CO2 emissions from China are increasing faster than from any other country in the world.

Coal workers waiting for a job in downtown Taiyuan. Immune Media's Questions for Christian Als: 1.  In the China Loves Coal series, I feel like i'm being presented with things, (like "Here is X.  Here is Y.") rather than involved or present.  It's very different not only in content- but also compositionally and stylistically- from other stories...say, Haiti, for example).  Do you agree? If so, was it purposeful?  That might be right. China Loves Coal was extremely difficult to document. To work on a controversial issue in a country like China is quite a challenge. Nobody is particulary interested in having this kind of photo essay displaying the mess and the poor working conditions the miners endure everyday. So it is not really possible to be present or get too involved when working on a story like this. The one time I ventured into the working area of an illegal mine in Shanxi Province, I was chased away by drunk, mad miners with shovels!! But I like the series very much even though it is not the way I normally shoot a story. It kind of shows my working conditions as well as what is possible when documenting an issue like this. Stylistically it differs because of that. Also I decided to turn the whole body of work into 6x7 in post production, and that adds to the wholly different feeling. Work like Gaza or Haiti are newsy and in that case I see it as my duty to try and document the events unfolding as truly and straight as can be. I would never try to postulate in news stories, but in stories like China Loves Coal, I feel I can “raise my voice” just a bit. If I have this voice in my work, what do I want to say? This is a serious issue for millions of human beings in China, and I want to show the world that the economic miracle going on in China these years have a flipside. The consequenses are huge, and they hit hardest for the poorest citizens of China. 2.  What's the first time you ever got paid for doing photography? That was a wedding ;-)  I needed money to purchase [photo] equipment, so I shot a wedding reportage-style in black and white and they loved it and paid me quite a bit of money. I actually shot about ten weddings during the time of education.  Same concept every time; black and white reportage from early morning till the dance at midnight. Because of the many hours, it paid quite well.  No compromises, "my thing" or I turned them away. Made quite a lot of money that way, but now I don't have the time or the desire to do it anymore. I learned a lot from those weddings, and would do it again- People handling, getting the vital moments and putting the whole thing together in a tight edit. Giving the couple a document for them to hold in the future. "No compromise" is the way you can make a wedding interesting to shoot. If you go into any shoot with the idea of the next great shot could be just around the corner, you can make super images at a wedding or anywhere else. I recommend all new photographers to do it.... 3.  How much photoshop is too much? Difficult to answer, I guess I have my own guidelines and often it is as much a feeling as anything else. There certainly is a fine line between underworked and heavily overworked post production. I use Photoshop to enhance the feeling in the image, to add contrast and to crop. That is basically what I do. But I guess I do it to an extent, where some think it is pretty overworked. It comes down to culture and what you are used to in the country where you live. To me, American photographers tend to Photoshop less than, say Italian or Danish photographers do. In general it should come down to the images should look natural and not stand in the way of the content of the story being told. 4.  Now that everyone's a photographer, will professionals survive? I see a business in a dire state at the moment. Has been for quite a while. Actually the whole industry hasn’t been all too healthy for some years now. I have been a professional since 2004, and over these years it has only gotten worse. But surely there is a way in if you are determined, talented and willing to make your living standards at a simple level. In other words, don’t do photojournalism for the money! In these hard times, it is important, more than ever, that photojournalists see themselves as storytellers. Everyone can push the button and take a picture, but not everyone have the talent to show the world new ways of thinking or are able to open the window to the world, to things you didn’t even know exists. There will always be concerned photographers and if they can’t get their work published in the traditional media, they will find other ways of getting in touch with the concerned part of the public; galleries, blogs, through NGO’s or something totally new. You can find your audience out there, for sure. 5.  Would you rather :::  Drink 1 liter of water from the Sushui River or eat 50g of coal? No matter what river in China, I would opt for the coal, because at least I would then know what I put into my body.  I have seen what happens to the Chinese people who drink directly out of Songhua River, as documented in my work The River Runs Black – deadly!  I would go for the coal; I believe I inhaled more than 50g of coal in the ten days I travelled through Shanxi Province for China Loves Coal, and I believe I have survived without complications from that:-) 6.  In image #18, I don't see any clothing anywhere near that guy.  Where are his pants? His pants lie a few meters from him, at the top of the stairs leading down to the water. It is a scene seen quite often in China. Especially the elder Chinese population still do what they always did- washing themselves on their way home from work in a local water source, a river, a lake. Nothing strange about this, but it looks a little bizarre, especially when you know the level of chemicals in this particular river in the heavily polluted Shanxi Province.

