La presse, le magazine, le livre (The Press, Magazines and Books) Photography provides tangible proof of the existence of things and events. Since the advent of reproduction techniques (1920-1930) it has become a source of information and illustration in daily and weekly papers, glossy magazines, catalogues and even dictionaries - which are supposed to be books of words. Photography offers a direct form of visual information that could be said to encompass more than a sentence, but in fact it is incomplete: it needs accompanying words. The graphic designer is in charge of the layout of words and photographs on individual and consecutive pages. Choosing typography and fonts, setting the page in a given format and ensuring the finished product is legible, are all part of a key process in which photographers and writers are involved. The first magazine to put an art director in charge of commissioning and publishing photographic features was the Berliner Illustrierte Zeitung in 1920s Germany; before then this work would have been done by the typographer. In 1928 Lucien Vogel founded the magazine VU, which had a print run of 450,000 copies printed in photogravure and whose art director was Alexandre Libermann. At the same time, Alexandre Brodovitch was making window displays and catalogues for the department store "Les Trois Quartiers". In the 1930s the two men went to New York, where Libermann worked as art director for Vogue and Brodovitch for Harper's Bazaar. The layout of these two magazines became a reference for publishers all over the world. They gave so much credence to photography that the New York Museum of Modern Art acquired several photographs that had appeared in their pages. The period between 1950 and 1980 was a golden age for photography and layout, thanks to European magazines such as Du, Elle, Twen, Stern, and the Sunday Times colour supplement.. But the arrival en masse of advertising in magazines, combined with the fact that journalists have been replaced by managers, have affected demand. Editors consider the artistic quality of visuals to be of secondary importance. The great art directors are not being properly replaced when they go. As a result, photographers are spending more time on their projects, and the images they produce are being channelled into book publishing and photo exhibitions in galleries and museums. Peter Knapp, Artistic coordinator

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