The beloved children’s book “Click”, said the camera., first published in 1997, is available again. It features animal portraits by photographer Balthasar Burkhard, who started the series in 1995.

The twenty animals meet for the photographer’s beauty contest. On Burkhard’s portraits all the animals are equally beautiful. The protagonist of the story is a shy donkey watching the cheerful activity. Markus Jakob describes the illustrious rendezvous with kind and humorous words.

Balthasar Burkhard (1944–2010) was a Swiss photographer well-known for his large-format black-and-white photography.
Markus Jakob (born 1954) writes features, reports, and miscellanea for various media.

To what extent can we trust photography and science? Robert Zhao Renhui explores these questions in A Guide to the Flora and Fauna of the World, which appears to be an authentic catalogue of plants and animals but is in fact entirely fictitious.

Renhui’s guide ostensibly “documents” 55 different animals, plants and environments that have been manipulated by man but do not appear to be, and examines the myriad ways in which humans are altering nature. Here are curious creatures that have evolved in often unexpected ways to cope with our changing world, including rhinoceroses with barely visible horns and monkeys dependent on food handed out by humans. Other organisms in the series are the products of human intervention, mutations engineered to serve various purposes from scientific research to the desire for ornamentation, such as man-made gelatin grapes, genetically modified tomatoes and “unbreakable” eggs.

All living things constantly adapt to the various pressures they face including predators, pollution and environmental change. Yet the human species has undeniably emerged as the main perpetrator of the dangers that threaten the survival of other life forms. A Guide to the Flora and Fauna of the World reminds us of this fact, and above all to retain a critical, cautious and ironic attitude to the “real.”

Lous Martens about the book: "Seventeen years ago our grandson Jaap was born. That was the start of an animal book for Jaap. I used a dummy for the OASE journal of architecture and loosely pasted in pictures of animals that I had clipped from newspapers and magazines about art, literature and science. Plus stamps and photos from advertising brochures. Then Zeno was born and the same thing happened: an animal book for Zeno. Now I was working on two books at once. Then came Anna. Julian. Luca. At this point, there were five books-in-the-making on the table. And none of those five are finished yet. The children, as well as myself, enjoy seeing the small, ever-evolving changes. The additions. These books were never intended for the outside world where I had found all the pictures. Never intended to be published. Now they lie here, grouped into one big book, because others have convinced me it's what they deserve."

Animal Imago is Nimcova's fourth publication, this time around, departing from social and documentary topics, finding herself publishing a book for kids of all ages. The book is dealing with our relationship with animals and nature around us. "In essence, it speaks to the idea that the reality of the world around us is never a given, it is something we have to create".

Roaming the natural and urban world with a camera for over 16 years, often alone, on foot, keeping a low profile, Ed Panar has repeatedly been caught in the act of photography—not by other people, but by a random assortment of familiar animals: cows, cats, frogs, dogs, turtles, deer, geese…you name it. The animal sees Ed, and Ed sees the animal; an unspoken communication passes between them. If he’s lucky, the moment is captured on film, catalogued, tagged for future reference. In Animals That Saw Me: Volume One Panar brings together the first collection of his most surprising and unexpected encounters with ordinary fauna—a brief, deadpan field study of the uncanny moment of recognition between species. What exactly have the animals seen? The pictures are a reminder that we must appear as strange and exotic to them as they do to us.

Fallschirmspringende Hunde, ferngesteuerte Haie, Raketen, die von Tauben gelenkt werden, Katzen mit implantierten Abhörgeräten : In diesem Buch geht es um Tiere, die der Mensch zu Kriegsteilnehmern gemacht hat. Die militärische Nutzung von Tieren spielt seit Anbeginn der Kriegsgeschichte eine entscheidende Rolle. Tiere sind ständige Wegbegleiter, jedoch keineswegs ebenbürtige Partner der Menschen. 32 erstaunliche, skurrile und bizarre Tiersoldaten dieses Buches zeigen, dass der Mensch keine Grenzen kennt, wenn es darum geht, sich gegenüber dem Feind einen Vorteil zu verschaffen. Woher kommt die Selbstsicherheit, mit der der Mensch sich die Fähigkeiten der Tiere zunutze macht ? Welche Konsequenzen hat das für Mensch und Tier, und wie und warum gerät der Vormachtsglaube der Menschen gerade zu Kriegszeiten ins Wanken?

