Meet the Man Behind Bogey Boys’ Carefully Crafted Image

Apr 29, 2024 By Admin in Photography

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Introducing Shotmakers, a new series that explores the modern world of golf photography and how the people who comprise it are redefining the game’s visual language.

In 2018 Jake Magraw directed a music video for Macklemore for the song “How To Play The Flute.” Little did Magraw know, a few years later he would be with Macklemore, who he calls by his real name Ben, on a tour through Europe. In between sold out shows in Italy, Switzerland and France, Ben and a few other members of the closely knit group called the “bogey boys” were learning how to play golf. Truthfully, they weren’t just learning how to make a small white object fly through the air though, they were learning how to build a brand.

Over the last few seasons Bogey Boys has emerged as one of an elite group of micro brands that are reimagining what golf can look like. And although Macklemore has been the face and leader of Bogey Boys, Magraw has also been there from the beginning. The relationship between the two, as Magraw describes, thrives off a mutual appreciation for each others’ talents. Ben, the architect. Jake, the interpreter.

JMDM Creative, Magraw’s professional alter-ego, had a circuitous route to golf a bit like a double dogleg par-5 winding through trees. After “bouncing around community colleges” he found a two-year commercial photography program in Seattle where he connected with one of Macklemore’s original tour photographers. That parlayed into a chance to work with the Seattle musician, and with each successful tour documented and music video directed, Magraw would become one of Macklemore’s most trusted producers.

Later on, Magraw leveraged his credibility through Bogey Boys and his past experience in studio photography to open up even more opportunities in the golf space, working with golf brands Cleveland and Srixon. In the first edition of our new series Shotmakers, we uncovered an individual journey that’s emblematic of golf’s modern renaissance.

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Jake Magraw

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Having worked with Macklemore on his music videos and tours, how did that transition into golf and Bogey Boys?

Jake Magraw: I think the big transition was him having kids, he was having a family and I think that changed his life. He wasn’t going to have as much spare time to be constantly gone. So when Ben fell in love with golf, we started playing it on tour, because we’re in Europe a lot and we can go to some beautiful spots.

There was a group of us, we were just not really great at golf yet, and that’s where Bogey Boys really came from. We were just happy making bogeys and we were celebrating if we made a par.

Is it important to show that amateur side to the sport?

We’re all hoping for that one perfect swing, but that’s a pro’s reality, that’s not our reality. And I think what we did well early on with Bogey Boys was to not just film us hitting good shots, but to film us missing shots too. Obviously you don’t want to make the sport look like a joke, but it’s our reality.

Again, we’re just happy to hit the green and I think a lot of people were scared to show that because it shows you’re not good at golf. But now it’s shifting into a place where you can have fun with it. You should have fun with it.

“The clothes made sense, the way I was shooting them made sense.”

So how were you able to make the transition to shooting golf?

I’m pretty lucky that Ben is one of those guys who has ride or dies, and he works with those people and is very loyal to those people. I tell people a lot that I definitely got opportunities from him. But you also have to be ready for those opportunities. You have to position yourself so when you get the opportunity you can seize it and turn it into something even bigger.

I was in a spot in my personal art where I was feeling confident about what I wanted my stuff to look like, and it felt different to what other people were doing in the golf space. I felt like it was a good time for me to come in and make it look a little different, and I think it really worked well with what Ben was creating stylistically.

Obviously there’s a vintage aspect to everything he was doing at that time, and the style that I was leaning into was a film and vintage look. So I think those paths crossed and molded together really well. The clothes made sense, the way I was shooting them made sense. It was just a great opportunity to start there, and then that escalated as Bogey Boys started to ramp up.

Is that creative direction part of how Bogey Boys stands out?

Other companies will cycle through photographers and use different people. And my perfect vision is that people see Bogey Boys’ images and they know it’s us.

I was pretty lucky to have someone who could steer that ship in that direction. Even on the music side, Ben always had a lot of input visually and he’s very good at it, that’s why he and I get along. He understands how to tell me what he’s thinking.

Not a lot of people who run brands understand that. They don’t know how to communicate to the people who are creating content. And that becomes a problem when you have to ask yourself ‘Am I telling their story? Am I telling it correctly? Am I representing their brand correctly?’ And I think that was the benefit to Ben and I having a relationship where I can just feel what he’s thinking and shoot it.

