Labyrinth Project Creators Journal - Richard Alan Scott (Opening Journal Entry)

Author: Richard Alan Scott

Rhode Island, USA

05/23/20

I'm thinking about how I've come to this point in my writing life. In 2005 I was sick and tired of working at things that only held a peripheral interest to me. I had done human services on and off for twenty years, but most importantly was coming off a thirty year career in the theater. Hours upon days of rehearsals in a professional company, tearing apart scripts and trying to get at what truth about life these plays contained.

All I could ever think about was how much I wanted to make my own scripts, tell my own stories and how much I wanted only to pursue the form of my two biggest influences, The Twilight Zone and The Outer Limits. These happened to be the two shows of my youth that most resonated with me, using the unknown and the dark realms to quantify what goes on in real life. Making the people in the stories as relatable as possible, hell, they could be your family, friends or neighbors. Putting them into situations that may never really occur and seeing how they dealt with them.

I took a great risk, of losing all financial support and whatever I thought my place may be in the outside world of work and human congress. But I knew that I was suffering, wilting on the vine, not letting my creativity out and loosed upon the world. Something had to give, and I decided to write. I have already extensively outlined the encouragement I received to that end throughout my life in a blog, Book of Shadows, which I have re-posted on Facebook: 

https://www.facebook.com/richardalanscott/posts/10217667159009036

From the beginning, I haven't been able to fight down intense and deep-seated feelings, which many would consider old-fashioned, of wanting to handle my writing in a way that is anathema to many of my current colleagues, compatriots and acquaintances in the writing, and especially genre writing, fields. I want to maintain a sense of mystery to my accomplishments for one thing, never posting word counts or thoughts or degrees of fulfillment toward my writing goals, whether I had a good or bad writing day and what not. I feel most people are interested in your finished product and what you were able to do with that product. I am an entertainment junkie, but a thorough examination of the Film Directing style of say, Robert Eggars, is a discussion that would lose most of my real life friends and family. More on that as we go.

So this journal goes against everything I've struggled to keep hidden from the casual reader, but for my fellow artists, I hope it may help you get a closer grip on what you are after, and what you hope to accomplish. In future I will be laying it all out for you. If you follow me, you may be as mad as I am.

Richard Alan Scott has labored for a half-century in The Arts. He is the school recipient of the Congressman's Medal of Merit and the American College Theater Award of Excellence for acting, presented him at The Kennedy Center in Washington, D.C. He worked for a decade as an actor under Robert J. Colonna at The Rhode Island Shakespeare Theater and as actor and Stage Manager under Adrian Hall and Richard Jenkins at the Tony-winning Providence Company; Trinity Rep. He is a thirty-year member of the Actors Equity Association, as well as a fifteen year member of the New England Horror Writers. He has been a writing member of the acclaimed RI Writers Circle and the Newport Round Table. As a writer he has studied under Christopher Golden and James A. Moore at River City Writers and at Boston's Grub Street. His work has appeared in Premiere Magazine, Shroud: The National Journal of Dark Fiction and Art, and Albedo One: Ireland's top genre magazine, as well as the anthology Walls and Bridges edited by Mark Ellis and Melissa Martin-Ellis. He has finished two novels that are being promoted to agents and he lives in rural Rhode Island.

You can learn more about Richard at his website: https://richardalanscott.com/

Labyrinth Project Creators Journal - Diana Whiley (New Entry 05-22-20)

Author: Diana Whiley
Adelaide, South Australia

05/22/20

Improvisation is a key aspect of Jazz my brother used to say, as he played his clarinet, his notes crooning his emotions into view, into colour into movement - into me. 

My response followed a trajectory of its own; brain storming and a bouncing off each other. 
It’s something I really miss while I have not being face to face with friends. The seeing and feeling first hand of their emotions, body language and an energy that ignites synapses.

I needed an alternative. I unearthed a notebook I’d forgotten about with a list of some of my favourite books. How each of them impacted on me.  

I first picked out and am reading again, “Dune” written by Frank Herbert. A book of the 1960's and considered one of the best Science Fiction books ever written.

I’d forgotten the intensity of it. The way he built tension between characters, as well as in the reader, through the characters’ inner dialogue that showed the betrayals, the choices made and the reasons why. Very Shakespearean in its monologues and emotional impact. The language of another time as captivating. 

