HAYDENâ€™S A quarterly publication of Elf Productions
Satzuki Azalea by Macoto Murayama
Light and Dark VOL. 2
The Northern Lights: Photos by Vladimir Donkov
Perry Rodan: Matte Paintings by Sven Sauer
Wanderlust: Mexico Travels by Andrew Stowe
Haydenâ€™s explores the creative impulse through visual stories. We hope to inspire you.
LIGHT AND DARK, Beau Saunders.
“COMMUNITY: A world where people authentically engage with one another and unlock their most generous selves.” - Belle Halparn and Kathy Lubar
Cover Art: “Satzuki Azalea” by Macoto Murayama Courtesy Frantic Gallery
Editor Artwork Poetry Photography In the Garden Essay Organizations
Jan Manon Sven Sauer Macoto Murayama Duncan Asper Alan Alejo Ellyn Maybe Vladimir Donkov Beau Saunders Jeff Scher Jessi Adam Andrew Stowe Maya Nair Amos Hayden Girlington Garage Doctors Without Borders
NSIDE THIS ISSUE
Letter from the Editor
Poetry by Ellyn Maybe
Plants: A View Inside by Macoto Murayama
Mixed Media by Duncan Asper
An Interview with Sven Sauer Perry Rodan: Matte Paintings Poetry by Ellyn Maybe
Moonlight by Jessi Adam
Notes by Amos Hayden
Film by Jeff Scher
Poetry by Ellyn Maybe Mixed Media by Alan Alejo
The Northern Lights: Photos by Vladimir Donkov
Wanderlust: Mexico Up Close with Andrew Stowe
NSIDE THIS ISSUE
In the Garden with Maya Nair
Company Spotlight: Girlington Garage Work We Believe In: Doctors without Borders
Letter from the editor
Hello everyone, Thank you for perusing our magazine. We hope you enjoy it. First of all, I would like to apologize for the delay in putting this issue out. Hayden's is a free web magazine that I put together in my free time and the last period of time has been a bit busy. However, we are now on a schedule and I am thankful to say I have some help in different ways so getting issues out in the future will be more consistent. Our goal is to have 4 issues a year - one for each season. Every issue features an interview with a cinematographer or visual artist. We feature the inspiring art works of artists and entrepreneurs. We also highlight typically 2 businesses every issue that demonstrate significant social/cultural responsibility (in a myriad of ways) and environmental stewardship. Every issue also has a short essay by Amos Hayden, our muse, about art and society. We also have started a travel section titled Wanderlust spearheaded by Andrew Stowe, whose many travels and stories around the globe are quite delightful to hear. We invite your submissions to add to this new section.
In this issue, we have added a section towards the end about submissions. We will be having a new micro-site for Hayden's within our website at www.elfproductions.com this year. In this issue, we are happy to share with you the works of Sven Sauer, matte paintings and digital artwork; Macoto Murayama, botanical art work; Vladimir Donkov, photography; Jeff Scher, photography and video; Ellyn Maybe, poetry; Andrew Stowe, travel journalism; Duncan Asper, digital artwork; Beau Saunders, photography; Jessi Adam, photography; Alan Alejo, multimedia artwork; Maya Nair, gardening tips; Amos Hayden, essay; Demeny Politt, Girlington Garage, business with social/cultural responsibility; and Doctors without Borders, humanitarian work. We find the artists, entrepreneurs and organizations featured in here very inspiring. We hope you do too. Thank you. Enjoy! Best,
Some%mes I wonder if there are one million people listening at the same %me to the same Leonard Cohen song, the one that keeps people from killing themselves It's a long playing record It's a long song Where do people play each other the songs that will keep them standing when one foot in front of the other is more myth than prac%ce? I once tried to play Beware of Darkness by George Harrison for a friend, cause its beauty and pain were singular at that moment and I wanted to share I wanted us to hear as close as we could the same thing and make of it what we would He said he heard that song when it ﬁrst came out and ran out to smoke a cigareFe We lost something in that moment I listen to music alone, but I imagine there are sharp notes bending the backs of the universe into more ﬂexibility, more love, more tenderness, more a cappella chiropractors Somebody is strumming 3 basic chords and somebody will live through the night.
BOTANICAL ART WORK
Plants: A View Inside
Macoto’s work in Panasonic Hollywood video. http://vimeo.com/21823051
Japanese lily, Macoto Murayama.
Nature’s glory has been explored, described, drawn and sung by many but few have taken what appears seemingly aFrac%ve yet ordinary in nature and transformed them into otherworldly crea%ons like Macoto Murayama has. In fact, Macoto builds ﬂowers with the precision of an architect, using graphic programs that are designed to construct buildings to create exquisite botanical works of art. Few can easily bridge the realms of plant and machines with such ease or charm. Macoto may spend easily up to several months over one of his botanical illustra%ons in a process that begins with dissec%ng the plant subject with a scalpel carefully working through every part of the ﬂower and stem. From there he moves to sketching and photographing each aspect using a microscope and magnifying glass. Then he takes all the component parts and carefully constructs dis%nct interpreta%ons of each plant subject using Photoshop and 3D Max. His symmetry is mathema%cal in precision and some of his sketches show the inﬂuence of a scien%st at work with botanical labels. In some ways, Macoto’s work could be considered a revolu%on in and of itself as he presents a symbio%c rela%onship between botanical art and technology in a way that is mesmerizing, symmetrical, transparent and evokes romance and fantasy simultaneously. When Macoto ﬁrst discovered the depth of structure inherent in an organic ﬂower, he was curious and compelled to unravel its hidden elements -‐ mechanis%c, inorganic and dis%nct. He began his early explora%ons of plants using the computer
BOTANICAL ART WORK
Rose, Macoto Murayama.
BOTANICAL ART WORK
Commelina communis L. top, Macoto Murayama.
BOTANICAL ART WORK
Commelina communis L. side, Macoto Murayama.
BOTANICAL ART WORK
Commelina communis L., Macoto Murayama.