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Product photography has evolved really quickly now that brands understand they have to cultivate an image. Has that allowed you to shine in this space?

I mean that’s the exact conversation I had with the guy that I work with closely at Cleveland. For a long time brands thought ‘we’ll just use CGI clubs.’ And when I first talked to him I told him I thought that was weird. You’re buying a physical product and you go to the website and it gives you no representation of what the club feels like or it looks like.

Visually it looks like people aren’t trying, the attitude is basically ‘we got this digital thing made, now let’s throw it over our whole website.’ And again I was lucky to have a collaboration with him where we could talk about it and try to make that product photography cooler.

Product photography is like fashion in that sense, it needs to appeal to younger people. Traditional golfers don’t care about product photography, they’re going to buy the clubs as long as it performs. But people like us are going to care if it looks cool and it was branded well. We care about that stuff because we grew up in an era where that’s just what we were into.

The behind-the-scenes of those shoots are funny because you see the setup and it looks like a little movie set, but the final result makes everything seem so much bigger.

There’s a good one from a Srixon campaign that we did because we used a bunch of LED lights, it was one of my favorites for sure. And then you look at the BTS and it’s just this tiny world with LEDs going everywhere. It was one of those cool ones where we definitely tried something different and I thought we hit a pretty solid home run with it.

I used to steer away from product photography because you’re living in the studio and working with something so small and sometimes you just want to be outside. But it’s also fun, you really challenge yourself doing the lighting stuff.

Working with golf clubs is along the lines of working with perfume bottles. They’re really hard to shoot, they’re very reflective. There’s a lot going on and there aren’t a lot of ways to shoot them. So trying to make them look cool is part of the battle.

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What have been some of your other favorite campaigns?

The adidas thing was pretty special with Bogey Boys. I think that our first campaign was pretty special too, just because it felt like a dream that it was all happening; all the years of just joking about Bogey Boys and then finally seeing it actually made.

But I think the adidas moment was really cool. I was really stoked for Ben and it was a really cool moment for me to be able to have my voice in that collaboration. Requesting Collin Morikawa to be part of our campaign was pretty epic.

What else would you like to do in the golf space going forward?

I think pushing forward to build that community and diversity in golf and the acceptance of it. While a lot has changed these last couple years and a lot of people are moving into this space, I still think the roots of golf are not super accepting of other people and certain aspects of what has been changing.

So I think it’s just keeping our foot on that pedal as far as changing that narrative and making it more approachable. It still feels unattainable because it’s pretty expensive in some ways, so just doing what I can in my space of shooting it and telling stories to help change that.

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Photography: Spanish Love Songs, Oso Oso, Sydney Sprague, Worry Club

Apr 29, 2024 By Admin in Photography

Home > Photography: Spanish Love Songs, Oso Oso, Sydney Sprague, Worry Club

Posted: 29th April, 2024 by The Editor

Spanish Love Songs have been on my list of bands to see live since their 2020 release of “Brave Faces Everyone” and they did not disappoint. For a band who’s lyrics center around life’s challenges and heavy topics, they surely know how to make it fun and groovy. With support from emo-scene long-timers, Oso Oso, who continue to deliver catchy tunes and ear worms throughout the years. As well as Sydney Sprague and Chicago’s Worry Club, the night was truly non-stop bangers and fun. Sarah took some sick shots, check them out!

Photos by Sarah Knoll

The Alternative is ad-free and 100% supported by our readers. If you’d like to help us produce more content and promote more great new music, please consider donating to our Patreon page, which also allows you to receive sweet perks like free albums and The Alternative merch.

‘We’re all different, and we’re still here’ – The Arizona State Press

Apr 29, 2024 By Admin in Native

Known to the world as the First Nations, Indigenous populations have spanned the historical timeline, maintaining their sense of culture and indigeneity despite centuries of loss and oppression.

Indigenous peoples make up less than 2% of the total American population, and as time goes on, many are finding ways to preserve or reclaim the stories of their ancestors.

One driving force behind this celebration of culture is art, which is evident through Indigenous artists at ASU putting their identity into their storytelling, illustrations or architecture.

Lucilla Taryole, a junior studying animation whose artwork has a “modern take,” agreed that art can be used to represent Indigenous culture, as well as to preserve cultural roots and adapt to new forms of expression.

“It’s creative visibility,” they said. “Indigenous artwork doesn’t always have to be a (specific) artwork. It can be different and doesn’t always have to be the same thing.”