The world and culture Herbert created is an amazing mix of science and of the inner mind the latter that he turns magical in its myth making and presentiment. 

As I am following his journey I realize I have not as yet fully formed my own fantasy world. Much of the magic and source within the land I know but places and culture are still not quite there yet. 

I am at the moment using my art to push that part to the surface. Thinking of it as a stage with sets, a production with the actors waiting in the wings.   

I find my dialogue is flowing better as I review my scenes and chapters. I make sure of what really needs to be there. Though I am still struggling with the transition between chapters and scenes. 

I tend to want to jump right into the action and get moving. My emotions as edgy, like a rollercoaster lately. No doubt an effect of the isolation. 

At last chapter 4 of my novel is finally making sense, coming together. For some reason the starts of this chapter has been the most difficult to visualize. Probably a consequence of the changes to my original idea as I incorporated other storylines.

I had to break the novel into three parts. With so many pages it was easy to get overwhelmed. 

I have to remind myself too, that the authors I like to read have had years to prefect their writing.  Brandon Sanderson is a case in point with his scope and depth - and he also finished Robert Jordan’s, “Wheel of Time.”  An incredible epic journey.

l wanted to write an epic journey but soon realized with my origins in poetry and its sharp tight lyricism I had to make it smaller, more manageable. 

Poetry is still one of my greatest inspirations. 


As fantasy often includes ceremonies and ritual words I can still contribute that side of myself.  Here is one from my novel. 

Breath   

The essence of life

Undulates with the light and dark

Reflects on what will pass and what will be.

Fire cleansing, renewing.

The wheel of growth rising with the flow of water 

into the resonance of Earth;

a singing at its core.

And in the ‘Distance Of Longing’

shall blood be called from the depths 

of dark energy to one who walks

the path of two souls.

One who will be harbinger

Of life and death

 As the pattern and the song

Must needs be weft once again 

Into the grace and harmony

Of all things. 

Labyrinth Creators Journal - JM Rosenberry (Updated 05/22/20)

Author: JM Rosenberry
Fargo, North Dakota 

05/22/20

Plague Life

Good morning from the state that never did shut down fully.  There was no lock down for those of us who were deemed ESSENCIAL.  Yes folks, fast food was deemed a necessity and therefore we stayed open. It was good at first and then someone came in sick and made someone else sick and that person had a son....we lost three people in the span of a week and I decided to throw my sanity and health out the window and work 40 hours last week.  We also had a girl go MIA because she was throwing up every night at 3 am and decided not to come to work or go home yet, but she will be back next week I hear and I can't technically be mad at her because she is a vulnerable adult and I do genuinely care about her. 
         I normally only work up to 35 hrs and before you say anything about how you wished you got to work such and such....Try it at a job you hate.  Then be forced to face a fear that give you huge panic attacks that include hallucinations and get back to me. And no I don't take any meds because I have not had to really face such a stressful situation before.  Heck it took me years before I would even try and go to a therapist but that was expensive and I had to stop. I have generalized anxiety, depression, ADHD. I was only ever diagnosed with a learning disability so you can imagine how it went after only recently finding out why I am the way I am. 

Did I just out myself as mentally unstable?  Aren't we all unstable or quirky or whatever at some point and time in our lives?  The stigma is still there and when you throw in aches and pains from getting old it's just one big shit show. So that, My friends is why this blog is so late.  I work, come home, eat, load up my Sims 4 game for an hour before putting the boy to bed and watching It's Always Sunny before doing it all over again the next day.  Writing anything or working on an art project have gone out the window as well. I am surviving with coffee and unnecessary amazon orders. 

Oh yeah and I never got over my mothers death. So that was fun.  I told my son I wouldn't cry and was crying over the news before I had even gotten to work. As an empath I cry over sad pet stories and world situations. It is what it is and although I try it's not a world of rainbows and light that I live in. I do find joy in birding and planting flowers. I guess working a ton of hours will give me the funds to buy all the plants and bird stuff I want. We are also making our rock garden into a brick patio that has a gazebo and a little water feature. 

