Strongbox Magazine

In late 2008, I accepted a job in which I didn't think I would get to use many of the graphic design skills I'd built over the years. I didn't want those skills to go down the toilet completely, and so I wondered how I could force myself to keep using them on my own.

Since I've been into photography most of my life, I knew photography had to be the fuel to drive whatever projects would keep me going. My initial thought was to simply assign myself deadlines to shoot new photo essays and post them to my personal website. This wouldn't really have helped me to grow my page layout skills, though, and so that went right out the window. For that reason, I thought that I would put a pdf file together using my photo essays and throw some text in there and put those on my site.

      

One night while chowing down on some wings with Todd, I was thinking out loud about my ideas. He suggested bringing other people into the project. If I was going to be doing this anyway, why not include some other people who might want to flex their creative muscles?

At first, I was a little reluctant. We'd both been part of a group that organized local photography shows on a monthly basis, and we learned the hard way that when too many hands rummage around in a cookie jar, it becomes more work than fun. I didn't want this to be another job, much less one that costs me money rather than brings it to me.

After I thought about it some more, I agreed that he was onto something. If there were other people involved, not only would I feel more pressure to meet my deadlines and keep working, but other people would be actually looking at it, and therefore I would be pushing myself to grow my skillset.

More importantly, I wouldn't be the only one benefiting from this undertaking. People that were looking for an outlet for their work would have a place to turn. This wouldn't be some closed-door joint only open to established "artists." If you had something to say, you would be able to say it here.

So, over many more beers and wings, it was decided that we'd start a photography-based, online magazine that would be open to anyone with the desire to be more creative. Now we needed a name. Several were thrown around, but none stuck. We briefly settled on Confluence, in part because it would be a place where ideas converge, but mostly because we live in and are in love with Pittsburgh, famous for the confluence of the Monongahela, Allegheny and Ohio Rivers. I did an early mockup of a website and front cover, but stopped short of registering any domain names because it just didn't feel right.

Then, one morning on my way to work, a line from Goodfellas jumped into my head for no reason at all. The scene where the 'Fellas are hijacking a truck and Tommy shoves his gun in the driver's face and asks "Where's the strongbox, ya fuckin' varmint?"

Strongbox. Hm.

It sounded cool. It had weight when I mocked up the first cover. And where do you put things that are valuable or important to you? In a strongbox. Yes. It worked. I registered the domain.

We've got quite a few issues under our belts now, and I've never been happier to be working on this project. And out of the blue, we got our first advertiser (who just happened to like our covers) - CleanItSupply.com, an online cleaning supplies catalog. Sometimes luck just walks in the open door! Creativity doesn't always come easily for me. At times, it's damned hard work. Having so many talented people take part in this project over the years is an honor and a constant inspiration. I look forward to seeing many more for years to come.

Specifically, I look forward to seeing yours.

Dan

 

 

Once we realized that we needed some help with data development to maximize our ability to organize projects, subscribers, photos, and everything else, our angel and good luck icon Ronnie volunteered to help. She is not only a photographer, but a code junky who really knows her stuff. The first thing she did was point out a major problem with our old software. I had familiarized myself with Filemaker Pro a long time ago, but never even realized that it was no longer supported and when Ronnie tried to bring in some more modern tools, they conflicted with Filemaker and created a fairly sizable issue. She was able to code a work-around, but insisted we needed to hunt down an updated Filemaker replacement and probably the best solution is a custom app that is designed around the way we work. Since we had no money to invest in this, we left her work-around in place because it worked and cost us nothing. We're just hoping that once the mag gets going we'll be able to generate some revenue to support upgrading the entire set of software. But until that time, we are pretty confident we'll be able to manage. We may be limping along, but expect to get there eventually. In the mean time, hope you all are able to enjoy this project for what it is and can benefit in some way, even if it's just entertaining for you.

 

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About

       

STRONGBOX Magazine is a quarterly magazine released as a downloadable Portable Data File (PDF) free of charge at www.strongboxmagazine.com. Its sole mission is to help the spread of creativity and improve with each issue. While firmly rooted in photography, we welcome any creative expression. Painting, illustration, writing (both fiction and non-fiction), graffiti / street art...anything you can think of.

Everyone is encouraged to sumbit work, whether you’re a seasoned professional or just getting started.

While we can’t promise we’ll use each and every submisison, we will certainly work with you if we can. Again, this is a labor of love and all we want to do is keep our creative muscles flexing while supplying an outlet for everyone else to do the same.

