Podcast appearances and mentions of William Klein

How do we know our calling in life? Nathan Clarkson and Joseph Holmes talk to Biblical scholar Dr. William Klein on the history of the word "calling" and how we might be all--religious and non-religious alike--using the word wrong. Links to resources mentioned: Calling Definition: https://www.merriam-webster.com/dictionary/calling   More definitions of “calling”: https://www.christianitytoday.com/partners/nav-press/what-is-calling/   Forbes 20 Ways to Find Your Calling: https://www.forbes.com/sites/jessicahagy/2012/06/26/20-ways-to-find-your-calling/   Desire for calling: https://www.letu.edu/alumni/identify-your-calling.html   Oprah “Are You Listening to Your Life?”: https://www.oprah.com/omagazine/what-are-you-meant-to-be-doing-find-your-calling   “It's Never Too Late to Find Your Calling”: https://www.psychologytoday.com/us/blog/fulfillment-at-any-age/202401/its-never-too-late-to-find-your-calling   Desiring God - How to Discern God's Call: https://www.desiringgod.org/interviews/how-do-i-know-gods-calling-for-my-life Relevant Magazine - “Is This My Calling or Just Something I Enjoy?”: https://relevantmagazine.com/life5/how-to-know-if-your-calling-is-really-from-god/   Academic perspectives on calling: https://journals.sagepub.com/doi/10.1177/00187267221095759#bibr24-00187267221095759   Blesses   Hero of a Thousand Faces (Book) Hero on a Mission (Book) Sound of Hope (Movie) Deadpool & Wolverine (Movie) The Shock of Faith (Article) Curses   Don't Waste Your Life (Book) The Hill (Movie) Wish (Movie) The Call (Book) Websites Overthinkers: theoverthinkersjournal.world Nathan Clarkson: nathanclarkson.me Joseph Holmes: josepholmesstudios.com Will Klein: https://denverseminary.edu/directory/klein-phd-william/

Abonnez-vous à ma Newsletter-> Newsletter les Voix de la Photo-> Il s'agit d'une rediffusion d'un épisode posté en 21 décembre 2022.Cet épisode avec le directeur de la Maison Européenne de la Photographie, Simon Baker est le premier épisode avec un focus sur le Japon. Avec Simon, nous avons abordé sa carrière d'historien et d'enseignant, puis ses années à la Tate Modern au département Photographies et Art International et son rôle à la MEP. Nous avons abordé les évolutions du milieu de la photographie : en particulier le fait que les artistes se définissent de moins en moins par le médium, mais plutôt par leurs engagements, mais aussi l'importance des institutions d'avoir une programmation et des collections représentatives des diversités. Il revient sur sa relation avec la photographie japonaise à travers sa rencontre avec les livres photos japonais via la collection de livres photo de Martin Parr, l'exposition Daido Moriyama et William Klein à la Tate Modern et le réseau qu'il s'est construit au Japon (la Galerie Taka Ishii, le galeriste et éditeur Akio Nagasawa, Tomo Kosuga (Fondation Fukase)… Bonne écoute !01'30 – Sa formation universitaire avec une spécialisation dans le mouvement surréaliste, l'enseignement en histoire de l'art et conservateur puis responsable du département Photographies et Art international à la Tate Modern.6'30 – Ce qui est spécifique à la MEP : une des plus grandes collections photo après les années 50 en France (25 000 tirages) et c'est la première institution dédiée à la photographie en France.08'20 – L'ADN de la MEP a changé. On y montre encore des artistes vivants ou ceux qui n'ont pas été montrés à Paris, mais c'est aussi importance de montrer des identités différentes, des pays et approches différentes et d'être un lieu d'accueil pour une grande diversité. Aussi, maintenant les artistes se définissent moins par le médium que par leurs engagements.13' – Le métier de directeur de musée est un rôle de coordination entre les différents services et la relation avec les mécènes et la ville.17'45 – Sa relation avec la photographie japonaise a commencé quand il est arrivé à la Tate en tant que spécialiste des années 20-30. Il a commencé à travailler sur l'acquisition de la bibliothèque de livres photo de Martin Parr et Martin Parr lui a dit que les photographes japonais ont été très influencés par William Klein. Il a travaillé sur une expo Daido Moriyama/William Klein à la Tate Modern.25'30 – Son conseil pour découvrir la photographie japonaise est de consulter des livres photos comme par exemple History of the photobook de Martin Parr ou Les mémoires d'un chien de Daido Moriyama chez Delpire and co. Avant c'était impossible, car les livres n'étaient pas traduits.34' - L'histoire de la photographie est très masculine, mais la photographie devient une activité féminine. Les étudiantes sont majoritairement des femmes, donc les jeunes artistes montrés sont aussi majoritairement des femmes. 45'15 – Une des grandes difficultés qu'il note est qu'il est difficile qu'un livre photo soit visible dans un contexte de surproduction de livres photo. Il faut donc être conscient qu'il y a beaucoup de production et avoir un point de vue différent. Pour devenir partenaire du podcast : https://bit.ly/sponsoriserLVDLPPour vous inscrire à la newsletter du podcast : https://bit.ly/lesvoixdelaphotonewsletterLe site du podcast : https://lesvoixdelaphoto.fr/Et vous pouvez retrouvez le podcast sur Instagram, Facebook et LinkedIn @lesvoixdelaphotoLes Voix de la Photo est un podcast produit et réalisé par Marine Lefort. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Artiste peintre devenu cinéaste, William Klein (1926 - 2022) a révolutionné l'art de la photographie en inventant sa propre fabrique de l'image, en dehors de tout académisme. De New York à Kinshasa, où il a filmé le champion de boxe Mohamed Ali en 1974, William Klein colle à ses personnages et nous raconte leur combat existentiel, leur engagement contre le racisme et leur immense humanité, avec irrévérence et auto-dérision… ce qui fait de l'artiste et de son œuvre, une archive visuelle et sonore du XXè siècle.Au son des archives de l'INA et des témoignages de Dimitri Beck pour Polka magazine, Pierre Louis Denis pour le Studio William Klein et Raphaëlle Stopin pour l'exposition Play play play de Montélimar. Avec la participation exceptionnelle de François Missen, témoin du combat du siècle à Kinshasa en 1974.À voir jusqu'au 6 janvier 2025 : Expo Play play play au Musée d'Art Contemporain de Montélimar. À lire l'article de François Missen avec ses photos du combat inédites dans le magazine Polka du mois de Novembre 2024.

Klein es uno de los fotógrafos más influyentes del siglo pasado. Padre de la fotografía en la calle y un artista completo que supo juntar la pintura, el cine y la fotografía en una sola obra. Si quieres ver este pódcast con imágenes y con un visionado de su foto libro Celebration acude al canal de Youtube: Malasombra.

Cette conversation avec l'œuvre de William Klein souhaite mettre en évidence ce qui caractérise le style de ce photographe. Des parallèles avec quelques-uns de ses grands contemporains (Henri Cartier-Bresson, Robert Frank…) permettront de faire apparaître la signature et l'avant-garde de son écriture plastique. Le parcours et l'analyse de sa vie artistique, de ses débuts de peintre à son premier livre sur New York, de ses films à son travail sur la mode et les contacts peints, mettront en lumière l'infatigable activité de William Klein né à Manhattan en 1926 et décédé à Paris en 2022. _ Historien d'art passionné de photographie et expert en la matière, Jacques Damez ouvre la galerie « Le Réverbère » en collaboration avec Catherine Dérioz en 1980. Il a à coeur de promouvoir la photographie et réfléchir à la façon dont elle permet de capturer le réel. Sa connaissance riche de William Klein est le résultat d'une longue collaboration au sein de la galerie lyonnaise. _ Enregistré au Club 44 le 17 février 2024

Mit Andrea Holzherr, Ausstellungsmanagerin und Kuratorin bei der Fotoagentur Magnum und Behnam Attar-Hamedani, Bruder von Abbas, tauchen wir ein in das Werk dieses legendären Fotografens.  (Interview in English) Abbas Attar, besser bekannt als Abbas, war ein renommierter Fotograf und Mitglied der legendären Fotoagentur Magnum. Der gebürtige Iraner begann seine Karriere als Fotograf in den 1970er Jahren und wurde bekannt für seine eindringlichen und sensiblen Dokumentationen von Konflikten, Religionen und sozialen Veränderungen auf der ganzen Welt.  Abbas' Arbeiten spiegeln sein tiefes Verständnis der menschlichen Natur und seine Fähigkeit wider, komplexe Geschichten in Bildern zu erzählen.  Denn ein Mann der großen Worte war er nicht, wie er 2009 in einem Interview deutlich machte:  „Ich stelle Fragen, ich gebe keine Antworten. Die Menschen sollen eigene Antworten finden. Ich gebe ihnen dazu Mosaiksteinchen; sie sind nicht objektiv, denn auch meine Arbeit ist nicht objektiv. Aber ich bemühe mich, gerecht zu sein.“ Abbas Fotografien wurden in renommierten Publikationen veröffentlicht und international ausgestellt.  Abbas starb 2018, hinterließ jedoch ein beeindruckendes Vermächtnis und inspirierte Generationen von Fotografen auf der ganzen Welt.  In dieser Podcast-Episode tauchen wir in das Leben und Werk des Ausnahmekünstlers ein - gemeinsam mit Abbas' Bruder Behnam Attar-Hamedani und Andrea Holzherr, Ausstellungsleiterin und Kuratorin bei der Fotoagentur Magnum.   Aufgezeichnet haben wir das Gespräch im August 2023 während der Medientage des letztjährigen Festivals „La Gacilly - Baden Photo“. Wir - das sind Pia Parolin und ich. Pia hat wieder einmal ein Gespräch mit ihren Fragen bereichert. Ich freue mich schon auf die Fortsetzung beim diesjährigen Festival, das vom 13. Juni bis 13. Oktober 2024 stattfindet.  Ich zehre noch lange von den ereignisreichen Tagen in Baden mit vielen Begegnungen. Dass noch heute Aufnahmen vom letzten Jahr im Archiv schlummern, ist der beste Beweis dafür.  // Werbung // Wenn du bei den Aufnahmen für den GATE7-Podcast live im Zoom dabei sein und am Ende den Gästen deine Fragen stellen möchtest, dann komm zu unserem Projekt „Abenteuer Reportagefotografie“, das ich zusammen mit Thomas B. Jones mache. Dort hast du nicht nur die Möglichkeit, dem GATE7-Podcast noch näher zu kommen, sondern auch in vielen anderen Formaten wie Videos, Webinaren, Aufgaben & Feedbackrunden und einem exklusiven Podcast mit Thomas und mir tief in die Welt des visuellen Geschichtenerzählens einzutauchen. Apropos exklusiver Podcast: In der Serie „Lernen von Meister:innen“ sprechen Thomas und ich darin regelmäßig über legendäre Fotograf:innen und geben dir Tipps, was du von ihnen für deine eigene Fotografie lernen kannst. In den bisherigen Folgen haben wir unter anderem über William Eggleston, Saul Leiter, Joel Meyerowitz, Robert Frank, Nan Goldin und William Klein gesprochen. Eine Folge über Abbas wird sicher bald folgen.  Was dich sonst noch konkret in diesem interaktiven Projekt erwartet, das, wenn man so will, der verlängerte Arm von GATE7 ist, in dem die Themen des Podcasts vertieft und praxisnah aufbereitet werden, erfährst du unter: www.abenteuer-reportagefotografie.de  Solltest du schon davon gehört haben - vielleicht auch schon auf der Seite warst - aber trotzdem noch offene Fragen hast, dann melde dich gerne direkt bei uns unter: mail@abenteuer-reportagefotografie.de  Wenn du Street Photography live mit uns erleben möchtest, dann komm doch zu einem unserer Workshops. In diesem Jahr stehen Helsinki im Juli, Hamburg im Oktober und Lissabon im November an.

durée : 00:59:25 - Toute une vie - Peintre, photographe, réalisateur, William Klein a inventé un style. Celui d'une image libre, fracassante, saturée de vie. La mode, la politique, les villes, rien n'échappait à son œil affamé. Juif new-yorkais, il vivait à Paris. C'était le plus Américain des artistes visuels français. - invités : Raphaëlle Stopin Commissaire d'exposition free lance, critique et consultante en art et média, directrice du Centre photographique Rouen-Normandie; David Campany Commissaire d'exposition, critique d'art et auteur; Jean-Paul Goude Illustrateur, photographe, metteur en scène et réalisateur de films publicitaires; Marc Lamour Agent de mannequins; Pierre-Louis Denis Assistant de William Klein; Tiffanie Pascal Assistante de William Klein

Le chef, âgé de 73 ans, qui dirige aujourd'hui une vingtaine d'établissements, dont trois à Paris, nous reçoit chez lui dans le 16e arrondissement à Paris.Pierre Gagnaire évoque une enfance contrariée à Apinac dans la Loire puis à Val-d'Isère auprès de parents restaurateurs. Très jeune, il s'intéresse au jazz et à la lecture. Il commence à travailler la cuisine sans aimer véritablement ce qu'il fait et reprend difficilement l'adresse de son père avant de se lancer seul. Il développe alors sa propre approche avec un souci du geste et la volonté de proposer une assiette généreuse et sincère. Et rencontre le succès. Il continue de se passionner pour de nouvelles saveurs et aborde la situation complexe des campagnes aujourd'hui, encourageant au dialogue entre des gens qui ne pensent pas pareil.Il revient longuement sur son amour de la photo. « J'ai pris le parti de collectionner des œuvres qui tournent autour de la table. C'est un univers où il n'y a pas tant de choses que ça. Chez les photographes, j'aime Sarah Moon, William Klein, Robert Doisneau – que j'ai rencontré –, Marc Riboud. »Depuis cinq saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Johanna SebanRéalisation : Emmanuel BauxMusique : Gotan Project

William Klein is a Brooklyn-based physical therapist specializing in treating men's health and pelvic floor. His background as a yoga instructor and passion for learning have helped inform his clinical practice. He can be reached at @willkdpt Instagram, and is currently working on posting educational content on that account. 

Neste episódio William Klein comenta sobre o que acontece antes de Renascermos na Terra.

En tant que tireur, Payram a travaillé avec les plus grands (William Klein, Josef Koudelka et Raymond Depardon). Et en tant que photographe, il n'a cessé toute sa vie de travailler autour de la notion de l'exil, lui qui a dû quitter l'Iran quand il avait 20 ans. Il est invité à l'occasion de la grande foire internationale annuelle Paris photo qui ouvre ses portes au public le 9 novembre. 

Bis in die 1970er Jahre galt Farbfotografie als kommerziell und war in Museen verpönt. Nur Schwarz-Weiß-Fotografie genügte den Maßstäben der Kunstkritiker:innen. Doch dann kam William Eggleston und zeigte, dass Farbbilder durchaus ihren Platz in der modernen Kunst haben können. Unter dem Motto „Lernen von den Meistern:innen“ nehmen Thomas Jones und ich dich im exklusiven Podcast für alle Teilnehmer:innen von „Abenteuer Reportagefotografie“ mit auf eine Reise durch die Fotografiegeschichte. In jeder Folge stellen wir dir einen legendären Fotografen oder eine legendäre Fotografin vor und geben dir praktische Tipps, was du von ihnen für deine eigene Fotografie lernen kannst.  In den bisherigen Folgen ging es um Joel Meyerowitz, Nan Goldin, William Klein und William Eggleston. Um dir einen Eindruck zu vermitteln, wie so eine Episode klingt, gibt es das Gespräch über William Eggleston auch bei GATE7.  Alle Informationen zu „Abenteuer Reportagefotografie“ und wie du den exklusiven Podcast abonnieren kannst, wenn dir diese Folge gefällt, findest du unter: www.abenteuer-reportagefotografie.de // Werbung // Thomas B. Jones und ich haben zuletzt intensiv an der Weiterentwicklung unserer interaktiven Lernplattform für visuelles Storytelling gearbeitet.  Langsam nimmt das Ganze immer mehr Gestalt an - und es wird auch nach außen hin sichtbar, woran wir in den letzten Wochen gearbeitet haben:   Unser Videokurs, die „Visual Storytelling Masterclass“, ist draußen. In gut 6,5 Stunden nehmen wir dich mit auf eine Reise in die Welt des visuellen Geschichtenerzählens in der Reportage und Street Photography.    Unser fortlaufender, interaktiver Online-Kurs „Abenteuer Reportagefotografie“ wird zur „Visual Storytelling Academy“. Ein neues, kompaktes Onboarding macht es noch einfacher, jederzeit einzusteigen - egal auf welchem fotografischen Level du dich gerade befindest.    Außerdem haben wir unseren Workshopkalender für 2024 gefüllt. Unter anderem geht es dann wieder nach Helsinki und Lissabon zum Streetfotografie-Erlebnis-Workshop. Rund um die PHOTOPIA bieten wir wieder einen Street-Workshop in Hamburg an - und in Kürze startet die zweite Auflage unseres Buch-Workshops in Zusammenarbeit mit Sebastian H. Schroeder. 