The boys want to go camping and I just want to get out of town for a night.  I do miss going out of town and was supposed to be headed to Vegas and Canada this year but that plan has changed.  They just opened the parks and playgrounds this week, but I don't really want to let my son play on the equipment just yet. It's also our Birthaversary next week and I really don't want to celebrate another birthday. I do want to celebrate the release of Palaye Royale's  The Bastards. Their third studio album.  I might have even purchased the vinyl without owning a record player but I don't plan on even opening it.  I really wish we had more space or a finished basement. It could also be that I have all my art stuff down there with all of my Halloween and Christmas stuff.  I never thought I would think that I have too much Halloween but every year when I have to drag it all up I wonder. 

So here we are on a rare day off.  It's my husbands birthday.  Happy Birthday R!  I purchased the hard cover of Exquisite Corpse and had Billy write Happy Birthday inside it.  It was the first Poppy book that I let his read when he was laid up.  Our story is the typical we met at the bar story.  My Co-Worker wanted to go see my friends band and I had seen him before at this same bar but I was not interested...Side note, I was still married but separated.  Ex was in Bismarck and I was in Fargo. My friend had a crush on him and we ended up chatting and she wanted to invite him and his buddy back to our new apartment. He hit me, I hit him back and that was our story. Neither of us were looking to date and we began to hang out.  He tore his ACLU tendon I think and Instead of going on our first date we decided to make it official and I moved in the next weekend. I gave him Poppy's books to read and he loved them.  Eighteen years together and fourteen married. I never thought that was possible for me yet here I am.  I should have told you to get out your snax and drinks for this one.  

I guess that's what happens when you don't blog in over a month.  I will be posting another book chapter too so keep an eye out for that. Have I mentioned I have Twitter/FB/Insta and a YouTube channel?  Come check me out and say hello.  Pretty sure I have said enough for now.  

Peace, love and all that happiness crap.  


JMR

https://www.youtube.com/channel/UCneyZRRHOsQd9sszjSNXsTQ?view_as=subscriber


https://www.facebook.com/JMrosenberry8

The Katrina Portraits Reimagined - Part 2 The People

If you've not read Part 1-The Land,  I suggest you read it first as I will not be going back over things discussed there for this series.

When I originally conceived the Katrina Portraits back in 2015 it was not with the idea of creating ground breaking art, but with the idea that I wanted to reflect how the storm literally pressed down upon the inhabitants of New Orleans. Originally the series was just supposed to be about the faces, or lack of faces and how the storm made us all equal to its devastation. The rich, the poor, the performers, and the factory workers all faced the same problems. 

It was later that I decided to add the Land portion of the series. New Orleans takes its landmarks seriously. The places that make these people as just as an important part of them as a family member would be. It would not have been right to exclude them. 

In the reimagined Land series I found that creating new versions of the older work was relatively straight forward. When it came to the Faces, I found it was not nearly as easy. I worked through a number of ideas such as the reimagined piece from 2015.

Nothing seemed to work. So I tried a different direction. 

Closer, but not quite what I was looking for. 

The Katrina Portraits Reimagined - Part 1-The Land

2015 Version

In 2015, for the tenth anniversary of Hurricane Katrina, I created a memorial series called the Katrina Portraits. These were images of both people and places in New Orleans and the impact of the storm on them. I created this impact by creating a hurricane shape menacing each image, as seen above.

At that time I was really in the early stages of developing my skills as a digital artist. While the photography was good, my digital concepts were really far from perfect yet. Regardless I pressed on, creating approximately 200 images in the series. 

Now in 2020, we are still months away from the 15th anniversary of the storm. Coronavirus is sweeping across the world killing thousands. As of the time of this writing, we are 15 days from the beginning of hurricane season in the United States and there is already a disturbance in the Caribbean. We are so fixated with the pandemic that we've forgotten there are other threats out there. Climate Change is only going to get worse and with it killer storms. So in the 15 days before the start of the season I've decided to apply new skills to my Katrina Portraits. My land portraits which are listed below are re-imagined. By clicking on the image you can see both the 2015 and 2020 versions. 

The Faces of the Storm series is not going to be based on the old series but be a completely new series showing the faces of local New Orleans citizens. You can reach it by clicking the following link (LINK TO BE ADDED SOON

Let us not forget that we've fucked up the planet pretty badly and that the Pandemic is just another manifestation of the harm we are doing to the planet. I am not sure any of us deserve to survive.

