The Surfer's Journal 29.3
More book than magazine. A reader-supported surf publication founded in 1992, The Surfer’s Journal is vivid, authoritative, and independent. The goal of each 132-page bimonthly edition? A completely resolved composition. Balance. Color. Story. And purist surf energy from Page One to close-of-book.
Between the flaps, TSJ 29.3 spins its compass from dodging landmines in the Falklands, to an unassisted paddle journey from Alaska to Cabo, and to the river-wave surf scene springing up in Boise, Idaho. Shaper Donald Brink’s experimentations in surfboard sonics and Martin Machado’s oceanic etchings provide doses of written and visual portraiture, while the portfolio of Sarah Lee, Derek Dunfee’s intimate look at the modern big-wave stage, and Brad Barrett’s 1960s retrospective offer photographic page studies.
More book than magazine. A reader-supported surf publication founded in 1992, The Surfer’s Journal is vivid, authoritative, and independent. The goal of each 132-page bimonthly edition? A completely resolved composition. Balance. Color. Story. And purist surf energy from Page One to close-of-book.
Between the flaps, TSJ 29.3 spins its compass from dodging landmines in the Falklands, to an unassisted paddle journey from Alaska to Cabo, and to the river-wave surf scene springing up in Boise, Idaho. Shaper Donald Brink’s experimentations in surfboard sonics and Martin Machado’s oceanic etchings provide doses of written and visual portraiture, while the portfolio of Sarah Lee, Derek Dunfee’s intimate look at the modern big-wave stage, and Brad Barrett’s 1960s retrospective offer photographic page studies.
More book than magazine. A reader-supported surf publication founded in 1992, The Surfer’s Journal is vivid, authoritative, and independent. The goal of each 132-page bimonthly edition? A completely resolved composition. Balance. Color. Story. And purist surf energy from Page One to close-of-book.
Between the flaps, TSJ 29.3 spins its compass from dodging landmines in the Falklands, to an unassisted paddle journey from Alaska to Cabo, and to the river-wave surf scene springing up in Boise, Idaho. Shaper Donald Brink’s experimentations in surfboard sonics and Martin Machado’s oceanic etchings provide doses of written and visual portraiture, while the portfolio of Sarah Lee, Derek Dunfee’s intimate look at the modern big-wave stage, and Brad Barrett’s 1960s retrospective offer photographic page studies.