The New York Review of Magazines » Sonal Shah http://nyrm.org The New York Review of Magazines Mon, 28 Jun 2010 15:19:22 +0000 en hourly 1 A Picture Is Worth A Thousand Pixels http://nyrm.org/2010/05/12/a-picture-is-worth-a-thousand-pixels/ http://nyrm.org/2010/05/12/a-picture-is-worth-a-thousand-pixels/#comments Wed, 12 May 2010 15:01:07 +0000 Sonal Shah http://nyrm.org/?p=2223 Life now have a home online.]]> By Sonal Shah

In 1972, after a run of 36 years and more than 1,800 issues, Life magazine published its final weekly copy. The issue was a year-in-review, featuring photo essays on the last lunar landing of the Apollo mission and the approaching end of the Vietnam War. Within the glossy pages, which now appear slightly garish and grainy, were portraits of Elizabeth Taylor and Liza Minnelli, Idi Amin and Richard Nixon. “In part because of Life, we live in an age of pictures,” wrote Time Inc.’s then-editor-in-chief Hedley Donovan. “Magazines all over the world are different because of Life; so is the pictorial make-up of newspapers, the look of advertising, even some of the technique of T.V.”

In the following 30-plus years, Life was revived in various forms — a monthly, a weekly supplement to newspapers — but it never achieved the kind of status it had in its heyday. (Today, Life exists as a website in partnership with Getty Images and back issues are available through a partnership with Google Books.) Yet the magazine remains iconic in the history of photojournalism as a chronicler of war, entertainment and daily life. In the world of print, there is nothing like it today. Nevertheless, photojournalism itself, unlike Life or its less-renowned competitor Look, has not been killed off by TV.

To a certain extent, photojournalism still has a strong presence in print. While National Geographic is possibly the only mass-circulation magazine that still focuses on images, text-centric magazines like Vanity Fair continue to publish occasional photo essays while others, like The New Yorker, have added photography to their pages. MaryAnne Golon, who was Time’s director of photography, recalled, “Time became more photographic with the passing of Life.” And travel and in-flight magazines rely heavily on photographers, although they shy away from the news-breaking or political potential of photojournalism.

Beyond traditional print, however, photojournalism is finding a new home — or multiple homes — online. Digital cameras have improved print quality and cell phone cameras have enabled anyone to be a photographer. It’s anybody’s guess, however, whether the fragmented world of online photojournalism can propel photographs from images to icons, as Life did for such classic photos as Alfred Eisenstaedt’s 1945 “Kissing the War Goodbye,” Larry Burrows’ 1965 cover photo of two soldiers in a helicopter, or Philippe Halsman’s images of celebrities captured mid-jump in the 1950s.

Bob Sacha, a photographer who has shot for Life and National Geographic, said that it was once his life’s ambition to work for such mainstream magazines. A few years ago, though, he was at an exhibition about the 1960s, where copies of Life were stacked in a corner. “As I flipped through them, they were pretty similar to what People is today,” he said. “They’ve been mythologized and their role has grown way out of the reality. Of course there was good work, but it wasn’t always great.”

Sacha was an early proponent of the Internet as a platform for photojournalism and was, until recently, on the board of the multimedia production company MediaStorm. He says the doom-and-gloom predictions of media pundits, educators and industry insiders obscure the fact that the still image still holds a lot of power. The challenge, everyone seems to agree, is figuring out how to harness that power online to support photographers and attract more viewers. While the form has changed in essence, photojournalists still strive to fulfill Henry Luce’s mandate for Life: “To see life; to see the world; to eyewitness great events; to watch the faces of the poor and the gestures of the proud.”

Stabs at building a new home for photojournalism are diverse. Newspapers are devoting more space than before to photography. Breakout blogs on major news sites, like The New York TimesLens blog and The Boston Globe’s Big Picture, curate “visual journalism.” There are independent blogs, like APhotoADay, and cooperatives and media agencies, like MediaStorm and Talking Eyes Media, Redux and Polaris. There are self-styled online magazines, like Burn, which is curated by Magnum photographer David Alan Harvey. Besides traditional wire services, there are projects like Demotix, a platform for citizen journalists. And there are individual photographers’ portfolio sites.

