The magazine grew to its greatest international influence towards in latter half of its life of sixty years; on the leading edge of almost every important period in photography, Camera was often among the first publications to show the first works of now well-known photographers such as Edward Steichen, Robert Frank and Jeanloup Sieff.

Adopting the name, design and spirit of the magazine's most successful years, in a venture independent of its former publishers, editor Bruno Bonnabry-Duval and journalist Brigitte Ollier re-launched Camera as a quarterly review: the first edition appeared in kiosks on 17 January 2013.

[3] Adolf Herz first made the magazine's 'high-quality prints' with a dull-finish semi-matte paper that gave a result only mimicking the still-new sheet-fed gravure system, but eventually moved to the latter technique when the Bücher publishing company adopted the technology from 1925.

Contributing photographers from this period and style were Heinrich Kühn, Léonard Missone, Hoffmeister, Craig Annan, Edward Steichen, Kieghley and Demachy.

The 1949 special issue featured Robert Frank's first published photography, and was Camera's first important mark on international photo-journalism.

[6] To better expand the Camera readership, Läubli introduced articles translated into English and French from their native German, making the magazine a trilingual one.

As Martinez was not a photographer but a journalist with an acute knowledge of art and the history of photography, the magazine under his direction was able to reach an unforeseen larger readership.

Mrs. Bucher's choice of Mr. Porter, an American citizen with few connections to Europe, was a hard sell, but it was thought that his talent for design and 'foreign touch' could be a great aid to a magazine then in difficulty.

[5] One of the first limitations Ringier would impose was a switch to the faster and cheaper lithographic offset printing system rather than the slower and more expensive sheet-fed gravure technology used until then.