Dave, Charlotte, and Zack create  a foundation for precocious genius podcasters (Zack is the youngest and geniusest). On this episode we cover the following issues (all available via Marvel Unlimited):   FF #1 to #11 The new Fantastic Four SHIELD Vol. 2 Secret Warriors #24 to #28 Wheels within Wheels Up Next: My Marvelous Year […] The post 2011 Pt. 3: Hickman’s FF, SHIELD, & Secret Warriors appeared first on Comic Book Herald.

I’m counting down my top five favorite Milky Way shots of all time - up to now at least. Each one’s a story of what went well and what could have gone better chasing the stars at these brilliant locations. Sometimes an image is in my Top Ten because of my work nailing the perfect frame and learning from the times I totally botched it. But sometimes these images are in the Top Ten just thanks to where they are and how easy it is to get something amazing there! From the wild southern skies of New Zealand to the rugged canyons of Utah, these locations have shaped how I see the night sky through my lens. You’ll get the highs and lows of each shoot, plus some solid tips to help you snag your own killer Milky Way pic. Oh, and if these spots get you stoked, my upcoming eBook "Photog Adventures' Milky Way Field Guide has ALL of my favorite locations and helpful tips on how to get there. Tune in for the full scoop or click here when ready to grab your copy: https://bit.ly/45YC4FL

Comedies are hard to sack. Why? We have lots of reasons, and we get into it in this episode, plus a load of o our favorites and why they stand out. Hosted on Acast. See acast.com/privacy for more information.

HT2288 - Lightroom Mobile Now in My Everyday Workflow Until recently, I never considered Lightroom Mobile a serious tool. Simply said, my phone screen is too small for me to consider Lightroom Mobile's image processing of any value. Last fall, however, I discovered a use for a couple Lightroom Mobile features that now consistently contribute to my everyday workflow. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

Episode 469 of the Lens Shark Photography Podcast In This Episode If you subscribe to the Lens Shark Photography Podcast, please take a moment to rate and review us to help make it easier for others to discover the show. Sponsors: - Build Your Legacy with Fujifilm. Latest savings at FujfilmCameraSavings.com - Shop with the legends at RobertsCamera.com, and unload your gear with UsedPhotoPro.com - 20% OFF Nanlite PavoTube II XR and kits at NanliteUS.com. - More mostly 20% OFF codes at LensShark.com/deals. Stories: The X-E5 and XF23mm f/2.8 R WR. (#) Laowa’s 8-15mm fisheye wide-zoom. (#) Nikon’s latest Z8 firmware adds useful features. (#) ON1 turns 20. (#)   Connect With Us Thank you for listening to the Lens Shark Photography Podcast! Connect with me, Sharky James on Twitter, Instagram Vero, and Facebook (all @LensShark).

The Decepticons make their move as we review the action-packed Transformers #21. All this and much, much more on this episode of TransMissions Alt Mode! Order our exclusive Skybound Transformers #1 comic with cover art by E.J. Su! Want some TransMissions swag? Check out our online shop, powered by TeePublic! Show Notes: If you enjoy TransMissions, please rate us and subscribe on Apple Podcasts and Spotify! These ratings greatly help podcasts become more discoverable to other people using those services and is an easy way to help out our show. Contact us: Continue reading The post Alt Mode 446 – Transformers #21 Spoiler Review appeared first on TransMissions Podcast Network.

And now a reposting of the final part of this rambling and too brief history of the war comics genre.

