{"id":11,"date":"2025-10-12T09:18:16","date_gmt":"2025-10-12T09:18:16","guid":{"rendered":"https:\/\/bog.fotomuseum.dk\/?page_id=11"},"modified":"2025-10-12T15:18:33","modified_gmt":"2025-10-12T15:18:33","slug":"forside","status":"publish","type":"page","link":"https:\/\/bog.fotomuseum.dk\/","title":{"rendered":"Forside"},"content":{"rendered":"\t\t
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\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n <\/colgroup>\n \n\n \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n
ID<\/th>Serial Number<\/th>Status<\/th>Emne nummer<\/th>Objekt nummer<\/th>Emne beskrivelse<\/th>Objekt ID<\/th>M\u00e6rke<\/th>Model<\/th>Fabrikat<\/th>Produktionssted<\/th>Produktions\u00e5r<\/th>Tilbeh\u00f8r<\/th>Magasin<\/th><\/tr>\n<\/thead>\n
4588<\/td>1<\/td>unread<\/td>81<\/td>63<\/td><\/td>134<\/td>Kodacolor<\/td><\/td>Eastman Kodak Co.<\/td>Rochester, U. S. A.<\/td>1928-29<\/td><\/td>5<\/td> <\/tr>\n
4589<\/td>2<\/td>unread<\/td>138<\/td>64<\/td>Film-embalager<\/td>143<\/td>Til Kinamo S 10<\/td><\/td>Eastman Kodak Co.<\/td>Rochester, U. S. A.<\/td>1930<\/td><\/td>0<\/td> <\/tr>\n
4590<\/td>3<\/td>unread<\/td>138<\/td>65<\/td>Film-embalager<\/td>135<\/td>Kodak Film Pack 10 x 15<\/td><\/td>Kodak A\/S<\/td>Berlin, Tyskland<\/td>1934<\/td>Planfilm 10 x 15 cm. Dimensioner l. 1,5 b. 17,8 h. 10,8 gram 200.<\/td>0<\/td> <\/tr>\n
4591<\/td>4<\/td>unread<\/td>138<\/td>66<\/td>Film-embalager<\/td>136<\/td>Kodak Cut Films 8,3 x 14<\/td><\/td>Eastman Kodak Co.<\/td>Rochester, U. S. A.<\/td><\/td>Planfilm 8,3 x 14 cm. Dimensioner l. 1,5 b. 9,5 h. 15,8 gram 130.<\/td>0<\/td> <\/tr>\n
4592<\/td>5<\/td>unread<\/td>138<\/td>67<\/td>Film-embalager<\/td>137<\/td>Verichrome Film Pack<\/td><\/td>Kodak A\/S<\/td>Berlin, Tyskland<\/td>1938<\/td>Filmpak 4,5 x 6 cm. Dimensioner l. 1,7 b. 9 h. 5,2 gram 55.<\/td>0<\/td> <\/tr>\n
4593<\/td>6<\/td>unread<\/td>138<\/td>68<\/td>Film-embalager<\/td>138<\/td>Kodak Rullefilm<\/td><\/td>Eastman Kodak Co.<\/td>Rochester, U. S. A.<\/td>1933, 25, 31<\/td>(1) 123 - 10 x 12,5 cm. (2) 124 - 8 x 10,5 cm. (3) 119 - 10,5 x 8 cm. Non Curling Films.<\/td>0<\/td> <\/tr>\n
4594<\/td>7<\/td>unread<\/td>138<\/td>69<\/td>Film-embalager<\/td>139<\/td>Kodak Film<\/td><\/td>Kodak<\/td>Berlin Tyskland og Canada<\/td>1934, 35, 34,31<\/td>4 Rullefilm (1) 130 - 7 1\/4 x 12 1\/2 cm. (2) 616 - 6 1\/2 x 11 cm. (3) 127 - 4 x 6 1\/2 cm. (4) 102 - 4 x 5 cm.<\/td>0<\/td> <\/tr>\n
4595<\/td>8<\/td>unread<\/td>139<\/td>101<\/td><\/td>184<\/td><\/td>Ernemann<\/td>Ernemann<\/td>Dresden, Tyskland<\/td>1924<\/td>Speciel etikette for Ernemann Plader til Ermanox Kamera format 4 1\/2 x 6 cm. med 14 fremkaldte plader.<\/td>10<\/td> <\/tr>\n
4596<\/td>9<\/td>unread<\/td>117<\/td>126<\/td><\/td>194<\/td>Kontrabog<\/td><\/td>Heinrich & Poulsen<\/td><\/td>1898-1903<\/td><\/td>0<\/td> <\/tr>\n
4597<\/td>10<\/td>unread<\/td>137<\/td>140<\/td>Kamera-embalage<\/td>210<\/td>Kodak<\/td><\/td>Kodak<\/td>Rochester, U. S. A.<\/td>1900<\/td><\/td>8<\/td> <\/tr>\n
4598<\/td>11<\/td>unread<\/td>138<\/td>400<\/td>Film-embalager<\/td>471<\/td>Film Emballage<\/td><\/td><\/td><\/td><\/td>Panchromatic film Heiwa, Panchro. 4 Heiwa Film 14 x 14 mm.<\/td>0<\/td> <\/tr>\n
4599<\/td>12<\/td>unread<\/td>121<\/td>401<\/td>Reklameartikler<\/td>472<\/td>Reklameskilt<\/td>Contax<\/td><\/td><\/td>1950'erne<\/td><\/td>9<\/td> <\/tr>\n
4600<\/td>13<\/td>unread<\/td>139<\/td>716<\/td><\/td>784<\/td><\/td><\/td><\/td>Lyon, Frankrig<\/td>1907<\/td>Pladeomslag: Plaques Autochromes<\/td>8<\/td> <\/tr>\n
4601<\/td>14<\/td>unread<\/td>139<\/td>797<\/td><\/td>866<\/td>Pladefilmopbevaringskasse<\/td><\/td><\/td><\/td><\/td><\/td>13<\/td> <\/tr>\n
4602<\/td>15<\/td>unread<\/td>139<\/td>800<\/td><\/td>869<\/td>Glaspladeopbevaringskasse<\/td><\/td><\/td><\/td><\/td><\/td>14<\/td> <\/tr>\n
4603<\/td>16<\/td>unread<\/td>117<\/td>832<\/td><\/td>901<\/td>Regnskabsbog<\/td>Anders Ludvig Grentzmann<\/td><\/td>Anholt, Danmark<\/td>1896<\/td><\/td>14<\/td> <\/tr>\n
4604<\/td>17<\/td>unread<\/td>118<\/td>833<\/td><\/td>902<\/td>Receptbog<\/td>Anders Ludvig Grentzmann<\/td><\/td>Anholt<\/td>1896<\/td><\/td>14<\/td> <\/tr>\n
4605<\/td>18<\/td>unread<\/td>122<\/td>951<\/td>Dummy-kamera<\/td>1020<\/td>Water Camera - True Action<\/td><\/td><\/td><\/td><\/td>Sort plastik Dimensioner: l. 25 b. 85 h. 80 gram 25<\/td>227<\/td> <\/tr>\n
4606<\/td>19<\/td>unread<\/td>122<\/td>952<\/td>Dummy-kamera<\/td>1021<\/td>Water Camera - Squirt Camera<\/td><\/td><\/td>Kina<\/td><\/td>Sort plastik Dimensioner: l. 35 b. 70 h. 50 gram 25<\/td>280<\/td> <\/tr>\n
4607<\/td>20<\/td>unread<\/td>122<\/td>953<\/td>Dummy-kamera<\/td>1022<\/td>Sort Gas Lighter BR. C3<\/td><\/td><\/td><\/td><\/td>Dimensioner: l. 10 b. 60 h. 40 gram 25<\/td>280<\/td> <\/tr>\n
4608<\/td>21<\/td>unread<\/td>138<\/td>966<\/td>Film-embalager<\/td>1035<\/td>Minox Negativholder<\/td><\/td><\/td><\/td><\/td><\/td>240<\/td> <\/tr>\n
4609<\/td>22<\/td>unread<\/td>91<\/td>1298<\/td><\/td>1367<\/td>Fotoalbum<\/td><\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
4610<\/td>23<\/td>unread<\/td>138<\/td>1390<\/td>Film-embalager<\/td>1459<\/td><\/td><\/td><\/td><\/td><\/td><\/td>7<\/td> <\/tr>\n
4611<\/td>24<\/td>unread<\/td>82<\/td>1425<\/td><\/td>1495<\/td>Daguerrotypen<\/td><\/td><\/td><\/td><\/td>Lilla bog med gult omslag.<\/td>1<\/td> <\/tr>\n
4612<\/td>25<\/td>unread<\/td>83<\/td>1426<\/td><\/td>1496<\/td>Daguerre'ske lysbilleder<\/td>Bogudgave a. 1839<\/td>Wilhelm Knapp Verlag<\/td><\/td>1979<\/td><\/td>1<\/td> <\/tr>\n
4613<\/td>26<\/td>unread<\/td>81<\/td>1427<\/td><\/td>1497<\/td>Daguerreotypen og Diorama<\/td><\/td>Ikaros<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
4614<\/td>27<\/td>unread<\/td>82<\/td>1431<\/td><\/td>1500<\/td><\/td>H. T. Winther, Overrets-Procurator<\/td>Christinia 1845<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
4615<\/td>28<\/td>unread<\/td>81<\/td>1450<\/td><\/td>1519<\/td>Praktisk Fotografi<\/td><\/td><\/td><\/td>1865<\/td><\/td>4<\/td> <\/tr>\n
4616<\/td>29<\/td>unread<\/td>139<\/td>1640<\/td><\/td>1708<\/td>Ecran Special - Autochrome<\/td><\/td><\/td>Paris, Lyon, Frankrig<\/td><\/td><\/td>8<\/td> <\/tr>\n
4617<\/td>30<\/td>unread<\/td>139<\/td>1641<\/td><\/td>1709<\/td>Ecran Special - Autochrome<\/td><\/td><\/td>Paris, Lyon, Frankrig<\/td><\/td><\/td>8<\/td> <\/tr>\n
4618<\/td>31<\/td>unread<\/td>139<\/td>1642<\/td><\/td>1710<\/td>Ecran Special - Autochrome<\/td><\/td><\/td>Paris, Lyon, Frankrig<\/td><\/td>No 2 dimension 4,5 x 4,5 Materiale: Glasplader<\/td>8<\/td> <\/tr>\n
4619<\/td>32<\/td>unread<\/td>139<\/td>1643<\/td><\/td>1711<\/td>Ecran Special - Autochrome<\/td><\/td><\/td>Paris, Lyon, Frankrig<\/td><\/td>No 1 dimension 3 x 3 Materiale: glasplader<\/td>8<\/td> <\/tr>\n
4620<\/td>33<\/td>unread<\/td>139<\/td>1644<\/td><\/td>1712<\/td><\/td><\/td><\/td>Paris, Lyon, Frankrig<\/td><\/td><\/td>8<\/td> <\/tr>\n
4621<\/td>34<\/td>unread<\/td>139<\/td>1645<\/td><\/td>1713<\/td>Plaques Autochromes<\/td><\/td><\/td>Paris, Lyon, Frankrig<\/td><\/td>Format: 9 x 12 Materiale: glasplader<\/td>8<\/td> <\/tr>\n
4622<\/td>35<\/td>unread<\/td>139<\/td>1646<\/td><\/td>1714<\/td>Agfa Farbenplatten<\/td>Agfa<\/td><\/td>Berlin, Tyskland<\/td><\/td>Format: 9 x 12 Materiale: Glasplader<\/td>8<\/td> <\/tr>\n
4623<\/td>36<\/td>unread<\/td>139<\/td>1647<\/td><\/td>1715<\/td>Agfacolor Ultra Platten<\/td>Agfa<\/td><\/td>Berlin, Tyskland<\/td><\/td>Format: 9 x 12 Materiale: glasplader<\/td>8<\/td> <\/tr>\n
4624<\/td>37<\/td>unread<\/td>139<\/td>1648<\/td><\/td>1716<\/td>Agfacolor Ultra-Patrone Kornraster Film<\/td>Agfa<\/td><\/td>Berlin, Tyskland<\/td><\/td>Format: 24 x 36<\/td>8<\/td> <\/tr>\n
4625<\/td>38<\/td>unread<\/td>84<\/td>1673<\/td><\/td>1741<\/td>Stereoscope<\/td>Sir David Brewster<\/td>Morgan & Morgan, Inc., Publishers<\/td>USA<\/td>1856 (1971)<\/td><\/td>0<\/td> <\/tr>\n
4626<\/td>39<\/td>unread<\/td>134<\/td>1885<\/td>Film ?<\/td>1949<\/td>Kodak Instant Print Film<\/td><\/td>Eastman Kodak<\/td>Rochester NY, USA<\/td><\/td>Dimensioner: L. 25, B. 110, H. 115 Gul karton<\/td>24<\/td> <\/tr>\n
4627<\/td>40<\/td>unread<\/td>134<\/td>1886<\/td>Film ?<\/td>1950<\/td>Kodamatic Instant Color Film<\/td><\/td>Eastman Kodak<\/td>Rochester NY, USA<\/td><\/td>Dimensioner: L. 45, B. 105, H. 105 Gul karton<\/td>24<\/td> <\/tr>\n
4628<\/td>41<\/td>unread<\/td>134<\/td>1887<\/td>Film ?<\/td>1951<\/td>Kodamatic Trimprint<\/td><\/td>Eastman Kodak<\/td>Rochester NY, USA<\/td><\/td>Dimensioner: L. 45, B. 105, H. 105, Gram 250 Gul karton<\/td>24<\/td> <\/tr>\n
4629<\/td>42<\/td>unread<\/td>134<\/td>1888<\/td>Film ?<\/td>1952<\/td>Kodak Instant Colour Film<\/td><\/td>Eastman Kodak<\/td>Rochester NY, USA<\/td><\/td>Dimensioner: L. 45, B. 115, H. 115 Gul karton<\/td>24<\/td> <\/tr>\n
4630<\/td>43<\/td>unread<\/td>121<\/td>1896<\/td>Reklameartikler<\/td>1959<\/td>Rollei F & H \/metalreklameskilte, 3 stk.<\/td><\/td>Franke & Heidecke<\/td>Braunschweig, Tyskland<\/td><\/td><\/td>235<\/td> <\/tr>\n
4631<\/td>44<\/td>unread<\/td>137<\/td>1897<\/td>Kamera-embalage<\/td>1960<\/td>Rollei kameraemballage<\/td><\/td>Franke & Heidecke<\/td>Braunschweig, Tyskland<\/td><\/td><\/td>291<\/td> <\/tr>\n
4632<\/td>45<\/td>unread<\/td>121<\/td>1925<\/td>Reklameartikler<\/td>1989<\/td>Reklamestativer<\/td><\/td>Kodak<\/td>Stuttgart, Tyskland<\/td><\/td><\/td>249<\/td> <\/tr>\n
4633<\/td>46<\/td>unread<\/td>137<\/td>1964<\/td>Kamera-embalage<\/td>2028<\/td><\/td><\/td>Kodak<\/td>Stuttgart, Tyskland<\/td><\/td>Dimensioner: L. 90, B. 155, H. 120, Gram 30 Gul papkarton<\/td>296<\/td> <\/tr>\n
4634<\/td>47<\/td>unread<\/td>137<\/td>1965<\/td>Kamera-embalage<\/td>2029<\/td><\/td><\/td>Kodak<\/td>Stuttgart, Tyskland<\/td><\/td>Dimensioner: L. 45, B. 130, H. 80, Gram 50 Gul papkarton<\/td>295<\/td> <\/tr>\n
4635<\/td>48<\/td>unread<\/td>138<\/td>1967<\/td>Film-embalager<\/td>2031<\/td>Kodak Bantam-Kodachrome + sort\/hvid<\/td><\/td>Kodak<\/td>Frankrig<\/td>ca. 1950<\/td><\/td>247<\/td> <\/tr>\n
4636<\/td>49<\/td>unread<\/td>137<\/td>2054<\/td>Kamera-embalage<\/td>2118<\/td>AKA Emballage - 8 stk.<\/td><\/td><\/td><\/td><\/td><\/td>78<\/td> <\/tr>\n
4637<\/td>50<\/td>unread<\/td>121<\/td>2077<\/td>Reklameartikler<\/td>2141<\/td>Agfa Reklameskilt - Agfamatic Pocket<\/td><\/td><\/td><\/td><\/td>Dimensioner: L. 400, B. 990, H. 205<\/td>0<\/td> <\/tr>\n
4638<\/td>51<\/td>unread<\/td>121<\/td>2173<\/td>Reklameartikler<\/td>2237<\/td><\/td><\/td><\/td><\/td>ca. 1972<\/td><\/td>23<\/td> <\/tr>\n
4639<\/td>52<\/td>unread<\/td>121<\/td>2187<\/td>Reklameartikler<\/td>2251<\/td>Kodak - reklamematriale<\/td><\/td>Kodak<\/td>Rochester NY, USA<\/td><\/td>Gult kunststof. Dimensioner: L. 80, B. 145, H. 50, Gram 50<\/td>27<\/td> <\/tr>\n
4640<\/td>53<\/td>unread<\/td>121<\/td>2227<\/td>Reklameartikler<\/td>2291<\/td><\/td><\/td>Kodak<\/td><\/td><\/td><\/td>27<\/td> <\/tr>\n
4641<\/td>54<\/td>unread<\/td>134<\/td>2322<\/td>Film ?<\/td>2386<\/td>Kodak Demonstrationsfilm 28x28\/126<\/td><\/td>Kodak<\/td><\/td><\/td>Sort kassette, kunststof. Dimensioner: L. 25, B. 85, H. 45, Gram 50<\/td>29<\/td> <\/tr>\n
4642<\/td>55<\/td>unread<\/td>134<\/td>2323<\/td>Film ?<\/td>2387<\/td>126 Film - 28 x 28 \/ 126 kassetter<\/td>Agaf, Fuji, Ilford, Kodak<\/td><\/td><\/td><\/td><\/td>29<\/td> <\/tr>\n
4643<\/td>56<\/td>unread<\/td>137<\/td>2765<\/td>Kamera-embalage<\/td>2828<\/td>Kodak Emballage - 10 stk.<\/td><\/td>Kodak<\/td>Rochester NY, USA<\/td><\/td><\/td>21<\/td> <\/tr>\n
4644<\/td>57<\/td>unread<\/td>121<\/td>3396<\/td>Reklameartikler<\/td>3458<\/td>Ford Pick-up<\/td><\/td>Prestige Solido<\/td>Anet, Frankrig<\/td><\/td><\/td>20<\/td> <\/tr>\n
4645<\/td>58<\/td>unread<\/td>121<\/td>4591<\/td>Reklameartikler<\/td>6980<\/td>Blyantsspidser<\/td>Kodak Carousel S<\/td><\/td><\/td><\/td><\/td>269<\/td> <\/tr>\n
4646<\/td>59<\/td>unread<\/td>121<\/td>4651<\/td>Reklameartikler<\/td>7039<\/td>Kamerahus<\/td><\/td><\/td><\/td><\/td><\/td>89<\/td> <\/tr>\n
4647<\/td>60<\/td>unread<\/td>122<\/td>5137<\/td>Dummy-kamera<\/td>7849<\/td>Fujifilm Digital Kamera<\/td>Fine Pix 4700 (Dummy)<\/td>Fuji Film Photo<\/td>Japan<\/td>2000<\/td><\/td>75<\/td> <\/tr>\n
4648<\/td>61<\/td>unread<\/td>121<\/td>7423<\/td>Reklameartikler<\/td>10701<\/td>Polaroid<\/td>Lommelygte, Spice light<\/td>Polaroid<\/td>Kina<\/td><\/td>Original pakning<\/td>180<\/td> <\/tr>\n
4649<\/td>62<\/td>unread<\/td>121<\/td>7854<\/td>Reklameartikler<\/td>11140<\/td><\/td>Ford V8 m. Kodak reklamer<\/td>Ukendt<\/td>Frankrig<\/td><\/td><\/td>180<\/td> <\/tr>\n
4650<\/td>63<\/td>unread<\/td>121<\/td>7855<\/td>Reklameartikler<\/td>11141<\/td>Rundt fad<\/td>*) Kodak 1880-1980<\/td>Ukendt<\/td><\/td><\/td><\/td>180<\/td> <\/tr>\n
4651<\/td>64<\/td>unread<\/td>121<\/td>8226<\/td>Reklameartikler<\/td>12115<\/td>Gyngestol \"Kronprins af Spanien\"<\/td>\"Kronprins af Spanien\"<\/td>Ukendt<\/td><\/td><\/td><\/td>547<\/td> <\/tr>\n
4652<\/td>65<\/td>unread<\/td>88<\/td>8834<\/td><\/td>12982<\/td>Billede<\/td>D.F.G.H. 8-1-1960<\/td><\/td><\/td><\/td><\/td>246<\/td> <\/tr>\n
4653<\/td>66<\/td>unread<\/td>88<\/td>8835<\/td><\/td>12983<\/td>Billede<\/td>Metz Juli 2000<\/td><\/td><\/td><\/td><\/td>246<\/td> <\/tr>\n
4654<\/td>67<\/td>unread<\/td>121<\/td>9187<\/td>Reklameartikler<\/td>13458<\/td><\/td>George Eastman<\/td>Ukendt<\/td><\/td><\/td><\/td>547<\/td> <\/tr>\n
4655<\/td>68<\/td>unread<\/td>121<\/td>9303<\/td>Reklameartikler<\/td>13573<\/td>Torben Bech<\/td>Mappe med billeder<\/td>Torben Bech<\/td>Danmark<\/td><\/td><\/td>547<\/td> <\/tr>\n
4656<\/td>69<\/td>unread<\/td>121<\/td>9540<\/td>Reklameartikler<\/td>13897<\/td>Leica Krus<\/td><\/td><\/td><\/td><\/td><\/td>547<\/td> <\/tr>\n
4657<\/td>70<\/td>unread<\/td>101<\/td>9634<\/td>Fototidsskrifter (fransk)<\/td>13985<\/td>J'ai Vu Nr. 153<\/td><\/td><\/td><\/td>1917<\/td><\/td>0<\/td> <\/tr>\n
4658<\/td>71<\/td>unread<\/td>82<\/td>10000<\/td><\/td>4309<\/td><\/td>Teddy Aarni<\/td><\/td>Stokholm<\/td>1971<\/td><\/td>72<\/td> <\/tr>\n
4659<\/td>72<\/td>unread<\/td>88<\/td>10001<\/td><\/td>4310<\/td>A visit to dust<\/td>Rossmann Fischer<\/td>Graphik Service<\/td>Italie<\/td><\/td><\/td>50<\/td> <\/tr>\n
4660<\/td>73<\/td>unread<\/td>86<\/td>10002<\/td><\/td>4311<\/td>A History of the Photographis Lens<\/td>Rudolf Kingslake<\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