BOTANICAL ART WORK
Moshino Cherry, Macoto Murayama.
programs that he had learned while studying architecture at Miyagi University of Educa%on in Sendai to illustrate, in me%culous detail, the anatomy of ﬂowers. Curator Troﬁmchenko, who represents Macoto, ﬁrst saw the ar%st’s work at the Art Award Tokyo Marunouchi Exhibi%on in 2009. Deeply impressed, he approached Macoto along with the director of the Fran%c Gallery director, Yasunobu Miyazaki, at the recep%on and asked if he would be open to sharing his art in their gallery. A\er comple%ng his BA in spa%al design at Miyagi University, Macoto obtained a post-‐graduate degree in media expression at the Ins%tute of Advanced Media Arts and Sciences (IAMAS). In addi%on to working on his art, he holds a part-‐%me job at a
BOTANICAL ART WORK
(from left to right): Sunflower, Rose, Macoto Murayama.
BOTANICAL ART WORK
Macoto Murayama ﬂower shop, running deliveries and assis%ng with produc%on, design and photography. Macoto’s work has been featured in WIRED magazine and numerous art shows both in Japan and Europe. Some of his works are in the private Pigozzi art collec%on in Geneva, Switzerland. In 2008, Macoto won the Grand Prix for the Asia Digital Art Award. His work has been featured in promo%onal videos for Panasonic. Currently, Macoto has a solo exhibi%on “Inorganic Flora” at the Fran%c Gallery.
Macoto Murayama’s art work on display in Paris, France through Frantic Gallery.
BOTANICAL ART WORK
Satsuki Azalea, Macoto Murayama.
Macoto Murayama | Botanical Artwork http://macotomurayama.blog62.fc2.com/ http://www.frantic.jp/ja/artist/artist-murayama.html P: 09072633604 | E: firstname.lastname@example.org
THE RIGHT ANSWERS, 38â€? X 48â€?, polymers, acrylics and oils, mixed media art work, Duncan Asper.
Duncan Asper is a native of southern California. Drawing and painting at an early age, Duncan studied both fine and commercial art. With over thirty years of experience in the graphics and design industry, Duncan has returned to fine art in recent years. Known for his masterful and decisive style, Duncan draws inspiration from his environment, experimenting with different textures, foils, metals, paints, and textiles. www.duncanasper.com | E: email@example.com
“Autobahn,” PERRY RHODAN, digital matte painting, Sven Sauer.
An Interview with Sven Sauer
by Jan Manon
This interview was conducted in March 2010. Since this time, Sven Sauer and his company Pixomondo has won an Oscar for cinematography for HUGO.
Jan: Can you please tell us a liFle bit about yourself and your background and interests? Sven: I had a strange way into the ﬁlm industry... A\er my studies I worked 2 years in the adver%sing industry. The strongly concept-‐ oriented work is s%ll a relic that I have kept from that %me. A\er these 2 years working on dairy products, I asked myself one evening: How have the last two years been for you, Sven? Did you have fun? Sven Sauer digital artist, matte paintings Matte Painting Studio Wiesbaden, Germany.
From that moment on, everything happened very quickly. I got out of the adver%sing industry and met Igor Posavec, who was developing the computer game "Perry Rhodan" at that %me. This was my ﬁrst step into the entertainment
Sven Sauer industry. At the beginning, the decision of integraAng ma.e painAngs into this game had been just a stopgap to save game-‐performance. Due to the large-‐ scale painAngs, there were not many 3D-‐elements to be integrated into the scene,
which strongly inﬂuenced the loading %me and the game-‐ﬂow. A\er the ini%al tests, it turned out how eﬀec%ve the integra%on of digital pain%ngs actually was. At this point we decided to mainly use this technique for the implement of that game. Today, digital pain%ngs are a permanent feature of the video game industry. But at that %me, however, it was quite unusual to see such a level of detail in a simple computer game. Over 60 digital pain%ngs came up in 7 months. The velocity in which the pain%ngs had to be prepared was good prac%ce to me, for the later ﬁlm produc%ons... Jan: Can you please tell us a liFle more about the PASSENGER -‐ the inspira%on behind it, any discoveries and struggles along the way?
Sven: It was on a sunny morning that the energy grid in Berlin collapsed. The trigger that has caused this chaos remained unknown. A few hours later, Munich and Frankfurt become powerless as well. Within just a few hours, the largest ci%es become isolated from the outside world. A\er series of cataclysmic storms, the rural residen%al areas are cut oﬀ and the United Na%ons declare Germany as a forbidden area.
“Deep,” PERRY RHODAN, digital matte painting, Sven Sauer.
“Guotterbart,” PERRY RHODAN, digital matte painting, Sven Sauer.
“Dimension,” PERRY RHODAN, digital matte painting, Sven Sauer.
“Gom” PERRY RHODAN, digital matte painting, Sven Sauer.
For PASSENGER, we had the task to develop the look-‐design of the ﬁlm, to create a visual transla%on of the script. Visual development includes a number of things: The development of color-‐codes, however, was a decisive point. How do you represent "solitude?" Which light can transport this feeling? This ques%on becomes quickly very complex. Loneliness is not merely the "absence" of certain things...For example, we wanted to show an abandoned city, without using typical mo%fs that had already been seen in lots of movies before. The developers of the ﬁlm "I AM LEGEND" have found a very clever solu%on to this problem: they did not destroy the high-‐rise buildings of ManhaFan by weather and %me, but wrapped them in oversized contamina%on tarps. These packed houses impress with a frightening eﬀect. And not without any reason: we all have followed this visual language a few weeks a\er 9/11 in the media. To protect the surrounding buildings of Ground Zero from dust, they have also been packed into huge tarpaulins. Subconsciously, we may link the ﬁc%%ous "Ground Zero" of the ﬁlm I AM LEGEND with our feelings of the real past of 9/11. Exactly this is the strategy behind visual development: the crea%on of speciﬁcally directed emo%ons using visual s%muli...
“Cable,” PERRY RHODAN, digital matte painting, Sven Sauer.
