Category "The Daily Edit"

The Daily Edit – Monday
1.16.11

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Vman

Editor-in-Chief / Creative Director: Stephen Gan
Photo Editor: Evelien Joos
Consulting Creative / Design Direction: Greg Foley
Art Director: Sandra Kang
Design: Maryellen McGoldrick, Jeffrey Burch

Photographer: Damien Blottiere

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Friday
1.13.12

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Travel+Leisure

Creative Director: Bernard Scharf
Design Director: Sandra Garcia
Art Director: Wendy Scofield
Photo Editor: Whitney Lawson
Associate Photo Editor: David Alexander Arnold

Photographer: Andrea Wyner

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

 

Heidi: How does an assignment like this come up? Were you already there?
Andrea: I was getting a lot of work in Italy and Europe, I was already traveling  and splitting my time between NY and CA so I decided to add a base in Italy too. Yes, I was in Italy.  My assistant and I were so excited , he always wanted to be a Pizzaiolo and learn from the best.

Did you travel with the writer?
Not on this assignment but sometimes yes.

Did you have more then one feature to shot while you were there for the magazine?
I was actually on another assignment for T&L, a feature in Sicily when they asked me to shoot Pizza Quest

Roma or Napoli?
Napoli

The Daily Edit – Thursday
1.12.11

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ESPN

Creative Director, Print and Digital Media: John Korpics
Senior Director, Photography: Karen Frank
Senior Director, Design: John Lancaster
Art Directors: Mike Leister, Marne Mayer, John Yun
Senior Deputy Photo Editor: Nancy Weisman

Photographer: Finlay MacKay

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Wednesday
1.11.12

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XXC Magazine

Art Director, Photo Editor, Designer: Jason Mahokey
Photographer: Jason Mahokey

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

Heidi: What made you want to self publish an online and print endurance mountain bike magazine?
Jason: It was pretty selfish really – there wasn’t one and I wanted to read one. I’ve been a mid-pack-at-best amateur mountain bike racer for about ten years and I’ve always loved magazines, especially bike magazines. But no mountain bike magazine was covering endurance racing and riding the way I wanted. I wanted race recaps that were more than blurbs sandwiched between ads. I wanted recaps and stories that went beyond who beat whom and by how much. I wanted personal accounts of the pain, emotion, humor and craziness that comes along with endurance mountain bike racing and epic rides.

What are the visual challenges you have with this project?
Beyond the challenges of being the mag’s publisher, art director and sales rep, along with contributing articles and photos, each issue of XXC has the challenge of tracking down photos that are the quality I’m looking for, of the racers I am looking for and that are available at a price I can afford. As you can imagine not many folks racing a 100 mile race are carrying a camera with them and taking shots while they race, so I need to rely on both pro and amateur photographers that may have been shooting the race. Of course I have received some incredible point and shoot shots over the years from contributors doing races like The Colorado Trail Race, The Tour Divide, etc.

What is your distribution like and how do you hope to grow?
Right now the magazine is available in three formats: free online viewing on xxcmag.com, paid digital download and print via MagCloud.com. The free version gets the most views and often gets up to 4,000+ reads. The paid print and digital version get one to two hundred per issue. Exact numbers are hard to track as the magazine really has an endless shelf life and back issues can continue to be viewed and purchased long after the publication date.

I would love to get the magazine on a solid publishing schedule and be able to have issues printed in bulk that could be sold in bike shops and other retail outlets. Being that 95% of the magazine’s articles are submitted by readers, I am never 100% sure how much content I’ll have for a given issue, so the publication schedule continues to be very much written in sand. Beyond the print and digital magazine in 2012 I have plans to introduce more content in the form of podcasts and video coverage to the website, but not at the risk of the magazine’s quality.

The Daily Edit – Tuesday
1.10.11

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Details

Creative Director: Rockwell Harwood
Design Director: Nathalie Kirsheh
Senior Photo Editor: Ashley Horne
Contributing Photo Editor: Stacey DeLorenzo 

Photographer: John Balsom

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Friday
1.6.12

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UCLA Magazine

Design Director and Photo Editor: Charlie Hess
Art Director: Suzannah Mathur
Editor: Jack Feuer

Photographer: J Bennett Fitts

Heidi: How did this idea come about?
Charlie: When I was art directing Buzz Magazine (too many years ago) I was able to run a photo essay in every issue for a few years. It was immensely satisfying and fun. The subjects would come from my relationships with photographers I liked and admired. And always from the photographer’s personal passion projects — basically the stuff they’d shoot for love, but needed a venue to show the work.

