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In Boston's Jamaica Plain neighborhood, the Victorian-era Forest Hills Cemetery lies on 275 acres of green space. Centered around a peaceful lake, the cemetery showcases both natural and human-made beauty.

Many of the graves are adorned with beautiful sculptures, and the mausoleums that dot the hillsides display attractive architectural details. Several contemporary sculptures add a sense of playfulness-look for the family of dressed-up trees and the miniature village.

The miniature village was added in 2006 as part of a larger exhibition in the cemetery. According to artist Christopher Frost, each miniature building is a replica of the home of someone buried within the cemetery. He modeled the structures after thousands of potential houses to include a medley of architectural styles.

The houses are meant to be just as diverse as the people now buried within the graveyard. Keep an eye out for the tiny concrete model home of Ralph Martin, a wagon-driver who perished in Boston's most unusual disaster, the Great Molasses Flood.

The Victorian cemetery is home to a number of prominent historical figures, including poets Anne Sexton and E.E. Cummings and playwright Eugene O'Neill. It was added to the National Register of Historic Places in 2004.

Among the artistic masterpieces is Daniel French's "Death of a Sculptor," a tribute to Irish-born sculptors Martin and Joseph Milmore, who are buried there.

Know Before You Go

The cemetery gates open daily at 7:00 a.m. Seasonal are offered. You can also download a of the cemetery for a self-guided tour.

The miniature town is on White Oak Ave, in between Primrose and Rock Maple Ave. Definitely get the "detailed" map from the main office on your way in. (The simple map doesn't have enough detail to get around.) You can park by the office but the cemetery is huge, so better to drive in if you really want to see a lot of the cemetery. Don't get confused by the detailed map. Many names are 'Paths' - i.e. they are not roads. They are walking paths - though I use the term 'paths' loosely. Really they're just signs to let you know approximately where you are. To find the little houses - which are cute and fun to see - they are in section 'C' on the big map. Get to the intersection of White Oak Ave and Rock Maple Ave. Start walking up White Oak Ave and on your right hand side, nestled among the rocks and hidden in the trees and bushes are the houses. The houses are named: Lead Manufacturer, Architect, Merchant, Grocer, Musician, Poet, Temperance Leader & Wagon Driver. Which is your favorite?!

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In Boston's Jamaica Plain neighborhood, the Victorian-era Forest Hills Cemetery lies on 275 acres of green space. Centered around a peaceful lake, the cemetery showcases both natural and human-made beauty. Many of the graves are adorned with beautiful sculptures, and the mausoleums that dot the hillsides display attractive architectural details.

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Richard B. "Rico" Modica Way is a public walkway in Central Square in Cambridge, Massachusetts, connecting City Parking Lot 5 to Massachusetts Avenue.

Partially covered by a colorful plastic "stained glass" canopy, Modica Way is also an open-air, 24-hour art gallery. One side features a black and white photo collage of people and places around Central Square, installed by the city. The other has been set aside for use by graffiti and street artists, and is constantly updated with fantastic, colorful paintings both large and small.

A favorite stop for photographers with its ever-changing landscape, the walkway has shown work from nationally known artists Shepard Fairey and Enzo & Nio, and it's not uncommon to find local artists at work when you visit.

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Richard B. "Rico" Modica Way is a public walkway in Central Square in Cambridge, Massachusetts, connecting City Parking Lot 5 to Massachusetts Avenue. Partially covered by a colorful plastic "stained glass" canopy, Modica Way is also an open-air, 24-hour art gallery.

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From 1848 through 1858, Hugh Welch Diamond, Medical Superintendent at the Surrey County Asylum and one of the founders of the Royal Photographic Society, created a series of portraits of the patients in his care. His intention at the time was to use these photographs to diagnose and better care for people struggling with mental health issues. Today, the efficacy of this kind of treatment is unclear at best, but Diamond's pictures remain some of the most well-known from photography's early history.

Although their faces are relatively famous, information about many of the women in Diamond's photographs is scarce. Held in some of the leading art museums in the world, people visit them and wonder about who they were and what they felt. In some cases, their gazes are unwavering and direct, as if they're somehow reaching through the years.

Our understanding of mental health has evolved leaps and bounds since the Victorian era, but we continue to grapple with many of the same questions as we did back then. In the UK, one in four adults live with a mental health issue. As the English journalist Suzanne Moore wrote late last year, "The problems are clear to see.... You can read the stats or you could just open your eyes."