Taryole, who is Kiowa and Mvskoke, works for ASU’s Center for Indian Education and Labriola National American Indian Data Center, which have provided them with experience and connections within the University’s Indigenous network.

At the Center for Indian Education, Taryole is surrounded by graduate students, professional scholars and school offices who ask if they can create art for various research projects and events.

Inspired by Taryole’s youthful, cartoonish art style, the University’s Office of American Indian Initiatives commissioned them to create a graphic for the Doing Research in Indigenous Communities Conference, which it co-hosted at the Tempe campus in October. With Taryole’s graphic, the office aimed to show Indigenous students that graduate school is not always intimidating, but rather, can be fun and fulfilling.

“The main point was to create a visual representation of an Indigenous student,” they said.

To accomplish this, Taryole said they drew an Indigenous student with “a face that people know is Native,” long hair and Kiowa oak leaf earrings. Accompanying the student were research materials, like a laptop and binder.

Beyond the conference, Taryole and their design were also featured in a Q&A published by Turning Points Magazine, an ASU publication for Indigenous students.

No matter how modern or nontraditional their work may be, Taryole aims to dedicate their art to their Indigenous culture, such as their work “Shifting the Narrative,” a collection of illustrations showcasing Indigenous actresses Lily Gladstone and Paulina Alexis.

“It’s not traditional, but it still has a heavy tie to Indigenous presence,” Taryole said. “I would like my artwork to encourage other young Indigenous artists to know that they’re not confined to certain mediums of art.”

Language reclamation and political statements

“I’ve always felt a connection to land when writing, knowing that it is a very ancestral practice of not being separated and seeing land as one of us,” said Ayling Dominguez, an Indigenous poet, visual artist and graduate student studying creative writing.

Dominguez comes from the Nahua people of Mexico, and they also have roots in the Mexican state of Puebla and the city of Santiago de los Caballeros in the Dominican Republic.

Through their writing, Dominguez accomplishes the work of language reclamation, a task that Indigenous peoples are constantly doing for the many Indigenous languages that are considered endangered, they said.

Dominguez said that through poetry, they are given room to feel their emotions — something “rigid” academic spaces kept them from doing. Dominguez’s work centers around historical and familial archives, and they are trying to “push” the boundaries of English and “colonial language.”

“How can I experiment with the language and push the language a bit further to account for the experiences of being in the Indigenous diaspora and the experience that perhaps the original language didn’t account for?” Dominguez said.

In their work, they often reimagine cultural legends and myths, especially ones featuring female characters.

“The story is told from the point of view of a male or a character who is viewing that character without getting her full personality,” Dominguez said, describing how they write their poems.

In one of the classes they took, they were expected to write one poem per week, which pushed the boundaries of what Dominguez was used to. In the end, however, it helped their growth as a writer.

“A lot of times, I start with images in my mind and memories, especially trying to see what memories I want to make sure I never forget and are never forgotten, especially because so many Indigenous histories have been taken over in American history,” Dominguez said.

One of the main obstacles they face as a poet is the cultural barrier from their peers — not being able to give feedback or feedback not being given through a cultural lens.

Beyond Dominguez’s poems, their artwork has been featured in ASU’s Grant Street Studios and the Phoenix Art Museum. One piece, titled “Bad Seeds,” was created by smashing and rearranging a police barricade and scattering dirt around the broken pieces, a commentary on police violence.

“People will say (a police officer) was just a bad seed,” Dominguez said. “In reality, in my opinion, and the community I come from, there are no good police. There are no bad seeds when the whole system is rotten.”

Collage art is another way they express their indigeneity. Dominguez came to the practice not thinking it would be “serious” artwork. However, once they started, they realized the work aligned with their values of building a better world. Dominguez starts their collage art process by flipping through a magazine to see what images speak to them, looking for double meanings that they can reconfigure as statements in their art.

“You’re literally taking something that exists and you’re cutting, reconfiguring it, restructuring it to make something else out of the existing, which I think is a very political statement,” they said.

The placekeeping framework

Wanda Dalla Costa was in her 20s when she went on a backpacking journey that was “never supposed to be more than six months overseas.” However, she still found herself backpacking around the world by herself seven years and 37 countries later.

Through her travels, she witnessed many Indigenous people practice aspects of their ancestral culture and have close ties to their native land. After her adventure finally came to an end, she returned to North America and realized they were living “in these little boxes that are completely detached from (Western) culture.”