We meet artist Joe Bradley, on the eve of his new solo show of new paintings in London. Animal Family is Bradley’s second exhibition with David Zwirner since the announcement of his representation in May 2023. His celebrated debut at David Zwirner New York, Vom Abend, was presented in spring 2024. In November 2025, a major survey of Bradley’s works from the past ten years will open at Kunsthalle Krems, Austria.In these new paintings, figurative elements—which Bradley had begun to develop in previous works—emerge as central compositional structures. ‘I have never really felt comfortable calling myself an abstract painter,’ says Bradley. ‘There have always been flashes of figuration in my work. For whatever reason, at this moment, I feel ready to let it all come to the surface.’ 1A group of horizontal paintings feature black contour lines that serve as scaffoldings for swaths of colour, floral blots of brushy paint, and scraped and stippled textural patches, which coalesce into hulking, animal-like forms that fill the surface of the support. Bradley builds up these forms until they achieve a loose balance between assembled wholes and disparate parts, establishing a dynamic tension in the work between cohesion and dissolution.In one painting, pinkish triangles read like teeth extending along a pronounced blue-and-white snout. Lines, shapes, and blots of colour momentarily read like a tail or paw but just as quickly come to stand as distinct visual components. This figural mass rests against a black ground dotted with white, suggesting a dark, star-filled sky. While related to those paintings, several vertical canvases represent a notable evolution in Bradley’s work in which the human form becomes a broad organising principle. Shades of mid-century deconstructed figuration and other art-historical references and associations come through in these large, frontally oriented figures.Like his constant working and reworking of the formal and compositional elements in his paintings, such associations are part of Bradley’s open and deliberative method of painterly accumulation and adaptation, whereby he constantly reacts and responds to the process of creation itself. In some of these paintings, the figure is quite discernible. In others, the formal elements share only a general relationship to the human form with eyelike ovals or leglike protrusions suggesting bodily architectures. Like the animal associations in the horizontal canvases, these roughly human-scale paintings reinforce such bodily associations, reflecting Bradley’s sensitivity to the formal, compositional, and material qualities of his medium.Joe Bradley (b. 1975) is widely recognised for his expansive visual practice that encompasses painting as well as sculpture and drawing. Over the past twenty years, Bradley has constantly reinvented his approach to his art, creating a distinctive body of work that has ranged from modular, minimalist-style paintings and sculptures to rough-hewn, heavily worked surfaces featuring pictographic and abstract elements to refined and layered compositions that, as critic Roberta Smith notes, “balance gracefully between representation and abstraction.”Bradley was born in Kittery, Maine, and received his BFA from the Rhode Island School of Design in 1999. He presently lives and works in New York. Hosted on Acast. See acast.com/privacy for more information.

We’re on the cusp of the 2025 edition of Art Basel—the flagship fair held each June in Basel, Switzerland. More than 200 galleries from around the world gather to present works spanning the 20th and 21st centuries. Art Basel is both a bellwether and a battleground. Participation is prestigious—and costly. It’s competitive, and it’s high-stakes. That’s always been true. What’s newer is the softening of the art market. Sales are down. Demand is cautious. Buying patterns are shifting. “Uncertainty” was the word last year—and it still is. Much of the focus tends to fall on the top of the market. But what about the emerging tier? The galleries selling works under $250,000 and $100,000? The ones spotting and raising new talent, pushing aesthetics forward? What does a “win” look like for them in this moment? What does growth mean now—and how do they survive in a contracting ecosystem? To unpack these questions, Senior Editor Kate Brown is joined by three dealers whose programs I’ve followed closely over the years. Their perspectives offer a real-time snapshot of what’s at stake. On the podcast with us is Robbie Fitzpatrick, of Fitzpatrick Gallery, a dealer who has operated galleries in Los Angeles and Paris, and who recently decided to take his gallery program nomadic. Robbie also founded Art Basel Social Club in 2022, an annual event that has become a defiant and central alternative during the week in Basel. This year, the edition is bigger than ever and takes place in a formidable location of a former bank in the center of the city. Kate is also joined by Lisa Offermann, founder of the gallery LC Queisser. Lisa opened the gallery in 2018 in Tbilisi, Georgia, and launched a second location in Cologne earlier this year. She’s participated in several editions of Art Basel and is part of its newest sector, Premiere, this year. Freddie Powell, founder of Ginny on Frederick, is also on the show—Freddie opened in London in 2020. With a sharp program and quick ascent, the gallery is making its debut at Art Basel this year, in both Basel and in Paris in the fall.

Game previews galore but sadly not terribly much that’s calling to me. 0:00 – The new Predator animated anthology is pretty cool! 7:28 – Catch Me at the Ballpark! is a charming anime so far! 13:05 – The Switch 2, like its predecessor, is a great platform to play worse versions of old games 27:25 ...Continue reading ‘Molehill Mountain Episode 405 – Mostly Only Positive’ »