Edited by Ermanno Federico Scopinich, with Alfredo Ornano and Albe Steiner, the almanac opens with an essay by Scopinich, Considerazioni sulla fotografia italiana [Considerations on Italian photography], followed by 171 photographs by 114 authors, all listed at the end of the volume without biographies. It includes essays by Alfredo Ornano Tecnica di ripresa e riproduzione nella fotografia a colori [Photography technique and reproduction in color photography] on the advantages of the Agfacolor procedure — introduced in 1936 — applied to the small format, and by Federico Patellani Il giornalista nuova formula [The new formula journalist], a true manifesto for Italian photojournalism. The layout and graphics were by Albe Steiner. The articles in Italian and German indicate that the volume was also distributed in Germany (on the eve of the collapse of fascism); in particular, Ornano's piece promoted the role of Agfa, the German company that probably supported the publication of the almanac.
Significant contributions to the almanac were made by amateurs and professionals like Vincenzo Balocchi, Giuseppe Cavalli, Mario Finazzi, Alex Franchini Stappo, Ferruccio Leiss, and Federico Vender who, after the war, livened up the two large photographic clubs La Bussola and La Gondola .
The most significant achievement of the experimentation involving graphics and photography, however, was that of Albe Steiner, responsible for the almanac's graphics and a leading figure in Italian visual culture since the mid-thirties. The continuous "contamination" among the fields of photography, graphics and design, also visible in the almanac, was reflected in its strong design-oriented dimension that enhanced the different languages — and had them interact — respecting their respective codes of expression.
The 1943 Fotografia almanac shows the entire range of the Italian experience, definitively closing the door on pictorialism and paving the way for the "modern" by rejecting preconceived ideas and placing particular emphasis on experimental practices and on the full technical and theoretical exploitation of the medium's possibilities. From then onwards, it would be a completely different story.