Sven Sauer But back to the pain%ngs of PASSENGERS. We were looking for a similar analogy which would focus the point “solitude.” By deﬁni%on, loneliness is the absence of certain things and its reac%on to his surroundings. With this help, we came to "spider webs," which can only arise when a place was untouched for a long %me...So we searched for items that could carry urban spider webs into the pain%ngs. The cable-‐construct between the houses was the most succinct solu%on to this design problem. This example easily explains the strategy behind the pain%ng: the cables are not simple elements of design; they rather pursue a speciﬁcally applied purpose with their eﬀect: the reinforcement of the feeling "solitude." The prepara%on, the phase of research, is as important as the actual work of the pain%ng to me. Normally it takes a lot of %me as well. A job which is not properly prepared will most probably go wrong. There's a quote that ﬁts this very well: "If you do not know where you are going to, every wind is the wrong one." Good prepara%on gives me the security not to restart from the halfway. Of course, this also has economic advantages: I like to go through the results of my research with the producers or directors. During these conversa%ons, I get a beFer picture of their vision of the ﬁlm. Jan: Where do you as an ar%st o\en draw inspira%on from? Sven: Once a week I take half a day to go into a bookstore or a bibliotheca. There I can usually spend hours. I avoid looking for something speciﬁc. That wouldn’t work anyway. It’s like the purchase of suitable footwear -‐ when you absolutely need some, you won’t ﬁnd any... Mostly I dri\ disoriented through the aisles. Any binding will then catch my curiosity. It surprises me again and again how well this random principle works. The actual development of pain%ngs is rather hard work. I have a very analy%cal way to approach to the development of a pain%ng. This will seem strange but it has proved to be a construc%ve solu%on as yet...It seems not to have anything in common with crea%ve freethinker, but it has a huge poten%al to develop coherent ideas. The ﬁrst process of development consists of an intensive inves%ga%on. We try to ﬁnd out which ideas are based on the script. In which %me does the scenario take place? What feelings should be mediated when the viewer sees the ﬁnished scene? Here, many psychological factors play a role. What color is, for example, "fear?"
“Door,” PERRY RHODAN, digital matte painting, Sven Sauer.
“Berlin,” PERRY RHODAN, digital matte painting, Sven Sauer.
We dismantle the content of an image surgically and then we reassemble it piece by piece. These processes all run theore%cally. At this point, we s%ll haven’t made a single stroke. Each single item is wriFen separately. Something that I put in wri%ng on paper is something that I can paint later. I have a guiding principle therefore: I write to see what I think! This ﬁrst point according to this principle is important to us to make sure that we not lose ourselves in the inﬁnite possibili%es of developing a pain%ng. So we become even clear about what we really want to see... Jan: What are your favorite mediums to work with? Sven: The basic pain%ngs are created with Photoshop. Only in the phase when a moving picture is formed from the mo%onless image, do we use further so\ware. We create camera projec%ons with 3D-‐Max. For smaller anima%ons, we use A\er Eﬀects. We do the composi%ng of all elements ﬁnally with Nuke. This list of programs and steps show well how complex it can be to give rise to one ﬁnal shot. The 2D maFe pain%ng is only a very small part of the whole work process. Up to 20 people have been working on produc%ons like “Volcano” for one single image. Jan: Can you share with us your personal vision about a project or art work that you are doing?
“Snow,” PASSENGER, digital matte painting, Sven Sauer.
“Spider,” PASSENGER, digital matte painting, Sven Sauer.
“Evolution,” PASSENGER, digital matte painting, Sven Sauer.
“Tower,” PASSENGER, digital matte painting, Sven Sauer.
“City,” PASSENGER, digital matte painting, Sven Sauer. Final city poster on following page.
Sven Sauer My goal is to load liFle stories into the shots. Small details that have a past, rather than being purely decora%ve elements. I think that exactly these elements do a good job. Peter Jackson devotes much aFen%on to these details in his ﬁlms: The decora%ons of the swords in "THE LORD OF THE RINGS," the shop signs of the New York streets in KING KONG. All these elements make the scenery convince us -‐ we take it as a subs%tute reality. Most of the elements that appear in my pain%ngs haven’t been created by coincidence. A conifer forest looks more like a dead landscape as the branches of deciduous trees do. Jan: What advice or sugges%ons do you have for an aspiring visual ar%st? Sven: I can tell of a conversa%on that I witnessed in a forum for maFe pain%ngs several years ago. A talented ar%st had put a new pain%ng up for discussion. The picture was excellent: A ruined city. A lot of smoke. Slight haze. The light mood was right. The composi%ng was right. But s%ll a\er 2 days, he had not received any response yet, no feedback on this pain%ng. Somewhat discouraged, he asked what was wrong with this picture. Whether it was not good enough? Another forum par%cipant said, "That image is technically perfect: super cra\smanship...But the problem is the fact that we have already seen similar mo%fs numerous %mes. Everything there is to say, has been said in previous discussions." This conversa%on has bothered me for a long %me. In fact, I o\en see pictures I've already seen in lightly similar composi%ons before. This is a shame. For me, the aFrac%on lies exactly there -‐ in developing something more "unseen." Of course this is not always possible. Many projects don’t allow this. But just "free" works oﬀer the opportunity to give free rides to my imagina%on. For me, it’s not the technique of the pain%ngs which sets the foreground. It is the idea that s%ll fascinates people the most...
Sven Sauer | Digital Matte Painting MATTE PAINTING STUDIO, Albrechtstrasse 46, 65185 Wiesbaden Germany http://www.mattepainting-studio.com | E: firstname.lastname@example.org
The Sky is Falling
I rolled a poem into the body of a telescope and looked through it to see Henny Penny and her shrill megaphone, the skin of the sky is falling. The sun has stretched its parchment across the clouds like a trampoline How many people die each year jumping into airplanes, their parachutes unopened like a leFer banished from the alphabet. From the ankle to the knee there is a sonnet prone to ﬂight. From the thigh to the hip, there are 1000 curtsies made of lead 16 expecta%ons How many obituaries do you type per minute? There's a piece of ﬂesh underneath the arm it %ckles it's an incubator How many %mes did you feel pregnant when you felt your ﬁngernails itch? How many %mes did you drink orange juice and sandpaper in a glass with liFle umbrellas and think you were having fun? Humans are so architectural building such great walls We walk stethoscope to stethoscope two by two Noah is clearing his throat There's an almanac in every ark.
“MOONLIGHT PRINCESS,” night photography, Jessi Adam.