4661<\/td>74<\/td>unread<\/td>84<\/td>10003<\/td><\/td>4312<\/td>Professionel Photography<\/td>Charles Abel<\/td>Greenberg Publisher<\/td>USA<\/td>1946<\/td><\/td>72<\/td> <\/tr>\n
4662<\/td>75<\/td>unread<\/td>84<\/td>10004<\/td><\/td>4313<\/td>Professionel Portrait light<\/td>Charles Abel<\/td>Greenberg publish<\/td>USA<\/td>1947<\/td><\/td>72<\/td> <\/tr>\n
4663<\/td>76<\/td>unread<\/td>86<\/td>10005<\/td><\/td>4314<\/td>Portrait photography as a career<\/td>Juan C. Abel<\/td>American Photographic publish<\/td>Boston<\/td>1940<\/td><\/td>72<\/td> <\/tr>\n
4664<\/td>77<\/td>unread<\/td>84<\/td>10006<\/td><\/td>4315<\/td>Cine Tifling Simplified<\/td>Harold B. Abbott<\/td><\/td><\/td><\/td><\/td>76<\/td> <\/tr>\n
4665<\/td>78<\/td>unread<\/td>83<\/td>10007<\/td><\/td>4316<\/td>Von Daguerre bis heute 1<\/td>H.D.Anbring<\/td><\/td><\/td><\/td>Privates foto - Museum Herne.<\/td>0<\/td> <\/tr>\n
4666<\/td>79<\/td>unread<\/td>83<\/td>10008<\/td><\/td>4317<\/td>Von daguerre bis heute 2<\/td>H.D.Anbring<\/td><\/td>Herne<\/td>1981<\/td>Privates foto - museum<\/td>0<\/td> <\/tr>\n
4667<\/td>80<\/td>unread<\/td>83<\/td>10009<\/td><\/td>4318<\/td>Von Daguerre bis heute 3<\/td>H.D.Anbring<\/td><\/td>Herne<\/td>1985<\/td>Privates foto - museum<\/td>0<\/td> <\/tr>\n
4668<\/td>81<\/td>unread<\/td>81<\/td>10010<\/td><\/td>4319<\/td>Haandbog i posetiv processer<\/td>Leo Abraham<\/td>Hj. Pontopidans boghandels forlag<\/td><\/td>1918<\/td><\/td>81<\/td> <\/tr>\n
4669<\/td>82<\/td>unread<\/td>88<\/td>10011<\/td><\/td>4320<\/td>Acopolis Touristcanteen<\/td>Jiri Havran<\/td>Hugin & Munin<\/td><\/td><\/td><\/td>48<\/td> <\/tr>\n
4670<\/td>83<\/td>unread<\/td>88<\/td>10012<\/td><\/td>4321<\/td>Postkarten a Nationalparks<\/td>Ansel Adams<\/td>Christian Verlag<\/td><\/td>1995<\/td><\/td>53<\/td> <\/tr>\n
4671<\/td>84<\/td>unread<\/td>88<\/td>10013<\/td><\/td>4322<\/td>Postkarten<\/td>Ansel Adams<\/td>Christian Verlag<\/td><\/td>1994<\/td><\/td>53<\/td> <\/tr>\n
4672<\/td>85<\/td>unread<\/td>88<\/td>10014<\/td><\/td>4323<\/td>Polarorid land photography<\/td>Ansel Adams<\/td>New York Graphic Society<\/td>Bosten<\/td>1963<\/td><\/td>51<\/td> <\/tr>\n
4673<\/td>86<\/td>unread<\/td>88<\/td>10015<\/td><\/td>4324<\/td>An Autobiography<\/td>Ansel Adams<\/td>Little, Brown and Company<\/td>Bosten<\/td>1985<\/td><\/td>51<\/td> <\/tr>\n
4674<\/td>87<\/td>unread<\/td>88<\/td>10016<\/td><\/td>4325<\/td>Die Welt ist voller Farben<\/td>Florian Adler<\/td><\/td><\/td>1994<\/td><\/td>41<\/td> <\/tr>\n
4675<\/td>88<\/td>unread<\/td>83<\/td>10017<\/td><\/td>4326<\/td><\/td><\/td><\/td><\/td>1879<\/td><\/td>82<\/td> <\/tr>\n
4676<\/td>89<\/td>unread<\/td>81<\/td>10018<\/td><\/td>4327<\/td>Af den fotografiske optiks grundbegreber<\/td>I.P. Gjerulff<\/td><\/td><\/td>1911<\/td><\/td>83<\/td> <\/tr>\n
4677<\/td>90<\/td>unread<\/td>83<\/td>10019<\/td><\/td>4328<\/td>Rolleiflex - Rolleicord<\/td>Udo Afalter<\/td><\/td><\/td>1993<\/td><\/td>83<\/td> <\/tr>\n
4678<\/td>91<\/td>unread<\/td>83<\/td>10020<\/td><\/td>4329<\/td>Zeiss Ikon<\/td>Udo Afalter<\/td><\/td><\/td>1926-1993<\/td><\/td>61<\/td> <\/tr>\n
4679<\/td>92<\/td>unread<\/td>84<\/td>10021<\/td><\/td>4330<\/td>After work on negative & prints.<\/td>R.M.Fanstone<\/td>The Fountain Press<\/td>London<\/td><\/td><\/td>83<\/td> <\/tr>\n
4680<\/td>93<\/td>unread<\/td>81<\/td>10022<\/td><\/td>4331<\/td><\/td>Alf Agdler<\/td>Clausens Forlag<\/td><\/td>1969<\/td><\/td>74<\/td> <\/tr>\n
4681<\/td>94<\/td>unread<\/td>81<\/td>10023<\/td><\/td>4332<\/td><\/td>E.Kruse Agerschou og Asger Nielsen<\/td>J.Fr.Clausens Forlag<\/td><\/td>1948<\/td><\/td>72<\/td> <\/tr>\n
4682<\/td>95<\/td>unread<\/td>88<\/td>10024<\/td><\/td>4333<\/td>AGFA.100 Jahre Photographie<\/td>Erich Stenger<\/td>Verlag Knorr & Hirth<\/td><\/td>1939<\/td><\/td>58<\/td> <\/tr>\n
4683<\/td>96<\/td>unread<\/td>81<\/td>10025<\/td><\/td>4334<\/td>AGFA. Foto-haandbogen<\/td>Dr. M. Andresen<\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
4684<\/td>97<\/td>unread<\/td>83<\/td>10026<\/td><\/td>4335<\/td>AGFA. Das schul-labor Das Freizeitlabor<\/td><\/td><\/td><\/td>1963<\/td><\/td>65<\/td> <\/tr>\n
4685<\/td>98<\/td>unread<\/td>83<\/td>10027<\/td><\/td>4336<\/td>AGFA-Kine handbuch:<\/td><\/td><\/td><\/td><\/td>1:Allgemeiner Teil. 2: Negativ-Film. 3: Positiv-Film. 4:Film-Muster-Tafeln.<\/td>65<\/td> <\/tr>\n
4686<\/td>99<\/td>unread<\/td>88<\/td>10028<\/td><\/td>4337<\/td>Agfacolor<\/td>Dr.Heinz Berger<\/td>W.Girardet-Wuppertal-Elberfeld<\/td>Germany<\/td>1950<\/td><\/td>54<\/td> <\/tr>\n
4687<\/td>100<\/td>unread<\/td>83<\/td>10029<\/td><\/td>4338<\/td>Agfacolor<\/td>Heinz Berger<\/td>W.Girardet Wuppertal<\/td><\/td>1950<\/td><\/td>65<\/td> <\/tr>\n
4688<\/td>101<\/td>unread<\/td>83<\/td>10030<\/td><\/td>4339<\/td>Agfacolor- Information<\/td><\/td><\/td><\/td>Heft17\/ 1960<\/td><\/td>65<\/td> <\/tr>\n
4689<\/td>102<\/td>unread<\/td>83<\/td>10031<\/td><\/td>4340<\/td>Agfacolor-Information<\/td><\/td><\/td><\/td>Heft16\/1959<\/td><\/td>65<\/td> <\/tr>\n
4690<\/td>103<\/td>unread<\/td>83<\/td>10032<\/td><\/td>4341<\/td>Agfacolor-Information<\/td><\/td><\/td><\/td>Heft 15\/ 1957<\/td><\/td>65<\/td> <\/tr>\n
4691<\/td>104<\/td>unread<\/td>83<\/td>10033<\/td><\/td>4342<\/td>Agfacolor-Information<\/td><\/td><\/td><\/td>Heft 14 \/ 1956<\/td><\/td>65<\/td> <\/tr>\n
4692<\/td>105<\/td>unread<\/td>83<\/td>10034<\/td><\/td>4343<\/td>Agfacolor-Information<\/td><\/td><\/td><\/td>Heft 13 \/ 1955<\/td><\/td>65<\/td> <\/tr>\n
4693<\/td>106<\/td>unread<\/td>83<\/td>10035<\/td><\/td>4344<\/td>Agfacolor-Information<\/td><\/td><\/td><\/td>Heft 12 \/ 1955<\/td><\/td>65<\/td> <\/tr>\n
4694<\/td>107<\/td>unread<\/td>83<\/td>10036<\/td><\/td>4345<\/td>Agfacolor-Information<\/td><\/td><\/td><\/td>Heft 11 \/ 1954<\/td><\/td>65<\/td> <\/tr>\n
4695<\/td>108<\/td>unread<\/td>83<\/td>10037<\/td><\/td>4346<\/td>Agfacolor-Information<\/td><\/td><\/td><\/td>Heft 10 \/ 1954<\/td><\/td>65<\/td> <\/tr>\n
4696<\/td>109<\/td>unread<\/td>83<\/td>10038<\/td><\/td>4347<\/td>Agfacolor-Information<\/td><\/td><\/td><\/td>Heft 9 \/ 1954<\/td><\/td>65<\/td> <\/tr>\n
4697<\/td>110<\/td>unread<\/td>83<\/td>10039<\/td><\/td>4348<\/td>Agfacolor-Information<\/td><\/td><\/td><\/td>Heft 8 \/ 1953<\/td><\/td>65<\/td> <\/tr>\n
4698<\/td>111<\/td>unread<\/td>83<\/td>10040<\/td><\/td>4349<\/td>Agfacolor-Information<\/td><\/td><\/td><\/td>Heft 7 \/ 1953<\/td><\/td>65<\/td> <\/tr>\n
4699<\/td>112<\/td>unread<\/td>83<\/td>10041<\/td><\/td>4350<\/td>Agfacolor-Information<\/td><\/td><\/td><\/td>Heft 6 \/ 1953<\/td><\/td>65<\/td> <\/tr>\n
4700<\/td>113<\/td>unread<\/td>83<\/td>10042<\/td><\/td>4351<\/td>Agfacolor-Information<\/td><\/td><\/td><\/td>Heft 5 \/ 1953<\/td><\/td>65<\/td> <\/tr>\n
4701<\/td>114<\/td>unread<\/td>83<\/td>10043<\/td><\/td>4352<\/td>Agfacolor-Fibel<\/td><\/td><\/td><\/td>Okt.1963<\/td><\/td>65<\/td> <\/tr>\n
4702<\/td>115<\/td>unread<\/td>83<\/td>10044<\/td><\/td>4353<\/td><\/td><\/td><\/td><\/td><\/td><\/td>65<\/td> <\/tr>\n
4703<\/td>116<\/td>unread<\/td>83<\/td>10045<\/td><\/td>4354<\/td>Agfa-Photopapiere<\/td><\/td><\/td><\/td>1948<\/td><\/td>65<\/td> <\/tr>\n
4704<\/td>117<\/td>unread<\/td>83<\/td>10046<\/td><\/td>4355<\/td>Agfa-Gevaert:Table top Photos<\/td><\/td><\/td><\/td><\/td><\/td>65<\/td> <\/tr>\n
4705<\/td>118<\/td>unread<\/td>83<\/td>10047<\/td><\/td>4356<\/td>Agfa-Gevaert: Agfacolor selbst verarbeit<\/td><\/td><\/td><\/td><\/td><\/td>65<\/td> <\/tr>\n
4706<\/td>119<\/td>unread<\/td>83<\/td>10048<\/td><\/td>4357<\/td>Agfa-Hauptkatalog<\/td><\/td><\/td><\/td>1937<\/td><\/td>65<\/td> <\/tr>\n
4707<\/td>120<\/td>unread<\/td>83<\/td>10049<\/td><\/td>4358<\/td>Agfa-Hauptkatalog<\/td><\/td><\/td><\/td>1938<\/td><\/td>65<\/td> <\/tr>\n
4708<\/td>121<\/td>unread<\/td>83<\/td>10050<\/td><\/td>4359<\/td>AGFA-Hauprkatalog<\/td><\/td><\/td><\/td>1939<\/td><\/td>65<\/td> <\/tr>\n
4709<\/td>122<\/td>unread<\/td>83<\/td>10051<\/td><\/td>4360<\/td>AGFA Labor Gerate<\/td><\/td><\/td><\/td><\/td><\/td>65<\/td> <\/tr>\n
4710<\/td>123<\/td>unread<\/td>83<\/td>10052<\/td><\/td>4361<\/td>Agfacolor Fotokursus<\/td>Hanns Geissler<\/td>Umschau Verlag<\/td>Frankfurt<\/td>1955<\/td><\/td>79<\/td> <\/tr>\n
4711<\/td>124<\/td>unread<\/td>81<\/td>10053<\/td><\/td>4362<\/td><\/td>H.G.Wandelt<\/td><\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
4712<\/td>125<\/td>unread<\/td>83<\/td>10054<\/td><\/td>4363<\/td>Agfa Schmalfilm<\/td>H. Lummerzheim<\/td>Walter Heering Verlag<\/td>Harzburg<\/td>1935<\/td><\/td>74<\/td> <\/tr>\n
4713<\/td>126<\/td>unread<\/td>83<\/td>10055<\/td><\/td>4364<\/td>Agfa Schmalfilm Handbuch<\/td>Dr.H. Lummerzheim<\/td><\/td><\/td><\/td><\/td>65<\/td> <\/tr>\n
4714<\/td>127<\/td>unread<\/td>88<\/td>10056<\/td><\/td>4365<\/td>Agfacolor, Das Farbige Lichtbild<\/td>E.V.Pagenhardt<\/td>Knorr & Hirth<\/td><\/td>1938<\/td><\/td>52<\/td> <\/tr>\n
4715<\/td>128<\/td>unread<\/td>84<\/td>10057<\/td><\/td>4366<\/td>Exakta Cameras 1933-1978<\/td>Clement Aquila og Michel Rouah<\/td>Hove Foto books<\/td><\/td>1987<\/td><\/td>0<\/td> <\/tr>\n
4716<\/td>129<\/td>unread<\/td>88<\/td>10058<\/td><\/td>4367<\/td>Alinari<\/td>Fratelli Alinari<\/td><\/td><\/td>1993<\/td><\/td>52<\/td> <\/tr>\n
4717<\/td>130<\/td>unread<\/td>88<\/td>10059<\/td><\/td>4368<\/td>A fotografia elsoszaz eve Magyarorszagon<\/td><\/td><\/td>Ungarn<\/td><\/td>1839-1939<\/td>0<\/td> <\/tr>\n
4718<\/td>131<\/td>unread<\/td>81<\/td>10060<\/td><\/td>4369<\/td><\/td>J.Graa<\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
4719<\/td>132<\/td>unread<\/td>88<\/td>10061<\/td><\/td>4370<\/td>Der akt in der photographie<\/td>Serge Nazarieff<\/td>Taco<\/td>Berlin<\/td>1987<\/td>ISBN 3-89268-025-6. Tysk\/ Engelsk\/ Fransk.<\/td>55<\/td> <\/tr>\n
4720<\/td>133<\/td>unread<\/td>88<\/td>10062<\/td><\/td>4371<\/td>Erotische bilder 1988<\/td>Akt Photo International<\/td>Photo technik International GmbH<\/td><\/td>1988<\/td><\/td>51<\/td> <\/tr>\n
4721<\/td>134<\/td>unread<\/td>81<\/td>10063<\/td><\/td>4372<\/td>Nogle vink ved belysning af fotografiske<\/td>L.Albert<\/td><\/td><\/td>1911<\/td><\/td>83<\/td> <\/tr>\n
4722<\/td>135<\/td>unread<\/td>84<\/td>10064<\/td><\/td>4373<\/td>Pearlman on print Quality<\/td>Alec Pearlman<\/td><\/td>London<\/td>1968<\/td><\/td>81<\/td> <\/tr>\n
4723<\/td>136<\/td>unread<\/td>81<\/td>10065<\/td><\/td>4374<\/td><\/td>L.Albert<\/td><\/td><\/td>1911<\/td><\/td>60<\/td> <\/tr>\n
4724<\/td>137<\/td>unread<\/td>83<\/td>10066<\/td><\/td>4375<\/td>Foto-humor<\/td>Carlheinz Albrand<\/td>IM Heering Verlag<\/td>Harzburg<\/td>1939<\/td><\/td>66<\/td> <\/tr>\n
4725<\/td>138<\/td>unread<\/td>88<\/td>10067<\/td><\/td>4376<\/td><\/td>Nordiske Kunstner<\/td><\/td><\/td><\/td><\/td>41<\/td> <\/tr>\n
4726<\/td>139<\/td>unread<\/td>88<\/td>10068<\/td><\/td>4377<\/td>Album der fotographie 1<\/td><\/td><\/td><\/td>1980<\/td>ISBN 3-7913-0501-8.<\/td>51<\/td> <\/tr>\n
4727<\/td>140<\/td>unread<\/td>88<\/td>10069<\/td><\/td>4378<\/td>Footprints on the bank<\/td>Aleksandras Macijauskas<\/td><\/td>Vilinius-Lithuanian<\/td>1984<\/td>Catalogue of photography Exhibition.<\/td>43<\/td> <\/tr>\n
4728<\/td>141<\/td>unread<\/td>88<\/td>10070<\/td><\/td>4379<\/td>Gyventi to live<\/td>Aleksandras Macijauskas<\/td>Kauno meno fondas<\/td><\/td>1997<\/td><\/td>43<\/td> <\/tr>\n
4729<\/td>142<\/td>unread<\/td>84<\/td>10071<\/td><\/td>4380<\/td>The miniature manual<\/td>Bernard Alfieri<\/td>Link House Publications Ltd<\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
4730<\/td>143<\/td>unread<\/td>84<\/td>10072<\/td><\/td>4381<\/td>Ansco photo fun<\/td>Arvel W. Ahlers<\/td>Popular Library<\/td>New York<\/td>1963<\/td><\/td>79<\/td> <\/tr>\n
4731<\/td>144<\/td>unread<\/td>88<\/td>10073<\/td><\/td>4382<\/td><\/td><\/td>Camera\/Graphic Press<\/td>New York<\/td><\/td>Engelsk \/ dansk.<\/td>48<\/td> <\/tr>\n
4732<\/td>145<\/td>unread<\/td>84<\/td>10074<\/td><\/td>4383<\/td>Enlarging and Enlargers<\/td>William Alexander<\/td>The Fountain Press<\/td>London<\/td><\/td><\/td>83<\/td> <\/tr>\n
4733<\/td>146<\/td>unread<\/td>88<\/td>10075<\/td><\/td>4384<\/td>Folkets Dronning Alexandrine<\/td><\/td>Bogforlaget DANA<\/td>Odense<\/td><\/td><\/td>47<\/td> <\/tr>\n
4734<\/td>147<\/td>unread<\/td>84<\/td>10076<\/td><\/td>4385<\/td>All about exposure<\/td>C.I.Jacobsen<\/td>The Focal Press<\/td>London<\/td>1946<\/td><\/td>79<\/td> <\/tr>\n
4735<\/td>148<\/td>unread<\/td>82<\/td>10077<\/td><\/td>4386<\/td><\/td>Otto Croy<\/td>Nordisk Rotogravyr<\/td>Stockholm<\/td>1964<\/td><\/td>69<\/td> <\/tr>\n
4736<\/td>149<\/td>unread<\/td>88<\/td>10078<\/td><\/td>4387<\/td>Almanah Mednarodne Fotografije 1962<\/td><\/td><\/td>Ljublana. Jugoslavije<\/td>1962<\/td><\/td>53<\/td> <\/tr>\n
4737<\/td>150<\/td>unread<\/td>88<\/td>10079<\/td><\/td>4388<\/td>Als Photographieren noch ein Abenteuer W<\/td><\/td>Harenberg Kommunikation<\/td><\/td>1983<\/td><\/td>42<\/td> <\/tr>\n
4738<\/td>151<\/td>unread<\/td>81<\/td>10080<\/td><\/td>4389<\/td>Alt om foto nr.1. Alt om eksponering<\/td>C.I.Jacobsen<\/td>Skrifola<\/td><\/td>1958<\/td><\/td>79<\/td> <\/tr>\n
4739<\/td>152<\/td>unread<\/td>81<\/td>10081<\/td><\/td>4390<\/td><\/td>Hugo von Wadenoyen<\/td>Skrifola<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
4740<\/td>153<\/td>unread<\/td>81<\/td>10082<\/td><\/td>4391<\/td>Alt om foto nr. 3. Alt om filtre.<\/td>C.I.Jaobsen<\/td>Skrifola<\/td><\/td>1957<\/td><\/td>79<\/td> <\/tr>\n
4741<\/td>154<\/td>unread<\/td>81<\/td>10083<\/td><\/td>4392<\/td><\/td>Hugo Wadenoyen<\/td>Skrifola<\/td><\/td>1954<\/td><\/td>79<\/td> <\/tr>\n
4742<\/td>155<\/td>unread<\/td>81<\/td>10084<\/td><\/td>4393<\/td>Alt om foto nr.5. Alt om solskin.<\/td>Hugo von Wadenoyen<\/td>Skrifola<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
4743<\/td>156<\/td>unread<\/td>81<\/td>10085<\/td><\/td>4394<\/td>Alt om foto nr. 7 Alt om dagslys.<\/td>Hugo Wadenoyen<\/td>Skrifola<\/td><\/td>1953<\/td><\/td>79<\/td> <\/tr>\n
4744<\/td>157<\/td>unread<\/td>81<\/td>10086<\/td><\/td>4395<\/td>Alt om foto nr. 8. Alt om fremkaldelse<\/td>C.I.Jacobsen<\/td>Skrifola<\/td><\/td>1959<\/td><\/td>79<\/td> <\/tr>\n
4745<\/td>158<\/td>unread<\/td>81<\/td>10087<\/td><\/td>4396<\/td><\/td>C.I.Jacobsen<\/td>Skrifola<\/td><\/td>1957<\/td><\/td>79<\/td> <\/tr>\n
4746<\/td>159<\/td>unread<\/td>81<\/td>10088<\/td><\/td>4397<\/td>Alt om foto nr. 10. Alt om miniaturek.<\/td>Percy W.Harris<\/td>Skrifola<\/td><\/td>1956<\/td><\/td>79<\/td> <\/tr>\n
