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AMC’s zombie drama “The Walking Dead” returns for its third season on Sunday, and for cast members who play “walkers” (the zombies), preparing for the role involves careful, professional application of the ugly stick. Last week, David Walters Banks, on assignment for The Wall Street Journal, photographed Xan Angelovich undergoing this transformation by co-executive producer Greg Nicotero and special-effects makeup artist Andy Schoneberg. Ms. Angelovich before make-up. They apply make-up to her teeth. Ms. Angelovich on the set. All photographs by David Walter Banks for The Wall Street Journal.


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There’s a new generation of haunted houses this year that feature psychological torture, intense sensory deprivation and hands-on assaults by people playing mass murderers. The houses incorporate Hollywood-grade special effects, some designed by the same crews that build the sets for the biggest-grossing horror movies and backed by the directors or producers of major horror franchises. Halloween has emerged as the second-biggest commercial holiday of the year, with anticipated revenue of $8 billion this year, the result of an aggressive push by retailers to create a reason for big spending between back-to-school and Christmas. Haunted houses in particular have mushroomed, popping up everywhere from blacked-out urban storefronts to cornfields and backyards. The Haunted House Association estimates there are 2,000 haunted houses in America and average ticket prices have risen to $15 from $5 in the 1990s.


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Summer typhoons have compounded North Korea’s hunger crisis, as shown in photos taken on a government-monitored tour and released this week. Infants suffering from malnutrition rested in a hospital in Haeju Oct. 1. A boy stood in a blighted corn field Sept. 29 at the Soksa-Ri collective farm in the South Hwanghae Province of North Korea. Corn and cobs were the meal a North Korean woman prepared Sept. 30 in her tent in South Hwanghae Province; she lost her house in the summer’s flooding.


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10 years ago, on Sept. 11, 2001, terrorists seized control of four airplanes and crashed them all, bringing down the World Trade Center towers and ripping a hole in the Pentagon. Throughout this anniversary day, the editors at Photo Journal will be live blogging the memorial ceremonies and worldwide reactions through a curated series of photographs. The images are posted as they become available and do not necessarily represent the time they were taken. The historical photos you see are juxtaposed with images from today. Robert Peraza, who lost his son Robert David Peraza, pauses at his son's name at the North Pool of the 9/11 Memorial on September 11, 2011, in New York. Police officers from the United Kingdom march across the Brooklyn Bridge on the morning of the 10 year anniversary of the Sept. 11 attacks. A man wearing a fireman's hat stands while an American flag covers the field during a ceremony before a game between the Buffalo Bills and the Kansas City Chiefs at Arrowhead Stadium in Kansas City, Missouri on the tenth anniversary of the attacks of September 11, 2001.


view A Decade After 9/11 in Photos as presented by: Wall Street Journal

This gallery is a selection of some standout portraits from Review of the Weekend edition of the WSJ. The “Creating” section of Review is where artists and writers, choreographers and composers mingle with monster-truck drivers, magicians, whiskey distillers, tattoo artists and fashion designers. Each week features a fresh subject who divulges secrets to their creative process, along with often-surprising details of the trade and behind-the-scenes dishing. Read on as “Creating” photographers share details about the recent shoots. Tarina Tarantino, jewelry designer, Los Angeles, CA. Photographer Emily Shur: “Photographing Tarina was like shooting a modern day fairy princess with a wicked business sense. Her workspace was fun and whimsical, yet busy and organized. I like meeting and photographing successful women who seem to have fun at work and clearly are respected by everyone around them.” Marie Wright, flavorist, South Brunswick, New Jersey. Photographer Kyoko Hamada: “I had been warned that Marie’s lab might be a bit like Willy Wonka’s Chocolate Factory. Upon entering the lab, we were overwhelmed with the smells of bubble gum, lemon, coffee beans, chocolate, tangerine, and what I’m guessing may have been cupcake, soap, vanilla, banana and amaretto, all mixed together in what was an otherwise very stark and minimal laboratory. It was strange to think that the smells which were so omnipresent in the air were completely invisible to the naked eye. Rob Hall, owner of Almost Human special effects, Los Angeles, CA. Photographer Sam Comen: “Rob Hall’s studio was an embarrassment of riches when it came to props and scenic elements to inspire a portrait of the FX mastermind. Unfortunately, nearly all of those elements were very gory and realistic, and therefore very difficult to use in light current news focused on congresswoman Gabrielle Giffords’ shooting in Tucson just 5 days prior. So my plan was to showcase Rob’s special effects without being grim. I found my inspiration in the studio’s cramped and dusty loft: a set of giant insect legs peeking out behind a foam-rubber human torso. I added a colorful fly swatter, explained my idea to Rob, had my assistants perch on a ladder with the giant legs, and after some work we had our shot.”


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Kidnapping Central American migrants who cross Mexico on their way north is one of the latest rackets of organized-crime groups. Neighbors and relatives mourn the husband of Marlene, center. He was killed in a brutal August 2010 attack by the criminal group Zetas. Jose Castro, from Honduras, walks across the ‘arrocera’ in Chiapas, an area where migrants are often robbed and attacked by criminals. Just this year, more than 4,000 immigrants have been rescued by Mexican security forces from their captors. People cross the Suchiate River on a raft. Many migrants cross this river, which separates Guatemala and Mexico, on their way to the U.S.


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These remarkable photographs came to our attention after we published several postcards from a new book on the atomic age in a recent weekend edition, including one that featured a colorized version the atomic bomb test of shot Charlie that you see here. Mr. Verdooner sent us these images after seeing the vintage postcards published in the WSJ newspaper. We were struck by the beauty of the images, and were delighted when he agreed to be interviewed about his experience shooting them. Sergeant Marcel Verdooner was 24 years old on April 22, 1952, when he witnessed an atomic bomb detonation reportedly 10 times more powerful than the one that hit Hiroshima. He was a member of the 301st Signal Photographic Company detachment of 21 photographers assigned to Yucca Flats, six of whom are still living today. Mr. Verdooner describes what he saw as shot Charlie was dropped, in his position about ten miles from ground zero: “The first photo here was taken after the initial fireball was burned out and the stem of the mushroom started to develop from the sand on surface of the desert. The colors in the fireball were indescribably beautiful. This image shows the shock wave traveling across the desert. After I took this photo I had to kneel down, turn my back to the shock wave and brace myself. The fireball was followed by the forming and rising of the mushroom cloud in the second photo. The vacuum created by the fireball sucked material inwards, which creates the mushroom shape.” Shot Charlie was the first public and televised atomic bomb test in the US.


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Ezra Shaw, a Getty Images photographer, shoots divers at the 14th FINA World Championships: “Like any event, I am always trying to get something a little different each day. We had just got a 800mm lens shipped in from London and I decided to take it over to the diving pool and see what I could get. I set up down on the pool deck for the men’s 3-meter springboard prelims. After the first diver went, I realized it was going to be much more difficult to capture the type of images I wanted because the divers were jumping so fast, and the 800mm lens was so tight. However, I started to get the hang of it, and by the end of the session, I got a handful of pictures that I really liked showing the different faces of the divers.”


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