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Volume 1 Number 4

November 2010

Cover art by Christiane Vleugels

WalkingBlind Art and Literature Magazine Published by NevaehVision

Editor’s Letter

Kendra Gimblet - Executive Editor

WalkingBlind Art & Literature Magazine is once again at your front door delivering some fantastic art in the fourth issue. We always aim to keep the content fresh and intense, so don’t think that this issue will be any different. Once again artists from around the globe have chosen to make the pages of WalkingBlind home; amazing talent from Argentina to England and Belgium have settled snugly into their custom-made layouts followed by great articles and interviews. Though we are considered a fairly young publication we spare no details, our readers *cough*, you, are sure to get only the cream of the crop with quality art and insightful writing. Each month we are dedicated to showing the world what passionate artists can do, consider this our way of adding another spice to the earth’s bland diet of salt and pepper.

WalkingBlind Issue 4 vol. 1 About the front cover. On our front cover is Luminous by Christiane Vleugels. After looking at over six cover mock ups for this month we decided hands down this was the one. The embodiement of fine art is truly reflected here in Christiane’s painting. To fine out more about this outstandind artist turn to page 61

WalkingBlind Layout and Editorial Executive Editor- Kendra Gimblet Assitant Editor- Glen L. Puchlerz Graphics Director- Glen L. Puchlerz Layout Director - Glen L. Puchlerz Business

WalkingBlind Art and Literature Magazine is a publication of NevaehVision. For advertising or submision queries contact:

Another way we aim to flavor the world is through our website, a lot of people have been asking us why we didn’t choose to go with one of the many popular website platforms available on the internet. Our answer to that question is quite simple: ‘authenticity’, before WalkingBlind was born we searched the web for the right look that would fit the feeling we were trying to project to the world. We quickly discovered this look couldn’t be found in the many web themes that were offered up to us. So except for deciding to appear like every other site we ran across we agreed to bring back old style programming and had our webmaster build a strictly handmade page to house the magazine. Although this style of programming is not used much in main stream web design, it was perfect for the overall visual presence of WalkingBlind. I, myself am proud of the stir it has caused, because it shows that we not only strive for the best original content in the magazine but in it’s setting as well. While we are on the subject of the website, I would like to announce that the WalkingBlind Art Lounge Forum is now open and ready for art and literary discussions! Let’s give a big hand to our main tech guy, believe me after all those hours of laborious work he’ll need about a dozen. The Art Lounge is a place to really get to know other artists and the people who run the magazine, you’ll be able to rave about new art exhibitions, talk about the artwork in WalkingBlind issues and create real life oriented posts. One of the bigger things we will be doing is hosting ‘WalkingBlind Critique Night’ where poets, digital or traditional artists, photographers, and musicians can post their work and have the community give them honest and helpful feedback. Also WalkingBlind now has a Twitter, Facebook and a RSS feed, all of this is for you to keep up with contests, events, and various important updates. You all are now officially armed to the teeth with everything you need to keep up with everything we do. To keep all of this going we are now taking one dollar donations, this is a chance for you to not only support the continuation of WalkingBlind Magazine but to help us broaden the spectrum in which we work, giving us the ability to add in more artistic genres. As I’m sure you know, running a website and magazine requires server space and equipment, those things cost money and anything you can donate would help the team and I carry on providing the masses with unique and passionate artwork from around the globe. So as you view and read this issue of WalkingBlind remember all the goodies you now have to go along with it, we will be seeing you guys in the new forum!


WalkingBlind WalkingBlind Digital Art Traditional Art

Features November 2010 Volume 1 Number 4 07- Jonas De Ro 21- Alvaro Pantoja Busch 29- Marianna Stelmach 33- Martain De Diego Sadaba

41- Natalia Pierandrei 50- Bob Giadrosich 61- Christiane Vleugels

Poetry & Prose Photography Articles

71- Ned Holmes 74- Chris Holdaway 78- Selena Hallahan 81- Emma Workman 85- Liam Sheppard

91- Karmen Orlic 99- Danielle Minor 107- Michel Rakjovic 115- Jari Mantyla

125- Indigo Reid 127- Morgan Hawke

Enterainment 138- Edd Gould

Departments WalkingBlind Art and literature Magazine is a publication of the Nevaehvision co. Content is protected under U.S. and International copyright laws. Any duplication without the express written authorization of Walkingblind Magazine and it’s subsidiaries is strictly prohibited. Artistist creative works and/or intellectual properties are under license to WalkingBlind Magazine and remain the sole properties of the artists. For further information contact WalkingBlind Art and Literature Magazine at: http// or email: WalkingBlind Art and Literature Magazine is a monthly publication with offices in Florida and Massachusetts CopyrightŠ, 2010. All rights Reserved.

Digital Art



Jonas De Ro, painter, photographer and great with traditional mediums as well, his work is beyond brilliant and has many fans flocking to his art waiting for him to release his next piece. I know you’re asking why we added him to our digital section of the magazine, the answer and solution to that can be seen in the work featured here‌all of them are digital art pieces. I always get excited when a jack of all trades joins the line up of artists in our issues, Jonas is no different. I want to present you with a chance to read about this artist in his own words, ladies and gentlemen‌ Jonas De Ro.



've had a passion for drawing ever since I was little. As soon as I had the opportunity (at age 15) I went to an art school where I did traditional drawing, painting and photography. My parents supported this since my grandfather was a succesful painter in Portugal. They have always believed that you can make a succesful career as an artist. However I don't feel that I've learned much in art school other than from just spending time doing it. I believe one can learn all the skills without a dedicated education by just practicing enough. The world is filled with inspiration and most techniques or tricks can be found on the internet. After graduating from high school I went to college where I studied Animation Film. This way I could learn about many different things beyond


drawing. Editing, sound design, character development, storytelling and many fields I had yet to explore. When making backgrounds for my graduation project I got more into digital painting and have loved it ever since. Now I mostly do it when I have spare time or if I'm suddenly inspired by something I see. I draw a lot of inspiration from concept art for games. The many talented matte- and speedpainters have teached me a lot, and make me realise I still have a lot to learn. I can't even begin to name all the great artists that have impressive work in this category, most of them can be found on dA. Another big influence is Hayao Miyazaki. I have seen every Ghibli Studio film ever made and the athmosphere they create is something that you can find traces



of in most of my work I think. There is a sense of nostalgy in Hayao's films that I can really identify with. Aside from that the fantasy elements he uses are usually very beautiful and creative. As a hobby I am also into urban exploration. Where I live there are lots of abandoned and decayed buildings such as castles or factories. I usually use elements of those kind of environments in my works as well. A sense of intrigue is what drives me. A part of me is hopelessy romantic, and it's this 'feeling' that motivates me to create my kind of works. I usually portray a higher level of beauty than reality would have. Even if an environment is damaged or decayed I still try to create that certain kind of beauty, mostly with color and light. It's hard to explain that particular feeling, but I'm positive that

people who like my work know what I'm talking about. I use a Wacom Intuos tablet and Photoshop CS5. Most works are painted inside Photoshop entirely as most artists nowadays do. I also use a Canon 5D MarkII for photography work. Many times my works are a combination of basic 3D shapes, digital painting texchniques and photographic elements from my own photography work. Usually I include textures in paintings, mostly ones I have made myself or downloaded from, the texture site I work for. (You can download my textures there and thousands more for free.) So far I've done texture photography in the United States, China, Mexico, India, Kenya, Marocco and other countries. Recently I have also


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started my own company called Ketchup Ninjas, which I am spending most of my time on now. We mostly shoot music videos and commercials. Because of all the work lately I've had less time to paint, however I've been able to do some mattepaintings for our videos now and then so that's definitly a good thing. Aside from everything painting remains my biggest passion and I still have a lot of progress to make in this field. Dereliction: For this work I first built the basic blocks in Google Sketchup, free and fast. When I've set the camera POV and field of view I render it out to a large 2D image. Then I bring it into photoshop to start paint-


ing. The render is just as a perspective guideline, I dont model any details. I like using extreme perspectives like you would have with a wide angle lens (17mm or so). First I split the sky from the city in seperate layers, that makes it easier to work with. Now I start importing textures and placing them on the blocks. To have them fit the perspective you simply use the free transform tool to skew them into place. Then paint the things that need to be removed or added. I used a lot of textures I made in Mumbai (or Bombay) of derelict houses and slums. At this point it's important to work with very low contrast otherwise the contrast is ruined once I started with the color grading. When all the textures are placed I split all the building blocks into layers to paint on them seperately. This is what takes the most time, painting details on the buildings, road, etc... Now I'm introducing a lot of colors that weren't there like bright blue and red. I really wanted to add blue to the rust colors, which at first may seem strange. The sky I just painted quickly by hand since I didn't want it to be over detailed. Now I have a more or less finished low contrast image. Adding light and color correction is the last step, which really doesn't take very long but adds all of the 'magic'. I basicly use a lot of graded layers and apply them with masks, I also use large brushes with the 'screen' or 'add' mode to draw in light. When that's done the work is finished. It usually takes between 4 and 10 hours to finish a piece.



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Through the years of art hunting in expensive galleries and various online caches I have come to understand that artists everywhere strive to have their audience feel a certain way. A piece of passionate artwork can easily move a crowd to tears in its masterful intensity and well-like depth; if the creator of that piece formed it to unleash that effect she/he has accomplished a goal and the piece served its purpose. I have ventured along the walls that hold these pieces, partook in sadness, joy, and the anger they so expertly erupted; in the end I often find myself swimming in the canvas of their ideals. Alvaro Pantoja Busch’s work is among those on the wall and as I stare at it a feeling of inexpressible excitement runs through my veins, like a sudden fall wind. While many pieces of art may give you this death defying shock some like Alvaro’s strap you into a neon green chair and launches you straight into a limitless wonderland. I

admit the first time I stumbled upon his work I immediately pointed to one of the adorable fuzzy creatures and demanded it in plushie form. There is no denying the cuteness of his characters and the message a lot of his pieces seem to carry is that of preserving Mother Nature. To get some insight to his beginnings we asked him how he started out in the arts and who are his favorite artists from today or yesteryear. “Since

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childhood I have had a strong interest in the world of drawing and art. This was further strengthened when I had to decide what to do with my life once out of school. I decided that my future would have to do with graphic design and this was what I studied. In college, I showed a world of possibilities, it was great. I love the work of Amanda Visell, Jeff Soto, Gary Baseman, Kathie Olivas and Brandt Peters.� I have noticed that a lot of people who feel the tug to create art pieces turn out to be awesome graphic designers they are resourceful and have the greatest ideas for the overall look of the webpage or logo their drafting; on the flipside most artists turned graphic designs wish that they could live as a fulltime freelancer in their desired craft. Deciding on the best


refere the chi the chi world is without


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choice is a tug of wills on what makes money and what the person loves, and sometimes it can be extremely stressful. So what is his main motivation for creating art? What could be the driving force or vision behind each colorful piece? “My main reference is the children, the children's world is a world without limits. We can create an infinite number of elements and characters without losing the essence. This motivates me to keep going. This world can amaze adults and children, it is a crosscutting, we all have some of the children inside and it is some-

main ence is ildren, ildren's a world t limits.�

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thing we should not lose.” While we are given mystifying, mind boggling mathematical equation some pieces of art in Alvaro’s and enough the child in us. I playing art that makes you t love many styles of art, but I can all agree that there is a templation, and then there carefree laughter and enjoym uated as a graphic designe He goes on to say “I work years, mainly in the world sign. This is not somethin sionate about but one another, this gave me gre ence in dealing with cu Then a little tired of thi began to make illustrat personal interest as a ho to lose the soul work projects that were not liking. Suddenly these trations began to open to get jobs that were fun. Now I am dedica children's illustration art direction for mo graphics. It's somet that keeps me happy; I'm doing w I love.” Is there tr


