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To walk into any cavernously large space, to tour a cathedral or factory or cave, is to feel overwhelmed by your own smallness in comparison to what surrounds you. This is what it feels like to enter The New York Times’s printing plant in College Point, Queens, and look up to see papers whizzing by overhead on no fewer than 14 miles of conveyor belts. The scale of the plant seems comically oversized compared to the cramped bodegas and newsstands that we think of as our Sunday papers’ natural habitat. Some employees get around the plant on giant tricycles, so great are the distances between stations that it would waste too much time to cover them on foot.
Christopher Payne, the industrial and architectural photographer whose last project for The Times Magazine’s Future of Work issue was about nine people who love their jobs, has made more than 40 trips over the last two years to photograph the College Point plant. Mr. Payne’s sense of wonder at what he found there is clear in his photo essay for this weekend’s special section, “The Daily Miracle,” which showcases his photos of the people, presses and metal plates that make The Times and deliver it around the city.
“When Payne asked for access to photograph the printing plant, we said yes, because he was exactly the right person to photograph this,” Kathy Ryan, the director of photography for the Sunday magazine and NYT Magazine Labs, said of Mr. Payne. “He has a really impeccable eye for beauty. He can walk into a big, gritty, inky factory and see moments of the sublime. When he sees that paper coming rapidly over the roller, out of focus, it becomes an abstraction. That's the thing he does.”
Mr. Payne’s appreciation of print started at an early age. When Payne was 13 years old, his first job was selling The Boston Globe at an intersection near South Station. “When the lights changed, I had to get out of the way so I wouldn’t be hit by the mirrors,” he said.
He slung papers for two summers, and he lived near the Globe printing plant in Dorchester, too. “The building had a giant window facing the street, and when you drove by, you could see the presses running,” Mr. Payne said. “At night while the rest of the city slept, the pressroom was alive and lit up. To a kid it was like Willy Wonka’s Chocolate Factory: partly mysterious, partly reassuring.”
Mr. Payne’s photographs at the College Point plant capture the blur of up to 80,000 newspapers per hour running through the factory — the daily New York Times, and other papers including USA Today and AM New York.
Caitlin Roper is the editorial director of NYT Mag Labs, which she describes as being able to play between a magazine and a newspaper. The labs’ special broadsheet sections include the monthly Kids section, long-form fiction excerpts and more, and they are always experimenting with what’s possible in newsprint. “This is a hilariously meta version of that,” she said — with the plant’s behind-the-scenes role taking center stage.
Ms. Roper asked the writer and critic Luc Sante, whom she calls a “detective historian of New York,” to pen the section’s introductory essay. In an unexpected turn, before he had seen the finished product himself, Mr. Sante received an email from a worker at a subsidiary printing plant who had read the essay while separating plates for the section. He reached out to Mr. Sante to let him know how much he appreciated the article.
The manager at College Point, Mike Connors, has been with The Times for 43 years; he’s the fourth generation of his family to work in the production of the paper. He checks in with the newsroom nearly every day, and will adjust the presses if changes come in: late-breaking stories, or updates on big stories like New Zealand’s gun control laws or basketball scores.
“Nine times out of 10,” Mr. Connors said, “people in 2019 are going to look for their Yankees score on their phone in the morning.” But that doesn’t mean that he sees an end in sight for the tradition of print.
When I visited the plant in 2018, workers said that when they got an alert on their phone during printing, as they did when Steve Jobs died, it immediately changed what they were doing — all of a sudden, the freshly printed paper they were handling was yesterday’s news.
Mr. Payne brought that perspective to bear on his project, too. “At the end of the day,” he said, “everything is old news. It’s not so much about staying up-to-date, it’s about taking in the information, the weight of the information, and what’s important.”
On a (very) recent visit, Mr. Payne watched “The Daily Miracle” section itself being spun off the rollers. He doesn’t believe print will last forever. “There were guys in the pressroom who were watching photos of themselves being printed,” he said, “They have been working there for 20, 30 or more years, and this was the first time they were honored in this way.”
Ms. Ryan, our director of photography, said that sharing these photographs of the paper in The Times itself with our readers felt right. “We wanted to print this because we felt readers would love it as much as we do. It makes our hearts sing,” she said. “We want to share the incredible beauty of that place.” The paper has inspired art, from Bethann Parker to Nancy Chunn to Alexandra Bell, and clothing lines. Now we wanted to take a view of the plant as a work of art in itself.
Find “The Daily Miracle” in Sunday’s print edition of The New York Times.