Among increased conversations about mental health, a new generation of photographers has emerged to document and confront their experience of living with mental illness. In 2015, the London-based photographer and artistic director Daniel Regan created fragmentary.org, a website devoted entirely to exploring mental health through photography and related media.

He now also runs the Arts & Health Hub, a place for artists delving into these topics to connect in the real world. Other movements have cropped up around the world, including The Too Tired Project, founded last year by Tara Wray, a writer, photographer and author of the book Too Tired for Sunshine. Artists around the world can submit images to the popular Instagram feed using the hashtag #tootiredproject.

Slowly but surely, more authentic images are also entering the mainstream. A few years ago, 'Time to Change'- a campaign working to combat mental health discrimination - launched a project designed to change the way the media depicts mental health issues. Called Get the Picture, the initiative challenged stereotypical and inaccurate representations in the news.

The campaign drew attention to the prevalence of what they termed "the 'headclutcher' photo. You know the one: you're reading an article about depression, and at the top of the page, there's a picture of a person holding their head in their hands. Although this can be an outward expression of despair, when poorly executed, it can come across as a mocking and reductive depiction of depression.

Stocksy photography duo Isaiah and Taylor's "invisibility" series exemplifies a more nuanced method of capturing the experience of living with mental health issues. Touching on themes of isolation and pervasive alienation they have had to carry, Isaiah & Taylor express their own chronic struggles through their photography. Because they come from a personal space, these images have the ability to communicate authentically with the wide audience of people who share similar afflictions and can start important conversations.

Artists have always made deeply personal work that can be confessional and about the complexities of mental health. "What seems to be changing is that the stigma of mental health is slowly being eroded and, in general, people feel more at ease in talking about it, particularly depression and anxiety," f ragmentary.org 's Daniel Regan shares. "It opens the door for more artists to make work about their personal experiences and share it with a wider audience. Since photography is a relatively democratic and accessible medium, now it means that there are greater opportunities for people to explore photography as a medium to process, document, and conceptualise inner states in a therapeutic manner."

These images can be difficult to create and to view, but they could have more potential than we realise. Authentic photography is just one of many ways in which we can tell and share first-person narratives around mental health, suffering, and healing - but it's a powerful one. When words fail, imagery helps fill in the blanks. Photographers working to unpack this topic could have a pivotal role to play in raising awareness and starting important conversations.

In the 1800s, Diamond studied portraits of his patients in an attempt to understand them better. But imagine for a moment if he had turned the camera in the opposite direction and invited his patients to create images of their own. What might he have discovered then?
Stocksy United is a multi-stakeholder co-operative home to a curated collection of royalty free stock photography and video footage; stocksy.com. You can see more imagery exploring mental health here.

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Exploring mental health through photography

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In the latest in a series of articles on visual trends, Stocksy's Tara Campbell explores the rise of artists offering a more nuanced depiction of mental health issues.

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eye makeup unpainted side

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eye makeup unpainted side

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Can't decide between a face paint or glam makeup look for Halloween? You don't have to! This half face zombie by Beauty in the Shadows aka Vanessa Mendez creatively combines the two types of looks into one beautifully creepy costume. Watch the video tutorial below and follow along with the step-by-step directions to create a look that Cosmopolitan calls "scary pretty and pretty scary."

Step-by-Step Directions

1.Use E.Y.E Liner Pencil in Dark Brown to lightly outline the zombie section of the face.

2.Conceal the brow within the zombie section with Synwax. Let the glue dry between each layer, setting with Celebré Pro HD Loose Mineral Finishing Powder, until the hair is sealed.

3.With a dampened Foam Hydra Sponge Applicator, apply Paradise Makeup AQ in White over the entire zombie section.

4.Using a fine tip brush and Paradise Makeup AQ in Black, draw a skull, including the outline of the eye socket, jaw, cheekbones and teeth. While the Black lines are still wet, use a blending brush to blur the lines.

5.Next, shade inside the skull's eye socket with the iNtense Pro Pressed Pigments in Red Earth. Then create shadows and lights for a 3D effect. Use iNtense Pro in Carbon (black) and Graphite (gray) for the areas you want to recess and Paradise Makeup AQ in White for the areas you want to raise.

6.Go back and define the lines you blurred in Step 4 and the edge of the zombie outline using a detail brush and the Black Paradise Makeup AQ.

7.With a smudge brush, fade the zombie section into the skin on the glam look with iNtense Pro in Desert Sand.