durée : 01:01:59 - Les Nuits de France Culture - par : Albane Penaranda - En juillet 2009, Archie Shepp revenait sur l'événement qu'avait été le premier Festival panafricain à Alger en 1969. Une arme de combat révolutionnaire, selon lui, avec comme mot d'ordre : "la culture est essentiellement l'affaire du peuple". Au cour de l'été 1969, alors qu'à Woodstock on montait la scène d'un autre festival, se déroulait le premier Festival panafricain à Alger. Un festival qui fut immortalisé sur pellicule, dans un film de William Klein. En réunissant des artistes, des écrivains, des cinéastes, des intellectuels et des militants venus de toute l'Afrique, et de la diaspora africaine du monde entier - au sens le plus large de ces termes - il s'agissait de jeter les bases d'une politique culturelle à l'échelle du continent africain tout entier et, pour l'Algérie, récemment indépendante, de s'affirmer, sur tous les plans, dans un rôle de leader des luttes anti-impérialistes. Côté musique, le programme était somptueux. On y retrouvait notamment, parmi beaucoup d'autres, les noms de Miriam Makeba, Barry White, Manu Dibango. d'Oscar Peterson, de Nina Simone et du saxophoniste Archie Shepp. En juillet 2009, alors que se tenait à Alger le deuxième Festival panafricain, Archie Shepp, quarante ans après, revenait dans Équinoxe au micro de Caroline Bourgine sur le Festival de 69, et les impressions fortes qu'il en avait conservées. Archie Shepp, sur le premier Festival panafricain à Alger en 1969 : "Pour nous c'était une expérience africaine, toute l'Afrique était noire. [...] C'était panafricain dans le sens toute l'Afrique vient ensemble et c'était allier tous les gens de couleur". La culture vue comme un combat révolutionnaire : "J'étais là comme un activiste culturel, j'écoutais beaucoup de musique d'Afrique de l'Ouest. [...] J'étais influencé par les expériences de Coltrane et de Ravi Shankar. Je voulais créer une musique sur un troisième niveau, capable de toucher ailleurs, une musique qui change les choses". Par Caroline Bourgine Réalisation : Laetitia Coïa Equinoxe - Le Festival panafricain d'Alger raconté par Archie Shepp (1ère diffusion : 19/07/2009) Indexation web : Documentation sonore de Radio France

“Frank Horvat” Paris, le monde, la modeau Jeu de Paume, Parisdu 16 juin au 17 septembre 2023Interview de Fiammetta Horvat, fille de Frank Horvat, directrice des Archives Frank Horvat,par Anne-Frédérique Fer,à Paris, le 15 juin 2023, durée 18'24,© FranceFineArt.https://francefineart.com/2023/06/15/3457_frank-horvat_jeu-de-paume/Communiqué de presseCommissariat : Virginie Chardin, commissaire d'exposition indépendanteLe Jeu de Paume présente la plus grande exposition consacrée au photographe Frank Horvat depuis son décès le 21 octobre 2020. À travers 170 tirages et 70 documents d'archive, « Frank Horvat. Paris, le monde, la mode » se concentre sur les quinze premières années d'une carrière exceptionnelle. Entre 1950 et 1965, Horvat affirme une personnalité hors norme d'auteur-reporter et de photographe de mode. L'exposition apporte une vision renouvelée sur l'oeuvre de cet acteur majeur de la photographie française et européenne.Né à Abbazia en Italie en 1928, de parents juifs originaires d'Europe Centrale, Francesco Horvat est contraint de se réfugier en 1939 en Suisse, près de Lugano, avec sa mère et sa soeur. Parti pour Milan après la guerre, il s'essaie au métier de publicitaire puis de photographe. Ses premières images sont publiées au début des années 1950 par les journaux italiens et suisses Epoca, Die Woche et Sie und Er. Admirateur d'Henri Cartier-Bresson auquel il rend visite à Paris en 1951 dans l'espoir d'intégrer l'agence Magnum, il acquiert un Leica et effectue un premier voyage initiatique au Pakistan et en Inde de 1952 à 1954. Parvenant à capter en gros plans des scènes d'une grande intensité et parfois des lieux interdits, il se révèle comme un photographe du corps et de l'intime.À la suite de Die Woche, les grands magazines internationaux Paris-Match, Picture Post, Le Ore ou Life le publient sous le nom de Franco, puis de Frank Horvat, et Edward Steichen sélectionne une de ses images du Pakistan pour la célèbre exposition The Family of Man au Musée d'art moderne de New York (MoMA). Sa carrière de photo-reporter se poursuit à Londres et à Paris où il s'installe fin 1955. Dans ses reportages sur les nuits parisiennes, strip-tease, cabarets, music-halls voire lieux de prostitution, il capte autant l'attitude des spectateurs-voyeurs que le spectacle lui-même.C'est à cette période qu'il acquiert un téléobjectif Novoflex et s'essaie à un grand nombre de points de vue inédits sur Paris, exacerbant par un effet de grain, de contraste et d'écrasement des plans, la saturation de l'espace public et l'anonymat de la foule. Romeo Martinez, éditeur et rédacteur-en-chef de la revue Camera, consacre vingt pages à ce travail dans le numéro de janvier 1957 et l'expose à la Première Biennale de Photographie de Venise la même année.Ce sont ces images de rue, reprises dans plusieurs revues photographiques européennes, qui paradoxalement, le conduisent vers l'univers de la mode. Par l'intermédiaire de William Klein, qui a remarqué ses images dans Camera, il entre en relation avec Jacques Moutin, le directeur artistique de Jardin des Modes.Ce dernier lui propose de transposer son style de photographie urbaine, granuleuse, en lumière naturelle et en petit format, dans la mise en scène des collections de mode et particulièrement du prêt-à-porter, alors en pleine explosion. C'est grâce à lui qu'il réalise ses images les plus célèbres, comme Tan Arnold au Chien qui fume ou celle de la femme au chapeau Givenchy observant aux jumelles une course imaginaire. [....] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Formerly a photographer and founder of The Center for Photography in Woodstock in 1977, Howard Greenberg has been one of a small group of gallerists, curators and historians responsible for the creation and development of the modern market for photography. Howard Greenberg Gallery—founded in 1981 and originally known as Photofind—was the first to consistently exhibit photojournalism and 'street' photography, now accepted as important components of photographic art. Howard Greenberg Gallery maintains diverse and extensive holdings of photographic prints including Eugène Atget, Henri Cartier-Bresson, Bruce Davidson, André Kertész, William Klein, Gordon Parks, Edward Steichen, Paul Strand, Josef Sudek, and Edward Weston on its roster of artists. More recent additions include Edward Burtynsky, Jungjin Lee, Joel Meyerowitz, and Vivian Maier. In 2013 Howard Greenberg Gallery announced exclusive representation for the estates of Berenice Abbott and Arnold Newman. In 2018 Howard Greenberg Gallery became the primary representative of the Ray K. Metzker Archive. In 2019 Greenberg sold 447 photographs from his collection to the Museum of Fine Art in Boston. This conversation took place over Zoom in January 2023.

Thank you for listening to The Exposed Negative Podcast. Running this podcast takes a lot of time and effort, and we hope you have found it helpful and interesting. If you would like to support us by buying us a beer or coffee, or by helping with the running costs of the show, we would greatly appreciate it. Please consider signing up for our Patreon (https://www.patreon.com/exposednegati...) or making a one-time donation through PayPal (https://www.paypal.me/exposednegative).  Thank you for your support! Below are the show notes. Mola light modifiers: https://www.mola-light.com/ United Nations of Photography: https://unitednationsofphotography.com/category/audio-2/podcasts-a-photographic-life/ Miles Aldrige: https://milesaldridge.com/ Platon: http://www.platonphoto.com/ Jake Chessum: https://jakechessum.com/ Mark Mattock: https://www.instagram.com/mark_mattock/?hl=en Oliviero Toscani: https://en.wikipedia.org/wiki/Oliviero_Toscani William Klein: https://en.wikipedia.org/wiki/William_Klein_(photographer) Don McCullin: https://donmccullin.com/don-mccullin/ Bruce Webber: http://www.bruceweber.com/ Herb Ritts: https://www.herbritts.com/ Helmut Newton: https://helmut-newton-foundation.org/en/ Corrine Day: https://www.corinneday.com/home/ Leonard Freed: https://www.magnumphotos.com/photographer/leonard-freed/ John Swannell: http://www.johnswannell.com/about-john-swannell/ Terry O'Neil: https://en.wikipedia.org/wiki/Terry_O'Neill_(photographer) Edward Westons Day Books: https://amzn.to/3VG8Jc7 Russell Miller, Magnum book: https://www.wob.com/en-gb/books/russell-miller/magnum/9780436203732?cq_src=google_ads&cq_cmp=18059580451&cq_con=&cq_med=pla&cq_plac=&cq_net=x#GOR003449848 David Eustice: https://www.davideustace.com/ Dennis Stock James Dean photos: https://www.magnumphotos.com/arts-culture/cinema/james-dean-photographed-by-dennis-stock/ Frank Ockenfels III: https://fwo3.com/ On being a photographer: Bill Jay and David Hurn: https://amzn.to/42qGLU0 Landry Major episode of a Photographic Life: https://unitednationsofphotography.com/2023/03/08/podcast-a-photographic-life-episode-plus-photographer-landry-major/ Daniel Meadows the Ten rules of being a photographer: https://podcasts.apple.com/us/podcast/a-photographic-life-121-plus-daniel-meadows/id1380344701?i=1000488539660 Bill Jay film https://www.youtube.com/watch?v=wd47549knOU And the website for the film is www.donotbendfilm.com A photographic Life on twitter: https://twitter.com/PhotoLifePod A photographic Life on instagram: https://www.instagram.com/photolifepod/ Desert Island Camera iPhone Desert Island Book The Best of Life magazine: https://amzn.to/44yxIlU

In this week's conversation between Dr. James Emery White and co-host Alexis Drye, they discuss a topic that has been on the rise as of late - Calvinism. There are really two dynamics behind the ministry of Church & Culture: to look at the interplay between the Church and the culture of our day, but also to examine the culture within the Church itself. And it's with the latter that today's discussion lands. Episode Links There are three helpful resources that Dr. White mentioned during the podcast, particularly when it comes to the debate over passages found in Scripture referencing election and predestination, as well as an understanding of Arminianism. They are: William Klein, The New Chosen People: A Corporate View of Election. “N. T. Wright on Predestination and Election,” watch on YouTube HERE. Roger Olson, Arminian Theology: Myths and Realities. Another topic that came up frequently in the conversation was grace. Dr. White recently delivered a series at Mecklenburg Community Church called “Christianity's Most Scandalous Idea” that focused specifically on grace as it relates to the Christian faith. You can find that series HERE. Finally, the idea of women in ministry and leadership within the church is a tension point for those who hold to Calvin's beliefs. You can listen to an earlier Church & Culture Podcast on this: CCP7: On Women in Ministry. For those of you who are new to Church & Culture, we'd love to invite you to subscribe (for free of course) to the twice-weekly Church & Culture blog and check out the Daily Headline News - a collection of headlines from around the globe each weekday.

Pour cette treizième rencontre, nous partons à la rencontre de Jean-Luce qui a été le premier photographe de mode avoir accés aux coulisses de la mode. Avec Jean-Luce, nous allons parler de sa vie au sein des défilés, de son amitié pour Yves Saint Laurent et Pierre Bergé, de ses débuts avec Miles Davis, du magazine Vogue, du Women's wear, de Pierre Cardin, de Patrick Kelly, d'André Courréges, d'Emmanuelle Khanh... À partir de ... d'interview nous discuterons d'une de dizaine dimages que Jean-Luce a réalisé au cours de sa carrière pour suivre cet échange je vous invite à consulter ma page Instagram: https://www.instagram.com/julien_sanders/ Extraits sonores : - Louis Amstrong Paris (Olympia 1962) https://www.youtube.com/watch?v=A0CQ4xhW13w&ab_channel=AlainRobert - Avez-vous du style, 1967, réalisation Olivier Ricard https://madelen.ina.fr/programme/avez-vous-du-style -Seize Millions de jeune, Les Covers Girls, 1964 https://madelen.ina.fr/programme/les-covers-girls - Les collections 67-68: Yves Saint Laurent, 1967 https://madelen.ina.fr/programme/les-collections-67-68-yves-saint-laurent - Le Business et la Mode, 1962, réalisation William Klein  https://madelen.ina.fr/programme/le-business-et-la-mode - Radioscopie, Pierre Cardin, 1975 https://madelen.ina.fr/programme/pierre-cardin - Une femme en blanc: Courrèges, 1965 https://madelen.ina.fr/programme/une-femme-en-blanc-courreges - Les Interviews d'André Halimi, Emmanuelle Khanh à  propos de: Sexy Mode, réalisation André Halimi, 1990 https://madelen.ina.fr/programme/emmanuelle-khanh-a-propos-de-sexy-mode - Les divans d'Henry Chapier, Pierre Bergé, réalisation Jean Claude Longin, 1990 https://madelen.ina.fr/programme/pierre-berge - Bande d'annonce de Jacques De Bascher, au théatre de la Contrescarpe https://www.youtube.com/watch?v=UaD_ihRMiAg&ab_channel=Th%C3%A9%C3%A2tredelaContrescarpe Bonne écoute

Résumé : Actrice et réalisatrice française, elle fut une fée, un vampire, une bourgeoise, une artiste schizophrène, une épouse d'ambassadeur, la célèbre Mme Tabard, véritable apparition et objet de fantasme d'Antoine Doinel, et bien sûr Jeanne Dielman, femme au foyer prisonnière d'un quotidien routinier. Découverte par Alain Resnais, Delphine Seyrig fut l'incarnation de la bourgeoise sophistiquée, avec son port altier, son sourire mystérieux, sa voix chaude et sa distinction naturelle. L'actrice a tourné chez François Truffaut, Marguerite Duras, Don Siegel, Luis Buñuel, Joseph Losey, Chantal Akerman, William Klein ou encore Mario Monicelli, signe du cosmopolitisme de celle qui a grandi entre le Liban, New York et la Suisse. Delphine Seyrig a aussi réalisé une poignée de films documentaires, avec le collectif Les Insoumuses et son binôme Carole Roussopoulos, témoignages d'un engagement féministe précurseur. Réalisé entre 1975 et 1976, son documentaire Sois-belle et tais-toi est l'occasion pour 23 actrices de raconter leur métier et leur condition d'actrice au sein d'une industrie sexiste. La manière dont Delphine Seyrig recueille la parole de ces comédiennes françaises et américaines fait incroyablement écho avec la libération de la parole permise par #Metoo. Figure incontournable du cinéma d'auteur et avant-gardiste des années 60 à 80, Delphine Seyrig, disparue en 1990, semble plus actuelle que jamais. Invité : Jean-Marc Lalanne, rédacteur en chef des Inrocks et auteur du livre Delphine Seyrig, En constructions, paru aux éditions Capricci. Image de miniature : Jeanne Dielman 23, Quai Du Commerce, 1080 Bruxelles © (1976) Capricci Films

Cet épisode avec le directeur de la Maison Européenne de la Photographie, Simon Baker est le premier épisode avec un focus sur le Japon. Avec Simon, nous avons abordé sa carrière d'historien et d'enseignant, puis ses années à la Tate Modern au département Photographies et Art International et son rôle à la MEP. Nous avons abordé les évolutions du milieu de la photographie : en particulier le fait que les artistes se définissent de moins en moins par le médium, mais plutôt par leurs engagements, mais aussi l'importance des institutions d'avoir une programmation et des collections représentatives des diversités. Il revient sur sa relation avec la photographie japonaise à travers sa rencontre avec les livres photos japonais via la collection de livres photo de Martin Parr, l'exposition Daido Moriyama et William Klein à la Tate Modern et le réseau qu'il s'est construit au Japon (la Galerie Taka Ishii, le galeriste et éditeur Akio Nagasawa, Tomo Kosuga (Fondation Fukase)… Bonne écoute !01'30 – Sa formation universitaire avec une spécialisation dans le mouvement surréaliste, l'enseignement en histoire de l'art et conservateur puis responsable du département Photographies et Art international à la Tate Modern.6'30 – Ce qui est spécifique à la MEP : une des plus grandes collections photo après les années 50 en France (25 000 tirages) et c'est la première institution dédiée à la photographie en France.08'20 – L'ADN de la MEP a changé. On y montre encore des artistes vivants ou ceux qui n'ont pas été montrés à Paris, mais c'est aussi importance de montrer des identités différentes, des pays et approches différentes et d'être un lieu d'accueil pour une grande diversité. Aussi, maintenant les artistes se définissent moins par le médium que par leurs engagements. Un des enjeux de la MEP est de montrer comment la photographie reste au cœur des métiers même si les artistes utilisent la photo juste comme une manière d'exprimer leurs idées.13' – Le métier de directeur de musée est un rôle de coordination entre les différents services et la relation avec les mécènes et la ville.17'45 – Sa relation avec la photographie japonaise a commencé quand il est arrivé à la Tate en tant que spécialiste des années 20-30. Il a commencé à travailler sur l'acquisition de la bibliothèque de livres photo de Martin Parr et Martin Parr lui a dit que les photographes japonais ont été très influencés par William Klein. Il a travaillé sur une expo Daido Moriyama/William Klein à la Tate Modern. Il ne peut pas lire le japonais, mais son point de vue externe plait aux photographes japonais qui aiment avoir un regard différent sur leurs travaux. Il s'est construit un réseau au Japon : la galerie Taka Ishii, la maison d'édition Kobayashi, le galeriste et éditeur : Akio Nagasawa, Tomo Kosuga (Fondation Fukase).25'30 – Son conseil pour découvrir la photographie japonaise est de consulter des livres photos comme par exemple History of the photobook de Martin Parr ou Les mémoires d'un chien de Daido Moriyama chez Delpire and co. Avant c'était impossible, car les livres n'étaient pas traduits.34' - L'histoire de la photographie est très masculine, mais la photographie devient une activité féminine. Les étudiantes sont majoritairement des femmes, donc les jeunes artistes montrés sont aussi majoritairement des femmes. 45'15 – Une des grandes difficultés qu'il note est qu'il est difficile qu'un livre photo soit visible dans un contexte de surproduction de livres photo. Il faut donc être conscient qu'il y a beaucoup de production et avoir un point de vue différent. Le site de la MEP : https://www.mep-fr.org/Pour suivre l'actualité du podcast vous pouvez vous inscrire à la newsletter ici : https://beacons.ai/lesvoixdelaphoto et retrouvez le podcast sur Instagram, Facebook et LinkedIn @lesvoixdelaphoto Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