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ns in we can relax am not downthink at all, I think that we time for conis a time for ment. “I grader in 2005.� ked about 4 of web deng I'm pase way or eat experiustomers. is work I tions for obby, not king on t to my e illusn doors e more ated to n and otion thing very what ruly

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“Since childhood I have had a strong interest in the world of drawing and art. This was further strengthened when I had to decide what to do with my life once out of school” anything better than that? He makes people happy and he himself is glad to be right where he is, doing what he’s doing. Alvaro was gracious enough to share how he works on a piece with us “My work process works as follows: First I make hand sketches on paper. - Then I drawing in vector format in plain colors. - And finally I take each item separately and I give life in photoshop using textures, lights and shadows.” I know you guys have loved seeing Alvaro’s work and to see more of his art pieces or to contact him for some freelance work visit this website:

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There are some artists who don’t need an introduction and giving them one would water down the purpose of their art and the perception that they are aiming to achieve. So with this in mind I would like to call forth Marianna Stelmach’s intense artistry, this digital artist born in Warsaw, Poland is the most adept and level headed person anyone would ever hope to come across. Her profound work is both raw and captivatingly mystifying with elements that deal with personal struggle and universal brilliance, if you are ever able to detach your eyes from her work you will find yourself wanting to spend the night under the cloak of stars. We are honored to have her work along side the other great artists in the fourth issue of WalkingBlind. I asked Marianna about her beginnings in the arts. “I have drawn for fun since I was a kid, but I have had a negative approach to the art schools. In my point of view teachers deprive students of their individuality and impose their own styles. As a result, I have trained in other fields, and drawing remained as one of my hobbies. Unfortunately, I drew sporadically (using a traditional method) or sometimes never at all. I did not show my works to anyone because I did not want to be limited by the requirements of the recipient. I wanted to draw what I like without worrying whether anyone would like my picture or not. Thanks to some dear people, I began to draw on the tablet (about 1.5-2 years ago)

One day it will have to be officially admitted that what we have christened reality is an even greater illusion than the world of dreams. -Salvador Dali

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and somehow I stopped hiding my work.” I am glad that Marianna expressed herself in this question because there are many artists and people with various skills in the world that choose not to unviel their work for the populace to see. Whether it be shyness or the unwillingness to have certain talents to be criticized; she puts it perfectly ‘limited by the requirements of the recipient’. Everyone seems to have in mind what another person’s work should look like or appear to be, when a criticizer releases those requirements then she/he can understand and appreciate the work before them. “Drawing allows me to relax, calm down and make things right.” She says “This is the main motivation for me. It is also important that the fleeting visions can transform into something tangible. I do not like to draw something that exists. Instead, I like to show what only I can see – things from my head – it brings to me a great satisfaction.” Marianna mentions the need to materialize her artistic visions, and I believe that doing so is one of the hardest things for an artist. All the money, art schools, and supply stores in the world can’t prod a person into forming what is in their mind onto a screen or a piece of paper; because of this artists and writers alike find themselves escaping to cabins, lofts, and other places of inspiration. The training of one’s mind to release a myriad of focused imaginative thought resulting in a tactile experience for the viewer is something not many professionals can do well. That’s a great thing to keep in mind whenever your struggling with the pictures in your head next time. “The equipment I use are Pentagram Tablet and Photoshop. I do not take part in competitions, so I did not have opportunities to win. My education is not associated with the 31 Walkingblind Magazine

drawing - I graduated from High School of Arts and Crafts (specialty jewelry), and studied sociology and currently I am studying physical therapy. I frequently draw visions that appear in my head before bedtime. These are images associated with specific thoughts or detached from consciousness - as if created out of nowhere. Personality Salesman was created by my thoughts on human hypocrisy, lack of freedom of opinion. I do not draw for aesthetic reasons, so that there was something nice and pleasant to perceive. I like the work that trigger emotions in me.” Again the versatility of an artist is shown by the many things this one is currently doing, I can not expressed how thrilled I get when I see doctors, lawyers, stay at home mothers, and students who are artists as well; it shows us that atristry isn’t a rich or poor thing, and it doesn’t care about race …it is for the people. The various artists that she likes Z. Beksinski, J. Yerka, T. Burton, HR Giger, and M. Ryden are also versatile with jobs as directors, surrealist painters, sculptors, set designers and more. Marianna Stelmach says “Drawing has always come to me naturally. I have drawn since I remember.” We at WalkingBlind hopes that she continues to pursue her passions and if you wish to follow this artist here is her link:

The desire to survive and the fear of death are artistic sentiments. - Salvador Dali

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Magazine Walkingblind Walkingblind Magazine

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When was it that you first discovered that you loved art? What inspired you to be an artist? Tell us the story. I remember myself being a small child with 3 or 4 years and drawing with markers in a sketchbook, something very normal, but what I remember is me drawing Frankenstein, Dracula, werewolves, aliens and other creatures much more difficult to... understand. For me, personally, the question is not why I draw but why I drew


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monsters and aliens when I was a small child, why I was so morbid being a child, wanting to enter to the dusty secret tunnels in the walls of the ancient castle of my childhood town looking for ghosts. Every person have something thy find "easy to do", for me one of those things was to draw, but not to draw everything, I always drew monsters and weird things, and in that time I always drew with fear to try new things, to improve. Then when I became young I only thought in sex, drugs and music, I didn't know what to do with my life and I began to study art cause I thought it could be fun. I wasted a couple of years with my younger life but at the end art passionately joined my life and I took it seriously. I began to study graphic design when the schools I attended first introduced computers, but at first only the architects had digitizer tablets. After that I studied illustration and I found I was very happy doing that. More than ever though, the problem was ... the teachers didn't teach us anything, they would only stand there and say "This is the theme, this is the technique you have to learn to use, buy some materials, you have 2 weeks to do the work," and that was it. They always had parties in the teacher’s room, but not passion to teach. In that way I'm totally self taught, cause I went to the classes just to offer my finished works and to do the exams, I spent all my time at home, and at the end, I discovered they didn't teach us "real painting". In that epoch the schools here didn't have tablets, we

didn't study digital painting but also we didn't study acrylics, or oils, for example. I finished it without a good taste in my heart's mouth, and I decided to enclose myself in a house with acrylics and to learn to paint by myself, I found I was good with acrylics and felt in love with them, and I spent 2 years doing that. I painted lots of surreal/dark big size canvas and worked as portrait artist,

graphic designer and traditional illustrator. Finally I discovered the digital painting and I felt in love again... until present. What is your method, or personal style of creating artistic work? I see that your into dark surrealism and I wonder what is it that took you to this place.

I usually use improvisation, I know I have to think a bit more or maybe sketch a bit before I start something serious, but what I enjoy is to throw myself into a moment. I start something, I like it and I decide to finish it, that's all. For that reason I have more than 500 works in so many different styles and tendencies. I know it's not good for me professionally, but I paint for pleasure. I cannot avoid doing what I want to do in a moment, not what would be better for me. It's one of my handicaps. But for that reason if I have to say "why I do what I do" I’d have to say it's in me, it's unconscious. I usually start things without knowing what the hell I’m doing and what it will be... and I love it. I think that kind of way creates a pattern, and when I do something not improvised I have a line of dark weirdness embracing me. I live in the night every day, in the night you see not so many colors, and in the lonely night you also walk the edge of craziness. I'm still being a child, an old Walkingblind Magazine


child, drawing dream monsters for pleasure. What are the driving forces that stir your art and who or what are the influences that have left a good impression on it whether it be people are your surrounding The driving force should be some kind of dynamic and sculpt-able daily inertia, as I said, pure self-indulgence. My influences are millions as in every person, I could start to expound but I need an encyclopedia, and neither my influences nor I are so important that I would need to expend so many words.

What is the overall process of making one of your pieces from your mind to completion? It may change a lot depending of many things. I usually sit my ass in front of my Wacom, and start to sketch in lines, begin with flat shapes, or work in grayscale in order to add the color later, or start to work with colors directly; I could be clean or dirty, quick or slow. I adapt my way and style to what I want to do. Most of my works are 70% to 80% pure digital pencil, 20% airbrush and a final fixing of texturization with my own custom brushes. What do you think of the way art is perceived in today's age? How do you as an artist support art awareness? To say "art" in today's age is how to say "world" in today's age. The world would be viewed as a unique and compact small point if you are an alien living 1.000.000 light years far away from here, but for me, cause I live inside the world, it's a infinite and complex universe. "Art world" today is like that, there are mil-


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lions of things that do not have nothing to be between them, and all of them are art; millions of islands of many sizes, forms, weather, philosophy, finality, dynamics... all of them in a vast ocean of islands, the art ocean. Somebody in an island could think that only the things of his island are "art" and the others don't. There are many islands and many opinions and does not matter, the ocean of art still being vast and free flowing. I just try to survive in my small artistic island, trying to respect the other arts and artists as much as possible, enjoying every piece of art of any kind that I like and trying to learn to live under the philosophy of "what the others think does not concern me, I should learn all that I can, and do all that I enjoy" Lastly, Where do you see your art going in the future? What are your plans? I have some publications waiting and some personal projects that I’m working on, a nice list of commissions and an everyday wasting time improvising things but what I really desire is to draw a door in the air, to open it and to disappear in the infinitude of the other side, flying free forever. After such a great interview I’m sure you’d love to see more of this dark surrealist’s work so follow him visit his website: Walkingblind Magazine


Traditional Art

Natalia Pierandrei


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was born in Italy where I have lived for most of my life and where I currently work as part-time illustrator. Starting at my earliest memories, I have always had a passion for art. Fed on a diet of cult TV, fairy tales and comic books I inexorably followed the path of imaginative art. Having not a formal artistic training has made my work a collage of styles and influences: Art Nouveau, European graphic novels, gothic and fantasy themes and a strong influence from Japanese anime and manga. I love traveling, I lived in Japan when I was a University student and this experience affected me and my art enormously. I love mangas! I began working as freelance commissioned illustrator few years ago and my work has appeared on several books and magazines. I enjoy the challenge of being a freelance as no two projects are the same and every day unlike the one before. My working technique includes mainly markers, pencils and watercolors with a painting style that often mix all these techniques together. Illustration is always my favorite pursuit and my ambition is to concentrate on this full time, sooner or later. A lot of artists talk about how they started in the arts and the spark that drove them, whether it be a random book or the work of the great masters, so how did you get in to the arts?



I had millions of influences in the beginning. I just bit from what I saw and what I liked and it took a moment to get my own style.

Ever since a very young age I have had a passion for drawing and art. I started by pure instinct. My interest in illustration and comic books, on the other hand, developed later on, once I became much more conscious about my possibilities as professional illustrator. And I mean that happened few years ago. Awesome! Discovering your passion at a young age is brilliant, it gives you so much time to devote and learn where you stand artistically. .


Asyouknowtherearemanyawesomeartists aroundtheworldwhohavesucceededinestablishingthemselvesintheartbusiness,who in the arts do you look up to? And what were your major influences in your unique style?

I find all of your influences very interesting because their varied, but you seem to have taken special parts from each one and created your own style, which must have been difficult. I admire your determination to peruse this craft as you know it isn’t an easy road. . .

I had millions of influences in the beginning. I just bit from what I saw and what I liked and it took a moment to get my own style. I guess it is for everybody the same way. I like fantasy illustrators as for example John Howe and Charles Vess. My artwork style is definitely influenced by manga and anime, although the final work I don’t think can be classified simply as ‘manga’ art.