“We are detached from all the beautiful systems that exist within our culture,” Dalla Costa said. “If people overseas and all these cultures around the world can still stay connected to their built environments through architecture, planning and landscaping, why can’t people on the mainland remain connected?”

Dalla Costa is a member of the Saddle Lake First Nation and the director of ASU’s Indigenous Design Collaborative, which aims with its projects to “increase authenticity in the field of design.” The collaborative started “informally” after Dalla Costa taught a theory course and it became more formalized over the years. IDC received positive responses from students, faculty and tribal community members.

“I guess (students’) knowledge of local cultural history is very limited,” Dalla Costa said. “I think the students appreciate the firsthand learning when you walk into an Indigenous community, and you can talk firsthand with people through their voices and a firsthand method of understanding. It becomes much more impactful than learning from a book.”

“It begins cross-cultural communication between non-Indigenous people and Indigenous people through these artifacts,” Dalla Costa said.

When she began at ASU in 2016, she saw an opportunity for students to work directly with tribal communities in an applied learning model, “Teaching Indigeneity in Architecture: Indigenous Placekeeping Framework.” The framework comes from her practice, Tawaw Architecture Collective, and has been developed over the last 30 years.

“We developed this framework when we work in a community because the way I was taught architecture integrates local community perspectives,” she said.

Dalla Costa said architects’ knowledge is limited because the way architecture is made can be “disconnected from the people, their history, norms, aspirations, culture and philosophies.”

“It’s completely devoid of all of that because architects are not taught how to work inside their community.”

Some of the IDC projects featured in ASU’s Hayden Library focused on “indigenizing ASU’s campus through design.” IDC’s Hayden Library Welcome Wall was a greeting wall aimed at creating awareness of Arizona’s Indigenous languages and welcoming Indigenous students to the Tempe campus. The design, which is driven by land recognition, language and the empowerment of Indigenous artists, and it aims to honor the 22 tribes located in Arizona and features 19 words from shared ancestral languages.

Another IDC design in Hayden Library is the Hayden Library Labriola Custom Table, a collaboration with a local Salt River Pima-Maricopa Community metal artist, Jeffrey Fulwilder, who brought his own lived experiences to provide perspective on the design. The design comes from the local O’odham tribes’ ancestral tradition of basketry designs, which derive from desert lifeways and materials.

“We wanted to do a metal piece to commemorate (Fulwilder’s) work, but we needed an authentic narrative,” Dalla Costa said. “We sat with Jeffrey for many meetings, and he ended up sketching out a basketry design, a series of baskets that, of course, have embedded meaning.”

Taryole emphasizes the importance of Indigenous artists, including a contemporary influence on their work to represent the perseverance of Indigenous cultures in the modern age.

“We’re still alive,” Taryole said. “We’re still making moves where we’re constantly at work. We’re all different, and we’re still here.”

Edited by Camila Pedrosa, Savannah Dagupion and Madeline Nguyen.

Reach the reporter at fgabir@asu.edu and follow @FatimaGabir on X.

Like State Press Magazine on Facebook, follow @statepressmag on X and Instagram and read our releases on Issuu.

Continue supporting student journalism and donate to The State Press today.

How To Win Adventure Photography’s Most Prestigious Prize

Apr 29, 2024 By Admin in Photography

Gonzalo Robert Parraguez’s image of paddler Kilian Ivelic sending a waterfall in the Cajon del Maipo, on Chile’s Maipo River, is dreamy for more than just its magical light, billowing water and otherworldly textures of the rocks channeling the cascade. Ivelic, 24, grew up dreaming about paddling the class V Maipo canyon and has been developing his boating skills for years on Chile’s iconic whitewater rivers—tracked and documented by Robert Parraguez’s lens. The duo’s efforts paid off: 25-year-old Robert Parraguez won Red Bull’s prestigious 2023 Illume award for emerging photographers for this photo. Along with producing a remarkable image, the acclaim showcases a tremendous partnership between an extreme athlete and an adventurous lensman poised to take the next step.

“Without him, none of these places would look so amazing,” says Robert Parraguez. “The first time I met Kili was by chance on the river. He’s always so motivated and such a nice person; he’s become a very good partner for these missions.”