La puntata di oggi: gli ISO vanno sempre tenuti bassi?Perché si dice che gli ISO vadano sempre tenuti bassi? Quali sono i rischi? Quanto devo prendere sul serio questa raccomandazione? Quali sono le conseguenze?Oggi, cerco di fare chiarezza.Inoltre, continuo con la rubrica Quei Bravi Fotografi… alla fine di ogni puntata, vi presento un fotografo degno di nota!Questa volta ho scelto William Klein, un fotografo che ha fatto la storia, che è stato un anticonformista e un grande innovatore. Scopriamolo insieme, trovare i suoi riferimenti più in basso. Aspetto le vostre domande e i vostri feedback. Buona luce a tutti!*******************************************I MIEI LINK:Cliccate qui per sostenere con un piccolo contributo volontario le spese del podcast:https://www.patreon.com/user?u=15429568Email: andreageymet@gmail.com (da usare anche per un contributo con PayPal)Adobe Portfolio: https://andreageymet.myportfolio.comInstagram del podcast: https://www.instagram.com/passione_fotografia_podcast/I miei ritratti: https://www.instagram.com/andreageymet_ph/Le mie foto dei viaggi: https://www.instagram.com/the_solo_nomad/*******************************************IL SITO DOVE LEGGERE LE RECENSIONI DELL'ATTREZZATURA:https://www.juzaphoto.com*******************************************Il mio fornitore di fiducia: https://www.solodigitali.com*******************************************QUEI BRAVI FOTOGRAFIWilliam Kleinhttps://it.wikipedia.org/wiki/William_Kleinhttps://www.instagram.com/williamklein_officiel/

With superheroes dominating today's multiplexes and streaming channels, we look back at the 1960s, when people got way into superheroes for two years and then got the hell over it. First, we've got the superhero as a metaphor for American imperialism, racism and police brutality in MR. FREEDOM (1968), a savage satire produced in France and directed by American expat William Klein. In "Mr. Freedom," fellow expat John Abbey (The Sandpiper) plays a sociopathic himbo in red, white and blue football pads who takes a break from beating up Black people to keep the "mixed-up, sniveling crybabies" of France from falling to a communist invasion led by an inflatable Chinese Dragon and a Russian agent clad in a comical amount of foam rubber. Featuring wacked-out visuals that capture the look and feel of French sci-fi comics (think Moebius) and later American dystopian comics such as "Dark Knight Returns" and "The Watchmen." Also starring Donald Pleasance as Mr. Freedom's boss, Dr. Freedom, Delphine Seyrig as Mr. Freedom's girlfriend, and French pop and jazz legend Serge Gainsbourg. Director William Klein died on the same day that we taped this ep. RIP. For our B-feature, we go waaaay low budget with "Rat Pfink a Boo Boo" (1966), a ramshackle effort from Ray Dennis Steckler, the mad genius behind the world's first monster musical, "The Incredibly Strange Creatures Who Stopped Living and Became Mixed Up Zombies." The film starts out as a pretty severe crime drama but then makes one of the most jarring tonal shifts in history when Rat Pfink and his trusty sidekick Boo Boo show up and turn it all into a goofy superhero flick, no doubt inspired by the wave of "Batmania" that swept the nation in 1966 with the brief mega success of TV's BATMAN with Adam West. This one's got some rock and roll numbers + a gorilla (!), causing Philena to ask why dudes are so into apes, a question that the straight cis men on the panel don't have all that good answer for. It's perhaps something we'll have to ponder in a future Ape-isode of OMFYS. MR. FREEDOM is streaming on Criterion Channel. RAT PFINK A BOO BOO is on tubi + it's including in Severin Films' upcoming "The Incredibly Strange Films of Ray Dennis Steckler" blu-ray boxset. The set also includes "Wild Guitar," "The Thrill Killers," and "Incredibly Strange Creatures..." among others + intros by Joe Bob Briggs. Go to severinfilms.com for more info. Weed is at your local dispensary. If you get it on the streets, we don't need to know. Hosts: Philena Franklin, Cory Skalr, Greg Franklin, Bob Calhoun Co-producers: Bob Calhoun & Cory Sklar

In episode 229 UNP founder and curator Grant Scott is in his shed reflecting on working with William Klein and the passing of too many photographers over too short a period of time. Plus this week, photographer Richard Bram takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Richard Bram was born in Philadelphia, Pennsylvania, in 1952 and is an American street photographer based in London. He attended Arizona State University in Tempe, Arizona where he received a B.Sc. in political science and worked in business before becoming a professional photographer. Bram lived in Louisville, Kentucky, moving to London in 1997, then New York City in 2008, and back to London around 2016. Bram has published two books of candid public photographs: Street Photography (2006), a compact collection of black and white photographs taken around the world from 1988 to 2005; and New York (2016), a greatest-hits album of work made between 2005 and 2015 whilst living in New York City. His work is held in the permanent collections of the Bibliothèque Nationale de France in Paris, George Eastman Museum in Rochester, New York, and the Museum of London, as well as having been exhibited internationally since 1991. He is represented by galleries in Mexico, Germany, France, and the USA. www.richardbramphoto.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. © Grant Scott 2022

On va grimper dans un train direction Strasbourg et l'Ososphère qui se tiendra dès ce week-end et qui accueille une étape du Tsugi Birthday Tour avec notamment le résident de Tsugi Radio Mo Laudi. Juste avant, Olivier Forest viendra nous parler de William Klein, disparu, pas de chance, entre la Reine et Jean-Luc Godard. Mais d'abord c'est de jazz dont il va être question. Vous le savez sur ces ondes on aime bien parler du jazz parce que c'est une musique vivante avec des artistes attachants à l'image du saxophoniste que notre nouvelle chroniqueuse, Angèle Chatelier, a rencontré pour nous. Un musicien de jazz mais qui aime aussi le rock ou la musique électronique. Un musicien qui s'appelle Laurent Bardainne.

When photographer William Klein passed away on September 10, a major exhibition of his work was showing at International Center for Photography. "William Klein: YES Photographs, Paintings, Films 1948-2013," was set to close Monday but was extended through tomorrow night as a tribute to the artist. We speak to ICP Executive Director David Little about the show and Klein's legacy.

durée : 00:02:10 - L'Humeur du matin par Guillaume Erner - Gorbatchev, The Queen, William Klein, maintenant Godard, et je suis sûr qu'il y en aura d'autres, cet espace ne peut pas être dévolu à pleurer les petits anges partis trop tôt comme on dit dans les mauvaises rédactions.

Mai 68. Les symboles de l'autorité sont contestés par des millions de grévistes et d'étudiants.William Klein filme au jour le jour assemblées, débats improvisés, manifestations, barricades, bagarres de rues, palabres, utopie en marche, espoirs, résignations, malentendus.Filmé en noir et blanc, caméra au poing, c'est le document le plus précieux, le plus juste et le plus troublant sur la grande rébellion française du XXème siècle. Avec Daniel Cohn-Bendit, Charles de Gaulle, Alain Geismar...Bonus DVD :Entretien avec William Klein (5'30)Contacts "William Klein" : la planche-contact comporte l'avantage précieux d'exprimer simultanément les échecs et les succès du photographe (13').Noir & Blanc / Dolby Digital Stéréo / 4/3DVD Pal toutes zones

Cassius Marcellus Clay, boxeur afro-américain, remporte en 1960 le titre olympique des mi-lourds et devient en 1964 champion du monde des poids lourds.Au lendemain de cette victoire, il révèle qu'il est membre des Black Muslims, se convertit à l'islam, change de nom et défie l'Amérique blanche.Ayant refusé de faire son service militaire pour protester contre la discrimination raciale et l'engagement américain au Viêt-nam, il est déchu de son titre en 1967. Après trois ans d'inactivité, il peut revenir sur le ring et reconquérir le titre mondial en 1974 contre George Foreman. Il retrouve sa gloire, sa couronne, sa légende.William Klein a rencontré Muhammad Ali en 1964 et l'a suivi dix ans durant pour réaliser ce documentaire désormais mythique.Bonus DVD :Entretien et scènes du film commentées par William KleinAudio : Français DD 2.0, Anglais DD 2.0 - Sous-titrage : FrançaisCouleur et Noir & Blanc - Image : 4/3DVD Pal toutes zones

Photographe, cinéaste, peintre, reporter, graphiste... : William Klein a été un créateur d'images sans cesse animé par une volonté d'expérimentation et de dépassement des codes établis, mais aussi des genres et des techniques. Son travail sur le monde de la mode, en particulier, témoigne d'une inventivité exceptionnelle. Qu'il filme des défilés de mode (Yves Saint Laurent, 1962, Jean-Paul Gaultier, 1986) ou qu'il s'inspire du monde de la mode pour faire du cinéma (« Qui êtes-vous Polly Maggoo ? », 1966), ce qui l'intéresse, c'est tout ce qui se passe autour du vêtement, du créateur et du mannequin : il invente le reportage dans les coulisses de la mode, s'intéresse aux petites mains et aux équipes qui rendent possible la présentation des collections. Il applique les techniques du reportage au milieu de la mode, avec des plans rapprochés sur les visages, par exemple. Il apporte un côté joyeux aux rituels traditionnels de la mode Il apporte un côté joyeux aux rituels traditionnels de la mode et, sans être un "photographe de mode" comme ont pu l'être Guy Bourdin ou Helmut Newton, il s'intéresse au vêtement comme témoignage d'une époque.

"Ce pudding est aussi fait avec n'importe quoi. Avec les expériences, avec la vie." "Mais est-ce que les gens parlent autrement que de n'importe quoi ?"Discussion avec William Klein dans une émission du Pudding de 2006, animée par Nicolas Errera et Jean Croc. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:02:12 - L'Humeur du matin par Guillaume Erner - Le roi est mort au même âge que la Reine d'ailleurs, le roi c'est évidemment le roi de la photographie, William Klein. Mort à l'âge de 96 ans comme la Queen, il était d'ailleurs également anglosaxon.

Season Two kicks off with a great interview with curator and writer David Campany. David curated the current William Klein exhibition at the International Center of Photography in New York City. We discuss the inspiring life and work of Klein in this lively conversation. The exhibit is still open until September 12th, so if your are in the NYC go see it!Links of work mentioned in the episode:ICP William Klein Exhibition websiteMoscow "Bikini" photoDavid Campany websiteMany thanks to the staff at the ICP for their help coordinating the interview and accommodating my visit to the exhibition.

*Recorded in June 2020 - Summer Replay* In this episode Lisa and Sara talk to Dr Avril Danczak, a GP with an interest in managing uncertainty in medicine which led to her co-authoring the RCGP published book called Mapping Uncertainty in Medicine. We cover what uncertainty is, and why it is important to address this within medicine and general practice. We talk about ‘what to do when you don't know what to do', how to classify and identify different forms of uncertainty and then think about how you can go about addressing and managing this uncertainty in a structured way. Useful resources:  Book: Mapping uncertainty in medicine, what to do when you don't know what to do; Avril Danczak, Alison Lea and Geraldine Murphy (2016): https://www.amazon.co.uk/Mapping-Uncertainty-Medicine-What-When/dp/0850844053 Paper: Varieties of uncertainty in medicine; Paul Han, William Klein and Neeraj Arora (2011): https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3146626/ Paper: Dealing with uncertainty in general practice: an essential skill for the general practitioner; Margaret O'Riordan et al: https://pubmed.ncbi.nlm.nih.gov/21781433/ Bradford VTS Resources on decisions, diagnoses and uncertainty: https://www.bradfordvts.co.uk/clinical-skills/decisions-diagnoses-uncertainty/ ___ We really want to make these episodes relevant and helpful: if you have any questions or want any particular areas covered then contact us on Twitter @PCKBpodcast, or leave a comment on our really quick anonymous survey here: https://www.surveymonkey.co.uk/r/YLN6GKT ___ This podcast has been made with the support of GP Excellence and Wigan CCG. Given that it is recorded with Greater Manchester clinicians, the information discussed may not be applicable elsewhere and it is important to consult local guidelines before making any treatment decisions.  The information presented is the personal opinion of the healthcare professional interviewed and might not be representative to all clinicians. It is based on their interpretation of current best practice and guidelines when the episode was recorded. Guidelines can change; To the best of our knowledge the information in this episode is up to date as of it's release but it is the listeners responsibility to review the information and make sure it is still up to date when they listen. Dr Lisa Adams, Dr Sara MacDermott and their interviewees are not liable for any advice, investigations, course of treatment, diagnosis or any other information, services or products listeners might pursue as a result of listening to this podcast - it is the clinicians responsibility to appraise the information given and review local and national guidelines before making treatment decisions. Reliance on information provided in this podcast is solely at the listeners risk. The podcast is designed to be used by trained healthcare professionals for education only. We do not recommend these for patients or the general public and they are not to be used as a method of diagnosis, opinion, treatment or medical advice for the general public. Do not delay seeking medical advice based on the information contained in this podcast. If you have questions regarding your health or feel you may have a medical condition then promptly seek the opinion of a trained healthcare professional.

This talk gives an insight into the scope of William Klein's career and why his approach to photography and image-making was pioneering. He is well known for his fashion photography and distinctive gritty style of street photography together with his unconventional approach to subject matter. This talk will consider all aspects of his career including his training as a painter and work with film set against the wider context of art historical developments at the time, particularly Surrealism. Alongside this, the conversation will reference the major William Klein retrospective on show at the International Center for Photography in New York from June to September 2022.The talk will also explore the relationship between artist and gallery and the long-term friendship between William Klein and Marcus Bury, co-founder of HackelBury Fine Art Gallery.“I came from the outside, the rules of photography didn't interest me. There were things you could do with a camera that you couldn't do with any other medium – grain, contrast, blur, cock-eyed framing, eliminating or exaggerating grey tones and so on…… I thought it would be good to show what's possible, to say that this is a s valid of a way of using the camera as conventional approaches.” WK Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Verna, Sachawww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

This episode is also available as a blog post: https://thecitylife.org/2022/06/09/william-klein-yes-at-the-international-center-of-photography-celebrates-multifaceted-career-of-a-visionary-artist/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

"Calling" is a term that is commonly used in Christian life. But what does it actually mean to have a calling? Join Joanna Meyer and Brian Gray as they discuss Part II of this important topic with Daniel Steiner, a leadership coach with over 20 years of experience as a pastor, professor, and speaker; and with William Klein, Professor Emeritus of New Testament Interpretation at Denver Seminary. Together they have co-authored "What Is My Calling?: A Biblical and Theological Exploration of Christian Identity".

"Calling" is a term that is commonly used in Christian life. But what does it actually mean to have a calling? Join Joanna Meyer and Brian Gray as they discuss this important topic with Daniel Steiner, a leadership coach with over 20 years of experience as a pastor, professor, and speaker; and with William Klein, Professor Emeritus of New Testament Interpretation at Denver Seminary. Together they have co-authored "What Is My Calling?: A Biblical and Theological Exploration of Christian Identity".

