If you are a photographer, there are of course lots of kinds of media to get your work out into the world. Screens are the most popular these days, I assume. I myself probably consume most of my photography viewing via the Internet, and it’s hard to argue with the convenience and sheer numbers of works available this way.
Printed publications are another mainstay. There are some good magazines that publish contemporary photography, Lenswork probably being my personal favorite. I also own monographs by photographers including Michael Kenna, Bruce Percy, and Chuck Kimmerle, among others. Magazines and books are great, because they give you the tactile feel of holding work in your hands.
But my favorites probably still are good-old-fashioned prints hung on a wall. They have the quality of omnipresence — they command your attention whether you want to look at them or not. This is a good thing. Screens, books, and magazines stay hidden and unused unless you have specifically chosen to make use of them, and if you are making use of them to view photography, you begin already with expectations and a mindset geared to that. Prints on a wall are there regardless of what’s on your mind or want kind of experience you’re having. They can catch you by surprise when you turn a corner and catch sight of them, even if they have hung in your house for years. You don’t seek them out to view them, they demand your acknowledgement by virtue of being omnipresent on the wall.