4747<\/td>160<\/td>unread<\/td>81<\/td>10089<\/td><\/td>4398<\/td>Alt om foto nr.11. Alt om lynlys.<\/td>F.W.Frerk<\/td>Skrifola<\/td><\/td>1953<\/td><\/td>79<\/td> <\/tr>\n
4748<\/td>161<\/td>unread<\/td>81<\/td>10090<\/td><\/td>4399<\/td>Alt om foto nr.12. Alt om kontaktkopieri<\/td>Betti Mautner<\/td>Skrifola<\/td><\/td>1958<\/td><\/td>79<\/td> <\/tr>\n
4749<\/td>162<\/td>unread<\/td>81<\/td>10091<\/td><\/td>4400<\/td>Alt om foto nr.13. Alt om skarphedsindst<\/td>F.W.Frerk<\/td>Skrifola<\/td><\/td>1954<\/td><\/td>79<\/td> <\/tr>\n
4750<\/td>163<\/td>unread<\/td>81<\/td>10092<\/td><\/td>4401<\/td>Alt on foto nr.14. Alt om babybilleder.<\/td>W.Suschitzky<\/td>Skrifola<\/td><\/td>1954<\/td><\/td>79<\/td> <\/tr>\n
4751<\/td>164<\/td>unread<\/td>81<\/td>10093<\/td><\/td>4402<\/td><\/td>Alex Strasser<\/td>Skrifola<\/td><\/td>1954<\/td><\/td>79<\/td> <\/tr>\n
4752<\/td>165<\/td>unread<\/td>81<\/td>10094<\/td><\/td>4403<\/td>Alt om foto nr.16. Alt om billedkomposit<\/td>A.Kraszna krausz<\/td>Skrifola<\/td><\/td>1954<\/td><\/td>79<\/td> <\/tr>\n
4753<\/td>166<\/td>unread<\/td>81<\/td>10095<\/td><\/td>4404<\/td>Alt om foto nr.17. Alt om een fotolampe<\/td>Hugo Wadenoyen<\/td>Skrifola<\/td><\/td>1955<\/td><\/td>79<\/td> <\/tr>\n
4754<\/td>167<\/td>unread<\/td>81<\/td>10096<\/td><\/td>4405<\/td>Alt om foto nr.18. Alt om to fotolamper<\/td>Hugo Wadenoyen<\/td>Skrifola<\/td><\/td>1956<\/td><\/td>79<\/td> <\/tr>\n
4755<\/td>168<\/td>unread<\/td>81<\/td>10097<\/td><\/td>4406<\/td>Alt om foto nr. 19. Alt om farvefotograf<\/td>C.Leslie Thomsen<\/td>Skrifola<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
4756<\/td>169<\/td>unread<\/td>81<\/td>10098<\/td><\/td>4407<\/td>Alt om foto nr.20. Alt om natfotograferi<\/td>Frederick Purves<\/td>Skrifola<\/td><\/td>1955<\/td><\/td>62<\/td> <\/tr>\n
4757<\/td>170<\/td>unread<\/td>81<\/td>10099<\/td><\/td>4408<\/td><\/td>Hugo von Wadenoyen<\/td>Skrifola<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
4758<\/td>171<\/td>unread<\/td>81<\/td>10100<\/td><\/td>4409<\/td>Alt om foto nr.22. Alt om lynlys.<\/td>Georg Wells<\/td>Skrifola<\/td><\/td>1955<\/td><\/td>79<\/td> <\/tr>\n
4759<\/td>172<\/td>unread<\/td>81<\/td>10101<\/td><\/td>4410<\/td><\/td>R.M.Fanstone<\/td>Skrifola<\/td><\/td>1955<\/td><\/td>79<\/td> <\/tr>\n
4760<\/td>173<\/td>unread<\/td>81<\/td>10102<\/td><\/td>4411<\/td>Alt om foto nr.24. Trickfotografering.<\/td>M.Deribere<\/td>Skrifola<\/td><\/td>1957<\/td><\/td>79<\/td> <\/tr>\n
4761<\/td>174<\/td>unread<\/td>81<\/td>10103<\/td><\/td>4412<\/td>Alt om foto nr.25. Fotomontage<\/td>M.Deribere<\/td>Skrifola<\/td><\/td>1957<\/td><\/td>79<\/td> <\/tr>\n
4762<\/td>175<\/td>unread<\/td>81<\/td>10104<\/td><\/td>4413<\/td>Alt om foto nr.26. Alt om Kodachrome.<\/td>R.A. Langley<\/td>Skrifola<\/td><\/td>1958<\/td><\/td>79<\/td> <\/tr>\n
4763<\/td>176<\/td>unread<\/td>81<\/td>10105<\/td><\/td>4414<\/td>Alt om foto nr.27. Alt om positiver<\/td>F.W.Frerk<\/td>Skrifola<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
4764<\/td>177<\/td>unread<\/td>81<\/td>10106<\/td><\/td>4415<\/td>Alt om foto nr.28. Alt om negativer.<\/td>F.Frerk<\/td>Skrifola<\/td><\/td>1959<\/td><\/td>79<\/td> <\/tr>\n
4765<\/td>178<\/td>unread<\/td>81<\/td>10107<\/td><\/td>4416<\/td>Alt om foto nr.29. Alt om affotograferin<\/td>H.W.Greenwood<\/td>Skrifola<\/td><\/td>1959<\/td><\/td>79<\/td> <\/tr>\n
4766<\/td>179<\/td>unread<\/td>81<\/td>10108<\/td><\/td>4417<\/td>Alt om foto nr.30. Alt om fejl i foto.<\/td>A.Merryweather<\/td>Skrifola<\/td><\/td>1959<\/td><\/td>79<\/td> <\/tr>\n
4767<\/td>180<\/td>unread<\/td>88<\/td>10109<\/td><\/td>4418<\/td>Gamlr fotografier fra Als og Sundeved<\/td><\/td><\/td><\/td>1977<\/td>Historisk samling A-S. Dy-po.<\/td>47<\/td> <\/tr>\n
4768<\/td>181<\/td>unread<\/td>88<\/td>10110<\/td><\/td>4419<\/td>Det intime sprog 2<\/td>Nathalie Amand<\/td>Fotografisk center<\/td><\/td>1996<\/td><\/td>0<\/td> <\/tr>\n
4769<\/td>182<\/td>unread<\/td>84<\/td>10111<\/td><\/td>4420<\/td>Amateur color printing<\/td>Conrad Frost<\/td>Fountain Press<\/td>London<\/td>1962<\/td><\/td>79<\/td> <\/tr>\n
4770<\/td>183<\/td>unread<\/td>83<\/td>10112<\/td><\/td>4421<\/td><\/td><\/td><\/td><\/td>1896-1897<\/td><\/td>72<\/td> <\/tr>\n
4771<\/td>184<\/td>unread<\/td>81<\/td>10113<\/td><\/td>4422<\/td><\/td>Carl hornby<\/td>Fotografisk handelshus<\/td>Odense<\/td>1916<\/td><\/td>60<\/td> <\/tr>\n
4772<\/td>185<\/td>unread<\/td>81<\/td>10114<\/td><\/td>4423<\/td><\/td>Bente Herman<\/td>Hirschprungs forlag<\/td><\/td>1938<\/td><\/td>60<\/td> <\/tr>\n
4773<\/td>186<\/td>unread<\/td>81<\/td>10115<\/td><\/td>4424<\/td><\/td>Simon Paulli<\/td><\/td><\/td>1950- 1954<\/td><\/td>60<\/td> <\/tr>\n
4774<\/td>187<\/td>unread<\/td>81<\/td>10116<\/td><\/td>4425<\/td><\/td>Simon Paulli<\/td><\/td><\/td>1954<\/td><\/td>60<\/td> <\/tr>\n
4775<\/td>188<\/td>unread<\/td>81<\/td>10117<\/td><\/td>4426<\/td><\/td>S. Skotner<\/td>Jul.Gjellerups forlag<\/td><\/td>1936<\/td><\/td>60<\/td> <\/tr>\n
4776<\/td>189<\/td>unread<\/td>82<\/td>10118<\/td><\/td>4427<\/td><\/td><\/td><\/td>Stockholm<\/td>1946<\/td><\/td>60<\/td> <\/tr>\n
4777<\/td>190<\/td>unread<\/td>81<\/td>10119<\/td><\/td>4428<\/td><\/td><\/td>C.A.Reizels forlag<\/td><\/td>1955<\/td><\/td>60<\/td> <\/tr>\n
4778<\/td>191<\/td>unread<\/td>82<\/td>10120<\/td><\/td>4429<\/td><\/td>Rolf Mortensen<\/td>Gerh. Ludvigsen forlag<\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
4779<\/td>192<\/td>unread<\/td>82<\/td>10121<\/td><\/td>4430<\/td><\/td>Rolf Mortensen<\/td>Gerh.Ludvigsen<\/td>Oslo<\/td><\/td><\/td>64<\/td> <\/tr>\n
4780<\/td>193<\/td>unread<\/td>82<\/td>10122<\/td><\/td>4431<\/td><\/td>Gunnar Nyman<\/td>Landby & Lundgrens boktr.<\/td><\/td>1936<\/td><\/td>59<\/td> <\/tr>\n
4781<\/td>194<\/td>unread<\/td>88<\/td>10123<\/td><\/td>4432<\/td>The Ambrotype old & new<\/td>Thomas Feldvebel<\/td>Graphic arts research center<\/td><\/td>1980<\/td>ISBN 0-89938-001-8.<\/td>48<\/td> <\/tr>\n
4782<\/td>195<\/td>unread<\/td>88<\/td>10124<\/td><\/td>4433<\/td>Die Aufgehobene zeit<\/td>William Henry Fox Talbot<\/td><\/td><\/td>1989<\/td><\/td>59<\/td> <\/tr>\n
4783<\/td>196<\/td>unread<\/td>88<\/td>10125<\/td><\/td>4434<\/td>American photo-graphs<\/td>Walker Evans<\/td><\/td><\/td><\/td>The Museum of modern art<\/td>52<\/td> <\/tr>\n
4784<\/td>197<\/td>unread<\/td>88<\/td>10126<\/td><\/td>4435<\/td>Amerika<\/td>Henri Cartier - Bresson<\/td><\/td><\/td><\/td><\/td>41<\/td> <\/tr>\n
4785<\/td>198<\/td>unread<\/td>88<\/td>10127<\/td><\/td>4436<\/td>The American Annual of photography<\/td><\/td><\/td><\/td>1942<\/td><\/td>48<\/td> <\/tr>\n
4786<\/td>199<\/td>unread<\/td>88<\/td>10128<\/td><\/td>4437<\/td>American Annual of photography. vol 60.<\/td>Geo.H.Ellis<\/td><\/td>Boston, Massachusetts<\/td><\/td><\/td>48<\/td> <\/tr>\n
4787<\/td>200<\/td>unread<\/td>88<\/td>10129<\/td><\/td>4438<\/td>The American annual of fotography 1947<\/td><\/td><\/td><\/td>1948<\/td><\/td>48<\/td> <\/tr>\n
4788<\/td>201<\/td>unread<\/td>88<\/td>10130<\/td><\/td>4439<\/td>Amerikanske billeder<\/td>Jacob Holdt<\/td>Informations forlag<\/td><\/td>1978<\/td>ISBN 87 87498 46 4.<\/td>55<\/td> <\/tr>\n
4789<\/td>202<\/td>unread<\/td>84<\/td>10131<\/td><\/td>4440<\/td>An ages of cameras<\/td>Edward Holmes<\/td>Fountain Press<\/td><\/td>1974<\/td><\/td>76<\/td> <\/tr>\n
4790<\/td>203<\/td>unread<\/td>88<\/td>10132<\/td><\/td>4441<\/td>H.C.Andersen- Et liv i billeder<\/td>Niels Oxenvad<\/td><\/td><\/td>1995<\/td><\/td>42<\/td> <\/tr>\n
4791<\/td>204<\/td>unread<\/td>88<\/td>10133<\/td><\/td>4442<\/td>Svinedrengen<\/td>H.C.Andersen<\/td><\/td><\/td><\/td><\/td>51<\/td> <\/tr>\n
4792<\/td>205<\/td>unread<\/td>84<\/td>10134<\/td><\/td>4443<\/td>The technique pictorial photography<\/td>Paul L. Andersen<\/td>Lippincott Company<\/td>USA<\/td>1917<\/td><\/td>72<\/td> <\/tr>\n
4793<\/td>206<\/td>unread<\/td>82<\/td>10135<\/td><\/td>4444<\/td><\/td><\/td>Wallin & Dalholm<\/td><\/td>1987<\/td>ISBN 91-7970-043-8.<\/td>57<\/td> <\/tr>\n
4794<\/td>207<\/td>unread<\/td>81<\/td>10136<\/td><\/td>4445<\/td>Mikroskopet<\/td>Margaret Anderson<\/td>Lademann Forlagsaktieselskab<\/td><\/td>1965<\/td><\/td>59<\/td> <\/tr>\n
4795<\/td>208<\/td>unread<\/td>81<\/td>10137<\/td><\/td>4446<\/td>Naturfotografering<\/td>A.R.Andersson<\/td>J.Fr.Clausens forlag<\/td><\/td>1962<\/td><\/td>64<\/td> <\/tr>\n
4796<\/td>209<\/td>unread<\/td>81<\/td>10138<\/td><\/td>4447<\/td><\/td>P.Olof Sundman<\/td><\/td><\/td>1968<\/td><\/td>64<\/td> <\/tr>\n
4797<\/td>210<\/td>unread<\/td>97<\/td>10139<\/td>Fototidsskrifter (dansk)<\/td>4448<\/td><\/td>Poul Thorsen<\/td><\/td><\/td>1948<\/td>Tidsskrift for skole og hjem.<\/td>64<\/td> <\/tr>\n
4798<\/td>211<\/td>unread<\/td>81<\/td>10140<\/td><\/td>4449<\/td>Danmarks historie i billeder<\/td><\/td>Gyldendal<\/td><\/td>1968<\/td><\/td>75<\/td> <\/tr>\n
4799<\/td>212<\/td>unread<\/td>88<\/td>10141<\/td><\/td>4450<\/td>Angeniux<\/td>A.Bergala. C.Nori<\/td>Contrejour<\/td>Paris<\/td>1984<\/td><\/td>0<\/td> <\/tr>\n
4800<\/td>213<\/td>unread<\/td>83<\/td>10142<\/td><\/td>4451<\/td>Hasselblad praktikum<\/td>Toni Angermayer<\/td><\/td><\/td>1975<\/td><\/td>66<\/td> <\/tr>\n
4801<\/td>214<\/td>unread<\/td>83<\/td>10143<\/td><\/td>4452<\/td>Wissenschatliche photographie<\/td>Dr. E. Angerer<\/td>Geest & Portig<\/td>Leipzig<\/td>1950<\/td><\/td>84<\/td> <\/tr>\n
4802<\/td>215<\/td>unread<\/td>83<\/td>10144<\/td><\/td>4453<\/td>Technische kunstgriffe bei physikalische<\/td>Dr.Ernst von Angere<\/td><\/td>Braunschweig<\/td>1928<\/td><\/td>84<\/td> <\/tr>\n
4803<\/td>216<\/td>unread<\/td>83<\/td>10145<\/td><\/td>4454<\/td>Angewandte fotografie bind 1<\/td><\/td>Grossbild - Technik GMBH<\/td>Tyskland<\/td>1976<\/td><\/td>75<\/td> <\/tr>\n
4804<\/td>217<\/td>unread<\/td>83<\/td>10146<\/td><\/td>4455<\/td>Angewandte fotografie bind 2<\/td><\/td>Grossbild - Technik Gmbh<\/td>Tyskland<\/td>1977<\/td><\/td>75<\/td> <\/tr>\n
4805<\/td>218<\/td>unread<\/td>83<\/td>10147<\/td><\/td>4456<\/td>Angewandte fotografie<\/td><\/td>Grossbild - Technik GMBH<\/td><\/td>1960<\/td><\/td>75<\/td> <\/tr>\n
4806<\/td>219<\/td>unread<\/td>83<\/td>10148<\/td><\/td>4457<\/td>Anleitung zur mikrophotographie<\/td>L.Heim \/ F. Skell<\/td><\/td><\/td>1931<\/td><\/td>65<\/td> <\/tr>\n
4807<\/td>220<\/td>unread<\/td>88<\/td>10149<\/td><\/td>4458<\/td>Anne Marie - Fra princesse til dronning<\/td><\/td>Illustrationsforlaget<\/td><\/td><\/td><\/td>47<\/td> <\/tr>\n
4808<\/td>221<\/td>unread<\/td>88<\/td>10150<\/td><\/td>4459<\/td>Animal location<\/td>Eadweard Muybridge<\/td><\/td><\/td><\/td><\/td>47<\/td> <\/tr>\n
4809<\/td>222<\/td>unread<\/td>83<\/td>10151<\/td><\/td>4460<\/td>Anleitung zur photographie. nr.120<\/td>G.Pizzighelli<\/td>Lindemanns verlag<\/td>Stuttgart<\/td>1992<\/td><\/td>84<\/td> <\/tr>\n
4810<\/td>223<\/td>unread<\/td>83<\/td>10152<\/td><\/td>4461<\/td>Anleitung zur photographie<\/td>G.Pizzighelli<\/td>Wilhelm Knapp verlag<\/td>Florenz<\/td>1898<\/td><\/td>84<\/td> <\/tr>\n
4811<\/td>224<\/td>unread<\/td>83<\/td>10153<\/td><\/td>4462<\/td>Anleitung zur photographie<\/td>G.Pizzighelli<\/td>Verlag von Wilhelm Knapp<\/td>Halle<\/td>1908<\/td><\/td>84<\/td> <\/tr>\n
4812<\/td>225<\/td>unread<\/td>84<\/td>10154<\/td><\/td>4463<\/td>Retouching<\/td>Anne J. Anthony<\/td><\/td><\/td><\/td><\/td>69<\/td> <\/tr>\n
4813<\/td>226<\/td>unread<\/td>88<\/td>10155<\/td><\/td>4464<\/td>Any time is camera time<\/td>Snowdon<\/td><\/td><\/td><\/td><\/td>53<\/td> <\/tr>\n
4814<\/td>227<\/td>unread<\/td>84<\/td>10156<\/td><\/td>4465<\/td>Applied Leica Technique<\/td><\/td>Umschau Verlag<\/td><\/td>1984<\/td>ISBN 3-524-68014-3<\/td>59<\/td> <\/tr>\n
4815<\/td>228<\/td>unread<\/td>83<\/td>10157<\/td><\/td>4466<\/td>Arbeiten mit kleinen kameras<\/td>P.Hanneke<\/td>Wilhelm Knapp<\/td>Halle<\/td>1928<\/td><\/td>65<\/td> <\/tr>\n
4816<\/td>229<\/td>unread<\/td>83<\/td>10158<\/td><\/td>4467<\/td>Arbeiten mit Rollfilms<\/td><\/td>Wilhelm Knapp<\/td>Halle<\/td>1904<\/td><\/td>78<\/td> <\/tr>\n
4817<\/td>230<\/td>unread<\/td>84<\/td>10159<\/td><\/td>4468<\/td>Portraiture<\/td>Fred Archer<\/td>The Mercury Press<\/td>San Francisco<\/td>1948<\/td><\/td>72<\/td> <\/tr>\n
4818<\/td>231<\/td>unread<\/td>88<\/td>10160<\/td><\/td>4469<\/td>Architektur fotografie<\/td><\/td>Grossbild Technik<\/td><\/td>1964<\/td><\/td>51<\/td> <\/tr>\n
4819<\/td>232<\/td>unread<\/td>88<\/td>10161<\/td><\/td>4470<\/td>Arkitektur og billedkunst<\/td><\/td>Th.Laursen bogtrykkeri<\/td><\/td>1970<\/td><\/td>46<\/td> <\/tr>\n
4820<\/td>233<\/td>unread<\/td>88<\/td>10162<\/td><\/td>4471<\/td>Archival survival of photographs<\/td>Jesper Stub Johnsen<\/td><\/td>Sverige<\/td>1996<\/td><\/td>43<\/td> <\/tr>\n
4821<\/td>234<\/td>unread<\/td>81<\/td>10163<\/td><\/td>4472<\/td>Arkivering af billeder<\/td>Hans Berggren<\/td><\/td><\/td>1980<\/td><\/td>57<\/td> <\/tr>\n
4822<\/td>235<\/td>unread<\/td>88<\/td>10164<\/td><\/td>4473<\/td>Impresion en positivo<\/td>Arles<\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
4823<\/td>236<\/td>unread<\/td>81<\/td>10165<\/td><\/td>4474<\/td><\/td>Svend Arnholtz<\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
4824<\/td>237<\/td>unread<\/td>81<\/td>10166<\/td><\/td>4475<\/td><\/td>Svend Arnholtz<\/td><\/td><\/td>1977<\/td>Kopi.<\/td>64<\/td> <\/tr>\n
4825<\/td>238<\/td>unread<\/td>81<\/td>10167<\/td><\/td>4476<\/td>Jeg fotografere<\/td>Erni Arneson<\/td>Koba forlaget<\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
4826<\/td>239<\/td>unread<\/td>88<\/td>10168<\/td><\/td>4477<\/td>The art of the Daguerreotype<\/td>Stefan Richter<\/td><\/td><\/td>1989<\/td><\/td>48<\/td> <\/tr>\n
4827<\/td>240<\/td>unread<\/td>84<\/td>10169<\/td><\/td>4478<\/td>Chaplins films<\/td>Uno Asplund<\/td><\/td><\/td>1971<\/td><\/td>64<\/td> <\/tr>\n
4828<\/td>241<\/td>unread<\/td>88<\/td>10170<\/td><\/td>4479<\/td>Art directors index to photographers<\/td><\/td>Rotovision<\/td>Geneve<\/td><\/td>Engelsk \/ Fransk \/ Tysk.<\/td>48<\/td> <\/tr>\n
4829<\/td>242<\/td>unread<\/td>88<\/td>10171<\/td><\/td>4480<\/td>Art in photography<\/td>Charles Holme<\/td>Offices of the studio<\/td>London<\/td>1905<\/td><\/td>48<\/td> <\/tr>\n
4830<\/td>243<\/td>unread<\/td>88<\/td>10172<\/td><\/td>4481<\/td>Corpo in Scena<\/td>Vasco Ascolini<\/td><\/td><\/td>1987<\/td>Italiensk \/ Engelsk.<\/td>49<\/td> <\/tr>\n
4831<\/td>244<\/td>unread<\/td>83<\/td>10173<\/td><\/td>4482<\/td>Atelier und Apparat des photographen<\/td>Otto Buehler<\/td><\/td>Hannover<\/td>1994<\/td><\/td>81<\/td> <\/tr>\n