This multiplicity of forms means there are more opportunities for young photographers and for different types of projects. Alex Webb, a Magnum photographer based in New York, pointed out that “the individual photographer’s vision does not necessarily coincide with the agenda of magazines, whether in the ’50s and ’60s or later. If one looks back at issues of Life and Look, one is struck by how many uninteresting photographs were published.” Long-form intimate photo essays, such as “the [photographer] W. Eugene Smith stories — the country doctor, the Spanish village — were few and far between,” he said. Online, there is much more space for different types of work.

Along with democratization comes an increased responsibility, however. One challenge these platforms present is that of verification — of the subjects and stories captured in a photograph. The strength of sites like Burn and MediaStorm is their curation of emerging talent. In the case of Demotix, which gives citizen journalists a distribution platform, an editorial process is absolutely necessary. “In every meeting I have, whether it’s with Time or The Wall Street Journal, I always get grilled about verification process,” said Demotix’s Matt Pascarella.

Online platforms also face the challenge of funding. In the good old days, photographers were either staffers or were sent out on commission by publications. In a market that relies increasingly on freelance work, “a successful photographer practically needs to be an M.B.A.,” said Golon. Pascarella added that he didn’t know “what the future of being a full-time journalist” might be. “I think you’ll see journalists as individual brands who do their own P.R., cultivate their own audiences via social networking,” he said. Freelancers’ payment agreements range widely. Citizen stringers at Demotix receive 50 percent of the fee paid by papers.  According to the service, earnings vary greatly and depend on the publication, anywhere from $20 to $500.

Few publications use the traditional models of commissioning, staffing and funding that were in place when Life and Look defined the market. Only National Geographic still has the ability to routinely send top-billed photographers to far-flung locales to produce pages-long visual essays. While Photography Editor David Griffin would not reveal freelance rates, National Geographic Traveler’s website gives an estimate of $425 per day on assignment. Last November, Newsweek let go of four of its photo department staffers, including the director and deputy director. And with web advertising an unproven revenue source, funding remains a major problem for photojournalism online.

Photographers and online editors have turned to new sources. Said Sacha: “Publications aren’t paying, it’s foundations and corporations.” When Burn ran veteran photographer James Nachtwey’s “Struggle to Live” series on tuberculosis patients, it was funded by a medical-technology company, BD.  Sacha said that while a daily publication might pay $200 a day, a strong foundation or firm might pay $800 to $2,000 per day — but these figures apply only to very established funders and photographers.

One thing seems clear: Projects will be funded increasingly by a variety of sources. “What they’re doing is bundling things,” Golon said. “A photographer might get some funding from a publication and some from a website and some from a nonpolitical N.G.O. We’re moving from one print source to a network of revenue sources.”

In niche markets, this scenario is not unfamiliar. Aperture, the prestigious photography magazine, was founded as a nonprofit and has remained so for 58 years. Editor-in-chief Melissa Harris believes that for online platforms, trying to establish new for-profit models is naïve. And while she’s positive about the proliferation of photography online, she says she wishes magazines like Life still existed. “I prefer my information to be credible, contextualized and not reductive,” she said. “Many of the photojournalists in magazines are brilliant storytellers, they are not hit-and-run journalists. I have nothing against online, but I don’t think it should replace print.” Aperture covers production costs, but any fees to photographers beyond these vary too much to provide an average. On the whole, freelance photographers are becoming adept at juggling: producing video and text, applying for funding, working on books and so on.

According to Webb, even being a Magnum photographer is not enough. “Most of the photographers I know, whether well-known or unknown, are scrambling, trying to deal with the current ever-shifting photographic landscape. Finding funds to produce serious work is getting more and more difficult all the time.”

