I’ve taken a lot of pictures during this trip. In fact, Scott and I are swimming in pictures — some good, some bad and some we won’t show. I take them with my fancy digital camera, my not-so-fancy Holga, my underwater point-and-shoot and, of course, my iPhone.

A camera is an essential for any traveler. But I have to admit that the versatility of my iPhone sometimes makes carrying three cameras seem, well, excessive. The iPhone is pretty amazing. Its camera rivals point-and-shoot cameras I’ve shot with, and it allows us to share pictures with friends and family with ridiculous ease and immediacy. As if it couldn’t get any better, the iPhone offers dozens of cool photography applications that turn mediocre pictures into something more.

Take for example, one of my favorite photo apps — the Hipstamatic.

This popular app adds vignettes, discoloration and rough edges to your digital image. The artful distortion varies depending on the lens and “film” style you choose. The basic Hipstamatic download, which costs $1.99, features three lenses (John S., Jimmy and Kaimal), three film options (Blanko, Ina’s 1969 and Kodot Verichrome), and two vintage flashes (Standard and Dreampop). Additional lenses and film are available via 99 cent bundled downloads.

As with other iPhone apps, a swipe of the fingertip lets you change settings on the Hipstamatic, and artificial sounds — a clacking shutter, a gently buzzing flash — heighten the sense of reality and nostalgia.

The Hipstamatic is effortless and groovy, and you don’t have to be a pro to make interesting pictures with it. This messes with my instincts and work ethic as a photographer. For me, making a good photo has always been hard; it’s about quality of light, quality of subject and the quality of my eye. The Hipstamatic is a cheat. In mere seconds it makes images that would take hours to create in Photoshop.

Still, after learning more about the Hipstamatic, I feel less like a schmuck for falling in love with it. The makers of the app are paying homage to the original Hipstamatic, which was an actual film camera. The back of the camera’s body as it appears on the iPhone’s screen looks just like the back of the original plastic camera, which sold for $8 in the early ’80s.

The Hipstamatic was born out of a passion for photography and conceptualized by two art students in a Wisconsin cabin. Brothers Bruce and Winston Dorbowski loved the Kodak Instamatic and set out to build a camera “even a child could afford on a small allowance.”  They designed and built such a camera, and sold it through a local electronic store.

There’s no telling how big the Hipstamatic could have been. The Dorbowski brothers produced only 157 before they died in a car accident in 1984. The were killed by a drunk driver. Three years ago, however, their older brother Richard created a simple blog about the creation of the Hipstamatic. The website is a celebration of his two brothers, who were dubbed by neighbors as the “crazy hippies on the lake.” On a post dated July, 29, 2009, Richard wrote, “Today I met with two young gentleman that want to bring back the Hipstamatic … well, sort of.”

Those gentleman were software designers, of course, and their visit with Richard Dorbowski lead to the creation of an iPhone app that has been downloaded more than a million times.

I doubt the Dorbowski brothers could have imagined the Hipstamatic’s phenomenal success, let alone its reincarnation as an app for the iPhone, but I’m sure they would be thrilled that so many people — even kids with small allowances — have access to it. “It doesn’t matter if the photos aren’t prefect,” Bruce Dorbowski once said. “As long as people are capturing memories, I will be happy.”

One App Store reviewer thanked the makers of the Hipstamatic app for creating a “program for the ‘photo-stupid’ among us.” Professional photographers aren’t always so complimentary. Many see it as one more gimmick that cheapens their art form. As one photographer I greatly admire put it: “The proliferation of imagery lately is slowly sucking the creativity out of photography.”

Maybe. I admit that I sometimes feel a little dirty when I take pictures with my Hipstamatic app instead of my fancy Canon. But other times, when I’m in harsh midday light and feeling like a tourist, I just want to make a picture instead of a fuss with my gear. That’s when the Hipstamatic is my best friend. It lets me enjoy the moment, be silly, feel like a kid. I think the Dorbowski brothers would dig that.

— Jill

Davy Crockett is the reason I’m at The Alamo. With his coonskin hat, leather hunting suit and long rifle, he embodies the fighting spirit. We Americans love that, and Scott especially loves it because, like Crockett, he is a native Tennessean. So while he abandoned me and the dogs to go read every historical marker and bronzed plaque commemorating Texas’ most romanticized battle, I took a few shots of The Alamo with my Holga. The old, stone mission seemed to call for it. It’s something to stand here, across the street from Fuddruckers and Ripley’s Believe or Not!, and imagine a 13-day siege between the Mexican army and a small band of soldiers led by William Travis, Jim Bowie and Crockett. As tourist attractions go, The Alamo is not a bad one. It spruces up history with a little myth, and gives proud Texans (and Tennesseans) plenty to get nostalgic about. You have to see it to remember it.

—Jill

After two months on the road — two months of sharing cramped spaces, squinting at maps, making meal choices, pitching and breaking down camp, packing and repacking bags, cursing bad Internet connections, and waking up in the middle of the night to let sick dogs out of second-floor Motel 6 rooms — Jill and I decided to pick our first fight of the trip on the most beautiful highway in America.

It started over the windows of car. I wanted them down. She wanted them up.

I, of course, was in the right. We were driving along the Pacific Coast Highway, for goodness sake. The sun was out. The ocean sparkled. Iridescent, cottony clouds gave dimension to the impossibly blue sky. I switched on the radio and — no lie — the first chords of Tom Petty’s “Free Fallin’” rang through the speakers. I cranked the volume and fantasized about swerving down the PCH in a convertible Mustang — a 1968 California Special with cream-colored seats and an inlaid-wood steering wheel. Instead I was stuck in a top-heavy Honda CRV that smelled like wet dogs. The least I could do was roll down the windows.