Jessi Adam | Photography, 35 mm color, black & white http://www.jessiadam.com E: email@example.com
Artistic Integrity Here I am, your self-‐proclaimed messenger, prophet of the people and voice of your best inten%on. Rally forth. Ar%s%c integrity -‐ how do you deﬁne it and how do you live it? Let’s begin with taking a look at why you consider yourself an ar%st. Maybe it started with recognizing the ability you have to create something original and dis%nct; to see things in a new way; and to create something of value and of use. A love of beauty and of aesthe%cs in general dis%nguish the ar%st from others. But the true art that compels and that pushes forward -‐ almost of its own accord -‐ demands the pursuit of perfec%on. Its principal requirement to be a member of its clan -‐ the clan of ar%sts -‐ is the passion for crea%ng art and holding that work up to standards. These standards are qualita%ve, subjec%ve and vary. O\en they are guided by intui%on and imagina%on while being reined in by the limits of %me and physical endurance. When you think of Michelangelo, there is no doubt that he was an ar%st -‐ one with ﬁnely tuned skills as well as the willingness to persevere and push hard to build his art work. He went to such great lengths to acquire ﬁne marble of just the right composi%on so he could sculpt works that caught and reﬂected light simultaneously with subtlety and brilliance. His stroke was masterful and deliberate. And he worked so hard -‐ hours upon hours of sweat and toil. Today, do we have ar%sts of similar bent who are willing to put in that kind of %me to build works of such excellence? Today, our world converges in so many ways. Technology and the humani%es intersect repeatedly, which can give rise to original works that draw upon your imagina%on. The poten8al is there. But the ques%on lies with you and me. Will we do it? Will we live up to it? Will we take the %me to create and build works that are excellent from beginning to end -‐ in both the obvious and the hidden? Will we have the humility to seek inspira%on and the dogged determina%on to see it through? Will we be apprecia%ve when we create together and give credit where credit is due? Will we be the kinds of people who have integrity in what we create, build and share so that we do the very best with what we have? That excellence -‐ in both the bigger picture and the details -‐ that’s ar%s%c integrity.
Jeff Scher is a painter and experimental filmmaker. His work is in the permanent collection of the Museum of Modern Art and he has created work for HBO, PBS, the Sundance Channel and, most recently, a music video for Bob Dylan. "The Best of Times," a selection of films, was just published as an iPhone and iPad app. Mr. Scher teaches at the School of Visual Arts and at N.Y.U. Tisch
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Lâ€™EAU LIFE (Shark ending), a short movie by Jeff Scher. Music by Shay Lynch.
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TULIPS, a short movie celebrating the Kiss, Jeff Scher. Music by Shay Lynch.
Jeff Scher | Watercolors & Film Fez Films http://fezfilms.net E: firstname.lastname@example.org
If anyone ever reads 5,000 words a minute, I place my syllables of breath it will be you trading paciﬁers and Gerbers for algebra and metaphysics protégé of broken nose music, soundtrack to a life of iron and garlic wise meant weird meant war the gall of the bones in your nose plucked like a banjo by a heavy hand whose conscience had lost its sense of smell Claiming no rhythm and s%ll you dance you spin music like a weaver with a wink and an illuminated harp you dance like Fred Astaire is breathing mints and cartwheels through your hips What is the equa%on for the life problem? 6 x ﬁst = words. Ellyn Maybe is the author of the poetry/music CD, Rodeo for the Sheepish as well as books including The Cowardice of Amnesia, Praha and the Poet, Walking Barefoot in the Glassblowers Museum, Putting My 2 Cents In, A Talk With Nature and The Ellyn Maybe Coloring Book. She has performed at Lollapalooza, on the BBC, and opened the MTV Spoken Wurd Tour in Los Angeles. Writer’s Digest named her one of ten poets to watch in the new millennium. www.ellynmaybe.com | E: email@example.com
Pixel Popper: SM series
Just Froggy, Alan Alejo.
Alan Alejo | Mixed Media Art hFp://artworks365.wordpress.com/about/about-‐the-‐ ar%st/more-‐dirt-‐on-‐the-‐ar%st/ E: firstname.lastname@example.org
“I have a short aFen%on span. In fact, my mother once told me that I have the symptoms for ADD. In grad school, I took full advantage of my short aFen%on span by working on diﬀerent things that interested me in short bursts for a prolonged amount of %me. I used to sleep between 4-‐6 hours a day, and most %mes I just crashed in my studio, so I have 18-‐20 hours a day available to me to create art. I'd paint for a couple of hours, then work on a sculpture for a couple more, then %nker with light and electronics for a few, do a bit of research and experimen%ng and ﬁnally start the cycle all over. The capsule art came out of my fascina%on and observa%ons of human behavior, and in this par%cular case, about people's obsessions, addic%ons and illusions of control and self-‐control. Those are the basic concepts and depending on the work and the viewer, there can be other liFle surprises in it. I think the gela%n capsules as a medium work well for this. In 2008, many people were swept into the poli%cal frenzy of the presiden%al elec%ons, and the public just can't get enough of the candidates. As a response I created portraits of McCain and Obama %tled Red Pill and Blue Pill. For any viewer, they are fun to look at and if you want to delve deeper, you can. The same goes with the PIXEL POPPER: SM SERIES. On the surface, the video game characters and items are nice and fun to look at, and the viewer can appreciate the %me, eﬀort and the craziness of puung them together. Then there's the nostalgia factor. Many of the buyers were my genera%on and younger who grew up playing these video games incessantly. I did that and my friends did the same thing. It was the electronic babysiFer. Digging deeper, video games are very addic%ve and we get obsessed with winning and bea%ng the game, collec%ng all the treasures, and saving princesses...I have friends who used it to get away from real life and avoid family hell. It is a drug and a magic pill and cure-‐all. But I like the viewer to see what they want to see, and to think about the work as far as they want to go with it. A\er I ﬁnish a new piece of art, I become just another viewer of that art, just like everybody else.” -‐ Alan Alejo
Up, Up and Away! by Alan Alejo.
Tanooki Kookie, Alan Alejo.
Aurora, photography, Vladimir Donkov.
Aurora, photography, Vladimir Donkov.
Aurora, photography, Vladimir Donkov.