What is your motivational drive to make one of your traditional pieces or the totality of the artistic vision that stirs you?

it and whenever I have an idea for a scene, an illustration I want to create, I doodle, sketch, write or paste whatever inspires me into it. Life is amazing, you can have a sudden brainwave when you least expect it and of course, motivations to create something beautiful! I love collecting great ideas and that is defiantly one of them! Many artists find themselves in places where they can’t take a tower of paints or their personal computer; in these cases a small drawing book would be best. What art supplies do you use, and what is your educational background? I am a traditional illustrator, I use predominately markers with a painting style that often utilizes mixed techniques like watercolors, colored pencils or soft-chalkpastels. I don’t have any art school experience but I liked to draw. I completed my university studies in Far East Cultures and


I have a lot of motivations to make illustrations and many different approaches. Almost anything, anywhere at any time can inspire me to create a piece of art. I am keeping a sketchbook that it is a sort of personal diary, I always carry


Languages with a specialization in International Trade because I thought art was not my forte, but at the same time I was collaborating with some school magazines as illustrator and drawing comic stories. I also studied History of Art and I loved being involved in discussion about public art and illustration. It was during those years that I started joining online art communities like Elfwood or Deviantart and I realized my passion for illustration and comic books could have been something more than just a hobby. I like your technique when you draw; I personally haven’t seen one like it so when I learned what medium you used I was delighted to get to ask you about them. It is very cool to see artists going after their goals I am a big supporter of people who push themselves to the limit in order to grasp what they desire. I am glad that you saw your passion and have now fully embraced it. Could you describe how you came to make one of the images we would like to feature?

My drawing/painting process is almost the same for all the pieces I make. First, I start researching any imagery if needed such as cultural things or anything specific. I use the internet, books, pictures. I also have a scrap file of color magazine

photos that I use for ideas and suggestions. I use this information to produce sketches working out any characters and compositions and so on. I start with small thumbnail sketches in marker or pencil. I don’t use models but I often take photos I can use as reference especially for buildings or anything related with architecture. People often ask me how I get my ideas. I don’t work magic. Ideas actually come from thorough research! I pick up a thumbnail sketch I like and go to pencil sketches. Usually my full page illustration originals are about 24x33 cm or 29x42 cm. Sometimes they are larger. I trace the sketch with pencil or ink onto the paper. Then color with markers, colored pencils and soft pastels, mainly. I scan the drawing in - I use a normal format scanner, I scan in 2-4 ways - and it’s done! Wow, quite a process I am very happy to have gotten a chance to talk to you Natalia. I know that you’ll continue to prosper and advance in the arts as I can see your passion and drive in your words. If you all would like to check out Natalia’s amazing work follow the provided link to her website: 45



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id you ever run into one of those people that have been everywhere and done just about everything? If you haven’t … now you have. Meet Bob Giadrosic the “been everywhere done everything and still doing more” guy who happens to be an outstanding artist currently hanging out in Middle Kingdom China. Bob’s work is unique, with a style that stands out and grabs your attention instantly as it did ours. We asked Bob how he got into the arts and found he had a lot to say, but you’d expect that from a guy who’s been everywhere and done just about everything wouldn’t you? Walkingblind Magazine


How did you get in to the arts? In the mid '80's, I made the switch from a long career in radio to art full time. I traveled to Science-Fiction and Fantasy conventions throughout the Southern U.S., entering my work into art shows and putting my portfolio before Art Editors and other artists. This let me hearing true critiques of my work, and then I would go back home and iron out the deficiencies in my art. While trying to break into gaming illustration, I supported myself doing local graphic design, and even worked for 5 years as an Art Director creating outdoor advertising in Atlanta. After 2 years of attending shows, sending off portfolios, and “learning the business,” my first professional published job came with TSR in late 1987, and in the years that followed, I worked for every major (and plenty of minor) gaming company out there, creating thousands of interior illustrations. I've also done 51 Walkingblind Magazine

books, cards, CD's, magazines, posters, and T-shirts. In 1989, I started my own publishing venture called Sharayah Press for fine art prints of my work, as well as cards, books, calendars and textiles. While still maintaining a busy illustration schedule, I was able to move into the area of “fine art” through the prints and originals. In 1991 (along with fellow artists Chris Appel and Mark Poole) I established Gotland Gallery at the Georgia Renaissance Fair, which we operated for ten years. During this time, I talked with literally thousands of people, finding out what they liked, what they bought, what they didn't like, and what they looked at in regards to art! Currently, I produce pretty much what I want, although I still do illustration now and again. An example was when poet Alex Ness asked me to art direct and design his 2007 book “A Life of Ravens,” where I provided over 45 interior inks for his poems. Twenty-six other artists were involved, and the project took over a year to complete! Early in 2010, I moved to Changsha, China, to study traditional Chinese ink painting and watercolor. One goal is to try and establish a hybrid style involving traditional techniques with a fantasy undertone or theme, while another goal is to master Chinese calligraphy. Who in the arts were your major influences? This is a tough question, because there are so many talented artists out their whose work I love and admire. As for citing influences, it really depends on what I'm trying to achieve in a current image at the

moment, and so I'll turn to different artists for inspiration and to study the way they have handled a similar challenge. In my mind, I really don't draw that great of a distinction between “inspired by” and “influence,” because I believe the two go hand-in-hand. That being said, one can see a definite influence in my work from the following list of artists in one degree or another, such as Franklin Booth, Barry Windsor-Smith, and Bernie Wrightson, but it could just as easily include R. G. Krenkel, Al Williamson and William Stout. As for inspiration, when I paint, I love to look at work by Jeff Jones, Maxfield Parrish, Larry Elmore and Keith Parkinson, but I dare not leave out the Wyeths (all three) or Frank Frazetta. The list, of course, could go on; from Brian Froud,

Alan Lee, Alphonse Mucha, and Jim Fitzpatrick, to Roger Dean, Charles Vess, and Tim Bradstreet (for his wonderful graphic sense and maximum blacks!). Since moving to China, I've been studying the work of traditional Chinese ink painters, and have found a whole other galaxy of artists whose influence will “show up” in little bits and pieces in my images sometime in the future. The experience has been both humbling and exhilarating as I encounter the work of master artists who ink 3x5 foot images! What is your motivation to make an image or the totality of the artistic vision that drives you? At first, pure and simply, money. Let's be honest; an artist has to eat, just like anyone else, and I've found that hunger is a great motivation! The other answer is not so easy to nail down, because it has changed over the course of my career. When I first started, the motivation was to get published. After that, it became being able to work in other venues (book as opposed to gaming illustration). When that was done, I wanted to move into fine arts, which is where I'm at now. The underlying theme, if you will, that has been evident throughout is my desire to be the best I can be at what I do. I've always approached my art with one thought in mind, and that is, my signature goes at the bottom of every image I create, regardless of the product it appears in, so I've never considered pay rate vs. hours spent. People who see the piece wouldn't care how much I was paid, only whether the image knocks their socks off! Success has a price, and sometimes that price is mediocrity as one is swamped by deadlines and the drive to succeed means taking on more and more work. Corners are cut, techniques are simplified, and vision is compromised. It happens. I know, because Walkingblind Magazine


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I've done it a few times, but after seeing that same work in print I promised myself to never do it again! At the end of the day, when the image is finished and the name goes on, if I truly know that I've done my absolute best, I'm satisfied. What equipment do you use, have you won any awards and what is your educational background? For the majority of my work, I use brush (10/0 to #2) a bottle of ink, and a crow-(or hawk-) quill. I'm not a complicated guy! Sometimes I'll do an experimental piece and use whatever I feel is right, such as finger tips, a toothbrush, cloth, sponge, or a combination of traditional and digital applications. When I apply color, I prefer to use water-dyes (Dr. Martin or Windsor-Newton) and Prisma Color pencils. Digitally, I'll use Photo Shop, although I don't consider myself a digital artist (primarily using color over traditional inks). I do enjoy oil painting, as this allows me to work big, as in feet, not inches. When those times arise, I like Windsor-Newton oils. Now, in regards to awards and accolades, after doing this for over 20 years, I really don't remember. I know there have been some Best of Shows, Best Fantasy, Best Monochrome, and at one show I think my display won a Best Body of Work. Three of my pieces have won Daily Deviations at the website, DeviantART, of which I've been a member of for 5 years. Somewhere down the line, one of my pieces was nominated for ASFA's Chesley in the Unpublished Work category. When all is said and done, I'm an inker. It's what I do. Ink isn't flashy. It's not usually big, so it doesn't attract lots of attention. It's ink. After brief forays into color, whether with dyes, digital, watercolors, or oils, I always return to the ink. As a selftaught artist, I feel that I have to constantly expose myself to different techniques and styles. I enjoy seeing what other people are creating, and the way

they reconcile medium vs. style. I'm a huge purveyor of art! I love to look at it, and I love to dissect it! Part of my education in the early years was to read about the history of art, from neolithic cave drawings to the present day; all the phases, movements, and reactions that created new movements. I continue to study to this day, in observation, in reading, and of course, by practicing. Could you describe how you came to make one of the images we are featuring? Sometimes, in the process of creation, an image just clicks. At other times, you know what you want to say, but have to go the long way around to say it. With “Garland,” it was a case of the former, and a little bit of the latter. I mentioned artist influences, but I'm also greatly inspired by music. When I draw or paint, I love to listen to music which relates to the image. It helps me to “set the mood,” as it were. Most of the music that I listen to is Celtic or World Music, meaning it is primarily folk music from different parts of the world. Another favorite is Classical

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and “The Mummer's Dance,” an image started to form itself in my mind. The season was Autumn, the color scheme mono-chromatic, the subject seen from the back, leaving everything behind her. Some people, when they know the background, are a little confused by the image. Who is the person in the picture? It is, in fact, me, walking away and not looking back. The future, like so many futures, is enshrouded in mist. It remains uncertain. That being said, I know quite clearly who and what I am, but I often use women (mainly 'cause I like to draw the female over the male form) in my images as allegory. When people ask me about my work, I often say that the piece I am working on is just practice for the next, and that is because I am always thinking of how I can use the piece in another medium. I would love to paint this image in oils one day; to take it to the next level! It's a very simple image, but at that point in time, said what I wanted to say.

