published first in theSan Francisco Examiner, cir-
culated widely. Immigration, labor issues, and
slums were of particular concern to the American
press and images regularly appeared in the pages of
Leslie’s WeeklyandHarper’s Weekly.Lewis Hine’s
images of tenements and poor working conditions
were published extensively. Hine was also a staff
photographer at the socially conscious magazine
Charities and Commons, which continued asThe
Survey, a publication of the National Child Labor
Committee. By the time the Titanic sank in 1912,
halftones had almost completely replaced engrav-
ings in the press.
Illustrated news magazines such asL’Illustration,
The Daily Graphic, Collier’s, The Illustrated London
News,andBerliner Illustrierte Zeitung avidly
chronicled World War I. The critical moment that
would trigger the war was captured in a photograph
on the cover of the July 9, 1914 issue ofDie Hambur-
ger Wocheshowing the arrest of Serbian nationalist
Gavrilo Princip after he had shot the Archduke Fer-
dinand, heir to the Austro-Hungarian throne.The
New York Timesdedicated extensive coverage to
the war and began printing theMid-Week Pictorial
War Extra.Although war images were the main
focus of photo reportage in the weekly press through-
out the United States and Europe, civilian photogra-
phers found it difficult to access the front lines
because of strict military controls. War authorities
also determined which images would be released
to the press. As the war progressed, allied forces
realized that the publication of compelling war pic-
tures could be an effective propaganda device, and
civilians, appointed as official photographers, were
given access to the front lines. Nevertheless, images
were subject to censorship before publication. Des-
pite these setbacks, editors made great efforts to
assemble images in captivating layouts although
they often lacked a coherent narrative.
The Modern Weekly
The introduction of smaller, faster, and lightweight
equipment by the German camera industry, namely
the dry-plate Ermanox in 1924 and the 35 mm roll-
film Leica in 1925, would transform illustrated maga-
zines. A multitude of new illustrated weeklies would
surface in Germany after 1918, and the first to exhibit
the effects of these technological advances was the
Mu ̈nchner Illustrierte Presse (MIP)under the direc-
tion of Stefan Lorant. A Hungarian native and for-
mer filmmaker, Lorant came to the paper in 1928 and
capitalized on the opportunity to produce action
photographs with the new faster cameras. Addition-
ally, he enhanced the effectiveness of photographic
narratives in print by producing persuasive sequences
of dynamic images in contrasting shapes, sizes, and
temperament with careful consideration given to
selection, spacing, and arrangement on two facing
pages, which had become the design standard for
photojournalism. AtMIP, he published the early
photographs of Felix H. Man, Andre ́Kerte ́sz, Alfred
Eisenstaedt, Dr. Erich Salomon, and Robert Capa.
After the 1933 invasion of Bavaria, Lorant’s poli-
tical commentaries infuriated Adolf Hitler and he was
imprisoned. Freed thanks to the efforts of the Hun-
garian government, Lorant went to England where he
helped establish theWeekly Illustratedin 1934. Two
of Lorant’s most memorable layouts for theWeekly
Illustratedwere ‘‘Mussolini: What Is He Planning?’’
photographed by Felix H. Man showing the Italian
dictator in his private study in Palazzo Venezia and
‘‘Midnight in Paris’’ where an overall black back-
ground frames images of Paris nightlife captured by
the Hungarian-born photographer Brassaı ̈.Lorant
would later leave theWeekly Illustratedto set up his
own publishing company and journal,Lilliput,which
touted itself to be ‘‘the Pocket Magazine for Every-
one.’’ Lilliput was acquired in October 1938 by
Edward Hulton, owner of the Hulton Press, who
offered Lorant the chance to start what was to be
one of the most influential British news magazines,
Picture Post. Less than six months after its founding
in 1938,Picture Posthadacirculationofoverone
million copies. Picture Post boldly documented
Hitler’s atrocities all over Europe, and Lorant soli-
cited images from notable photographic talent such
as Kurt Hutton, Tim Gidal, Felix H. Man, Bert
Hardy, and Leonard McCombe.Picture Postdiscon-
tinued publication in 1957.
The Communist periodicalSichel und Hammer
became the left-wing Arbeiter Illustrierte Zeitung
(AIZ)in 1925 under the direction of editor Willi
Mu ̈nzenberg and was exceptional because in addi-
tion to photo reportage, it regularly featured the
sophisticated photomontages of John Heartfield on
its covers. By combining leftist ideologies with Rus-
sian Constructivist and Dadaist sensibilities, Heart-
field created witty political satires and penetrating
social commentary using photomontage. Heartfield’s
photomontages were constructed from newspapers,
magazines, and photographs that were created for
his purposes. Sharply critical of the Weimar Repub-
lic and Nazi Germany, Heartfield left Germany for
Czechoslovakia in 1933 after Hitler’s regime began
to take control of the country.
In Paris, Lucien Vogel, who began his publishing
ventures in fashion, foundedVu, a weekly journalPERIODICALS: HISTORICAL