Chaque vision est singulière, porteuse de sens et de changement. Le but de ce format est de rassembler de nombreux artistes et que chacun nous délivre sa vision et son expérience de la photographie. Pour ce podcast, j'ai rendez-vous en plein Marais, dans le 3ème arrondissement de Paris. Grégoire Eloy, gagnant du Prix Niepce 2021,  m'accueille d'une voix douce et posée, un œil porté sur l'ouvrier qui termine les travaux dans la cour extérieure. Nous prenons le temps de discuter. Grégoire semble être un vrai passionné, au vu de la grande bibliothèque remplie de livres photos qui longe l'escalier. « Ça, c'est la rangée des livres scandinaves, là il y a les livres japonais. Les français sont là. Tiens, il manque un livre. » Quel bonheur de se retrouver avec un photographe qui transmet un tel enthousiasme ! Nous commençons l'enregistrement. Sa fille, qui rentre de l'école, se place dans l'escalier « pour capter le wifi » et aussi sûrement, pour écouter son père. Le chat familial, très craintif, fait des allers-retours à pas feutrés. Une heure de discussion captivante. ☄️ Ce podcast a été propulsé par Adobe France. Vivez l'expérience l'expérience Creative Cloud :  http://urlr.me/xtDGT 

Aujourd'hui, nous traitons d'un sujet qui nous tient à cœur et qui nous a été aussi beaucoup demandé depuis la création du podcast : parler du livre photo et de­ la situation du monde de l'édition photographique. Pour échanger à ce propos, nous sommes très contents de recevoir Marianne Théry des éditionsTextuel, un grand nom parmi les maisons d'édition dits de “beaux-livres” et le duo Matthieu Charon et Rémi Faucheux de RVB Books, une maison d'édition indépendante consacrée à la conception et à la réalisation de livres d'artiste.  Depuis près d'un demi-siècle, cette édition française contribue à l'émergence des auteurs et à la reconnaissance de leurs propositions photographiques. Le livre photo, c'est clairement la consécration pour beaucoup de photographes. Cette photographie, on la regarde aujourd'hui souvent sur un écran et elle défile sous nos yeux, parfois très rapidement. Avec le livre photo, devenue objet, elle se matérialise sous forme de récit, de séquence et est accompagné par une vision singulière et une esthétique graphique. C'est finalement un moyen d'expression essentiel pour chaque photographe et artiste.  Il y a quelques années, Éric Karsenty, du magazine Fisheye, signait un article très intéressant dans lequel il évoquait une « offre pléthorique dans une économie en crise ». De plus en plus de livres photo mais de moins en moins de librairies. Un marché de niche, des livres qui coûtent cher à produire, sans oublier bien sûr l'émergence de l'auto-édition.  La situation a-t-elle changé aujourd'hui ?   Dans ce podcast, nous échangeons avec nos invités de la situation du livre photo lors de la création de leurs maisons d'édition respectives (1994 pour Textuel et 2011 pour RVB Books). Marianne Théry, Matthieu Charon et Rémi Faucheux nous parlent également de leur ligne éditoriale. Chez Textuel, on publie de grands noms de la photographie, comme Harry Gruyaert ou Joël Meyerowitz, pour ne citer qu'eux, mais aussi des photographes plus jeunes, qui ont aussi une pratique pluridisciplinaire, par exemple, SMITH, exposée l'été dernier aux Rencontres d'Arles, ou bien Alex Prager, photographe américaine de la mise en scène, aux photos « hyperréalistes ». Chez RVB Books, les livres photo, très graphiques, deviennent des objets uniques. On pense notamment au livre d'Alexandre Guirkinger, La Ligne, dont on a parlé avec beaucoup de plaisir récemment dans Vision(s).  Nous évoquons notamment d'autres initiatives, par exemple celle de France Photo Book, qui veut valoriser et défendre auprès des professionnels, amateurs et collectionneurs de livres, la diversité et la spécificité française en matière d'édition photo. Quant est-il de l'auto-édition, des salons du livre photo indépendant comme Polycopies ou off-print ? Nos trois invités donnent leurs avis. Pour finir, Marianne, Matthieu et Rémi nous parlent de certains livres singuliers, qui les ont frappés et dont ils ont du mal à se détacher…. Nous vous souhaitons une excellente écoute !    Nous soutenir  https://visionspodcast.fr/nous-soutenir/  Pour aller plus loin  Sur la piste de Big Foot - Guy Le Querrec, Thomas Mailaender , Grégoire Pujade-Lauraine, Marina Gadonneix, Noémie Goudal, Karma - Oscar Monzon, Michel Poivert, SMITH, Une histoire mondiale des femmes photographes, Agnes Dahan / Raphaëlle Picquet, La ligne - Alexandre Guirkenger, Printed In Germany - Christopher Williams, New York 1954-55 - William Klein. Liens  https://rvb-books.com/  https://www.editionstextuel.com/ https://www.visionspodcast.fr/   https://www.instagram.com/podcastvisions/  

Lorsque Serge Gainsbourg demande à William Klein de faire la pochette de son album, il imagine se travestir avec élégance. On est loin de la représentation burlesque des travestis des années 80. Une image choc, des textes provoc... mais, en fait, Love on the Beat est-il l'œuvre de Gainsbourg ou de Gainsbarre ?

Show me the evidence! Any good lawyer working a case, researcher digging into the past, scientist unravelling a mystery of the world, or parent hearing an outrageous claim of their child, knows that you need to ask, “where's the proof?” What can you show me to prove the reality of what you're claiming? What evidence do I need to gather to make a well-informed decision as to what I've heard, seen, or felt? Many of us were taught to look for all the information, to hear both sides of the story, and yet we often fall prey to believing something or jumping to a conclusion without doing the digging necessary. Unfortunately, this makes its way into our relationships with Jesus all too often. We easily fall prey to laziness in our faith and fail to take the steps necessary to ensure that we are truly, actively walking with Christ. Instead of asking ourselves, “where's the proof of faith in my life?” we rest on past confessions, allow people's posts on Facebook to bring us to conclusions on what we believe, and give other people the task of discipling our families. This kind of faith-apathy is a kiss of death to the church, to our influence in the world, and to our fellowship with God. This Sunday we'll look at Ephesians chapter 2, one of the classic gospel passages, jam-packed full of incredible theological truth. We will take a deep dive into our own lives and ask ourselves, “where's the evidence that I'm walking with Christ?” Coming out of the last 18 months, I pray that God uses this time together to open our eyes to the things we've been blind to and incite in us a renewed passion and fervour for the “good works, which God prepared beforehand, that we should walk in them.” Sermon Notes Alive with Christ Jordan Coros August 1, 2021 Ephesians 2:1-10 — Where's the evidence that I'm walking with Christ? — 1.  Am I aware of how lost I was? Mr. Worldly-Wiseman is not an ancient relic of the past. He is everywhere today, disguising his heresy and error by proclaiming the gospel of contentment and peace achieved by self-satisfaction and works. If he mentions Christ, it is not as the Saviour who took our place, but as a good example of an exemplary life. Do we need a good example to rescue us, or do we need a Savior? Jon Bunyan, The Pilgrims Progress Genesis 8:21 Wrath is God's settled stance against sin—the response demanded when holiness encounters sin and evil. William Klein — 2.  Am I awestruck by what he did to save me? Therefore, when we look at the ministry of Christ in the four Gospels, we are seeing what “rich in mercy” looks like—how “rich in mercy” talks, how it conducts itself toward sinners, how it moves toward sufferers. Jesus not only proved that God is rich in mercy by going to the cross and dying in our place to secure that mercy. Jesus also shows us how God's richness in mercy actually looks and speaks. Dane Ortlund Acts 7:55 — 3.  Am I active in working for him? Salvation is not from works, but it is surely for works. Klyne Snograss Matthew 7:14 James 2:17 We know the Scriptures so little. And if we're really honest, we love the Lord Jesus so little as well, that if someone put us into a room with no distractions and said, “I just want you to sit there and think about the Lord Jesus for five minutes,” many Evangelical Christians in the Western world would find that an enormous trial, because we don't know five minutes' worth of the Lord Jesus. Sinclair Ferguson, Ligonier National Conference, 2015.

Show me the evidence! Any good lawyer working a case, researcher digging into the past, scientist unravelling a mystery of the world, or parent hearing an outrageous claim of their child, knows that you need to ask, “where's the proof?” What can you show me to prove the reality of what you're claiming? What evidence do I need to gather to make a well-informed decision as to what I've heard, seen, or felt? Many of us were taught to look for all the information, to hear both sides of the story, and yet we often fall prey to believing something or jumping to a conclusion without doing the digging necessary. Unfortunately, this makes its way into our relationships with Jesus all too often. We easily fall prey to laziness in our faith and fail to take the steps necessary to ensure that we are truly, actively walking with Christ. Instead of asking ourselves, “where's the proof of faith in my life?” we rest on past confessions, allow people's posts on Facebook to bring us to conclusions on what we believe, and give other people the task of discipling our families. This kind of faith-apathy is a kiss of death to the church, to our influence in the world, and to our fellowship with God. This Sunday we'll look at Ephesians chapter 2, one of the classic gospel passages, jam-packed full of incredible theological truth. We will take a deep dive into our own lives and ask ourselves, “where's the evidence that I'm walking with Christ?” Coming out of the last 18 months, I pray that God uses this time together to open our eyes to the things we've been blind to and incite in us a renewed passion and fervour for the “good works, which God prepared beforehand, that we should walk in them.” Sermon Notes Alive with Christ Jordan Coros August 1, 2021 Ephesians 2:1-10 — Where's the evidence that I'm walking with Christ? — 1.  Am I aware of how lost I was? Mr. Worldly-Wiseman is not an ancient relic of the past. He is everywhere today, disguising his heresy and error by proclaiming the gospel of contentment and peace achieved by self-satisfaction and works. If he mentions Christ, it is not as the Saviour who took our place, but as a good example of an exemplary life. Do we need a good example to rescue us, or do we need a Savior? Jon Bunyan, The Pilgrims Progress Genesis 8:21 Wrath is God's settled stance against sin—the response demanded when holiness encounters sin and evil. William Klein — 2.  Am I awestruck by what he did to save me? Therefore, when we look at the ministry of Christ in the four Gospels, we are seeing what “rich in mercy” looks like—how “rich in mercy” talks, how it conducts itself toward sinners, how it moves toward sufferers. Jesus not only proved that God is rich in mercy by going to the cross and dying in our place to secure that mercy. Jesus also shows us how God's richness in mercy actually looks and speaks. Dane Ortlund Acts 7:55 — 3.  Am I active in working for him? Salvation is not from works, but it is surely for works. Klyne Snograss Matthew 7:14 James 2:17 We know the Scriptures so little. And if we're really honest, we love the Lord Jesus so little as well, that if someone put us into a room with no distractions and said, “I just want you to sit there and think about the Lord Jesus for five minutes,” many Evangelical Christians in the Western world would find that an enormous trial, because we don't know five minutes' worth of the Lord Jesus. Sinclair Ferguson, Ligonier National Conference, 2015.

Daido Moriyama, Stray Dog, 1971 Tous les quinze jours découvrez une pépite de la collection de la MEP. Aujourd'hui, découvrez l'œuvre « Stray Dog » du photographe Daido Moriyama Are-Bure-Boke, “brut, flou, trouble”, trois adjectifs devenus une esthétique, celle dont s'empare la jeune garde de photographes japonais à la fin des années 1960, Daido Moriyama en tête. Éditée en 1968, sa première monographie Japan : A Photo Theater, fait scandale : il y dresse le portrait sans concession de marginaux, de strip-teaseurs, de comédiens ambulants et d'autres performers. Ce premier coup d'éclat signe l'urgence d'être au monde de ce maniaque du noir et blanc au grain appuyé, influencé tant par William Klein que Jack Kerouac, et qui a publié depuis ses débuts près de 300 ouvrages. Ses instantanés saturés et bruyants radiographient le chaos urbain, traquent le monde interlope : loup solitaire ou chien errant, il saisit la face sombre des villes, comme dans son quartier tokyoïte d'élection, Shinjuku, dont il ne se lasse pas d'écumer les bars. Virginie Huet Daido Moriama est né à Ikeda-cho au Japon, en 1938. Il vit aujourd'hui à Tokyo.

This week on the Film at Lincoln Center podcast, we're featuring a special roundtable from the 58th New York Film Festival on a pair of intimate, rarely seen portraits of two towering figures of American history: Terrence Dixon's Meeting the Man: James Baldwin in Paris and William Klein's Muhammad Ali, the Greatest. In capturing the tensions experienced by both Baldwin and Ali as outspoken Black public figures in the '70s, the films raise questions that are strikingly relevant to the present moment. What are the burdens placed on Black artists and athletes in the public eye? Can they act as political—perhaps even revolutionary—agents of change? What place do Black American arts and culture occupy in international movements for justice and equality? To reflect on these timely themes, Soraya Nadia McDonald (critic, The Undefeated), Rich Blint (professor and writer, The New School), Samantha Sheppard (professor, Cornell University; author, Sporting Blackness), and Kazembe Balagun (project manager, Rosa Luxemburg Stiftung—New York Office) came together for a rich and enlightening roundtable discussion moderated by writer and critic Nicholas Russell. See Muhammad Ali, the Greatest and Meeting the Man: James Baldwin in Paris, along with over 30 other NYFF58 selections, at Film at Lincoln Center's theaters during Big Screen Summer. Get tickets at filmlinc.org/nyff58redux

Last year's hybrid New York Film Festival was an oasis amid the movie desert of the pandemic, but we sorely missed seeing the selections in the dark of Film at Lincoln Center's theaters. So we were overjoyed when a “redux” version of the festival was announced for this summer, with much of the 2020 lineup playing on the big screen. To dig into the highlights of this encore edition and the films that must be seen big (or seen again,) we sat down with FLC programmer Dan Sullivan and curator and critic Steve Macfarlane. We discussed some underseen gems from the Revivals section, including William Klein's Muhammad Ali: The Greatest and Marie-Claude Treilhou's Simone Barbes or Virtue, and went long on Paul Felten and Joe DeNardo's Slow Machine and some standout episodes from Steve McQueen's Small Axe anthology.

Clarissa talks with Dr. Deborah Dash Moore, a professor of Jewish History, about a city that holds a special place for American Jews and Jewish culture: New York City. They talk about her book “Jewish New York,” how Jews transformed the city of New York, and how the city transformed them.EPISODE NOTES Follow Deborah Dash Moore at https://sites.lsa.umich.edu/deborahdashmoore/Media Mentioned· Jewish New York: The Remarkable Story of a City and a People· Deborah's research on American Jewish Photographers· The Posen Library of Jewish Culture and Civilization· Macy's Thanksgiving Day Parade: A New York Jewish Story with William Klein, “Macy's Day Parade Watchers, 1954”You can follow Clarissa on Twitter and Instagram @ClarissaRMarksTo request a transcript, suggest a topic or a guest, or just say “hi,” send an email to hello@onwandering.co If you liked this episode try out: Finding Crypto-Jewish Ancestors w/Researcher and Historian Genie MilgromLike the show? Here are three great ways to support!· Rate On Wandering 5-Stars on Apple Podcasts. This helps others find the show!· Share On Wandering with a Friend (IRL or via Twitter)· Buy Me a Coffee. Every contribution, no matter how small, helps create the best show possible.On Wandering is produced and presented by Clarissa Marks.The intro music for this episode is by Ketsa and the outro music by George Gershwin. The show is recorded on the traditional land of the first people of Seattle, the Duwamish People past, present and emerging. As a land-based people in diaspora, we recognize first nations and indigenous people as the stewards of this land from time immemorial. We honor with gratitude the land itself and the Duwamish Tribe.

Clarissa talks with Dr. Deborah Dash Moore, a professor of Jewish History, about a city that holds a special place for American Jews and Jewish culture: New York City. They talk about her book “Jewish New York,” how Jews transformed the city of New York, and how the city transformed them.EPISODE NOTES Follow Deborah Dash Moore at https://sites.lsa.umich.edu/deborahdashmoore/Media Mentioned· Jewish New York: The Remarkable Story of a City and a People· Deborah’s research on American Jewish Photographers· The Posen Library of Jewish Culture and Civilization· Macy’s Thanksgiving Day Parade: A New York Jewish Story with William Klein, “Macy’s Day Parade Watchers, 1954”You can follow Clarissa on Twitter and Instagram @ClarissaRMarksTo request a transcript, suggest a topic or a guest, or just say “hi,” send an email to hello@onwandering.co If you liked this episode try out: Finding Crypto-Jewish Ancestors w/Researcher and Historian Genie MilgromLike the show? Here are three great ways to support!· Rate On Wandering 5-Stars on Apple Podcasts. This helps others find the show!· Share On Wandering with a Friend (IRL or via Twitter)· Buy Me a Coffee. Every contribution, no matter how small, helps create the best show possible.On Wandering is produced and presented by Clarissa Marks.The intro music for this episode is by Ketsa and the outro music by George Gershwin. The show is recorded on the traditional land of the first people of Seattle, the Duwamish People past, present and emerging. As a land-based people in diaspora, we recognize first nations and indigenous people as the stewards of this land from time immemorial. We honor with gratitude the land itself and the Duwamish Tribe.

A-t-on raté sa vie si on ne s'est pas reconverti avant 50 ans ? Travaille-t-on pour vivre ou vit-on pour travailler ? Dans cet épisode d'Extra, conversation sur le travail entre Cécile Miniconi, jardinière, et Keyvan Chemirani, joueur de zarbe et compositeur. Cécile et Keyvan sont interrompus par des archives : Propos de minets sur le travail, Seize millions de jeunes, 1965La fille du quartier, Seize millions de jeunes, de Bernard Bouthier, 1967Pierre Soulage et sa vocation, dans l'émission Vocation, réalisation Igor Barrère, 1969A quoi rêvent les coiffeuses, Seize millions de jeunes, interviews de Colette Gouvier, 1965Grands soirs et petits matins, William Klein, 1978Henri Salvador et la pétanque, le travail, la fainéantise, le rire, Le temps des loisirs, 1964Et de la musique :Career opportunities des Clash Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:28:44 - Personnages en personne - par : Charles Dantzig - Polly Maggoo est mannequin. Le mannequin même des années 60. Dans cette œuvre de fiction de William Klein, bijou de satire, déguisé en documentaire de mode, la jeune femme quitte Brooklyn pour Paris... - réalisation : Clotilde Pivin - invités : Loïc Prigent journaliste et documentariste spécialisé dans la mode.

durée : 00:28:44 - Personnages en personne - par : Charles Dantzig - Polly Maggoo est mannequin. Le mannequin même des années 60. Dans cette œuvre de fiction de William Klein, bijou de satire, déguisé en documentaire de mode, la jeune femme quitte Brooklyn pour Paris... - réalisation : Clotilde Pivin - invités : Loïc Prigent journaliste et documentariste spécialisé dans la mode.

