Although it is one of the oldest techniques in photography, stereoscopy receives little attention in contemporary photography. Wrongly so, as the timeless works in this book show. For nine years now, Sebastian Cramer has been working on his project Two Views, which is presented in book form for the first time in this volume. Its focus is on images of plants that look like nothing ever seen before. Viewed through 3D glasses, the seemingly familiar natural forms take on a thoroughly unique quality: delicate and fragile, sometimes alien, appear the leaves and blossoms as they form into a photographic sculpture. Two Views on Plants is a book about visual perception and the experience of space.

The Pixels of Paul Cezanne is a collection of essays by Wim Wenders which he presents his observations and reflections on the fellow artists who have influenced, shaped and inspired him.

"How are they doing it?" is the key questions Wenders asks as he looks at the dance work of Pina Bausch, the paintings of Cezanne, Edward Hopper of Andrew Wyeth, or the films of Ingmar Bergman, Michelanelo Antonioni, Ozu, Anthony Mann, Douglas Sirk and Sam Fuller.

He finds the answer by writing about them, trying to understand their individual perspective, and, in the process revealing his own art of perception, in texts of rare poignancy.

This volume tells the story of the cinema of Germany in 24 essays, each concerning an individual film, in a fresh and concise way. It describes a 'national' film industry which successfully met the demand of a 'national' audience from the 1910s to the 1960s. The book represents this system by focusing on films which were very popular with contemporary German audiences such as Metropolis (1927), Three from the Filling Station (1930), The Great Love (1942), The Heath is Green (1951) and The Treasure of Silver Lake (1962). As a consequence of World War II, the system of popular German cinema declined during the 1960s and early 1970s. Films from these decades such as Yesterday Girl (1966) and Germany in Autumn (1978) broke with the film form as well as with the mode of production that the popular narrative cinema had established. From the 1980s on, a new generation has tried to re-establish a popular German cinema with films such as The Boat (1981), Run Lola Run (1998) and Goodbye Lenin (2003).

The first-ever exhibition curated by Peter Lindbergh himself, shortly before his untimely death, Untold Stories at the Dusseldorf Kunstpalast served as a blank canvas for the photographer's unrestrained vision and creativity. Given total artistic freedom, Lindbergh curated an uncompromising collection that sheds an unexpected light on his colossal oeuvre. This artist's book, the official companion to the landmark exhibition, offers an extensive, firsthand look at the highly personal collection. When it came to printing his photos, Lindbergh chose a special uncoated paper - a thin sheet with a soft, open surface - as a deliberate aesthetic statement. Renowned the world over, Lindbergh's images have left an indelible mark on contemporary culture and photo history. Here, the photographer experiments with his own oeuvre and narrates new stories while staying true to his lexicon. In both emblematic and never-before-seen images, he challenges his own icons and presents intimate moments shared with personalities who had been close to him for years, including Nicole Kidman, Uma Thurman, Robin Wright, Jessica Chastain, Jeanne Moreau, Naomi Campbell, Charlotte Rampling and many more. This XL volume presents more than 150 photographs-many of them unpublished or short-lived, often having been commissioned by monthly fashion magazines such as Vogue, Harper's Bazaar, Interview, Rolling Stone, W Magazine, or The Wall Street Journal. An extensive conversation between Lindbergh and Kunstpalast director Felix Kramer, as well as an homage by close friend Wim Wenders, offer fresh insights into the making of the collection. The result is an intimate personal statement by Lindbergh about his work.

This volume tells the story of the cinema of Germany in 24 essays, each concerning an individual film, in a fresh and concise way. It describes a 'national' film industry which successfully met the demand of a 'national' audience from the 1910s to the 1960s. The book represents this system by focusing on films which were very popular with contemporary German audiences such as Metropolis (1927), Three from the Filling Station (1930), The Great Love (1942), The Heath is Green (1951) and The Treasure of Silver Lake (1962). As a consequence of World War II, the system of popular German cinema declined during the 1960s and early 1970s. Films from these decades such as Yesterday Girl (1966) and Germany in Autumn (1978) broke with the film form as well as with the mode of production that the popular narrative cinema had established. From the 1980s on, a new generation has tried to re-establish a popular German cinema with films such as The Boat (1981), Run Lola Run (1998) and Goodbye Lenin (2003).

Given the extraordinary circumstances recorded herein—two famous filmmakers collaborate on a movie without the customary luxury of being able to talk to one another—Wim Wenders' memoir makes for an especially enthralling account of the film-making process.

By the 1990s, the great Michelangelo Antonioni's directing career was widely considered to have been finally curtailed by the effects of a stroke which left him scarcely able to speak. But with the support of committed financiers and fellow professionals, Antonioni was able to undertake Beyond the Clouds, a portmanteau piece adapted from several of his short stories and sketches.

A stellar case was assembled. Wim Wenders, a passionate admirer of Antonioni, agreed to back-stop the production: to direct some linking sequences and to assist Antonioni on the shoot. This book is his journal of that process, in which Wenders writes thoughtfully and frankly about the pleasures and problems to be had in collaborating with such a renowned maestro under such extraordinary conditions.

Inventing Peace revolves around the question of how we look at the world, but do not see it when there is so much war, injustice, suffering and violence. What are the ethical and moral consequences of looking, but not seeing, and, most of all, what has become of the notion of peace in all this? In the form of a written dialogue, Wim Wenders and Mary Zournazi consider this question as one of the fundamental issues of our times as well as the need to reinvent a visual and moral language for peace. Inspired by various cinematic, philosophical, literary and artistic examples, Wenders and Zournazi reflect on the need for a change of perception in the everyday as well as in the creation of images. In its unique style and method, Inventing Peace demonstrates an approach to peace through sacred, ethical and spiritual means, to provide an alternative to the inhumanity of war and violence. Their book might help to make peace visible and tangible in new and unforeseen ways.