Professional societies and camera clubs for advanced
photographers multiplied significantly in the 1930s and
1940s, along with their associated periodicals. The first
issue of theJournal of the Photographic Society of
Americaappeared in 1935, later known as thePSA
Journal. Philippe Halsman and W. Eugene Smith
founded the American Society of Media Photographers
(ASMP) in 1944 and began publishing the monthly
ASMP Bulletin. The National Press Photographers
Association, established in 1946, began issuing the
monthlyNews Photographer.These membership-dri-
ven publications provided lively forums for photogra-
phers to share knowledge, experiences, and resources in
the professional realm, well into the next several dec-
ades. En Foco, a non-profit organization founded in
the Bronx, New York, in 1974, began showcasing the
work of minority American photographers through its
tri-annualNueva Luz Photographic Journal(1984–). In
an atypical case where a publication formed an organi-
zation for photographers, the Los Angeles magazine
Rangefinder, founded in 1952, created the Wedding
Photographers of America organization in 1973. The
organization is now called Wedding and Portrait
Photographers International.
In Canada, the National Association for Photo-
graphic Art in Scarborough, Ontario, foundedCam-
era Canadamagazine in 1969 andFotoflashin 1981.
The bimonthlyPhoto Life, founded in Toronto in
1976, is considered the largest circulation photogra-
phy periodical in Canada. Its content encompasses
photo industry news, equipment reviews, portfolios,
and shooting techniques.Photo Se ́lectionmagazine,
the French-Canadian counterpart ofPhoto Life,was
founded in 1981. Another magazine founded in Tor-
onto,Photo Communique ́, was developed in 1980 with
an eye toward art photography.
During the second half of the twentieth century,
an increasing number of regional and national
photography periodicals competed for longevity,
by capturing the interest of emerging artists and
established professionals. In South America, many
publications that were launched in the 1960s suc-
cessfully lasted through at least the turn of the cen-
tury, such asFotomundo(1966–) in Buenos Aires,
Argentina, andFotomundo(1969–) in Mexico City,
Mexico. Likewise in Asia, Chinese Photography
(1957–) has been billed as the first professional
photography magazine in China, andAsahi Camera
(1926–) is one of the oldest professional periodicals
in Japan. The Tokyo-based magazinesCommercial
Photo(1980–),CAPA(1981–), andDeja-Vu(1992–)
have also continued past the year 2000.
AfterBetter Photography(1997–) was launched
in Bombay, India, the magazine became available to
consumers in the Middle East, Nepal, Singapore,
and Sri Lanka. In Ankara, Turkey, the Association
of Fine Art Photographers of Ankara createdFoto-
grafmagazine in 1967, to publish news briefs, tech-
nical information, and photographer profiles. The
bimonthlyCapturebegan in Australia in 1962, fo-
cusing specifically on commercial photography, studio
practices, and business issues. In Johannesburg, South
Africa, theProfessional Photographers of Southern
AfricafoundedProfotomagazine in 1964 for its mem-
bership. Forty years later, its subscriber base grew to
more than 3,000 members.
In Europe, nearly every country launched its own
series of professional periodicals, including Austria,
Czechoslovakia, Denmark, Finland, Greece, Hun-
gary, Ireland, Luxembourg, Norway, Poland, Portu-
gal, Scotland, Spain, Sweden, and the Netherlands. In
the former Soviet Union,Proletarskoe Foto [Prole-
tarian Photo], published from 1931 to 1933, and
Sovetskoe Foto [Soviet Photo]were the two domi-
nant magazines for amateur and professional pho-
tographers. As the twenty-first century approached,
new periodicals such asFotomagazin(1995–) and
Foto & Video (1997–) debuted and accumulated
more subscribers than any Russian photography
magazines. A biannual magazine called IMAGO,
founded in Bratislava, Slovakia, began publishing the
work of contemporary photographers from Central
and Eastern Europe in 1996.
Of the European countries, England, France, and
Germany introduced the most photography maga-
zines for professionals throughout the twentieth
century. The London-based, bimonthly periodical
Creative Camera, founded in 1967 and previously
titledCreative Camera Owner, was later absorbed by
DPICT(2000–2001). The new iteration of the pub-
lication ended in 2002, after 25 year of news, exhibi-
tion reviews, and portfolios. The British edition of
Popular PhotographybecamePractical Photography
in 1959 and onward. Other notable titles include the
monthlyProfessional Photographer(1961), quarterly
Ten.8: Photographic Journal (1979), and biannual
What Camera(1977).
InFrance,HachetteFilipacchilaunchedPhotoasa
monthly in 1960, with the same basic format as
American Photo.Similarly,Zoommagazine, founded
in Paris in the late 1970s, launched editions in Milan
and New York in 1980.Zoomprimarilycoveredfash-
ion and art photography. Paris-basedCamera Inter-
nationaldebuted in 1984, and in 1994, the French
Society of Photography relaunched its monthly peri-
odical,Bulletin de la Societe Francaise de Photogra-
phie. European Photographywas launched in 1980 in
Gottingen, Germany, as a biannual, international
periodical for contemporary photography and new
media.Fotomagazin, a monthly based in Hamburg,PERIODICALS: PROFESSIONAL