4832<\/td>245<\/td>unread<\/td>88<\/td>10174<\/td><\/td>4483<\/td>Athens 1839-1900. A photographic record<\/td><\/td><\/td><\/td><\/td>Benaki Museum 1985<\/td>82<\/td> <\/tr>\n
4833<\/td>246<\/td>unread<\/td>88<\/td>10175<\/td><\/td>4484<\/td>Atlantis<\/td>Lajos Keresztes<\/td><\/td><\/td><\/td>Engelsk \/ Tysk \/ Fransk.<\/td>72<\/td> <\/tr>\n
4834<\/td>247<\/td>unread<\/td>88<\/td>10176<\/td><\/td>4485<\/td>Arts Plastiques<\/td><\/td><\/td>Barcelona<\/td><\/td>Biennal 91.<\/td>51<\/td> <\/tr>\n
4835<\/td>248<\/td>unread<\/td>83<\/td>10177<\/td><\/td>4486<\/td>Aufnamhe und regie<\/td>Hellmuth Lange<\/td><\/td><\/td><\/td><\/td>67<\/td> <\/tr>\n
4836<\/td>249<\/td>unread<\/td>88<\/td>10178<\/td><\/td>4487<\/td>Mit livs album<\/td>Frederik R. (Audiens)<\/td><\/td><\/td><\/td>Margrethe \/ Benedikte \/ Anne-Marie.<\/td>47<\/td> <\/tr>\n
4837<\/td>250<\/td>unread<\/td>83<\/td>10179<\/td><\/td>4488<\/td>Kameras gestern und heute.<\/td>Michel Auer<\/td><\/td><\/td>1975<\/td>Edita - Lausanne. Reg. 01.<\/td>0<\/td> <\/tr>\n
4838<\/td>251<\/td>unread<\/td>83<\/td>10180<\/td><\/td>4489<\/td>Camera Cine Ameteur<\/td>Michel Auer og Michele Ory<\/td><\/td><\/td>1979<\/td>Reg 01.<\/td>0<\/td> <\/tr>\n
4839<\/td>252<\/td>unread<\/td>83<\/td>10181<\/td><\/td>4490<\/td>Kameras gestern und heute<\/td>Michel Auer<\/td>Heering Verlag<\/td><\/td><\/td><\/td>58<\/td> <\/tr>\n
4840<\/td>253<\/td>unread<\/td>83<\/td>10182<\/td><\/td>4491<\/td>Encyclopdie Internationale des photograp<\/td>Michel+Micel Auer<\/td><\/td>Hermance, Geneve<\/td>1985<\/td>A-K.<\/td>82<\/td> <\/tr>\n
4841<\/td>254<\/td>unread<\/td>83<\/td>10183<\/td><\/td>4492<\/td>Encyclopedie Internationale des photogra<\/td>Michele+michel Auer<\/td><\/td>Hermance, Geneve<\/td>1985<\/td>L-Z.<\/td>82<\/td> <\/tr>\n
4842<\/td>255<\/td>unread<\/td>83<\/td>10184<\/td><\/td>4493<\/td>Aufnahmetechnik<\/td>Rudolf Hans Hammer<\/td>Gottschammel U. Hammer<\/td>Wien<\/td>1939<\/td><\/td>65<\/td> <\/tr>\n
4843<\/td>256<\/td>unread<\/td>83<\/td>10185<\/td><\/td>4494<\/td>Aufnahme-Technik<\/td>Andreas Feininger<\/td>IM Heering Verlag<\/td>Harzburg 1936<\/td><\/td><\/td>66<\/td> <\/tr>\n
4844<\/td>257<\/td>unread<\/td>88<\/td>10186<\/td><\/td>4495<\/td>Augenblicke.Maler un Bildhauer<\/td>Erhard Wehrmann<\/td><\/td>Tyskland<\/td>1995<\/td>Fujifilm.<\/td>42<\/td> <\/tr>\n
4845<\/td>258<\/td>unread<\/td>85<\/td>10187<\/td><\/td>4496<\/td>Resumedes Travaux Scientifiques<\/td>Auguste & Lumiere<\/td>Lumiere & Jougla Reunis<\/td>Lyon, Paris.<\/td>1914<\/td><\/td>58<\/td> <\/tr>\n
4846<\/td>259<\/td>unread<\/td>88<\/td>10188<\/td><\/td>4497<\/td>Ongarri<\/td>Aurrez Aurre<\/td>ISBN<\/td><\/td>1997<\/td><\/td>53<\/td> <\/tr>\n
4847<\/td>260<\/td>unread<\/td>88<\/td>10189<\/td><\/td>4498<\/td>Ausstellungs-Katalog 1972<\/td><\/td>Photokina<\/td><\/td>1972<\/td><\/td>51<\/td> <\/tr>\n
4848<\/td>261<\/td>unread<\/td>84<\/td>10190<\/td><\/td>4499<\/td>Autotype. Color printing<\/td><\/td><\/td>London<\/td><\/td><\/td>84<\/td> <\/tr>\n
4849<\/td>262<\/td>unread<\/td>83<\/td>10191<\/td><\/td>4500<\/td><\/td>Josef Maria Eder<\/td>Wilhelm Knapp<\/td>Halle<\/td>1902<\/td><\/td>65<\/td> <\/tr>\n
4850<\/td>263<\/td>unread<\/td>88<\/td>10192<\/td><\/td>4501<\/td>Autochrome<\/td>Jacques-Henri Lartigue<\/td>Swan Verlag GmbH,Kehl Am Rhein<\/td><\/td>1981<\/td>ISBN 3-88230-020-5.<\/td>51<\/td> <\/tr>\n
4851<\/td>264<\/td>unread<\/td>82<\/td>10193<\/td><\/td>4502<\/td><\/td>E.Niels Azelius<\/td>Vepe forlag<\/td>Stockholm<\/td><\/td><\/td>60<\/td> <\/tr>\n
4852<\/td>265<\/td>unread<\/td>88<\/td>10194<\/td><\/td>4503<\/td><\/td>Jette Bang<\/td>Steen Hasselbalchs forlag<\/td><\/td>1941<\/td><\/td>43<\/td> <\/tr>\n
4853<\/td>266<\/td>unread<\/td>82<\/td>10195<\/td><\/td>4504<\/td>Fotografisk Handbok. Bind 1<\/td><\/td>Bokforlaget Natur & Kultur<\/td>Stockholm<\/td>1942<\/td><\/td>58<\/td> <\/tr>\n
4854<\/td>267<\/td>unread<\/td>82<\/td>10196<\/td><\/td>4505<\/td>Fotografisk Handbok. Bind 2<\/td><\/td>Bokforlaget Natur & Kultur<\/td>Stockholm<\/td>1942<\/td><\/td>58<\/td> <\/tr>\n
4855<\/td>268<\/td>unread<\/td>82<\/td>10197<\/td><\/td>4506<\/td>Larobok i fotografi<\/td><\/td><\/td>Stockholm<\/td>1936<\/td><\/td>61<\/td> <\/tr>\n
4856<\/td>269<\/td>unread<\/td>82<\/td>10198<\/td><\/td>4507<\/td>Fototips och fototricks<\/td><\/td><\/td>Stockholm<\/td>1943<\/td><\/td>61<\/td> <\/tr>\n
4857<\/td>270<\/td>unread<\/td>82<\/td>10199<\/td><\/td>4508<\/td>Fototips & Fototricks<\/td><\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
4858<\/td>271<\/td>unread<\/td>82<\/td>10200<\/td><\/td>4509<\/td>Smalfilmaren 1937-1940<\/td><\/td><\/td>Stockholm<\/td>1937<\/td><\/td>74<\/td> <\/tr>\n
4859<\/td>272<\/td>unread<\/td>82<\/td>10201<\/td><\/td>4510<\/td>Smalfilmaren 1941-1945<\/td><\/td><\/td>Stockholm<\/td>1941<\/td><\/td>74<\/td> <\/tr>\n
4860<\/td>273<\/td>unread<\/td>81<\/td>10202<\/td><\/td>4511<\/td><\/td>Hugh Baddeley<\/td>Skrifola<\/td><\/td>1958<\/td><\/td>74<\/td> <\/tr>\n
4861<\/td>274<\/td>unread<\/td>81<\/td>10203<\/td><\/td>4512<\/td><\/td>Hugh Baddeley<\/td>Skrifola<\/td><\/td>1962<\/td><\/td>74<\/td> <\/tr>\n
4862<\/td>275<\/td>unread<\/td>83<\/td>10204<\/td><\/td>4513<\/td>Bader und rezepte<\/td>Gevaert<\/td>Gevaert photo-produktion<\/td>Belgien<\/td><\/td><\/td>59<\/td> <\/tr>\n
4863<\/td>276<\/td>unread<\/td>88<\/td>10205<\/td><\/td>4514<\/td>Photograms of the year 1945<\/td>H.Baines. E.Holding<\/td>The Amateur Photographer<\/td>London<\/td>1945<\/td><\/td>50<\/td> <\/tr>\n
4864<\/td>277<\/td>unread<\/td>88<\/td>10206<\/td><\/td>4515<\/td>Photograms of the year 1946<\/td>H.Baines. R.Mason<\/td>The Amateur photographer<\/td>London<\/td>1946<\/td><\/td>50<\/td> <\/tr>\n
4865<\/td>278<\/td>unread<\/td>84<\/td>10207<\/td><\/td>4516<\/td>The story of a face<\/td>Hillary G. Bailey<\/td>Camera Craft Publishing.The Mercury Pres<\/td>San Francisco<\/td>1938<\/td><\/td>72<\/td> <\/tr>\n
4866<\/td>279<\/td>unread<\/td>88<\/td>10208<\/td><\/td>4517<\/td>Platteland<\/td>Roger Ballen<\/td>William Waterman Publications<\/td>South Africa<\/td>1994<\/td><\/td>42<\/td> <\/tr>\n
4867<\/td>280<\/td>unread<\/td>88<\/td>10209<\/td><\/td>4518<\/td>Louisiana 1995<\/td>Lewis Baltz<\/td><\/td><\/td><\/td><\/td>42<\/td> <\/tr>\n
4868<\/td>281<\/td>unread<\/td>81<\/td>10210<\/td><\/td>4519<\/td>Table top<\/td>Hjalmer Bardason<\/td>Belgisk import compagni<\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
4869<\/td>282<\/td>unread<\/td>88<\/td>10211<\/td><\/td>4520<\/td><\/td>John Barbour<\/td>J.H.Schultz bogtrykkeri<\/td><\/td>1969<\/td><\/td>48<\/td> <\/tr>\n
4870<\/td>283<\/td>unread<\/td>88<\/td>10212<\/td><\/td>4521<\/td>Kong Christian IX. 2.bind 1888-1906<\/td>H.P.B.Barfod<\/td>H.Hagerup forlag<\/td><\/td>1906<\/td><\/td>45<\/td> <\/tr>\n
4871<\/td>284<\/td>unread<\/td>88<\/td>10213<\/td><\/td>4522<\/td>Kong Christian IX.<\/td>H.P.B.Barfod<\/td>Hagerups forlag<\/td><\/td>1888<\/td><\/td>45<\/td> <\/tr>\n
4872<\/td>285<\/td>unread<\/td>84<\/td>10214<\/td><\/td>4523<\/td>Baron<\/td>Baron<\/td>Frederick Muller Ltd<\/td><\/td>1957<\/td><\/td>64<\/td> <\/tr>\n
4873<\/td>286<\/td>unread<\/td>86<\/td>10215<\/td><\/td>4524<\/td>Kuribayashi - Petri - Cameras<\/td>John R. Baird<\/td><\/td><\/td><\/td>REG. 06.<\/td>0<\/td> <\/tr>\n
4874<\/td>287<\/td>unread<\/td>83<\/td>10216<\/td><\/td>4525<\/td>Optik perspektive<\/td>Wolfgang Baier<\/td>Fachbuchverlag<\/td>Leipzig<\/td>1957<\/td><\/td>68<\/td> <\/tr>\n
4875<\/td>288<\/td>unread<\/td>83<\/td>10217<\/td><\/td>4526<\/td>Raumbild-Fotografie<\/td>Andor Barsy<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1943<\/td><\/td>69<\/td> <\/tr>\n
4876<\/td>289<\/td>unread<\/td>88<\/td>10218<\/td><\/td>4527<\/td>Photographie heute<\/td>G.Basner\/ B.Lohse\/ N.Reuter<\/td>Umschau Verlag<\/td>Frankfurt Am Main<\/td>1958<\/td><\/td>52<\/td> <\/tr>\n
4877<\/td>290<\/td>unread<\/td>83<\/td>10219<\/td><\/td>4528<\/td><\/td>Fred Lullack<\/td>Verlag Wilhelm Knapp<\/td><\/td><\/td><\/td>81<\/td> <\/tr>\n
4878<\/td>291<\/td>unread<\/td>84<\/td>10220<\/td><\/td>4529<\/td>35mm single lens.Reflex manual<\/td>Gordan G. Bates<\/td>Fountain Press<\/td>London<\/td>1964<\/td><\/td>72<\/td> <\/tr>\n
4879<\/td>292<\/td>unread<\/td>84<\/td>10221<\/td><\/td>4530<\/td>35mm cameras and how to use them.<\/td>Gordan G.Bates<\/td>Fountain Press<\/td>London<\/td>1962<\/td><\/td>79<\/td> <\/tr>\n
4880<\/td>293<\/td>unread<\/td>88<\/td>10222<\/td><\/td>4531<\/td>Meine Berge meine kamera<\/td>Ernst Baumann<\/td>Heering Verlag<\/td>Harzburg<\/td>1935<\/td><\/td>52<\/td> <\/tr>\n
4881<\/td>294<\/td>unread<\/td>84<\/td>10223<\/td><\/td>4532<\/td>Photographic Enlarging<\/td>R.Child Bayley<\/td>Iliffe & Sons Ltd<\/td>London<\/td>1910<\/td><\/td>71<\/td> <\/tr>\n
4882<\/td>295<\/td>unread<\/td>84<\/td>10224<\/td><\/td>4533<\/td>British Photographers<\/td>Cecil Beaton<\/td>William Collins of London<\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
4883<\/td>296<\/td>unread<\/td>83<\/td>10225<\/td><\/td>4534<\/td>Das grose AGFA labor handbuch<\/td>H.Beck \/ Westendorf<\/td>Photokina Verlag Hellmut Elsner<\/td><\/td>1938<\/td><\/td>65<\/td> <\/tr>\n
4884<\/td>297<\/td>unread<\/td>83<\/td>10226<\/td><\/td>4535<\/td>Das grose Agfa labor handbuch<\/td>H.Beck \/ H.Westendorf<\/td>Photokina- Verlag Hellmut Elsner<\/td><\/td>1941<\/td><\/td>66<\/td> <\/tr>\n
4885<\/td>298<\/td>unread<\/td>83<\/td>10227<\/td><\/td>4536<\/td>Das grose Agfa labor handbuch<\/td>H.Beck \/ H. Westendorf<\/td>Photokino-Verlag Hellmut Elsner<\/td><\/td>1942<\/td><\/td>66<\/td> <\/tr>\n
4886<\/td>299<\/td>unread<\/td>83<\/td>10228<\/td><\/td>4537<\/td>Das grose Agfa labor handbuch.<\/td>H.Bech \/ H. Westendorf<\/td>Photokino- Verlag Hellmut Elsner<\/td><\/td>1949<\/td><\/td>66<\/td> <\/tr>\n
4887<\/td>300<\/td>unread<\/td>83<\/td>10229<\/td><\/td>4538<\/td>Das grose Agfa labor handbuch<\/td>H.Beck \/ H Westendorf<\/td>Karl Knapp verlag<\/td><\/td>1951<\/td><\/td>66<\/td> <\/tr>\n
4888<\/td>301<\/td>unread<\/td>83<\/td>10230<\/td><\/td>4539<\/td>Bedeutung der Photographie<\/td>Eduard Schloemann<\/td>Umschau Verlag<\/td>Frankfurt Am Main<\/td>1951<\/td><\/td>65<\/td> <\/tr>\n
4889<\/td>302<\/td>unread<\/td>81<\/td>10231<\/td><\/td>4540<\/td>Bedre billeder<\/td><\/td>Jul Gjellerup forlag<\/td><\/td>1947<\/td><\/td>60<\/td> <\/tr>\n
4890<\/td>303<\/td>unread<\/td>88<\/td>10232<\/td><\/td>4541<\/td>Bedre billeder<\/td><\/td>Th.Lauersen bogtrykkeri<\/td><\/td>1974<\/td>ISBN 87-7047-073-1.<\/td>46<\/td> <\/tr>\n
4891<\/td>304<\/td>unread<\/td>81<\/td>10233<\/td><\/td>4542<\/td><\/td>Roar Bryhn<\/td>C.A.Reitzels forlag<\/td><\/td>1957<\/td><\/td>81<\/td> <\/tr>\n
4892<\/td>305<\/td>unread<\/td>81<\/td>10234<\/td><\/td>4543<\/td>Begynderfoto<\/td>Michael Langford<\/td><\/td><\/td>1980<\/td><\/td>83<\/td> <\/tr>\n
4893<\/td>306<\/td>unread<\/td>81<\/td>10235<\/td><\/td>4544<\/td>Belgisk import compagni<\/td><\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
4894<\/td>307<\/td>unread<\/td>83<\/td>10236<\/td><\/td>4545<\/td>Belichten ist Alles<\/td>Sepp Gopp<\/td>Palm und Enke, erlangen<\/td><\/td>1939<\/td><\/td>73<\/td> <\/tr>\n
4895<\/td>308<\/td>unread<\/td>83<\/td>10237<\/td><\/td>4546<\/td>Die Belichtungsmesser<\/td>Rich.Herm.Blochmann<\/td>Wilhelm Knapp Verlag<\/td>Berlin<\/td>1916<\/td><\/td>83<\/td> <\/tr>\n
4896<\/td>309<\/td>unread<\/td>81<\/td>10238<\/td><\/td>4547<\/td>Belysnings teknik<\/td>W.Nurnberg<\/td>Skrifola<\/td><\/td>1960<\/td><\/td>59<\/td> <\/tr>\n
4897<\/td>310<\/td>unread<\/td>88<\/td>10239<\/td><\/td>4548<\/td><\/td>Mogens Bencard<\/td>Vestkysten bogtrykkeri<\/td>Esbjerg<\/td>1977<\/td>ISBN.87-87490-269.<\/td>46<\/td> <\/tr>\n
4898<\/td>311<\/td>unread<\/td>81<\/td>10240<\/td><\/td>4549<\/td>Fotoinspiration<\/td>Wermund Bendtsen<\/td>Skandinavisk forlag<\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
4899<\/td>312<\/td>unread<\/td>88<\/td>10241<\/td><\/td>4550<\/td>Mein leben mit der Leica<\/td>Walther Benser<\/td>Lindemanns Verlag<\/td><\/td>1990<\/td><\/td>43<\/td> <\/tr>\n
4900<\/td>313<\/td>unread<\/td>88<\/td>10242<\/td><\/td>4551<\/td>Farvefotografering i praksis<\/td>Walther Benser<\/td>Skrifola<\/td><\/td>1956<\/td><\/td>54<\/td> <\/tr>\n
4901<\/td>314<\/td>unread<\/td>81<\/td>10243<\/td><\/td>4552<\/td>Information foto.Reisen mit der kamera<\/td>Walther Benser<\/td>Dr.Diener verlag<\/td><\/td>1968<\/td><\/td>64<\/td> <\/tr>\n
4902<\/td>315<\/td>unread<\/td>81<\/td>10244<\/td><\/td>4553<\/td>Vi fotografere i farver<\/td>Walther Benser<\/td>Skrifola<\/td><\/td>1958<\/td><\/td>64<\/td> <\/tr>\n
4903<\/td>316<\/td>unread<\/td>81<\/td>10245<\/td><\/td>4554<\/td>Farvefotografering<\/td>Walther Benser<\/td>Skrifola<\/td><\/td>1956<\/td><\/td>60<\/td> <\/tr>\n
4904<\/td>317<\/td>unread<\/td>83<\/td>10246<\/td><\/td>4555<\/td>Farbiges photographieren<\/td>Walther Benser<\/td>Apollo Verlag<\/td><\/td>1954<\/td><\/td>68<\/td> <\/tr>\n
4905<\/td>318<\/td>unread<\/td>88<\/td>10247<\/td><\/td>4556<\/td>Danske billeder<\/td>Bente Herman<\/td>M.P.Madsens Boghandel<\/td><\/td>1918<\/td><\/td>46<\/td> <\/tr>\n
4906<\/td>319<\/td>unread<\/td>88<\/td>10248<\/td><\/td>4557<\/td><\/td>Flemming Berendt<\/td>Dansk Fotografisk Selskab<\/td><\/td>1984<\/td><\/td>51<\/td> <\/tr>\n
4907<\/td>320<\/td>unread<\/td>88<\/td>10249<\/td><\/td>4558<\/td>Berlin. Ciudad Dividida<\/td>Francisco Molto<\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
4908<\/td>321<\/td>unread<\/td>81<\/td>10250<\/td><\/td>4559<\/td><\/td>Hans Berggreen<\/td><\/td><\/td>1986<\/td><\/td>57<\/td> <\/tr>\n
4909<\/td>322<\/td>unread<\/td>81<\/td>10251<\/td><\/td>4560<\/td><\/td>Marie-Louise Berner<\/td><\/td><\/td>1986<\/td>Det Kgl.Bibliotek.<\/td>57<\/td> <\/tr>\n
4910<\/td>323<\/td>unread<\/td>88<\/td>10252<\/td><\/td>4561<\/td>The Pioneers of photography 1840-1900<\/td>Carlo Bertelli<\/td>Idea books Edizioni<\/td><\/td>1988<\/td>Engelsk \/ Italiensk.<\/td>50<\/td> <\/tr>\n
4911<\/td>324<\/td>unread<\/td>88<\/td>10253<\/td><\/td>4562<\/td>Das endlose rad photographie in Indien<\/td>Tim Besserer \/ Dieter Koeve<\/td>Unionsverlag<\/td><\/td>1987<\/td><\/td>51<\/td> <\/tr>\n
4912<\/td>325<\/td>unread<\/td>83<\/td>10254<\/td><\/td>4563<\/td>Besser Werben-mehr verkaufen<\/td>Hugo Kaspar<\/td>Verlag von Wilhelm Knapp<\/td>Halle<\/td>1938<\/td><\/td>65<\/td> <\/tr>\n