Finally, there’s the question of how many people view photographic work online. Harris pointed out that while Aperture has considered expanding its Internet presence, 95 percent of readers said they want the magazine to remain in print, according to a recent online survey. “I know that people collect Aperture — they don’t throw it out,” Harris said. “None of us have really figured out how to be online in a riveting way.”

“What I’m missing is mass circulation,” Golon said. “[National Geographic] is the last bastion of long-form visual journalism — a dying breed in print.” On the other hand, she said, “If you look online, you see long stories that used to be only the purview of photo editors.” In print, the move seems to be toward books or book-like periodicals that are published a few times a year. Pascarella is also the managing editor of Tar, a biannual publication that is more of an art book than a magazine. “Printed objects need to be collectibles of high production value,” he said. “I think that’s the future of print.”

But these are niche publications, expensive to produce and distribute, and available in limited markets and numbers. “Life and Look brought the world into people’s homes, a function that has increasingly been taken over by television,” Webb said. “In this sense, a still photographer seemed to play a major and essential role in the media of those days. Since then, the still photograph seems to have become more peripheral to the public at large.”

In the 1940s, Life routinely urged its readers to invest in war bonds. It also published Henry Luce’s “The American Century,” an essay on the U.S.A.’s need to enter World War II. It’s hard to imagine any online platform — let alone one based on photojournalism — that would presume to have such political clout today. Thirty years from now, any definition of our current time derived from a visual record will be far more fragmented than the way we view our monolithic past today.

Still, things could change quickly. It is “a tremendous transitional period,” said Golon. “It’s like, you break down the old house and everyone’s wondering, ‘Where are we going to live?’ But whoever figures out how to build the new house is going to make a billion.”

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Follow the Tweeters http://nyrm.org/2010/05/12/follow-the-tweeters/ http://nyrm.org/2010/05/12/follow-the-tweeters/#comments Wed, 12 May 2010 04:01:57 +0000 Sonal Shah http://nyrm.org/?p=1717 By Sonal Shah

Magazines: Vehicles for long, insightful, detailed writing. Twitter: A social media network that limits entries to 140 characters. How successful have magazines been at adapting to the world’s shortest information format? Here are our tweet-sized picks of the best magazine-related Twitter feeds:

@TVGuide tweets hourly, with celeb gossip and links to entertainment industry news. Juicy and concise.

@wired’s newsy, chatty tweets are often creatively abridged stories. Open questions make this a more interactive feed.

@theweekmagazine is strong on discussion, referencing specific writers or publications. Follows its followers, listens to readers.

@newyorker is good for keeping up with the magazine, but the @newyorkerest feed is better for curated “best of” links. Posts “the best” of The New Yorker. Currently “in hibernation mode.”

@spinmagazine’s frequently updated music news feed keeps you in the loop. Also has helpful links to musicians’ tweets.

@fastcompany is succinct and gets to the core of the business of innovation. Bonus points for simplicity and variety.

@UtneReader offers a smorgasbord, often presented as provocative facts and figures. The tagline — “Alternative media meets new media” — suits.

@thedailybeast is always quirky, always au courant. Often delivered in a slightly tantalizing way to lure readers to the links.

@NatGeoSociety gives a daily dose of odd, inspiring information. The links to multimedia stories are especially interesting.

@consumerreports keeps obsessive paranoiacs on top of recalls, investigations and recommendations.

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RT Book Reviews http://nyrm.org/2010/05/09/rt-book-reviews/ http://nyrm.org/2010/05/09/rt-book-reviews/#comments Sat, 08 May 2010 20:11:13 +0000 Sonal Shah http://nyrm.org/?p=560 RT Book Reviews]]> By Sonal Shah

Circulation: 70,000
Date of Birth: 1981
Frequency: Monthly
Price: $4.99

In a little brick building in Brooklyn, the offices of RT Book Reviews (formerly known as Romantic Times) are divided between two suites. In one, paperbacks and curios line shelves set in converted fireplaces and against a wall painted with pink bows. A cozy room with plump sofas leads to a sunny back garden with a trellis and wrought-iron furniture. On the other side, a handful of editorial and design staffers sit at luminous outsize Mac screens. Cover proofs are tacked to a steel filing cabinet, from atop which a poster of Fabio sets off a cutout of Botticelli’s Venus. A neighbor’s black tabby wanders between the cubicles.

