true self. The Enneagram helps us become more present to ourselves and others—not more perfect. Today, we're walking through all 9 Enneagram types, not to critique, but to honor. To celebrate. To invite a more compassionate relationship with the parts of us we often overlook. And we're joined by AMG coach and life coach Stephen Nichols, who has walked with countless men through this work.     TYPE 1 – THE REFORMER You bring a deep sense of integrity and justice to the world. You have an inner compass that naturally points to truth, fairness, and doing what's right—even when it's hard. Your drive to improve things is powerful and needed, especially in a world that often accepts “good enough.” You instinctively see how systems, people, and environments could be better—and you work to close the gap. Ian Morgan Cron notes that Type 1s often have a clear vision of how things should be—and that clarity is a gift to the world. When your idealism is paired with self-compassion, it becomes principled leadership and courageous accountability. Your high standards aren't a burden—they're part of the goodness you bring. But remember: you're not here to fix everything. You're here to live with integrity, and that begins with how you treat yourself. Self-compassion for Type 1 sounds like: “My desire to do good is a strength. I can lead with grace as well as discipline.”  “I bring structure and clarity, and I'm still worthy even when things aren't perfect.” “I don't have to be perfect to be worthy of love and respect.” “I am a good man and still make mistakes. “Discipline and grace can coexist within me.”   You create order in chaos. And in your presence, others feel safe and steady.     TYPE 2 – THE HELPER Your heart is immense—you notice needs others miss and offer love without needing a reason. You're the one who shows up when others forget, who remembers birthdays, who brings soup, who notices when someone looks tired or off. Your attention is love in action, quietly and powerfully felt. As Suzanne Stabile teaches, Type 2s are often the emotional backbone of their communities—offering connection, hospitality, and empathy that binds people together. Your strength lies in your ability to feel what others feel and respond with genuine warmth and care. When you turn that same compassion toward yourself, you become even more powerful—grounded, resilient, and rooted in love that flows both ways. Your worth isn't based on what you give—it's in who you are, even when your hands are empty. Self-compassion for Type 2 sounds like: “My ability to care is a gift, and I'm allowed to receive care too.”  “I am deeply lovable, not for what I do—but for who I am.” “My needs matter just as much as anyone else's.” “I am loved for who I am, not just what I do.” “It's okay to say no and still be a good man.” You bring warmth, connection, and generosity to the spaces you enter. That's real power.     TYPE 3 – THE ACHIEVER You carry a fire to move things forward with clarity, confidence, and bold vision. You're driven, goal-oriented, and instinctively know how to get things done. You have a gift for reading a room, adapting quickly, and casting a vision that rallies people into action. You bring direction and momentum to teams, relationships, and projects. Ian Cron notes that Threes are the most adaptable and inspiring performers—able to shift and lead with excellence. Beneath the drive is a tender, human need to be loved for who you are—not just for what you do. When you slow down and reconnect with your deeper self, you find that your worth was never tied to performance. Your true strength includes your ability to be authentic, vulnerable, and present—not just polished and productive. Self-compassion for Type 3 sounds like: “My drive is beautiful—and I don't have to earn my worth.”  “I'm valuable, even when I'm resting.” “Even when I slow down, I'm still enough.” “I am valuable beyond what I accomplish.” “Failure doesn't define me—how I treat myself does.” You inspire others to dream bigger, act bolder, and believe in what's possible.     TYPE 4 – THE INDIVIDUALIST You feel the depth and complexity of life in a way most people never touch. Your creativity and sensitivity give voice to the human experience in its rawest, most beautiful forms. You notice subtle layers of emotion, longing, and beauty that others often overlook or rush past. Suzanne Stabile calls Fours the torchbearers of emotional truth—willing to feel what others avoid. You remind the world that feeling deeply is not weakness—it's wisdom, strength, and sacred insight. Your presence brings permission for others to be real, to feel, and to show up authentically. When you practice self-compassion, you become a beacon of honesty, healing, and depth. You teach us all that emotional honesty isn't just allowed—it's necessary for true connection. Self-compassion for Type 4 sounds like: “My emotions are not a flaw—they're my superpower.”  “I bring beauty and meaning to the world just by being me.” “My emotions are valid, and I'm not broken.” “I can be unique and still connected to others.” “Pain doesn't isolate me—it unites me with humanity.” You help others feel seen, understood, and reminded that they're not alone in their longing.   CLOSING No matter where you land on the Enneagram, you bring something good and true into the world. You don't need to change who you are—you need to honor it. Self-compassion is how you do that. It's not about self-indulgence. It's about self-acceptance. The Enneagram isn't a problem to fix. It's a mirror that shows your natural design—and the gifts you carry. As Stabile reminds us, the goal isn't to be better than your number—it's to be a healthier version of the one you already are. So take this with you: You are already enough. Not someday. Not when you get it right. Now. We'll drop a free link to the AMG Assessment in the notes so you can find out your type. Bring what resonated into your next AMG group, or share it with a friend who needs to hear it. You were made to thrive—and the best way to do that is by being fully, authentically you.  