4913<\/td>326<\/td>unread<\/td>83<\/td>10255<\/td><\/td>4564<\/td>Was aus fotos<\/td>Hanns Bettin<\/td>Verlag Wilhelm Knapp<\/td>Halle<\/td>1940<\/td><\/td>79<\/td> <\/tr>\n
4914<\/td>327<\/td>unread<\/td>83<\/td>10256<\/td><\/td>4565<\/td>Fotorat:Dunkelkammer<\/td>Hanns Bettin<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1935<\/td><\/td>79<\/td> <\/tr>\n
4915<\/td>328<\/td>unread<\/td>83<\/td>10257<\/td><\/td>4566<\/td>Diapositiv-Technik<\/td>Hanns Bettin<\/td>Wilhelm Knapp<\/td>Tyskland<\/td>1942<\/td><\/td>66<\/td> <\/tr>\n
4916<\/td>329<\/td>unread<\/td>81<\/td>10258<\/td><\/td>4567<\/td>Bevar for fremtiden Sophienholm<\/td><\/td>Illuprint<\/td><\/td>1983<\/td>ISBN.87-87883-09-0.<\/td>57<\/td> <\/tr>\n
4917<\/td>330<\/td>unread<\/td>82<\/td>10259<\/td><\/td>4568<\/td>Fotografi i fortid og fremtid<\/td><\/td><\/td><\/td>1992<\/td>Bevaring af fotografier.<\/td>57<\/td> <\/tr>\n
4918<\/td>331<\/td>unread<\/td>81<\/td>10260<\/td><\/td>4569<\/td><\/td><\/td>Christian Ejlers forlag<\/td><\/td>1986<\/td><\/td>57<\/td> <\/tr>\n
4919<\/td>332<\/td>unread<\/td>83<\/td>10261<\/td><\/td>4570<\/td>Det kongelige bibliotek<\/td><\/td><\/td><\/td><\/td>REG.57<\/td>0<\/td> <\/tr>\n
4920<\/td>333<\/td>unread<\/td>81<\/td>10262<\/td><\/td>4571<\/td><\/td><\/td>Kgl.Bibl.tryk<\/td><\/td>1982<\/td>ISBN.0105-3167. UDST.KAT.57.<\/td>0<\/td> <\/tr>\n
4921<\/td>334<\/td>unread<\/td>88<\/td>10263<\/td><\/td>4572<\/td>Bilder<\/td><\/td>Dagens nyheters tryckeri<\/td><\/td>1968<\/td><\/td>52<\/td> <\/tr>\n
4922<\/td>335<\/td>unread<\/td>83<\/td>10264<\/td><\/td>4573<\/td>Bild-lehrbuch der fotografie<\/td>Otto Croy<\/td>Wilhelm Knapp<\/td>Halle<\/td>1941<\/td><\/td>65<\/td> <\/tr>\n
4923<\/td>336<\/td>unread<\/td>83<\/td>10265<\/td><\/td>4574<\/td>Bildlehrbuch der fotografie<\/td>Otto Croy<\/td>Wilhelm Knapp<\/td>Halle<\/td>1943<\/td><\/td>65<\/td> <\/tr>\n
4924<\/td>337<\/td>unread<\/td>88<\/td>10266<\/td><\/td>4575<\/td>Toscani<\/td>Billboards<\/td><\/td><\/td><\/td><\/td>53<\/td> <\/tr>\n
4925<\/td>338<\/td>unread<\/td>88<\/td>10267<\/td><\/td>4576<\/td>Billeder til tiden. 1948-88 Tiderne skif<\/td>Gregers Nielsen<\/td>Forlaget Tiderne skifter<\/td><\/td>1988<\/td><\/td>42<\/td> <\/tr>\n
4926<\/td>339<\/td>unread<\/td>82<\/td>10268<\/td><\/td>4577<\/td><\/td>Irene Mattsson<\/td><\/td>Malung<\/td>1979<\/td><\/td>57<\/td> <\/tr>\n
4927<\/td>340<\/td>unread<\/td>88<\/td>10269<\/td><\/td>4578<\/td><\/td>Alfred Person<\/td>H.Bechhold verlag<\/td>Frankfurt Am Main<\/td>1935<\/td><\/td>52<\/td> <\/tr>\n
4928<\/td>341<\/td>unread<\/td>88<\/td>10270<\/td><\/td>4579<\/td>Billedhuset<\/td><\/td><\/td><\/td><\/td>Scandinavian Photo Library A\/S.<\/td>51<\/td> <\/tr>\n
4929<\/td>342<\/td>unread<\/td>88<\/td>10271<\/td><\/td>4580<\/td>Italien<\/td>Stieg Trenter<\/td>Nordisk Rotogravyr<\/td>Stockholm<\/td>1949<\/td><\/td>52<\/td> <\/tr>\n
4930<\/td>343<\/td>unread<\/td>81<\/td>10272<\/td><\/td>4581<\/td><\/td><\/td><\/td><\/td><\/td>A\/S Film-Centralen-Palladium.<\/td>76<\/td> <\/tr>\n
4931<\/td>344<\/td>unread<\/td>83<\/td>10273<\/td><\/td>4582<\/td>Bildnisse Drinnen und Drassen<\/td><\/td>Wilhelm Knapp<\/td>Halle<\/td>1939<\/td><\/td>65<\/td> <\/tr>\n
4932<\/td>345<\/td>unread<\/td>88<\/td>10274<\/td><\/td>4583<\/td>Billeder fra Tyrkiet<\/td>Finn Larsen<\/td>Fingerprint<\/td><\/td>1985<\/td>ISBN.87-88727-10-6<\/td>46<\/td> <\/tr>\n
4933<\/td>346<\/td>unread<\/td>81<\/td>10275<\/td><\/td>4584<\/td>Billedkomposition<\/td><\/td><\/td><\/td>1944<\/td><\/td>60<\/td> <\/tr>\n
4934<\/td>347<\/td>unread<\/td>88<\/td>10276<\/td><\/td>4585<\/td>Billeder hvad med dem?<\/td><\/td>Skive Folkeblads Bogtrykkeri<\/td><\/td>1980<\/td><\/td>46<\/td> <\/tr>\n
4935<\/td>348<\/td>unread<\/td>81<\/td>10277<\/td><\/td>4586<\/td>14 Bilture<\/td>A.Poulsen<\/td>Herning Folkeblads bogtrykkeri.<\/td><\/td>1965<\/td><\/td>81<\/td> <\/tr>\n
4936<\/td>349<\/td>unread<\/td>81<\/td>10278<\/td><\/td>4587<\/td>Bitten<\/td>Bertha Holst<\/td><\/td><\/td>1921<\/td><\/td>81<\/td> <\/tr>\n
4937<\/td>350<\/td>unread<\/td>88<\/td>10279<\/td><\/td>4588<\/td><\/td>Linda Horowitz<\/td>Fotografisk center<\/td><\/td>1996<\/td><\/td>53<\/td> <\/tr>\n
4938<\/td>351<\/td>unread<\/td>88<\/td>10280<\/td><\/td>4589<\/td>Blende 12\/13<\/td><\/td>Prophoto GmbH<\/td>Frankfurt Am Main<\/td>1988<\/td><\/td>51<\/td> <\/tr>\n
4939<\/td>352<\/td>unread<\/td>88<\/td>10281<\/td><\/td>4590<\/td>Blende<\/td><\/td><\/td>Frankfurt<\/td>1990<\/td><\/td>75<\/td> <\/tr>\n
4940<\/td>353<\/td>unread<\/td>81<\/td>10282<\/td><\/td>4591<\/td>Blitz,flash og lamper.<\/td>H.S.de Kue<\/td><\/td><\/td>1974<\/td><\/td>83<\/td> <\/tr>\n
4941<\/td>354<\/td>unread<\/td>88<\/td>10283<\/td><\/td>4592<\/td>Blitz Systeme<\/td>Michael Huber<\/td>Laterna magica<\/td><\/td>1994<\/td><\/td>53<\/td> <\/tr>\n
4942<\/td>355<\/td>unread<\/td>84<\/td>10284<\/td><\/td>4593<\/td>Criminal Investigation and Evidence by p<\/td>Olaf Bloch<\/td>Ilford Limited<\/td>London<\/td><\/td><\/td>81<\/td> <\/tr>\n
4943<\/td>356<\/td>unread<\/td>81<\/td>10285<\/td><\/td>4594<\/td>Det er nemt at blitze<\/td>Gutsch og Krogmann<\/td>Braun AG forlag<\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
4944<\/td>357<\/td>unread<\/td>84<\/td>10286<\/td><\/td>4595<\/td>Workroom handbook<\/td>Sigismund Bluemann<\/td>Camera Craft Publishing<\/td>San Francisco<\/td>1933<\/td><\/td>72<\/td> <\/tr>\n
4945<\/td>358<\/td>unread<\/td>88<\/td>10287<\/td><\/td>4596<\/td>Spor - et folk og en fotograf i 1970erne<\/td>Morten Bo<\/td>Nyt Nordisk forlag Arnold Busck<\/td><\/td>1993<\/td><\/td>51<\/td> <\/tr>\n
4946<\/td>359<\/td>unread<\/td>88<\/td>10288<\/td><\/td>4597<\/td>The Body Beautiful.<\/td>Heyworth Cambell<\/td>Dodge Publishing Company<\/td>New York<\/td><\/td><\/td>48<\/td> <\/tr>\n
4947<\/td>360<\/td>unread<\/td>88<\/td>10289<\/td><\/td>4598<\/td>Bogen om Carlsberg<\/td><\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
4948<\/td>361<\/td>unread<\/td>81<\/td>10300<\/td><\/td>4599<\/td>Bogen om Rollei Flex<\/td>W.D.Emanuel<\/td><\/td><\/td><\/td><\/td>84<\/td> <\/tr>\n
4949<\/td>362<\/td>unread<\/td>81<\/td>10301<\/td><\/td>4600<\/td>Bogen om Contaflex<\/td>O.R.Croy<\/td>Skrifola<\/td><\/td>1956<\/td><\/td>60<\/td> <\/tr>\n
4950<\/td>363<\/td>unread<\/td>81<\/td>10302<\/td><\/td>4601<\/td>Bogen om Contina<\/td>W.D.Emanuel<\/td><\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
4951<\/td>364<\/td>unread<\/td>81<\/td>10303<\/td><\/td>4602<\/td>Bogen om Silette<\/td>W.D.Emanuel<\/td><\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
4952<\/td>365<\/td>unread<\/td>81<\/td>10304<\/td><\/td>4603<\/td>Bogen om Edixa Reflex<\/td>W.D.Emanuel<\/td><\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
4953<\/td>366<\/td>unread<\/td>81<\/td>10305<\/td><\/td>4604<\/td>Bogen om smalfilm<\/td><\/td>Politikkens forlag<\/td><\/td>1977<\/td><\/td>74<\/td> <\/tr>\n
4954<\/td>367<\/td>unread<\/td>81<\/td>10306<\/td><\/td>4605<\/td>Bogen om Bolex<\/td>G.R.Sharp<\/td><\/td><\/td>1959<\/td><\/td>76<\/td> <\/tr>\n
4955<\/td>368<\/td>unread<\/td>83<\/td>10307<\/td><\/td>4606<\/td>Vom foto zum Lichtbild<\/td>Walter Boje<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1956<\/td><\/td>69<\/td> <\/tr>\n
4956<\/td>369<\/td>unread<\/td>83<\/td>10308<\/td><\/td>4607<\/td><\/td>Walter Boje<\/td>Umschau verlag<\/td>Frankfurt Am Main<\/td><\/td><\/td>66<\/td> <\/tr>\n
4957<\/td>370<\/td>unread<\/td>81<\/td>10309<\/td><\/td>4608<\/td>Vi arbejder med fotografi<\/td>Kaj Boldt<\/td>J.Fr.Clausens forlag<\/td><\/td>1971<\/td><\/td>72<\/td> <\/tr>\n
4958<\/td>371<\/td>unread<\/td>84<\/td>10310<\/td><\/td>4609<\/td>Kodakchrome and Kodakcolor<\/td>Fred Bond<\/td><\/td><\/td>1946<\/td><\/td>71<\/td> <\/tr>\n
4959<\/td>372<\/td>unread<\/td>88<\/td>10311<\/td><\/td>4610<\/td>The book of London<\/td>Michael Joseph<\/td>Clarke & Sherwel<\/td><\/td>1968<\/td><\/td>41<\/td> <\/tr>\n
4960<\/td>373<\/td>unread<\/td>88<\/td>10312<\/td><\/td>4611<\/td>Borg og slot<\/td>Sigvart Werner<\/td>Berlingske forlag<\/td><\/td>1944<\/td><\/td>46<\/td> <\/tr>\n
4961<\/td>374<\/td>unread<\/td>81<\/td>10313<\/td><\/td>4612<\/td><\/td>Egon Bork<\/td>Gyldendal<\/td><\/td>1973<\/td>Dansk \/ Tysk.<\/td>54<\/td> <\/tr>\n
4962<\/td>375<\/td>unread<\/td>88<\/td>10314<\/td><\/td>4613<\/td>Bornholm<\/td>Berent Federau<\/td>Lademann<\/td><\/td>1978<\/td><\/td>52<\/td> <\/tr>\n
4963<\/td>376<\/td>unread<\/td>82<\/td>10315<\/td><\/td>4614<\/td>Fotografiska filter<\/td><\/td>Nordisk Rotogravyr<\/td>Stockholm<\/td>1942<\/td><\/td>64<\/td> <\/tr>\n
4964<\/td>377<\/td>unread<\/td>88<\/td>10316<\/td><\/td>4615<\/td>Boy with a camera<\/td>John Cech<\/td>Pavilion Books LDT<\/td>London<\/td>1994<\/td><\/td>55<\/td> <\/tr>\n
4965<\/td>378<\/td>unread<\/td>81<\/td>10317<\/td><\/td>4616<\/td>Early Photograps of Architecture and wie<\/td><\/td>Thaning & Appel<\/td><\/td>1957<\/td><\/td>58<\/td> <\/tr>\n
4966<\/td>379<\/td>unread<\/td>88<\/td>10318<\/td><\/td>4617<\/td>Fortid fotografier<\/td>Peter Brandes<\/td>Ny Carlsberg Glypotek<\/td><\/td>1986<\/td>ISBN. 87-7452-053-9<\/td>46<\/td> <\/tr>\n
4967<\/td>380<\/td>unread<\/td>83<\/td>10319<\/td><\/td>4618<\/td>Fotorat:Filter wann und wie<\/td>Kurt Brandt<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1936<\/td><\/td>79<\/td> <\/tr>\n
4968<\/td>381<\/td>unread<\/td>84<\/td>10320<\/td><\/td>4619<\/td>George Eastman, A Beography.<\/td>Elizabeth Brayer<\/td>The Johns Hopkins University Press<\/td>London<\/td>1996<\/td><\/td>72<\/td> <\/tr>\n
4969<\/td>382<\/td>unread<\/td>83<\/td>10321<\/td><\/td>4620<\/td>Leica Taschenbuch<\/td>Horst Bredow<\/td>Werner Klett Verlag<\/td>Berlin<\/td>1964<\/td><\/td>67<\/td> <\/tr>\n
4970<\/td>383<\/td>unread<\/td>88<\/td>10322<\/td><\/td>4621<\/td>Photographer<\/td>Henri C. Bresson<\/td>Thames & Hudson<\/td>London<\/td>1980<\/td><\/td>48<\/td> <\/tr>\n
4971<\/td>384<\/td>unread<\/td>84<\/td>10323<\/td><\/td>4622<\/td>The Steroscope<\/td>David Brewster<\/td>The Fountain Press<\/td>London<\/td>1971<\/td><\/td>76<\/td> <\/tr>\n
4972<\/td>385<\/td>unread<\/td>88<\/td>10324<\/td><\/td>4623<\/td>Iceland and the Icelanders<\/td>Helgi P. Briem<\/td>John F.Mckenna Company<\/td>USA<\/td>1945<\/td><\/td>49<\/td> <\/tr>\n
4973<\/td>386<\/td>unread<\/td>83<\/td>10325<\/td><\/td>4624<\/td>Brilliante negativer<\/td>Georg Hauberriber<\/td>Ed. Liefegangs verlag<\/td>Leipzig<\/td><\/td><\/td>78<\/td> <\/tr>\n
4974<\/td>387<\/td>unread<\/td>88<\/td>10326<\/td><\/td>4625<\/td>Eye of Britain<\/td><\/td><\/td><\/td><\/td>British Television. Olympic Games London 1948.<\/td>49<\/td> <\/tr>\n
4975<\/td>388<\/td>unread<\/td>84<\/td>10327<\/td><\/td>4626<\/td>British Journal of photography annual 64<\/td><\/td>Henry Greenwod & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4976<\/td>389<\/td>unread<\/td>84<\/td>10328<\/td><\/td>4627<\/td>British journal of photography annual 65<\/td><\/td>Henry Greenwod<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4977<\/td>390<\/td>unread<\/td>84<\/td>10329<\/td><\/td>4628<\/td>British journal of photography annual 66<\/td><\/td>Henry Greenwod & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4978<\/td>391<\/td>unread<\/td>84<\/td>10330<\/td><\/td>4629<\/td>British journal of photography Annual 67<\/td><\/td>Henry Greenwod<\/td><\/td>London<\/td><\/td>78<\/td> <\/tr>\n
4979<\/td>392<\/td>unread<\/td>84<\/td>10331<\/td><\/td>4630<\/td>British journal of photography annual 68<\/td><\/td>Henry Greenwod & Co.<\/td><\/td>London<\/td><\/td>78<\/td> <\/tr>\n
4980<\/td>393<\/td>unread<\/td>84<\/td>10332<\/td><\/td>4631<\/td>British journal of photography annual 69<\/td><\/td>Henry Greenwod & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4981<\/td>394<\/td>unread<\/td>84<\/td>10333<\/td><\/td>4632<\/td>British journal of photography annual 70<\/td><\/td>Henry Greenwod & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4982<\/td>395<\/td>unread<\/td>84<\/td>10334<\/td><\/td>4633<\/td>British journal of photography annual 71<\/td><\/td>Henry Greenwod & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4983<\/td>396<\/td>unread<\/td>84<\/td>10335<\/td><\/td>4634<\/td>British journal of photography annual 72<\/td><\/td>Henry Greenwod & Co.<\/td>LOndon<\/td><\/td><\/td>78<\/td> <\/tr>\n
4984<\/td>397<\/td>unread<\/td>84<\/td>10336<\/td><\/td>4635<\/td>British journal of photography annual 73<\/td><\/td>Henry Greenwood & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4985<\/td>398<\/td>unread<\/td>84<\/td>10337<\/td><\/td>4636<\/td>British journal of photography annual 74<\/td><\/td>Henry Greenwood & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4986<\/td>399<\/td>unread<\/td>84<\/td>10338<\/td><\/td>4637<\/td>British journal of photography annual 75<\/td><\/td>Henry Greenwood & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4987<\/td>400<\/td>unread<\/td>84<\/td>10339<\/td><\/td>4638<\/td>British journal of photography annual 76<\/td><\/td>Henry Greenwood & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4988<\/td>401<\/td>unread<\/td>84<\/td>10340<\/td><\/td>4639<\/td>British journal of photography annual 77<\/td><\/td>Henry Greenwood & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4989<\/td>402<\/td>unread<\/td>84<\/td>10341<\/td><\/td>4640<\/td>British journal of photography annual 78<\/td><\/td>Henry Greenwood & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4990<\/td>403<\/td>unread<\/td>84<\/td>10342<\/td><\/td>4641<\/td>British journal of photography annual 79<\/td><\/td>Henry Greenwood & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4991<\/td>404<\/td>unread<\/td>84<\/td>10343<\/td><\/td>4642<\/td>British journal of photography annual 80<\/td><\/td>Henry Greenwood & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4992<\/td>405<\/td>unread<\/td>84<\/td>10344<\/td><\/td>4643<\/td>British journal of photography annual 81<\/td><\/td>Henry Greenwood & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4993<\/td>406<\/td>unread<\/td>84<\/td>10345<\/td><\/td>4644<\/td>British journal of photography annual 83<\/td><\/td>Henry Greenwood & Co.<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
4994<\/td>407<\/td>unread<\/td>83<\/td>10346<\/td><\/td>4645<\/td>Im Gebirge<\/td>Paul Bromberger<\/td><\/td>Tyskland<\/td>1956<\/td><\/td>79<\/td> <\/tr>\n
4995<\/td>408<\/td>unread<\/td>88<\/td>10347<\/td><\/td>4646<\/td><\/td>R.Broby-Johansen<\/td>Nyt Nordisk forlag<\/td><\/td>1965<\/td><\/td>47<\/td> <\/tr>\n
