If you’re going to publish your own magazine break some rules along the way, and this new Port cover is a great example of doing just that.
Leading with actor Michael Shannon shot in London by Nadav Kander (and styled by David St.John James), it is the magazine’s first word-free cover. A brave move based on the power of the image (click image to see larger version). Many magazines publish subscriber covers with a similar simplicity, but their newsstand versions always succumb to the word.
Good to see some solid photo-reportage in a weekly news magazine. This week’s summer double issue of the New Statesman features this impressive photo set selected from an exhibition at Les Rencontres d’Arles called ‘Transition’. The eight-page story has been edited by the magazines photography editor Rebecca McClelland and includes work by eight photographers. The edit was made from a broader set of work commissioned by David Goldblatt and the Market Photoworkshop examining the political landscape of South Africa.
You can read the accompanying essay and captions here, and see the rest of the photographs after the jump (click on the images for enlarged versions).
‘Place’ has been a healthy starting point for a good few magCulture favourites. From Karen’s close-up stories built on her local friends and community to Boat’s wandering production studio, location is a strong source of character and identity. Emphasising the relationship with their surroundings can be the catalyst to explore and develop that editorial character. Berlins’s Der Wedding does so in an even more formal manner; named after one of the poorer, immigrant-populated districts of the city, it started life recording life in that specific area before latterly looking more broadly at everyday life in the city of Berlin. But if Boat deals with an entire city each issue, and Der Wedding takes on an area or theme of Berlin, new launch Flaneur zeroes in even more tightly. It is strictly one street per issue.
This is the third issue of London-based LAW, but the first I’ve seen and I’m already excited to see the first two issues. The limited edition (x500) magazine is edited by John Holt, who describes it as being ‘for those who can appreciate and relate to the stylistic value of real everyday Britain.’
At recent Printout evenings it’s been interesting to note the number of magazines appearing from Bristol recently: Cereal and Offlife are two examples. Another Escape is another, an occasional zine that has just morphed into biannual magazine. The result is a smart, focused new magazine about following your inspiration to do what you want to do. Something we can all relate to.
The New York Times has strict photo-manipulation policies, dropped only for fashion.
Mark Vessey makes art from magazine spines (thanks Warren).
A look back at the hugely influential The Whole Earth Catalog.
In London next week? Hear the Eye magazine team discuss their collaboration as part of It’s Nice That’s ‘Nicer Tuesday’, 28 May.
Vince Frost recalls Big magazine, ‘It was raw, bold and simple. And very masculine. That’s probably why it still looks strong.’
A simple idea to mark a traumatic week. Boston design director Brian Struble used running shoes worn in last week’s Boston marathon to create this image (click image for larger version). Photograph by Mitch Feinberg.
UPDATE: Editor John Wolfson talks about the making of the cover, ‘We immediately sent out tweets and Facebook posts asking runners to submit their shoes. At the same time, people from every department here at Boston magazine started reaching out to friends and family members asking for shoes.’ More here.
Colors has long earned its place in magazine history for the uncompromising photo journalism of early issues under the guidance of photographer Oliviera Toscani and designer Tibor Kalman. In recent years it’s faded from view somewhat, despite the continued support of clothes retailer Benetton.
But over the last couple of years new art director, and now editor-in-chief, Patrick Waterhouse has revitalised the quarterly with a new visual approach and a guidebook-like editorial feel. He’s lining the magazine up behind the idea of slow journalism, of making the most of print rather than trying to compete outright with digital media, and this new issue is a perfect demonstration of that.