Submitting your work:

STRONGBOX is a mashup of all the magazines we love to read, so there isn't really a specific type of piece we're looking for. We've published short fiction, interviews with people we find interesting, photo essays, travel and recreation pieces and so on. We don't have advertisers or bosses to please here. If it's compelling, let's see it.

Begin by shooting us an email with an overall description of your project. It doesn’t have to be lengthy or in-depth, just the something to whet our appetite. If you have your works displayed in a blog or on a web page, be sure to include a link so we can check it out.

If we feel that your project is a good fit, we’ll assign you a deadline and ask that you send your files via dropbox, which is a free data transfer service. This way, our inboxes won’t get flooded with large files. We may edit photos or text as we see fit, but if any changes are made, no matter how small, we will be sure and send you a proof for approval before it goes into the magazine.

It’s important that you supply us with files that are suitable for print. Why is this? Someday we may want to make print-quality versions of the magazine available for those who want them, and it’s best to have them set up that way from the get-go.

Vector Illustrations may be supplied as Adobe Illustrator (.ai) files, or as an EPS (version cs2 or earlier. Yea...my software is out-of-date, I know...).

Photographs or scans of artwork can be sent as JPG, DNG, TIFF or RAW files. Images should be 300 dpi for a minimum final print size of approx. 8 x 10 inches.

Articles can be simply emailed, or supplied as text documents (.txt, .rtf or .doc)

If you have any further questions or comments about the magazine, please feel free to holler.

Dan Buczynski

Editor-in-Chief

    

 

More Background On StrongBoxMagazine.com

StrongBox Magazine is a quarterly digital publication that serves as a platform for creative expression across various artistic disciplines. Available as a free downloadable PDF, the magazine primarily focuses on photography but also embraces painting, illustration, fiction and non-fiction writing, graffiti, street art, and more. Its mission is to foster creativity and provide an inclusive outlet for both seasoned professionals and emerging artists.

History and Founding

The inception of StrongBox Magazine dates back to late 2008 when Dan Buczynski, facing a professional shift that limited his use of graphic design skills, sought a personal project to maintain and enhance his creative abilities. With a longstanding passion for photography, he initially considered creating photo essays for his personal website. However, recognizing the potential to further develop his page layout skills, he envisioned compiling these essays into a PDF format.

A pivotal conversation with his friend Todd led to the idea of expanding the project to include contributions from other creatives. Despite initial reservations—stemming from previous experiences with collaborative projects becoming overly complex—Buczynski saw the value in creating a communal space for artistic expression. This collaborative approach not only motivated him to adhere to deadlines but also provided a platform for others seeking to showcase their work.

The magazine's name, "StrongBox," was inspired by a line from the film "Goodfellas," where a character refers to a "strongbox." The term resonated with Buczynski, symbolizing a secure place to store valuable or important items, much like the magazine's role in safeguarding and showcasing creative works.

    

Content and Contributions

StrongBox Magazine prides itself on being a "mashup of all the magazines we love to read," without adhering to a specific genre or style. Its content spans short fiction, interviews, photo essays, travel pieces, and more. The absence of advertisers or external pressures allows the editorial team to focus solely on compelling content.

The magazine encourages submissions from individuals at all stages of their creative journeys. While not every submission can be published, the team is committed to collaborating with contributors to refine their work for potential inclusion. This open-door policy underscores the magazine's dedication to nurturing creativity and providing a platform for diverse voices.

Submission Guidelines

To maintain high-quality content, StrongBox Magazine has established specific submission guidelines:

  • Initial Contact: Prospective contributors are advised to email a brief description of their project, including links to any online portfolios or blogs.

  • File Formats:

    • Vector Illustrations: Accepted as Adobe Illustrator (.ai) files or EPS (version CS2 or earlier).
    • Photographs/Artwork Scans: Accepted as JPG, DNG, TIFF, or RAW files, with images at 300 dpi for a minimum print size of approximately 8 x 10 inches.
    • Articles: Accepted via email or as text documents (.txt, .rtf, or .doc).

  • Editing Process: The editorial team may edit photos or text as deemed necessary but ensures that contributors receive proofs for approval before publication.