4996<\/td>409<\/td>unread<\/td>81<\/td>10348<\/td><\/td>4647<\/td>Optisk-mekanisk Etabl.<\/td>Brock & Michelsen<\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
4997<\/td>410<\/td>unread<\/td>83<\/td>10349<\/td><\/td>4648<\/td><\/td>Dr. A. Mebes<\/td>Union Deutsche Verlagsgesellschaft<\/td>Berlin<\/td>1920<\/td><\/td>65<\/td> <\/tr>\n
4998<\/td>411<\/td>unread<\/td>83<\/td>10350<\/td><\/td>4649<\/td>Der Bromsilber und gaslichtpapier druck<\/td>A.Mebes<\/td>Verlag des photograph<\/td><\/td>1913<\/td><\/td>65<\/td> <\/tr>\n
4999<\/td>412<\/td>unread<\/td>83<\/td>10351<\/td><\/td>4650<\/td><\/td>Emil Mayer<\/td>Im selbstverlag des Verfassers<\/td>Wien<\/td>1927<\/td><\/td>78<\/td> <\/tr>\n
5000<\/td>413<\/td>unread<\/td>84<\/td>10352<\/td><\/td>4651<\/td>The Ilford manual of photography<\/td>George E.Brown<\/td>Ilford Limited<\/td>London<\/td><\/td><\/td>71<\/td> <\/tr>\n
5001<\/td>414<\/td>unread<\/td>84<\/td>10353<\/td><\/td>4652<\/td>The Ilford manual of photography<\/td>George E. Brown<\/td><\/td>Ilford Limited<\/td><\/td><\/td>71<\/td> <\/tr>\n
5002<\/td>415<\/td>unread<\/td>88<\/td>10354<\/td><\/td>4653<\/td>Filmen dens navne og historie 1<\/td>Ove Brusendorff<\/td>Universal forlaget<\/td><\/td><\/td><\/td>55<\/td> <\/tr>\n
5003<\/td>416<\/td>unread<\/td>88<\/td>10355<\/td><\/td>4654<\/td>Filmen dens navne og historie 1<\/td>Ove Brusendorff<\/td>Universal forlaget<\/td><\/td><\/td><\/td>55<\/td> <\/tr>\n
5004<\/td>417<\/td>unread<\/td>88<\/td>10356<\/td><\/td>4655<\/td>Filmen dens navne og historie. 2.afdelin<\/td>Ove Brusendorff<\/td>Universal forlaget<\/td><\/td><\/td><\/td>55<\/td> <\/tr>\n
5005<\/td>418<\/td>unread<\/td>88<\/td>10357<\/td><\/td>4656<\/td>Filmen dens navne og historie 2<\/td>Ove Brusendorff<\/td>Universal forlaget<\/td><\/td><\/td><\/td>55<\/td> <\/tr>\n
5006<\/td>419<\/td>unread<\/td>88<\/td>10358<\/td><\/td>4657<\/td>Filmen dens navne og historie 2<\/td>Ove Brusendorff<\/td>Universal forlaget<\/td><\/td><\/td><\/td>55<\/td> <\/tr>\n
5007<\/td>420<\/td>unread<\/td>88<\/td>10359<\/td><\/td>4658<\/td>Filmen dens navne og historie 2. 2.afdel<\/td>Ove Brusendorff<\/td>Universal forlaget<\/td><\/td><\/td><\/td>55<\/td> <\/tr>\n
5008<\/td>421<\/td>unread<\/td>88<\/td>10360<\/td><\/td>4659<\/td>Filmen dens navne og historie 3.2.afdel.<\/td>Ove Brusendorff<\/td>Universal forlaget<\/td><\/td><\/td><\/td>55<\/td> <\/tr>\n
5009<\/td>422<\/td>unread<\/td>88<\/td>10361<\/td><\/td>4660<\/td>Filmen dena navne og historie 3<\/td>Ove Brusendorff<\/td>Universal forlaget<\/td><\/td><\/td><\/td>55<\/td> <\/tr>\n
5010<\/td>423<\/td>unread<\/td>88<\/td>10362<\/td><\/td>4661<\/td>Land og by<\/td>Karl Bruun<\/td>Jul.Gjellerups forlag<\/td><\/td>1939<\/td><\/td>51<\/td> <\/tr>\n
5011<\/td>424<\/td>unread<\/td>88<\/td>10363<\/td><\/td>4662<\/td>Bryllupsbogen. IPA reklame<\/td><\/td>IPA forlag<\/td><\/td>1964<\/td><\/td>46<\/td> <\/tr>\n
5012<\/td>425<\/td>unread<\/td>83<\/td>10364<\/td><\/td>4663<\/td>Das buch zu deiner kamera<\/td><\/td>Verlag von Wilhelm Knapp<\/td>Halle<\/td>1936<\/td><\/td>65<\/td> <\/tr>\n
5013<\/td>426<\/td>unread<\/td>88<\/td>10365<\/td><\/td>4664<\/td>Camera 1922-72\/Photography 1839-1972<\/td>Alice Bucher<\/td>Allan Porter<\/td><\/td><\/td><\/td>49<\/td> <\/tr>\n
5014<\/td>427<\/td>unread<\/td>83<\/td>10366<\/td><\/td>4665<\/td>Wir lernen fotografieren<\/td>A.Buchholz<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1936<\/td><\/td>69<\/td> <\/tr>\n
5015<\/td>428<\/td>unread<\/td>88<\/td>10367<\/td><\/td>4666<\/td>Sol over sommerlandet<\/td>Gunnar Buchwald<\/td>Branner og Korch<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
5016<\/td>429<\/td>unread<\/td>88<\/td>10368<\/td><\/td>4667<\/td>Buda \/ Pest<\/td>Francisco Molto<\/td><\/td><\/td>okt.1991<\/td><\/td>55<\/td> <\/tr>\n
5017<\/td>430<\/td>unread<\/td>118<\/td>10369<\/td><\/td>4668<\/td><\/td><\/td><\/td><\/td>1891-1894<\/td><\/td>82<\/td> <\/tr>\n
5018<\/td>431<\/td>unread<\/td>118<\/td>10370<\/td><\/td>4669<\/td><\/td><\/td><\/td><\/td>1908-1909<\/td><\/td>82<\/td> <\/tr>\n
5019<\/td>432<\/td>unread<\/td>81<\/td>10371<\/td><\/td>4670<\/td>Vejledning i fotografi<\/td><\/td><\/td><\/td>1905<\/td><\/td>81<\/td> <\/tr>\n
5020<\/td>433<\/td>unread<\/td>88<\/td>10372<\/td><\/td>4671<\/td><\/td>C.E.Bundesen<\/td>Rostrup forlag<\/td>Herning<\/td>1989<\/td><\/td>47<\/td> <\/tr>\n
5021<\/td>434<\/td>unread<\/td>88<\/td>10373<\/td><\/td>4672<\/td>Humoresker<\/td>Wilhelm Busch<\/td><\/td><\/td>1975<\/td><\/td>51<\/td> <\/tr>\n
5022<\/td>435<\/td>unread<\/td>83<\/td>10374<\/td><\/td>4673<\/td>Die neue schmalfilm-schule<\/td>Kurt Busch<\/td>Heering verlag<\/td>Harzburg<\/td>1941<\/td><\/td>68<\/td> <\/tr>\n
5023<\/td>436<\/td>unread<\/td>88<\/td>10375<\/td><\/td>4674<\/td>Byen bag regnen<\/td>Krass Clement<\/td>Gyldendal<\/td><\/td>1987<\/td><\/td>41<\/td> <\/tr>\n
5024<\/td>437<\/td>unread<\/td>84<\/td>10376<\/td><\/td>4675<\/td>Without Assignment<\/td>Howard Byrne<\/td>Pellegrini & Cudahy<\/td><\/td><\/td><\/td>72<\/td> <\/tr>\n
5025<\/td>438<\/td>unread<\/td>88<\/td>10377<\/td><\/td>4676<\/td>Scavillo Photographs 1948-1984<\/td>Sean M. Byrnes<\/td>Harper & Row<\/td>New York<\/td><\/td>ISBN 0-6-015230-3.<\/td>50<\/td> <\/tr>\n
5026<\/td>439<\/td>unread<\/td>81<\/td>10378<\/td><\/td>4677<\/td><\/td>Hans Knobloch<\/td>Ivars forlag<\/td><\/td>1958<\/td><\/td>75<\/td> <\/tr>\n
5027<\/td>440<\/td>unread<\/td>88<\/td>10379<\/td><\/td>4678<\/td>You have seen their faces.<\/td>E.Caldwell \/ M.White<\/td>Arno press book<\/td><\/td>1975<\/td>ISBN 0-405-06769-0.<\/td>50<\/td> <\/tr>\n
5028<\/td>441<\/td>unread<\/td>88<\/td>10380<\/td><\/td>4679<\/td>California in Depth<\/td>Jim Crain<\/td>Cronicle books<\/td>San Francisco<\/td>1994<\/td><\/td>43<\/td> <\/tr>\n
5029<\/td>442<\/td>unread<\/td>84<\/td>10381<\/td><\/td>4680<\/td>Darkroom handbook<\/td>Katherine Chamberlain<\/td>Ziff-Davis Limited<\/td><\/td><\/td><\/td>83<\/td> <\/tr>\n
5030<\/td>443<\/td>unread<\/td>88<\/td>10382<\/td><\/td>4681<\/td>Camera no.6. 1978<\/td><\/td>C.J.Bucher<\/td><\/td>Luzern<\/td><\/td>49<\/td> <\/tr>\n
5031<\/td>444<\/td>unread<\/td>88<\/td>10383<\/td><\/td>4682<\/td>Camera no.9. 1978 Autuportrait<\/td><\/td>C.J.Bucher<\/td><\/td>Luzern<\/td><\/td>49<\/td> <\/tr>\n
5032<\/td>445<\/td>unread<\/td>88<\/td>10384<\/td><\/td>4683<\/td><\/td><\/td>Cameraverlag<\/td><\/td>Frankfurt<\/td><\/td>51<\/td> <\/tr>\n
5033<\/td>446<\/td>unread<\/td>84<\/td>10385<\/td><\/td>4684<\/td>The camera<\/td>John Wade<\/td>Jessop soecialist publishing<\/td>Leicester<\/td>1990<\/td><\/td>82<\/td> <\/tr>\n
5034<\/td>447<\/td>unread<\/td>84<\/td>10386<\/td><\/td>4685<\/td>The camera and its images<\/td>Arthur Goldsmith<\/td>A Ridge press book\/Newsweek books<\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5035<\/td>448<\/td>unread<\/td>84<\/td>10387<\/td><\/td>4686<\/td>Camera Craft<\/td><\/td><\/td>San Francisco<\/td>1937<\/td><\/td>55<\/td> <\/tr>\n
5036<\/td>449<\/td>unread<\/td>88<\/td>10388<\/td><\/td>4687<\/td>Camera Obscura at work 1982-1997<\/td>IIan Wolff<\/td>Hoffmann Druck<\/td>Augsburg<\/td>1998<\/td><\/td>43<\/td> <\/tr>\n
5037<\/td>450<\/td>unread<\/td>88<\/td>10389<\/td><\/td>4688<\/td>The camera i.<\/td>Robert A. Sorbieszek<\/td><\/td><\/td><\/td>Deborad Irmas 1995. (1955)<\/td>0<\/td> <\/tr>\n
5038<\/td>451<\/td>unread<\/td>84<\/td>10390<\/td><\/td>4689<\/td>Cameras of China<\/td>Douglas St. Denny<\/td>Jessop Specialist Publishing<\/td>Leicester<\/td>1989<\/td>REG.01<\/td>0<\/td> <\/tr>\n
5039<\/td>452<\/td>unread<\/td>84<\/td>10391<\/td><\/td>4690<\/td>Camera directory<\/td><\/td>Fawcett book<\/td><\/td>1952<\/td><\/td>75<\/td> <\/tr>\n
5040<\/td>453<\/td>unread<\/td>86<\/td>10392<\/td><\/td>4691<\/td>Camera Obscuras.Photographic cameras<\/td>Jiri Janda<\/td><\/td>Prague<\/td>1982<\/td>1840-1940. REG.01.<\/td>0<\/td> <\/tr>\n
5041<\/td>454<\/td>unread<\/td>88<\/td>10394<\/td><\/td>4692<\/td>Camera work<\/td>Alfred Stieglitz<\/td>Taschen<\/td><\/td>1997<\/td><\/td>53<\/td> <\/tr>\n
5042<\/td>455<\/td>unread<\/td>83<\/td>10395<\/td><\/td>4693<\/td>Cameras aus gutem Hause<\/td><\/td>Brockshus<\/td>Bremen<\/td><\/td><\/td>79<\/td> <\/tr>\n
5043<\/td>456<\/td>unread<\/td>84<\/td>10396<\/td><\/td>4694<\/td>Canon Rangefinder. Cameras 1933-68<\/td>Peter Dechert<\/td>Hove foto books<\/td><\/td>1985<\/td>REG.05.<\/td>0<\/td> <\/tr>\n
5044<\/td>457<\/td>unread<\/td>83<\/td>10397<\/td><\/td>4695<\/td>Canon AE-1<\/td>Matthias Dieberg<\/td>Heering Verlag<\/td>Germany<\/td>1978<\/td><\/td>72<\/td> <\/tr>\n
5045<\/td>458<\/td>unread<\/td>83<\/td>10398<\/td><\/td>4696<\/td>Canon AE-1.Spiegelreflexkamera der super<\/td><\/td><\/td><\/td>1978<\/td><\/td>83<\/td> <\/tr>\n
5046<\/td>459<\/td>unread<\/td>83<\/td>10399<\/td><\/td>4697<\/td>Canon AV-1.Spiegelreflexkamera mit Zeitg<\/td><\/td><\/td><\/td>1979<\/td><\/td>83<\/td> <\/tr>\n
5047<\/td>460<\/td>unread<\/td>83<\/td>10400<\/td><\/td>4698<\/td>Die Lochkamera-Funktion und Selbstbau<\/td>Peter Olpe<\/td>Lindemanns verlag<\/td>Stuttgart<\/td>1998<\/td><\/td>74<\/td> <\/tr>\n
5048<\/td>461<\/td>unread<\/td>88<\/td>10401<\/td><\/td>4699<\/td><\/td>Lone Hvass<\/td>Turistforeningen for Vejle og omegn<\/td>Danmark<\/td>1993<\/td><\/td>43<\/td> <\/tr>\n
5049<\/td>462<\/td>unread<\/td>83<\/td>10402<\/td><\/td>4700<\/td>Canon EOS 600<\/td><\/td>Laterna Magica<\/td><\/td>1989<\/td><\/td>83<\/td> <\/tr>\n
5050<\/td>463<\/td>unread<\/td>83<\/td>10403<\/td><\/td>4701<\/td>Canon EOS-IN<\/td>Herbert Kaspar<\/td>Laterna Magica<\/td><\/td>1995<\/td><\/td>83<\/td> <\/tr>\n
5051<\/td>464<\/td>unread<\/td>84<\/td>10404<\/td><\/td>4702<\/td>Canon-Lens guide<\/td><\/td><\/td>Japan<\/td>1969<\/td><\/td>73<\/td> <\/tr>\n
5052<\/td>465<\/td>unread<\/td>84<\/td>10405<\/td><\/td>4703<\/td>The Canon Reflex<\/td>Leonard Gaunt<\/td>Focal Press<\/td>England<\/td>1974<\/td><\/td>73<\/td> <\/tr>\n
5053<\/td>466<\/td>unread<\/td>83<\/td>10406<\/td><\/td>4704<\/td>Canon F-1<\/td><\/td>Heering verlag<\/td>Seebruck<\/td>1975<\/td><\/td>73<\/td> <\/tr>\n
5054<\/td>467<\/td>unread<\/td>84<\/td>10407<\/td><\/td>4705<\/td>Careers in photography<\/td>C.B.Neblette<\/td><\/td>New York<\/td><\/td><\/td>83<\/td> <\/tr>\n
5055<\/td>468<\/td>unread<\/td>88<\/td>10408<\/td><\/td>4706<\/td>En bok om riktiga svin<\/td>Thomas Carlgren<\/td><\/td>Stockholm<\/td>1991<\/td><\/td>42<\/td> <\/tr>\n
5056<\/td>469<\/td>unread<\/td>84<\/td>10409<\/td><\/td>4707<\/td>Carton animation for euryone<\/td>Alan Cleaue<\/td>Fountain Press<\/td>England<\/td>1977<\/td><\/td>76<\/td> <\/tr>\n
5057<\/td>470<\/td>unread<\/td>84<\/td>10410<\/td><\/td>4708<\/td>Ilford Graphic arts manual<\/td>H.M.Cartwright<\/td>Ilford limited, Ilford Essex<\/td><\/td>1961<\/td><\/td>73<\/td> <\/tr>\n
5058<\/td>471<\/td>unread<\/td>88<\/td>10411<\/td><\/td>4709<\/td>Collecting and Valuing old photographps<\/td>Peter Castle<\/td>Garnstone Press<\/td><\/td>1973<\/td>ISBN 0-85511-4908<\/td>49<\/td> <\/tr>\n
5059<\/td>472<\/td>unread<\/td>88<\/td>10412<\/td><\/td>4710<\/td>Cecilia<\/td>Matthias Leupold<\/td>Deutsche Akademie Villa Massimo<\/td>Rom<\/td>1998<\/td><\/td>55<\/td> <\/tr>\n
5060<\/td>473<\/td>unread<\/td>84<\/td>10413<\/td><\/td>4711<\/td>Celluloid-The film to day<\/td>Paul Rotha<\/td>Longmans, Green and Co.<\/td>London,New York, Toronto<\/td>1931<\/td><\/td>76<\/td> <\/tr>\n
5061<\/td>474<\/td>unread<\/td>84<\/td>10414<\/td><\/td>4712<\/td>A Century of cameras<\/td>Eaton s. Lothrop jr.<\/td>Morgan & Morgan<\/td>New York<\/td>1973<\/td>REG.01.<\/td>0<\/td> <\/tr>\n
5062<\/td>475<\/td>unread<\/td>88<\/td>10415<\/td><\/td>4713<\/td>20th century photography<\/td><\/td>Benedikt Taschen verlag<\/td><\/td>1996<\/td>Museum Ludwig Cologne.<\/td>53<\/td> <\/tr>\n
5063<\/td>476<\/td>unread<\/td>84<\/td>10416<\/td><\/td>4714<\/td>Commercial photography<\/td>David Charles<\/td>Sir Isaac Pitman & Sons<\/td>London<\/td>1934<\/td><\/td>81<\/td> <\/tr>\n
5064<\/td>477<\/td>unread<\/td>88<\/td>10417<\/td><\/td>4715<\/td><\/td><\/td><\/td><\/td>1951<\/td><\/td>53<\/td> <\/tr>\n
5065<\/td>478<\/td>unread<\/td>88<\/td>10418<\/td><\/td>4716<\/td><\/td><\/td><\/td><\/td>1966<\/td><\/td>53<\/td> <\/tr>\n
5066<\/td>479<\/td>unread<\/td>88<\/td>10419<\/td><\/td>4717<\/td><\/td><\/td><\/td><\/td>1969<\/td><\/td>53<\/td> <\/tr>\n
5067<\/td>480<\/td>unread<\/td>88<\/td>10420<\/td><\/td>4718<\/td><\/td><\/td><\/td><\/td>1972<\/td><\/td>53<\/td> <\/tr>\n
5068<\/td>481<\/td>unread<\/td>88<\/td>10421<\/td><\/td>4719<\/td><\/td><\/td><\/td><\/td><\/td>Charlottenborg 26\/8-17-9 1939.<\/td>54<\/td> <\/tr>\n
5069<\/td>482<\/td>unread<\/td>83<\/td>10422<\/td><\/td>4720<\/td>Organische Chemikalien Hoechst<\/td><\/td><\/td>Nachdruck<\/td>1975<\/td><\/td>60<\/td> <\/tr>\n
5070<\/td>483<\/td>unread<\/td>83<\/td>10423<\/td><\/td>4721<\/td><\/td>Dr. F. Stolze<\/td>Wilhelm Knapp verlag<\/td>Halle<\/td>1903<\/td><\/td>65<\/td> <\/tr>\n
5071<\/td>484<\/td>unread<\/td>83<\/td>10424<\/td><\/td>4722<\/td>Photo-Chemikalien<\/td>Edvard Schloemann<\/td><\/td><\/td>1953<\/td><\/td>60<\/td> <\/tr>\n
5072<\/td>485<\/td>unread<\/td>88<\/td>10425<\/td><\/td>4723<\/td>Child photography<\/td>Josef Schneider<\/td>The camera magazine<\/td>New York<\/td>1949<\/td><\/td>55<\/td> <\/tr>\n
5073<\/td>486<\/td>unread<\/td>88<\/td>10426<\/td><\/td>4724<\/td>Christian X.Konge af Danmark<\/td>Indledning af Kaj Munk<\/td>Poul Carit Andersen<\/td><\/td><\/td><\/td>47<\/td> <\/tr>\n
5074<\/td>487<\/td>unread<\/td>81<\/td>10427<\/td><\/td>4725<\/td>Set og sket<\/td>Tage Christensen<\/td>Hasselbalchs forlag<\/td><\/td>1959<\/td><\/td>64<\/td> <\/tr>\n
5075<\/td>488<\/td>unread<\/td>85<\/td>10428<\/td><\/td>4726<\/td>Cinematographie<\/td>La camera des freres lumiere<\/td><\/td>Frankrig<\/td>1988<\/td><\/td>74<\/td> <\/tr>\n
5076<\/td>489<\/td>unread<\/td>84<\/td>10429<\/td><\/td>4727<\/td>Photographic.Lenses and Shutters<\/td>Richard W.Clair<\/td>Little Technical Library<\/td>New York<\/td>1940<\/td><\/td>71<\/td> <\/tr>\n
5077<\/td>490<\/td>unread<\/td>84<\/td>10430<\/td><\/td>4728<\/td>Photographic.Lenses and shutters<\/td>Richard W. St. Clair<\/td>Ziff-Davis publishing Company<\/td>USA<\/td>1940<\/td><\/td>83<\/td> <\/tr>\n
5078<\/td>491<\/td>unread<\/td>88<\/td>10431<\/td><\/td>4729<\/td>Lystbilleder<\/td>Claus Clausen<\/td><\/td>Viborg<\/td>1987<\/td>ISBN 87-7445-313-0<\/td>42<\/td> <\/tr>\n
