George, Alice Rose, Gilles Peress, Michael Schulan, and
Charles Traub.Here is New York: a Democracy of Photo-
graphs. Zurich: Scalo, 2002.
Kozloff, Max. ‘‘Cajamarca, Peru, 1991.’’Artforum Interna-
tional(September 1993): 134/196/204.
magnum[magnum degrees]. London: Phaidon, 2000.
Manchester, William R., Jean Lacouture, and Fred Ritchin.In
Our Time: The World as Seen by Magnum Photographers.
New York: W.W. Norton and Co./American Federation
for Arts, 1989;as Magnum: 50 ans de photographies.Paris:
Nathan, 1989.
Peress, Gilles.Farewell to Bosnia. Zurich: Scalo, 1994.
Peress, Gilles, and Alison Des Forges.The Silence. Zurich:
Scalo, 1995.
Peress, Gilles, and Curtis Harnack. ‘‘Iran Face to Face.’’
Apertureno. 88 (1982): 28–45.
Peress, Gilles, and Nan Richardson. ‘‘An Eye for an Eye:
Northern Ireland.’’Apertureno. 97 (1984): 28–47.
Peress, Gilles, and Nan Richardson.Power in the Blood: the
North of Ireland. London: Jonathan Cape, 1994.
Peress, Gilles, and Gholam-Hossein Saedi.Telex Iran: In the
Name of Revolution. Millerton: Aperture, 1983; as Peress,
Gilles, Gholam-Hossein Sa’edi, and Claude Nori. Telex
Persan. Paris: Contrejour, 1984.
Peress, Gilles, and Eric Stover.The Graves: Srebrenica and
Vukovar. Zurich: Scalo, 1998.
Ritchin, Fred. ‘‘Beirut: The Photographers’ Story.’’Camera
Artsvol. 3, no. 1 (January 1983): 24–35.
Shaw, Irwin. Paris/Magnum Photographies, 1935–1981.
Millerton, New York: Aperture, 1981.
Turner, Peter.Other Eyes: an Exhibition of Photographs Taken
in the British Isles by Izis, Bruce Davidson, Burk Uzzle, Paul
Caponigro, Gilles Peress, Charles Harbutt, Dennis Hearne,
Mark Cohen, Thomas Joshua Cooper, Ralph Gibson.Lon-
don: Arts Council of Great Britain, 1976.
Ziff, Trisha, editor.Hidden Truths: Bloody Sunday 1972.
Santa Monica, CA: Smart Art Press, 1998.PERIODICALS: HISTORICAL
Shortly after William Henry Fox Talbot patented
his ‘‘talbotype’’ or calotype process, which enabled
multiple prints to be produced from a single nega-
tive, photographs appeared in print media. Eager to
demonstrate his process and the potential of pub-
lished photographs, Talbot printed the first install-
ment of the innovatory fascicleThe Pencil of Nature
between 1844 and 1846 for a group of several hun-
dred subscribers. Just two years later, photography
made its debut in an established periodical when he
sold 7,000 calotypes to be hand-mounted in the June
1, 1846, issue ofThe Art-Union.
As photography advanced, a windfall of period-
icals dedicated to the medium emerged around the
world. The first,The Daguerrian Journaldevoted to
the Daguerrian and Photogenic Art, appeared in
November 1850. Published in New York and edited
by S.D. Humphrey, it continued asHumphrey’s
Journal of the Daguerreotype and Photographic Art
until it ceased publication in 1870.The Photographic
Art Journalpublished its inaugural issue in January
1851 publicizing itself as a monthly dedicated to the
interests of the Daguerreotypist and the develop-
ment of photography as an art form. In February
1851,La Lumie`redebuted in Paris. Publication was
irregular, and after several changes in ownership
and editorship, publication ceased in December- One ofLa Lumie`re’s editors, Ernest Lacan,
went on to found his own paper,La Moniteur de la
Photographie, which remained in print from 1861 to - The first German periodical dedicated to
photography appeared in January 1854 with the
publication ofPhotographisches Journal, Magazin
fu ̈r Photographen Maler, Zeichner, und Freunde die-
ser Kunstedited by Wilhelm Horn. The world’s
longest-running periodical devoted to photography,
RPS Journal, began in London on March 3, 1853,
published by the Royal Photographic Society asThe
Photographic Journaland is still in print today.
Periodicals such asAnthony’s Photographic Bulletin,
which ambitiously commenced in 1870 with a circu-
lation of 5,000 copies, invented itself as a resource
for photographers by providing its readers with
articles on techniques and processes as well as
ample advertisements for photographic products
and services. Anthony’s Photographic Bulletin
merged withPhotographic Times, which ceased pub-
lication in 1915. Founded in 1890, the first picture
weekly designed for photographs was The Illu-
strated American.This claim proved to be overly
ambitious, and text began to edge out images.The
Illustrated Americanissued its last number in 1899.
PERIODICALS: HISTORICAL