“Noir & Blanc : une esthétique de la photographie” Collection de la Bibliothèque nationale de Franceau Grand Palais, Parisdu 16 décembre 2020 au 1er février 2021PODCAST – Interview de Héloïse Conésa, conservatrice en charge de la photographie contemporaine au département des Estampes et de la photographie de la BnF, et de Dominique Versavel, cheffe du service de la photographie et conservatrice en charge de la photographie moderne au département des Estampes et de la photographie de la BnF, commissaires de l'exposition,par Anne-Frédérique Fer, enregistrement réalisé par téléphone, entre Paris et Paris, le 10 décembre 2020, durée 32'01, © FranceFineArt.Extrait du communiqué de presse :commissariat :Sylvie Aubenas, directrice du département des Estampes et de la photographie de la BnFHéloïse Conésa, conservatrice en charge de la photographie contemporaine au département des Estampes et de la photographie de la BnFFlora Triebel, conservatrice en charge de la photographie du XIXe siècle au département des Estampes et de la photographie de la BnFDominique Versavel, cheffe du service de la photographie et conservatrice en charge de la photographie moderne au département des Estampes et de la photographie de la BnFscénographie : Maud Martinot« Le monde en noir et blanc recèle quelque chose de mystérieux qui ne peut être décrit et qui est formidablement séduisant. Est-ce faux de penser que cela touche nos coeurs d'autant plus fort que nous vivons à une époque où tout peut être photographié en couleurs ? » Shoji Ueda.Cette exposition présente des chefs-d'oeuvre en noir et blanc des collections photographiques de la Bibliothèque nationale de France (BnF), exceptionnellement réunis pour l'occasion. Nadar, Man Ray, Ansel Adams, Willy Ronis, Helmut Newton, Diane Arbus, Mario Giacomelli, Robert Frank, William Klein, Daido Moriyama, Valérie Belin… Les grands noms de la photographie francaise et internationale sont réunis dans un parcours qui embrasse 150 ans d'histoire de la photographie noir et blanc, depuis ses origines au XIXe siècle jusqu'à la création contemporaine.150 ans d'histoire de la photographie noir et blancDans la continuité des grandes expositions de photographie organisées depuis 2012 dans la Galerie Sud-Est du Grand Palais, l'exposition Noir & Blanc présente plus de 300 tirages représentatifs de la collection exceptionnelle du département des Estampes et de la photographie de la BnF.Cette présentation se concentre sur le XXe siècle et la période contemporaine sans omettre un préambule de quelques photographies du XIXe siècle : ainsi le thème est traité sur plus de 150 ans à travers l'œuvre d'environ 200 photographes de plus de 30 nationalités.Le noir et blanc, un parti-pris technique et esthétique en constante évolutionLe noir et blanc fait partie intégrante de l'histoire de la photographie : ses évolutions, de la fin du XIXe à aujourd'hui, ont permis de produire des nuances de plus en plus contrastées et sophistiquées, révélant la force plastique de cette technique. Alors que le recours à la couleur s'intensifie au cours des années 1970, le noir et blanc se maintient et s'emploie comme un moyen d'expression esthétique affirmé mettant l'accent sur le graphisme et la matière.Jusqu'aux années 1980-1990, il domine la production en nombre et en hiérarchie de valeur : à l'instar de Walker Evans (1903-1975), de nombreux photographes considèrent alors la photographie en couleur comme un procédé “vulgaire”, à réserver pour des sujets banals et des usages utilitaires. Au-delà d'une justification économique et technique, la persistance de l'usage du noir et blanc s'explique par le fait qu'il a fini par incarner, dans le sens commun, l'essence même de la photographie et la « belle photographie ».Le noir et blanc apparaît comme porteur d'une dimension universelle, intemporelle voire mémorielle, là où la couleur serait la traduction du seul monde contemporain. La Bibliothèque nationale de France (BnF) s'est toujours voulue un conservatoire privilégié de la photographie en noir et blanc de même qu'elle a encouragé la persistance de sa pratique et aujourd'hui sa réappropriation par de jeunes auteurs en réaction contre le tout numérique couleur.Le noir et blanc dans les collections photographiques de la BnFL'exposition aborde la question sous un angle esthétique, formel et sensible en insistant sur les modes de création de l'image monochrome : effets plastiques et graphiques de contrastes, jeux d'ombres et de lumières, rendu des matières dans toute la palette des valeurs du noir et blanc en passant par les gammes de gris.Le choix a mis l'accent sur les photographes qui ont concentré et systématisé leur création artistique en noir et blanc, en ont expérimenté les possibilités et les limites, en ont fait parfois le sujet même de leur photographie : Imogen Cunningham, Man Ray, Ansel Adams, Florence Henri , Ralph Gibson, Mario Giacomelli, Vaérie Belin par exemple.Une attention particulière a été portée à la qualité des tirages et à la variété des techniques et des papiers photographiques (tirages pigmentaires, gommes bichromatées, gélatino-argentiques barytés…) et une place faite au thème de l'impression du noir et blanc, le livre et les revues ayant été longtemps le principal véhicule de la création photographique.Les trésors des collections photographiques de la BnF exposés au Grand PalaisLes collections photographiques du département des Estampes et de la photographie de la BnF, qui compte aujourd'hui quelque 6 millions de tirages, sont particulièrement représentatives de cette histoire de la photographie noir et blanc.La collection de photographies de la BnF, l'une des plus riches au monde, conserve aujourd'hui des centaines de milliers d'épreuves, d'albums et de portfolios de près de 2000 photographes du XIXe siècle et plus de 5700 photographes des XXe et XXIe siècles, toutes tendances et nationalités représentées. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Hello and welcome to Series 4, Episode 10. The theme in the Lifestyle First method we're exploring today is First. One of the first things you need when embarking on change or anything new is… Optimism. Because optimists are healthier. And that's the one question I want to probe today -x- One Question: “Why are optimists healthier?” -x- 2 research reviews 1. Rasmussen. H. N., et al. Optimism and physical health: a meta-analytic review. 2009. 37 (3): 239-256 https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2941870/#APP1 2. Radcliffe.W and Klein W.M.P.Dispositional, unrealistic and comparative optimism: differential relations with the knowledge and processing of risk information and beliefs about personal risk. Personality and Social Psychology Bulletin. 28. 836-846 https://journals.sagepub.com/doi/abs/10.1177/0146167202289012 -x- Optimism is your mental attitude where you just expect good things to happen. Being optimistic isn't about always staying positive and ignoring difficult emotions. Its about looking at the bright side whilst still acknowledging and allowing space for the difficulties. It's about staying focused on the good in any situation. Top 3 reasons why optimists are healthier Number one: Optimists know more about their own health In the 2002 study, psychologists Nathan Radcliffe and William Klein found that optimistic people knew more about how and why heart attacks occur, and how six key risk factors of alcohol, smoking, exercise, stress, nutrition and fat consumptions affected risk They worried less about having a heart attack and were very self aware of their own risk status To have good health, you have to start form a position of knowledge. Which is what this podcast is all about - arming you with knowledge and information so that you just know. Information is so accessible these days but you have to pay attention to it. Be an active absorber of knowledge. Number two : Optimists engage in more healthy behaviours Knowledge has to translate into action, and optimists do exactly this. Optimists sleep better, eat more fruit and vegetables, exercise more, have better relationships. And these healthier actions lead to better health. And you live loner for it. Better survival rates after cancer. Less heart disease Number three: Optimists are better able to handle setbacks. Setbacks are going to happen whether you're an optimist, a pessimist or somewhere in between. But optimists handle stressors much better because they confront problems head on and use solution focused coping methods. Optimists don't just give up. They see difficulties as a learning experience. They're more open to new ideas, new experiences. They're freer to consider more options and change. There is no better alternative to optimism. It's your best choice for living healthier and happier. -x- 3 actions Let's create a ripple effect of optimism – it is contagious ACTION 1. Think like an optimist. ACTION 2 Act Like an optimist ACTION 3: Reflect like an optimist. -x- Website: www.dralkapatel.com DISCLAIMER: This content does not constitute or substitute personal one-to-one professional medical advice, diagnosis, or treatment. Always seek the advice of your doctor or health care professional with questions about your health. --- Send in a voice message: https://anchor.fm/dr-alka-patel/message

Creative director and stylist Sascha Lilic is a fashion month’s fixture. His distinctive look, of a beret and monocle, always makes him easy to spot at a show. You can also always count on Sascha to give you a great sound bite about what he thinks of a presentation, and it’s often something that will make you laugh out loud or blush. Maybe it was all those years working alongside his mentor, the iconic photographer Helmut Newton, who was also known not to mince words, that formed Sascha’s talent for finding the perfect bon mots. But to be fair, Sascha, who was born in Yugoslavia and grew up in Germany, was always fascinated by the world of fashion and its fundamental transformational properties. By the tender age of 16, he was already working as a hairdresser and make-up artist, before he finally got his first break as a stylist. And once he did, he never looked back. Sascha became the fashion & creative director of influential 90s era SPOON magazine before moving on to become the editor-in-chief of ABOVE magazine, which Sascha launched in 2004 and sold for a pretty penny right at the height of excess before the global recession of 2008. And since then, he has been using his talents on all sorts of different fashion fronts, as a stylist, fashion consultant, creative director...you name it...if it has to do with fashion and creativity, Sascha is your man. A claim that is backed up by the laundry list of publications, photographers, and celebrities he has worked with. Which include, but not limited to Vogue, GQ, Vanity Fair, Interview, V Man, Harper's Bazaar, Esquire, Glamour, LʼOfficiel, and Grazia. And besides his longtime collaboration with Newton, Sascha has also teamed up with other leading photographers like Ellen von Unwerth, Norman Jean Roy, and William Klein...and I could go on. His visual eye has transformed everyone from Lana del Rey, Jessica Chastain, Sienna Miller, Rihanna, Lily James, Diane Kruger, Keira Knightley, Lea Seydoux and I could go on and on. So let’s just say that Sascha has quite a lot of great fashion stories to tell. Which is why I wanted to jump on a zoom call with him for this podcast. To tell us all about his extraordinary life, lived to the fullest, in fashion.

In this episode Lisa and Sara talk to Dr Avril Danczak, a GP with an interest in managing uncertainty in medicine which led to her co-authoring the RCGP published book called Mapping Uncertainty in Medicine.We cover what uncertainty is, and why it is important to address this within medicine and general practice.We talk about ‘what to do when you don’t know what to do’, how to classify and identify different forms of uncertainty and then think about how you can go about addressing and managing this uncertainty in a structured way. Useful resources:  Book: Mapping uncertainty in medicine, what to do when you don’t know what to do; Avril Danczak, Alison Lea and Geraldine Murphy (2016): https://www.amazon.co.uk/Mapping-Uncertainty-Medicine-What-When/dp/0850844053 Paper: Varieties of uncertainty in medicine; Paul Han, William Klein and Neeraj Arora (2011): https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3146626/ Paper: Dealing with uncertainty in general practice: an essential skill for the general practitioner; Margaret O’Riordan et al: https://pubmed.ncbi.nlm.nih.gov/21781433/ Bradford VTS Resources on decisions, diagnoses and uncertainty: https://www.bradfordvts.co.uk/clinical-skills/decisions-diagnoses-uncertainty/ ___ We really want to make these episodes relevant and helpful: if you have any questions or want any particular areas covered then contact us on Twitter @PCKBpodcast, or leave a comment on our really quick anonymous survey here: https://www.surveymonkey.co.uk/r/YLN6GKT ___ This podcast has been made with the support of GP Excellence and Wigan CCG. Given that it is recorded with Greater Manchester clinicians, the information discussed may not be applicable elsewhere and it is important to consult local guidelines before making any treatment decisions.  The information presented is the personal opinion of the healthcare professional interviewed and might not be representative to all clinicians. It is based on their interpretation of current best practice and guidelines when the episode was recorded. Guidelines can change; To the best of our knowledge the information in this episode is up to date as of it’s release but it is the listeners responsibility to review the information and make sure it is still up to date when they listen. Dr Lisa Adams, Dr Sara MacDermott and their interviewees are not liable for any advice, investigations, course of treatment, diagnosis or any other information, services or products listeners might pursue as a result of listening to this podcast - it is the clinicians responsibility to appraise the information given and review local and national guidelines before making treatment decisions. Reliance on information provided in this podcast is solely at the listeners risk. The podcast is designed to be used by trained healthcare professionals for education only. We do not recommend these for patients or the general public and they are not to be used as a method of diagnosis, opinion, treatment or medical advice for the general public. Do not delay seeking medical advice based on the information contained in this podcast. If you have questions regarding your health or feel you may have a medical condition then promptly seek the opinion of a trained healthcare professional.

Bart & Jenna welcome guest Natasha Degen, chair of Art Marketing Studies at FIT, to discuss William Klein's Who Are You Polly Maggoo?

durée : 00:26:54 - L'Invité culture - par : Caroline Broué, Stéphanie Villeneuve - Raghu Rai est le plus célèbre photographe de l’Inde et l’un des plus grands photographes du monde. Henri Cartier-Bresson l’a fait entrer à l’agence Magnum Photos, à laquelle il est toujours associé. Il vient de recevoir le premier prix de l'Académie des beaux arts-William Klein. - réalisation : Milena Aellig - invités : Raghu Rai Photographe

durée : 00:26:54 - L'Invité culture - par : Caroline Broué, Stéphanie Villeneuve - Raghu Rai est le plus célèbre photographe de l’Inde et l’un des plus grands photographes du monde. Henri Cartier-Bresson l’a fait entrer à l’agence Magnum Photos, à laquelle il est toujours associé. Il vient de recevoir le premier prix de l'Académie des beaux arts-William Klein. - réalisation : Milena Aellig - invités : Raghu Rai Photographe

durée : 00:26:54 - L'Invité culture - par : Caroline Broué, Stéphanie Villeneuve - Raghu Rai est le plus célèbre photographe de l’Inde et l’un des plus grands photographes du monde. Henri Cartier-Bresson l’a fait entrer à l’agence Magnum Photos, à laquelle il est toujours associé. Il vient de recevoir le premier prix de l'Académie des beaux arts-William Klein. - réalisation : Milena Aellig - invités : Raghu Rai Photographe

Cursos de Fotografía Online Los cursos de fotografía online de Aprender fotografía son la manera más fácil y más rápida de aprender a fotografiar a través de videotutoriales. Siempre disponibles 24 horas al día, 365 días al año. Tarifa plana con 200 clases, más de 65 horas de fotografía. Cada mes añadimos dos nuevos cursos. Incluye tutoría y soporte para dudas individualizado. Hola y bienvenidos al episodio 403 del podcast de Aprender Fotografía. Soy Fran Valverde y como siempre me acompaña Pere Larrègula. Recuerda que Aprender Fotografía es una plataforma de cursos de fotografía online para que aprendas fotografía de una manera fácil por solo 10€ al mes. El día 1 y el día 15 de cada mes hay curso nuevo. Y si te interesa el libro que está escribiendo Pere Larrègula, suscríbete y no te pierdas nada; saldrá el año que viene en Sant Jordi. Siguiendo el formato de los podcasts de verano, hoy vamos a hablar de William Klein, fotógrafo de 91 años que no creemos que siga activo. #1 Su obra William Klein es un exponente de la fotografía de moda y callejera y tiene una visión muy particular, una visión muy provocadora. Eso se ve en todos los fotógrafos de la posguerra, que buscaban estos contrastes tan exagerados que existían. Se instaló en París y se convirtió en fotógrafo costumbrista. Fue uno de los precursores del street style. #2 Su composición En las fotografías de modelos en la calle jugaba con la profundidad de campo para darle protagonismo a las modelos en primer plano. Su estilo es totalmente diferente a otros fotógrafos de la época y en realidad, sus fotografías son muy buscadas o provocadas. Sus composiciones son en gran mayoría muy arriesgadas, pero muy acertadas y al final de su carrera recibió muchos premios. Hasta aquí el podcast de hoy. Gracias por estar ahí. ¡Hasta el próximo programa! Cursos de Fotografía Online Los cursos de fotografía online de Aprender fotografía son la manera más fácil y más rápida de aprender a fotografiar a través de videotutoriales. Siempre disponibles 24 horas al día, 365 días al año. Tarifa plana con 200 clases, más de 65 horas de fotografía. Cada mes añadimos dos nuevos cursos. Incluye tutoría y soporte para dudas individualizado.