5079<\/td>492<\/td>unread<\/td>88<\/td>10432<\/td><\/td>4730<\/td>150 classic cameras<\/td>Poul-Henry Hasbroeck<\/td>Dorstel press Ltd<\/td>England<\/td><\/td><\/td>58<\/td> <\/tr>\n
5080<\/td>493<\/td>unread<\/td>88<\/td>10433<\/td><\/td>4731<\/td>Quiet pride<\/td>Robert Alan Clayton<\/td><\/td>Amerika<\/td><\/td><\/td>49<\/td> <\/tr>\n
5081<\/td>494<\/td>unread<\/td>88<\/td>10434<\/td><\/td>4732<\/td><\/td>Krass Clement<\/td>CHR. Erichsen forlag<\/td><\/td>1978<\/td><\/td>41<\/td> <\/tr>\n
5082<\/td>495<\/td>unread<\/td>85<\/td>10435<\/td><\/td>4733<\/td>La photographie<\/td>Edgar Clifton<\/td>Hermagis Etablissements<\/td>Paris<\/td><\/td><\/td>81<\/td> <\/tr>\n
5083<\/td>496<\/td>unread<\/td>84<\/td>10436<\/td><\/td>4734<\/td>Union cases. A collectors guide to the a<\/td>Clifford and Michele Krainik with Carl W<\/td><\/td>Amerika<\/td><\/td><\/td>57<\/td> <\/tr>\n
5084<\/td>497<\/td>unread<\/td>88<\/td>10437<\/td><\/td>4735<\/td>The collection of Alfred Stieglitz<\/td>W.J.Naef<\/td>The Metropolitan Museum of art<\/td><\/td>1978<\/td>ISBN. 0-670-67051-0.<\/td>55<\/td> <\/tr>\n
5085<\/td>498<\/td>unread<\/td>84<\/td>10438<\/td><\/td>4736<\/td>Collecting old cameras<\/td>Cyrill Permutt<\/td>Angus and Robertsen<\/td><\/td>1976<\/td>REG.01.<\/td>0<\/td> <\/tr>\n
5086<\/td>499<\/td>unread<\/td>84<\/td>10439<\/td><\/td>4737<\/td>Collecting Vintage cameras.The Am.35mm<\/td>Kalton C. Lahue. Joseph A. Bailey<\/td><\/td><\/td>1972<\/td>REG.05.<\/td>0<\/td> <\/tr>\n
5087<\/td>500<\/td>unread<\/td>84<\/td>10440<\/td><\/td>4738<\/td>Collectors guide to Kodak cameras<\/td>Jim and Joan McKeown<\/td><\/td><\/td>1981<\/td>REG.03.<\/td>0<\/td> <\/tr>\n
5088<\/td>501<\/td>unread<\/td>84<\/td>10441<\/td><\/td>4739<\/td>Collectors guide to Rollei cameras<\/td>Arthur G. Evans<\/td><\/td><\/td>1986<\/td>REG.05<\/td>0<\/td> <\/tr>\n
5089<\/td>502<\/td>unread<\/td>84<\/td>10442<\/td><\/td>4740<\/td>George Eastman<\/td>Brian Coe<\/td>Priory press<\/td>London<\/td>1973<\/td>ISBN.85078-1167.<\/td>57<\/td> <\/tr>\n
5090<\/td>503<\/td>unread<\/td>82<\/td>10443<\/td><\/td>4741<\/td>Kameran<\/td>Brian Coe<\/td>AB Nordbok<\/td><\/td>1978<\/td>ISBN 97-7058-067-7.<\/td>58<\/td> <\/tr>\n
5091<\/td>504<\/td>unread<\/td>83<\/td>10444<\/td><\/td>4742<\/td>Das erste Jahrhundert der phot.1800-1900<\/td>Brian Coe<\/td><\/td><\/td><\/td><\/td>58<\/td> <\/tr>\n
5092<\/td>505<\/td>unread<\/td>82<\/td>10445<\/td><\/td>4743<\/td>Kameraboken.Historikk,utvikling,teknikk<\/td>Brian Coe<\/td>Teknologisk forlag<\/td>Oslo<\/td>1979<\/td>REG.01<\/td>0<\/td> <\/tr>\n
5093<\/td>506<\/td>unread<\/td>84<\/td>10446<\/td><\/td>4744<\/td>Kodak cameras the first 100 years<\/td>Brian Coe<\/td>Hove foto books<\/td><\/td>1988<\/td>REG.01<\/td>0<\/td> <\/tr>\n
5094<\/td>507<\/td>unread<\/td>83<\/td>10447<\/td><\/td>4745<\/td>Farbphotographie<\/td>Brian Coe<\/td><\/td><\/td><\/td><\/td>66<\/td> <\/tr>\n
5095<\/td>508<\/td>unread<\/td>84<\/td>10448<\/td><\/td>4746<\/td>Color as seen and photographed<\/td><\/td>Eastman Kodak Company<\/td><\/td>1950\/1972<\/td><\/td>81<\/td> <\/tr>\n
5096<\/td>509<\/td>unread<\/td>88<\/td>10449<\/td><\/td>4747<\/td>Colour Photography.Summer spec. number<\/td><\/td>Offices of the studio<\/td>London<\/td>1908<\/td><\/td>49<\/td> <\/tr>\n
5097<\/td>510<\/td>unread<\/td>84<\/td>10450<\/td><\/td>4748<\/td>Colour prints for all<\/td>Ross Inglis Lewis<\/td>R.F.Hunter Ltd.<\/td>England<\/td>1942<\/td><\/td>79<\/td> <\/tr>\n
5098<\/td>511<\/td>unread<\/td>83<\/td>10451<\/td><\/td>4749<\/td><\/td><\/td><\/td><\/td><\/td><\/td>83<\/td> <\/tr>\n
5099<\/td>512<\/td>unread<\/td>83<\/td>10453<\/td><\/td>4751<\/td>Compendium der practischen photographie<\/td>F.Schmidt<\/td>Otto Nemnich<\/td>Karlsruhe<\/td>1893<\/td><\/td>67<\/td> <\/tr>\n
5100<\/td>513<\/td>unread<\/td>88<\/td>10454<\/td><\/td>4752<\/td>The complete photographer<\/td>Andreas Feiniger<\/td>Thames and Hudson<\/td>London<\/td>1965<\/td><\/td>54<\/td> <\/tr>\n
5101<\/td>514<\/td>unread<\/td>84<\/td>10455<\/td><\/td>4753<\/td>Conservation of photograhs<\/td><\/td><\/td><\/td>1994<\/td><\/td>83<\/td> <\/tr>\n
5102<\/td>515<\/td>unread<\/td>83<\/td>10456<\/td><\/td>4754<\/td><\/td>Dr.Otto Croy<\/td>Heering verlag<\/td><\/td>1955<\/td><\/td>69<\/td> <\/tr>\n
5103<\/td>516<\/td>unread<\/td>84<\/td>10457<\/td><\/td>4755<\/td>Only Zeiss<\/td>Contax<\/td><\/td><\/td><\/td><\/td>83<\/td> <\/tr>\n
5104<\/td>517<\/td>unread<\/td>83<\/td>10458<\/td><\/td>4756<\/td>Das Contarex buch<\/td>Heinrich Freytag<\/td><\/td><\/td>1962<\/td><\/td>65<\/td> <\/tr>\n
5105<\/td>518<\/td>unread<\/td>83<\/td>10459<\/td><\/td>4757<\/td>Der contax spezialist im labor<\/td>Hans Kammerer<\/td>Zeiss Ikon AG.<\/td>Dresden<\/td><\/td><\/td>65<\/td> <\/tr>\n
5106<\/td>519<\/td>unread<\/td>84<\/td>10460<\/td><\/td>4758<\/td>Contax guide<\/td>W.D.Emanuel<\/td>The focal press<\/td>London<\/td>1946<\/td><\/td>79<\/td> <\/tr>\n
5107<\/td>520<\/td>unread<\/td>84<\/td>10461<\/td><\/td>4759<\/td>Contax<\/td>Edward H.Romney<\/td><\/td><\/td>1978<\/td><\/td>84<\/td> <\/tr>\n
5108<\/td>521<\/td>unread<\/td>83<\/td>10462<\/td><\/td>4760<\/td>Contax-Geschichte<\/td><\/td><\/td><\/td><\/td>1.Teil 1932-1945. 2.Teil 1945-1982.<\/td>71<\/td> <\/tr>\n
5109<\/td>522<\/td>unread<\/td>83<\/td>10463<\/td><\/td>4761<\/td>Contax-Praxis<\/td>Heinrich Freytag<\/td>Wilhelm Knapp<\/td><\/td>1938\/1951<\/td><\/td>65<\/td> <\/tr>\n
5110<\/td>523<\/td>unread<\/td>83<\/td>10464<\/td><\/td>4762<\/td>Contax-Praxis<\/td>Heinrich Freytag<\/td>Wilhelm Knapp<\/td><\/td>1938-1943<\/td><\/td>65<\/td> <\/tr>\n
5111<\/td>524<\/td>unread<\/td>83<\/td>10465<\/td><\/td>4763<\/td>Contax-Praxis<\/td>Heinrich Freytag<\/td>Wilhelm Knapp<\/td><\/td>1938\/1940<\/td><\/td>65<\/td> <\/tr>\n
5112<\/td>525<\/td>unread<\/td>83<\/td>10466<\/td><\/td>4764<\/td>Contax-Praxis<\/td>Heinrich Freytag<\/td>Wilhelm Knapp<\/td><\/td>1938<\/td><\/td>65<\/td> <\/tr>\n
5113<\/td>526<\/td>unread<\/td>83<\/td>10467<\/td><\/td>4765<\/td>Contessa Geschichte 1908-1926<\/td>Karl Otto Kemmler<\/td>Gisela Kemmler verlag<\/td><\/td>1984<\/td>Lindemanns buchhandlung<\/td>66<\/td> <\/tr>\n
5114<\/td>527<\/td>unread<\/td>88<\/td>10468<\/td><\/td>4766<\/td>Contravennezia<\/td>Francisco Molto Esquembre<\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
5115<\/td>528<\/td>unread<\/td>83<\/td>10469<\/td><\/td>4767<\/td>Contax auf der Spuren<\/td><\/td><\/td><\/td>1932-1945<\/td><\/td>61<\/td> <\/tr>\n
5116<\/td>529<\/td>unread<\/td>84<\/td>10470<\/td><\/td>4768<\/td>Making color prints<\/td>Jack H. Coote<\/td>The focal press<\/td>London<\/td>1946<\/td><\/td>71<\/td> <\/tr>\n
5117<\/td>530<\/td>unread<\/td>83<\/td>10471<\/td><\/td>4769<\/td>Petzholds photographica preise 1975\/77<\/td>J.E.Cornwal. M.Kahan<\/td>Verlag Preissler Kahan<\/td><\/td><\/td><\/td>82<\/td> <\/tr>\n
5118<\/td>531<\/td>unread<\/td>83<\/td>10472<\/td><\/td>4770<\/td>Historische kameras 1845-1970<\/td>James E. Cornwall<\/td>VWI Verlag<\/td>Heersching \/ Ammersee<\/td>1979<\/td>REG.01.<\/td>0<\/td> <\/tr>\n
5119<\/td>532<\/td>unread<\/td>83<\/td>10473<\/td><\/td>4771<\/td><\/td>James E. Cornwall<\/td><\/td><\/td>1979<\/td><\/td>83<\/td> <\/tr>\n
5120<\/td>533<\/td>unread<\/td>83<\/td>10474<\/td><\/td>4772<\/td>Photographische anzeigen im handel<\/td>James E. Cornwall<\/td><\/td><\/td>1978<\/td><\/td>81<\/td> <\/tr>\n
5121<\/td>534<\/td>unread<\/td>84<\/td>10475<\/td><\/td>4773<\/td>Photographir abbertising in England 1890<\/td>James Cornwall<\/td><\/td><\/td>1978<\/td><\/td>81<\/td> <\/tr>\n
5122<\/td>535<\/td>unread<\/td>84<\/td>10476<\/td><\/td>4774<\/td>Seaside snaps<\/td>H.Gorny<\/td>American Photographic<\/td>Tyskland<\/td>1938<\/td><\/td>79<\/td> <\/tr>\n
5123<\/td>536<\/td>unread<\/td>84<\/td>10477<\/td><\/td>4775<\/td>Correcct Exposure<\/td>W.F.F.Shearcroft<\/td>The Fountain press<\/td>London<\/td>1947<\/td><\/td>81<\/td> <\/tr>\n
5124<\/td>537<\/td>unread<\/td>84<\/td>10478<\/td><\/td>4776<\/td>Correct Exposure<\/td>Willard Morgan<\/td>Morgan & Lester Publishers<\/td>New York<\/td>1944<\/td><\/td>83<\/td> <\/tr>\n
5125<\/td>538<\/td>unread<\/td>84<\/td>10479<\/td><\/td>4777<\/td>Copying Technique<\/td>Frank Fraprie\/Robert Morris<\/td>American Photography publishing<\/td>Boston<\/td>1946<\/td><\/td>59<\/td> <\/tr>\n
5126<\/td>539<\/td>unread<\/td>84<\/td>10480<\/td><\/td>4778<\/td>Copying Technique<\/td>Robert H. Morris<\/td><\/td>Boston<\/td>1944-1946<\/td><\/td>59<\/td> <\/tr>\n
5127<\/td>540<\/td>unread<\/td>88<\/td>10481<\/td><\/td>4779<\/td>Cowboy Kate and others stories<\/td>Sam Haskins<\/td>Corgi books<\/td>London<\/td>1965<\/td><\/td>49<\/td> <\/tr>\n
5128<\/td>541<\/td>unread<\/td>84<\/td>10482<\/td><\/td>4780<\/td>Depht of focus<\/td>Arthur M.A.Cox<\/td>Focal press Ltd<\/td><\/td><\/td><\/td>72<\/td> <\/tr>\n
5129<\/td>542<\/td>unread<\/td>84<\/td>10483<\/td><\/td>4781<\/td>Optics,The technique of definition<\/td>Arthur Cox<\/td>The Focal press<\/td>London<\/td>1947-1953<\/td><\/td>83<\/td> <\/tr>\n
5130<\/td>543<\/td>unread<\/td>84<\/td>10484<\/td><\/td>4782<\/td>Photographic optics<\/td>Arthur Cox<\/td>The Focal press<\/td><\/td><\/td><\/td>84<\/td> <\/tr>\n
5131<\/td>544<\/td>unread<\/td>84<\/td>10485<\/td><\/td>4783<\/td>The oil pigment processes<\/td>Bertram Cox<\/td>The Autotype Company<\/td>London<\/td><\/td><\/td>60<\/td> <\/tr>\n
5132<\/td>545<\/td>unread<\/td>83<\/td>10486<\/td><\/td>4784<\/td>Gevaert photo handb.<\/td>A.H.S.Craeybeckx<\/td><\/td>Tyskland<\/td>1956<\/td><\/td>67<\/td> <\/tr>\n
5133<\/td>546<\/td>unread<\/td>88<\/td>10488<\/td><\/td>4785<\/td>Creative camera internat. yearbook 1977<\/td><\/td>Coo press<\/td>London<\/td>1978<\/td>ISBN 085390-025-6.<\/td>49<\/td> <\/tr>\n
5134<\/td>547<\/td>unread<\/td>83<\/td>10489<\/td><\/td>4786<\/td>Fotorat:Kunstlicht<\/td>O.Croy<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1934<\/td><\/td>79<\/td> <\/tr>\n
5135<\/td>548<\/td>unread<\/td>83<\/td>10490<\/td><\/td>4787<\/td>Fotorat: Leichte fototricks<\/td>Otto Croy<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1937<\/td><\/td>79<\/td> <\/tr>\n
5136<\/td>549<\/td>unread<\/td>88<\/td>10491<\/td><\/td>4788<\/td>Design by photography<\/td>Otto Croy<\/td>Focal press<\/td>London<\/td>1963<\/td><\/td>49<\/td> <\/tr>\n
5137<\/td>550<\/td>unread<\/td>81<\/td>10492<\/td><\/td>4789<\/td><\/td>O.R.Croy<\/td>Skrifola forlag<\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5138<\/td>551<\/td>unread<\/td>81<\/td>10493<\/td><\/td>4790<\/td><\/td>O.R.Croy<\/td>Skrifola forlag<\/td>Aalborg<\/td>1955<\/td><\/td>60<\/td> <\/tr>\n
5139<\/td>552<\/td>unread<\/td>83<\/td>10494<\/td><\/td>4791<\/td>Das Retina - buch 1952-1953<\/td>Dr.Otto Croy<\/td>Heering verlag<\/td>Seebruck am Chiemsee<\/td><\/td>REG.03<\/td>0<\/td> <\/tr>\n
5140<\/td>553<\/td>unread<\/td>83<\/td>10495<\/td><\/td>4792<\/td>Repruduktion und dokumentation<\/td>Otto Croy<\/td>Heering verlag<\/td><\/td>1964<\/td><\/td>67<\/td> <\/tr>\n
5141<\/td>554<\/td>unread<\/td>83<\/td>10496<\/td><\/td>4793<\/td>Retusche von heute<\/td>Otto Croy<\/td>Wilhelm Knapp<\/td><\/td>1937<\/td><\/td>67<\/td> <\/tr>\n
5142<\/td>555<\/td>unread<\/td>83<\/td>10497<\/td><\/td>4794<\/td>Retusche von heute<\/td>Otto Croy<\/td>Wilhelm Knapp<\/td>Tyskland<\/td>1951<\/td><\/td>67<\/td> <\/tr>\n
5143<\/td>556<\/td>unread<\/td>83<\/td>10498<\/td><\/td>4795<\/td><\/td>Otto Croy<\/td>Heering verlag<\/td>Harzburg<\/td>1941<\/td><\/td>68<\/td> <\/tr>\n
5144<\/td>557<\/td>unread<\/td>83<\/td>10499<\/td><\/td>4796<\/td>Fotomontage<\/td>Dr.Otto Croy<\/td>Wilhelm Knapp verlag<\/td>Halle (saale) Tyskland<\/td>1948<\/td><\/td>72<\/td> <\/tr>\n
5145<\/td>558<\/td>unread<\/td>83<\/td>10500<\/td><\/td>4797<\/td>Fotomontage<\/td>Otto Croy<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1937<\/td><\/td>66<\/td> <\/tr>\n
5146<\/td>559<\/td>unread<\/td>83<\/td>10501<\/td><\/td>4798<\/td>Fotomontage<\/td>Otto Croy<\/td>Wilhelm Knapp<\/td>Tyskland<\/td>1948<\/td><\/td>66<\/td> <\/tr>\n
5147<\/td>560<\/td>unread<\/td>83<\/td>10502<\/td><\/td>4799<\/td>Fotokniffe Neue F.<\/td>Otto Croy<\/td>Wilhelm Knapp<\/td>Tyskland<\/td>1943<\/td><\/td>66<\/td> <\/tr>\n
5148<\/td>561<\/td>unread<\/td>83<\/td>10503<\/td><\/td>4800<\/td>Fotokniffe<\/td>Otto Croy<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1943<\/td><\/td>66<\/td> <\/tr>\n
5149<\/td>562<\/td>unread<\/td>83<\/td>10504<\/td><\/td>4801<\/td>Fotokniffe<\/td>Otto Croy<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1945<\/td><\/td>66<\/td> <\/tr>\n
5150<\/td>563<\/td>unread<\/td>83<\/td>10505<\/td><\/td>4802<\/td>Fotokniffe<\/td>Otto Croy<\/td>Wilhelm Knapp verlag<\/td><\/td>1939<\/td><\/td>66<\/td> <\/tr>\n
5151<\/td>564<\/td>unread<\/td>83<\/td>10506<\/td><\/td>4803<\/td>Hunderterlei Fotokniffe<\/td>Otto Croy<\/td>Wilhelm Knapp verlag<\/td>Saale<\/td>1936<\/td><\/td>66<\/td> <\/tr>\n
5152<\/td>565<\/td>unread<\/td>83<\/td>10507<\/td><\/td>4804<\/td>Foto grafik. Schrott um Schritt zur<\/td>Otto Croy<\/td>Heering verlag<\/td>Tyskland<\/td>1964<\/td><\/td>65<\/td> <\/tr>\n
5153<\/td>566<\/td>unread<\/td>83<\/td>10508<\/td><\/td>4805<\/td><\/td>Otto Croy<\/td>Heering verlag<\/td>Tyskland<\/td>1964<\/td><\/td>65<\/td> <\/tr>\n
5154<\/td>567<\/td>unread<\/td>83<\/td>10509<\/td><\/td>4806<\/td>Das Contax-buch<\/td>Otto Croy<\/td>Heering verlag<\/td>Harzburg<\/td>1942<\/td><\/td>65<\/td> <\/tr>\n
5155<\/td>568<\/td>unread<\/td>83<\/td>10510<\/td><\/td>4807<\/td><\/td>Otto Croy<\/td>Heering verlag<\/td>Harzburg<\/td>1942<\/td><\/td>66<\/td> <\/tr>\n
5156<\/td>569<\/td>unread<\/td>83<\/td>10511<\/td><\/td>4808<\/td><\/td>Otto Croy<\/td>Heering verlag<\/td>Seebruck<\/td>1950<\/td><\/td>69<\/td> <\/tr>\n
5157<\/td>570<\/td>unread<\/td>83<\/td>10512<\/td><\/td>4809<\/td><\/td>Otto Croy<\/td>Heering verlag<\/td>Tyskland<\/td>1953<\/td><\/td>69<\/td> <\/tr>\n
5158<\/td>571<\/td>unread<\/td>83<\/td>10513<\/td><\/td>4810<\/td>Fotografish. Sehen und gestalten<\/td>Otto Croy<\/td><\/td>Seebruck<\/td>1956<\/td><\/td>69<\/td> <\/tr>\n
5159<\/td>572<\/td>unread<\/td>83<\/td>10514<\/td><\/td>4811<\/td>Retusche von heute<\/td>Otto Croy<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1940+45<\/td><\/td>69<\/td> <\/tr>\n
5160<\/td>573<\/td>unread<\/td>88<\/td>10515<\/td><\/td>4812<\/td>Custer. In photographs<\/td>D.Mark Katz<\/td><\/td>Amerika<\/td><\/td><\/td>0<\/td> <\/tr>\n
5161<\/td>574<\/td>unread<\/td>84<\/td>10516<\/td><\/td>4813<\/td><\/td>Edward L.Wilson<\/td><\/td>New York<\/td>1894<\/td><\/td>72<\/td> <\/tr>\n
