‘The New Yorker has naturally always been my source for the finest illustrators, from Steinberg to Sempé; but it has also served as a venue for the most masterful photos, thanks to Elisabeth Biondi.’
Elisabeth Biondi joined the staff of The New Yorker in 1996, shortly after photography was introduced to the magazine and as it began to play a more prominent editorial role. As visuals editor she has helped shape the look of the publication by establishing a group of staff photographers, commissioning both masters and emerging talent, and utilizing portrait, fine art and documentary photography.
She continues to build the magazine’s reputation for its use of photography, which is much acclaimed and has received numerous awards.
Elisabeth Biondi started working with photography when GEO Magazine, often described as a more contemporary and controversial version of National Geographic, made its appearance on the American market. Although the magazine won many awards for its photography and design, it ultimately ceased publication in 1984.
Subsequently, she moved to Vanity Fair, which soon began to grow into the highly successful magazine it is today. As director of photography, she focused on lively, witty portraiture – an important contribution to the increased success of the publication.
After seven years at Vanity Fair, Elisabeth Biondi returned to Germany to work for Stern, one of Germany’s largest news weeklies.
As head of the photography department, she explored the fast-paced world of news and reportage photography, and worked with photographers around the world. After five years, she returned to New York, where she has since worked as visuals editor of The New Yorker.