I've been a fan of Brian Cox, the noted par%cle physicist from Manchester, UK since I discovered his work a few years ago for the BBC. A few months ago, I bought copies of his video series directed by James Poole called Wonders of the Universe. It's a delighvul show -‐ educa%onal and inspiring; awe-‐inspiring and epic. Among many insighvul things that Brian shared, he said, "We're children of the stars." We're essen%ally made up of the same materials that make stars. I loved that…and then when you see images of our universe or images like this -‐ of the aurora borealis -‐ that Vlad has captured so beau%fully -‐ you feel it. Thanks, Jan Manon, Editor
Vladimir Donkov is a UK-‐based outdoor photographer with a passion for shoo%ng wild areas and isolated cultures that are vulnerable and in danger of being lost. During the last few years, he has traveled around the North Polar Circle to photograph its wildest regions for his new book "North." Some expedi%ons have kept him in complete solitude and away from any people or any cellular or mobile coverage for periods las%ng up to 2 months. For example, Vladimir had to carry 2 backpacks himself that weighed a total of 130 pounds of equipment, mountain gear and food in the mountains of Greenland. But it was worth to him. He was able to get the shots he longed for. At last, a\er 4 years spent in taking photos of the beauty in Polar country, he's now preparing to publish his book and begin a new and exci%ng project.
from Vladimir: "During the Aurora season of 2010-‐2011, I waited and waited...in the freezing cold for so many hours just to photograph the breathtaking Northern Lights. Greenland was my star%ng point and the journey lasted for two months, commencing in September. It was an unsupported and lonely hike. However, it was full of beau%ful sceneries. Then, I went to the Swedish Lapland, where a\er many long nights of wai%ng in vain at minus 39 degrees Celsius, I ﬁnally witnessed one of the strongest displays in years. At the end of March, my Aurora hunt ended in the wonderful Norwegian Sea on the Lofoten Islands.” “I have always found the Aurora amazingly impressive! Although I have seen it more than 15 %mes, it surprises and enchants me as if I am witnessing it for the ﬁrst %me. My belief is that you don’t have to be a great ar%st to take a good shot of the Aurora, when is happens before your eyes. What one needs is to have iron willpower to wait for a few months, warm clothes and tea to survive and the right autude to capture the moment with passion and pa%ence."
Aurora, photography, Vladimir Donkov.
Aurora, photography, Vladimir Donkov.
Snow and Ice, photography, Vladimir Donkov.
Vladimir Donkov | Photography
http://www.verticalshot.com/en/gallery E: email@example.com
ÂŠ Ivaylo Petro
Vertical Shot | +44 754 734 1601
Mexico Up Close with Andrew Stowe
Day of the Dead Altar, Oaxaca, 2009, photography by Andrew Stowe.
When the small bus called a combi reached Tepeyac at last, night had come to the remote mountain village. Ed and I, and the crowd of people with their new boots and machetes and bags of cabbage, all spilled out of the bus onto the side of the dark, dirt road. The bus (really more of a mini-‐van) had been crammed with ﬁve people to every three-‐person seat for most of the late a\ernoon trip from the town of Las Margaritas, near Comitan, in southern Mexico. It had been a slow, arduous test of endurance, complete with screaming babies and a middle-‐aged cowboy downing can a\er can of Tecate beer along the way. Retrieving our packs from the combi's roof, we listened as the driver assured us that
Church of Santa Domingo, Oaxaca, 2009, photography by Andrew Stowe.
another bus would come soon to take us the rest of the way to San Quin%n, where we hoped to ﬁnally ﬁnd the hiking trail to Laguna Miramar, in the heart of the Lacandon Jungle. The combi departed back the way we had come and we looked around in the dim light, taking stock of our situa%on. Exchanging a look of apprehension, Ed and I quickly realized that the nearest paved roads and friendly guest houses at the other end of the rough, three-‐hour mountain ride were as good as an eternity away. Tepeyac was one of the poorer places we had seen anywhere in Mexico, with only one deeply ruFed road running to and through it. The houses we could see were liFle more than dirt-‐ﬂoored wood shacks. Several of the buildings clustered close to the road were also supplemented by cracked concrete, and served as small shops. Foreboding, hand-‐ painted signs on the outskirts of the village bearing the signature of the EZLN (the Zapa%sta guerrilla army) had designated the region – in rather un-‐Mexican fashion – as an alcohol-‐free zone. There were no women to be seen now in the half-‐lit streets, only dangerously sober, violent-‐looking groups of men giving oﬀ strong waves of boredom and
Sierra Norte, Ixtlan, 2009, photography by Andrew Stowe.
Lacondon Jungle near East Zapata, 2009, photography by Andrew Stowe.
Metro Mural, Mexico City, 2009, photography by Andrew Stowe.
hos%lity. It was the kind of place in Mexico that travelers avoided at all costs. Making our way to a bench res%ng against the wall of one of the shops, we tried not to no%ce the hard looks cast our way, or to acknowledge the rude discussion of gringos that they made sure was loud enough for us to hear. While Ed watched the packs, I walked a por%on of the road lit by the closed shops and asked the people I met about the possibility of staying a night in the village. Only one man gave me more than a cold, unfriendly stare or curt, unsympathe%c, 'No'. The owner of one of the shops, the man barely li\ed his eyes from his poker game long enough to state bluntly that, yes, we could sleep on his ﬂoor if we needed to. I thanked him profusely for his kindness and ﬂed the palpable animosity of the room, only to have the door slammed shut on my heels as soon as I stepped outside, and the bolts thrown home loudly. Returning to join Ed, I found him wai%ng tensely, %ghtly gripping the edge of the bench. He knew from my own worried look that there would be no hospitality for us in Tepeyac. For the ﬁrst %me in all of our travels together in Mexico, we had found ourselves in a situa%on that we knew could end very badly. *** Two weeks prior to being stranded in Tepeyac, Ed and I had met up in Mexico City to take advantage of a simultaneous break from our respec%ve work. We had on previous
occasions traveled extensively in northern Mexico, but this %me had decided, on something of a whim, to undertake an explora%on south (way south) of the border. Siung at a cafe in the quaint Mexico City neighborhood of Coyoacan at the outset of our adventure, we had decided that above all else, we wanted to experience the fabled Lacandon Jungle, located in the state of Chiapas and spanning part of the border of Mexico and Guatemala. We had heard it was home to a pris%ne lake, Laguna Miramar, and numerous exo%c creatures, including monkeys, parrots, and what was probably the last remnants of the poten%ally dangerous Zapa%sta Army of Na%onal Libera%on (EZLN), a guerilla group that had declared war against the Mexican government on January 1, 1994, when the North American Free Trade Agreement (NAFTA) had gone into eﬀect. We had le\ Mexico City almost immediately and traveled south through the state of Oaxaca, savoring the Day of the Dead fes%val in Oaxaca City and the compara%ve quiet of a small village in the Sierra Norte on the way. Con%nuing east into Chiapas, we had started asking about the best way to reach Laguna Miramar, and whether the EZLN was perhaps making travel unsafe in the jungle. In Tuxtla – the dismal, u%litarian capital city of Chiapas – the locals had merely shrugged. In San Cristóbal de las Casas, closer to the jungle, the French sympathizers of the Zapa%stas had looked at us, dragged deeply on their cigareFes, and then resumed their studies of Marx. In Comitan, almost at the edge of Lacandona, the illicit-‐pox-‐and-‐ﬂavored-‐ice-‐swilling residents had told us the way to the laguna, via a trail from the village of San Quin%n-‐Emiliano Zapata, but didn't know about the ac%vity of the guerillas. When we had ﬁnally le\ Comitan on the last leg of the trip to San Quin%n, we s%ll had had no idea what we were geung ourselves into, or whether we might encounter any armed rebels. We had learned that the bus to San Quin%n le\ from Las Margaritas every day, but some part of the instruc%ons we had received had been lost in transla%on. By the %me we had stocked up on food and other supplies in Las Margaritas, we had managed to miss the one bus to San Quin%n. Eager to get our trek underway now that we were so close, we had decided to take the only other op%on available to us: the late a\ernoon combi to Tepeyac, two-‐thirds of the way to our ﬁnal des%na%on. *** A\er two inﬁnitely long hours of siung with our backs against the wall in Tepeyac, the men hanging around Ed and I gave up trying to goad a reac%on from us and wandered oﬀ. Ed breathed a sigh of relief. I let my shoulders relax and slumped back %redly against the wall. A friendly group of kids wandered over to chat with us amiably, when we suddenly heard the long-‐awaited sound of a vehicle approaching. It turned out to be a pickup truck, a camioneta, and not a bus, but we hailed it anyway and the driver stopped in front of us, reluctantly agreeing to give us a ride to San Quin%n. Two other men siung in the cab with him jumped out to peel oﬀ a sec%on of a tarp stretched %ghtly over a metal frame covering the truck's bed. They pointed to the piles of concrete and other building supplies
(from left to right): Peppers, Mexico City; El Combi near Tepeyac; 2009, Ed (author’s brother) and a forest guard, Laguna Mirmar photography by Andrew Stowe.