How to win adventure photography’s most prestigious prize

Robert Parraguez and Ivelic waited patiently for months for the right water levels to run the Maipo’s rock-clad waterfalls, just south of Santiago in central Chile. Then, in late May 2022, Ivelic gave the photographer a call. The pair drove for two hours, trekked 10 minutes to the canyon and set up anchors for a challenging 15-meter rappel to give Robert Parraguez and a safety boater access to the river. The focus was on helping Ivelic achieve his dream descent, Robert Parraguez recalls. “Honestly, when I was walking to the waterfall, I never thought I would get an award-winning picture.”

a whitewater kayaker drops off a rushing waterfall in a cavern — “It’s the people you meet, the bonds you form and all the experiences you have together. For me, that’s the most important thing.” | Feature photo: Red Bull Illume // Gonzalo Robert Parraguez

Such a harrowing approach puts a premium on compact camera equipment and a versatile zoom lens, Robert Parraguez says. A wide-angle perspective captures the scale of the scene: Reflecting on the day, Robert Parraguez can still hear the deep bass rumble of the falls, taste the misty air, and sense the butterflies he felt in his stomach as his friend planted a forward stroke into frothy water at the apex of the drop.

These experiences give Robert Parraguez all the resolve he needs to continue with his life’s passion to travel the world, camera in hand. Living in Chile gives him access to some of the world’s finest whitewater rivers as well as ocean surf breaks. His recent film, There’s Good In Everything with Spanish whitewater superstar Aniol Serrasolses, won the Best Whitewater Film award at the 2024 Paddling Film Festival.

“I started photography when I was 18, when I left school and didn’t know what I wanted to do with my life,” Robert Parraguez says. “I think what I like most about being an adventure photographer is just what it says: photographing the adventure and always being on adventures with amazing people. One of the biggest difficulties in taking these photos is always the access, but at the same time, it’s also the fun part—when you want something really bad and have to figure out how to get there to make it happen. That’s where the adventure begins.”

Watch Gonzalo Robert Parraguez’s film Origen, starring Kilian Ivelic, and There’s Good In Everything in the 2024 Paddling Film Festival at paddlingfilmfestival.com.

Cover of the Spring 2024 issue of Paddling Magazine, Issue 71 This article was first published in the Spring 2024 issue of Paddling Magazine. Subscribe to Paddling Magazine’s print and digital editions, or browse the archives.

“It’s the people you meet, the bonds you form and all the experiences you have together. For me, that’s the most important thing.” | Feature photo: Red Bull Illume // Gonzalo Robert Parraguez

The radical designer whose pee-stained jeans pre-date those viral ones

Apr 29, 2024 By Admin in Photography

Chances are, if you spent any time doomscrolling through Instagram or TikTok this weekend, you might have spotted a pair of piss-stained jeans going viral. The denim is the work of rising label JordanLuca, which is fast becoming known for its subversive approach to design: dropping collections that touch on BDSM and fetish aesthetics and bringing some much-needed grit to the historically glossy and glam Milan Fashion Week schedule.

Though they were released almost a full season ago now, as per usual the mainstream has seemingly just caught wind of them, with celeb rag The New York Post and TMZ publishing scandalised articles on them across the last few days, and Lorraine Kelly even dedicating a segment to them on her early-morning breakfast show. Meaning your mum probably heard about them over her coffee and cornflakes: LOL!

JordanLuca designers Jordan Bowen and Luca Marchetto aren’t the only ones experimenting with saturated denim and sending fans out into the world looking like they’ve been caught short – or, as is more likely given the themes of their work, pissed themselves on purpose. Fellow London designer Dimitra Petsa, who works under brand name Di Petsa has been exploring female wetness within her practice since graduating from Central Saint Martins in 2018.

Across the last six years, the London Fashion Week standout and former Dazed 100er has debuted dresses that make the wearer look like they’ve been drenched in water, corsets that come with cut-outs to allow for breastfeeding, bras encrusted with crystal droplets, and ‘masturbation’ jeans with pockets just big enough for two fingers affixed to the crotch – god knows what Lorraine would do if she ever heard about those. Alongside this are her own pee-stained trousers, which have been integral to her work from the very beginning.

Where JordanLuca’s piss jeans are, in part, a response to kink-shaming, Di Petsa’s designs similarly seek to normalise and celebrate the very natural functions of the body that women are conditioned to hide: from periods and pee, to sweat, cum, and breastmilk. Check out her most recent collection in the gallery above, and revisit JordanLuca’s in the gallery below.

