I'm the editor of BJP, so I thought I'd give my perspective. Since joining the magazine 12 years ago, I'd say documentary photography has been very much in the ascendency, but among younger photographers, is giving way to a new practice that typically might involve collage, still life, found photography and very graphic forms. It's more interested in "investigating the medium" than social concern, and although I fear it has become something of a cliche already, we covered it extensively in our March 2012 issue.
The aim of the magazine is to reflect current trends, so we tend not to dwell on the classic stuff, which I feel is well covered elsewhere. We are partisan, of course, and we tend to favour the more creative or socially concerned end of professional photography, rather than the purely commercial. So that tends to be documentary, art photography, fashion, portraiture, and so on. We probably are pretty niche. We don't try and compete with Amateur Photographer and the like. We're aimed at pros and people trying to create signature images, rather than what I call visual karaoke. In general, we feature new or recent work.
We do regularly feature landscape, it just might not look like traditional landscape, depending on your view. So recent people we've featured include Miti Ruangkritya, Stephen Shore, Joel Sternfeld, Mark Power, Simon Roberts, Edgar Martins, David Goldblatt, Nadav Kander, and the list goes on...
The last time we did a dedicated landscape issue was in April 2010, which focused on landscape photography that had a message (it included Michael Light, Paul Seawright, Olaf Otto Becker, Mitch Epstein, Michael Najar, Jem Southam, Thomas Joshua Cooper and Justine Kurland.
Our most recent issue, August, includes quite a bit of landscape.
We didn't really do anything on Mitch Dobrowner, we just said we'd won this year's Sony awards. He's not really the kind of photographer we feature, because although he's very good at what he does, it's been done so many times before.
In terms of art photography that we've featured, I'd put most of the people I've mentioned above in that category too. We've also featured Nan Goldin, Roger Ballen, Phillip-Lorca di Corcia, and many more lesser known people.
Each issue tends to have a particular focus. To give you an impression of this year, we've had:
January: Back to work (high profile commercial commissions)
Feb: Storyville (photography's relationship with cinema)
March: Still life
April: Odd man out (Boris Mikhailov and Roger ballen)
May: Night photography
June: Image as Icon (Alinka Echeverria and Simon Roberts)
July: the London issue
August: depictions of family
December: People of the year
We've got nothing against black-and-white, and often feature it, and we make no distinction between analogue and digital capture, but we tend to steer away from anything that would be termed "traditional", simply because we're about now – even if that's sometimes a throwback to another era.