Like its home, the magazine successfully mixes its down-to-business edge with the somewhat chintzy feminine world that nurtured it. RT has undergone many changes in format and content over its 29 years. But, at heart, the magazine remains a source for romance fiction reviews, connecting readers of the genre with the books and authors they love.

Romantic Times was founded in 1981 by Kathryn Falk, a romance novel enthusiast from Michigan who moved to New York as a young woman, eventually succeeding as a dollhouse hobbyist and shop owner. Falk recognized a need for order in the chaos of purple publishing and wrote Love’s Leading Ladies, a book that grew into the Romantic Times. Falk appears to be a cross between a heroine of one of the novels that she loves and the stereotype of the lonely woman who loves to read them. Now “sixty-something,” she has been romantically linked to a Swiss film actor, an Indian maharajah and a Brooklyn plastics manufacturer, finally getting married last year. She owns homes around the world and an English title; her kitschy MySpace page introduces her as Lady of Barrow and lists her interest in “Psychic/Mediumship.”

Her Romantic Times was the first publication to take pulp or “genre” fiction seriously. What began as a 24-page spot color newsprint publication is now a monthly 130-plus page glossy, with a circulation of 70,000, about 50 percent of which is subscription. Publisher Carol Stacy, who has been at RT since 1984, said, “There’s a tremendous pass-along with our magazines. There are bookstores that order one subscription for all their customers to look at, reader groups and writer groups. Not to mention friends and mother-daughters.”

RT reviews more than 270 books every issue and now covers not just romance but also mystery, paranormal, erotica, inspirational, urban fantasy, science fiction and other genres. Falk’s editor’s letter is chatty and usually includes references to recipes and social events. While the feature sections are cheerful and a little chaotic — with dancing typefaces and multiple color palates — the chunky review sections in the middle of the magazine are standardized monochrome and organized by genre. The reviews are contributed by a satellite army of 50 freelancers.

A female editorial staff writes the features: trend stories, author interviews, polls and discussions about writing techniques and breaking into the industry. The exuberant tone of most articles implies that RT is written for and by insiders. “I hire people who love books. That’s part of the prerequisite,” said Stacy.

Besides producing the magazine, RT stages an annual convention, a glittering affair that takes place anywhere from Orlando, Fla., to Cleveland, Ohio. Any budding author or eager reader can attend, providing they can pony up $485 for registration, plus the cost of travel and board. A thousand people do so, and some, Stacy said, “save all year and take their one and only vacation” to attend workshops and mixers, “fairy balls” and male cover-model pageants. The magazine also organizes author appearances in bookstores.

In addition to knitting together its readers with such events, RT has also embraced a changing market. For the first decade or so, the magazine focused exclusively on romance novels. During the ’90s, covers were often simply reproductions of the book of the month — kitschy paintings of swooning women and swashbuckling men. As detectives and corporate criminals, as well as angels and vampires, began to creep into romance readers’ diet of books, Romantic Times incorporated these other genres and became RT Book Reviews.

The magazine has become a reference for the publishing industry as well as a cataloger of it. “We can track trends from a unique perspective because we’re in contact with all authors and publishers,” said Stacy. According to her, publishers “go shopping” for authors in RT.

The symbiotic relationship between publishers and the magazine is well evidenced by large blocks of book ads in RT. This dependence on book advertisers inevitably raises questions about the integrity of RT’s reviews. They do seem to err on the side of the positive, tending to be milder and generally more sympathetic than the droves of snarky reviews that now can be found online. Stacy said RT does this purposefully. “We’re trusted. You don’t know who the [online] reviewers are. A lot of them just want to be mean. We’re more interested in being a guide for the reader.”