Barry Windor-Smith, being a primary artistic influence, led to the discovery of the Pre-Raphaelite Brotherhood (Dante Gabriel Rossetti, William Holman-Hunt, and John Everett Millais), who painted in highly symbolic language. At this point, a bit of personal history is in order. In December of 2007 I got a divorce, after being married for 22 years. After that length of time, it is better to quote an old saying: “There are three sides to every story, being yours, mine, and the truth.” 'Nuff said. But, part of the creative process is expression, and I wanted to create a piece which recorded the event, and helped me bring closure in my own life. Thus, “Garland” was born. It was the first piece I created in 2008. One of my favorite musicians is Loreena McKennitt. While listening to her songs “All Souls Night” 55 Walkingblind Magazine

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hen I say that our next artist’s work will make your heart stop with the potency of her art, I am not lying. There is always the drive in an artist to make their viewers feel something, sometimes anything, when they observe their work. Christiane Vleugels has achieved that something, and went beyond the anything. I had the pleasure of interviewing Christiane and through it I obtained a better understanding of her work as a whole so here you are: Sothebiggestquestionishow did you find yourself getting intothearts?Ever since I was able to hold a pencil I was drawing. My mother used to tell me that when I was in kindergarten, I was allowed to make drawings on the school board to congratulate the birthday children of that month. So I guess you could say I had an early start. When I was twelve years old, my parents subscribed me to follow a five year drawing class in our home town academy. These were evening lessons. At the age of seventeen I went to the city of Antwerp and enjoyed three years


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of education at Sisa, where I devoted myself to decor, publicity and nature drawings. After successfully completing those years, I proudly enrolled myself into the Royal Academy of Antwerp where I would follow two years of life drawing and familiarizing myself further with the techniques of oil on canvas. Whoorwhatwasitthatinfluenced your artic journey the most?  As a teenager I fell in love with the drawings and paintings by the Russian artist Boris Vallejo. I made a few reproductions from his work, which was a great learning process for me. Here I was able to learn how to paint soft blended skin tones. Because of course, at the academy we learned how to paint with vivid large brushstrokes, it never appealed to me. So it was very important for me to learn from other artist’s how to paint more accurately. Bougeraux and Waterhouse, were also a few of many favorites. What is your motivation to makeanimageorthetotality oftheartisticvisionthatdrives you Ever since I went to art

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school I collected adverts with beautiful portraits, sceneries and fabrics. After more then 10 years of collecting, I guess you could say I had a large collection of documentary! So when I needed inspiration for a painting I dived into my collection and used fragments of different images to create a whole. That worked for quit some time, until I thought it was important to create artworks from the


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heart; make them more personal. So when my daughters agreed in posing for me, I used them to model for many new artworks. Today, I still use my daughters but wouldn’t mind working with models. That is why I am very grateful for stock photographers on DeviantArt, who provide heaps of material!!! I usually have an idea in mind for a new artwork but once I get started with the actual

painting, the work takes over and starts leading a life of its own; it grows as I go along. Yourpaintingsaresoamazing; I wonder what equipment do youuse?Alsohaveyouwonany awardsforyourart,andwhat wasyourartisticjourney? I always create a design on paper before working the canvas. Once that is to my satisfaction I start the preparation on canvas in acrylics. Once I get the colors and the mood

right, I finish the artwork in oil. Rewards? I never participated in any contests of meaning and the one I did enter, I didn’t win. In 1986 I married my first husband and moved to the city of Keulen, Germany. Here I would stay for six years. The last two years of my stay, my work was constantly on display at the renowned ‘Gallerie des beaux Arts’ from there on,

some of my work even reached Egypt and Liverpool. Alas when I returned to Belgium,

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many years followed in which I was forced to take on numberless commissions, many of them reproductions. When I look back at those tiresome years, during which I often felt myself under incredible pressure and even, at times, uninspired, I realize they were a necessary part of my artistic journey. However, it wasn’t long until I could no longer repress the urge to create my own work. To paint all those images and ideas that spontaneously sprouted in my heart. Finally! The time was there to take new directions in life and find myself again in my art. Looking back, life turns out to be a continuous learning process in which I’ve searched for my way and eventually I got lucky enough to find it. Canyoudescribehow youcametomakeone ofthepieceswe’re featuring? EUNUCH : When I was going through this


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health magazine , sitting in my doctor’s waiting room, I suddenly felt drawn to this image of a muscled man. The whole pose made me feel kind of strange inside. I guess you could say I immediately felt there was a story behind this pose. I tore the page from the magazine and once I got home I cut the man from the page and started working on the idea. In every religion there are some crazy things going on. So I felt that this was my message. The Eunuch may be mutilated, you can cut a part from his body, but you cannot cut away his feelings. In EUNUCH II, I wanted to display the freedom of his mind. Thank you so much Christiane for allowing us this opportunity we wish you the best with everything you do. I know that after reading about her you are anxious to see more of her work, so become a fan and visit her site:

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When power leads man toward arrogance, poetry reminds him of his limitations. When power narrows the area of man's concern, poetry reminds him of the richness and diversity of existence. When power corrupts, poetry cleanses. -John F. Kennedy

The Gardener Deep in a depression somewhere, Lives an old gardener of sorts, Tending a forgotten rose bed, No longer filled with scented thoughts. In the growing light of morning, Should you happen to pass his way, You will find him watching the Dawn, Steal yet another yesterday. Then when his tears are said and done, He may well sing an earthy song, As he goes about his labours, Weeding out dreams that don't belong. Should you decide to stay awhile, He won't notice you're there at first, He'll be too busy counting thorns, A task in which he's well rehearsed. Even if he were to realise, He'd probably leave you alone, For he knows better than any, The effect silence has on bones. How the quiet of solitude, Can leave you rooted to the spot, When the world moves on without you, Tired of playing ready or not. Copyright Š 2010 Ned Holmes


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Teatime I know, I know, The wallpaper is starting To peel away. Rising damp, Or dry rot, They are not sure which, But it would appear That the defenses Have been breached my dear; There's nothing To be done. No, I'm not worried, Too late in the day For worry, And well, who knows, There might just be A hidden something lurking Beneath all of that garish Flora and fauna That's wilting In despair. A little something Plain and simple; Easy on the eye; Easy on the mind. After all, Brazen and bold soon becomes Tired and old When everyone starts doing it; Don't you think?

There goes another piece, Curling back at the edges With a delicate slow Lethargy; Teasing the air with Indecision. I'm sorry, please do forgive me, I'm rambling again aren't I? Here, let me help you with that, There, Is that better? Good. Now, would you like a cup of tea? Nothing quite like a cup of tea At times like these; Drink of the Gods; Or so they say. I guess You'll be able to tell me If that's the truth or not soon Won’t you? But for the now, How would you like it? Black or White; Sweet or not? Or just simply However it comes? Copyright Š 2010 Ned Holmes

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Ned Holmes My love of words comes from a childhood spent reading books, books, and more books. I guess I inherited my mother's passion for reading, and I'm certainly glad I did, because I would not be where, or who I am now, had I not. I wrote my first poem at the age of fourteen. It was for an under-sixteens poetry competition in a regional publication. I don't remember exactly what I wrote, but I do remember that I intended to write a flowing masterpiece. Despite my good intentions, I ended up writing a metaphorical mish-mash. Needless to say I didn't win, but the poem was published with an honorable mention, and my interest in poetry was kindled. Since then I have tried my hand at writing prose, and I even had a spell as a freelance journalist for awhile, but I always come back to writing poetry. For me personally, no other form of writing offers the same freedom of expression, and that to me, is what writing is all about. When it comes to writing poetry, I am more often than not inspired by combinations of a few words, or a certain turn of phrase. Teatime was inspired by the thought of peeling wallpaper, and The Gardener was formed from its opening line. My poems tend to ramble about in my mind for a day or two, and when they are ready they appear, they do, seemingly of their own accord. To be honest I find it difficult to explain, I suppose it’s just the way my mind works, and I don’t question it too much, in case it stops working.


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Yesterday Girl Almost six o'clock checked for names in cracked pavement underfoot, flat headlights vanishing Westward while nearby June seventeenth won't go dusking beneath lime trees anymore on her commute to Berlin. In only a few hours this moment will happen again several thousand miles to the West, where somewhere lovers eye burning skies somehow romantically unobsessed with time. She wants to feel like future sight but knows this is only looking backwards at the sunlight melting East dripped through tattered suitcase seams beyond the barbed-wire backyard fence. Earthly measures are left-to-right and this moment translates across evening borders, waltzing towards Paris she hears dusty sleep saying goodbye to yesterday. 12/10/2010, Holdaway.

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A Home for a Home Old man Vaile happened to see with fading sight the university closing in and he grumbled like it was nobody's business to learn from his life. Main street house he owned filled the space between biology labs and the choral hall with a mustard yellow collage of balconies, banisters and ornate wood. He then called off his eyes to become a subway ghost, still taught their learning faculty a sonorous thing or two about hope for the soul and left. All he ever wanted was home but didn't belong there so it came down, sculpted a lonely tunnel under the street in song to the art school and left a small brass plaque to let us know where he'd gone. 19/09/2010, Holdaway.


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Chris Holdaway I am a graduate student in Linguistics at the University of Auckland in New Zealand, studying generative grammar. Just as much as self-expression, writing is a way to experiment with the interesting things I find out about language structure and syntax. I like to play on reasons why certain phrases and strings of words might be structurally ambiguous or technically ungrammatical but nonetheless still might mean something to us. For many years I used deviantART to publish my works – and to some degree still do – but lately I have moved to my own Tumblr based page in order to have more control over the presentation. You can look me up at either of these two locations: I try to write about small things; insignificant scenes from unknown films, mysterious plaques on derelict buildings. Yesterday Girl was inspired by the German film Die Abschied von Gestern (1966) by Alexander Kluge, and a fleeting moment of emotion on the actress’ face (the director’s sister Alexandra Kluge). I tried to build up a story around what she was feeling at the time. A Home for a Home was prompted by a dedication plaque inside an underground tunnel connecting two parts of the University, reading “This subway was dedicated to the ghost of Vaile on the principle of a home for a home.” Apparently the house of a grumpy old man was demolished to build the tunnel, so I took to imagining how it all might have happened.

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Selena Hallahan

Thicker Than Water


had stripped the messenger’s outfit and changed into his working clothes. The mottled grey and black didn’t make him invisible, but down here in the dark, he was as good as. He shrank back against the wall as the light ahead stopped again, becoming brighter as the man turned around. Trapper could imagine the man peering short-sightedly into the darkness with paranoid eyes. He had reason to be paranoid.

Trapper started forward, silently cursing the squelching, slurping sounds his legs made as he waded through the knee deep slime. He kept his eyes fixed on the little flicker of light ahead. The man – Trapper knew neither his name nor his sin – was moving forward still. He stopped every now and again, no doubt checking the markings on the walls against some map or chart that guided him through the labyrinth of tunnels. Trapper knew these tunnels like the back of his hand. His master had taught him down here, and left him here alone. Alone, in the dark. It had been learn or die then. He needed no light to find his way; a hand trailed against the slick, slimy walls was enough. He was catching up with the man. He had waited topside for a couple of minutes before entering the tunnels, allowing the man a slight head start. While waiting, he

The stench of the sewers clung at the inside of Trapper’s nose and mouth. He swallowed hard, fighting the gag reflex, as he remained plastered against the wall. He was perfectly still. This was his last job as an apprentice. If he succeeded here, he would become that which he had always dreamed of becoming; a Borrower. If he failed... if he failed, there were two options left to him. The first, the one he hoped for, was that he would be welcomed back as an apprentice for another year, or until he had completed this run, or one like it. The other option saw him banished from the guild, left to work as a lowly assassin or mercenary. A failed Borrower got nearly as many jobs as a guild member – from those who couldn’t pay the exorbitant fees a Borrower charged, or who didn’t want their job running through the Borrowers grapevine – but that was what they were always. A failure. Second class. Sneered at by their clients and customers alike. Judging by how furious Trapper had been making his master, this second option seemed the more likely were he to fail. The light ahead continued onwards. Trapper was beginning to catch up to the man; his slow, steady pace was more than was needed, what with all the stops the man kept making. He trailed a hand across the arm which bore the embroidery of his station; one arm length of silver thread, an apprentice. After tonight, both arms would bear the thread, as a mark of suc-

rapper dropped gently from the broken, rusted end of the ladder into the sludge below. He froze, half crouched, a hand fixed on the dagger hilt at his belt. Up ahead, a dim yellow light flickered, defining rather than alleviating the darkness. The man holding the light was what interested Trapper. Following the man across the city had been easy; a threadbare, dirty messenger’s uniform had helped him blend into the crowd and he had been careful to take a winding, roundabout route that only slightly followed the man’s trail, a route that meant he was rarely directly behind the man, where paranoid eyes could pick him out for what he was, but a route which led him to the same place that the man was headed; this sewer.

