Chronicle Books Blog

“It’s the biggest issue of the year, we have to close, but we’re still shooting.”

For those who have worked at a magazine, this line, uttered in shock by the Vogue managing editor in the documentary, The September Issue, stirs up a variety of emotions—panic, excitement…anguish. The situation may seem absurd, yet it is just as relatable as some of the more explicitly strange scenes in the film, like when photographer Mario Testino is told to give cover girl Sienna Miller a “new neck.”

Magazines, especially monthly ones, are put together on a tight schedule, and surprises are quite common just days before close, when the issue goes to press. When photo shoots are involved, these last days can be tense ones, with the order of spreads changing, captions perpetually being tweaked, and the staff on edge right up until the end.

R.J. Cutler’s documentary, which chronicles the making of Vogue’s September tome, is a spirited glimpse into that process. In 2007 when the film was made, that issue was the largest in the magazine’s 117-year history: a record 840 pages. Most magazines aren’t characterized by their weight, but this particular issue was four pounds, nine ounces.

Photo shoots are one of my favorite things about publishing, whether they’re for a magazine issue or for a book. Cutler’s documentary always reminds me of why: photo shoots are about seemingly random elements coming together to create pages that don’t just breathe, but scream—that assert their presence in a way that draw readers in, and makes them want to stay. The challenge is to tell a story without words, and then to make that story more expansive by adding color, texture, and mood through the lighting, a certain camera angle, a subtle expression. There are innumerable differences between magazine and book publishing, but at photo shoots, some similarties are clear to me: No matter what you are shooting, the creative team’s work is to convey an energy through each shot, and to make the pages come to life.

This scene from The September Issue, featuring Vogue Creative Director Grace Coddington, captures the essence of that challenge. There is dressing, adjusting, jumping, all elements of what it can take to get a shot just right.

Of course, at photo shoots for cookbooks, there is considerably less movement, but much of the rest applies—including some “dressing” and that task of telling a story. Instead of Vera Wang or Anna Sui adorning the subjects, there are strategically placed edible accessories—a dollop of whipped cream, wisps of jam, pools of maple syrup.

The photo shoot I attended last week with Chronicle Design Director Jennifer Tolo Pierce is for an upcoming cookbook by 10-year-old Jack Witherspoon. The book’s photographer is the incredible Sheri Giblin, who shot more than 40 recipes with her team in two days. Her photographs also grace the pages of Chronicle’s Princess Tea, Classic Stars Desserts, and The Winemaker Cooks.

The morning of day #1: The team reviews the recipe shot list and prepares the recipes in the studio kitchen.

Like any photo shoot, there were props on hand to help tell a story—colorful plates and fabrics with pretty graphic patterns.

After the team reviewed the shot list together, Sheri began shooting. The lighting in her studio is stunning—a skylight streamed down sun on a beautiful San Francisco morning, helping to highlight the food’s best features.

Getting the waffle shot just right was one of the most illuminating parts of the morning. The food stylists prepared the waffles in the kitchen, and then brought them into the studio to be styled and photographed.

After each recipe was shot, the team would take a look at the photos on a computer and talk about what was working.

Jennifer Tolo Pierce (in yellow), Sheri Giblin (at the computer), and the rest of the team review a shot.

For the waffle sequence, much of the talk revolved around where more syrup could be drizzled (the verdict: everywhere), and how to maximize the butter’s “meltiness.” There were around 10 pats of butter on call. Since the slabs were cold and square (just out of the refrigerator), a food styling secret was revealed—a blowdryer, which made the butter melt on cue.

More food styling tools.

Before I headed to back to the office, I spent some time looking at Sheri’s studio bookshelf. There were food magazines and cookbooks, including Chronicle’s Eat Ate by Guy Mirabella, one of my favorite Chronicle books.

That shelf captures something about how I feel about what I do: A variety of elements shape how I relate to the pages that eventually become bound and shelved, whether they’re in a book or in a magazine. There is the text and there are the images—the challenge of getting them to work together to create a compelling finished product on a tight schedule and with a limited budget can certainly inspire panic, excitement, and sometimes anguish, but what makes it all worth it is knowing that, soon enough, the finished product will be on a shelf, ready to be experienced.

Naomi Kirsten
Assistant Editor

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