While it might benefit from being a bit more stringent with the stars it awards in its reviews, RT is clearly a comfortable home and resource for its readers.

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Burn Wins Lucie Award http://nyrm.org/2010/05/01/burn-wins-photojournalism-award/ http://nyrm.org/2010/05/01/burn-wins-photojournalism-award/#comments Sat, 01 May 2010 14:35:57 +0000 Sonal Shah http://nyrm.org/?p=770 Burn Magazine won a prestigious award in 2009. ]]> By Sonal Shah

News to me: Burn Magazine, an online photojournalism publication that I’ve been following for my NYRM feature, won last year’s Lucie Award for Best Photography Magazine. Burn beat out several traditional print publications, as well as other online mags.

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Tasting Turkish Nationalism http://nyrm.org/2010/04/18/elif-batuman-tastes-turkish-food-discusses-nationalism/ http://nyrm.org/2010/04/18/elif-batuman-tastes-turkish-food-discusses-nationalism/#comments Sun, 18 Apr 2010 07:17:14 +0000 Sonal Shah http://nyrm.org/?p=464 The New Yorker highlights a Turkish restaurateur.]]> By Sonal Shah

There’s a lovely piece of food writing by Elif Batuman in this week’s New Yorker. Her subject is Musa Dağdeviren, a restaurant owner in Istanbul who is trying to preserve regional food, but she touches on modernity, Marxism and nationalism along the way. The article is only available to subscribers, but there’s an amuse bouche of sorts online: an audio slide show in which Batuman describes the experience of tasting Dağdeviren’s cooking.

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The Paris Review Spring Issue http://nyrm.org/2010/04/17/the-paris-review-spring-issue-hits-newsstands/ http://nyrm.org/2010/04/17/the-paris-review-spring-issue-hits-newsstands/#comments Sat, 17 Apr 2010 07:19:29 +0000 Sonal Shah http://nyrm.org/?p=469 By Sonal Shah

The Spring issue of The Paris Review is out now. Inside: An entertaining and curmudgeonly interview with Ray Bradbury, who calls John Irving “the bore of all time.” Also, William Dalrymple interviews a Tibetan monk — a little too lengthily — about taking up arms against the Chinese.

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Judt Surveys the Land http://nyrm.org/2010/04/14/judt-surveys-the-land/ http://nyrm.org/2010/04/14/judt-surveys-the-land/#comments Wed, 14 Apr 2010 06:45:34 +0000 Sonal Shah http://nyrm.org/?p=762 Tony Judt’s column in the current issue of the New York Review of Books is excerpted from his new book, Ill Fares the Land. His ongoing series of memoirs on the NY Review (starting January 14th) has been an enjoyable and provoking mix of the personal and political. Judt, director of the Remarque Institute at NYU and author of Postwar: A History of Europe Since 1945, is a true public intellectual. Although most of what’s excerpted here has probably been said by others, Judt’s clear-headed lack of apology for taking a political stance is refreshing. Some of the charts correlating inequality with other conditions are interesting as well. Ali Gharib writes more on his post.

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How Publishers Are Re-Imagining The Magazine http://nyrm.org/2010/03/25/paidcontent-org-how-publishers-are-re-imagining-the-magazine/ http://nyrm.org/2010/03/25/paidcontent-org-how-publishers-are-re-imagining-the-magazine/#comments Thu, 25 Mar 2010 05:33:28 +0000 Sonal Shah http://nyrm.org/?p=55 By Sonal Shah

PaidContent.org provides an eye-opening, wide-ranging look at the ways in which magazines are preparing for the iPad, as well as the various approaches publishers are going to take. By all accounts, it will be interesting to see what happens.

Oh, and the site has another piece about how iPad ads are selling—and fast!

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