A six month period during which I interned at GUP Magazine, a photography magazine based in Amsterdam, which is published four times per year. I was in charge of the online content, social media as well as sourcing photographers and photography events to feature in the upcoming issues of the magazine during the time I was there.
I produced my own version of GUP magazine, with content I had gathered throughout the six months whilst also reflecting on my work, and the environment of the magazine business. This in turn also acts as my internship report. We referred to this production as GUP; the May issue.
Editor’s Note
I was an early bird when it came downto organising my internship. I, however, found myself in a littlepickle which meant I had to find something new because BLEND, themagazine I had originally wanted to intern with, was going throughfinancial difficulties which culminated in a major change inmanagement. In short, there was no longer an internship spot for me.This took place three weeks before the deadline. Stressed? Yes, I wasa little. The summer was nearing, and most companies had alreadyarranged their interns, with the exception of just a few. Havingreceived a couple of other offers, even so close to summer, I decidedto go with GUP Magazine. Why? Because I felt that theirs was aworking atmosphere which was comfortable, yet hard-working.
GUP is a Guide to Unique Photography.It is a small magazine which comes out quarterly. The fact that themain, in fact only, subject is photography is what attracted me most.Photography had played such a huge role in my school career over thepast two years and it seemed only right to learn more about thisexpressive medium. An internship at GUP also offered me anopportunity to analyse the company; its history, concept, competitorsand future, something that can only properly be done when you are inthe midst of it all.
So, I would also like to take thisopportunity to thank a couple of people: Peter Bas for making thewhole internship possible and for guiding me through the process,Shinta Lempers for letting me play such a huge role in thedevelopment of the website and GUP’s general online existence, ErikVroons for guiding me through the process of creating the physicalmagazine and Dirk Smit for revealing to me the hidden agenda of anArt Director. Last but not least, Jo Watson, thank you for being such an understanding and great supervisor over the past six months.
I was an early bird when it came downto organising my internship. I, however, found myself in a littlepickle which meant I had to find something new because BLEND, themagazine I had originally wanted to intern with, was going throughfinancial difficulties which culminated in a major change inmanagement. In short, there was no longer an internship spot for me.This took place three weeks before the deadline. Stressed? Yes, I wasa little. The summer was nearing, and most companies had alreadyarranged their interns, with the exception of just a few. Havingreceived a couple of other offers, even so close to summer, I decidedto go with GUP Magazine. Why? Because I felt that theirs was aworking atmosphere which was comfortable, yet hard-working.
GUP is a Guide to Unique Photography.It is a small magazine which comes out quarterly. The fact that themain, in fact only, subject is photography is what attracted me most.Photography had played such a huge role in my school career over thepast two years and it seemed only right to learn more about thisexpressive medium. An internship at GUP also offered me anopportunity to analyse the company; its history, concept, competitorsand future, something that can only properly be done when you are inthe midst of it all.
So, I would also like to take thisopportunity to thank a couple of people: Peter Bas for making thewhole internship possible and for guiding me through the process,Shinta Lempers for letting me play such a huge role in thedevelopment of the website and GUP’s general online existence, ErikVroons for guiding me through the process of creating the physicalmagazine and Dirk Smit for revealing to me the hidden agenda of anArt Director. Last but not least, Jo Watson, thank you for being such an understanding and great supervisor over the past six months.
An example of a book review I did, which was featured in GUP; the Mexico issue.
Manuel Alvarez Bravo (1902-2002) was one of the most significant forces in Mexican photography and one of the first visual arts practitioners of the twentieth century. Illuminating an eighty-year career this collection serves as an unsurpassed acuity of the master’s eye. His work sprang from a vision born of his time and his culture, but it touched people from every society all over the world. The 370 tritone photographs featured include a combination of iconic images as well as over thirty unpublished images of urban and rural scenes: still lives, nudes, religious and vernacular subjects, as well as portraits of Frida Kahlo and Octavio Paz. Most importantly, the indigenous rituals and traditional customs of Mexico are celebrated through means of Alvarez Bravo's work. Manuel Alvarez Bravo died on October 19, 2002, 100 hundred years after his birth, having lived through the most tumultuous period of Mexico’s history. Photopoetry includes a preface written by Colette Alvarez Urbajtel and essays by John Banville, Jean-Claude Lemagny and Carlos Fuentes.
Manuel Alvarez Bravo (1902-2002) was one of the most significant forces in Mexican photography and one of the first visual arts practitioners of the twentieth century. Illuminating an eighty-year career this collection serves as an unsurpassed acuity of the master’s eye. His work sprang from a vision born of his time and his culture, but it touched people from every society all over the world. The 370 tritone photographs featured include a combination of iconic images as well as over thirty unpublished images of urban and rural scenes: still lives, nudes, religious and vernacular subjects, as well as portraits of Frida Kahlo and Octavio Paz. Most importantly, the indigenous rituals and traditional customs of Mexico are celebrated through means of Alvarez Bravo's work. Manuel Alvarez Bravo died on October 19, 2002, 100 hundred years after his birth, having lived through the most tumultuous period of Mexico’s history. Photopoetry includes a preface written by Colette Alvarez Urbajtel and essays by John Banville, Jean-Claude Lemagny and Carlos Fuentes.