durée : 00:55:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - "Mohamed Ali, un destin américain", première partie : "Révoltes 1964-1974", un documentaire d'Irène Omélianenko et Alexandra Longuet, avec Benoît Heimermann, Pap Ndiaye, Nicole Bacharan, William Klein, Frédéric Roux et Patrice Lelorain, et avec de nombreuses archives dont la voix de Mohamed Ali. - invités : Pap Ndiaye, Nicole Bacharan, William Klein, Frédéric ROUX, Patrice LELORAIN - Pap NDiaye : Professeur des universités à l'Institut d'études politiques de Paris. Nicole Bacharan : Historienne et politologue, spécialiste de la société américaine William Klein : photographe, artiste plasticien, réalisateur Frédéric Roux : Ecrivain Patrice Lelorain : écrivain - réalisé par : Viginie Mourthé

Moe Berg earned his reputation as the brainiest man in baseball -- he had two Ivy League degrees and studied at the Sorbonne. But when World War II broke out he found an unlikely second career, as a spy trying to prevent the Nazis from getting an atomic bomb. In this week's episode of the Futility Closet podcast we'll follow Berg's enigmatic life and its strange conclusion. We'll also consider the value of stripes and puzzle over a fateful accident. Intro: Johann David Steingruber devised floor plans in the shapes of letters. At least six of Felix Mendelssohn's songs were written by his sister Fanny. Sources for our feature on Moe Berg: Nicholas Dawidoff, The Catcher Was a Spy, 1994. Louis Kaufman, Barbara Fitzgerald, and Tom Sewell, Moe Berg: Athlete, Scholar, Spy, 1996. W. Thomas Smith, Encyclopedia of the Central Intelligence Agency, 2003. Glenn P. Hastedt, Spies, Wiretaps, and Secret Operations: An Encyclopedia of American Espionage, 2011. Nicholas Dawidoff, "The Fabled Moe," American Scholar 63:3 (Summer 1994), 433-439. Alan Owen Patterson, "The Eastern European Jewish Immigrant Experience With Baseball in the Late Nineteenth and Early Twentieth Century," Modern Judaism 28:1 (February 2008), 79-104. "Morris 'Moe' Berg," Atomic Heritage Foundation (accessed Feb. 3, 2019). "'Moe' Berg: Sportsman, Scholar, Spy," Central Intelligence Agency, Jan. 17, 2013. Richard Sandomir, "Baseball Hall of Fame to Celebrate a Catcher (and a Spy)," New York Times, July 30, 2018. Bruce Fretts, "Who Was Moe Berg? A Spy, a Big-League Catcher and an Enigma," New York Times, June 21, 2018. Josh Pollick, "Moe Berg -- OK Player, Outstanding Individual," Jerusalem Post, Dec. 30, 2004, 11. "To Be a Spook," Justin Ewers, et al., U.S. News & World Report 134:3 (Jan. 27, 2003). Hal Bock, "A Catcher and a Spy -- Journeyman Backstop Was an Operative During WWII -- Moe Berg," Associated Press, June 25, 2000. Paul Schwartz, "Classic Look at Moe Berg, Catcher & Spy," New York Post, June 21, 2000, 68. "An Abstruse Topic Saved His Life," New York Times, March 21, 2000. Steve Bailey, "Moe Berg's Legacy," Boston Globe, Oct. 6, 1999, D1. Jonathan Wasserman, "The Enigmatic Life of Moe Berg," Jewish Advocate, Sept. 29, 1994, 1. Louis Jay Herman, "'To Hell With Moe Berg!'," New York Times, Aug. 14, 1994. David A. Hollinger, "How Uncertain Was He?", New York Times, March 14, 1993. Christopher Lehmann-Haupt, "Books of the Times: Did a German Scientist Prevent Catastrophe in World War II?," New York Times, March 8, 1993. William J. Broad, "New Book Says U.S. Plotted to Kill Top Nazi Scientist," New York Times, Feb. 28, 1993. Ira Berkow, "Sports of the Times; The Catcher Was Highly Mysterious," New York Times, Dec. 14, 1989. Bernard Kogan, "Baseball Anecdotes," New York Times, June 4, 1989. William Klein, "The Spy Who Came in From the Diamond," New York Times, Dec. 1, 1985. Moe Berg, "Baseball: What It's All About," New York Times, April 13, 1975. Jonathan Schwartz, "Catcher Magna Cum Laude," New York Times, March 30, 1975. Dave Anderson, "Mysterious Moe Is De-Classified," New York Times, Jan. 28, 1975. "Moe Berg, a Catcher in Majors Who Spoke 10 Languages, Dead," New York Times, June 1, 1972. Arthur Daley, "Sports of the Times," New York Times, June 1, 1972. Whitney Martin, "'Mysterious' Berg Well Equipped for Place of Latin Ambassador," Wilmington [N.C.] Morning Star, Jan. 17, 1942, 6. "Moe Berg, Red Sox, Gets Job as Envoy," New York Times, Jan. 15, 1942. Richard McCann, "Baseball's One-Man Brain Trust," [Washington D.C.] Evening Star, May 21, 1939, 11. Tom Doerer, "Nationals Hire Berg as Manush Signs," [Washington D.C.] Evening Star, March 10, 1932, D-1. "Moe Berg Attracts Schalk as Catcher," Norwalk [Conn.] Hour, Dec. 14, 1927, 17. "Veteran Scott Will Start at Short for White Sox," [St. Petersburg, Fla.] Evening Independent, March 24, 1926. "White Sox Get Moe Berg," New York Times, Sept. 16, 1925. Listener mail: Wikipedia, "This Is Your Life (UK TV series)" (accessed Feb. 5, 2019). Wikipedia, "This Is Your Life" (accessed Feb. 9, 2019). "Group Captain Sir Douglas BADER CBE, DSO, DFC, FRAeS, DL," Big Red Book (accessed Feb. 9, 2019). Douglas Bader on This Is Your Life. Dick Cavett, "Can You Stand Some More Stan?" New York Times, Oct. 5, 2012. Wikipedia, "Horse-Flies as Disease Vectors" (accessed Jan. 16, 2019). Gábor Horváth, Ádám Pereszlényi, Susanne Åkesson, and György Kriska, "Striped Bodypainting Protects Against Horseflies," Royal Society Open Science 6:1 (Jan. 2, 2019). This week's lateral thinking puzzle was contributed by listener Manon Molliere. Here's a corroborating link (warning -- this spoils the puzzle). You can listen using the player above, download this episode directly, or subscribe on Google Podcasts, on Apple Podcasts, or via the RSS feed at https://futilitycloset.libsyn.com/rss. Please consider becoming a patron of Futility Closet -- you can choose the amount you want to pledge, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!