CHINA LOVES COAL by CHRISTIAN ALS of COPENHAGEN, DK Shanxi Province is China’s main coal-producing region. And this is a country that mines and produces far more coal than any other nation on earth. Coal mining, coal processing and coal-fired power plants keep the people of Shanxi employed and supply most of China’s energy needs. Shanxi is infamous for bad working conditions in coal mining and more than 5000 workers die every year in the mining centre of China. It is also one of the most environmentally dangerous places in the world. Interview below ▼

Coal workers waiting for a job in downtown Taiyuan. Immune Media's Questions for Christian Als: 1.  In the China Loves Coal series, I feel like i'm being presented with things, (like "Here is X.  Here is Y.") rather than involved or present.  It's very different not only in content- but also compositionally and stylistically- from other stories...say, Haiti, for example).  Do you agree? If so, was it purposeful?  That might be right. China Loves Coal was extremely difficult to document. To work on a controversial issue in a country like China is quite a challenge. Nobody is particulary interested in having this kind of photo essay displaying the mess and the poor working conditions the miners endure everyday. So it is not really possible to be present or get too involved when working on a story like this. The one time I ventured into the working area of an illegal mine in Shanxi Province, I was chased away by drunk, mad miners with shovels!! But I like the series very much even though it is not the way I normally shoot a story. It kind of shows my working conditions as well as what is possible when documenting an issue like this. Stylistically it differs because of that. Also I decided to turn the whole body of work into 6x7 in post production, and that adds to the wholly different feeling. Work like Gaza or Haiti are newsy and in that case I see it as my duty to try and document the events unfolding as truly and straight as can be. I would never try to postulate in news stories, but in stories like China Loves Coal, I feel I can “raise my voice” just a bit. If I have this voice in my work, what do I want to say? This is a serious issue for millions of human beings in China, and I want to show the world that the economic miracle going on in China these years have a flipside. The consequenses are huge, and they hit hardest for the poorest citizens of China. 2.  What's the first time you ever got paid for doing photography? That was a wedding ;-)  I needed money to purchase [photo] equipment, so I shot a wedding reportage-style in black and white and they loved it and paid me quite a bit of money. I actually shot about ten weddings during the time of education.  Same concept every time; black and white reportage from early morning till the dance at midnight. Because of the many hours, it paid quite well.  No compromises, "my thing" or I turned them away. Made quite a lot of money that way, but now I don't have the time or the desire to do it anymore. I learned a lot from those weddings, and would do it again- People handling, getting the vital moments and putting the whole thing together in a tight edit. Giving the couple a document for them to hold in the future. "No compromise" is the way you can make a wedding interesting to shoot. If you go into any shoot with the idea of the next great shot could be just around the corner, you can make super images at a wedding or anywhere else. I recommend all new photographers to do it.... 3.  How much photoshop is too much? Difficult to answer, I guess I have my own guidelines and often it is as much a feeling as anything else. There certainly is a fine line between underworked and heavily overworked post production. I use Photoshop to enhance the feeling in the image, to add contrast and to crop. That is basically what I do. But I guess I do it to an extent, where some think it is pretty overworked. It comes down to culture and what you are used to in the country where you live. To me, American photographers tend to Photoshop less than, say Italian or Danish photographers do. In general it should come down to the images should look natural and not stand in the way of the content of the story being told. 4.  Now that everyone's a photographer, will professionals survive? I see a business in a dire state at the moment. Has been for quite a while. Actually the whole industry hasn’t been all too healthy for some years now. I have been a professional since 2004, and over these years it has only gotten worse. But surely there is a way in if you are determined, talented and willing to make your living standards at a simple level. In other words, don’t do photojournalism for the money! In these hard times, it is important, more than ever, that photojournalists see themselves as storytellers. Everyone can push the button and take a picture, but not everyone have the talent to show the world new ways of thinking or are able to open the window to the world, to things you didn’t even know exists. There will always be concerned photographers and if they can’t get their work published in the traditional media, they will find other ways of getting in touch with the concerned part of the public; galleries, blogs, through NGO’s or something totally new. You can find your audience out there, for sure. 5.  Would you rather :::  Drink 1 liter of water from the Sushui River or eat 50g of coal? No matter what river in China, I would opt for the coal, because at least I would then know what I put into my body.  I have seen what happens to the Chinese people who drink directly out of Songhua River, as documented in my work The River Runs Black – deadly!  I would go for the coal; I believe I inhaled more than 50g of coal in the ten days I travelled through Shanxi Province for China Loves Coal, and I believe I have survived without complications from that:-) 6.  In image #18, I don't see any clothing anywhere near that guy.  Where are his pants? His pants lie a few meters from him, at the top of the stairs leading down to the water. It is a scene seen quite often in China. Especially the elder Chinese population still do what they always did- washing themselves on their way home from work in a local water source, a river, a lake. Nothing strange about this, but it looks a little bizarre, especially when you know the level of chemicals in this particular river in the heavily polluted Shanxi Province.