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cess. The gentle slush of the liquid around his knees seemed to echo in the tunnel as he moved ever closer to the man. To be a Borrower... it had been Trapper’s dream since childhood; a way of getting off the streets, of winning riches and a title that would cause all others to bow to him. Even the king was afraid of the Borrowers; he knew the only reason there was no contract taken out on him was that the risks were too great and, therefore, the price too high. The Borrowers were the elite. Named after their peculiar religious belief in reincarnation, the Borrowers believed that though a man could take a life, that life could not be kept. Almost before the man had taken it, it had flown to another being and was brought back into life. Hence, the Borrowers could only borrow life, taking it from one before it was passed on to another. The man stopped again. Trapper was so close to him, he could hear his muttered curses. He was murmuring to himself about rats. Trapper grinned. He was a rat, alright. Just not the mostly harmless kind usually found in the sewers. The faint light from the man’s guttering candle outlined enough details for Trapper to know where he was. Here, the tunnel split into two. The man was trying to decide if he should turn left or right. Now was the time. A couple of swift steps forward brought Trapper to the man’s back. He didn’t turn, but flinched uncomfortably, shuddering as the ripples in the liquid hit against his legs. In one smooth, sure movement, Trapper pulled the dagger – so small as to be almost comical, it was of the cheap, poor quality, disposable kind his master liked to call ‘butter knives’ - from his belt and stuck it into the man’s kidney. At the same time, his other hand clamped over the man’s 79

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mouth, smothering the yelp of pain and shock that tried to escape. Not that it would have mattered. There was no one to hear the man’s cries other than the two of them and the rats. Trapper caught the man’s weight as he fell backwards and withdrew the butter knife. With a sweeping movement, he brought it around the man’s neck. Both arteries and the windpipe were slit. He dropped the man to the sludge, holding him against the current with one hand as the man gurgled his last few breaths out of the gaping hole in his throat. With his other hand, Trapper dug inside his shirt, extracting from it a wrapped message. It was encased in waterproof oilskin, to protect against water, blood, and the other liquids in the sewers. What it said, Trapper knew not. Nor did he care. This was his job, and in it, it didn’t pay to be curious. A warning of some kind, no doubt. He still held the gory, dripping butter knife. Wedging the corpse against a jutting out tile, he pierced the oilskin parcel with the butter knife, and jabbed it into the dead heart of the man. One last step; Trapper carefully rotated the body so it was pointed feet first down one branch of the tunnel, and let the current take it.....Job done.

Bio: Selena Hallahan is an eighteen-year-old student originally from Dublin, Ireland, though she is now attending University in Edinburgh, Scotland. She is studying Forensic Biology ‘ostensibly so I can work as a scientist, but really so I learn the knowledge needed to write as a crime fiction novelist.’ Reading too much fantasy and horror has given her writing a gory side that delights and horrifies her. Constant daydreaming about current writings ends in over-long stories, and obsessions with her characters ends in a romantic sideline to most of them. She publishes a lot of her work on her Deviant Art profile,, as well as using HarperCollins’ site, under the same username.

What was your motivation for this piece? (Thicker Than Water) The idea of a world in which assassination is a vital part of society fascinates me. In this world, assassination is not only a part of society, but it is a respectable career. Children grow up wishing to be a ‘Borrower’, as we may want to be an actor, or a writer. Not only that, but the Borrowers are a part of the history and culture of the world; their religion spreads throughout the ranks of the Borrowers, and into the ordinary citizens. It is a matter of pride to order a Borrowing, and those who complete the jobs are treated with respect and awe – if also a little fear. This scene, in which Trapper completes his graduation test, was a scene from a longer story; it was a scene which I used to get into his frame of mind, that of a proud, dangerous assassin. I don’t know whether I should be worried that I find it quite easy to slip into that mindset...

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Emma Workman

Your lies aren't pretty


know only the front that you put up. I know every intricate design on the masks that you wear so proudly. i know each deliberate brushstroke of the painted facade that you don. I know every line of your verbosity, though it's hard to understand you. through countless layers, you hide yourself, and i pretend that we're close. i see only peeks of your secrets, from others, and sometimes, accidentally, you. I do not know the full truth. the gut-wrenching, saddening truth of you. you are like everyone. we all have those little secrets, and those big ones. and some are painful and sad. I know not of the awkward things. I don't know the sharp edges of your landscape, only the soft rounded landscapes that you allow me. I'll be patient. i shall pull away the layers of your hardened exterior. i'll wait, but show me the truth, because your flaws are as beautiful as your front, I promise.

Lonely is one letter


here were dead birds and fragile things hanging on the clothesline. you liked to look at them because it made you feel more secure; less like scraps of fabric and snips or newspapers tied loosely with dental floss. so you hung ribcages and tea cups and our love on the clothesline because fragile things made you feel less alone. 81

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"I'm not afraid of dying; I'm afraid of leaving." you whispered to the stars. the air grew heavy. "I don't like the idea that this is all there is, because there's so much more I want to be. I want to be beautiful." I was always more afraid of living, because living meant that there were no excuses. I agreed, though, quietly, that leaving would be the worst part. You traced constellations on my arms and back and face. you liked to count planets and shooting stars; bright things made you feel warm inside. you kept the stars in your eyes because you didn't want to lose them. I kept you in my arms, because I didn't want you to realize how we were dangling on the clothesline, and I wanted to save myself from the dizzying drop. Fragile things break. they shatter. ribcages break, tea cups are smashed. and we just dangle, afraid of the fall.

Bio: Emma, age 14 was born in ontario, but lived all around the caribbean. I love music and my friends and english. I hate not understanding things. i'm afraid of change. i love fashion magazines, and harry potter. i'm not very interesting.

What was your motivation for these pieces? Your lies aren't pretty was inspired by the fact that i think everyone, including myself, hides things about our feelings. i truly believe that keeping things bottled up is bad, and that's why i use writing, but i was thinking about how i wish people could confide in me, or anyone really, to get things off of their chest. Lonely is one letter is hard to explain - i don't know what happened, i just sort of wrote and the words came out all clumped together, but i think it worked out well.

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All the world's a stage, And all the men and women merely players:

They have

their exits and their entrances;

And one

man in his time plays many parts -William Shakespeare

Entering Stage Right is Liam Sheppard Bio: At age 22, having only been writing screenplays for just over a year now, I've really surprised myself and those around me by having produced such a large number of scripts. I suppose the reason for this was because ever since my mild, dull and average childhood, I spent many nights furiously writing down idea's for fantastic and incredible films as well as television shows, stuff I really wanted to see. All of this creativity had only really it's reached boiling point about a year ago, when whilst cleaning out my old room I found heap of notepads and books, scribbled with my insane yet interesting ideas for films. So I decided to put those ideas into a format that could actually be read and thus, one by one I carefully translated them into scripts. I also enrolled onto a television scriptwriting masters course at De Montfort University, where I still study.

What was your motivation for this piece? Oddly enough my main motivation for this piece came from the Richard Curtis Christmas film 'Love Actually'. I took the main bulk of the inspiration from Liam Neeson's character and his tragic story. He plays a widower who is slowly coming to grips with his situation. Left alone to bring up their son, Neeson finally manages to create a warm, loving relationship with the one good thing he has left. This was my main inspiration and not surprisingly the sixth sense.


INT. KITCHEN - MIDDAY. A Winter’s Mirage By Liam Sheppard 11



The sun glares through the gaps in the Venetian blinds. LIAM BROWN (34), tall, with wide shoulders stands topless ironing his shirt. Finished, Liam holds the shirt up to examine it. He smiles JOANNA BROWN (31), slips in unnoticed. Her sheer beauty reflects from every shiny surface. Gorgeous and elegant she carries with her a sense of spring, elaborated by her flowery dress. JOANNA Ooh, very smart. Liam heads over to the sink. Whilst putting on his shirt he glances out of the window. JOANNA (CONT) If only you looked that smart moreoften. The faint NOISE can be heard in the next room. LIAM Simon have you got your shoes on yet? SIMON (O.S) No! LIAM Well come on, hurry up, we have to go in five minutes.

Liam sighs. He puts both hands on the worktop and lowers his head. LIAM What am I talking about. I’m not even ready. He takes a moment. LIAM (CONT) I’m not ready Joanna. Joanna steps towards the door way and peeks through it. 85

JOANNA He’s still got his pajama bottoms on. Liam moves over to the door. LIAM Simon... come on! Liam turns back and leans over near the door to pick up his shoes. JOANNA Aren’t you going to polish those? She goes over to take a better look. JOANNA (CONT) Ah, I guess they’ll do. Liam slips his shoes on his feet. LIAM They could do with a polish. He laughs. SIMON BROWN (9), enters, wearing smart trousers, shirt half out, and one sock missing. SIMON Dad... Liam attempts to put on his own jacket. LIAM What on earth. Come on now that’s no good. Simon sticks out his arms. SIMON Can’t do the sleeves. JOANNA Neither can your father. Liam smiles and helps Simon. LIAM Come on now or we’ll be late. Simon skips out.

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JOANNA Liam, don’t forget the CD. Liam stops, turns towards a cabinet. LIAM Almost forgot. Liam takes out a Breakfast Club film soundtrack. He looks at the case. Liam smiles and puts the CD in his jacket pocket. LIAM See you soon. JOANNA Yeah, I’ll see you there. Liam exits. EXT. CHURCH PARKING LOT - MIDDAY. A car pulls up. Liam and Simon exit the car. Liam buttons up Simon’s coat and holds him close for warmth. A priest stands at the entrance and welcomes them. PRIEST Hi, go right in. Seats on the front left. LIAM Okay, thanks. Liam adjusts his suit and tucks in Simon’s shirt. Simon looks worried. INT. CHURCH - MIDDAY. Pews are packed with people, some stand towards the back of the church unable to get a seat. Everyone turns to watch Liam and Simon enter. People cry and others look melancholy. Liam takes Simon’s hand.


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Simon begins to well up with fright as everyone watches him. He clings to Liam’s jacket and begins to cry quietly. LIAM Hey...come on. People acknowledge them as they walk to the front. They arrive at the front and they peer forwards. A coffin sits in the middle with a small photo sitting on top surrounded by flowers. The priest approaches the Pulpit. PRIEST As previously mentioned the family have requested that the ceremony will continue to the cremation. The casket moves forwards. The song "Don’t you forget about me" plays. Everyone smiles through their tears. Some laugh quietly. Liam smiles as his eyes well up. SIMON (distraught) Mummy... Liam puts his arm over Simon and pulls him close. Liam smiles through his tears as he watches a picture of himself, Simon and Joanna, that sits on top of the coffin pull away. LIAM Goodbye, Joanna. THE END.