The ‘Ranjan Kundu Saga’, nicknamed ‘Mr. CHECKMATE’, The New York Photography Award 2023 Winner 2023 : Bollywood News

Apr 29, 2024 By Admin in Photography

The ‘Ranjan Kundu Saga’ is a testament to relentless dedication, an unquenchable thirst for knowledge, and an artistic brilliance that transcends borders. His multifaceted expertise spanning technology, photography, and poetry, serves as an inspiration, echoing the narrative that true mastery knows no confines.

The ‘Ranjan Kundu Saga’, nicknamed ‘Mr. CHECKMATE’, The New York Photography Award 2023 Winner

Renowned as India’s most internationally award-winning photographer and celebrity photographer, Ranjan Kundu, the creative genius, is taking the world of international photography by storm. Ranjan Kundu, Nicknamed as ‘Mr. Checkmate’ for his globally acclaimed Photo-Poem Frame named “Checkmate”, a fusion of photography and poetry, has won several international awards and earned a reputation by exhibiting his work at prestigious photography arenas.

Poem: Checkmate

Checkmate By Ranjan Kundu

In a game of Chess,
Between Life and The Man of Imagination,
And, a life-full living being at the center,
And, the reflection of the dance Of the soul in its eyes.
Sun Vs Moon,
Day Vs Night,
Light Vs Darkness,
Truth Vs Illusion,
Hope Vs Despair,
Humane Vs Moneyist,
Love Vs Lust,
Realization Vs Revenge,
Salvation Vs Damnation.

In a game of Chess,
Between Life and The Man of Imagination,
And, a life-full living being at the centre,
And, the reflection of the dance
Of the soul in it’s eyes.

The Man of Imagination
Checkmates Life,
In the maze of Life,
In the form of a Chessboard.

Checkmate by

The Man of Imagination.

Ranjan Kundu secured his place as the First Indian photographer to Win the prestigious New York Photography Award in 2023. His name is enrolled in a list of notable achievements that have cemented his position as a pioneer in the field of photography. He also won the prestigious Platinum Award at the European Photography Awards 2023, which has added another achievement to his kitty. His journey began with the achievement of becoming the First Indian photographer to achieve the title of First Place Winner at the Umbra International Photography Awards 2018 in USA, which set the grand stage for his rise in the international photography arena.

Ranjan Kundu, the First Indian Photographer whose work was featured on the Front Cover of 6XMEDIA Magazine AUTUMN EDITION 2023 in Atlanta, USA and his interview was also published inside the magazine. His work was also featured on the front cover of Lamour Magazine Fashion Special Edition 2023 in Paris, France and his interview was also published inside the magazine. Ranjan Kundu became the first photographer to be the Cover Face of Xpert Magazine 30 Under 30 Special Edition, India and his interview was also published inside the magazine.

Ranjan Kundu’s incredible artistic talent was recognized by the prestigious Monovision Photography Awards for two consecutive years in 2019 and 2020, a result of his harmonious excellence and unique talent. His remarkable talent and artistic vision has earned him awards and recognition at renowned platforms such as ND Awards 2019, LensCulture Portrait Awards 2019, Monovision Photography Awards 2019, LensCulture Portrait Awards 2020, and Monovision Photography Awards 2020, cementing his position as one of the greatest photographers

In 2021, he earned awards and recognitions in the 16th Black & White Spider Awards, the 7th Fine Art Photography Awards (FAPA), and LensCulture Street Photography Awards 2021, where his immense talent and skills were showcased and appreciated by industry professionals.

Apart from the impressive spread of his name, Ranjan Kundu’s finest work has also received exposure in renowned exhibitions around the world. His photographs have graced prestigious platforms such as the Arhust London International Multimedia Exhibition 2019 in London, UK, 3rd ONYX 2019: International Exhibition of Photography in Romania, Odyssey Exhibition 2019 in Pennsylvania, USA, and Blank Wall Gallery 2023 Exhibition in Athens, Greece, leaving an unfading mark on audiences around the world.