8.Create a smoky eye on the glam side using Red Earth, Carbon iNtense Pro. Add some shimmer and highlight with Highlight Pro.

9.Apply Brazen Mascara.

10.Once the glam side is complete, add tiny black lines from the zombie section coming into the glam section to give the appearance of zombie breaking through the glam side.

If you recreate this look, share it with us on Instagram!

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Can't decide between a face paint or glam makeup look for Halloween? You don't have to! This half face zombie by Beauty in the Shadows aka Vanessa Mendez creatively combines the two types of looks into one beautifully creepy costume.

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Hel ( Old Norse Hel, "Hidden"[1]) is a giantess and/or goddess who rules over the identically-named Hel, the underworld where many of the dead dwell. Her name's meaning of "Hidden" surely has to do with the underworld and the dead being "hidden" or buried beneath the ground.

According to the thirteenth-century Icelandic scholar Snorri Sturluson, Hel is the daughter of Loki and the giantess Angrboda (Old Norse Angrboða, "Anguish-boding"), and therefore the sister of the wolf Fenrir and the world serpent, Jormungand.[2] This makes her part of a highly dangerous and disreputable family.

Hel is generally presented as being rather greedy, harsh, and cruel, or at least indifferent to the concerns of both the living and the dead. However, her personality is little-developed in what survives of Old Norse literature. She's mostly mentioned only in passing. Snorri describes her appearance as being half-black, half-white, and with a perpetually grim and fierce expression on her face.[3]

The only surviving myth in which she features prominently is that of The Death of Baldur. The beloved god Baldur was slain by none other than Hel's father, Loki, and the gods sent an emissary named Hermod to Hel in hopes of retrieving Baldur. Hermod pleaded with Hel, telling her how every living thing was in sorrow over the loss of Baldur. But Hel wouldn't give up her prize so easily. She told Hermod - in a taunting way, we can imagine - that she would only consent to release Baldur if every last thing in the universe wept for him. Hermod and the other gods went around and got almost everything in the cosmos to weep for Baldur. Only one giantess, who was probably Loki in disguise, refused. But because of that one refusal, the terms of Hel's offer weren't met, and Hel kept Baldur in her cold clutches.

Because of how sparsely-defined her character is, many scholars view Hel as more of a late literary personification of the grave than a goddess who was actually worshiped or appeased in her own right.[4] Due to the lack of conclusive evidence either way, this must remain an open question.

Looking for more great information on Norse mythology and religion? While this site provides the ultimate online introduction to the topic, my book The Viking Spirit provides the ultimate introduction to Norse mythology and religion period. I've also written a popular list of The 10 Best Norse Mythology Books, which you'll probably find helpful in your pursuit.
References:
[1] Orel, Vladimir. 2003. A Handbook of Germanic Etymology. p. 156, 168.

[2] Snorri Sturluson. The Prose Edda. Gylfaginning, chapter 34.

[4] See, for example:

Ellis, Hilda Roderick. 1968. The Road to Hel: A Study of the Conception of the Dead in Old Norse Literature. p. 84.

And:

Simek, Rudolf. 1993. Dictionary of Northern Mythology. Translated by Angela Hall. p. 138.

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Hel (Goddess) - Norse Mythology for Smart People

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Hel (Old Norse Hel, "Hidden"[1]) is a giantess and/or goddess who rules over the identically-named Hel, the underworld where many of the dead dwell. Her name's meaning of "Hidden" surely has to do with the underworld and the dead being "hidden" or buried beneath the ground.

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How to Airbrush Body Paint Biomechanical Stencils

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Hel, in Norse mythology, originally the name of the world of the dead; it later came to mean the goddess of death. Hel was one of the children of the trickster god Loki, and her kingdom was said to lie downward and northward. It was called Niflheim, or the World of Darkness, and appears to have been divided into several sections, one of which was Náströnd, the shore of corpses. There stood a castle facing north; it was filled with the venom of serpents, in which murderers, adulterers, and perjurers suffered torment, while the dragon Nidhogg sucked the blood from their bodies. Mention is made in an early poem of the nine worlds of Niflheim. It was said that those who fell in battle did not go to Hel but to the god Odin, in Valhalla, the hall of the slain.

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Hel | Goddess of Death, Underworld & Decay

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Hel, in Norse mythology, originally the name of the world of the dead; it later came to mean the goddess of death. Hel was one of the children of the trickster god Loki, and her kingdom was said to lie downward and northward.