2020 Version

HURRICANE KATRINA PORTRAIT INDEX
(Click any image to see the details)

The Book of Lost Colors - The Background and Development of an Artists CryptoCurrency

The Book of Lost Colors is a new twist on an old idea. A coloring book for adults. I experimented with this concept a few years back but at that time it was with the idea of creating a book for sale. When I returned to the idea during the months of isolation for the Pandemic, it was with a new idea. Rather than creating a book, I would create individual pages that were based on some of my more popular art pieces. Each would be numbered and only available in limited editions as a download. Each piece would be used for giveaways rather than for sale. 

Some artists have the ability to create art that they can give away, but its costly. Mailing a small painting as a promotional item is still costly to do. What I wanted to do was create an art piece that could be given away at any time without any wait or cost but would still have value.

I looked at a lot of ideas, but it wasn't until the pandemic that I really started to consider ways that I and others could potentially provide items over the internet without having to deal with mailing anything. 

I played with a lot of different formats for the pages, some simple line drawings, others very complex. In the end I chose to go with something more complex because I think it reflects a complex piece of art first. The simpler the drawing becomes, the less value I felt it had. By creating a complex coloring page, it could potentially become an art form all by itself without even being colored in. 

The Work of Artist Stacey Warm (NEW ART ADDED)

"SAMPLE 1"

8X10 stretched canvas, acrylic paint, graphite, semi-precious stones, found objects

"SAMPLE 2"

8X10 stretched canvas, acrylic paint, graphite, semi-precious stones, found objects

"CEO"

8 X 8 acrylic on stretched canvas, polymer clay, semi-precious stones

Looking At Past Disasters and Reflecting on Current Ones

It had been 3 years since New Orleans experienced experienced Hurricane Katrina. When Hurricane Gustav reared its ugly head in 2008 it sent the city into an instant panic. Would it be as bad as 2005? 

Where complacency ruled in the days before Katrina, the opposite happened with Gustav. There was panic. People were filling trucks and cars with personal belongings and getting out of Dodge as fast as they could. 

But, when the population was leaving, there were others coming into the city in droves. Reporters! As the first major event since the great Hurricane, every news agency across the country sent reporters, trucks and camera equipment to New Orleans so they wouldn't miss a single drowning. 

At the time I was managing a small boutique hotel in the French Quarter. The rich owners of the hotel were some of the first to leave the city. But before they left, they leased the whole facility of 18 rooms to an NBC affiliate out of Florida. 

They didn't want to leave the place totally unmanned and since I had no family to worry about, I volunteered to stay on the property and keep an eye out of on things. 

As the news crews flooded into the hotel one of the reporters came to me and asked if I knew anyone who was staying in the city that could act as a guide for the various news crews. They needed to know where to go and what areas of the city were most important to monitor during the storm. 

Of course I volunteered myself as long as they had no objection to me snapping a few photos at the same time. 

What followed was three days where I barely slept and ran with crews day and night, guiding them to areas that were hardest hit by Hurricane Katrina. 

Those photos were subsequently lost in a hard drive malfunction years later. 

But as technology changes, to my astonishment in 2020 we were able to retrieve and save those images along with 50,000+ other photos from the earlier years of my career as a photographer. This was before I switched to the arts full time, but those photos still represented a substantial part of my growing experience as a creator. 

So during this time of isolation during the pandemic crisis, I've taken time to go through some of those old photos including an archive holding all the Gustav photos. 

My skills have changed over the years. So I carefully selected the best from my archive and decided to create a new series for them. Since most were never seen in the first place, its an adventure to reproduce them here.

Due to the nature of these images as more of a documentary series, I've decided there had to be some commentary involved with this. So if you click on the image it will take you to a short explanation of the image and an enlarged version of the photo. Because of the extraordinary circumstances currently facing the world, there is an eerie parallel in some of these images to the abandoned streets and military presence around New Orleans and that also deserves a few comments.   

One last thing. Why do this now when the world is in such crisis? Why show something else bad? 

For all our friends who are in the path of killer hurricanes this is a reminder that we are now just a month from Hurricane season 2020 and for us who are in isolation in our homes from the virus, we have a double threat to consider. 

Plan ahead. Consider your options if a storm is coming and stay as safe as you can. Planning now may save your life later. 

These are unusual times. 

Click any photo to see its commentary

The Death's Head Artifacts - A Conceptual Art Puzzle

Death stalks its prey. 

It watches, savoring each moment before the final kill. 

It is the hunter, ready to take the soul the moment its laid bare.

Do you see death the way I do? 

