Category Archives: magazine

The New Yorkers

They are essential and overwhelming.

They are always folded in half and then stuffed- into bags, into pockets, under arms.

They are part of my city; they are the extension of my education.

And they are all over my apartment. Just like this.

The Hold – 2.24.2010

© Peter van Agtmael

“(Jan. 9, 2:24 p.m.) At a photo shoot for American Songwriter magazine at Sophie’s, a bar in Manhattan’s East Village.”

from The Run Up: Nine Days on the Road with Jeff Bridges for The New York Times

Peter’s website

The Hold – 01.12.2010

© Ryan Pfluger

“College Fashion for New York Times Magazine, 2007”

Ryan’s website

New York Times Magazine slideshow

After the dust… very soon after

Remember that freaky red dust storm in Australia a couple of weeks ago? Before New York’s cruel early winter weather and the Balloon Boy drama?

In case you don’t, here’s a 40-page magazine already created about it.

Strange Light

Strange Light Issue 1: Photos from the Great Australian Dust Storm is published by Derek Powazek through MagCloud – you can see the issue here.

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The intro reads: “Strange light fell over Australia on 23 September 2009. An unexpected dust storm blanketed New South Wales and Queensland, turning everything an eerie shade of amber. At its peak, the storm swept up 140,000 tons of soil per hour. In spite of the worst dust storm in 70 years, intrepid photographers ventured outside to document what was happening to their homes, neighborhoods, and country. This is what they saw.”

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While I have to wonder if it’s a bit quick to be publishing a well-edited body of work from this event, I’m also in awe of how swiftly collections can come together now thanks to web-based platforms. For just $6, it seems like a steal, but having never purchased from MagCloud, I can’t vouch for the printing or paper stock.

Thanks to Dooce.com for first posting about it.


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Lines of traffic lead to thoughts of Traffik

A week ago I was standing in line at Whole Foods, mentally justifying spending a whole day’s food budget on toasted almonds and blackberry-lemon sorbet, when I looked up and was transfixed by a pair of blue-green eyes. It was the cover of the October 2009 Details Magazine and it got me good.

clive-owen-details-magazine-october-2009Amidst the starlets with their wind-blown hair, pouty lips, flirty glances and perfect(ly photoshopped) bodies, this image stood out. One could argue that’s because Mr. Owen is not an unattractive gentleman, and most photographs of him would be appealing, but there are countless ways that this could have been shot and this one truly works.

The blues in the background, clothing and text bring the attention right to his eyes, which are connecting directly with the viewer (oogler…newborn stalker?). He’s well-dressed, but there’s a rugged quality with the popped collar askew and facial lines. The lighting is even, the darks are deep, the focus is crisp, the intention is direct. If you want a magazine to jump off of a stand because of a face, you don’t get much better than this.

I had to see who shot it and it was no real surprise to find that it was Norman Jean Roy.

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clive-owen-interior5You can see all of the photos from the spread at the Details online feature

Norman Jean Roy is a contracted photographer for Condé Nast and his images are all over the pages of Vogue and Vanity Fair. He’s represented by Art Department (who has, um, a few other photographers you may have heard of) and has proven that he can beautifully accomplish nearly every type of portrait, from the obligatory studio groups:

bright-young-faces-0712-01ato Hollywood glamour,Katherine Heiglthe situational professional,09the actress close-up,06the whimsical moment,27the dignified studio,31the gracefully athletic,52the powerful star,42the model editorial,17and the normal-made-chic.41

He’s good. Real good. His photographs are clean, dazzling, accessible, gorgeous. And I’ve found more than once that I’ll be drawn to his portraits before even glancing at the name.

But I wouldn’t be nearly as interested in that name if I hadn’t seen a show of his personal photographs, Traffik, at a Milk Gallery opening last year. Roy worked with Somaly Mam, a former sex slave, and her organization AFESIP to photograph of victims of the Cambodian sex trade.

Traffik by Norman Jean Roy

BROS LONG, 17 years old, Svay Rieng Province. Long's eye was wounded in 2005 when a pimp kicked her face. When her eye became dangerously infected, her mother brought her to the Takeo hospital, where doctors removed her infected eye, leaving her disfigured and self-conscious. AFESIP brought Long into its care as a prevention case on December 28, 2005. Today, she is learning the textile trade and resides at the AFESIP Tom Dy Center, outside of Phnom Penh.

Although the evening’s mixture of being the fashionable place-to-be-seen with showing the grave and disturbing subject was somewhat troubling (Curator Magazine has a spot-on review here), it was invigorating to see such images by such a photographer.

SREYNOT SEAG (far left), 23 years old, Preakabash District, Takeo Province. After a divorce from her husband, she had to quit school and become a prostitute in order to support herself. She has been a sex worker for three months. In two years, she hopes to have enough money to go back to school and learn the beauty salon trade.

SREYNOT SEAG (far left), 23 years old, Preakabash District, Takeo Province. After a divorce from her husband, she had to quit school and become a prostitute in order to support herself. She has been a sex worker for three months. In two years, she hopes to have enough money to go back to school and learn the beauty salon trade.

SREYMAO KEOV, 27 years old, Teklaok Village, Sihanoukvill Province. Keov became a prostitute because she had lost her virginity to her boyfriend and felt it would be a good way to support her poor family. She has been a sex worker for four years.

SREYMAO KEOV, 27 years old, Teklaok Village, Sihanoukvill Province. Keov became a prostitute because she had lost her virginity to her boyfriend and felt it would be a good way to support her poor family. She has been a sex worker for four years.

When a photographer decides to turn his eye towards a subject that demands thoughtfulness and attention and employ his considerable skills to create a body of work such as this, that’s when I truly become a fan.

A final note: It’s unfortunately difficult to find many photos from this body of work- powerHouse Books has the best selection I could find.