American photographer Annie Marie Musselman has a series of photographs that are sure to tug at your heart – especially if you're an animal lover. Titled Finding Trust, the photographs show injured wild animals being cared for at a wildlife rehabilitation center. Musselman started shooting the project seven years ago at a small sanctuary 75 miles away from Seattle, called the Sarvey Wildlife Rehabilitation Center. In the process of documenting the animals' lives, she was personally involved with helping the patients as well and in turn they helped heal her from the grief of her mother and father's deaths. Annie Marie Musselman lives in Seattle, Washington. Finding Trust has been featured in several magazines and exhibitions. Her images have been published in American Photography 25, Outside, National Geographic Magazine, Harper Collins, Elle, Travel + Leisure, The New York Times and Newsweek among others. She is represented by Bianco Artist Management. Currently she is working on a project with the wolves of Wolf Haven International, with a comission by the Getty Images Grant for Good. "Coming to Sarvey felt like coming home. The work that I produced there documents the delicate union that exists between humans and animals. These pictures were made with the intention to show the world an upclose view into the faces and souls of these wild animals. To look into their eyes as if looking into our own." Annie Marie Musselman

Howling Winds is the fifth chapter of Vasantha Yogananthan’s long-term project A Myth of Two Souls, which offers a contemporary retelling of The Ramayana. A seven-chapter tale first recorded by the Sanskrit poet Valmiki around 300 BC, The Ramayana is one of the founding epics of Hindu mythology and has been continuously rewritten and reinterpreted through time.

Since 2013, Yogananthan has been travelling from north to south India to Sri Lanka, retracing the itinerary of the epic’s heroes. Between fiction and reality, he deliberately blurs the lines through multiple aesthetic approaches.

At the end of chapter 4, the wicked Ravana abducts Princess Sita. While Rama is in great distress, hundreds of thousands of animals from all around the world gather to search for Sita. They know that on the far shore of the ocean is the bright and shining island of Lanka, where Ravana is living.

Shot along the coastlines of Tamil Nadu and Sri Lanka, Howling Winds mixes classic color photographs with acrylic hand-painted photographs to echo a world of magic.

Self-portraits of wildlife taken by a hidden camera with motion detector.

This publication stem​s​ from a photographic survey conducted by Andrea Buzzichelli​ ​during 2015​ ​in the National Park of Casentinesi Forests, Italy. Starting from the collection of archival materials made by the National Forest Service and the Canilupus association for wildlife monitoring, the Tuscan photographer ​creates his vision expresses of the forest and ​the ​animal life that lives there. These images, not at all descriptive, catapult the gaze into a forbidden, mysterious​,​ and obscure imaginary​ world​. The boundary between the acquired and built image is ​erased. The casual bestiary produced by photo traps blends with ​the artist’s ​introspective views of nature and vegetation. The project as a whole expresses a sense of intrusive power in an otherwise unviable world, ​as well as a voyeuristic​ approach to nature. Upon careful viewing, the book ‘Inhabitants’ reveals the humanness of its very nature; of an anthropocentric posture eradicated and sometimes extraneous to the environment. With no particular reference to time, the author carries us into a dimension that has to do more with feeling than seeing. It’s in this “blind” perspective that Buzzichelli realizes his​ homage to the pioneering work of George Shiras III.

In ancient times, beast and man co-existed in the darkness. These photographs tap into our collective ancestral memories.

"I can sense someone's eyes looking at me from somewhere unknown.
So I stop and shine my light into the darkness. It is a deer.
Its presence, standing there, is imposing. The deer is looking over at me. It seems to perceive my fear.
Slowly my anxiety begins to ease and I begin to feel accepted into the nighttime forest."
― from the artist's afterword

A keen observer of the animal world and a pioneer of wildlife photography, George Shiras was also the first, at the turn of the 20th century, to reveal the nocturnal lives of forest animals through surprising flash photographs. From mobile shots on his canoe to photographic tricks he developed (when the animal triggers itself the shot by running into a thread), he was able to capture deers, lynx, porcupines, and various birds.

This monographic premiere in an intimist format presents a selection of these photographs, enhanced by a poetic essay by philosopher and writer Jean-Christophe Bailly.