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Image b

en Orlic y Karm

In photography there is a reality so subtle that it becomes more real than reality. - Alfred Stieglitz




hen we interviewed Karmen’s husband Denis for the very first issue of WalkingBlind we had no Idea that Karmen, his wife, was also an outstanding photographer in her own right, in fact we stumbled upon the fact quite unexpectedly. It was by chance that I noticed a dog in one of the many photos I was browsing at the time for possible inclusion in the magazine that looked strikingly familiar to me. I never forget a face, especially if it is connected in some way to a really good looking quadraped like Obi Denis’s dog. On further investigation of the image I found it led me to some remarkable photographic images; those images belonged to none other then Karmen herself Denis’s wife. Her work is outstanding and I would have contacted her anyway, but she has Obi to thank for getting me to take a closer look. Here is the magic photography of Karmen Orlic. Walkingblind Magazine



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Drawing is my first love, and I was always interested in any kind of art, good comic books, and the old b & w movie masters, like De Sica, .Pasolini, Felinni, Tarkovski, Wels, Kurosawa...and a lot of others. They all had perfect photography and a sense to awaken some reaction in the viewer, which I think, is the reason why their works that we call art are perhaps the cause which pulled me into photography. Somewhere in 1984-1985, my boyfriend (today’s husband) started to develop photographs, and I got involved in that magic world of photography. It really is a magic world where just your imagination makes the only borders. I was always amazed with the photographs made in the beginning of the 1920’s. The large plate negatives give such a wonderful tonal range which make a static image, because of their long exposure, seem so alive and full of some hidden energy. That is something that’s amazing to me even today. In the 1920’s

and 30’s there were some groups of photographs which I admired a lot, here in Croatia it was Toťo Dabac who put the camera around his neck and went out of his studio and on to the streets of Zagreb and made fantastic photographs from that period. His way to describe and show the atmosphere of that time is amazing to me even today. Henry Cartier Breson of course, with his simplicity and ability to take a fantastic shot in a perfect moment has also made a great influence on me. There certainly were a lot of photographers from that period which I liked and of course influenced me but its difficult to talk about influences with so many that I admire I could not name them all but everyone of them gave me something which added to my artistic vision in some way. What my motivation to make an image is, is sometimes in a split second while looking around some-

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thing will grab my eye-like a ray of sun lost fading into darkness, sometimes that is a motivation and sometimes not. Sometimes it is just the atmosphere which I try to show in my images, or just the mood I’m in at that moment. Sometimes its a wonderful landscape which involves you causing you to think about the beauty of life and until I am satisfied with the images result, its not finished. Sometimes that finishing process lasts forever! In my photographic work I used a Canon F1 in beginning until a digital camera came but it didn’t make the photography any easier. An Olympus 5050 z and a Olympus E1 with a few lenses and Photoshop with its endless possibilities help to be creative along with my imagination.


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I was born 1966 and I started in with photography in high school, as I already said with my today’s husband and photographer Denis Grzetic, he helped me a lot in

many ways. By profession I am a doctor of veterinary medicine, but most of my free time is spent in that magic world of photography; I wish I could have more time to do that! I have won some awards for my work: honorable mention on PX3 2009, 2010, IPA 2010 and the biggest for me now is receiving the first prize in landscape and nature category on the “Through your eyes“ photography contest, presented by “4eyes photo“ I also had some solo exhibitions and have entered in to a a few collective exhibitions. My winning photo – “Snow in Porec“ was made: because its not very often to see snow in Porec, it was very attractive to shoot in that special atmosphere that day and it only lasted for two days. I felt like I was 10 years old again and after a long walk around I could not stay at home so I took Oby-my dog, who also likes snow a lot out in it again and then it happened; in a special mo-

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ment the wind blew and I was right there and the rest is a history. Something that will never pass is the feeling, the special mood in that moment, which nobody could take from me. It stays in me forever that is what every image has to have and depend on. It’s the possibilities and the interests will show in their own way, and if those things get inside somebody else in any way-that is what I call art. Artist do not make the arts, they just have a need to do their work, and leave it to somebody else to say if it is art or not, but for the artist is the same, they too can call it what they want‌.


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How I see a photography today-well, today, thanks to digital media and the internet which makes our life easier and richer, really there are not limits and that is a good thing. But participation in contest s or to see somebody’s work, or even to read some great newspapers (ha, ha) is now something that you could do from

your room, maybe that takes everyone’s free time, but instead you could get out and make great images. But amidst the enormous amount of new information the internet brings I am sure that true lovers of photography will find time for everything. One thing that never changes is the imagination has no limits, so we just have to participate in photography and see how its future is going to look, but that is the joy of the art. Karmen’s gallery can be found at:

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n the song Rumours of Glory by singer/songwriter Bruce Cockburn he describes a place where the “dark skyline looks rich as velvet but beneath it’s shinning like gold� and to him it conjured up a feeling of pure glory. It was hard to envision just what he meant until I encountered the incredible photography of Danielle Miner. Here the skyline does look as rich as velvet while the city sits bellow shimmering in a black lake that glistens like blood on gold. Her amazing night shots are among the finest I have seen in almost thirty years of photography. A careful eye and attention to the detail of her craft has produced these glowing works of art, and here in just as much detail is the mind of the photographer to give insight to the person behind the lens.


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got into photography while I was studying away from my home town at university in Warrnambool Victoria, Australia. I started taking photos to pass the time and Warrnambool being a coastal town provided me with some beautiful beaches to capture. I was a student and did not have much money for an expensive camera so I started with a 2 mega pixel digital Kodak camera. I started to share my photography online on Deviantart and received some great feedback so that inspired me to keep going. Many people have told me I have a good eye for photography. Once I started to work I brought myself a Nikon DSLR and have not looked back. I spend a lot of time on Deviantart and over the years I have been using the site I have come across so many amazing photographers that have inspired me. Recently Deviantart has introduced groups and through joining the groups you can find people who are taking similar photos to yourself and I find seeing what other people on Deviantart are doing influences me to get out more and take different shots and try new things. I have learnt a lot of different post processing methods from other users on Deviantart such as High Dynamic Range photography (HDR), Tilt shift and different photoshop editing. I see a lot of photographs every day and I get inspiration and ideas from what I see from other users on Deviantart. I am motivated to take photographs to learn more and improve on my photography skills. I also love sharing my photography online and getting feedback on how to improve. I hope that my photography also inspires other people to get out there.


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I am 28 year old female and I currently live in Melbourne Australia. I grew up in Geelong a country town. I use a Nikon D40 with lenses 18-55mm, 55200 mm and 70-300 mm. I also use the filters circular polariser and neutral density filters. I always use a tripod for long exposure shots and for post processing I use Photoshop. I am thinking of upgrading to the Nikon D90 within the next six months as I have heard some good things about it.

I have not won any awards but I did receive a daily deviation on Deviantart on the 1st of October 2010 for the shot of the Melbourne show rides. I was very happy to receive a daily deviation as I never thought I would receive one and it was a nice surprise. Being awarded a daily deviation has inspired me to continue to take night photos. I always wanted to be a marine biologist so I went to Deakin University in Warrnambool Australia to study ma-

“ a p n w e w li to

“While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how ittle our eyes permit us o see.� -Dorothea Lange Walkingblind Magazine


rine science. I have a Bachelor of Science Marine and Freshwater Science and I also undertook postgraduate studies in Bachelor of Science Environmental Science (Honours). After university I worked in various laboratories testing water and food samples. I found the work very boring and I am currently working casual as a Quality Assurance Assistant for a food company. I was very passionate about becoming a marine scientist but recently I have become more interested in photography and would love to pursue it further. Photography is my main hobby and I enjoy getting out once a week to take


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photographs. How I came to obtain the photo of Melbourne show rides. I started to take photographs at night time and I knew the Melbourne Show was coming up and I thought it would be a great idea to take photos of the rides at night time. So I dragged my boyfriend along to the show, he enjoyed the show bags and I took a number of photos of the rides. I found a spot where there was a lot of movement of the rides and was out of the way so no one could bump my camera set up on my tripod. I waited for the rides to be moving and I took a shot with the camera up into the sky with a expo-

sure of 20 seconds. I really liked how the shot turned out with all the lights spinning around. I think anyone can take photographs but it takes some thought and knowledge of photography to take an outstanding shot. I have never used a film camera but I think digital photography is a lot more user friendly and at least you can see what you have taken and delete it if you don’t like it. The technology is outstanding and with the wide range of software available you can achieve anything your imagination takes you to.

The photographer Dorothea Lange was quoted as saying “While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see.” After looking at the wonder of Danielle’s images I am truly amazed at just how little we would see if she had not so adeptly captured these frozen moments in time for us in all their glowing beauty. With a combination of long exposure night photography coupled with the tone mapping techniques of HDR she has shown us views of the world only the lens of a camera can reveal if properly applied. And the results? Well – you’ve seen them for yourself they are “rich as velvet” and “truly shinning like gold.” If you would like to follow this artists work simply log on the following web address:

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“Photography is more than a medium for factual communication of ideas. It is a creative art.�


ometimes less truly is more, in this world of cluttered space, overworked images and photo- manipulated menageries there develops a great need to get away from it all to enter another world and find balance. In the realm of color photography color can only be controlled to a point after which it will become unbelievable. The image will look overworked and seem unrealistic as though it was lying to the viewer. However, in the surreal world of black and white there are no limits to what the brain will perceive as the truth allowing the photographer to take us to places we would be unable to go otherwise. The simplicity and cleanliness of the black and white medium affords us the space to dream, to ponder, to imagine and to escape our own reality even if only for a brief moment in time. The photographer Michel Rakjovic has found a harmony and balance in his work that allows the viewer to embark on an almost a transcendental journey and taking the viewer on a journey is at the root of what art is really all about.

I started an artistic approach to photography in 2007 with my series "Nowhere". Before that I was not a professional photographer. This series is my first work in b&w. Before I worked only in color, but nothing too artistic, just landscapes.

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In 2007, I discovered the work of some photographers, that now are friends : Alain Etchepare, Xavier Rey, Philippe Mougin were the first photographers that influence me at this time. We became friends and now we are engaged with other photographers in a collective named "8Reg'ART" ( After that I discovered the work of many other photographers, I love the mood in the works of Michael Kenna, and David Burdeny.

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The purpose of my work is to escape from reality (but without photo manipulation), to enter a new world, sometimes weird, sometimes zen. All the places I photograph are real, the light is real. I work with long exposures (from 1 mn to 10 mn) to "transform" the water into a foggy "thing". The part the most important of my work is the light, I can come back many times to the same place until I get the right light.

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By example, to realize "The Gate" ( content/010-Portfolio/1nowhere/2300.jpg) it took me 1 year, 5 fives attempts and many kilometers to get the perfect conditions. For me, I see my work like an open door to an imaginary world. I use a canon 5d mark II with WA and standard lenses. Awards : * Participation on the "153rd International Print Exhibition - Royal Photographic Society", London - August 2010 * Participation on the "Festival International de l'Image Environnementale", Paris - June 2010 * Honorable Mention, Fine Art category, B&W Spider Awards, 2010 * Participation on the "Athens Photo Festival", 2009 * 3rd price, "Bridge" category, IPA, International Photography Awards,

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2009 * Participation on the "Best Of Show" New-York USA, IPA, International Photography Awards,2009 * 4 Honorables Mentions, International Photography Awards, 2009 * 4 Honorables Mentions, International Photography Awards, 2008 * 1st price, Fine Art category, Prix de la photographie Paris, 2008 * 1st price, Fine Art category - Abstract", Prix de la photographie Paris, 2008 * 2 Honorables Mentions, "Fine Art - Landscape" category, Prix de la photographie Paris, 2008 * Finalist, Arles - SFR - Jeunes Talents, 2008 "Stairs to Nowhere" This image is a good example how I work, and the purpose of my approach. I discoverd this common set of stairs on a sunny day and immedi-

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ately I saw that, with the right light, it would be very interesting. I was imagining stairs lost in a fog, leading nowhere. During 1 month I have to wait for a foggy light, checking each day the weather for the day after. When the foggy day arrived, it was really like I imagined it in my mind. All the white part in the image is water. This white color comes from the reflection of the foggy sky (it was a huge fog). Often, the image is all ready prepared in my mind, I just need the right conditions

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to join my mind with the reality. Sometimes the conditions are perfect, and I see in front of me what I have imagine, sometimes I have to come back as many times I can to get it. We hope you our readers will also come back many times as well as visit::

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will be the first to admit I am not very fond of the technique known as High Dynamic Range Photography or HDR for short. Mostly my distain for the medium stemmed from the plethora of over use it receives and I would have been a hardcore card carrying member of group F64 had I lived in that era. However I am not always inflexible in my views and to a great extent they are changing. When I ran across Jari's work with HDR I had to reconsider my way of thinking, his application of the medium was truly artistic and just freaking incredible. Although this article deals more with the photographer and not the technical aspects of HDR you can, from his images understand the depth of what HDR can do. Take my word for it what you see here is the finest example of HDR done right period!