Operational Challenges and Adaptations

As a labor of love, StrongBox Magazine operates with limited financial resources. The team has encountered challenges, particularly concerning outdated software systems. For instance, the magazine initially utilized FileMaker Pro, which became unsupported over time. With the assistance of Ronnie, a photographer and coder, the team developed a workaround to address compatibility issues. While a custom application tailored to their workflow is ideal, budget constraints have necessitated reliance on interim solutions. The team remains optimistic about future revenue opportunities to support comprehensive software upgrades.

Community Engagement and Future Outlook

The magazine's commitment to inclusivity and community engagement is evident in its open submission policy and collaborative editorial process. By providing a platform free from commercial influences, StrongBox Magazine fosters an environment where creativity can flourish unimpeded.

Looking ahead, the team aspires to continue expanding its reach and impact. Plans include exploring print-quality versions of the magazine and enhancing operational systems to streamline production. Central to these ambitions is the ongoing dedication to showcasing diverse artistic expressions and supporting the creative community.

   

StrongBox Magazine stands as a testament to the power of grassroots initiatives in the arts. Founded on a desire to preserve and cultivate creative skills, it has evolved into a vibrant platform celebrating a multitude of artistic voices. Through its quarterly publications, the magazine not only highlights the works of various artists but also inspires others to embark on their creative journeys. In an era where artistic expression is both abundant and essential, StrongBox Magazine offers a unique and valuable space for creativity to thrive.

 

More Background On StrongBoxMagazine.com

 

StrongBoxMagazine.com is the home of StrongBox Magazine, a quarterly, downloadable PDF magazine built around a simple idea: make a welcoming place where creative people can publish work that matters to them—without gatekeeping, paywalls, or a rigid house style. While the magazine is firmly rooted in photography, it also embraces illustration, painting, fiction and nonfiction writing, street art, interviews, and other creative experiments. Each issue is presented in a designed, print-style layout and released as a free PDF, an approach that intentionally echoes the tactile feel of a traditional magazine while staying accessible to anyone with an internet connection.

The site functions as both publisher and archive: it introduces the project, explains how to submit, and hosts issues as downloadable files. Over time, StrongBoxMagazine.com has served as a durable “container” for work that might otherwise disappear into social feeds, dead portfolio pages, or forgotten hard drives—fittingly aligned with the meaning of a “strongbox” as a place to store valuables.

Ownership, Leadership, and Who Runs It

StrongBox Magazine is closely identified with Dan Buczynski, who is credited as Editor-in-Chief in published materials and in the magazine’s own description of its origin story. The project’s editorial voice reflects a hands-on founder model: someone building a publication because they love the process—design, photography, sequencing, and storytelling—while also wanting to make space for other creators.

Published issue credits also identify additional editorial roles, including an Editor at Large (Todd Hryckowian) and a Copy Editor (Rick Szymanski) in at least one documented issue. In other words, while the magazine is clearly founder-driven, it has also operated with a small collaborative team—the kind of lean editorial structure common to independent webzines and PDF magazines.

Because the publication emphasizes openness and community participation, the “ownership” here is best understood as creative stewardship rather than a corporate structure: a small group curating and producing issues with contributors rather than a conventional commercial magazine publisher.

Location and Cultural Roots

StrongBox has strong ties to Pittsburgh, Pennsylvania, which shows up in the magazine’s founding narrative and in how the project initially framed itself. Pittsburgh is famously defined by the meeting of three rivers (the Allegheny, Monongahela, and Ohio), and the magazine’s early naming discussions reportedly flirted with “Confluence” as a title—an idea rooted in both geography and metaphor (where ideas meet).

That Pittsburgh identity matters because it places StrongBox within a recognizable lineage of American creative communities: cities with deep industrial histories that also produce vibrant DIY art scenes—photography collectives, gallery nights, zines, readings, and small publications that thrive on collaboration rather than scale.

What the Website Looks Like and How It’s Organized

StrongBoxMagazine.com is structured like a straightforward independent publication site, typically including:

  • About / Mission content explaining what StrongBox is and why it exists

  • An Issues area where readers can download PDFs (and often browse back issues)

  • A Submit or submission-guidelines section describing what to send and how

  • Contact information for editorial outreach and contributor coordination

Rather than behaving like a fast-moving blog, the website supports a periodical rhythm. That rhythm shapes everything: content is compiled, edited, designed, then released as an “issue,” which becomes a stable artifact readers can download and keep.

This deliberate issue-based structure is one of StrongBox’s defining traits. It is closer to a “digital print magazine” than a typical web magazine, and it asks readers to engage differently: not by scrolling endlessly, but by sitting with a curated collection.