Coal mine accident in Shanxi Province.

Living in Shanxi Province is living in industrial landscapes.

Of China's ten most polluted cities, four are in Shanxi Province. The coal-mining operations have damaged waterways and scarred the land.

China's mines are among the most dangerous in the world - more than 5000 deaths are reported every year in fires, floods and explosions.

Coal accounts for 70 percent of the country's energy production, according to government statistics.

A mine accident survivor in the hospital. China produced 35 percent of the world's coal in 2008, but reported 80 percent of the total deaths in coal mine accidents.

Late night high rise in downtown Jiexiu.

CO2 emissions from China are increasing faster than from any other country in the world.

Coal mining has become the most deadly job in China. The death rate for every 100 tons of coal is 100 times of that of the US.

China must make some difficult choices. So far, the nation has been making decisions that it hopes will lessen the health-damaging impact on its own country while sustaining economic growth as cheaply as possible.

China contributes one-sixth of the world's sulfur pollution. Together with the emissions from various other countries, those from China seem to offset more than one-third of the warming effect from manmade carbon dioxide already in the atmosphere, according to several climate models.

China is building two large power stations every week.

Bar on the Taiyuan-Linfen Highway.

Coal Industry analysts say as many as 90 percent of small coal mines should be closed for safety reasons.

Public health is reeling. Pollution has made cancer China's leading cause of death, the Ministry of Health says.

A closed down restaurant on the Taiyuan-Linfen Highway.

China's population of 1.3 billion is about four times larger than that of the US, but each Chinese citizen uses about 25% of the energy consumed by his or her US counterpart.

The Netherlands Environmental Assessment Agency says China's CO2 emissions had risen by 9% in 2008, compared with 1.4% in the US.

China is choking on its own success. The economy is on a historic run, posting a succession of double-digit growth rates. But the growth derives, now more than at any time in the recent past, from a staggering expansion of heavy industry and urbanization that requires colossal inputs of energy, almost all from coal, the most readily available, and dirtiest, source.

Christian Als was born in the countryside outside Copenhagen. Most of his work centers on what he calls "concerned photography" -social, political and economic issues throughout the world. Christian graduated from the Danish School of Journalism, and did various stints during and after his graduation (in 2006) as a freelance photojournalist until eventually being hired by Berlingske Tidende (where he still works today). Christian's work has been published in an impressive list of international publications too numerous to list here, and he has won a mind-boggling number of awards which are likewise too numerous to list.  The China Loves Coal series won a Best of Photojournalism award from the NPPA in 2009 in the Environmental Picture Story category. See more of Christian's work online HERE.

by: Jamie Winter

by: Courtney Mason

by: LeeAnne Klagge

by: Alicia Burgett

portrait | descriptor DIPTYCHS by some EMMERT HHS Photo students

by: Jamie Winter

by: Derek Julian

by: Alex Pisarchuk

by: Shylo Shrewsberry

by: Alicia Burgett

by: Meghan Moore

by: Lindsey McKim

by: Elvis Pring

by: Chris Heup

by: Brandon Prom

by: Tiffany Brungardt

by: Miranda Hampton

by: Tatyana Belyanskaya

by: Katie Berame

by: Josh Fredrickson

by: Jacob Betts

by: LeeAnne Klagge

by: Courtney Mason

COLOR PALETTE by SHYLO SHREWSBERRY (HHS Photo student)

COLOR PALETTE by SHYLO SHREWSBERRY (HHS Photo student)

Heather Daly, 13, Corvallis, OR ::: Last year, Heather was diagnosed with Graves disease - an autoimmune disease resulting from an overactive thyroid. Soon after, Heather began losing patches of her hair and was diagnosed with another autoimmune disease - Alopecia. Heather's white blood cells think of her hair follicles as germs and attack them.

