That fall, a photo appeared in UltraRunning magazine. It shows Jenn finishing a 30-mile racesomewhere in the backwoods of Virginia. There鈥檚 nothing amazing about her performance (thirdplace), or her getup (basic black shorts, basic black sports bra), or even the camera work (dimly lit,crudely cropped). Jenn isn鈥檛 battling a rival to the bitter end, or striding across a mountaintop withthe steel-jawed majesty of a Nike model, or gasping toward glory with a grimace of heartbreakingdetermination. All she鈥檚 doing is 鈥?running. Running, and smiling. 开心婷婷五月综合基地,五月丁香六月综合缴情 But Chase Chen got it. His artist鈥檚 eye also spotted the quiet intensity in the aftermaths ofHurricane Ted. Chase鈥檚 specialty, after all, was 鈥渢he dramatic dance between sunlight andshadow,鈥?and brother, was dramatic dancing ever Ted to a tee. What fascinated Chase wasn鈥檛action, but anticipation; not the ballerina鈥檚 leap, but the instant before takeoff when her strength iscoiled and anything is possible. He could see the same thing during Ted鈥檚 quiet moments, the samesimmering power and unlimited possibility, and that鈥檚 when Chase reached for his sketch pad. Foryears, Chase would use Ted as a model; some of his finest works, in fact, are portraits of Ted, Lisa,and their incandescently lovely daughter, Ona. Chase was so entranced by the world as reflectedby Ted that he released an entire book with nothing but portraits of Ted and his family: Ted andOna cooped up in the old Beetle 鈥?Ona buried in a book 鈥?Lisa glancing over her shoulder atOna, the living product of her father鈥檚 sunlight and shadow.