With my current magazine clients I suggest photo essays whenever my editors have the space. Everyone seems to like them and they’re a nice break from the copy-driven features. The concept I pitched was this: Everyone knows the picture postcard views of UCLA (as seen in countless TV shows and movies) but what about the real UCLA campus, the seemingly mundane places, the in-between spaces, the landscapes that everyone passes but few people notice. Let JB explore campus and find the hidden beauty of UCLA behind and between the landmarks.

Did you give any specific art direction other than in-between spaces?
It turns out that JB used to sneak onto campus as a kid and skateboard. He knew the campus well (or at least the ramps and jumps!) but he hadn’t been back for years. So I pretty much set him loose, with a few general guidelines. I wanted his perspective, not mine.

After he’d been shooting early mornings and late nights for a few weeks he felt he had some work prints worth looking at. We spent a lunch going over them, which was great because at that point he was pretty deep into it but it was all fresh to me. I gave him some notes and suggestions of where he should focus. He went back a few more times and then we settled on about ten of our favorites. It was pretty seamless and I think the essay is much stronger because I knew when to butt out!

What do you look for in photography?
Legendary music producer Don Was, after remastering “Exile on Main Street,” said that what defines rock and roll is the imperfections, what happens when the drummer is slightly OFF the beat. That’s what makes it rock and roll and not digitally auto-tuned drivel. That’s what I wanted JB to shoot — the human imperfections and random moments, the “off-beat” — NOT the visual equivalents of Auto Tune.

Now that everything’s digital it’s too easy to make it “perfect.” What I love about JB’s landscape work (and even more so in portraiture) is the mistakes and imperfections that make it real. We try to do as little “airbrushing” as possible; I think it makes photographs more credible and sincere, though I know I”m fighting a losing battle!

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Thursday
1.5.12

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W

Creative Director: Alex Gonzalez
Design Director: Joseph Logan
Art Director: Anna C. Davidson-Evans
Photography Director: Caroline Wolff
Photo Editor: Jacqueline Bates

Photographer: Ron Haviv

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Wednesday
1.4.12

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Vanity Fair

Design Director: Chris Dixon
Photography Director: Susan White
Art Director: Julie Weiss
Senior Photography Editors: Sasha Erwitt, Susan Phear

Photographer: James Nachtwey

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Monday
1.2.12

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Los Angeles Times Magazine

Creative Director: Rip Georges
Art Director: Hansen Smith
Photo Editor: Hannah Harte
Contributing Photo Editor: Kim Pollock

Photographer: Brian Leatart

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Friday
12.31.11

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W

Creative Director: Alex Gonzales
Design Director: Anton Ioukhnovets
Art Director: Anna C. Davidson-Evans
Photography Director: Caroline Wolff
Photo Editor: Jacqeline Bates

Photographer: Nick Knight

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Wednesday
12.28.11

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GQ

Design Director: Fred Woodward
Creative Director: Jim Moore
Director of Photography: Dora Somosi
Art Director: Thomas Alberty
Senior Photo Editor: Krista Prestek

Photographer: Jason Madara

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Monday
12.26.11

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Elle

Creative Director: Joe Zee
Design Director: Paul Ritter
Photo Director: Pippa Lord
Associate Photo Editor: Louisa Parkinson

Photographer: Jason Schmidt

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

The Daily Edit – Wednesday
12.21.11

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Field&Stream

Design Director: Sean Johnston
Photography Director: John Toolan
Associate Art Director: Kim Eddy 

Photographer: Plamen Petkov
Food Styling: Roscoe Betsill

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.

 

Heidi: I see you have a bit of beauty and more feminine still life in your work, was this a challenge for you to shoot masculine food?
Plamen: It is never a challenge when the food looks appetizing, I want the viewer to taste the picture, to see what I am seeing.

What was the hardest part of this shoot?
The hardest part was not letting it become overly-stylized, keeping it slightly messy but still attractive. It needed to look like it was prepared in a cabin without too much emphasis on presentation, we all strove to make it look incidental yet appetizing.

It’s great styling, what kind of direction was discussed?
Mostly we discussed texture and color, having worked with Roscoe before was a plus.