Jill, however, is not crazy about rushing wind. It sets her on edge. It blows wisps of her hair that are too short to be piled atop her head. But, dang, the Pacific Coast Highway on a sunny day? Exceptions must be made.

Or not.

“Can you roll up the windows a little?” Jill yelled over the wind and music. I cast a perturbed glance at her that I’m sure the mirrored lenses of my cheap sunglasses did not conceal. But I complied. The rush of the wind fell to a hoarse whisper. I turned down the Petty. My freedom had been impinged.

“You don’t have to roll them up that much — just a little,” Jill offered. “It’s OK,” I said. But, really, it wasn’t.

At the next overlook I pulled off the road and killed the engine. I leashed the dogs while Jill dug into her camera bag. She shut her door, and I closed the hatch, careful not to let it slam. I started to walk toward our continent’s western edge when Jill stopped me.

“Did you lock it?”

“Yes.”

“The windows are still down. Can you roll them up?”

“We’re not going far.”

“My gear’s in there.”

“We can see the car from the overlook.”

“Don’t fight me.”

“I’m not fighting you. I’m trying to rationalize with you.”

My tone may have suggested otherwise. Exasperated, I tugged the dogs back to the car, unlocked it, and rolled up all four windows. I left the sunroof cracked. Maybe I did so out of logic, to let the car to breathe a little, expelling the odor of wet dogs and dirty laundry. Maybe spite played a small role. Either way, Jill wasn’t having it.

“Can you close the sun roof, too?”

“Seriously? Who’s going to get in? It’s barely open, and the roof rack hangs over it. A double-jointed Chinese gymnast couldn’t get through there.”

But, again, I acquiesced. Then we walked our separate ways, she north, me south. I stared into the deep blue forever of the Pacific and seethed. A hundred feet away Jill hid behind her camera and squeezed the shutter with disdain. When we reconvened at the car, we did so in silence. I started the ignition and cracked the windows. A sliver.

Jill can ride out angry silences forever. I cannot. I have to explain, justify, convince. I have to win. Only then can I have closure. It is, perhaps, a flaw.

So I broke the silence, stating my position in what I perceived to be measured tones. I don’t remember much of what I said, but I do recall telling Jill that her stress over unlocked doors and cracked windows and was unhealthier than my one-dimensional diet of red meat, and that eventually those worries would take years off her life. I suggested salvation lie only in learning from my relentlessly laissez fare world view.

Jill picked up the gauntlet with both hands. She explained how her laptop and portable hard drives contained every photo from our trip, and that her piece of mind was more important than a few inches of ventilation. She said driving with the wind in your hair does not make you carefree, and, after days upon days of eating PBJs, showering in dank bath houses, and camping without water or electricity, I had no right to paint her as a party-pooping nag.

Like any good fight, ours escalated and mutated, oozing through cracks in the walls of reason and rushing past safety barriers of truth and logic. Our disagreement over the windows eventually morphed into referendums on our respective personalities. Ironclad arguments rammed impotently into stubborn wills, and impassioned pleas slid from deaf ears to the floorboards. Sighs got heavy. Words got careless. Then, finally, the crescendo, falling from Jill’s lips as I knew it eventually must:

“Why did I ever decide to do this?”

My heart broke like a bar of motel soap. I didn’t say another word. I just rolled down my window — all the way — and drove. We’d only come a few thousand miles of a 30,000-mile journey, but already I’d gone too far.

I’m not real comfortable writing about personal stuff, and I relate this story only because every person we meet on the road (especially people who are married) eventually asks us one question: “Do you guys fight?” I usually deflect this one by joking that if our trip ends in divorce, it will make a great book. But my joke unfailingly elicits only awkward chuckles, if any chuckles at all.

Some folks we meet, especially the kindly retired couples who are most often our campground neighbors, take a liking to us and then get to worrying about our wellbeing. Others just want us to confirm that life on the road is no more of an emotional picnic than life tethered to work and kids and TiVo.

One day I might tether myself to children, and maybe even to work (never to TiVo), and then I can weigh the joys and pains of that life against those of this one. For now, all I can offer is cliché: Some days on the road are better than others. Jill and I certainly suffer from occasional pangs of homesickness. We miss our friends in Phoenix. We miss eating at Tuck Shop. We miss sitting in our backyard, watching the sprinklers and dreaming up adventures and future life scenarios. One thing that sucks about living the dream is that it makes it difficult to sit around and concoct something better — and that kind of dreaming is life fuel for Jill and me. But, hell, it’s a good problem to have, and we aim to solve it one of these nights around the campfire.

As for our squabbles, at home or abroad, they are infrequent and insubstantial. Which is why the duration and harshness of first big road-trip fight took me aback. But the show had to roll on. Jill and were stuck together, for better or worse, separated by two feet of molded plastic and gray upholstery. Besides, it was lunchtime. Past it, actually.

Off a tip from the proprietor of a small outdoors shop south of Big Sur, I turned off the highway onto a narrow road that descended to Pfeiffer Beach. I parked the car, and we silently went through the now-familiar motions of packing a picnic lunch. We hauled our food to the beach, unleashed the dogs, and sat on a log weathered to a smooth patina by surf and sand and wind.

I don’t remember who spoke first, but thereafter the apologies fell easy, as though pulled by tidal forces. The blessings of our journey were remembered and counted. The dogs ran, the surf rolled, and Jill and I shared a cold can of Coke. I guess old logs aren’t the only things smoothed by surf and sand and wind.

So cheers to the healing power of the Pacific Coast Highway, which taught me that it’s folly to argue about windows when the view beyond them is so distractingly beautiful. Jill and I will no doubt fight again, on another road in another state, but don’t expect to read about it here. I’m done airing dirty laundry. That kind of stuff belongs in the back seat — with the windows rolled up and doors locked.

— Scott

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