Why Michael Levy Is Betting on Print-Only in a Digital-First World

What you will learn when you read this article:

• Why Michael Levy chose a print-only model for Summit Journal and what it signals about premium media consumption in a digital-first world

• How editorial curation, scarcity, and intentional design can drive subscriber loyalty and long-term brand value

• What communicators and marketers can take away from Levy’s revival of a legacy magazine as a boutique storytelling platform

“Print Only,” declares the unapologetic ad for Summit Journal, a revived climbing magazine that breaks nearly every rule of 21st-century publishing. No newsstand sales. No digital editions. No ads. Two different collectible covers per issue, sent at random. Want both? Buy two subscriptions. That’ll be $120.

In a media environment obsessed with scale, impressions and social buzz, the resurrection of Summit—after a 27-year hiatus—by journalist, photographer and climber Michael Levy feels almost rebellious. In a recent interview conducted by Dr. Samir “Mr. Magazine” Husni, it’s also proving resonant.

“With online it’s just like drinking from a fire hose,” Levy told me during a wide-ranging interview surrounded by framed covers from both the old and new Summit. “There’s too much stuff, a lot of good stuff, but you get lost in the noise.”

Levy’s approach is starkly different. He prints only the exact number of copies as there are subscribers. No extras. No waste. Every decision, from layout to photography to packaging, is made with intention. “It’s treating it as a novelty item,” he said. “It’s closer to a coffee table book than a magazine.”

As both editor and publisher, Levy is hands-on with every issue, which comes out just twice a year. “These aren’t spit out onto a page; they’re really labored over,” he said. “The curated photos are in conversation with the other articles. There’s a lot of intentionality to it.”

Levy’s instincts reflect a broader trend that communicators should not ignore: in an age of content overload, scarcity and craftsmanship can command premium attention. “There’s an audience who really appreciates a boutique, well-made and well-designed product,” Levy said. “Something you can hold in your hands and put on your shelf and come back to.”

That sense of physical permanence matters in a time when most content lives briefly in algorithmic feeds. “If you can read it online it undermines the value of someone subscribing to print,” he said. “By not having it online, it forces people—if they want to read it—to subscribe.”

His model draws inspiration from Mountain Gazette, another resurrected outdoor publication with high production values and a loyal print subscriber base. “Mike Rogge [of Mountain Gazette] is certainly a mentor to me,” Levy said. “I was like this is what I want to do.”

Still, starting a print magazine in 2023 wasn’t easy. “There are all sorts of things I didn’t know—distribution, profits and losses, how to print it,” Levy said. “At every turn I had to figure it out. No one who wants to get rich starts a print magazine in 2025.”

But he’s not doing it for the money. “I’m a better editor than I am businessman,” he admitted. “I overspend my budgets because I have so much fun putting them together.”

The stories in Summit Journal stretch far beyond alpine pursuits. “It’s a climbing magazine, yes, but also a vehicle to tell human stories, explore interesting characters and consider things in the world through different lenses,” he said.

Levy, a climber for 15 years, got his start writing for Rock and Ice and Climbing magazine—both now shuttered in print. “As I’ve gotten older, storytelling has given me a new connection to the sport. Arguably, more important to me than actual climbing,” he said.

He resurrected Summit with an eye on heritage. First published in 1955 by Jean Crenshaw and Helen Kilness, the original Summit was a visual and editorial pioneer. “The old magazine had incredible aesthetic sensibility,” Levy said. “Bright colored covers that mixed illustration and photos. We’re trying to honor that spirit while pushing into new territory.”

Even the subscription model reflects that ethos. “Some people might ask why we don’t let subscribers pick which cover they get,” he said. “The simple answer: logistics. We print two covers 50/50 and ship them randomly. One’s not more popular than the other—it keeps things balanced and special.”

For communicators, Levy’s journey is more than a publishing curiosity—it’s a strategic case study. In a fractured media ecosystem, Summit Journal demonstrates that audience loyalty can be earned through meticulous curation, clear editorial vision and a willingness to slow down.

“There’s something about the reading experience in print,” Levy said. “You’re making an intentional decision to spend time with this piece of writing. Print forces you to do that.”

And when the work is done, Levy winds down much like the stories he tells—simple, grounded, and human. “I’m having a beer in the backyard with my 11-month-old son,” he said. “Then I read a book and try to avoid the doomscrolling. During the day, if I can sneak away, I go for a climb.”

The future of media may be digital-first, but Summit Journal is proof that print isn’t dead. It’s just waiting for the right hands to bring it back to life.