The New Yorker Imaging Center

Your Guide to a Digital Workflow
August 1, 2005

In 1999—fewer than four years after the printing world was first introduced to computer-to-plate (CTP) at Drupa 1995—PrintMedia published a cover story on The New Yorker Imaging Center and its manager, Greg Captain. The editors chose the story because it was one of a very few truly inspiring tales of digital workflow in those days. The Imaging Center had fully embraced CTP then and had significantly invested in its digital arsenal to produce not only the pages of The New Yorker magazine, but also of other departments within the Condé Nast organization. Partnering with RR Donnelley's Danville, Ky., operations, the Imaging Center was responsible

Standards Rising
January 1, 2003

Many print organizations are slowing cycle times because they have failed to embrace accredited standards for exchanging content, such TIFF/IT-P1 and PDF/X-1a. Getting in the standards game earlier rather than later will give publishers an edge as they head into the new year and beyond, says Linda Manes Goodwin, executive director of Manes Goodwin Associates, in San Francisco. "The economy is definitely a factor," Manes Goodwin says. "Publishers have to realize that printing isn't [the] burgeoning industry it once was, and to be successful and profitable, they'll have to look at new opportunities like cross-media publishing, which will enable them to leverage content in

Greg Captain - 2002 Hall of Fame Magazine Inductee
October 1, 2002

What a long strange trip it's been for Greg Captain. His career in production began in 1978 with his work as a sheetfed press tender. From there, he worked as a press operator and then moved into the prep area after receiving an apprenticeship in color photography/scanning. In 1989, he became a journeyman color photographer and scanner operator. "I worked in several commercial prepress shops as a lead scanner operator, while at the same time teaching scanning and color separation theory at the MLA/ALA Lithographic Technical Institute in New York," he recalls. Then, after a combined 16 years of press and prepress work, Captain

Production Exectuives To Be Inducted Into 2002 Hall of Fame
September 1, 2002

(Philadelphia, PA - March 2002)—Five exceptional production executives will be inducted into the PrintMedia Production Executives' Hall of Fame at the 15th Annual Gold Ink Awards Reception and Banquet, to be held October 7, 2002, in the McCormick Place Grand Ballroom during GRAPH EXPO, Chicago, IL. For seating availability, contact Michael Cooper at 888-627-2630 or GREG CAPTAIN is manager of The New Yorker Imaging Center, Condé Nast Publications, and is responsible for the production workflow of the images in conjunction with the editorial staff for all edit pages for The New Yorker. Captain's career began in 1978 as a sheetfed press tender. In

Spectrum 2001 Day One
November 1, 2001

TUSCAN, AZ—Against a backdrop of picture perfect mountains, flowering cacti and palm trees, the 24th annual SPECTRUM conference was in full swing Sunday with its first full day of conference sessions. The conference attracts top professionals from all segments of the industry--advertising, creative, prepress, production and manufacturing. But it is not solely the caliber of speakers and attendees the conference attracts that makes SPECTRUM notable. The key to the show's success is the open forum it provides for industry professionals to openly discuss current and future issues of importance in an attempt to better the industry. From Gary Cosimini's opening keynote to the day's final

Image is Everything
November 1, 1999

Throughout the past decade, emerging digital technologies have changed the entire scope of contemporary publishing as we've come to know it. These same digital technologies—CTP platesetters, digital proofers and high-speed telecommunications solutions—have enabled publishers and their print partners to redefine how they place words and images on paper. The renaissance period Prepress houses have taken the most dramatic hit when it comes to technological advances of the digital kind. No longer only responsible for separating color and making film, they've been forced to learn new skills required to manage and perfect digital files. Printers, too, have changed their service offerings; many, large and