Ranjan Kundu’s educational voyage traverses extraordinary realms. His academic repertoire boasts a Professional Diploma in NASA System Engineering, a B.Tech in Electronics and Communication Engineering, and a Human Resource Management certification from the esteemed International Business Management Institute (IBMI) in Berlin, Germany. This thirst for knowledge led him to pursue a LEAN SIX SIGMA Certification from the Council for SIX SIGMA Certification (CSSC) in New York, USA, solidifying his technical and managerial prowess. Ranjan Kundu also has a Humanitarian Certification from UNICEF.

In the realm of Information Technology, Ranjan Kundu’s expertise gleams brightly. His certifications in IT programming, Network Communication, MySQL in RDBMS, ERP-SAP in Data Processing, and Network Communication Fundamentals attest to his comprehensive grasp of the field. His journey further expands into digital marketing and analytics, where he stands as a Google Certified Expert with certifications in Google Tag Manager, Google Analytics, Google Data Studio, Google My Business, Google Analytics 360, Google Analytics for Power Users, Advanced Google Analytics

Notably, Ranjan Kundu’s portfolio extends beyond marketing, encompassing certifications in CISSP, CCBA, CAPM, and PMI-ACP. Yet, his brilliance transcends the realms of technology. His expertise in Augmented Reality (AR), Virtual Reality (VR), and Artificial Intelligence (A.I.) is reflected in certifications such as AR Game Development, VR Development with Controllers, and Game-Playing A.I. with S4TF from

IBM. His foray into these cutting-edge technologies cements his position as an innovator in transformative fields.

In honor of his wacky talent, Ranjan Kundu has cemented his position as one of the most versed photographers. His firm commitment to photography, intertwined with his creativity and passion for storytelling along with his photography skills, inspires aspiring photographers both in the world of international photography, and national photography.

In Ranjan Kundu’s story, boundaries dissolve, leaving a legacy of excellence and a roadmap for aspiring minds to chart their path toward boundless achievement.

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The Civil War Photographers Before Kirsten Dunst

Apr 29, 2024 By Admin in Photography

Archives Dept.

The Civil War Photographers Before Kirsten Dunst

The Still Picture Branch of the National Archives contains the glass-plate negatives of the real Civil War, including those by the photographer Timothy O’Sullivan.

By Robert Sullivan

April 29, 2024

Illustration by João Fazenda

Alex Garland’s new film, “Civil War,” follows two war photographers on a road trip from New York to Washington, D.C., via the blue highways of Pennsylvania and West Virginia. The more experienced photographer, played by Kirsten Dunst, uses a Sony digital camera, while her apprentice, played by Cailee Spaeny, shoots a Nikon and makes old-school film negatives of a fictional civil war. A real-life road trip to Washington, D.C., via I-95, brings you past the National Archives campus in College Park, Maryland, where the archivists in the Still Picture Branch manage the actual photos of the actual Civil War and the negatives from which they were printed. Like Spaeny’s character, actual Civil War photographers developed images in the field, theirs made on glass plates coated with collodion, a syrupy chemical compound that was also used by Civil War-era surgeons as a liquid bandage.

After a century and a half, the Civil War-era glass-plate negatives, sensitive to light and air, have been carefully stored. One of the very few people who have come in contact with them during the past two decades is Billy Wade, the Still Picture Branch’s supervisory archivist. There are roughly nine thousand plates from the war and subsequent Western surveys, which ended in the eighteen-seventies. The cabinets that house the plates are sky blue. Each shelf holds about a hundred, all in a NASA-level climate-controlled room. Last week, Wade told a visitor, “The other day, I was in there, and I thought, I wonder if anybody will ever ask what they look like, so I took a picture with my phone.” In the image he made, the cabinets have a nineteen-sixties computer-lab vibe: the rows of plates in flapped enclosures could be powerful servers that fuel the national memory bank.

“I’ve got some things pulled,” Wade said. He went away and returned pushing a cart holding prints made by Alexander Gardner, a Scottish photographer who started the war working for the better-known Mathew Brady, then went out on his own. All the photographs were made for what is often called the first photo book, “Gardner’s Photographic Sketch Book of the War.” At the center of Gardner’s book is one of the archive’s most frequently requested photos of the time, made by his partner Timothy O’Sullivan, at Gettysburg, after the battle. Gardner titled it “A Harvest of Death,” and it is fascinating for the way the details of the dead are in sharp focus, while the living are like ghosts. After the war, O’Sullivan went West with scientists and soldiers and made what is probably the archive’s most requested survey photograph—a sand dune, about three miles long, in Nevada. That picture features the army ambulance that O’Sullivan converted into a travelling darkroom. The photo of the sand dune, creamy and smooth, is an albumen print, made with an antique process that uses egg whites. (Photographic journals at the time featured cheesecake recipes.)

