a laamb wrestling match in Senegal, and
we had a writer in Senegal write an essay
about the sport. I’ve also worked a lot with
Chadwick Tyler, who shot for Nike and the
first issue of Victory Journal. He’s really more
of a fashion and art photographer.
PDN: How do you match photographers with
AA: Everyone in the studio participates. We
have a sort of leadership crew: myself, Chris
Isenberg, and Piotr Orlov. We three usually
go through story ideas. I might get a great
mailer, or a photographer will reach out to
us through our website or on email. At those
meetings, one of us will champion an idea
and make the case for why it’s a great story,
then the others will look further at it and
we’ll decide if it should go in print or online,
depending on the theme of the issue.
Some of the themes have included “The
Greatest,” where we featured Thomas
Hoepker’s work on Muhammed Ali. Another
theme was “Water,” another was “For Love
or Money,” another was “Blood and Asphalt.”
As we work on an issue we’ll probably have
150–160 pages of content, and that gets edited
down to 116. Some stories might fall a bit
outside the theme, so we’ll try to share them
with the world on the website, which gets a
bit more traffic.
PDN: How is designing or planning the print
issue different from designing or planning
the online edition?
AA: The print publication is an object, and we
try to design it to be a beautiful object.
I get a little scrutiny in the office: Why
don’t you shake up the design sometimes? I
like to see big images with captions. I like a
grid, and I like all the ads in the back. That’s
the foundation we print on.
In print, 12–16 pages is the maximum we
have to capture a giant, beautiful story, and
that’s hard because some of the stories could
be books unto themselves.
Some of these photographic stories we try
to develop into long-form stories online, but
we don’t have the budget every month to do
the development [required].
Online is a challenging animal. Most of
the ad industry is about impressions, even in
My philosophy about audience acquisition
is: If you build it, they will come. But you’re
entering a contract with the audience,
and you have to be dependable. It’s about
consistency: That’s what we’re trying for.
We can do Victory Journal twice a year
in print and it works. With digital, we try to
do four pieces a month. I know that daily
updates is where it’s at if you want traffic, but
that’s hard for us.
PDN: You’re the creative director for
Doubleday & Cartwright, and also oversee
the art direction for Victory Journal. How do
you juggle your priorities?
AA: The days are just really full.
ABOVE: An image from a story posted on the Victory Journal website about the Maccabi Electra basketball team of Tel Aviv, photographed by Malin Fezehai.