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Black Light Neon Boudoir Shoot | Behind The Scenes + Lighting Set Up

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pjman792 wrote:

Comments and criticisms welcomed.

Fascinating experiment. Has a motion feel. I can imagine this as a video clip too. With drums and congo beat music to accompany. Lot of effort - and it shows. Original. Original is good.

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pjman792 wrote: Comments and criticisms welcomed. Fascinating experiment. Has a motion feel. I can imagine this as a video clip too. With drums and congo beat music to accompany. Lot of effort - and it shows. Original. Original is good.

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The ultra intense colors emitted from phosphorescent paint under a blacklight grab everyone's attention. These colors exist nowhere in nature and any photographer who loves to think outside the box should experiment with the amazing possibilities this technique affords.

To get started, here are the items you need:
1. A blacklight. You can get these online, and stores like Walmart, Lowes, and Home Depot usually carry them in the lighting department. I prefer a blacklight tube (like a florescent light tube) because it gives off more light than a single bulb. If you use two blacklights, you will have more light on the subject, you can experiment with different types of directional lighting, and the exposure time will be shorter. Lengthy exposure times with inanimate objects aren't an issue, but if you shoot a person, then it is very relevant.

2. Phosphorescent paint. This comes in individual spray cans as well as small containers if you want to use a brush and apply the paint to specific areas of a subject. Art and hobby stores carry this kind of paint, and the spray cans are available anywhere paint is sold.

3. A tripod.

4. A flashlight or penlight. This is optional, but it allows you to add non-blacklight illumination to small areas of your subject or scene for an interesting variation.

There are many things you can do with blacklight photography. You can use the blacklight without any phosphorescent paint at all and the images turn out monochromatically deep cobalt blue, as in (#1). Adding a single color to the moody blue background can be visually arresting. In (#2) for example, I taped two pieces of paper that I spray painted neon orange behind the eyes of the mask. The phosphorescent paint responded to the blacklight, producing a very bizarre and attention-grabbing image.

Shooting under blacklight illumination is challenging because the light level is so low. If you are shooting inanimate objects, like the painted mythical horse (#3), you can close the lens down to a small lens aperture like f/16 without any negative consequences. If the shutter speed is long, it doesn't matter because nothing is moving. However, if you are shooting a model (#4), the length of the shutter speed is important because people can't be perfectly still. What I do in that case is have them sit or stand against a wall or a corner where two walls come together. That way they can press their body and/or the back of their head against the firm support to help prevent movement so you are able to get tack sharp pictures.

It will also be necessary to raise the ISO. No one likes to use high ISO settings because of the increase in digital noise, especially in the shadows-which mostly comprise blacklight images-but it's a no-brainer trading a bit of digital noise for sharp pictures. When I photographed my wife (she's the one behind the masks), I used ISO 640, but in retrospect I should have raised that to 1250 or 1600. In many current cameras these high ISO settings don't produce objectionable digital noise.

In determining the exposure, I found that the built-in light meter used in the Evaluative mode (Matrix Metering for Nikons) produced exposures that were about two f/stops too light. Therefore, I used the Exposure Compensation feature to underexpose by that amount and then I was able to use the Automatic Exposure modes (P, Av, and Tv) in the camera with very good results. Your results may vary, but probably not by much. Even though many of these pictures vary with respect to intensity of color and the percentage of shadow in them, I found that once I set the Exposure Compensation to minus two f/stops the meter did a remarkably good job in giving me well exposed images.

For many of my blacklight pictures, I used a piece of black velvet as the background. I didn't want anything behind the subject reacting to the blacklight and diverting attention. In (#5) for example, I simply laid leaves that had been sprayed with paint onto the black fabric. I positioned the blacklight off to the side to create some texture on the plant.

A technique that I use often is painting a white piece of foam core and using it as the background. Objects placed on the neon-colored foam core take on the cobalt blue color of the blacklight while the background glows with intensity, as in photos (#6, #7, and #8). For the pictures of my wife's legs and hands I placed thin, white fabric over her to add texture. A variation of this is (#9) where I placed an 8x10" piece of textured glass in front of painted foam core. I positioned the blacklight to illuminate the paint and not the glass.

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Blacklight Photography: A 60s Technique Made New

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The ultra intense colors emitted from phosphorescent paint under a blacklight grab everyone's attention. These colors exist nowhere in nature and any photographer who loves to think outside the box should experiment with the amazing possibilities this technique affords. To get started, here are the items you need: 1. A blacklight.