Editorial Mission and Goals

StrongBox’s stated purpose is to spread creativity—and to keep improving with each issue. The editorial stance is notably anti-gatekeeping: contributors are encouraged to submit whether they are seasoned professionals or just starting out. The magazine does not claim to be a closed club for credentialed artists; it positions itself as a public outlet for anyone doing something compelling.

A few goals consistently come through in the project’s self-presentation:

  • Keep creative “muscles” active: for editors and contributors alike

  • Encourage experimentation across forms and subject matter

  • Publish work that’s interesting, even when it doesn’t fit a neat category

  • Maintain editorial freedom by limiting external pressures

That last point is important: many independent magazines become constrained by ad demands, sponsor expectations, or algorithmic incentives. StrongBox’s identity is built around not having to chase those forces—allowing the magazine to publish what the editors and community genuinely want to see.

Content: What StrongBox Publishes

Photography as the Backbone

Photography is the core medium. StrongBox issues commonly feature photo essays—sequences of images that tell a story through place, mood, documentary observation, or conceptual framing. The magazine’s format supports this especially well: full-bleed photos, intentional pacing, and series-based storytelling.

A Multi-Disciplinary Mix

Beyond photography, StrongBox is intentionally broad. Past issues and documented descriptions show publication space for:

  • Short fiction and nonfiction essays

  • Interviews with interesting creative people

  • Travel and place-based storytelling

  • Illustration and graphic art

  • Street art/graffiti culture features

  • Experimental themes (including mobile phone photography in at least one issue)

This variety is not random; it is a curatorial choice that treats “creativity” as the organizing principle, rather than medium, genre, or trend.

Submission Standards and Production Values

Even though StrongBox is inclusive, it is not sloppy. The magazine’s submission guidelines emphasize file quality and print-readiness—an important clue about how seriously the editors take the publication as a designed object.

The submission approach, in practice, signals three things:

  1. The magazine is designed like print, so high-resolution assets matter.

  2. Editing is part of the process, and contributors may receive proofs.

  3. The editors are thinking long-term, including the possibility that print-quality editions could exist someday.

This combination—open submissions plus strong standards—places StrongBox in a productive middle: accessible to newcomers, but still committed to publishing work that looks and reads professionally.

History and Timeline: From Late-2000s Webzine Era to Sustained Issues

StrongBox’s origin story places its beginning in the late 2000s (with the project forming around 2008–2009). That timing matters. This was an era when:

  • PDF magazines were a popular DIY publishing format

  • Flickr and photo forums were major community hubs

  • Social media had not yet completely swallowed discovery and publishing

  • Independent creators often built “magazines” to showcase each other’s work

StrongBox fits that era perfectly: a web-based publication that produces stable, collectible issues instead of ephemeral posts.

Evidence from documented issue materials shows at least multi-year publication activity, including identified volumes/issues and themed content. A referenced Fall 2010 issue (with a downloadable PDF) also indicates consistent quarterly scheduling at that time. Meanwhile, at least one Fall 2011 issue is clearly documented with credits, table of contents, and feature variety—suggesting a well-developed editorial pipeline.

Examples of What Appears in Issues

To understand StrongBox, it helps to picture what an issue feels like. A representative issue structure might include:

  • A striking cover concept (often photo-driven)

  • A table of contents that mixes visual and written pieces

  • One or two anchor photo essays (longer sequences)

  • Shorter “departments” such as interviews, themed sections, or creative prompts

  • Occasional spotlights on artists working in distinct styles

In documented materials from one issue, content includes a substantial photo essay about an unusual landscape (the Salton Sea), a section dedicated to mobile phone photography, interviews (including a stand-up comedian feature), fashion-oriented creative work, and art-crime/street-art themed material. This kind of eclectic lineup is very “StrongBox”: serious visual storytelling placed alongside playful creative experiments.

Popularity, Reach, and How People Find It

StrongBox is best understood as a niche publication with durable community reach rather than a mass-market brand. Its visibility shows up in a few telling ways:

  • People reference specific issues and link directly to PDFs in online discussions.

  • Contributors and editors mention the magazine in posts and community outreach.

  • Archived/hosted versions of issues appear on document platforms, making them discoverable beyond the main site.

This pattern is common for independent magazines: popularity is not always measured by mainstream press coverage, but by how often creators circulate issues, cite features, and treat publication as a meaningful credential.