packed there, and told us we would have to perch in the high metal frame. Overjoyed at the thought of leaving Tepeyac, we readily agreed and clambered up to our awkward seats on top of the truck. As we pulled out of Tepeyac, Ed and I %ghtened our grip on the narrow metal bars of the frame. The driver began speeding up, and the en%re back of the truck swayed violently as we swerved sharply around large potholes and boulder-‐strewn ditches. Siung on equally narrow metal bars with our feet planted on the concrete bags below, we found our heads and torsos stuck out dangerously above the top of the truck. What began as a fun game of dropping into the truck's bed in order to dodge fast-‐ approaching, chest-‐high tree limbs and thorny vines, soon took its toll. When the truck ﬁnally halted at the outskirts of San Quin%n, it was close to midnight – four hours a\er leaving Tepeyac – and we were exhausted, bruised, and bloodied. The driver charged us 50 pesos (or almost 5 dollars) each for the ride, and then sped oﬀ in a cloud of dust. We shouldered our heavy packs and, ﬁnding nothing to tell us exactly where we were, started walking by the light of our head-‐lamps down a wide, dark road. We decided we had no choice but to ﬁnd a secluded campsite and wait un%l morning to get our bearings. The line of homes along the road soon ended but to our dismay was immediately replaced by a massive, sprawling military base with high walls and soldiers posted in guard towers spread thickly around the perimeter. We did our best to hold our pace steady and our eyes forward as we drew abreast of and passed the main gate of the base, where several groups of armed men stood smoking and talking loudly. At last the road reached its terminus in what seemed to be grassy ﬁelds in the complete darkness just beyond the edge of the base. We had wanted to get a liFle further from the army compound before ﬁnding a place to camp, but it was almost midnight and we were too %red to go any further. We let our bags fall heavily to the gravelly road and slumped to the ground ourselves. In the spirit of cau%on, we decided to quietly watch the road and base for a few minutes before seung up the tent and going to sleep.
approaching, chest-‐high tree limbs and thorny vines, soon took its toll. When the truck ﬁnally halted at the outskirts of San Quin%n, it was close to midnight – four hours a\er leaving Tepeyac – and we were exhausted, bruised, and bloodied. The driver charged us 50 pesos (or almost 5 dollars) each for the ride, and then sped oﬀ in a cloud of dust. We shouldered our heavy packs and, ﬁnding nothing to tell us exactly where we were, started walking by the light of our head-‐lamps down a wide, dark road. We decided we had no choice but to ﬁnd a secluded campsite and wait un%l morning to get our bearings. The line of homes along the road soon ended but to our dismay was immediately replaced by a massive, sprawling military base with high walls and soldiers posted in guard towers spread thickly around the perimeter. We did our best to hold our pace steady and our eyes forward as we drew abreast of and passed the main gate of the base, where several groups of armed men stood smoking and talking loudly. At last the road reached its terminus in what seemed to be grassy ﬁelds in the complete darkness just beyond the edge of the base. We had wanted to get a liFle further from the army compound before ﬁnding a place to camp, but it was almost midnight and we were too %red to go any further. We let our bags fall heavily to the gravelly road and slumped to the ground ourselves. In the spirit of cau%on, we decided to quietly watch the road and base for a few minutes before seung up the tent and going to sleep. Swaung at mosquitoes and listening to the dogs of the village, we strained our eyes and ears, wai%ng anxiously in that unfamiliar place. Suddenly, a voice stabbed sharply at us out of the dark, from the direc%on of the base: “Tiene que re8rar! Tiene que re8rar! [Leave now!]” Our hearts leapt into our throats and we started up nervously. Was it an unseen guard in a dark tower at the corner of the base? Was he talking to us? We stood silently, adrenaline coursing through our veins, ready to bolt like rabbits into the high grasses at a moment's no%ce. The voice came again, sharper this %me: “Tiene que re8rar! Tiene que re8rar!” I suddenly decided that revealing ourselves, come what may of it, would be inﬁnitely beFer than being shot. I shouted back at the voice in the dark: “No comprendo. Lo siento. No comprendo [I don't understand, sorry]”. The voice quickly retorted: “Tiene que re8rar! Tiene que re8rar!” I half expected to hear the bolt drawn back on an unseen gun. I shouted with great urgency: “Somos de los Estados Unidos! Somos visitantes! Vamos a caminar a la laguna! Esta bien si acampamos aqui por la noche? [We're from the US, we're just visi%ng, we're here to see the lake! Can we camp here tonight?]” A\er a long pause, we heard a rough, “OK”, muFered through clenched teeth. A\er hurriedly seung up the tent, we lay in our sleeping bags on the hard ground, listening for any sound of approaching soldiers. I slowly dri\ed oﬀ to sleep, wondering if the guard was permiung us to camp there just so he and his armed comrades could more easily rob us while we slumbered.
