In 1997 Glenn, who’d declared for years that Shutterbug was never going to be sold, sold the magazine to a media conglomerate in NYC called Primedia. I ran the magazine, going down to Titusville several times a year for staff meetings, using FedEx to get my material there, later going to fax, and still later to email attachments and upload to their server.ĭuring my years as Editor the magazine grew every year, and the classified ads became less and less important as a source of income, displaced by the Internet, so editorial content became more and more important. I accepted, but on the condition that I could work from my home office in Radford, Virginia. For a while the magazine drifted along without an editor, but I kept being given more responsibility, and in 1991 I was offered the job of Editor. Eventually he got bored with the job and quit. Jack was independently wealthy from a major auto parts manufacturing business with factories worldwide, and so he took the job out of love of photography. ![]() Jack lived in Chestnut Hill, Massachusetts, and had no interest in moving to Titusville, Florida, where Shutterbug was based, so he flew down one week a month to put the book together (in the magazine business magazines are called books). The next Editor was Jack Naylor, prominent photo historian and owner of the largest camera collection in private hands in the world. It was published under that name for a year or so, but circulation declined, George left, and the magazine was renamed Shutterbug, still in tabloid newspaper format. But he hated the Shutterbug Ads name and got it changed to Photographic News. Glenn asked me to find one, and I called my old friend Norman Rothschild, who recommended George Berkowitz, former Editor of Popular Photography magazine, then retired. But the magazine needed an editor, and I didn’t have the time to do that job and run my studio. At some point, once editorial content became more important, I was hired as Technical Editor, to bring the accuracy of the adticles up to a higher standard to compete with the major photo magazines. Editorial content came later, and originally wasn’t of very high quality. The magazine was founded by Glenn Patch as Shutterbug Ads, and was originally a tabloid printed on yellow paper (although the very first issue, which I still have, was printed on white paper), and was a buy/sell newspaper made up of classified ads for photo equipment and supplies. I don’t even remember exactly when I wrote my first article for them. My history with Shutterbug began in the mid-70s. Make sure you've read all of the best Spider-Man stories of all time. And to see who he'll be on the other side of the events of Peter Parker: The Amazing Shutterbug #1 would be fascinating. This is a transformative story for Peter, in more ways than one. Every ending is just another beginning waiting in the wings. Nrama: Could we see more of this version of Peter following the one-shot?īernardin: Absolutely. There are some other loose ties here and there, but that's what excited me about the concept - and I'm glad that my editor Devin Nunes and our amazing artist Rafael de la Torre responded to that same excitement. Nrama: How does this tie in directly to the Heroes Reborn event?īernardin: The challenge for me was, how can I take that brief Parker appearance in the Hyperion one-shot and give it some context? What were the events in Peter's life that led him to the rooftop of the Daily Bugle as a regular-old human? Who is this Peter Parker? And how can we, in telling the story of that moment from Pete's perspective, add some new depth to that moment? (Image credit: Marvel Comics) (opens in new tab)
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