Linear Accelerator - a complex treatment machine used in radiation oncology. When cancer cells try to divide after radiation they die because they do not have the repair mechanisms of normal cells.

A panel on the Linear Accelerator used for imaging. The radiation comes through the black square and makes contact with a phosphorous plate to capture an image.

Heather Daly, 13, Corvallis, OR ::: Last year, Heather was diagnosed with Graves disease - an autoimmune disease resulting from an overactive thyroid. Soon after, Heather began losing patches of her hair and was diagnosed with another autoimmune disease - Alopecia. Heather's white blood cells think of her hair follicles as germs and attack them.

Linear Accelerator - a complex treatment machine used in radiation oncology. When cancer cells try to divide after radiation they die because they do not have the repair mechanisms of normal cells.

A panel on the Linear Accelerator used for imaging. The radiation comes through the black square and makes contact with a phosphorous plate to capture an image.

Covers used to shield cancer patients undergoing radiation.

Tanisha Ranjel-Weiss, 15, Springfield, OR ::: On July 7, 2009 Tanisha was diagnosed with ALL - acute lymphoblastic lymphoma - a rare cancer that can attack the lymph nodes anywhere in the body, but usually manifests in blood or bone marrow. When Tanisha was diagnosed her hair was down to her waist - it started falling out shortly after she began chemo.

Entry to the chemotherapy room at Willamette Valley Cancer Center in Eugene, OR. Chemo drugs are used to control and kill rapidly dividing cancer cells.

Chemotherapy drugs being administered to a patient.

While chemo is an outpatient procedure, it is an uncomfortable and painful experience that can cause nausea, loss of appetite, fatigue and hair loss. Oncology clinics try to make patients feel as comfortable as possible when they come in for chemotherapy.

Teri Ann Jimenez, 14, Albany, OR ::: Teri was diagnosed with ovarian cancer in May 2009. During a CAT scan, the doctors discovered a cyst in Teri's brain - she underwent both chemo and brain surgery last summer. Teri says that the chemo made her feel awful, and when she woke up in the morning her pillowcase would be covered in hair.

Hematology lab at Willamette Valley Cancer Center.

Blood samples. Hematology oncology is key in monitoring and treating blood and bone marrow cancers.

Labels used in the hematology lab.

Angel Hair Foundation provides free cranial prosthetics to Oregon kids and teens under the age of 18.

Heather ::: (Left) "It [Angel Hair] kind of helps me blend in. I kind of don't feel different." (Right) "I wasn't quite sure what to think about it." Heather was surprised and sad when she began losing her hair.

Tanisha ::: (Left) "When I have Angel Hair, people don't notice it's a wig. I feel like I have my hair back when I have it on." (Right) "I kept thinking that people would stare and I wouldn't look the same anymore." Tanisha says that she was very attached to her hair before she started chemo.

Teri ::: (Left) "If you have a positive attitude about anything it's easier to get through." Teri says that getting Angel Hair gave her a lot of confidence and helped her feel better about starting high school. (Right) "I was self conscious at first about starting high school with no hair." Teri's mother was equally worried about how the kids would recieve Teri. The Angel Hair made them both feel better.

Staci Wright, 17, Eugene, OR ::: Staci is the founder of Angel Hair Foundation. In 2006, Staci was diagnosed with Ewing's sarcoma - a bone cancer that was infecting her skull. Initially, doctors thought that Staci had an easily removable tumor, but when they biopsied it they discovered it was cancer. "It was kind of too shocking to process it," says Staci. She underwent chemo and soon lost her hair. "I know how it feels to be out in public with people looking at you and feeling self conscious, so I just wanted to help." Once Staci found her Angel Hair, she wanted to make it easily available to other kids who are fighting cancer.

Debbie and Staci Wright - the president and founder of Angel Hair Foundation.