Among the fourteen million unique analog photos at the Still Picture Branch are images from every war that has been photographed. It is common for veterans to visit; the parking lot is often dotted with cars bearing Vietnam War insignia. “We’ve had war photographers come in here and say they remember making these pictures,” Wade said.

Recently, Dennis Fisher, a Marine combat photographer now in his seventies, stopped in to see negatives that he had developed in Vietnam, in 1967 and 1968. He was assisted by Cecilia Figliuolo, an archivist with an interest in combat photography, who spoke to him about the photos he had made twenty-eight years before she was born. “One of the first things he said to me was, ‘This is the first time I’ve held these negatives since I was 20 or 21,’ ” she wrote in “The Unwritten Record,” one of the archive’s blogs. Sitting with the veteran, Figliuolo learned details that the archivists could only have guessed at. As Fisher studied a picture of two men firing mortars in May, 1968—part of a U.S. operation to clear land south of Da Nang—he told Figliuolo that he had brought a tape recorder along on the mission, to record the sonic chaos. “Did you take your recorder out with you every time?” she asked.

“No, I took it out once, and it was such a pain in the ass to lug around I never took it out again,” he said.

When Fisher returned home from the archive, he phoned Figliuolo, and played her the cassette tape, but what she remembered long after his visit was that, when he had stared at the battle scenes in the archive, it was as if that audiotape were playing in his head. “In that moment, I could tell that he could hear it,” she said. “He remembered everything.” ♦

Sculpture trail returns to Burlington’s Spencer Smith Park

Apr 29, 2024 By Admin in Sculpture

The Dan Lawrie International Sculpture Collection is on display at Spencer Smith Park in Burlington as part of the Burlington Waterfront Sculpture Trail.

OnePlus introduces ‘The Red Perspective’ photography book: All details

Apr 29, 2024 By Admin in Photography

Smartphone maker OnePlus has unveiled its first-ever limited-edition Shot on OnePlus Book, titled The Red Perspective. “’The Red Perspective’ initiative serves as a testament to the OnePlus community and RCC members’ passion for photography and creative ambitions empowered by their OnePlus devices,” said the company.
The exclusive Red Perspective book presents a selection of carefully chosen visuals contributed by members of the Red Cable Club and the community, offering a glimpse into life from their unique perspectives.Covering a diverse array of themes, including macro photography, black and white captures, wildlife, nature, travel, and lifestyle imagery, the book provides a rich tapestry of visual storytelling.
Ishita Grover, director of marketing, OnePlus India, said, “We are thrilled to introduce our first-ever limited-edition Shot on OnePlus Book, ‘The Red Perspective’. The idea behind this unique Shot On OnePlus initiative is to encourage the creative ambitions of our talented OnePlus community and bring their perspectives and creative efforts to life through the power of OnePlus’ unparalleled camera capabilities.”
“Each photograph in ‘The Red Perspective’ is thoughtfully curated which instills deep emotion and transports viewers to captivating moments. The selection criteria prioritized the meaning alongside visual appeal. ‘The Red Perspective’ celebrates innovation and creativity, showcasing our community’s unique perspectives through photograph,” added the company.
The Red Perspective will soon be on display at chosen OnePlus Retail stores.

A Who’s Who of the Photo World Brushed Elbows at AIPAD’s Photography Show

Apr 29, 2024 By Admin in Photography

CULTURE CLUB

Last week, the Photography Show made a triumphant return to the Park Avenue Armory, where the fair last exhibited in 2016. Top photographers, galleries, curators, museum directors, and industry leaders flocked to the show and enjoyed artist talks and book signings. The Photography Show’s Talks Series included addresses from 2024 AIPAD Award winner Vince Aletti, SFMOMA’s David Mahoney, and photography’s most illustrious names, and captivated fair-goers each day. Notables in attendance included Helen Toomer, Marina Abramovíc, Patricia Arquette, Maurizio Catalan, Andre D. Wagner, Lydia Melamed Johnson, Renee Cox Dawoud Bey, Carolyn Drake, Hej Shin, Vera Lutter, and more. Photo credit: Sansho Scott/BFA.

BY JENNA ADRIAN-DIAZ

April 29, 2024