Do you see its dark stare and its laughing grimace?

Do you see the way it watches and contemplates its victims?

No, you see only life, until it has gone.

Death is a strange thing. It stalks us all. But some seem destined for a preordained departure. 

Death is always watching. 

Death may brush near, or may even take another's body to use their mortal eyes. But death is there, sometimes for years, or only a moment before. 

Can you identify who death is watching? 

Some are easy to recognize. Others not so easy. Some lived long lives, some only short. Who are they? 

And even more important than who death is watching, is WHO is watching death? 

Can you solve the Deaths Head puzzle? 

Click any artifact to go its page and see clues! 

Go to Artifact #13

Go to Artifact #12

Go to Artifact #11

Go to Artifact #10

Exploring Old Art in New Settings - The Old Masters Series

While in isolation for the Pandemic, I've taken some time to do a bit of experimental digital art. What originally began as an extended exploration of graffiti and the human body, took a different direction for me when I ran across a series of 16th century drawings of the male bodies.

A few months back I had done an experimental piece that took three 18th century pen and ink drawings of sailing ships, pulling them out of their originals and merging them together in one piece of art. This had been very successful. Most were unaware that they were actually seeing three distinctly different drawings within the piece.

Now I see digital art (at least the form that I practice) as being similar to what a collage artist would do. I am in no way looking to steal someone else's work. But like a collage artist, I am seeking specific elements from individual sources to bring them all together into a new piece of art.

As you can see in the examples below, a completely new work of art emerges from the old.

The St Andrews Cross Abstracts - Mapplethorpe Meets Pollock (NEW WORK ADDED)

The St Andrews Cross is a bondage device. The purpose is to place a person on it and bind their hands and feet to the cross in a spread-eagle position.

The Idea of the St Andrews Cross Abstracts came from combining abstract body painting with a bondage environment where the tools of Dominance are used in the role of the paint brush. For example, using a flogger to spread the paint upon the body by dipping the ends of the flogger in the paint. The tools a Dom uses are varied and a lot of them are improvisations, but in the end the tools that cause pain or pleasure can also act as paint brushes. 

The goal is to use the tools in such a way as to create an ecstatic body language throughout the series. The pain and pleasure of the model is translated into that language as the body painting is created. I am using only men who consider themselves submissive and have some understanding of the sub/dom relationship. 

The cross was mounted onto a platform with a canvas backdrop behind it in order to keep the cross steady and to create an abstract backdrop that the model merges into.

Everything is controlled within the studio environment. Lighting is crucial. These sessions take place at night. Lighting allows for bright white light or ambient soft lighting from every angle. Candle light is also used. 

Even the choice of music is preplanned to create an atmosphere which the model reacts to.But this preplanning stops when the actual painting begins. The abstraction created is totally spontaneous creativity. The paint upon the body takes on its own life throughout the session which is controlled through the use of both pain and pleasure. The paint goes where it wishes based on the body language of the model. 

Other substances are used besides paint. The liberal use of mud upon the body creates an air of humiliation that again translates into the body language of the model. The use of ropes to bind parts of the body is also used. 

With all that said, here is the art from the first session. More will be added as it becomes available. 

The Immunocompromised Artist - A Creative Journey Through a Pandemic (Updated 04-07-20)

March 6, 2020

In a way this is a journal within a journal. 

I say this because the immortalartist blog is in many ways me and my way of thinking about creativity. A lot of other people have become involved since I started it 5 years ago, but at its core its me and my own creative journey. 

In recent weeks though the world has been turned upside down by a creeping virus that just might reshape the whole world. 

I don't discuss it much on this site, but I have almost no immune system. What's left of it does its best to keep me healthy. I never let it get to me. In fact I think it makes me work all the harder as an artist because I am never really sure how much time I will ever have.

So you can understand that I've been paying more than a little attention to the recent Coronavirus epidemic.

We made a few decisions over the last week. Since I know there are other artists who will be at risk from this virus, I thought it might be helpful if I posted my own journey through this as the virus takes its hold on the world.

While trying not to panic yet make certain adjustments to our life while we are still able, we've begun to implement certain precautions into our life built with one goal. Keeping me alive.

I'm no fool and I am under no illusion. I will be 55 in August. I have little to no immune system. I am diabetic and I am prone to pneumonia from even a simple cold. My chances of survival are slim if I am exposed to this. 