Immune Media's Questions for Michael Wolf 1.  What was the original purpose of the Transparent City series?  Did the purpose change as you were shooting / editing it?  What did you learn in the process? For more than 4 years, I had been working in Hong Kong on the Architecture of Density series. I was curious if my style of architectural photography—no sky and no horizon, where the eye is not allowed an escape from the photograph and the buildings seem to go on forever—could be applied to buildings in other cities.   In Chicago, I learned that location is everything.  It was crucial that I get onto rooftops, and in Chicago I had a great researcher at US Equities, the company which sponsored my artist in residency.  My Hong Kong work is all about surface, Chicago was about transparency. The idea for Transparent City Details came towards the end of the residency. I was not satisfied with "just" photographs of architecture, and wanted to add another layer of meaning to the project.  I experimented with tiny crops of details I saw in my files  (50-60kb of a 112mb file), which I then blew up to 48x60 inch prints. 'What I found, actually, is how boring everyday life is. When I thought about it, one of the fantasies that I had was that I would get up onto these rooftops every night—for four or five or six hours—and I would look into hundreds of windows, and I would see all these thrilling things going on. But, ultimately, all I saw was either people sitting and reading or people sitting in front of a computer. In the condominiums, it was people sitting in front of big flat-screen TVs eating dinner—and there were a lot of people alone. It was like an Edward Hopper painting. In fact, I was greatly influenced by Hopper, taking these photographs—even walking along the streets at night and looking into restaurants. It was almost a cliché. You’d see these Nighthawk-like scenes at eleven at night—two people sitting at a table discussing things or a waiter wiping a table—and so Hopper’s paintings were in my mind while taking these. But it was a little sad to see, night after night, in all these buildings, that it was really just single people between the ages of twenty-five and forty, tired after work, sitting on the sofa watching TV. I was a bit disillusioned. I thought it would be more exciting than that.' The idea was to print both the details and the architecture very large and hang them side by side—the closer one got to the pixelated details, the less one recognized, and with the architecture, it was exactly the opposite - the closer on got to the print, the more one saw.  So I was playing with qualities inherent in the medium of photography. 2.  I'd describe your work as straightforward...in that there's often a strong linear component, or a play on symmetry.  The work seems often to be shot from eye level, from straight on...even your portraits (not to mention the "Le Petit Journal' and 'Propaganda' stuff).  What's up with that? I find that in my photographs of architecture, a high level of precision underscores the effect that the image has on the viewer.  Ideally, I want people to react viscerally to my images, don't want the distractions of crooked lines. The sharpness is also important - one should be able to see every pencil or even paperclip lying  on a desk, if possible.  It takes a long time to digest a 48x60 inch photo as there is so much going on in the image.   3.  What's the first time you ever got paid for doing photography? Before I earned my living as an artist, I worked as an editorial photographer.  The first reportage which I was paid for was in 1976 for a piece I did about pigeon racing in the Ruhr area of Germany. 4.  How much Photoshop is too much? Difficult to say—in photojournalism the boundaries between what one can and can't do are very clear.  But in art, everything is possible.   5.  Now that everyone's a photographer, will professionals survive? Of course the profession will survive. In the art world, the concept/idea is extremely important, especially if one works in the medium of photography.  Nowadays everyone can use a camera, but not everyone has an original idea. 6.  Would you rather live in a home that's a human aquarium (glass surround with no curtains or blinds), or live in a  home with no windows?  Why? I happen to live in a home which is a human aquarium and love it.  I often sit for hours at my window in my apartment on the 14th floor in Hong Kong and look out into the sea of windows surrounding me.  When I go to bed, I close the curtains. 7.  So much of your work seems to have to do with the relationship of humans to structures.  Yes?  No?  Why? I live in Hong Kong—which is an extremely dense and hyperactive city.  My work reflects my feelings and thoughts about the place where I live.  The overall theme of my work is "life in cities."   At parties I tell people exactly that - that I photograph "life in cities."

