Goldin, Nan. Ivy Wearing a Fall, Boston. Gelatin silver print, 1973. JSTOR, https://jstor.org/stable/community.14286297. Accessed 26 June 2024.
Kepes, Gyorgy. Hieroglyphic Body. 1942. Photograph. JSTOR, https://jstor.org/stable/community.9771931. Accessed 26 June 2024.
McMaster, Meryl. Calling Me Home, from the Series As Immense as the Sky. Digital chromogenic color prints, 2019. Herbert F. Johnson Museum of Art, JSTOR, https://jstor.org/stable/community.33041817. Accessed 26 June 2024.
Founded and launched in 1972 by photographer and curator Nathan Lyons, Afterimage: The Journal of Media Arts and Cultural Criticism has served as an important voice in the media arts. The journal features unique, high-quality coverage of digital media, film, games, photography, television, video, and visual arts, as well as addresses important issues and debates within art history, media studies, visual and cultural studies, and related fields. In addition to in-depth feature articles, the journal publishes book and exhibition reviews as well as conference and festival reports.
American Photo Magazine is known not only for its top notch photography, but also for its in-depth behind-the-scenes looks at the people who take the pictures.
This bi-monthly photography-focused publication often includes features like outdoor tips for photographing nature, wildlife, sports, and landscape, coverage of developments in 35mm and digital photography, workshop information, discussions about camera accessories, film, lenses, and more.
Aperture is a nonprofit publisher that leads conversations around photography worldwide. From our base in New York, Aperture connects global audiences and supports artists through our acclaimed quarterly magazine, books, exhibitions, digital platforms, public programs, limited-edition prints, and awards. Established in 1952 to advance “creative thinking, significantly expressed in words and photographs,” Aperture champions photography’s vital role in nurturing curiosity and encouraging a more just, tolerant society.
Blackflash (peer-reviewed and available online and in-print)
BlackFlash Magazine is a platform for contemporary visual art. BlackFlash is dedicated to presenting critical opinions, urgent issues, and innovative ideas about divergent artistic practices from across Canada, the United States and beyond. Each issue includes feature articles, profiles, interviews, and artist projects from a dynamic selection of artists, writers, and curators. BlackFlash fosters a rich public engagement with image-based practices, such as photography, video, and painting as well as sound, performance and social practice by promoting energetic debate and showcasing diverse voices and communities (local, regional, national and international).
BlackFlash was founded in 1983 by the Saskatoon artist-run centre, The Photographer’s Gallery (TPG). We are currently working on our 40th year of publication, making us one of Canada’s longest running magazines. BlackFlash is proudly published, designed, and disseminated in Saskatoon, Saskatchewan, and is an internationally recognized resource and authority on Canadian and international contemporary art.
BlackFlash was created to promote contemporary photography and over its forty year history, the magazine evolved, following the artistic trajectory of photo-based practice to include artists working with new technologies such as video and digital media. In its commitment to being responsive to artists and relevant to contemporary art practice, the magazine has recently broadened its editorial mandate, while affirming its distinctive prairie perspective.
Blind Spot magazine the cornerstone of Photo-Based Art’s programs—was borne of the desire to provide a space in which innovative photographic art of the moment could be exquisitely reproduced in a context free from criticism or editorial concerns. First published in 1992 by founding editor and longtime Publisher Kim Zorn Caputo, Blind Spot became the leading journal dedicated to premiering significant photo-based works by the most vital contemporary artists. Issues were conceived as exhibitions on the printed page, giving each body of work the space and consideration it needed to speak directly to the viewer. Features were elegantly and unobtrusively designed—often in collaboration with the artist.
The name Blind Spot was inspired by the writings of psychologist Julian Jaynes, who used the visual phenomenon of the blind spot** as an analogy to describe the mysterious mechanics of human consciousness. Jaynes believed that, just as the illusion of visual continuity is maintained despite a partial gap in all our fields of vision, the mind maintains the illusion of continual consciousness despite imperceptible gaps in our experience of time. Through remarkable works collected in each issue, Blind Spot sought to explore the limits of visual experience, making the viewer aware of how and what we see—and what we don’t.
** The blind spot is a small gap in the field of vision that corresponds to a point on the retina where the optic nerves leave for the brain. To find your Blind Spot, close your left eye and stare at a point on the left-hand margin of this page. Without moving your gaze, run your index finger along the line of text adjacent to the point you’ve chosen, noticing how the tip of your finger disappears along the way.
The British Journal of Photography
Through the lenses of world-class photographers, British Journal of Photography explores rich and timely stories of art, culture, politics and society. BJP sets the bar for photographic journalism — and has done ever since writers like Arthur Conan Doyle and George Bernard Shaw first graced our pages in the 1800s.
CV: Ciel Variable: Art, Photo, Media, Culture
For more than 20 years, this bilingual journal has been introducing different practices of contemporary photography in Quebec, Canada and around the world, so people can learn to appreciate them. Each issue is organized around a theme and presents three portfolios of recent work, critical articles and exhibition and book reviews.
Exposure (peer-reviewed)
For over 50 years, Exposure has been devoted to the analysis and understanding of photography through scholarly insight, historical perspectives, critical dialogue, educational issues, and reviews of contemporary photographic publications.
The Imaging Science Journal (peer-reviewed)
The Imaging Science Journal is the official scientific journal of The Royal Photographic Society, supported by the Society's Imaging Science Group. It covers exclusively both fundamental and applied scientific aspects of imaging. The content of the journal includes most areas of activity concerned with analogue chemical, electronic, digital and hybrid imaging systems. Within the context and scope of the journal the term imaging is taken to mean: the recording and visualisation of information recorded from radiation of any kind, emitted from, reflected by, or otherwise affected by an object. The recording media include photochemical, electronic and any other media for recording, manipulation, display or transfer of images and includes moving, or time-based imaging, as well as still imaging.
Photo District News was an American monthly trade publication for professional photographers, published from 1980 to January 2020. The publication took its name from New York City's photo district, an area of photo businesses that was once located in Flatiron District.
Prefix Photo is an engaging magazine that seeks to represent the breadth of practices and concepts–old, new, or as yet unimagined–that surround the transformation of light into image. Each issue presents the work of emerging and established Canadian and international artists and analyses the ideas, issues and contexts that inform the reception of their work.
Characterized by innovative design and outstanding production values, Prefix Photo consists primarily of essays and portfolios, providing breathtaking visuals and complementary texts. These features are accompanied by newsbriefs, which provide information about opportunities for professional artists, profiles of diverse arts organizations, and reviews of new and notable books, catalogues and monographs.
Released in 2000 to immediate acclaim, the magazine has become one of the world’s foremost publications of its kind. Named Best New Magazine at the National Magazine Awards in 2002, Prefix Photo has, to date, received more than 150 awards for the superior quality of its photography, design and printing. Published twice annually, in May and November, by Prefix Institute of Contemporary Art in Toronto, the magazine is distributed nationally by Magazines Canada and internationally by Central Books. It is available by subscription and at bookstores and newsstands worldwide.