Bisbee, Arizona is filled with artistic people. Painters. Metallurgists. Sculptors. Jewelry makers. And far-out folks whose work simply makes you scratch your head and ask, “What is it?” Then there there’s Mark Hundley, co-owner of the Teeny Tiny Toy Store on Main Street. Hundley designs and sews stuffed toys.

Hundley’s creations look like long-lost cousins of the monsters in “Where the Wild Things Are.” They’re called Stitches, and they seem bound by no rules: Some are sweet, some are sad; some look like aliens from another planet, some look like critters from your backyard. They are their own breed of quirky.

As of yesterday at 2:40 p.m., Hundley had created 4,623 unique dolls. He constructs these irresistibly squeezable creatures out of recycled vintage fabrics, stitching each one on an antique Singer sewing machine he received in trade for making a tomato costume for a friend. He finishes every doll by hand.

His work fits into the movement of hip-kid crafters and assemblage artists. He is prime material for the pages of Ready Made magazine, which celebrates the remaking and reshaping of found materials into art for a new generation. My generation, I guess.

Teeny Tiny Toy Store, which Hundley shares with fellow artist Hywel Logan, comes by its name honestly — it’s about the size of a walk-in-closet. Hundley and Logan use the space as both store and studio. The shop’s shelves are tidy, and Logan’s paintings hang wherever there’s a free spot on the walls. Hundley’s distinctive Stitches are perched at eye level next to brand-name toys — including an Alfred Hitchcock “The Birds” Barbie. The shop also sells action figures, wind-up robots and handmade President Obama dolls.

If, like me, you have an affinity (or weakness) for fun, artisan-crafted gifts, take a teeny tiny minute to check out the Teeny Tiny Toy Store, as well as Hundley’s etsy shop.

—Jill

The cracked concrete and peeling paint of Bisbee’s exteriors is eye candy for a photographer with a Holga camera. This old copper-mining town is roughly aged, yet an influx of artists has dusted off the grit just enough to uncover the place’s quirk and class. Bisbee is a blend of the antiquated, new age and plain ol’ old. It’s the perfect subject for a camera that prides itself on recreating photographs from the past, with square negatives, faded colors and random imperfections.

Created in the early 1980s as a medium-format toy camera, the Holga has attracted a cult following. It’s a lightweight, plastic, film camera that requires little technical skill. All you need is a daydreamer’s curiosity and some sunshine. All of this kid-like fun can be had for 30 bucks, plus the cost of film. It brings us photographers back to the days before DPI, RAW and JPEG. It’s just shooting because you love taking pictures.

The best part of shooting with a Holga is not knowing exactly what you’ll get. You see, because of its fantastic plastic construction, the Holga leaks light. This will do one of two things to your photo: make it groovy or flat-out destroy it. In a photography world full of sure things and magical tricks—thanks to giant LCD screens, autofocus and Photoshop—the whimsical Holga makes me feel like a real rebel.

—Jill

The last time I walked the dusty streets of Tombstone, Ariz., I was with my Grandpa Ernie. I was maybe 12 years old. I remember going to a “saloon,” where my sister and I saddled up to the bar and drank sarsaparillas while grandpa sipped a beer.

Grandpa Ernie and Grandma Ruth with my uncle Gary and my father Karl.

For me, there was nothing really exotic about Tombstone. I’d grown up around cowboys, horses and stories of the Southwest. It’s rumored that Pancho Villa stole my family’s fortune. On display at grandpa’s house were old Indian tomahawks, and pistols and spurs that grandpa said belonged to outlaws of the past. Tombstone felt like a diorama built to impress someone else.

Grandpa Ernie

Still, for the sake of nostalgia, I wanted to stop in Tombstone as Scott and I drove through southern Arizona. It hasn’t changed much, and it holds even less appeal for me now than it did back then. I don’t play dress-up, and I don’t care to drink sarsaparilla with city slickers in new cowboy hats and boots. We spent a total of 2 hours there. We strolled along the main drag, toured the historic courthouse. Feeling as though I needed to photograph something, I shot boots — beautiful boots worn by cowboy actors performing simulated shootouts on the hour, every hour.

There’s something so expressive about a man’s cowboy boots. When your wardrobe consists of blue jeans, leather and dirt, boots are the one of the few things that lend themselves to some flash. I remember my father’s cowboy boots, which were typically covered in cow shit — “the smell of money,” my mom use to say. When he arrived home from work, my sister and I would rush to the door to greet him. We’d fight over which one got the to help him pull off his boots. They were worn and dirty, and getting them off required a lot of yanking and twisting. They seemed molded to his short, square feet — feet I inherited and futilely try to squeeze into stilettos.

A few months ago, I received a pair of boots that once belonged to my grandfather. He’s the real deal, a big ol’ cowboy. In the last few years, he’s become ill. He’s traded boots for Velcro sneakers. I keep his old boots on top of my dresser, unsure of where to put them. They are worthy of a stage or a shrine. Beautiful, cracked leather. Soles worn uneven by grandpa’s crooked gait. They represent his personality and decades of back-breaking work.

While Grandpa Ernie’s cowboy days are over, being a cowboy never ends. He still talks about cows, horses and women. He’s still a wheeler and a dealer and a teller of tales, only now he wheels and deals and tells tales in a home for seniors with dementia. I can’t wait to see him and listen to all his cowboy talk. I don’t care what’s real and what’s not — for me, exaggerated cowboy stories are nothing new.

—Jill

It’s Utah, it’s winter, and it’s cold. Three weeks in the snow — that’s a record for this California girl. Something about this wintry landscape makes neon signs seem warmer and more welcoming than they already are. For weary travelers like me, signs like these are roadside beacons in hues of warm red, bright yellow and electric blue. Almost every little motel in every little town along Highway 89 has one, and each glows with an authenticity that makes me daydream about living a quiet life among broken-down cars and dilapidated buildings in some tiny Western town. (Preferably one that’s not as cold as southern Utah in February.)

—Jill

You can’t miss the LDS Temple in Logan, Utah — it’s nearly 120,000 square feet and sits on 9 acres. The Mormons don’t mess around when it comes to architecture. Volunteer laborers built the five-story temple during a seven-year period from 1877 to 1884. It’s an amazing sight, made even more dramatic by the surrounding mountains of Cache Valley. The flood lights, which were permanently installed on the temple’s 63rd anniversary, add a little extra drama at dusk.

—Jill