TRANSPARENT CITY by MICHAEL WOLF of HONG KONG, CHINA Interview below ▼

Immune Media's Questions for Michael Wolf 1.  What was the original purpose of the Transparent City series?  Did the purpose change as you were shooting / editing it?  What did you learn in the process? For more than 4 years, I had been working in Hong Kong on the Architecture of Density series. I was curious if my style of architectural photography—no sky and no horizon, where the eye is not allowed an escape from the photograph and the buildings seem to go on forever—could be applied to buildings in other cities.   In Chicago, I learned that location is everything.  It was crucial that I get onto rooftops, and in Chicago I had a great researcher at US Equities, the company which sponsored my artist in residency.  My Hong Kong work is all about surface, Chicago was about transparency. The idea for Transparent City Details came towards the end of the residency. I was not satisfied with "just" photographs of architecture, and wanted to add another layer of meaning to the project.  I experimented with tiny crops of details I saw in my files  (50-60kb of a 112mb file), which I then blew up to 48x60 inch prints. 'What I found, actually, is how boring everyday life is. When I thought about it, one of the fantasies that I had was that I would get up onto these rooftops every night—for four or five or six hours—and I would look into hundreds of windows, and I would see all these thrilling things going on. But, ultimately, all I saw was either people sitting and reading or people sitting in front of a computer. In the condominiums, it was people sitting in front of big flat-screen TVs eating dinner—and there were a lot of people alone. It was like an Edward Hopper painting. In fact, I was greatly influenced by Hopper, taking these photographs—even walking along the streets at night and looking into restaurants. It was almost a cliché. You’d see these Nighthawk-like scenes at eleven at night—two people sitting at a table discussing things or a waiter wiping a table—and so Hopper’s paintings were in my mind while taking these. But it was a little sad to see, night after night, in all these buildings, that it was really just single people between the ages of twenty-five and forty, tired after work, sitting on the sofa watching TV. I was a bit disillusioned. I thought it would be more exciting than that.' The idea was to print both the details and the architecture very large and hang them side by side—the closer one got to the pixelated details, the less one recognized, and with the architecture, it was exactly the opposite - the closer on got to the print, the more one saw.  So I was playing with qualities inherent in the medium of photography. 2.  I'd describe your work as straightforward...in that there's often a strong linear component, or a play on symmetry.  The work seems often to be shot from eye level, from straight on...even your portraits (not to mention the "Le Petit Journal' and 'Propaganda' stuff).  What's up with that? I find that in my photographs of architecture, a high level of precision underscores the effect that the image has on the viewer.  Ideally, I want people to react viscerally to my images, don't want the distractions of crooked lines. The sharpness is also important - one should be able to see every pencil or even paperclip lying  on a desk, if possible.  It takes a long time to digest a 48x60 inch photo as there is so much going on in the image.   3.  What's the first time you ever got paid for doing photography? Before I earned my living as an artist, I worked as an editorial photographer.  The first reportage which I was paid for was in 1976 for a piece I did about pigeon racing in the Ruhr area of Germany. 4.  How much Photoshop is too much? Difficult to say—in photojournalism the boundaries between what one can and can't do are very clear.  But in art, everything is possible.   5.  Now that everyone's a photographer, will professionals survive? Of course the profession will survive. In the art world, the concept/idea is extremely important, especially if one works in the medium of photography.  Nowadays everyone can use a camera, but not everyone has an original idea. 6.  Would you rather live in a home that's a human aquarium (glass surround with no curtains or blinds), or live in a  home with no windows?  Why? I happen to live in a home which is a human aquarium and love it.  I often sit for hours at my window in my apartment on the 14th floor in Hong Kong and look out into the sea of windows surrounding me.  When I go to bed, I close the curtains. 7.  So much of your work seems to have to do with the relationship of humans to structures.  Yes?  No?  Why? I live in Hong Kong—which is an extremely dense and hyperactive city.  My work reflects my feelings and thoughts about the place where I live.  The overall theme of my work is "life in cities."   At parties I tell people exactly that - that I photograph "life in cities."

Michael Wolf was born in Munich, Germany in 1954.  He grew up in the USA and studied at UC Berkley and at the University of Essen in Germany.  He has been living and working as a photographer and author in China for ten years. In addition to countless international exhibitions and contributions to wide spectrum of editorial pieces, Michael has (6) published photography books and (5) special editions.  Throughout his series Wolf continually draws into question notions of public and private space, anonymity and individuality, history and modern development. To see more of Michael's work, go HERE.  To listen to a 2005 interview with Mr. Wolf, go HERE.

SLICE by KATSUKUNI TANAKA (Emmert Photo AP student, Age 17)

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Kurt Huffman, Andy Ricker, John Jay, and Janet Jay each bring special talents to the innovative Ping restaurant along with a vision to modernize Porltand's Chinatown. First published in MIX magazine 07/09

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Kurt Huffman, Andy Ricker, John Jay, and Janet Jay each bring special talents to the innovative Ping restaurant along with a vision to modernize Porltand's Chinatown. First published in MIX magazine 07/09

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DESIGN by REED DARMON WRITTEN by KAREN BROOKS PHOTOGRAPHS by LEE EMMERT

some FREE LENSING by DEREK JULIAN (HHS Photo student)

2 EYES by TAYLOR SCHEFSTROM