"[6]In addition to presenting current photographic positions,[7] the magazine has played a decisive role in the theoretical and programmatic debate on the medium of photography and has had a lasting influence on this.

[17] In the years that followed, the magazine regularly featured photographers and artists from Asia, Latin America and the African continent, including, for example, thematic editions on contemporary photography in Japan or China (issues 61 and 76).

[18] In addition to the photographers and their work represented, and alongside Andreas Müller-Pohle, and Vilém Flusser,[19][20] important authors have included: The magazine draws on an international editorial network; Vladimír Birgus (Prague), A.D. Coleman (New York), Anthony Georgieff (Sofia), Gu Zheng (Shanghai) Johanna Hofleitner (Vienna), Ian Jeffrey (London), Gottfried Jäger (Bielefeld), Hans-Michael Koetzle, (Munich), Vaclav Macek (Bratislava), Chris Miller (Oxford), David Glenn Rinehart (San Francisco), Johan Swinnen (Antwerp), Christoph Tannert (Berlin) In addition to the periodical, European Photography has produced book-form publications.

[56][57] The editors described the eighth and final edition – the collaborative effort of over forty correspondents in thirty-four countries – as "the most comprehensive reference work on the photography-and-art scene in Europe ever published.

"[58] In 1983, European Photography's first theoretical book publication was the essay Für eine Philosophie der Fotografie by the media and cultural philosopher Vilém Flusser, whom Andreas Müller-Pohle had met two years earlier at a symposium in Düsseldorf and who subsequently became a regular columnist for the magazine.