Two years ago, Rick Fredland made a clever connection between form and function, crafting the concept of the Silipint, or pint cups made of silicone. These vessels could bounce off any surface, survive cliff jumps and regain shape after being run over by a bicycle-powered mobile pub. The cup’s adaptable form gives it more lives than a cat.
It was Fourth of July weekend in Vancouver, Washington, and the startling snaps, pops and explosions from fireworks outside of Mandee Juza’s home immediately transported her back to Iraq. She holed up in the basement, and tried to escape the feeling that guns and bombs were thundering nearby, threatening her life. She was experiencing the effects of post-traumatic stress disorder (PTSD), a common mental illness that has affected veterans of all wars.
From their table at the Golden Horse Restaurant in Portland’s Chinatown, Mary Leong, a youthful 90 year old, and Fred Wong, equally spry at 87, can glance in any direction and the memories come back to them. Over a lunch of rice porridge and beef chow fun, they banter about the neighborhood. With wry humor and wistful moments, they recall lives shared by their families across the arc of time, a mosaic of memories and anecdotal history of Portland’s Old Town Chinatown.
Southbound out of The Dalles, Highway 197 turns up from the Columbia River, curving through the gently rolling terrain of the upper Columbia Gorge. Leaving the National Scenic Area at about milepost 3, you’ll see the landscape evolve from manicured fruit orchards to hardscrabble wheat farms. Mt. Hood rises to the west.
Known as the “Avedon of Asia,” Russel Wong is among celebrity photographer royalty—Richard Avedon, Annie Leibovitz, Helmut Newton. Wong’s portfolio includes sixteen covers for Time magazine, landscapes sold by Christies, and lush publicity images for the Oscar-winning films, Crouching Tiger, Hidden Dragon and House of Flying Daggers.
I jumped at the offer when 1859 asked me if I was interested in shooting behind the scenes at the Oregon Shakespeare Festival. Few photographers get the opportunity to go behind the scenes at OSF. I was elated, yet felt the weight of responsibility from such a rare invitation. I also recognized that I was walking into an intimate lair, with dimensions I could hardly guess. The experience far exceeded my expectations as a photographer. There were large contraptions, small sewing machines, a woman creating a miniature head, welders and people covered in paint. This is a world where the future and the past come together in a visceral present. And I was fortunate enough to capture it all. Enjoy.