On the morning of Sept. 12, 2001, The Wall Street Journal was missing what most other papers on the planet considered a critical element: Photography of what had happened the day before.
The only image on the front page was a simple gray map of the East Coast, with black dots showing key places related to the terrorist attacks.
"We didn't run a photo, where I think every other paper in the world, including the international edition of the Journal, ran a photo," said senior visual editor Jessica Yu.
The Journal, which turns 125 today, long resisted photography. It was a numbers paper, the thinking went, devoted to covering the financial markets and forces that shape the economy. It was text heavy and serious and there was no room—nor any real need—for images.
Here's the first ever issue of the paper on July 8, 1889.
All that text and the Journal was still less dizzying than its old rival, The New York Times, on that day. (The Times was, for those who are counting, 38 years old when the Journal was founded.)
But compare the Journal's first-ever paper with this vision of how it might have covered the news from that day with 2014 sensibilities—and note that the paper keeps its two-cent price tag but acquires the mark of its modern owner, News Corp, in this alternate reality.
"I think the two most significant changes that the Journal has gone through have been the introduction of color and the introduction of photography," Yu said.
"Needless to say, we were not first when it came to photos and color but we've definitely adopted them in a big way," she continued. "We have humongous photos on our front page."
It took some major technological changes for that to happen. In fact, the same workflow that prevented photography for so long was also directly tied to all kinds of design decisions, including the use of the Journal's famous stipple drawings—those dotted portraits of columnists and newsmakers—and the typeface used in the paper.
"When I first joined the paper, they were still pencil editing, which really blew my mind," said Jim Pensiero, who is deputy managing editor at the Journal and has been on staff at the paper since 1984. "There was no technology in the newsroom at that time."
So the process of turning pencil-edited stories in the afternoon into newspapers that landed on subscribers' doorsteps the next morning was, by today's standards, almost unbelievably complex. The newsroom would fax its stories to composing rooms in places like Chicopee, Massachusetts and Naperville, Illinois, where the stories would be typed into a computer.
"From the computer, they then make cold type, strips of paper which you would then paste on a board," Pensiero said. "Once you made up the pages, the pages would then be photographed, and you'd make this huge negative. And from the huge negative, we would scan it—we were really quite visionary in digital scanning—then put them up on the satellite and they would end up at satellite printing plants."
From there, at 19 printing plants across the country, the Journal would be printed. And so, with each step that got the paper closer to being complete—to the point when it was transmitted to one of those 19 plants—the look of the thing warped. The contours of ink letters swelled along the way, which meant every decision about how the paper ought to look was tethered to this multistep process. It's why the Journal used a proprietary typeface called Dow Text, because for Dow Text to appear on the page the way the paper's leaders wanted it to, it had to bleed just enough but not too much.