The first issue declared the need for 'a good, reliable trade journal' and claimed the 'attention, co-operation and support of all who regard photography as an art ... Our object mainly is to furnish a complete record of all new inventions and ideas, to discuss same, and assist both professionals and amateurs in being thoroughly up to date.' The back section provided an exchange and purchase service for photographic equipment. It listed details of meetings of amateur photographic clubs, urged the creation of a New South Wales Photographic Association, reported extensively on inter-state and overseas societies, and intercolonial and international exhibitions and congresses. There was occasional reference to women's photographic work: Catherine Weed Barnes sent several articles from America and 'Juno' wrote on 'Photography for Women'. Much of the journal's writing was highly technical, with some trade political commentary, as well as the usual Notes and Comments. From the second year, it also included reviews of art shows, poetry, and biographical sketches. Travel photography was a regular feature. The journal followed closely the development of Lumiere's Kinematograph, Edison's Kinetograph, and Roentgen's X-Rays, and, just as avidly, the controversy over psychic photography.
In 1893, it claimed a circulation of 3000 copies. In 1896, it expanded in size, providing more advertising, more illustrations, and more literary content. In that same year, it announced the opening of a new office, with library and reading room. From 1910, it changed its title to Harrington's Photographic Journal: An Illustrated Journal Devoted to the Advancement of Photography, and was edited by Harold Cazneaux (q.v.).