2007 Best News Cover Winner and Finalists (Click the cover images to view the high resolution version)
Cover of the Year | Best News | Best Celebrity | Best Concept
Best Fashion | Best ServiceView all Best News Cover Entries here
The New Yorker, April 9, 2007
From The New Yorker: In the wake of President Bushs announcement of a troop surge and with the frustrations of Tax Day close at hand, Christoph Niemanns New Yorker cover was particularly timely. His depiction of 1040 tax forms converted into military equipment pinpointed the American publics growing resentment toward the Iraq War.
D Magazine, September 2006
From D: The September 2006 cover was actually a surprise. Originally, Ds cover story was supposed to be its annual Dallas Shops issue, covering the newest stores and most fashionable boutiques in the city. However, when the editors saw the amazing image from staff photographer Elizabeth Lavin, they knew that they had to change covers. The accompanying story was on the drought that plagued North Texas throughout 2006, and the photo captured the dire situation. (Lake Lavon is not only a big water source for the area but also a popular recreational lake. The stark photography was unsettling and jarring on one level and strangely beautiful on anotherexactly what was needed to get Dallas attention.) Switching covers at the last minute was controversial, especially for a city magazine that thrives on reader service pieces. Those covers sell the best. Journalism normally tanks on the newsstand. And Ds circulation and advertising sales departments were not happy with the decision. That is, until the final numbers came in and the Parched cover wound up being one of the best sellers of 2006. It was a risky and bold decision that paid off on many levels.
New York, June 25, 2007
From New York: On the eve of the launch of the iPhone, New Yorks cover looks at the man responsible, asking whether the mighty Steve Jobs is due for a fall. Taking visual cues from the famous and inescapable iPod advertising campaign, the cover uses color to cast a harsh light on Jobs (a man known for his somber black mock turtlenecks), while acknowledging his icon status. The pop-art graphics of the cover capture the (ostensibly) revolutionary 1960s spirit of Jobs and Apple, while holding it up to scrutiny.
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