ANDREW STOWE We awoke at dawn to a beau%ful sunrise illumina%ng lush, rolling ﬁelds and mist-‐ shrouded jungle hills. Emerging from the tent we were stunned to see how close we had camped to the guard tower at this corner of the base. The soldier stared down at us darkly from his post. Our belongings packed, Ed, undaunted, approached the guard and asked the way to Emiliano Zapata. Retracing our steps along the wide road (actually a runway for military aircra\), we turned down a side track that we had missed the night before. Almost immediately we found ourselves among a collec%on of poor, simple, but well cared-‐for houses. We overtook four boys, walking in the same direc%on as us, each with rubber boots and a machete, and asked them where we could get a permit for camping at the laguna. They pointed in the direc%on we were walking and said something about a tourist oﬃce, so we fell in beside them and walked silently into the center of the village. Dominated by a large grassy ﬁeld, the center seemed to be occupied by most of the men of the village, all holding machetes and siung on benches lining the sides of a large building and an open-‐air mee%ng room. We found the president of tourism, and as we waited for him to return with our permits, we answered the ques%ons of the friendly old men wai%ng near us, telling them of the hos%lity of Tepeyac and the unlikely campsite we had found the night before. They told us that the area around Zapata had been the epicenter of the EZLN uprising in 1994, and that San Quin%n, which in eﬀect was no more than the huge army compound, had been built one year later, in 1995, to both combat the guerillas and serve as a deterrent against future uprisings. A large, authorita%ve man abruptly shouted at the seated ﬁgures. Our conversa%on was cut short as they all stood up and commenced to spread out through the ﬁeld, scything the grass with their machetes as they went. The president soon returned with our permits and, our paperwork in order, led us over a wobbly suspension bridge to the trail-‐head. He informed us that visitors usually have to take a guide from town to make the trek into Lacandona, to the laguna, to avoid geung lost among the network of trails. But, he con%nued, all the guides were busy working, so we would have to go it alone. Just keep following this main trail and you'll be ﬁne, he assured us. Then he turned with a smile and a wave, and le\ us alone in the jungle. It was midmorning and it was already beginning to feel hot. As we slogged along the muddy, caFle-‐churned trail, the sweat began pouring down our faces and backs. It was only ﬁve kilometers, or about three miles, to the shores of the lake, but with the mud
ANDREW STOWE ankle-‐ to calf-‐deep in many places, it was a long, slow march. At last, a\er passing along the edges of small farms and through ﬁelds full of grazing cows, we found ourselves hiking through land that felt more like the wild jungle we had imagined. Heavy green vines hung from large limbs, pinkish-‐red bromeliads clung to the sides of huge trees, and, as we discovered with some amazement, the steamy air even smelled just like the jungle exhibits in the Bronx Zoo that we had been so enamored with as children growing up in Connec%cut. Sensing the lake was close, we quickened our pace. The trail began to descend slightly and we caught our ﬁrst tantalizing glimpses of shimmering water through breaks in the thick vegeta%on. Suddenly the jungle opened fully and we found ourselves standing in breathless wonder on the shores of one of the most beau%ful places I have ever seen. We collec%vely breathed a deep sigh, feeling that our epic journey from Mexico City, down through Oaxaca and most of Chiapas, almost into Guatemala, had at last reached something of its righwul conclusion, here in this unlikely Mexican Shangri-‐la. Dropping our sweat-‐blotched packs and pulling oﬀ our mud-‐caked boots, we waded into the perfect, blue-‐green tropical water. If heaven exists, I thought, this must be what it feels like to see it for the ﬁrst %me. The por%on of the lake that we could see was immense, stretching perhaps for a mile in one direc%on and two miles in another. Lush, green mountains ringed the expanse of water under the gray, vaulted sky. There were no people in site except for one old forest guard from the village, siung quietly in the shadows by a ﬁre. It was one face of Mexico that we hadn't even known existed. A ﬂock of parrots ﬂew noisily overhead. The booming roars of howler monkeys abruptly exploded from the hills nearby and reverberated menacingly through the trees. Ed and I turned and smiled at each other. “Unbelievable”, was all he could manage. “Simply stunning”, I returned. We set up our tent underneath the roof of a large, open-‐walled wooden structure connected by a short path through the jungle to a similar building where the bright-‐ colored hammocks of the forest guards swayed gently in the breeze. No sooner was our camp in order than we stripped oﬀ our dirty clothes and ran whooping into the perfectly warm, blue-‐green water. I swam lazily out un%l our camp disappeared among the various greens and browns of the jungle and all I could see was the steamy forest pressing eagerly against the water's edge. Ed lay in the sandy shallows, dozing happily with his face s%cking out of the water. All the fear and tension of Tepeyac and San Quin%n seemed distant and insigniﬁcant, easily forgoFen in the magical tranquility of the laguna.
ANDREW STOWE We would end up spending several days camping by the shore of the lake, bathing in the perfect water, listening to the wild voices of the jungle, and exploring diﬀerent areas around the lake by boat with one of the forest guards from Zapata. We paddled to the dark, bat-‐ﬁlled caves, accessible only by water, where immense turtles could be seen swimming languidly beneath the surface. We visited the shear rock rising out of the lake where an ancient Mayan petroglyph, El Mano Pintado, or the Painted Hand, decorated the stone. We hiked to a mirador, a viewpoint set on a hill in the jungle overlooking both Miramar and another, smaller, adjacent lake that was home to a popula%on of crocodiles. All too quickly, though, our %me at the lake would pass. Rejuvenated and completely enamored with the area, we would hike back out through the mud to the charming town of Zapata and its aﬀable residents. A\er a night in the village, we would work our way, bus ride by bus ride, back to Mexico City and our return ﬂights to the US. In all our %me in Chiapas, in the very heart of EZLN territory, we had encountered no guerillas, no farmer-‐soldiers wearing the black ski masks and camouﬂaged ouwits now immortalized on postcards and bumper s%ckers that depict the 'warrior-‐poet' Subcomandante Marcos. We might have thought on some unspoken level that encountering an armed group of rebels would be exci%ng in an adventurous, roman%c sort of way. In the end, though, we met what was only mostly friendly people who were consistently happy to talk about Mexico or help us ﬁnd our way. The laguna had ul%mately been the unchallenged highlight of the trip, rivalling even the breathtaking expanses of open desert that lend strongly to our love of northern Mexico. Drawn back repeatedly by the people, the landscapes, the food, and the language, Ed and I will undoubtedly return to Mexico soon. I think for our next trip south of the border, though, we might skip Sonora again, and return to Lacandona.