We lost three celebrity legends this week, in just the span of 5 days! This week’s tragic news got Amy and T.J. talking about the notion, that deaths come in threes. We go back over the years to highlight other famous moments in history - did you know Michael Jackson, Farrah Fawcett and Ed McMahon all died within 3 days of one another? The examples are mind blowing, but scientists have a name for this phenomenon that might blow a big hole in the theory of threes: it’s called “Apophenia.”See omnystudio.com/listener for privacy information.

We lost three celebrity legends this week, in just the span of 5 days! This week’s tragic news got Amy and T.J. talking about the notion, that deaths come in threes. We go back over the years to highlight other famous moments in history - did you know Michael Jackson, Farrah Fawcett and Ed McMahon all died within 3 days of one another? The examples are mind blowing, but scientists have a name for this phenomenon that might blow a big hole in the theory of threes: it’s called “Apophenia.”See omnystudio.com/listener for privacy information.

We lost three celebrity legends this week, in just the span of 5 days! This week’s tragic news got Amy and T.J. talking about the notion, that deaths come in threes. We go back over the years to highlight other famous moments in history - did you know Michael Jackson, Farrah Fawcett and Ed McMahon all died within 3 days of one another? The examples are mind blowing, but scientists have a name for this phenomenon that might blow a big hole in the theory of threes: it’s called “Apophenia.”See omnystudio.com/listener for privacy information.

We lost three celebrity legends this week, in just the span of 5 days! This week’s tragic news got Amy and T.J. talking about the notion, that deaths come in threes. We go back over the years to highlight other famous moments in history - did you know Michael Jackson, Farrah Fawcett and Ed McMahon all died within 3 days of one another? The examples are mind blowing, but scientists have a name for this phenomenon that might blow a big hole in the theory of threes: it’s called “Apophenia.”See omnystudio.com/listener for privacy information.

NBC's Rory O'Neill reports on the deaths of Malcolm Jamal Warner, Ozzy Osbourne, and Hulk Hogan...and the phenomenon of it happening in threes

Mike and Mark discuss the passing of Ozzy Osbourne. And ask the question, do celberities really die in threes? See omnystudio.com/listener for privacy information.

Mike and Mark discuss the passing of Ozzy Osbourne. And ask the question, do celberities really die in threes? See omnystudio.com/listener for privacy information.

Send us a textAre you stuck in the endless cycle of trying to find the perfect niche, create a stunning website, and develop a flawless business strategy before you feel ready to coach? It's time to break free from this trap.After guiding thousands of coaches through the early stages of their journey, we've discovered a powerful truth: the very things most coaches obsess over—niches, websites, business plans—are often the exact things holding them back from making the impact they're meant to make. This obsession with strategy isn't about confusion; it's about fear. Fear of being seen, fear of failing, fear of not being good enough.The transformational shift happens when you realize that you don't become a coach by building a website; you become a coach by coaching. When you focus on what we call the "Three S's of Starting"—Service (practicing coaching through free conversations), Showing Up (creating visibility), and Specialty (speaking to real pain points)—everything changes. Your confidence grows with each person you help, and suddenly, the path forward becomes clear.What's particularly fascinating is how your specialty or niche emerges organically from the work itself. As you coach more people, you'll notice patterns in who gravitates toward you and what problems you're especially adept at solving. This organic discovery is far more powerful and authentic than trying to force yourself into some predetermined box based on market research.Ready to stop overthinking and start coaching? Our mini action plan will get you moving: message three people offering coaching, go live offering free clarity sessions, and record a video sharing your core message. Because remember, clarity doesn't come before action—it comes from action. What's really holding you back? And what impact could you make if you started today?Subscribe now and join a community of coaches who are done with perfectionism and ready to make their unique impact on the world.Want a personalized strategy session for free? Book a free call with Marc or Teresa: https://www.modernleadership.us/apply Whether you're going through a challenge, or working on a powerful goal, join Marc or Teresa for a 20-minute strategy session and leave the call with a plan to make it happen!