“You can always fool someone else but never yourself. That applies to photography too.�

How did you get in to photography It was back in 1990's when I had a summer job in mining industry and the man I used to work with told me how he had been photo116

graphing since the 1960's. I had a cheap analogue pocket camera already then but rarely used it. So encouraged by his experiences I got myself a Nikon SLR. It is thanks to him I invested in Nikon equipment in the first place since he gave very positive feedback about his old Nikkormat. I shot a lot on slide film and tried to train my perception of the world we 117

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live in. I still try to train my eyes and mind every day. Later I got myself a digital pocket camera but it was not until year 2008 when I got myself a proper digital SLR and that (plus the post-processing possibilities nowadays) opened my eyes into a whole new level of imagery. Not only did doors open but windows too in the house of my mind.

name Ansel Adams too but it would be too much of a cliche. What is your motivation to make an image or the totality of the artistic vision that drives you.

Who in photography were your major influences I don't have any particular role models but I admire the work of many talented photographers such as Mike Shaw and Jonnygoodboy on, also damien-c on is one of my all time favorites, a wise and insightful guy. I'd

I just enjoy the moment of pressing the shutter release and thus creating the exposure and later working with that image in the post-processing work. Not all my work is largely edited and sometimes I leave the image just as it comes out of the memory card - a so called sooc (straight out of camera) image that is. However the HDR workflow has been the most common one lately. Sometimes while using long shutter speeds and working with a tripod I close my eyes during the exposure and I can almost see a glimpse of the transcendent. It's a beautiful feeling. Later in postWalkingblind Magazine


processing I do my outmost trying to replicate that vision into the final image and on some rare occasions I succeed. What equipment do you use, have you won any awards and what is your educational background I'm a Nikon man born and bred. I use a Nikon D300 camera (while dreaming of the D3) and variety of Nikkor prime and zoom lenses. For post-processing the images I use many different soft119

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ware as I see fit. I have no formal education in photography. I have been taking a couple of image processing courses in local community college, that's all. I'm a self taught artist. By profession I'm a master of science and I work in the metals industry - a field where art isn't the first thing coming to mind. Perhaps my mind is different? I once won the 2nd prize in Ebner (Austrian company producing machinery for metallurgical industry) photography contest

with and image showing Finnish birch forest in the spring. The first prize was a one week stay in a nice villa in the Alps. My prize was a backpack and a book showing photographs of Austria. Big WOW. Could you tell us more about yourself? I'm a photographer from northern Finland and I consider myself as a serious hobbyist. I got interested in photography around 1995 during the

film era and I was shooting on slide film. But soon after that the times evolved, digital imaging emerged and set me back in a sort of way for quite some time. I was busy with my studies and work so photography was left pretty much behind. However I got myself a digital pocket camera but when I think about it now I never had any fun with it. I used it just for 'documenting' some situations, trips and so on. I never used it for creating art. I never had any kind of beautiful

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experience with that camera. It was just like a remote control or a calculator for me. Now I'm trying to find that inner vision I used to have back then. I hope the hectic working life hasn't destroyed all that. Could you describe how you came to make one of the images we would like to feature.

St. Anger's Day This is a tribute to Metallica, my all time favorite band. I once found an

abandoned building by the Kemijoki river once used by a log rafting company in Kemi, Finland. I have returned to that location many times, sometimes to shoot details of the place and sometimes to record some wider views. Once I was angry and this imagery came to my mind; Hate, frustration and depression. I took the camera and the tripod and went there. I used the automated shutter release function + the automated EV bracketing of my camera to create three individual HDR shots of myself in that abandoned building. Then I combined those three HDR shots into one and this is the result. I would love to be able to send this image to Metallica but I'm not sure if it would ever 121

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reach them. Creating this scene and final image was a lot of joy for me. Healed me from hate. At least for a while. How do you view photography today? Today we live in a flood of images and visual stimuli so people easily become

numb for photographic art too. It is harder and harder to create an image that shall stick to the mind of a viewer. I call such shots as outstanding and most of the time they are being formed rather than created. They are being formed when the photographer has an open mind or one might even call it kind of a Zen-like empty mind. Only then your senses are awake and your imagination may work in full. You can only succeed only when you put your whole heart into your photography. Anything less shall lead to a failure and your efforts shall fall short. You can always fool someone else but never yourself. That applies to photography too. Walkingblind Magazine


Trust I seek and I find in you Every day for us something new Open mind for a different view and nothing else matters




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Digital Wave


e live in the age of the digital giant, where television screens are fastened to refrigerators, toilets flush themselves and the universal remote controls everything including your computer. The Digital Era has made people feel like they are the next Linus Torvalds or Ansel Adams of their time, they fail to understand that the expert use of a website platform doesn’t make them a programmer and the newest hi-tech camera phone may have 12 megapixels but it doesn’t guarantee a masters in photography. I am not saying that digital is horrible, it has given us some of the best artists known to man, but it most defiantly isn’t as great as everyone plays it up to be. I could make this article about the advancement of digital and de-evolution of the traditional way of doing things in general, but since this is an art magazine and I tend to be more literary oriented I will show you the impact that technology has had on literature instead. I would like to ask you one question that you should keep in your mind as I continue to write: Will paper survive the digital wave? Whenever someone talks about ereaders and the e-books that call the digital canvases home, they normally are talking about the Barnes and Nobles’ Nook and the Amazon Kindle both of these are currently the big brothers in the e-reader business. The Kindle at this moment in time has over 725,000 titles that doesn’t include the free classics and out-of-copyright, pre-1923 books you can obtain and download onto your Kindle from online sources. Nook has 2 million books, including more than a million free titles and most books priced just under ten dollars. These two have been waging war on each other for years and

now that that the Apple Ipad has joined the party adding its free library of 30,000 titles the battles have gotten fierce and we get the profit of free or nearly free digital literature. With all of these files and downloads flying through cyberspace at warp speed do physical books get left behind? Any person would tells us to take heart, paperbacks were expected to produce $5.1 billion in revenue and hardbacks $4.4 billion in 2009 according to Publisher’s Weekly, since that is a really large chunk so no worries right? In the first quarter of 2005 electronic book sales brought in $3,161,049 which is measly compared to print publishing but if you take into account that in the first quarter of 2010 ebook sales reached $91,000,000 making that a difference of $87,838,951 in five years just within the United States, it paints a picture of things to come. There is no doubt that paper books and print publishing is coming under attack, in China digital publications have already bypassed paperback. A survey polled 20,000 people and 91 percent of Chinese men and women say that they would buy the digital version of a book over a printed one. Responding happily to their preference another reader was released. I am not saying that we should boycott all e-readers and their digital books by smashing them in the streets and forming bookstore sit-ins, I am saying to pay attention to your closing libraries and the disappearance of family owned printing presses. The complete liquefaction of books should never happen, but maybe that is something that needs to be learned and not avoided.

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The Secret To Paragraphing Writing DIALOGUE The SECRET to Proper Paragraphing ~~~~~~~~~~~~~ (NOT a punctuation article.) Once you know what your characters and doing and saying, how do you get all that down on Paper without ending up with a huge confusing mess? Putting the Story on Paper. ~~~~~~~~~~~~~ Everybody knows that when a new speaker speaks they get a new paragraph, right? In other words, you DON’T put two different people talking in the same paragraph. Okay, yeah, so anyone who has written any kind of fiction learns this pretty darned quick, (usually from their readers.) What nobody seems to get is that the same goes for a new character’s ACTIONS. Seriously, when a new character ACTS they’re supposed to get their own paragraph — even if they don’t speak! In short, you paragraph by change in CHARACTER — not because they speak, but because they ACT. Ahem... Dialogue is an ACTION. In other words, the reason you don’t put two different characters’ Dialogue in the same paragraph is BECAUSE you don’t mix two characters’ Actions. Okay? “Wait a minute, doesn’t that cut everything into tiny bits, you know, when you cut all the dialogue away then divide up all those paragraphs?” ~~~~~~~~~~~~~ No because Character A’s dialogue is supposed to be IN Character A’s paragraph of actions. Character B gets his own paragraph of dialogue AND actions. You divide up a story’s paragraphs by individual Character — not by individual lines of Dialogue OR Actions. What you definitely don’t do, is cut all the dialogue away from everything and mash all the different characters’ actions together in one messy paragraph where no one can tell who did what. “Where the heck did THAT rule come from?” ~~~~~~~~~~~~~ Strunk & White’s Element’s of Style, the grammar handbook. To wit… — “In dialogue, each speech, even if only a single word, is a paragraph by itself; that is, a new paragraph begins with each change of speaker.” This is often misinterpreted as “Make a new paragraph at every new line of dialogue.”

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Um... No. The key phrase here is “a new paragraph begins with Each Change of Speaker.“ As long as the Speaker is Acting, the Speaker HAS NOT CHANGED. However, every time a new character Acts, you ARE Changing Speakers — even if they don’t talk! Therefore, each new character ACTING gets a New Paragraph, whether or not they have dialogue. How this works... WRONG: ~~~~~~~~~~~~~~~~~~ “You named a stuffed animal?” Toby raised his eyebrows, surprised, and Becky’s blush grew brighter, creeping down her neck. < — Two Characters acting in the same paragraph.> Becky mumbled, “I wouldn’t so much say named, as gave it an identifying word to distinguish it from all the other stuffed cute kitty plushies.” < — this whole line is Abandoned Dialogue.> ~~~~~~~~~~~~~~~~~~ RIGHT: ~~~~~~~~~~~~~~~~~~ Toby raised his eyebrows, surprised. “You named a stuffed animal?” Becky’s blush grew brighter, creeping down her neck. “I wouldn’t so much say named, as gave it an identifying word to distinguish it from all the other stuffed cute kitty plushies.” ~~~~~~~~~~~~~~~~~~ What’s Missing? — ‘Becky mumbled’. <— This is an unnecessary Dialogue tag. Once you link a character’s Dialogue to their corresponding Actions, you no longer need the Dialogue tags. If you really, really want to add that Becky mumbled her words, describe it as an action. Don’t TELL us that she mumbled, SHOW us. Example: ~~~~~~~~~~~~~~~~~~ Becky’s blush grew brighter, creeping down her neck. Her voice dropped to barely a mumble. “I wouldn’t so much say named, as gave an identifying word to distinguish it from all the other stuffed cute kitty plushies.” ~~~~~~~~~~~~~~~~~~ ——-Original Message——“What if the next internals and action/dialogue are his, like:” “You named a stuffed animal?” Toby raised his eyebrows, surprised, and Becky’s blush grew brighter, creeping down her neck. Her reaction was adorable and he couldn’t resist needling her some more. “I thought you hated stuffies.” “Then can you lump those actions together?”