Andrew Stowe | Travel Photojournalist Andrew Stowe is a writer and ecologist who has volunteered on organic farms and helped create a manual for traditional, sustainable agriculture in Nepal and India. Mr. Stowe was born in Connecticut in 1982 and studied biology at Bates College in Maine. When he is back in the United States, he spends much of his time close to his father's birthplace in Northeast Kingdom, Vermont. E: firstname.lastname@example.org
Outside with Beau Saunders
TWIN BLOSSOMS, Beau Saunders.
DUSK OVER FLOWERS, Beau Saunders.
Beau Saunders | Photography Rainbeau Pictures http://www.rainbeaupictures.com E: email@example.com
IN THE GARDEN
Some tips Tulsi plant, Maya Nair.
Every %ny seed has enormous poten%al – dormant life, yet unseen; wai%ng to burst forth and produce boun%ful pleasures. Imagine: the energy in the %ny acorn produces a tree that could live a thousand years. One of the useful plants that you can grow at home is the Tulsi or Holy basil which was used in India before 1000 BC as an Ayurvedic medicine. Tulsi is quite hardy and it grows well indoors and outdoors in sunny and warm climates.
Increases immunity – regular use keeps inﬂuenza (such as swine ﬂu) away Reduces fever Heals cough and sore throat Reduces blood pressure Minimizes blood cholesterol and strengthens the cardiac system Heals insect bites and skin disorders The leaves are eaten raw, added to juice or dis%lled in water to create the above remedies. There are many types of holy basil including green Tulsi, purple Tulsi and wild Tulsi andTulsi tea is a popular beverage all over the world.
The 5000 year old “Padmapurana”, an ancient healing text from India states that every part of the Tulsi, including root, Tulsi is best grown from a fresh seed. Here stems, ﬂowers, fruits and leaves are sacred. are some instruc%ons:
Organically grown Tulsi is used as medicine Get an aluminum pan and spread some in many countries. Here are some of the organic soil on it. ways we can use Tulsi: Spread the seeds on the soil and cover with more soil. Spray water and keep the soil
IN THE GARDEN
Some tips moist at all %mes. It may take up to six weeks for the seedlings to appear. When the seedlings are about 3 inches tall, re-‐pot them and leave them in a sunny spot or near a 24-‐hour light source inside the house. In sunny climates, Tulsi grows very well from May through September. Leave the pots outdoors and the plants will return with warm weather. Cut the top of the plant so that it will grow branches and this will also allow the main stem to become thick and strong.
Tulsi plant, Maya Nair.
Note – If you would like to get Tulsi seeds, just send a self-‐addressed, stamped envelope to Maya Nair, 310 Stone Hill Pt, AlphareFa, GA 30004.
Enjoy some tulsi tea by steeping a few leaves in hot water for a few minutes. Here’s to your health!
Maya Nair | Photography & Writing Maya Nair grew up in Kerala, India and moved to the USA in 1982 and she worked as a telecommunications engineer for 25 years. She now lives with her husband in Atlanta, Georgia. Her passion is to grow organic vegetables and herbs to share with neighbors and friends.
A DIFFERENT APPROACH
www.girlingtongarage.com P: 802.660.0055
“I know what it’s like to feel powerless or frustrated with your car. I decided to do something about that. I started my own shop where respect for the customer came first and foremost.” - Demeny Pollitt, Founder of Girlington Garage
Girlington Garage a different kind of automotive shop Geung your car ﬁxed? How does wai%ng in a room that is well lit and clean with snacks, free coﬀee and water and a comfy couch sound with free Wi-‐Fi? Oh and add in friendly, smart staﬀ, a liFle terrier and clear explana%ons so you really understand what your car needs and what your repair costs. Demeny PolliF’s Girlington Garage does just that and more. Demeny herself is easy accessible, helpful and
knowledgeable. She even oﬀers a Basic Car Course where you can learn how to check your oil and radiator ﬂuids, change a %re and address common car issues. She and her staﬀ will walk you through the components of your car and answer ques%ons you have step by step. That kind of personalized care is rare in any business -‐ let alone the
automo%ve industry known for its greasy workmen, bad coﬀee, rough language, late service, terrible bathrooms and s%ﬀ furniture. By oﬀering a caring autude and opera%ng her garage with transparent service, Demeny has won die-‐ hard fans in an industry that can be tough to please. She’s also made geung your car ﬁxed so much more fun.
WORK WE SUPPORT
Work We Support: Doctors without Borders In the Sudan
Refugees collecting water at the MSF water collection point in Jamam refugee camp. © Robin Meldrum
Humanitarian Aid for 80,000 Sudanese Refugees Doctors without Borders brings attention to urgent needs of refugees now...
Support MSF by making a donation online or calling (888). 392-0392
In March of 2012, Doctors without Borders (MSF) has brought attention to the crisis in Sudan’s Blue Nile State where 80,000 refugees have fled genocide and sought shelter in the Doro and Jamam refugee camps. The area is remote and difficult to access, leaving the refugees entirely dependent on humanitarian assistance for survival. MSF has been pumping and distributing treated water -‐ almost 130,000 liters -‐ daily along with providing critical food supplies. Maintaining emergency response capacity and being able to continue to help this nation that is newly independent is a difficult and vital task. In its field camps, MSF has also offered outpatient services and medical care. Doctors without Borders has assisted people across the world in emergencies and brought much needed attention to areas of the world in crisis.
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GUIDELINES: We do have a few guidelines. If you submit by email or regular mail, please include a descrip%on of what your content is: poetry/ﬁc%on/short story/ar%cle/photographs/ pain%ngs etc. with a brief cover leFer or introduc%on. We are more interested in WHO you are and the ARTWORK you have to share rather than your creden%als. Please do say a liFle about yourself in a bio that we can include and send us your contact informa%on so we can get in touch with you. By email: submissions@elfproduc%ons.com | By telephone: 802.735.1298 By postal mail: Hayden Magazine, Elf Produc%ons, PO Box 64843, Burlington VT 05406