Follow the @ReaderCenter on Twitter for more coverage highlighting your perspectives and experiences and for insight into how we work.B:
查福彩3d开奖结果【系】【统】【监】【测】【到】【了】【奕】【河】【这】【种】【可】【怕】【的】【想】【法】。 【他】【吓】【坏】【了】。 【一】【个】【的】【发】【出】【警】【告】【声】。 【【警】【告】！【警】【告】！【请】【勿】【让】【气】【运】【之】【子】【恢】【复】【神】【智】，【请】【勿】【请】【勿】。】 “【吵】【死】【了】！”【小】【姑】【娘】【不】【耐】【烦】【的】【嘟】【囔】【了】【一】【句】。 【可】【她】【又】【没】【有】【办】【法】，【这】【该】【死】【的】【系】【统】【就】【在】【她】【身】【上】，【她】【根】【本】【没】【办】【法】【让】【这】【个】【东】【西】【滚】【蛋】。 “【什】【么】【东】【西】！【滚】【出】【来】！”【奕】【河】【眉】【心】【一】【蹙】
【虽】【然】【没】【有】【写】【时】【间】，【但】【是】【这】【信】，【是】【一】【封】【诀】【别】【笺】。 【苏】【玉】【大】【致】【猜】【到】，【应】【该】【是】【她】【离】【开】【妖】【界】【的】【时】【候】【出】【现】【的】【这】【封】【信】。 【这】【就】【怪】【了】。【她】【明】【明】【是】【被】【莫】【名】【其】【妙】【扔】【出】【妖】【界】【的】，【甚】【至】【扔】【出】【去】【了】【再】【也】【没】【进】【来】，【怎】【么】【会】【有】【时】【间】【留】【下】【信】【呢】？ 【难】【道】【有】【人】【操】【纵】【了】【她】？【不】【能】【吧】，【她】【还】【不】【至】【于】【这】【么】【弱】，【但】【是】【这】【信】【也】【确】【确】【实】【实】【是】【她】【的】【字】，【也】【难】【怪】【卿】【歌】【会】【相】
【哈】【喽】【各】【位】**【爱】【们】，【你】【们】【想】【我】【了】【吗】？ 【哈】【哈】【哈】【哈】【哈】【我】【夏】【歌】【冉】【本】【冉】【可】【是】【很】【想】【你】【们】【的】！ 【新】【书】【在】9【月】6【日】【正】【式】【上】【线】【了】【哦】！ 【书】【名】：《【国】【民】【初】【恋】【又】【上】【头】【条】【了】》 【没】【错】，【冉】【冉】【首】【次】【挑】【战】【娱】【乐】【圈】【文】，【各】【方】【面】【细】【节】【可】【能】【无】【法】【像】【其】***【那】【样】【这】【么】【详】【细】【准】【确】，【请】【各】【位】**【爱】【多】【多】【担】【待】【一】【下】【哦】~查福彩3d开奖结果【于】【是】【在】【一】【阵】【安】【排】【后】，【开】【着】【警】【车】【的】【目】【暮】【警】【部】【拉】【着】【毛】【利】【小】【五】【郎】【来】【到】【了】【事】【故】【发】【生】【地】。 【由】【于】【他】【们】【来】【的】【有】【些】【晚】，【周】【围】【已】【经】【围】【满】【了】【记】【者】，【要】【不】【是】【千】【叶】【那】【身】【膘】，【还】【真】【给】【目】【暮】【警】【部】【和】【毛】【利】【小】【五】【郎】【挤】【不】【出】【空】【间】【来】。 【当】【然】，【主】【要】【是】【体】【型】【比】【千】【叶】【还】【圆】【润】【的】【目】【暮】【警】【部】【在】【这】【个】【难】【度】【中】【加】【的】【比】【重】【更】【大】【一】【些】。 【穿】【过】【警】【视】【厅】【人】【员】【维】【持】【的】【警】【戒】【线】【后】
【苏】【倩】【冷】【漠】【地】【盯】【着】【苏】【桓】【真】【魂】。 【虽】【然】【直】【到】【现】【在】，【苏】【倩】【依】【旧】【没】【有】【感】【受】【到】【苏】【桓】【真】【魂】【有】【任】【何】【的】【杀】【意】，【但】【事】【情】【发】【展】【到】【这】【个】【地】【步】【是】【她】【没】【有】【想】【到】【的】。 “【我】【认】【为】【你】【应】【该】【解】【释】【解】【释】。” 【苏】【倩】【收】【手】，【冷】【声】【道】。 【周】【围】【的】【尸】【体】【发】【出】【急】【促】【的】“【科】【科】”【似】【的】【嘶】【吼】，【石】【椅】【上】【的】【帝】【尸】【胸】【中】【的】“【烈】【火】”【熊】【熊】【燃】【烧】。 【突】【然】，【石】【椅】【上】【的】【帝】【尸】【睁】【开】