Jane Ferguson:                 Hello, welcome to Getting Personal: Omics of the Heart. It is June 2018, and this is podcast episode 17. I'm Jane Ferguson, an assistant professor of medicine at Vanderbilt University Medical Center, and a proponent of precision medicine, genomics, and finding ways to prevent and treat heart disease. Jane Ferguson:                 This podcast is brought to you by Circulation: Genomic and Precision Medicine, and the AHA Council on Genomic and Precision Medicine. Jane Ferguson:                 For our interview this month, early career member, Jennie Lin talked to Beth McNally about science and careers in genomic medicine. We'll have more on that later but first I want to tell you about the cool papers we published in the journal this month. Jane Ferguson:                 First up, Orlando Gutierrez, Marguerite Irvin, Jeffrey Kopp, Cheryl Winkler, and colleagues from the University of Alabama at Birmingham, and the NIH, published an article entitled APOL1 Nephropathy Risk Variants and Incident Cardiovascular Disease Events in Community-Dwelling Black Adults. This study was conducted in over 10 thousand participants of the Reasons for Geographic and Racial Differences in Stroke, or, REGARDS Study. They examined associations between APOL1 variants and incident coronary heart disease, ischemic stroke, or composite CVD outcome. Because there are coding variants in the APOL1 Gene that are only found in individuals of African ancestry, these are hypothesized to contribute to the disparities in cardiovascular and renal disease in African Americans. Jane Ferguson:                 The authors found that carrying the risk variants was associated with increased risk of ischemic stroke, but only in individuals who did not have diabetes, or chronic kidney disease. They hypothesize that because diabetes and kidney disease already increase CVD risk, the variant does not have an additional effect on risk in individuals with existing comorbidities. But, it contributes to small vessel occlusion and stroke in individuals without diabetes. Jane Ferguson:                 They also found that the magnitude and strength of the association became stronger in a model adjusted for African ancestry, suggesting an independent effect of the APOL1 risk variants. Jane Ferguson:                 While future work is needed to study this more, this is an important step in understanding the complex relationship between APOL1 and disease. Jane Ferguson:                 Next up, Daniela Zanetti, Erik Ingelsson, and colleagues from Stanford, published a paper on Birthweight, Type 2 Diabetes, and Cardiovascular Disease: Addressing the Barker Hypothesis with Mendelian Randomization. The Barker Hypothesis considers that low birthweight as a result of intrauterine growth restriction, causes a higher future risk of hypertension, type 2 diabetes, and cardiovascular disease. However, observational studies have been unable to establish causality or mechanisms. Jane Ferguson:                 In this paper, the authors used Mendelian Randomization as a tool to address causality. They used data from the UK Biobank, and included over 237,000 participants who knew their weight at birth. They constructed genetic predictors of birthweight from published genome wide association studies, and then looked for genetic associations with multiple outcomes, including CAD, stroke, hypertension, obesity, dyslipidemia, dysregulated glucose and insulin metabolism, and diabetes. Jane Ferguson:                 The Mendelian randomization analysis indicated that higher birthweight is protective against CAD type 2 diabetes, LDL cholesterol, and high 2 hour glucose from oral tolerance test. But, higher birthweight was associated with higher adult BMI. This suggests that the association between low birthweight and higher disease risk is independent of effects on BMI later in life. While the study was limited to a well nourished population of European ancestry, and would need to be confirmed in other samples, and through non-genetic studies, it suggests that improving prenatal nutrition may be protective against future cardiometabolic disease risk. Jane Ferguson:                 Laura Muino-Mosquera, Julie De Backer, and co-authors from Ghent University Hospital, delved into the complexities of interpreting genetic variants, as published in their manuscript, Tailoring the ACMG and AMP Guidelines for the Interpretation of Sequenced Variants in the FBN1 Gene for Marfan Syndrome: Proposal for a Disease- and Gene-Specific Guideline. Jane Ferguson:                 With a large number of variants being uncovered through widespread sequencing efforts, a crucial challenge arises in their interpretation. The American College of Medical Genetics and Genomics, and the Association for Molecular Pathology put forward variant interpretation guidelines in 2015, but these were not tailored to individual genes. Because some genes have unique characteristics, the guidelines may not always allow for uniform interpretation. Jane Ferguson:                 In their manuscript, the authors focused on variants in fibrillin-1 that cause Marfan Syndrome, and reclassified 713 variants using the guidelines, comparing those classifications to previous in-depth methods which had indicated these variants' causal or uncertain significance. They find 86.4% agreement between the two methods. Jane Ferguson:                 Applying the ACMG, AMP guidelines without considering additional evidence may thus miss causal mutations. And it suggests that adopting gene specific guidelines may be helpful to improve clinical decision making and accurate variant interpretation. Jane Ferguson:                 Delving deeper into FBN1 and Marfan Syndrome, Norifumi Takeda, Ryo Inuzuka, Sonoko Maemura, Issei Komuro, and colleagues from the University of Tokyo examined the Impact of Pathogenic FBN1 Variant Types on the Progression of Aortic Disease in Patients With Marfan Syndrome. They evaluated 248 patients with pathogenic, or likely pathogenic, FBN1 variants, and examined the effect of variant subtype on severe aortopathy, including aortic root replacement, type A dissections, and related death. They found that the cumulative aortic event risk was higher in individuals with haploinsufficient type variants, compared with dominant negative variants. Jane Ferguson:                 Within individuals with dominant negative variants, those that affected Cysteine residues, or caused in-frame deletions, were associated with higher risk compared with other dominant negative mutations, and were comparable to the risk of the haploinsufficient variants. These results highlight the heterogeneity and risk of the FBN1 variants, and suggest that individuals with haploinsufficient variants, and those carrying dominant negative variants affecting Cysteine residues or in-frame Deletions, may need more careful monitoring for development of aortic root aneurysms. Jane Ferguson:                 Lydia Hellwig, William Klein, and colleagues from the NIH, investigated the Ability of Patients to Distinguish Among Cardiac Genomic Variant Subclassifications. In this study, they analyzed whether different subclassifications of variants of uncertain significance were associated with different degrees of concern amongst recipients of genetic test results. 289 subjects were recruited from the NIH ClinSeq Study, and were presented with three categories of variants, including variants of uncertain significance, possibly pathogenic, and likely pathogenic variants. Participants were better able to distinguish between the categories when presented with all three. Whereas, a result of possibly pathogenic given on its own, produced as much worry as a result of likely pathogenic. The authors conclude that multiple categories are helpful for subjects to distinguish pathogenicity subclassification, and that subjects receiving only a single uncertain result, may benefit from interventions to address their worry and to calibrate their risk perceptions.  Jane Ferguson:                 Erik Ingelsson and Mark McCarthy from Stanford, published a really nice review article entitled Human Genetics of Obesity and Type 2 Diabetes: Past, Present, and Future. Over the past decade, we've had a lot of excitement, optimism, and also disappointment in what genome-wide association studies can deliver. Doctors Ingelsson and McCarthy do a great job laying out the history and the successes in the field of genetic interrogation of obesity and diabetes, as well as acknowledging where reality may not live up to the hype, what challenges remain, and what the future may hold. They also have a figure that uses an analogy of a ski resort to emphasize the importance of taking a longitudinal perspective. And I would argue that any paper that manages to connect apres-ski with genomics is worth reading, for that alone. Jane Ferguson:                 Robert Roberts wrote a perspective on the 1986 A.J. Buer program, pivotal to current management and research of heart disease. Highlighting how the decision by the AHA in 1986 to establish centers to train cardiologists and scientists in molecular biology, has led to huge advances in knowledge and treatment of heart disease. Jane Ferguson:                 Finally, rounding out this issue, Kiran Musunuru and colleagues, representing the AHA Council on Genomic and Precision Medicine, Council on Cardiovascular Disease in the Young, Council on Cardiovascular and Stroke Nursing, Council on Cardiovascular Radiology and Intervention, Council on Peripheral Vascular Disease, Council on Quality of Care and Outcomes Research, and the Stroke Council, published a scientific statement on Interdisciplinary Models for Research and Clinical Endeavors in Genomic Medicine. Jane Ferguson:                 This paper lays out the field of cardiovascular research in the post genomic era, highlights current practices in research and treatment, and outlines vision for interdisciplinary, translational research and clinical practice, that could improve how we understand disease, and how we use those understandings to help patients. Jane Ferguson:                 Our guest interviewer today is Dr. Jennie Lin, an Assistant Professor at Northwestern Universities Feinberg School of Medicine, and the incoming Vice Chair of the Early Career Committee of the AHA Council on Genomic and Precision Medicine. As an aside, Jennie is a great person to follow on Twitter for insights into genomics and kidney disease, and as a bonus, she also posts the occasional dog photo. So she's well worth following just for that. You can find her on Twitter @jenniejlin. As you'll hear, Jennie talked to Dr. Beth McNally about her view on genomic medicine, and Beth also shared some really great practical tips for early career investigators building their independent labs. So make sure you listen all the way to the end. Take it away Jennie. Dr. Lin:                                  Thank you for tuning in to this edition of Getting Personal: Omics of the Heart, a podcast by the Genomic and Precision Medicine Council of the American Heart Association, and by Circulation: Genomic and Precision Medicine. Today I am joined by Dr. Elizabeth McNally, the Elizabeth J Ward Professor of Genetic Medicine, and director of the Center for Genetic Medicine at Northwestern University. Beth, thank you for taking time to chat with all of us. Dr. McNally:                       Happy to be here. Dr. Lin:                                  As a successful physician scientist, you have been interviewed in the past about your life, your scientific interests, and advice for budding investigators. I don't want to rehash everything you have already stated beautifully in an interview with Circ Res, for example. But instead wanted to focus more on your views of genetic medicine and genome science today. Dr. Lin:                                  So you mentioned in that prior Circ Res interview that you started your laboratory science training and career during college, when you participated in a project focused on genetic variation among children with muscular diseases. What have you found to be most interesting about the process of identifying functional genetic variants back then, and also that on-going work now. Dr. McNally:                       Well, I think over the years I've been doing this is the tools have gotten so much better, to be able to actually define the variants much more comprehensibly than we ever could in the past. And then also to be able to study them, and very much to be able to study them in context. And so I look at the revolutions in science that will cause people to look back on this era as the era of genetics. It began obviously with PCR, we couldn't have gotten anywhere without that. Dr. Lin:                                  Right. Dr. McNally:                       And then you leap forward to things like next generation sequencing, and IPS cells, and now CRISPR/Cas gene editing. And to realize that the last three happened within a decade of each other, is going to be so meaningful when you think about the next few decades, and what will happen. So being able to take an IPS cell and actually study a mutation or a variant in context of that patient, the rest of their genome, is really important to be able to do. Dr. Lin:                                  Okay, Great. And so, where do you envision ... with taking say for example, this next gen. technology, CRISPR/Cas9, studying variants in an IPS cell, for example. How do you envision this really revolutionizing the study of human genetics for patients? And how far do you think we've come in fulfilling that vision, and what do you think should be our focus going forward? Dr. McNally:                       I think broadly thinking about human genetics we're really very much still at the beginning, which I know is hard to say and hard to hear. But, we've spent a lot of the last 15 years very focused on that fraction of the genome that has high frequency, or common variation, through a lot of the GWA studies. With those common variants, we had a lot of associations, but relatively small effects of a lot of those, causing a lot of people to focus on the missing heritability and where we might find that hiding. And of course, now that we have deep sequencing, and we have deep sequencing where we've really sampled so much more of the genome, and from so many more people, I think we're just at the beginning of really appreciating that rare variation. And beginning again to really appreciate that 80-85% of the variation that's in each of our genomes is really characterized as rare. Dr. McNally:                       And so we really each are quite unique, and that when we understand a variant we do have to understand it in the context of all that other variation. So computationally that's very challenging to do. Obviously requires larger and larger data sets. But even in doing that, you are not going to find exact replicates of the combinations that you see in any one individual. While I know everybody would love that we're going to have the computational answer to all of this, it's still going to come down to a physician and a patient and making what you think is that best decision for the patient, based hopefully on some genetic data that helps inform those decisions. Dr. Lin:                                  Right, right. So it kind of gets into this whole concept of precision medicine, which has gained a lot of popularity and buzz in recent years, and Obama has really brought it to the forefront in the public arena. You mention rare variants in ... finding rare variants in each patient, for example. And moving a little bit away from some of the common variants that we find in GWAs. What does it mean for a patient to have a rare variant and come see you in your cardiomyopathy clinic, is it going to be precision for that patient, or suing rare variants among many different individual patients to try to find function for a gene? Dr. McNally:                       It's a great question. So I think the first way we approach it is, it depends who's asking the question. So if it's somebody who comes to me who has cardiomyopathy, or has a family history of cardiomyopathy and sudden death, that's a very different question to ask what's going on with their rare variants, for example in cardiomyopathy genes. Now if you translate that over to, I have a big population of people, I don't particularly know what their phenotype is, and I see rare variants for cardiomyopathy, those are two fundamentally different questions. So we very much know a lot about how to interpret rare variants for cardiomyopathy in the context of a patient or a family who has disease, and I do emphasize the latter part of that, the family, working with families and seeing how variants segregate within families. We interpret that very differently, and I think it's appropriate to interpret that very differently in that context. And that's completely different than again, going against what is the regular population, notice I'm not calling it normal population- Dr. Lin:                                  Right. Dr. McNally:                       ... but the general population that's out there. The first step in doing that is the list of the ACMG, American College of Medical Genetics, actionable genes. So this is an interesting question in and of itself. It's 59 genes, of course that list is too small, and it should be bigger than that, and ultimately that will happen. But to take a population based approach to those actionable genes, and looking across the population, finding someone who's got variants in, lets say our favorite genes MYH7, MYBPC3. Knowing what that risk means on a population level is very different than knowing what that means in the context of a patient who comes to you, who has that variant, runs in their family, and has clear disease. Those again, really two different questions, and we have to come up with what's the best practices on that, how to answer either of those questions. Dr. McNally:                       I think the first step working with patients and families who have known disease and have clear variants that segregate with disease, I think its very powerful. I think we've probably got close to a good decade of doing that already. It's incredibly useful for those patients and families. It helps us reduce their risk. It helps us treat them early, it helps us manage their arrhythmias. There's no question that that information is incredibly valuable, but we're still learning how to process that across the population, and how to answer that question for people who are coming who don't already have disease. Dr. Lin:                                  Right, right. That makes sense. And I guess that kind of plays into a follow up question about whether or not we need to test, or think about every variant of unknown significance in lab, and ... the- Dr. McNally:                       It's a great ... You know again, you always have to very carefully consider the context in which the question's being asked. So again, if you're talking about a relatively normal population, well, walking, healthy person, and you're seeing variants of uncertain significance, that's a very different question than somebody who's coming in to you with cardiomyopathy and has a highly suspicious variant of uncertain significance that falls right within the head domain of MYH7. We know a lot about that, and we can do a lot of interpretation in that case. Dr. McNally:                       However, I would say that to put too much value on what we do in the research lab ... Just putting a regulatory hat on for a second and thinking about it, there's nothing from a regulatory standpoint that really validates what we do in the research lab, to say that we can really fairly adjudicate a VUS or not. We can't do that, that's over-valuing what we do in research lab. Dr. McNally:                       So I think, how do we consider variants among certain significance? I think it's really important to recognize that it's exactly that, it's a variant of uncertain significance. And so when you're a clinician taking that to a patient, you have to approach it from the standpoint of saying, this is a variant of uncertain significance. Which means we don't know whether it's pathogenic, but we also don't know that its benign. Because I think right now what we've seen, a lot of clinicians, and even researchers, fall into the path of this believing that variant of uncertain significance is the equivalent of benign. That's not true. It is simply ... That is a rare variant, and we don't know whether it's pathogenic or non-pathogenic. And hopefully overtime we will learn more to better assess that, and better provide the interpretation of what that means in the context of that patient. Dr. McNally:                       It's a good conversation to have. It's important to recognize they're not necessarily pathogenic, but they're also not necessarily benign. Dr. Lin:                                  Mm-hmm (affirmative). So do you see a role, for example, when you see this variant of uncertain significance, is there a role to go back into lab, for example, and try to knock that mutation to IPSC's and test to see if its pathogenic? Or is that going a step too far? Dr. McNally:                       In some cases, that is the right thing to do. Because genetics is so powerful, genetics doesn't only give you the association of a gene with an outcome, and GWAs was fabulous at doing that ... giving us a lot of variants, and often nearby genes, sometimes far away genes, but linking genes to phenotypes, and that's very powerful. But specific variants can actually tell you a lot about mechanism, about how a gene and protein actually function, and how it functions when it's broken. And so, particularly where you can gain a lot from the research front in understanding mechanism, then I think it's really powerful to take those things to the laboratory and to use that to learn about mechanism. Dr. McNally:                       Sometimes you can do it to help adjudicate whether something's pathogenic or not, but again, I think we want to be cautious in doing that. Because what we do in the res ... I always like to say, "What we do in the research lab isn't exactly CLIA certified." Dr. Lin:                                  Right. Dr. McNally:                       There isn't anything magical about what we do, but we definitely ... It is so powerful what's available out there in terms of the genetic variants, and teaching us about how genes and proteins interact. And so I think it is such a rich resource of information right now. The things I bring back to the laboratory, and get my students and trainees excited about working on, is usually where I think we can gain something new about mechanism. Dr. Lin:                                  Right, right, right. Since you are a role model physician scientist, and you think about questions in lab that will ultimately benefit your patients, and you are a genetic cardiologist. What are your thoughts on doing genome editing as a possible therapy for your patients? It's a little bit of a loaded question [crosstalk 00:21:51], it's a little bit controversial. Dr. McNally:                       So I think, no doubt CRISPR/Cas9 gene editing is transforming what we do in the research setting. It's a fantastic tool. Is it a perfect tool? No. Anybody who has been using it a lot in the lab knows that it is much better than anything we've had before, but still quite limited in fidelity and efficiency. And so imagining that we are going to do that in patients is still pretty daunting to me. We do enough gene editing in cells to know that you have to select through an awful lot of cells before you get the one that has the exact variant you are trying to make. So that's not something we can tolerate in the human setting. But we're not there yet, we know that. Dr. McNally:                       Many of the disorders I see clinically are things that are autosomal dominant due to very precise single base-pair changes. And so envisioning how we're going to correct only one copy of an allele and do in a very precise manner, we don't have those tools available yet. Now on the other hand, if you look at a disease like one of the diseases I spend a lot of time on, Duchenne muscular dystrophy, where the majority of mutations are deletions. It's X-linked, it's male, so there's only one copy of the gene, and we know a whole lot about the structure and function of the gene. We know that if we take out this other part we can skip around that mutation and make an internally truncated protein. That's actually a very good use of gene editing, because it only requires making deletions. They don't need to be very precise, and there's only one copy of it that you have to do the gene editing on. Dr. McNally:                       So I see that being something in the near term that will happen, simply because the genetics positions it well to be something where that could be successful. The hard part is still how are we going to get the guides, and how are we going to get the Cas9 in safely into all the cells that need to be treated? And ultimately that lands us back at looking at what our delivery vehicles are. Which at this point in time is still viral delivery, and still has a lot of issues around can we make enough of it? Are people immune to it? So all those questions that come with viral delivery. So still lots of hurdles, but you can see some paths where it makes sense to go forward. Dr. Lin:                                  Very interesting. Okay great. Well thank you for providing your thought on human genetics and genome science. We're going to switch gears for the last portion of this podcast, and talk about your thoughts on career development issues for young investigators. At a recent AHA Scientific Sessions meeting, you participated on a panel that was assembled to provide advice to early career scientists. When you were starting out, what were some of the biggest challenges you faced when you were transitioning to independence and building your own lab, and what's your advice to those facing the same challenges today? Dr. McNally:                       Well, even though I did it quite a few years ago, many of the things are still the same. Transitioning to independence, I think is easier if you pick up and move and start in a new place. I think it's much easier to establish your independence when you're not in the same place as your mentor. That said, we have many more people who now stay in the same place as where their mentors were and we have many more approaches towards doing that. So I think people are much more open to both possibilities as being ways of doing that. But at some level it still comes down to starting your own lab, and you hopefully have been given some start-up resources and you have to think about how to wisely spend them, and how to really get things going. I don't think this is changed either. Dr. McNally:                       I usually tell people, don't just start in one area, if you can, start in two areas because things don't work, and sometimes things do work. In reality when you look at people who are successful, they're often working in more than one area. And so the sooner you start getting comfortable working in more than one area, that's a good thing. Now ideally, they should be areas that have some relationship to each other, and then feed each other in terms of information so that they grow off each other. But what does that practically mean? I always say, "Well if you can hire two people and start them on two different paths, that's a really good way to get going." And practical things like look at all different kinds of private foundations and things like that for getting some good pilot start up money to help develop new projects in the lab. And always be looking at how can these projects help me develop a bigger data package, that's going to put me in a good competitive position for example bigger grants and federal funding, and things along those lines. Dr. McNally:                       Very much a stepwise process. People want to shoot for the moon and get the biggest things first, but sometimes just focusing on the smaller steps which are definitely achievable and building your path towards those bigger steps is the smarter way of doing it. Dr. Lin:                                  That's great advice. You also mentioned recently that young investigators should try to have as many mentors as possible. What advice would you have for, in particular, early career genomics investigators, for finding these mentors passed the postdoc phase? Some of us get introduced at the postdoc phase to maybe some other collaborating labs, but those are really collaborations of our mentors per se. Dr. McNally:                       Well I think especially in the field of genetics and genomics, collaboration is key, and I will say one of the things that has changed over since I started doing this is there is a lot more understanding of the need to collaborate. Not so many years ago, it wasn't really an independent investigator went and started a lab, and it would be your trainees and the papers would have only those people on it. Dr. McNally:                       I think these days, the best science is where you've tackled a problem from multiple different directions, one or two of those being genetics, genomics directions. And then sometimes there's other ways that you've approached that scientific problem. And by necessity, that usually involves collaborating with other people. And your role is sometimes to be the coordinator of all those collaborators, and that's where again you might be in a senior author position then doing that. But your role sometimes is to be the good collaborator. And so when I look at people being successful right now, seven, eight years in to running their own lab, I like to see that they've been the organizer of some of those, that they've collaborated with people who are even senior to them, and that they've established those good collaborations, but that they've taken the leading role in doing that. But also that they've had middle author contributions, that they've been a good collaborator as well. Dr. McNally:                       And so, part of that is not being afraid to collaborate, and to recognize the value of doing that. And what's so great about doing that is you can collaborate with people at your same institution where you are, but you can also collaborate with people all over the world, and I think that's what we do. You go to where you need somebody who is using a technique or an approach that really helps answer the question you want to have answered. And so that's reaching out to people and really establishing again that network and good collaborators which you can do by a whole bunch of ways. You can do it by meeting somebody at a meeting, scientific meeting. You can do it through emails, phone calls, Skype, all sorts of different ways that you can reach out and collaborate with people. Dr. McNally:                       It is easier than ever to share data and share ideas, but that negotiation of how to establish the terms of the collaboration and how to make it be successful is a critically important part of being a scientist. And what we now know when we look at the promotion process, is people who do that effectively, that's a really important mark of being a successful scientist, and marks them as somebody who should be promoted through the process. So great. Dr. Lin:                                  Yeah. No I agree. Certainly with the direction science is moving, it's definitely very difficult to work in a siloed manner. Dr. McNally:                       Yeah. Well you won't get very far. You'll be able to have some really good first ideas, and show some proof of principle approaches. But to really, really address an important scientific problem, we know that you have to see those signals using multiple different methods. And once you have five different ways showing you that that's the right answer, then you're much More confident that you've gotten to the right answer. Dr. Lin:                                  Right. Alright, so I think we're going to wrap up. Do you have any other final thoughts for any other young investigators or genomics researchers listening to this podcast? Dr. McNally:                       It's a great time to be doing genetics and genomics, and particularly human genetics, where we now finally have all this information on humans, and we'll have even more of it in the future. So I think humans are coming close to becoming a real experimental system. Dr. Lin:                                  Excellent. Alright well thank you so much for your time. It was a pleasure having you on this podcast. Dr. McNally:                       Great. Thank you for doing this. Jane Ferguson:                 As a reminder, all of our original research articles come with an accompanying editorial, and these are really nice to help give some more background and perspective to each paper. To read all of these papers, and the accompanying commentaries, log on to circgenetics.ahajournals.org. Or, you can access video summaries of all our original articles from the circgen website, or directly from our YouTube channel, Circulation Journal. And lastly, follow us on Twitter @circ_gen, or on Facebook, to get new content directly in your feed. Jane Ferguson:                 Okay, that is it from us for June. Thank you for listening, and come back for more next month.  

En octobre 1984, Serge Gainsbourg publie un album, son avant-dernier, qui va faire, à défaut de véritable scandale, encore parler dans les chaumières.  D'abord à cause de la pochette, sur laquelle le grand Serge pose maquillé, avec khol, sur les paupières, rouge à lèvres et fume cigarette, un cliché du photographe William Klein.  Le titre de l'album "Love on the beat" est aussi celui de la chanson la plus remarquée du disque. Une sorte de "Je t'aime moi non plus" revisitée façon bande son de film porno...  Prétexte à aller questionner le responsable dans son antre de la rue de Verneuil. Un entretien qui nécessite de tendre l'oreille, tant la diction de l'artiste, pour être légendaire, n'en est pas moins souvent plus proche du marmonnement intime que de la conversation conviviale.  Une interview ponctuée aussi du claquement régulier de son briquet zippo, car si Dieu est un fumeur de Havanes, Gainsbourg, on le sait inhalait plutôt des Gitanes.

Camera and Inspiration #8 | PPN | November 30th, 2017   This is episode #8 of the Camera and Inspiration show at “PPN - Photo Podcast Network” for November 2017.   This show is sponsored by B&H: bit.ly/bhphotodeals   Marco invites Martin Waltz as a guest for this camera & inspiration episode. Martin is a renowned photographer from Berlin and is best known for his street photography. He has won many international photo awards and his images have been featured on exhibitions worldwide. He also teaches individual and group photo workshops in Berlin.   Martin picks this month inspirational photographer: Daido Moriyama (born 1938 in Osaka) is a Japanese photographer known for showing the dark sides of urban life of undocumented parts in cities but mainly in Tokyo. He studied photography and moved to Tokyo in 1961. His work was influenced by William Klein, Shomei Tomatsu, and Jack Kerouac. You can see some of his images here: https://www.moriyamadaido.com/en/   In the main part of this episode, Marco and Martin discuss different aspects of the topic: “Why should one produce an image series in photography instead of producing a collection of single images and how to approach a photographic series.”   Marco’s inspirational photo book of the month is called: “Children” - by Sebastiao Salgado. Amazon Germany: http://amzn.to/2Af6DsA TASCHEN US: https://www.taschen.com/pages/en/catalogue/photography/all/05317/facts.sebastio_salgado_children.htm Here are the links to Martin’s work and social media accounts: Web: https://streetberlin.net Facebook: https://www.facebook.com/martinuwaltz Instagram: https://www.instagram.com/streetberlin/ Twitter:  https://twitter.com/streetberlin Berlin 1020 Kollektiv:  https://berlin1020.com/ Stories on Violence with Dirk Könnecke: https://violens.org/en/ Please support our show by using our B&H affiliate link (click here) that will not cost you a penny more than when you are buying at B&H without our link. And the more this link will be used to buy at B&H, the more giveaways we’ll be able to give back to our listeners through B&H. It really is a “win-win” situation :)   And please share this podcast with your friends and subscribe via iTunes. We would also love to get your feedback. Is there anything that you want us to cover on the show in the future? And we would appreciate if you could take a short moment to rate or post a quick review for our shows on iTunes.   For more information on Marco Larousse follow him on Twitter: @HamburgCam For more information on Scott Bourne follow him on Twitter: @ScottBourne   About this show: On the monthly “Camera and Inspiration” podcast show of the PPN - Photo Podcast Network, Marco and usually a guest discuss the essence of photography and how to photograph with more intent. Determining the “why” before the “how” in photography is essential to understanding your subject better and create stronger images. In each episode, they introduce you to an inspirational photographer of the month and also share an inspirational photo book of the month.