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— Thanks in advance — Jas ~~~~~~~~~~~~~~~~~~ Um... NO. — Remember this? “…A new paragraph begins with Each Change of Speaker.“ — When a new character ACTS they’re supposed to get a new paragraph. ~~~~~~~~~~~~~~~~~~ “You named a stuffed animal?” Toby raised his eyebrows, surprised, and <— Toby’s Actions / Becky’s Actions —> Becky’s blush grew brighter, creeping down her neck. Becky didn’t say anything, but she IS acting — a blush is an action — therefore Becky gets her OWN paragraph. Adjusted: ~~~~~~~~~~~~~~~~~~ “Toby raised his eyebrows, surprised. You named a stuffed animal?” Becky’s blush grew brighter, creeping down her neck. This is incorrect too: ~~~~~~~~~~~~~~~~~~ “You named a stuffed animal?” Toby raised his eyebrows, surprised. Actions go BEFORE Reactions Toby was surprised so he commented: “You named a stuffed animal?” He didn’t comment and THEN become surprised. Adjusted: ~~~~~~~~~~~~~~~~~~ Toby raised his eyebrows, surprised. “You named a stuffed animal?” All together now! Original: ~~~~~~~~~~~~~~~ “You named a stuffed animal?” Toby raised his eyebrows, surprised, and Becky’s blush grew brighter, creeping down her neck. Her reaction was adorable and he couldn’t resist needling her some more. “I thought you hated stuffies.” Adjusted: ~~~~~~~~~~~~~~~~~~ “Toby raised his eyebrows, surprised. You named a stuffed animal?” Becky’s blush grew brighter, creeping down her neck. Her reaction was so adorable, Toby couldn’t resist needling her some more. “I thought you hated stuffies?”

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——-Original Message——“But when you do that, it looks so...choppy on the page. There’s ton’s of empty white space!” — Hates Empty Space ~~~~~~~~~~~~~~~~~~ Yes, it looks choppy on the page, but its Far More Important that there is absolutely no doubt in anyone’s mind as to who is acting and who is speaking. Another Example: ~~~~~~~~~~~~~~~ “Don’t help me. I’m fine by myself,” she told him, not bothering to be polite. He looked surprised and perhaps a little hurt. She heard another voice. “Geez, you’re pretty full of yourself, aren’t you?” She got to her feet and brushed herself off, glancing in the direction of the newcomer. She nearly recoiled in shock. Another handsome guy. He crossed his arms over his chest. “He was just trying to help you.” He told her. She readjusted her bag and said. “I don’t recall asking for help.” ~~~~~~~~~~~~~~~ By the way, once you separate each of your character’s actions into new paragraphs and reconnect each character’s dialogue to their actions, you won’t need dialogue tags such as “said” because your character’s actions are the identifiers for your dialogue. With actions separated & dialogue attached. ~~~~~~~~~~~~~~~ “Don’t help me. I’m fine by myself.” She didn’t bother to be polite. He looked surprised and perhaps a little hurt. A new voice called out. “Geez, you’re pretty full of yourself, aren’t you?” She got to her feet and brushed herself off, glancing in the direction of the newcomer. Another handsome guy. She nearly recoiled in shock. He crossed his arms over his chest. “He was just trying to help you.” She readjusted her bag. “I don’t recall asking for help.” ~~~~~~~~~~~~~~~ If you truly loathe all that white space, then fill it in with more actions, description, and internal narration observations. ——-Original Message——But what about when someone is watching someone else, or feeling someone do something to them? — Concerned about Observation

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This seems perfectly fine, right? ~~~~~~~~~~~~~~~ He watched her shake her butt. He felt her skin move against his. However, once you take this into account: “…A new paragraph begins with Each Change of Speaker.“ — When a new character ACTS they’re supposed to get a new paragraph. Not so fine after all. You have two people acting in the same line — in Both Cases. The way around this little gem of a problem, is to SHOW the event by character rather than TELL it in one lump. You begin by dividing the actions by Character: ~~~~~~~~~~~~~~~ He watched her. She shook her butt and her skin moved against his. He felt it. ~~~~~~~~~~~~~~~ Seems kind’a…short eh? That’s because those lines TOLD you what happened, instead of Showing you what happened, so there are all kinds of details missing. Once you add enough details to paint a whole picture… Adjusted: ~~~~~~~~~~~~~~~ From his seat at the edge of the stage, he watched her. Tall, svelte, and in the skimpiest bathing suit he’d ever seen, she moved in close and shook her butt. The round, firm flesh jiggled enticingly against his face. His cheeks were subjected to the most incredible, though slightly sweaty, facial massage ever. ~~~~~~~~~~~~~~~ KILL the Dialogue Tags. (Seriously.) — When you have an action with a line of dialogue, you don’t need Dialogue tags, such as “he said” — at all. You already know through their actions WHO is speaking. Dialogue tags are only ever needed when you don’t have any other way of identifying the speaker. HOWEVER, if you have no other way of knowing who is speaking than dialogue tags, then you have committed the heinous crime of: Dialogue in a Vacuum

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- Also known as “talking heads syndrome.” A book with nothing but reams of dialogue marked only by dialogue tags means that while people may be talking, there is no PICTURE. The mental movie has stopped and only the sound-track is playing. Compare it to a Radio Show with no sound effects. I don’t know about you, but when I go to read a story, I want to SEE what I’m reading like a movie, not listen to a radio show. Memorize this: Readers always interpret what they read the way they want to see it — unless you SHOW them what you envisioned. In other words… What CAN be misunderstood — WILL be misunderstood. Leave Nothing to Misinterpretation. — Readers will ALWAYS make whatever assumptions come to mind about what they are reading. When a reader realizes that what they thought was going on — wasn’t, they’ll get confused, and occasionally pissed off. Unmarked blocks of dialogue are painfully EASY to get lost in. I remember reading one whole page of un-tagged action-less dialogue only to find out that I had two of the characters reversed. Did I reread that whole page to figure out what was going on? Hell no! I tossed the book across the room. (In fact, it’s still on the floor gathering dust bunnies.) “But, isn’t that’s what ‘said’ and other dialogue tags are for?” Just for the record... — Using dialogue tags is Not against the rules. Dialogue tags are a perfectly viable way to identify who is speaking — it just makes that part of the story BORING. (I don’t know about you, but I won’t read something that bores me.) I choose to write my dialogue without using “said” unless I am actually describing a change in voice, tone, or volume in the same paragraph. And even then, I try to avoid them. I use the speaker’s actions to define who is speaking to whom. I use ACTION TAGS. “What the heck is an Action Tag?” BODY LANGUAGE Language is Visual not just a bunch of words. Watch the average conversation between two people. 90% of that conversation isn’t in what’s spoken, it’s in what they are DOING as they are speaking. It’s in their Body Language. Body-language cues the reader as to what is going on in a character’s head – in ADDITION to dialogue and internal narrative. Action and body-language tags on dialogue are Not just for decoration.

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— Stories are Mental Movies you play in your imagination. I don’t know about you, but I HATE to be interrupted when I’m involved in a good movie. If I have to stop and reread a section just to figure out what the heck is going on, I’ve been interrupted. One too many interruptions and I’m switching to another story — with no intention of continuing with something that’s just too much work to get through. Action tags keep the mental Movie rolling and the MEANING of what is being said crystal clear. A small simple action can tell you right away, what’s going through the speaker’s head. Don’t just SAY it! ~ SHOW IT! ~~~~~~~~~~~~~~~~~~ “I love you too.” She rolled her eyes and sighed dramatically. “Oh yes, I truly do love you.” “I love you too.” She dropped her chin and pouted. “Oh yes, I truly do love you.” “I love you too.” She glared straight at him. “Oh yes, I truly do love you.” “I love you too.” She turned away and wiped the tear from her cheek. “Oh yes, I truly do love you.” ~~~~~~~~~~~~~~~~~~ WHY I loathe the word “said”. - To be perfectly clear, it’s not JUST the word ‘said’, I hate ALL Dialogue Tags inclusively. I utterly refuse to use them. Why? - Because they’re wasteful. They clutter up dialogue while slowing down actions, and they use up word-count that could be far better used elsewhere. I don’t believe in putting anything in my fiction that isn’t useful. If it doesn’t add to the character or the plot, it gets eradicated. Dialogue tags are too easily replaced by something that actually adds to the story, such as an action, a facial expression, a spot of description, or a character’s opinions. Just for the record, I write extremely dialogue-heavy fiction. When I find that a dialogue tag is indeed needed in my story to identify who is talking, I see it as a red flag that indicates that all action has come to a screeching halt. Nothing is Happening other than talking; also known as: Talking Heads Syndrome. When that happens, I find some way to fill that space with something useful to the story such as an action, a facial expression, a spot of description, or a character’s opinions — ANYTHING other than a dialogue tag. But those are MY feelings on the subject. — Your mileage may vary. Dialogue tags ARE a legitimate form of sentence structure. When there is no other way to identify a speaker, dialogue tags are indeed a viable option. What about Punctuation for Dialogue? - Go here:

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134 Read that. Paragraph Aesthetics ——-Original Message——“I suppose the issue I have is with the aesthetics of paragraphing. Though text is not comparable to a visual medium such as film, it is still something that we have to view with our eyes.” ~~~~~~~~~~~~~~~ Actually, text aesthetics — the way the words appear on the page — seems to be a HUGE bone of contention. ——-Original Message——“...The way I see it, your example suggests that I break my text up into a lot of little paragraphs. Given this understanding, in a scene rich with alternating action, it looks like I’ll be left with a lot of one-line paragraphs. ...I’d greatly appreciate it if you clarified this situation. I suppose that is the trouble with having to jot down the basics, you can’t expand on the little details of the rule. ^_^ ~~~~~~~~~~~~~~~ Paragraph Aesthetics - Illustrated — The way a story appears on a standard 9.5 x 11 inch piece of paper is NOT the way to judge whether or not one’s paragraphs are too long or too short. A story viewed on a browser page carries even less weight. Why not? — Because Fiction is generally printed on pages HALF the size of a full sheet of paper. What appears to be a lot of short little paragraphs on the “internet page,” are NOT so short or so little once you put them on the Printed page. The standard sizes for printed Fiction are: paperback (4.25 x 6.75 inches), and trade paperback (5.5 x 8.25 inches.) Hard-cover books use the same size page as a Trade. Only coffee-table books possess printed pages anywhere near the size of a standard sheet of paper. Visual Aids: ALL examples are 12 pt. Times New Roman font with somewhat 1 inch margins. ~~~~~~~~~~~~~~~~ Standard Paperback 6.75 x 4.25: Trade paperback 5.5 x 8.25: Standard paper 9.5” x 11”: ~~~~~~~~~~~~~~~~

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Personally, I could care less what my text looks like on the page. As far as I’m concerned, making the story as clear and easy to read as possible is far more important to me than what the text looks like. If I have done my job well, no one will even notice the words - only the story unfolding in their imaginations. As for internet reading, I’m completely baffled why anyone would care how it looks on the browser page. All you have to do is narrow the window and the text adjusts. ——-Original Message——“Also, I hope you don’t mind, but did you come up with the rules yourself, through experience and trial and error, publisher’s advice, or is there a handy guide I can employ? Obviously, I quite loyally follow Strunk and White, but I don’t think it talks about this subject much. Is there a book that YOU use?” ~~~~~~~~~~~~~~~ Let’s start here: “...did you come up with the rules yourself, through experience and trial and error, publisher’s advice...?” YES - to all of the above, plus editor hounding and long chats with a number of extremely well-established fiction authors. In addition, I’ve read a crap-load of how-to books. I’m pretty sure I own, and have practically memorized, just about every book “Writer’s Digest” has put out. My writing advice posts are the results of taking all the info I’d crammed into my head and condensing it into small bite-sized, chewable, pieces that are easy to remember and much easier to apply. Rather than waste people’s time on theory, I focus on application. As for recommended reads... — Unfortunately, there is no one guide that shows it all. Not One. However, there are two books I can’t praise highly enough. As far as I’m concerned, they are VITAL reading for fiction writing. SCENE & STRUCTURE by Jack. M. Bickham THE WRITER’S JOURNEY by Christopher Vogler — (Google is your friend.) There are lots of other books I could recommend, but these are the two “Must Haves” if an author really, REALLY wants to write fiction well. Enjoy!

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Opening the Mind's eye art yet unseen!

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Opening the Mind's eye art yet unseen!