Text engl. - Other ed.: Cb. first edition in larger size 1960.

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Text dt. - Anthologie von Frühlingsgedichen aus der deutschen Literatur kombiniert mit Naturaufnahmen von Hans Hildenbrand. Die montierten Farbdrucke im Postkartenformat stellen wohl eine Zweitverwertung der teuren Farbklischees dar, die unsprünglich zum Druck von Ansichtskarten dienten. Im übrigen sind die Farbaufnahmen stark retuschiert. (HCA)

Text dt. - Nur Kurztitelaufnahme.

Text engl. - Other edition: Landscape with figures. Göttingen Steidl 2004 (first edition). - „Diese edel ausgestattete Collector’s Edition vereint zwei gesuchte Werke des italienischen Meisterfotografen Massimo Vitali: »Landscapes with Figures« liegt hier gegenüber der Originalausgabe in einem geringfügig kleineren Format vor. Die Fotografien wurden eigens für diese Ausgabe neu eingescannt! Der zweite Band ist ein Exemplar aus der Erstauflage des längst vergriffenen Buchs »Natural Habitats«.“ (Versandkat. Frölich & Kaufmann, Berlin 10.2016).

Text dt., engl. Enthält Bibliographie. - „Bizarre Gesteinsformationen, wild wuchernder Urwald, arktische Eisschollen - dass die Schweiz nicht nur Alpenidyll und Schneeberge zu bieten hat, demonstrieren eindrücklich die Fotografien von Max Schmid. Sie zeigen die wilde Seite der Schweiz, die ungezähmte Natur in ihrer ganzen Kraft und Macht. Man wähnt sich in Australien, Grönland oder an einem unerforschten Flecken Erde, der von den Menschen vergessen wurde. Erhaben, öde, üppig, farbenprächtig, romantisch oder sogar apokalyptisch - wie ungeahnt facettenreich die Schweizer Landschaften sein können, davon erzählen die Bilder dieses Buches.“ (Versandkat. Frölich & Kaufmann, Berlin 10.2016).

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Text engl. - Explores a desert realm the size of Delaware, a desolate landscape located one hundred miles north of Reno, Nevada that nonetheless teems with life-forms that have endured for millennia.

Text engl. - "Near North is a thought provoking collection of Black and White photographs of Alaska and the Yukon. This edition is printed in rich duotones that showcase a unique force in contemporary photography. The introduction by Veronique Vienne illuminates the meaning of Lloyd Ziff's luminous vision. - When Lloyd Ziff went to Alaska and the Yukon in 2002, he was not prepared for the vastness of the landscape. As a prominent Art Director he had mastered the art of showcasing big pictures on comparatively small pages, and was now confronted with endless vistas that eluded his sense of scale. Yet, strangely enough, these immense panoramas, because of their ambiguous depth of field, looked almost flat to him. Seldom had a scenery been so picturesque indeed so graphically evocative. He approached the task of recording what he saw as if perspective had not been invented yet. He decided to simply frame a view and turn it into a two-dimensional icon. - Ziff s choice to shoot in black and white rather than in color is further evidence that conventional naturalism was not his goal. On the contrary. His Near North landscapes, in shades of silver, charcoal, ivory and gray, have a deliberate abstract quality that encourages viewers to pause, step back, and distance themselves from the view. As a result, his photographs replicate the sense of remoteness one experiences in Alaska and the Yukon when trying to focus on the ever-receding horizon line. - About the Author: As the former Art Director of such prestigious magazines as Vanity Fair, House & Garden and Travel & Leisure, Lloyd Ziff had seen it all. He had seen the world not only through his own eyes but also through the eyes of some of the most talented photographers of the moment. He knew how to look at their pictures, edit them down to just a handful of prints, and lay them out sparingly in such a way as to create arresting visual stories that captured the essence of a place its mood, its people, its climate." (www.abebooks.com/signed-first-edition/Near-North-Photographs-Alaska-Yukon-Ziff/12251680795/bd: seen 02.2018).

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Text engl. - „During the past fifteen years of his career as an artist/photographer, Hanson has documented-- often in aerial photographs that are deceptively, inexorably beautiful-- some of the devastations that humans have inflicted and continue to impose upon the environment. Each of the four photographic series in this book provides a different look at the consequences of our actions. - Waste Land opens with a series of photographs of strip mines in Colstrip, Montana that Hanson created in the early 1980s, a series he describes as "a chronicle of entropy, an elegy for a lost landscape." Beginning with photographs depicting trailer parks and company houses-- void of any human presence-- the vantage point moves upwards through images of the community's mine, power plant, and industrial site, to aerial shots that become increasingly abstract. Ultimately, the series reveals Colstrip as arena and metaphor for the use, misuse, and abuse of power. - Hanson's Minuteman Missile Sites series focuses on one aspect of the American industrial and military landscape: bleak aerial views of silos, each containing a missile with a destructive potential nearly a hundred times that of the bomb dropped on Hiroshima. These images disclose some of America's secret landscapes; they mirror in both form and content the military's applications of photography for surveillance and targeting.“ (From publisher’s text; see also: www.amazon.com/Waste-Land-Meditations-Ravaged-Landscape/dp/0893817260; seen 02.2018).

Text engl. - From the publisher: "A retrospective look at Sheila Metzner's fifteen year career in photography (1976-1991) from her early photographic prints of her children and tabletop still lifes, printed and sometimes hand-painted by the artist, to her masterful fashion work and southwest landscapes. The artist's original brilliantly colored Fresson prints are reproduced in this elegant volume for a definitive look at her work."

Text dt., engl., fr. - Other edition: Fr. ed. Lausanne, Paris: Editions Favre SA (ISBN 978-2-8389-1174-4).