图与文各有所长，图片真实可信、信息量丰富，文字则更为准确，两者可以有机结合。摄影：威廉·克莱因（William Klein，1928－ ）摄影：解海龙《我要上学》摄影：奥斯曼·萨厄尔（Osman Sağırlı）加入摄影早自习 【微信群】：1、添加叶梓老师微信：leonyee5（暗号：喜马拉雅）2、说明“申请入群”【微博】@叶梓【QQ群】384277488《自由职业摄影师》、《新媒体视频导演》及更多摄影课程咨询请加微信：hello-kato打开微信，搜索微信公众号：摄影早自习，每天早上6：30，不见不散。

Paolo and Carrie are joined by Josh Benson to discuss William Klein's 1968 anti-American comedy Mr. Freedom. Topics include: whether or not this is the most anti-American film ever made, the hilarious costume design, and Paolo mistakenly believing that he coined the term "political sledgehammer."

MR.FREEDOM (1969) de William Klein Toujours curieux de faire dans le podcast expérimental, le 7e antiquaire annonce le tout premier PODCAST DE SCHRÖDINGER! Cette semaine pour parler  du "most anti-american movie ever made" nous avons décidé d'enregistrer AVANT le résultat des élections états-uniennes mais nous allons toutefois présenter l'épisode à l'heure habituelle soit deux jours APRÈS les élections. L'épisode existera à jamais pris dans un espace liminaire entre la réalité et la fiction, vivant et mort, élu et défait. Cette expérience à comme but de démonter l'hystérie de l'hégémonie de la pensée États-Unienne dans toute sa splendeur en rapport avec ce film brillant de William Klein qui met en scène un Bizzarro-Captain America qui voyage en France pour agir comme un Monsieur Kool-Aid sur l'acide. Bonne écoute! (Ps. Vous excuserez la qualité de l'enregistrement, nous avons fait ça en parfait clandestins, avec le moyens d'enregistrement du bord)

MR.FREEDOM (1969) de William Klein Toujours curieux de faire dans le podcast expérimental, le 7e antiquaire annonce le tout premier PODCAST DE SCHRÖDINGER! Cette semaine pour parler  du "most anti-american movie ever made" nous avons décidé d'enregistrer AVANT le résultat des élections états-uniennes mais nous allons toutefois présenter l'épisode à l'heure habituelle soit deux jours APRÈS les élections. L'épisode existera à jamais pris dans un espace liminaire entre la réalité et la fiction, vivant et mort, élu et défait. Cette expérience à comme but de démonter l'hystérie de l'hégémonie de la pensée États-Unienne dans toute sa splendeur en rapport avec ce film brillant de William Klein qui met en scène un Bizzarro-Captain America qui voyage en France pour agir comme un Monsieur Kool-Aid sur l'acide. Bonne écoute! (Ps. Vous excuserez la qualité de l'enregistrement, nous avons fait ça en parfait clandestins, avec le moyens d'enregistrement du bord)  

When Donato DiCamillo first picked up a camera he knew he would have a hard time putting it down. It became a reason for him to step out from a dark place, which he had struggled with for some time. The dark world in which he knew so well would soon come to light after being released from prison in 2011. His inspiration derived from many great documentary photographers, such as Robert Frank, Diane Arbus, Helen Levitt, Garry Winogrand, and William Klein, just to name a few, but it was Bruce Gilden and Klein's street photography that made Donato realize that he could scream through his images. His work is a constant search that's forged out of his own curiosities. They're derived from his own interpretation of people, as well as deep rooted moments in the physiological confines of his mind. "I love the amazing differences in people and how beautifully unique we all are. Good bad or indifferent; People never cease to amaze me, they often answer many of my own questions. The littlest detail, maybe in the eyes or the way someone walks can be the difference of making a photograph". Resources: Donato DiCamillo http://donatodicamillo.com Elias Williams http://www.eliaswilliams.com Nina Robinson http://www.ninarobinsonphotography.com Download the free Candid Frame app for your favorite smart device. Click here to download for iOS. Click here to download for Android Click here to download for Windows Support the work we do at The Candid Frame with contributing to our Patreon effort. You can do this by visiting patreon.com/thecandidframe or visiting the website and clicking on the Patreon button.

10.04.2015 Après New York, Rome et Moscou, le photographe américain découvre le Japon en 1961. Américain dans le Japon d’après-guerre, il transmet par la photographie ses rencontres avec les habitants de la mégalopole, les puissants ou l’avant-garde artistique. Présentation du travail de l'artiste par Jean-Luc Monterosso. (en francais) www.silencio-club.com SILENCIO on Apple Podcasts : apple.co/2KRPPeg SILENCIO on Spotify : spoti.fi/33ESzUO ©William Klein courtesy Polka Galerie

En 1967, Alain Resnais, William Klein, Joris Ivens, Agnès Varda, Claude Lelouch, Jean-Luc Godard et Chris Marker ont co-réalisé ce film pour affirmer leur solidarité avec la lutte du peuple vietnamien.Sept façons différentes de présenter les armées nord-vietnamiennes en pleine guerre contre les États-Unis. Un conflit opposant les riches aux pauvres sur fond d'indignation ou parfois d'indifférence de la part de l'opinion publique mondiale.Bonus DVD :La Sixième face du pentagone (1967 - 27'). Un film de Chris Marker et François ReichenbachLe 21 octobre 1967, une gigantesque manifestation a lieu à Washington DC contre la guerre au Vietnam. Le mot d'ordre « action directe » se donne pour but de d'occuper symboliquement les bâtiments du Pentagone, considérés comme le cœur de la machine militaire. Le film suit cette action pas à pas.Bande-annonce originale du filmLoin du Vietnam, une autre conception du cinéma militant par Laurent Véray historien du cinéma. Livret de 116 pages.Version originale française, et version française en Audio Description - Sous-titres : Anglais, FrançaisDVD NTSC Toutes Zones

In ths episode, we talk to Russet Lederman and her husband Jeff Gutterman about Japanese photobooks, including Masahisa Fukase's Ravens and William Klein's Tokyo.    http://blog.lpvshow.com/post/110860028120/masahisa-fukases-ravens-fukases-images-are   http://blog.lpvshow.com/post/110860020605/william-klein-tokyo-i-think-klein-got-better-and   http://blog.lpvshow.com/post/110860012430/hiroshima-nagasaki-document-1961-ken-domon   --- Send in a voice message: https://anchor.fm/bryan-formhals/message

Tara introduces an assignment exploring the role of food in art.  The image is titled "Mary, egg and croissant" and was photographed by William Klein.  The image is located at these urls:  http://www.pinterest.com/pin/30117891231012175/ andhttps://www.rijksmuseum.nl/en/collection/RP-F-2005-107-360

Peintre, photographe, graphiste, auteur de documentaires cultes, réalisateur d'ovnis cinématographiques et de publicités, le goût de la transgression tenaille cet artiste protéiforme.Broadway by lightLes Américains ont inventé le jazz pour se consoler de la mort, la star pour se consoler de la femme. Pour se consoler de la nuit, ils ont inventé Broadway.Muhammad Ali, the GreatestEn 1964, Cassius Clay devient champion du monde des poids lourds. Dix ans après, le 30 octobre à Kinshasa, Zaïre, Muhammad Ali va se mesurer à l'imbattable démolisseur, George Foreman.Qui êtes-vous Polly Maggoo ?Une comédie satirique signée William Klein sur les mondes de la mode et des médias. Avec Sami Frey, Dorothy Mac Gowan, Jean Rochefort, Philippe Noiret ...Grands soirs et petits matinsMai 68. Les symboles de l'autorité sont contestés par des millions de grévistes et d'étudiants. Avec Daniel Cohn-Bendit, Charles De Gaulle, Serge July, Bernard Kouchner...Mister FreedomUne fable éminemment politique sur le mythe impérialiste du Superman américain, servie par un casting de rêve. Avec Delphine Seyrig, John Abbey, Philippe Noiret, Jean-Claude Drouot, Sami Frey, Serge Gainsbourg, Rufus … Festival panafricain d'Alger 1969Juillet 1969, William Klein filme le premier Festival culturel panafricain d'Alger. Avec Nina Simone, Archie Shepp, Miriam Makeba …Eldridge Cleaver, Black Panther1969, à Alger devenue la « Mecque des révolutionnaires », William Klein réalise le portrait d'Eldridge Cleaver.Le couple témoinA quoi vont ressembler les citoyens de l'an 2000 ? Avec André Dussollier, Anémone, Zouc, Eddie Constantine…The FrenchRoland Garros, 1981, avec Björn Borg, Jimmy Connors, John McEnroe, Ivan Lendl, Chris Evert-Lloyd, Yannick Noah …Contactsla série de référence créé par William Klein. Découvrez les deux exigences qui caractérisent son style : la proximité et le mouvement.In and Out of fashion Un film jubilatoire sur son parcours artistique. Les In et Out de Klein avec la mode.Le MessieLe chef-d'œuvre de Haendel revisité par William Klein.Bonus :Le livre William Klein Films, 120 pages.Des entretiens et séquences commentées par William Klein. 2 heures Loin du Vietnam : les deux séquences réalisées par Klein pour ce film collectif. 30 minLangues audio : Français, Version OriginaleFilms couleur ou N&B - Formats cinéma respectésSon Dolby digital 5.1 ou stéréo ou monoCoffret 10 DVD Pal Zone 2

William Klein's Mr. Freedom skewers jingoistic patriotism. It's an incredible parody of superheroes and the Military Industrial complex. Our guest co-host, Phil Hall, is the author of The Greatest Bad Movies of All Time from BearManor Media.Learn more about your ad choices. Visit megaphone.fm/adchoices

Jonathan Lucas Auch was born in New York City in 1984. He studied painting at the Art Center College of Design in Pasadena California. Upon returning to New York City, and training as darkroom printer, Jonathan worked for 3 years as the exhibition printer and assistant for photojournalist James Nachtwey, where he was responsible for all print production used in exhibits, periodicals, galleries and museums. As a freelance photographer, Jonathan works both on the street and producing photo/video reportage on a variety of stories which focus on; political, cultural and emotional isolation, alienation, loneliness, racism and discrimination. Jonathan Lucas Auch was born in New York City in 1984. He studied painting at the Art Center College of Design in Pasadena California. Upon returning to New York City, and training as darkroom printer, Jonathan worked for 3 years as the exhibition printer and assistant for photojournalist James Nachtwey, where he was responsible for all print production used in exhibits, periodicals, galleries and museums. As a freelance photographer, Jonathan works both on the street and producing photo/video reportage on a variety of stories which focus on; political, cultural and emotional isolation, alienation, loneliness, racism and discrimination. www.jonathonauch.com http://en.wikipedia.org/wiki/William_Klein_(photographer) www.thecandidframe.com info@thecandidframe.com

Photographers not known for their pictures, popularity contests, and trying to be a nice guy in a divisive world. Listener emails about exploitation, education, and 'Meditation' are answered. Classic agressive street photographer and filmmaker William Klein is Photographer of the Week.

Photographers not known for their pictures, popularity contests, and trying to be a nice guy in a divisive world. Listener emails about exploitation, education, and 'Meditation' are answered. Classic agressive street photographer and filmmaker William Klein is Photographer of the Week.

With Mark Lawson. Ruby Sparks is the new film from the directors of the Oscar-winning Little Miss Sunshine, Jonathan Dayton and Valerie Faris. It explores the writer's fantasy of having a character come to life. Novelist Meg Rosoff reviews. Alan Sillitoe's classic story, The Loneliness Of The Long Distance Runner, has been adapted for a new touring stage production by the playwright Roy Williams. He has swapped Sillitoe's 1950s Nottingham setting for London in 2012 just after the Olympics. Mark talks to Williams, director Marcus Romer and the star of the new production, Elliot Barnes-Worrell, about re-imagining the story for a contemporary audience - and the art of running on stage. The Plane Crash is a TV documentary which delivers what the title says: scientists, pilots and aviation experts deliberately crashed an airliner in a remote Mexican desert, to find out what actually happens in such situations. Writer Henry Sutton, whose novels include Flying, set on a plane, gives his verdict. The photographer and film maker William Klein, now 84, reflects on a career in which he trained as a painter before working in fashion and street photography. His work is about to go on display at Tate Modern, in an exhibition in which his images are shown alongside pictures by the Japanese photographer Daido Moriyama. Producer Nicki Paxman.

Speakers for this symposium provided a rich overview of documentary photography from the 1940s through the 1990. Louis Kaplan, professor of history and theory of photography, Department of Visual Studies, University of Toronto Mississauga, spoke on William Klein's 1956 photobook. This event, held in conjunction with the special photography exhibition American Modern: Abbott, Evans, Bourke-White, was supported by the Terra Foundation for American Art. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Speakers for this symposium provided a rich overview of documentary photography from the 1940s through the 1990. Louis Kaplan, professor of history and theory of photography, Department of Visual Studies, University of Toronto Mississauga, spoke on William Klein's 1956 photobook. This event, held in conjunction with the special photography exhibition American Modern: Abbott, Evans, Bourke-White, was supported by the Terra Foundation for American Art. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Speakers for this symposium provided a rich overview of documentary photography from the 1940s through the 1990s. Jason Hill, PhD candidate, Department of Art History, University of Southern California, reviewed the 1940s newspaper PM. Louis Kaplan, Professor, History and Theory of Photography, Department of Visual Studies, University of Toronto Mississauga, spoke on William Klein's 1956 photobook. David Campany, Reader in Photography, The University of Westminster, spoke on Dan Graham. Heather Diack, Postdoctoral Fellow, Department of Art History, Visual Art and Theory, University of British Columbia, talk about John Baldessari. Sophie Hackett, Assistant Curator of Photography, Art Gallery of Ontario, discussed Barbara Kruger. Abigail Solomon-Godeau, Professor, History of Art and Architecture, University of California, Santa Barbara, spoke on the 1990 Rodney King beatings. This event, held in conjunction with the special photography exhibition American Modern: Abbott, Evans, Bourke-White, was supported by the Terra Foundation for American Art. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Speakers for this symposium provided a rich overview of documentary photography from the 1940s through the 1990s. Jason Hill, PhD candidate, Department of Art History, University of Southern California, reviewed the 1940s newspaper PM. Louis Kaplan, Professor, History and Theory of Photography, Department of Visual Studies, University of Toronto Mississauga, spoke on William Klein's 1956 photobook. David Campany, Reader in Photography, The University of Westminster, spoke on Dan Graham. Heather Diack, Postdoctoral Fellow, Department of Art History, Visual Art and Theory, University of British Columbia, talk about John Baldessari. Sophie Hackett, Assistant Curator of Photography, Art Gallery of Ontario, discussed Barbara Kruger. Abigail Solomon-Godeau, Professor, History of Art and Architecture, University of California, Santa Barbara, spoke on the 1990 Rodney King beatings. This event, held in conjunction with the special photography exhibition American Modern: Abbott, Evans, Bourke-White, was supported by the Terra Foundation for American Art. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Speakers for this symposium provided a rich overview of documentary photography from the 1940s through the 1990s. Jason Hill, PhD candidate, Department of Art History, University of Southern California, reviewed the 1940s newspaper PM. Louis Kaplan, Professor, History and Theory of Photography, Department of Visual Studies, University of Toronto Mississauga, spoke on William Klein's 1956 photobook. David Campany, Reader in Photography, The University of Westminster, spoke on Dan Graham. Heather Diack, Postdoctoral Fellow, Department of Art History, Visual Art and Theory, University of British Columbia, talk about John Baldessari. Sophie Hackett, Assistant Curator of Photography, Art Gallery of Ontario, discussed Barbara Kruger. Abigail Solomon-Godeau, Professor, History of Art and Architecture, University of California, Santa Barbara, spoke on the 1990 Rodney King beatings. This event, held in conjunction with the special photography exhibition American Modern: Abbott, Evans, Bourke-White, was supported by the Terra Foundation for American Art. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Speakers for this symposium provided a rich overview of documentary photography from the 1940s through the 1990s. Jason Hill, PhD candidate, Department of Art History, University of Southern California, reviewed the 1940s newspaper PM. Louis Kaplan, Professor, History and Theory of Photography, Department of Visual Studies, University of Toronto Mississauga, spoke on William Klein's 1956 photobook. David Campany, Reader in Photography, The University of Westminster, spoke on Dan Graham. Heather Diack, Postdoctoral Fellow, Department of Art History, Visual Art and Theory, University of British Columbia, talk about John Baldessari. Sophie Hackett, Assistant Curator of Photography, Art Gallery of Ontario, discussed Barbara Kruger. Abigail Solomon-Godeau, Professor, History of Art and Architecture, University of California, Santa Barbara, spoke on the 1990 Rodney King beatings. This event, held in conjunction with the special photography exhibition American Modern: Abbott, Evans, Bourke-White, was supported by the Terra Foundation for American Art. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

In the third History of Photography Intersession, we look at some interesting events from January first, as we commemorate the birth date of photographer William Klein, the anniversary of the death of Edward Weston, some facts about George Eastman and his inventions and the birth of the Associated Press Wirephoto. William Klein at Masters of … Continue reading Photo History Intersession – January 01 →