In practical terms, StrongBox’s audience tends to include:

  • Photographers (documentary, fine art, experimental)

  • Writers and essayists who like visual-culture contexts

  • Artists seeking a friendly publication outlet

  • Readers who prefer curated “issue” experiences over algorithmic feeds

  • Creatives drawn to DIY culture, zines, and small magazines

Reviews, Reputation, and Reader Sentiment

Formal media reviews of StrongBox appear limited—again, typical for small independent magazines. Instead, reputation is built through:

  • Contributor pride and word-of-mouth circulation

  • Community posts that invite submissions

  • Direct references to published work and specific issues

When people talk about StrongBox in public posts, the recurring themes are its free access, openness to contributors, and love-of-the-craft approach—publishing as a creative practice rather than a business product.

Press and Media Coverage: What Exists and What Doesn’t

StrongBox is not widely covered by major outlets in the way that large photography magazines are. That said, it leaves a trail in:

  • Online community forums where editors recruit contributors

  • Personal blogs where creators mention being published or discuss a feature

  • Document hosting platforms where at least some issues are mirrored or previewed

The absence of big-press coverage does not imply the magazine is insignificant—only that it operates in a lane where community validation matters more than mainstream review cycles.

Awards and Recognitions

No widely documented major awards are clearly associated with StrongBox Magazine as a publication (at least in easily verifiable public references). That is common for independent PDF magazines, which often thrive outside institutional award circuits.

However, StrongBox’s “recognition” shows up differently: being featured can function as a portfolio credential for contributors, and the magazine’s continuity across issues suggests it earned trust within its creative network.

Funding, Advertising, and Sustainability

Independent magazines always face sustainability questions. StrongBox’s positioning indicates it has historically run as a labor-of-love project, produced by a small team and distributed for free. In at least some period, it appears to have explored advertising or sponsorship in a limited way, but it does not present itself as ad-driven.

This approach has pros and cons:

  • Pros: strong editorial independence; low barriers for readers; contributor-friendly ethos

  • Cons: limited budget for tooling, workflow upgrades, and long-term infrastructure

StrongBox’s emphasis on careful submission specs and workflow hints that the editors value production quality even when resources are tight—one reason the PDF format is so effective: it concentrates effort into a single artifact rather than maintaining a constantly updated site.

Why StrongBox Matters: Cultural and Social Significance

StrongBoxMagazine.com is more than just a place to download PDFs. It represents a specific, meaningful corner of internet culture:

It Preserves Work in a Stable Format

In a web era dominated by fleeting posts, the magazine issue is an act of preservation. Readers can download it, archive it, and revisit it years later. That stability makes StrongBox function like a miniature cultural archive.

It Centers Creative Community Over Status

StrongBox’s open invitation to submit—paired with real editorial standards—helps widen who gets published. That matters socially: it reduces the “credential barrier” that often limits emerging creators.

It Treats Design as Part of Storytelling

The layout, sequencing, typography, and pacing are part of the editorial voice. StrongBox treats page design as a creative practice, not just a container.

It Captures a DIY Publishing Tradition

StrongBox sits in a lineage of zines, little magazines, and art journals—updated for the internet. Its DNA is collaborative, local-scene-friendly, and experiment-positive.

Proximity To: Where It Sits in the Photography/Indie Magazine World

StrongBox occupies a space between:

  • A photography collective showcase

  • A multi-disciplinary literary/arts magazine

  • A design-forward PDF periodical

It’s adjacent to zine culture, but more polished; adjacent to mainstream photography magazines, but far more open; adjacent to blogs, but far more curated.

That “in-between” identity is precisely why it appeals to the people it serves: creators who want both freedom and finish.

How to Think About StrongBoxMagazine.com Today

StrongBoxMagazine.com is best understood as a creative vault—a home for a quarterly magazine that prioritizes community, curated storytelling, and design-forward presentation. It is rooted in photography but refuses to be confined by medium. Its founder-driven origin story, Pittsburgh creative sensibility, and sustained issue-based publishing model make it a strong example of independent digital magazine culture.

For readers, it offers a slower, more intentional experience: download an issue, spend time with it, and discover creators you might never meet through algorithmic feeds. For contributors, it offers something equally valuable: a place where your work can sit beside other creative voices in a thoughtfully designed artifact—kept safe, like something stored in a strongbox.

StrongBoxMagazine.com