Volume 29 Issue 3
Front Cover: Fin profile from a 1960s Plastic Fantastic kneeboard, re-imagined in five exposures on a single frame of film. Photo by Russell Spencer. Between the flaps, TSJ 29.3 spins its compass from dodging landmines in the Falklands, to an unassisted paddle journey from Alaska to Cabo, and to the river-wave surf scene springing up in Boise, Idaho. Shaper Donald Brink’s experimentations in surfboard sonics and Martin Machado’s oceanic etchings provide doses of written and visual portraiture, while the portfolio of Sarah Lee, Derek Dunfee’s intimate look at the modern big-wave stage, and Brad Barrett’s 1960s retrospective offer photographic page studies.
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29.3
A Wave Trying to Find the Ocean
Faced with a terminal condition, what solace can surfing really offer?
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29.3
The Unbreakable Icon
An interview with Mark Occhilupo.
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29.3
A Quiet Power
Aquatic connections with Sarah Lee.
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29.3
Through the Porthole
San Francisco-based artist and seafarer Martin Machado’s salty creations.
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29.3
Dirt, Scratches, Fingerprints, & Grain
Analog surf pics & portraits, 1962-1970.
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29.3
By Hand
How Casey and Ryan Higginbotham paddled from Ketchikan to Cabo.
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29.3
White Caps of the Mind
Shaper Donald Brink wonders if “magic” equals “frequency.”
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29.3
The Surf Gods of Idaho
Are backward waves the future of surfing in Middle America?
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29.3
Multiples
Abstractions in symmetry.
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29.3
Chasing the Wind
Surf adventurers Julian and Joaquin Azulay embrace the now and battle the elements in the Falkland Islands.
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29.3
The Eye of the Hunter
Derek Dunfee’s evolution from big-wave surfing to big-wave photography.
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29.3
Pase Usted
A Mexicana writer observes a beach where it’s always warm—with a chance of sketch.
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29.3
In Harm’s Way
Timeless Areas is a transcendent portrait of skating, surfing, and sobriety.
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29.3
Head (High) Trips
Ego checks and naval models inform our “How big is it?” calls.