We now offer our show notes in a NEW form – a Google Slide deck. You can see our show notes here and follow along with the episode with all the visual pazazz while you listen! If you want to check out links to everything we discuss in this week's episode give those show notes a click! … Continue reading Snap Judgments, Episode 137: Best Threes in Surfer [ft. HeartoftheCards & Smlz] →

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In hour 2 Steak and Drew get back in to the Hawks and the team that they are constructing, and the Braves and the All-Star game.

Bridgett and Sarah complete their dive into the Paddington trilogy. They discuss the internet hype, the feel-goodery-ness of it all, and what releasing a bear into the wild might do to the great country of Peru. Spread it onto your ears like so much marmalade. Features: Other Bridgett and Sarah podcasts: https://www.instagram.com/bspodcasting/ Bridgett Greenberg: https://www.instagram.com/bridgett_greenberg Sarah Griffith: https://www.tiktok.com/@sk_griffith Support Small Beans and access Additional Content: https://www.patreon.com/SmallBeans Check our store to buy Small Beans merch! https://www.teepublic.com/stores/the-small-beans-store?ref_id=22691

Join Mark Burik and Brandon Joyner as they sit down with Marine Kinna, Better at Beach's marketing coordinator and newest AVP champion, for a deep dive into her incredible journey from France to AVP gold. Marine shares her transition from indoor to beach volleyball, navigating the NCAA system as an international student, becoming a dual-sport All-American, and now thriving on the AVP and international stage. You'll discover the mental strategies that transformed Marine from a player stuck at 5th place finishes to a World Tour medalist and AVP champion. She reveals how she overcame self-doubt, managed expectations, and developed the "I've already won" mindset that led to her breakthrough performances. The conversation dives deep into technical aspects including the left vs. right side debate and the eye dominance theory in volleyball. Marine also discusses the importance of partner chemistry, communication strategies during tough moments, and how embracing discomfort in practice leads to tournament success. A must-listen for aspiring pros and recreational players alike, seeking inspiration and insight into the high-performance mindset.

In this episode of the LINKS Golf Podcast, the hosts weigh in on super-sized par-three holes. Digital Editor Al Lunsford and LINKS contributor Joe Passov talk about the merits of long par threes and detail some of the world's best examples as well as their personal favorites. This season of the LINKS Golf Podcast is presented by PerryGolf. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 526 - Josh Penney, Threes Brewing Happy Monday, Thieves! We're sitting down with Josh Penney of Threes Brewing in Brooklyn today. Josh transferred from the West Coast back east last fall to join the team at Threes. He was previously at LA's Highland Park Brewing. We chat about stylistic differences between the coasts and what expertise and tweaks he's bringing to Brooklyn. Tune in and let us know what you think!***As always, you can email your questions, complaints, whimpers, or whines to us at stealthisbeerpodcast@gmail.com. We read everything we get and we'll try to respond as quickly as we can. If not online, then on air. And THANKS! You can subscribe to STB on iTunes and PLEASE LEAVE US A REVIEW!!! Co-hosts: Augie Carton & John Holl Producer: Justin Kennedy Engineer: Brian Casse Music: "Abstract Concepts - What Up in the Streets" by Black Ant.

On today’s episode, Jason discusses the backlash currently facing Boston Celtics superstar Jayson Tatum in the wake of their stunning three pointer-heavy loss to the New York Knicks, where Jalen Brunson ranks amongst the best point guards of this generation, whether or not it’s fair to call the Oklahoma City Thunder frauds after they blew Game 1 to Denver and why the Nikola Jokic vs Shai Gilgeous-Alexander MVP race is still up to debate. Follow Jason on Twitter and Instagram. Click here to subscribe, rate and review all of the latest Straight Fire with Jason McIntyre podcasts!See omnystudio.com/listener for privacy information.

On Friday's show, the guys discuss Stephen Curry out-dueling LeBron James, Giannis Antetokounmpo doing something no NBA player has done, and Ja Morant's game-winner/gun fingers. They then breakdown some Reddit topics including negativity in basketball fandom, the idea of eliminating corner threes, and when GG Jackson found out his coach, Taylor Jenkins, was fired.--▶️ Join the No Dunks Playback room: https://www.playback.tv/nodunks

On Friday's show, the guys discuss Stephen Curry out-dueling LeBron James, Giannis Antetokounmpo doing something no NBA player has done, and Ja Morant's game-winner/gun fingers. They then breakdown some Reddit topics including negativity in basketball fandom, the idea of eliminating corner threes, and when GG Jackson found out his coach, Taylor Jenkins, was fired. -- ▶️ Join the No Dunks Playback room: https://www.playback.tv/nodunks