29.95 $. - Book mentioned in History of Photography, vol. 25, no. 1, spring 2001, p. 118. - Nur Kurztitelaufnahme 04.2001.

Auflage 1000 num. Ex., „750 are presented to museums, institutions, collectors, publishers and friends of the photographic medium; 250 are given to customers of Van Soest bv)“. Sehr aufwendige Produktion. Alle Photographien wurden farbig reproduziert und auf verschiedene Papiere gedruckt. “This edition will not be for sale”.

„Vintage edition of 25 copies of which 20 are for sale. Each one contains a signed and numbered unique, vintage SX-70 print. You can choose the print of your choice by viewing the images that are still available shown in the Levinthal Image Gallery (at St. Ann's Press). The Vintage edition also comes with a signed and numbered 8x10 inch Cibachrome (The same image that comes with the Limited Edition). The book and the print portfolio (housing both the Cibachrome print and unique SX-70) are bound in a red cloth and housed in a red slipcase. For this edition, the inlaid image on the front of the book will match the SX-70 print that you have chosen, thereby making each book unique. The value of Levinthal's vintage SX-70 prints is significantly higher than this edition, although David Levinthal will soon be withdrawing the Modern Romance series from the market. From the publisher: "The "Modern Romance" series dates from the mid-1980's, and utilizes the small format Polaroid SX-70 camera. Selections from this series have been included in previous books, butthis is the first comprehensive study of this pivotal series in Levinthal's career. As each of the SX-70's are unique images, and as the editions began to sell- out, Levinthal withdrew the series from sale several years ago, making the publication of this book even more important. Inspiration for "Modern Romance" comes from the film noir of the late forties, and from the paintings of Edward Hopper. The images seem familiar, although nearly always faceless. A woman stands on a corner, a theater marquee, a roadside motel, an interior meeting of a man and a woman, a subway car, strip joints..All the images create mystery and challenge the viewer to imagine the scenario, as an observer or voyeur.“ (Antiq. Borelli,Albuquerque, 04.2005).

- From the publisher: "This is a retrospective look at the work of one of the late twentieth century's most profound and disturbing artists. For this collection Joel-Peter Witkin has personally selected from his own archives his finest images, ranging from his early Coney Island "freak show" studies to his most recent work. Witkin's portraits of subjects both living and dead have disturbed countless viewers for their unwavering viewpoint and magically grotesque compositions. The artist's sojourn captured here, with each photograph a station along his path, veers between oblivion and salvation. This book depicts Witkin's journey up until now."

Selected as one of the top ten books on photography in 1997 for the New York Times Book Review. Scarce. From the publisher: "Adam Fuss has emerged as one of the bold and truly creative artists utilizing photography today. Fuss's photograms clearly break from those of his predecessors, Man Ray, Moholy-Nagy, and Talbot, and while striking a chord of homage, the images redefine how and what we see in pictures, viscerally and intellectually. Like an eighteenth-century experimenter, Fuss utilizes organic and raw materials in an unusual approach, revealing spiritual and emotional process. Live snakes, the entrails of rabbits, eggs, cow liver, sperm, flowers, and stained glass circumscribe the vital, often mysterious energies emitted from these pictures."

Text engl.,dt., jap.

A catalogue on a single landscape photograph.

Text engl. - „This book is the third part in a series of three, documenting a survey of photography from 1840 to 2000. [This volume] covers straight photography, Polaroid photography, and photography as an art medium“ [...] “This edition is limited to 750 numbered copies and will not be for sale” and „From the limited edition of 750 copies, presented to museums, institutions, collectors, publishers, and friends of the photographic medium. - Printed by Steidl, Göttingen.

Text engl. - Published in collaboration with SEPIA International. - „Wind showcases the newest work by widely exhibited and internationally acclaimed Korean photographer Jungjin Lee. This publication highlights her incredibly painterly and complex panoramic landscape images. Known for her laborious, textural photographic process, Lee brushes liquid emulsion ("liquid light") onto the surface of handmade mulberry paper. The texture of the paper and the gestural marks of the brush stroke create a unique painterly effect, which is beautifully reproduced in this, Lee's first trade monograph. Wind captures the ethereal quality of its namesake in a series of landscapes dominated by windswept expanses and foreboding cloud formations—panoramas that reveal an adventurous spirit, yet resist casual entry. Man-made objects, such as a dilapidated school bus, an old ruin whose ceiling is open to the sky, or wind-blown prayer flags, frequently appear marked by powerful, invisible elements. Metaphors for an internal state of being and the forces that shape it, Lee's Wind landscapes are imbued with an elemental vastness, at once powerful and serene. A preface by Vicki Goldberg offers insight into Lee's background and discusses the essential nature of the landscape, which communicates not merely its surface, but resonates within our deepest cultural and individual being. And, an essay by Eugenia Parry addresses the tension inherent in symbolizing what cannot be seen, exploring what absorbs the silent viewer and leads to worlds beyond the senses. - Jungjin Lee (born in 1961, raised in Seoul) taught herself photography in the 1980s and later earned a master of arts in photography from New York University in 1992. Her works have been exhibited extensively in galleries and museums throughout the United States, Europe, and Korea, and she has published several books, including Jungjin Lee: Beyond Photography (2000), On Road/Ocean (2001), Thing (2005), and Jungjin Lee (2006). Her work is included in the collections of the Metropolitan Museum of Art and Whitney Museum of American Art, both in New York; Los Angeles County Museum of Art; Museum of Fine Arts in Houston; New Mexico Museum of Art, Santa Fe; and various prestigious institutions in Korea. - Vicki Goldberg (preface), one of the leading voices in the field of photography criticism, wrote about photography for the New York Times for thirteen years, and her writing is regularly featured in publications, such as Vanity Fair and American Photographer. She has authored and co-authored more than twenty books on the subject and is a recipient of the International Center of Photography's Infinity Award for Writing. - Eugenia Parry (essay), formerly professor of art history at Wellesley College and the University of New Mexico, has published and lectured widely on the histories of art and photography. Her numerous awards include a Guggenheim Foundation fellowship and a grant from the National Endowment for the Arts in creative nonfiction.“ (Publisher’s text). (http://www.aperture.org/wind.html)