So let me first tell you some of the things my partner and I have implemented in the past few weeks. 

We made the decision that it might be time to take some cautious steps towards survival almost two weeks ago. We purchased the safety items that we might well need such as masks hand sanitizer and lots of Lysol. We made sure they were spaced around our home and we began teaching ourselves to use them often. 

We bought a bit of extra basic foods for the house and we arranged for our medications to be delivered to us rather than going to pick them up ourselves. We educated ourselves on what we needed to know and we informed friends and family of the decision that would quietly back out of events and places where there were a lot of people. 

We celebrated one last time by going out to the last day of Mardi Gras, which as of the time of this writing was 9 days ago. 

Since that time we've gradually pulled back from going out too often. Post office trips which were a daily occurrence were now down to every few days. Food from this point on will be gotten either late at night when the grocery stores are no full of people or better yet through a variety of delivery services. 

We are very fortunate. Within the walls of this house I have an indoor studio stalked with the various art supplies I use the most. I have an outdoor studio located in a private backyard and secluded by fences and trees. I have project spaces outdoors where I can create whatever I wish. All of this secured with a private locked gate that keeps everyone out.

In some ways this is a wish come true for an artist who wants to spend all their time creating. 

But its funny, the mind can play tricks on you. I've spent many days in the past where I did not go out at all or at the most once every few days. But the concept of not being able to go beyond the walls of my private domain is a strange feeling. 

I was seized today with a need to go beyond the walls today. Perhaps one last look around for awhile. I drove, feeling I'm safe within my vehicle and my partner went into various places where we needed things, always returning to quickly sanitize hands first. 

I felt in some ways that this was a test run. Could we limit our interactions now before there was a massive threat. I kept thinking "are we ready?". 

This doesn't feel real yet. It feels like some sort of silly game we are playing. I think about John Travolta and the Boy in the Plastic Bubble (yes a reference to an ancient crap movie from the past). 

We aren't ready as a society to shut ourselves in. Billy and I have so many more advantages than some. We drove past a homeless encampment beneath the expressway. Hundreds of tents clustered together. What happens to these people? Are they even aware of the imminent threat that may be coming their way? 

Has the city even considered them? Or will many of them die and not be discovered for days or weeks? 

We talk about Stephen King's book "The Stand" as we pass the homeless. Will they be burning bodies if this thing gets out of hand? Will there be bodies in the street? Or is this all just baseless fears.

I think about the terrible days after Hurricane Katrina when there really were bodies in the street and how much it took the city to recover after it was over. And I think about this being multiplied by a whole nation and a whole world. And I am frightened.

Emotions and Storytelling Within Art

"Home to Some"

How we deal with emotional subjects in our art says a lot about who we are. 

I am reminded of a white artist a few years back who painted an image of black 14 year old Emmett Till mutilated and lying in an open coffin. There were massive protests about that piece of art being displayed in the Whitney because it was a white artist who did the painting. 

Whether you agree or disagree with the artists choice of subjects is not what this article is about. This is about emotions. The one thing that I never saw brought up was how the art personally affected the artist. I don't mean how the artist was affected by the protests, but how they were affected by the creating the painting in the first place.

Surrealism Challenge - Artists in Isolation

During the worlds isolation for the pandemic, many are taking time to read, learn new skills, or strengthen existing abilities.

As a Master Surrealist who works with photos, I often challenge myself by finding a difficult image and attempting to transform it into surreal art. 

So I've decided to issue a challenge to others stuck in isolation. 

Send me any image and I will try to turn it into surreal art. Any image is acceptable whether people, places or things. All subject content is acceptable. 

Two simple rules. The image  has to be in .jpg format and it must be a photo you have taken or been taken by a family member, past or present. Old family photos are acceptable.

If I am successful you will receive back a high quality digital file containing art created from your image and the before and after images will be posted to this page.

Images can be sent via email at: gcsartno@aol.com or by sending it through both Twitter and Facebook messages. 


Challenge me! Keep my skills fine tuned! 

We'll all get through this and maybe learn a thing or two along the way.

~Grey~


PS: Several artists have asked if they could participate as challenge artists. If you would like to participate let me know and I'll send you images from my personal photos to challenge your own skills! 

CHALLENGE #1 From XXXZombieBoyXXX 

CHALLENGE #2 from Jay Woods

The Work of Photographer Matthew White