Germany, started publication in 1947 and later in-
corporated Camera (1922–1981). The bimonthly
Profifoto,formerlyFachkontakt, began in 1969 in
Duesseldorf as a magazine covering professional
photography and digital imaging.
Photographers found inspirational images and
methods, along with opportunities for publication
and exhibition, within the pages of new professional
periodicals. In Langhorne, Pennsylvania,The Photo
Reviewbeganpublishing quarterlyin1976,featuring
an annual contest juried by a series of prominent
museum curators. Fine art, commercial, and docu-
mentary photography all found a venue inAmerican
Photographer,whichstartedin1978withanemphasis
on profiles and interviews with high-profile profes-
sionals. The magazine, published by Hachette-Filipac-
chi Media, becameAmerican Photoin 1990.Photo
District News, later known asPDN, began in 1980
and became one of the top periodicals for profes-
sional photographers.PDNfeatures a wide range of
departments in each issue, including portfolio sections,
contests in self-promotion and marketing, in-depth
industry news, technical articles, and classifieds. Simi-
larly, the quarterlyPhotographer’s Forum, founded in
1981, has interviews, features, portfolios, and reviews
of photographic books.
Many new professional publications in the United
States exhibited a more technical and equipment-
oriented perspective on photography. The first issue
of consumer magazineShutterbughit newsstands in
1971, previewing and reviewing the latest photo-
graphic equipment. The Primedia Group publishes
the magazine, which has editorial offices in Titusville,
Florida, and a circulation of more than 100,000. In
1979, Preston Publications in Niles, Illinois, began
publishing the bimonthlyDarkroom and Creative
Camera Techniques, which becameDarkroom Tech-
niquesand thenPhoto Techniquesin 1996. In 1985,
Werner Publishing Corporation in Los Angeles, Cali-
fornia, unveiledOutdoor Photographer, specializing
in landscape, sports, travel, and wildlife photography.
Nature Photography, a bimonthly magazine from
Quincy, Massachusetts, entered the publishing
arena in 1990.
From the late 1980s through the 1990s, the Amer-
ican periodicals market saw more new titles show-
cased professional art photography.View Camera
andCamera Arts, founded in Sacramento, Califor-
nia, in 1988 and 1997, respectively, feature portfo-
lios and interviews with master photographers. New
York-basedBlind Spotmagazine, which began pub-
lication in 1993, utilizes the format of an artist’s
monograph.Double Take magazine, founded in
1995 at Duke University and later based in Somer-
ville, Massachusetts, featured documentary photo-
graphy alongside fiction, poetry, and essays. The
bimonthly periodicalLensWork(1993–), based in
Anacortes, Washington, presents portfolios and in-
depth interviews with leading photographers.
As digital imaging and photographic equipment
gained significant press coverage in the 1990s,
magazines devoted to the professional implications
of the pixel surfaced on an international level, pri-
marily in the United States and England. American
company Cygnus Business Media, which launched
the monthlyStudio Photography & Designin 1998,
purchased and relaunchedDigital Imaging three
years later. The well-known magazinePopular Photo-
graphybegan in 1937 with product reviews and how-
to features, and then becamePopular Photography &
Imagingin 2003. The Rangefinder Publishing Com-
pany foundedPhoto Lab Managementin 1979, which
became Focus on Imaging in 2001. Other digital
photography and imaging magazines in the United
States included Digital Output (1995–), PCPhoto
(1996–), Digital Camera (1998–),Photoshop User
(1998–), andDigitalFOTO(2000–). In the United
Kingdom,Digital Photo Art(1997–),Digital Photo
User(1999–), andDigital Photo(2002–) also tapped
into the tidal shift toward digital equipment, unique
shooting techniques, and pixel-editing possibilities.
Alongside the wave of periodicals dealing with the
implications of digital photography, innumerable
publications on the Internet sprouted up throughout
the 1990s. Entrepreneurs, Web site publishers, and
advertisers experienced the immediacy of providing
content to a potentially global audience within a
relatively short timeframe, when compared to print
media publishing. Online magazines such asZone-
Zero: From Analog to Digital(1993–),ReVue Photo-
graphy(1996–),The Digital Journalist(1997–), and
Musarium(previously titledStory LineandJournal
E, 1997–) yielded opportunities for professional
photographers to freely gather information from
international sources, promote their latest work,
and initiate direct communication with others in
the field. These new avenues and methods continue
to influence the creation and distribution of photo-
graphy publications around the world, whether they
are produced by an individual, a professional so-
ciety, or a publishing conglomerate.
KellyXintarisSeealso:Creative Camera; Popular Photography;
Professional OrganizationsFurther Reading
Horenstein, Henry.The Photographer’s Source: A Complete
Catalogue. New York: Simon & Schuster, Inc., 1989.PERIODICALS: PROFESSIONAL