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Blacklight, or UV lighting, is most commonly seen in nightclubs. The ultraviolet lighting makes white shirts radiate with a bluey glow.

The peculiar visible effect that this form of invisible lighting has on different materials means that some subjects take on a completely different look when shot under these specialist lamps - making the surreal effects ideal for photography.

UV lighting can be used to photograph most things, but it's best suited to studio subjects because the light source is quite weak, and it needs to be used in a dark room with a black background to give the strongest effect.

It's particularly suited to portrait photography where props, clothes and make-up that react strongly to the UV lighting can be combined for psychedelic effects. You do need to invest in (or borrow) some UV lights, but they aren't particularly expensive, and can be bought from specialist lighting or party suppliers.

01 Choose your lights

You can get bayonet- or screw-fit UV bulbs for around £5 / $5 each, which can be used in normal desk or ceiling lamps, but bigger strip lights or LED lamps work best. A 20W mains unit with a tube costs around $25 / £25 - ideally, you need two for a balanced effect.

02 Strap the lights to stands

The strip lights are designed for wall lighting, so we attached ours to studio flash stands using gaffer tape for ease of positioning. One was placed on each side of our blonde model. A theatrical black backdrop was placed behind, on a standard backdrop support stand.

03 Get set to go slow

In a blacked out room the lights are weak, so you need to increase the ISO to at least 800 and open the aperture to f/4 or wider. Even so, exposures will typically be 1/2 sec to 1 sec long. Get the model to sit down on a stool, and hold as still as possible during the exposure.

04 Check for sharpness

With such long exposures, subject movement is common - and you can expect to have to delete at least 75 per cent of the pictures you take. Make sure you take lots of frames, to make sure you have some that are sharp. Zoom in to check when reviewing on the LCD.

05 Use a reflector

The strip lights need to be placed close to the model's face to be effective - and in order to ensure that the features are lit adequately, it's worth using a white or silver reflector to bounce some light back. We used a silver surface on a Lastolite TriGrip to do this.
* See Best reflectors for photography

Today's best Lastolite by Manfrotto TriFlip 8 in 1 Grip Reflector Kit 30 inch deals

06 A rainbow of color

UV makeup and face paint is readily available at fancy dress shops, and is available in a huge range of colors. The bright glow that this produces under the lights means that you need to be quite subtle with the application to avoid these areas burning out in the photograph.

07 Experiment with materials

It isn't easy to predict which materials will react best under the UV light, so it's worth trying different items from your wardrobe to see which works well. Light-colored manmade fibers and fluoroplastics work well - but there are totally unexpected successes, too, such as the tonic water in the glass in the shot above!
More videos:
Photography tips and techniques videos
How to use polarizing filters for colorful cross-polarization effects
Studio portrait lighting: essential tips and setups explained
11 home photography ideas

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UV photography: tips for going dark with blacklight photography

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Blacklight, or UV lighting, is most commonly seen in nightclubs. The ultraviolet lighting makes white shirts radiate with a bluey glow. The peculiar visible effect that this form of invisible lighting has on different materials means that some subjects take on a completely different look when shot under these specialist lamps - making the surreal effects ideal for photography.

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Adventure: A journey or activity which makes you feel truly alive

Intimate: Personal, deep, or profound expression of ones being. Physically or emotionally close.

Expression: The ability to communicate yourself to others or the world, or to let out the contents of your mind to some perceivable format

Freedom: The ability to go, do, be whatever you want, empowerment, abundance

Color: light signals controlled and perceived, visual expression, symbolism

Acceptance: the ability to give compassion to the shadow side of ones self or another

Night: the period of time during earths rotation where things are dark but the lights come up and my people come alive

Music: life, breath, blood in audio form. Audio which have the power to affect human emotion, express intangible concepts, and get a person to move

Universe: the connecting force for all living things

People: multifaceted beings capable of great and terrible things

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In addition to my own studio space, my intern mentor as offered me the use of her professional space in Rockland which is very appreciated.
Utilizing the following dedicated schedule:

Monday evenings (home)
Wed night (classes)
Some fridays outside of my work-study hours (on campus)
And other scheduled but varied time in the Rockland space.

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I took a short video instead- which is basically a ton of pictures as one anyway lol.

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los angeles based entertainment photographer and director - ΔO