5162<\/td>575<\/td>unread<\/td>81<\/td>10517<\/td><\/td>4814<\/td>Om cystoscoper<\/td>Simonsen & Weel<\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
5163<\/td>576<\/td>unread<\/td>88<\/td>10518<\/td><\/td>4815<\/td><\/td><\/td><\/td>Rhodos<\/td>1974<\/td>ISBN 87-7496-424-0.<\/td>46<\/td> <\/tr>\n
5164<\/td>577<\/td>unread<\/td>88<\/td>10519<\/td><\/td>4816<\/td><\/td><\/td><\/td><\/td>1991<\/td><\/td>46<\/td> <\/tr>\n
5165<\/td>578<\/td>unread<\/td>81<\/td>10520<\/td><\/td>4817<\/td><\/td>Arnold Hending<\/td>Urania forlag<\/td><\/td>1945<\/td><\/td>64<\/td> <\/tr>\n
5166<\/td>579<\/td>unread<\/td>86<\/td>10521<\/td><\/td>4818<\/td>Daguerre<\/td>Szilagyi Gabor<\/td>Gondolat forlag<\/td>Budapest<\/td>1987<\/td>Ungarnsk.<\/td>64<\/td> <\/tr>\n
5167<\/td>580<\/td>unread<\/td>83<\/td>10522<\/td><\/td>4819<\/td>Daguerre Kepei<\/td>Dr. Zimmerman Jakab<\/td><\/td>Becsben<\/td>1840<\/td><\/td>59<\/td> <\/tr>\n
5168<\/td>581<\/td>unread<\/td>88<\/td>10523<\/td><\/td>4820<\/td>Daguerreotypier<\/td>L.E.Uhlenhut<\/td><\/td>Stuttgart<\/td>1993<\/td><\/td>81<\/td> <\/tr>\n
5169<\/td>582<\/td>unread<\/td>85<\/td>10524<\/td><\/td>4821<\/td>Daguerreotype et du diarama<\/td><\/td><\/td><\/td>1839<\/td><\/td>58<\/td> <\/tr>\n
5170<\/td>583<\/td>unread<\/td>88<\/td>10525<\/td><\/td>4822<\/td>The Daguerreotype in America<\/td>Beumont Newhall<\/td><\/td><\/td>1975<\/td><\/td>49<\/td> <\/tr>\n
5171<\/td>584<\/td>unread<\/td>85<\/td>10526<\/td><\/td>4823<\/td>Daguerreotype.Description dun photograph<\/td><\/td><\/td>Paris<\/td>1841<\/td><\/td>57<\/td> <\/tr>\n
5172<\/td>585<\/td>unread<\/td>81<\/td>10527<\/td><\/td>4824<\/td>Edison<\/td>Kristian Dahl<\/td>Gyldendals forlag<\/td><\/td>1897<\/td><\/td>0<\/td> <\/tr>\n
5173<\/td>586<\/td>unread<\/td>83<\/td>10528<\/td><\/td>4825<\/td>Deutsche meristerausnahmen nr.8. Schnee<\/td>Paul Damm<\/td>Verlag F.Bruckmann<\/td><\/td>1937<\/td><\/td>65<\/td> <\/tr>\n
5174<\/td>587<\/td>unread<\/td>83<\/td>10529<\/td><\/td>4826<\/td><\/td>Paul Damm<\/td><\/td>Dresden<\/td><\/td><\/td>69<\/td> <\/tr>\n
5175<\/td>588<\/td>unread<\/td>88<\/td>10530<\/td><\/td>4827<\/td>Oppe og nede i Kbh 1908-45.<\/td><\/td>Gyldendal<\/td><\/td>1987<\/td>ISBN.87-00-10-394-2.<\/td>42<\/td> <\/tr>\n
5176<\/td>589<\/td>unread<\/td>88<\/td>10531<\/td><\/td>4828<\/td>Danmark<\/td><\/td><\/td><\/td><\/td>Dansk\/ Tysk\/ Engelsk.<\/td>47<\/td> <\/tr>\n
5177<\/td>590<\/td>unread<\/td>88<\/td>10532<\/td><\/td>4829<\/td>Danmark 1<\/td>Sigvart Werner<\/td><\/td>J.Frimodts forlag<\/td><\/td><\/td>46<\/td> <\/tr>\n
5178<\/td>591<\/td>unread<\/td>88<\/td>10533<\/td><\/td>4830<\/td>Danmark II<\/td>Sigvart Werner<\/td>J.Frimodts forlag<\/td><\/td><\/td><\/td>46<\/td> <\/tr>\n
5179<\/td>592<\/td>unread<\/td>88<\/td>10534<\/td><\/td>4831<\/td>Danmark i lys og skygge<\/td>Lund Hansen og Hans Scherfig<\/td>Christian Ejlers forlag<\/td><\/td>1985<\/td><\/td>42<\/td> <\/tr>\n
5180<\/td>593<\/td>unread<\/td>88<\/td>10535<\/td><\/td>4832<\/td>Danmark i farver<\/td>Harald Toksvig<\/td><\/td><\/td>1951<\/td><\/td>47<\/td> <\/tr>\n
5181<\/td>594<\/td>unread<\/td>81<\/td>10536<\/td><\/td>4833<\/td>Danmark. Historisk billedbog 4<\/td>Erik Kjersgaard<\/td><\/td><\/td>1971<\/td><\/td>75<\/td> <\/tr>\n
5182<\/td>595<\/td>unread<\/td>81<\/td>10537<\/td><\/td>4834<\/td>Danmark. Historisk billedbog 3<\/td>Erik Kjersgaard<\/td><\/td><\/td>1971<\/td><\/td>75<\/td> <\/tr>\n
5183<\/td>596<\/td>unread<\/td>81<\/td>10538<\/td><\/td>4835<\/td>Danmark. Historisk billedbog 2<\/td>Erik Kjersgaard<\/td><\/td><\/td>1969<\/td><\/td>75<\/td> <\/tr>\n
5184<\/td>597<\/td>unread<\/td>81<\/td>10539<\/td><\/td>4836<\/td>Danmark. Historisk billedbog<\/td>Erik Kjersgaard<\/td><\/td><\/td>1969<\/td><\/td>75<\/td> <\/tr>\n
5185<\/td>598<\/td>unread<\/td>88<\/td>10540<\/td><\/td>4837<\/td>Danmarks konger og dronninger<\/td>Kay Nielsen<\/td>Forlaget Hamlet<\/td><\/td>1980<\/td><\/td>53<\/td> <\/tr>\n
5186<\/td>599<\/td>unread<\/td>88<\/td>10541<\/td><\/td>4838<\/td>Dans-Dans-Dans<\/td>K.M.Hansen\/O. pedersen<\/td>Husets forlag<\/td><\/td>1985<\/td>ISBN.87-7483-143-7.<\/td>46<\/td> <\/tr>\n
5187<\/td>600<\/td>unread<\/td>81<\/td>10542<\/td><\/td>4839<\/td>Dansk Filmfotograf Forbund<\/td><\/td><\/td><\/td>1996-97<\/td><\/td>76<\/td> <\/tr>\n
5188<\/td>601<\/td>unread<\/td>88<\/td>10543<\/td><\/td>4840<\/td>Danske byer set fra luften<\/td>Henning Dehn-Nielsen<\/td>Forlaget Danmark<\/td><\/td>1986<\/td><\/td>42<\/td> <\/tr>\n
5189<\/td>602<\/td>unread<\/td>88<\/td>10544<\/td><\/td>4841<\/td>Danske billeder<\/td><\/td><\/td><\/td>1919<\/td><\/td>75<\/td> <\/tr>\n
5190<\/td>603<\/td>unread<\/td>88<\/td>10545<\/td><\/td>4842<\/td>Danske billeder<\/td><\/td><\/td><\/td>1918<\/td><\/td>75<\/td> <\/tr>\n
5191<\/td>604<\/td>unread<\/td>88<\/td>10546<\/td><\/td>4843<\/td>Danske billeder<\/td>Sigvart Werner<\/td><\/td><\/td>1920<\/td><\/td>46<\/td> <\/tr>\n
5192<\/td>605<\/td>unread<\/td>81<\/td>10547<\/td><\/td>4844<\/td><\/td><\/td><\/td><\/td>1995<\/td><\/td>78<\/td> <\/tr>\n
5193<\/td>606<\/td>unread<\/td>81<\/td>10548<\/td><\/td>4845<\/td>Dansk fotografi.Danske kamera pictoriali<\/td><\/td>Thanning & Appel<\/td><\/td>1945<\/td><\/td>57<\/td> <\/tr>\n
5194<\/td>607<\/td>unread<\/td>88<\/td>10549<\/td><\/td>4846<\/td>Dansk fotografi 1987.Selskabet for Dansk<\/td><\/td>Fingerprint<\/td><\/td>1987<\/td>ISBN.87-982645-1-6.<\/td>53<\/td> <\/tr>\n
5195<\/td>608<\/td>unread<\/td>88<\/td>10550<\/td><\/td>4847<\/td>Dansk fotografi.Selskabet for Dk.fotogra<\/td><\/td><\/td><\/td>1989<\/td><\/td>53<\/td> <\/tr>\n
5196<\/td>609<\/td>unread<\/td>88<\/td>10551<\/td><\/td>4848<\/td>Dansk fotografi.Selskabet for DK.fotogra<\/td><\/td><\/td><\/td>1991<\/td><\/td>53<\/td> <\/tr>\n
5197<\/td>610<\/td>unread<\/td>88<\/td>10552<\/td><\/td>4849<\/td>Dansk fotografi. Selskabet for DK. fotog<\/td><\/td><\/td><\/td>1992<\/td><\/td>53<\/td> <\/tr>\n
5198<\/td>611<\/td>unread<\/td>88<\/td>10553<\/td><\/td>4850<\/td>Dansk fotografi. Selskabet for DK.fotogr<\/td><\/td><\/td><\/td>1993<\/td><\/td>53<\/td> <\/tr>\n
5199<\/td>612<\/td>unread<\/td>88<\/td>10554<\/td><\/td>4851<\/td>Dansk fotografi. Selskabet for DK.fotogr<\/td><\/td><\/td><\/td>1995<\/td><\/td>53<\/td> <\/tr>\n
5200<\/td>613<\/td>unread<\/td>88<\/td>10555<\/td><\/td>4852<\/td>Dansk fotografi.Selskabet for DK.fotogra<\/td><\/td><\/td><\/td>1996-97<\/td><\/td>53<\/td> <\/tr>\n
5201<\/td>614<\/td>unread<\/td>88<\/td>10556<\/td><\/td>4853<\/td>Dansk fotografi.Selskabet for dk.fotogra<\/td><\/td><\/td><\/td>1997-98<\/td><\/td>53<\/td> <\/tr>\n
5202<\/td>615<\/td>unread<\/td>88<\/td>10557<\/td><\/td>4854<\/td>Dansk fotografi. Selskabet for dk fotogr<\/td><\/td><\/td><\/td>1998<\/td><\/td>53<\/td> <\/tr>\n
5203<\/td>616<\/td>unread<\/td>81<\/td>10558<\/td><\/td>4855<\/td>The Leica manual<\/td>Willard Morgan<\/td>Morgan & Lester, Publishers<\/td>New York<\/td>1947<\/td><\/td>84<\/td> <\/tr>\n
5204<\/td>617<\/td>unread<\/td>81<\/td>10559<\/td><\/td>4856<\/td>Dansk fotolitteratur 1839-1982<\/td>Niels Dejgaard<\/td>Bibliotekcentralens forlag<\/td><\/td>1984<\/td><\/td>57<\/td> <\/tr>\n
5205<\/td>618<\/td>unread<\/td>88<\/td>10560<\/td><\/td>4857<\/td>Dansk kavalkade i pressefotografi<\/td><\/td>Berlingske forlag<\/td><\/td>1942<\/td><\/td>47<\/td> <\/tr>\n
5206<\/td>619<\/td>unread<\/td>88<\/td>10561<\/td><\/td>4858<\/td>Dansk skuespiller album.<\/td><\/td><\/td><\/td>1895<\/td><\/td>75<\/td> <\/tr>\n
5207<\/td>620<\/td>unread<\/td>81<\/td>10562<\/td><\/td>4859<\/td>Danske Stereofotografer<\/td>Erik Fersling<\/td><\/td><\/td>Sept. 1985<\/td>REG.57.<\/td>0<\/td> <\/tr>\n
5208<\/td>621<\/td>unread<\/td>88<\/td>10563<\/td><\/td>4860<\/td>Danske truckere<\/td>Finn Larsen m.fl.<\/td><\/td><\/td>1981<\/td><\/td>42<\/td> <\/tr>\n
5209<\/td>622<\/td>unread<\/td>84<\/td>10564<\/td><\/td>4861<\/td>Darkness and light<\/td><\/td><\/td>Oslo<\/td>1994<\/td><\/td>81<\/td> <\/tr>\n
5210<\/td>623<\/td>unread<\/td>84<\/td>10565<\/td><\/td>4862<\/td>Darkroom handbook and formulary<\/td>Morris Germain<\/td>Little Tecknical Library<\/td>New York<\/td>1940<\/td><\/td>71<\/td> <\/tr>\n
5211<\/td>624<\/td>unread<\/td>84<\/td>10566<\/td><\/td>4863<\/td>Darkroom-book, advanced B&W<\/td>Bob Nadler<\/td><\/td><\/td>1978<\/td><\/td>60<\/td> <\/tr>\n
5212<\/td>625<\/td>unread<\/td>84<\/td>10567<\/td><\/td>4864<\/td>Darkroom magic<\/td>Otto Litzel<\/td>Amphoto<\/td>New York<\/td>1967<\/td><\/td>72<\/td> <\/tr>\n
5213<\/td>626<\/td>unread<\/td>83<\/td>10568<\/td><\/td>4865<\/td>Das buch der Makina<\/td>Dr.W.Kross<\/td>Wilhelm Knapp<\/td><\/td>1937<\/td><\/td>65<\/td> <\/tr>\n
5214<\/td>627<\/td>unread<\/td>83<\/td>10569<\/td><\/td>4866<\/td>Das Agfacolor farbenfilmverfahren<\/td><\/td>Deutscher verlag<\/td>Berlin<\/td><\/td><\/td>54<\/td> <\/tr>\n
5215<\/td>628<\/td>unread<\/td>83<\/td>10570<\/td><\/td>4867<\/td>Das Atelier und laboratorium des photogr<\/td>Dr.Josef Maria Eder<\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5216<\/td>629<\/td>unread<\/td>83<\/td>10571<\/td><\/td>4868<\/td>Das Canon Eos system<\/td>Bob von Shell<\/td>Laterna Magica<\/td><\/td>1992<\/td><\/td>83<\/td> <\/tr>\n
5217<\/td>630<\/td>unread<\/td>83<\/td>10572<\/td><\/td>4869<\/td>Das auge meiner kamera<\/td>H.Naumann<\/td>Wilhelm Knapp<\/td>Tyskland<\/td>1940<\/td><\/td>65<\/td> <\/tr>\n
5218<\/td>631<\/td>unread<\/td>83<\/td>10573<\/td><\/td>4870<\/td>Das auge meiner kamera<\/td>H.Naumann<\/td><\/td>Halle (Saale)<\/td>1937<\/td><\/td>65<\/td> <\/tr>\n
5219<\/td>632<\/td>unread<\/td>83<\/td>10574<\/td><\/td>4871<\/td>Das auge meiner kamera<\/td>H.Naumann<\/td>Wilhelm Knapp<\/td>Halle<\/td>1943<\/td><\/td>65<\/td> <\/tr>\n
5220<\/td>633<\/td>unread<\/td>83<\/td>10575<\/td><\/td>4872<\/td>Das fernobjektiv und die vorsatzlinsen<\/td>Hans Schmidt<\/td>Union Deutsche verlag<\/td>Dresden<\/td>1925<\/td><\/td>68<\/td> <\/tr>\n
5221<\/td>634<\/td>unread<\/td>88<\/td>10576<\/td><\/td>4873<\/td>Das Deutsche lightbild - 1955<\/td><\/td>Dr.Wolf Strache<\/td>Stuttgart<\/td>1955<\/td><\/td>40<\/td> <\/tr>\n
5222<\/td>635<\/td>unread<\/td>83<\/td>10577<\/td><\/td>4874<\/td>Das foto-jahr 1934<\/td>Walter Heering<\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5223<\/td>636<\/td>unread<\/td>83<\/td>10578<\/td><\/td>4875<\/td>Das foto-jahr 1935<\/td><\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5224<\/td>637<\/td>unread<\/td>83<\/td>10579<\/td><\/td>4876<\/td>Das foto jahr 1936<\/td>Walhter Heering<\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5225<\/td>638<\/td>unread<\/td>83<\/td>10580<\/td><\/td>4877<\/td>Das foto-jahr 1937<\/td><\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5226<\/td>639<\/td>unread<\/td>83<\/td>10581<\/td><\/td>4878<\/td>Das foto-jahr 1938<\/td><\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5227<\/td>640<\/td>unread<\/td>83<\/td>10582<\/td><\/td>4879<\/td>Das foto-jahr 1939<\/td><\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5228<\/td>641<\/td>unread<\/td>83<\/td>10583<\/td><\/td>4880<\/td>Das foto-jahr 1940<\/td><\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5229<\/td>642<\/td>unread<\/td>83<\/td>10584<\/td><\/td>4881<\/td>Das foto-jahr 1941<\/td><\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5230<\/td>643<\/td>unread<\/td>83<\/td>10585<\/td><\/td>4882<\/td>Das foto-jahr 1942<\/td><\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5231<\/td>644<\/td>unread<\/td>83<\/td>10586<\/td><\/td>4883<\/td>Das foto-fachblatt<\/td><\/td><\/td>Heering verlag<\/td><\/td><\/td>73<\/td> <\/tr>\n
5232<\/td>645<\/td>unread<\/td>83<\/td>10587<\/td><\/td>4884<\/td>Das Goldene buch der gebrauchsfotografie<\/td>Heinrich Freytag<\/td>Laterna Magica<\/td>Tyskland<\/td>1970<\/td><\/td>81<\/td> <\/tr>\n
5233<\/td>646<\/td>unread<\/td>83<\/td>10588<\/td><\/td>4885<\/td>Das goldene buch der gebrauchsfotographi<\/td>H.Dieter Scheddel<\/td>Laterna Magica<\/td><\/td><\/td><\/td>67<\/td> <\/tr>\n
5234<\/td>647<\/td>unread<\/td>83<\/td>10589<\/td><\/td>4886<\/td>Das grose tonfilm-buch<\/td>Klaus Pellinka<\/td>Laterna Magica<\/td><\/td>1981<\/td><\/td>76<\/td> <\/tr>\n
5235<\/td>648<\/td>unread<\/td>88<\/td>10590<\/td><\/td>4887<\/td>Das goldene buch der Rolleiflex<\/td>Walter Heering<\/td>Walter Heering verlag<\/td>Harzburg<\/td>1935<\/td><\/td>41<\/td> <\/tr>\n
5236<\/td>649<\/td>unread<\/td>83<\/td>10591<\/td><\/td>4888<\/td>Das kleine fotolehrbuch.<\/td>W.D.Emanuel<\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>67<\/td> <\/tr>\n
5237<\/td>650<\/td>unread<\/td>83<\/td>10592<\/td><\/td>4889<\/td>Das kunstlicht-buch<\/td>Walter Heering<\/td>Wilhelm Knapp<\/td>Tyskland<\/td>1932<\/td><\/td>67<\/td> <\/tr>\n
5238<\/td>651<\/td>unread<\/td>83<\/td>10593<\/td><\/td>4890<\/td>Das kunstlicht-buch<\/td>Walter Heering<\/td>Walter Heering<\/td>Tyskland<\/td>1933<\/td><\/td>67<\/td> <\/tr>\n
5239<\/td>652<\/td>unread<\/td>83<\/td>10594<\/td><\/td>4891<\/td>Das kunstlicht-buch<\/td>Walter Heering<\/td>Walter Heering<\/td>Harzburg<\/td>1935<\/td><\/td>67<\/td> <\/tr>\n
5240<\/td>653<\/td>unread<\/td>83<\/td>10595<\/td><\/td>4892<\/td>Das Goldene buch<\/td>Walter Heering<\/td>Walter Heering verlag<\/td>Harzburg<\/td>1935<\/td><\/td>67<\/td> <\/tr>\n
5241<\/td>654<\/td>unread<\/td>83<\/td>10596<\/td><\/td>4893<\/td>Das Loch. Fotoforum<\/td><\/td><\/td><\/td>1985<\/td><\/td>55<\/td> <\/tr>\n
5242<\/td>655<\/td>unread<\/td>83<\/td>10597<\/td><\/td>4894<\/td>Das Leicaflex-buch<\/td>Theo Kisselbach<\/td>Walter Heering verlag<\/td><\/td>1970<\/td><\/td>67<\/td> <\/tr>\n
5243<\/td>656<\/td>unread<\/td>83<\/td>10598<\/td><\/td>4895<\/td>Das Leica-buch<\/td>Theo Kisselbach<\/td>Walter Heering verlag<\/td>Seebruck<\/td>1959<\/td><\/td>67<\/td> <\/tr>\n
5244<\/td>657<\/td>unread<\/td>83<\/td>10599<\/td><\/td>4896<\/td>Das Lumimax-buch<\/td>Gerhard Isert<\/td>G.Hirth verlag<\/td><\/td>1935<\/td><\/td>67<\/td> <\/tr>\n
5245<\/td>658<\/td>unread<\/td>83<\/td>10600<\/td><\/td>4897<\/td>Das Rolleiflex-buch<\/td>Dr.Walter Heering<\/td>Heering verlag<\/td>Harzburg<\/td>1932<\/td><\/td>84<\/td> <\/tr>\n
5246<\/td>659<\/td>unread<\/td>83<\/td>10601<\/td><\/td>4898<\/td>Das Rolleiflex buch<\/td>Dr.Walther Heering<\/td>Wilhelm Knapp verlag<\/td>Halle (Saale)<\/td>1932<\/td><\/td>72<\/td> <\/tr>\n
5247<\/td>660<\/td>unread<\/td>83<\/td>10602<\/td><\/td>4899<\/td>Das Rolleiflex-buch<\/td>Dr.Walther Heering<\/td><\/td>Harzburg<\/td>1941<\/td><\/td>84<\/td> <\/tr>\n
5248<\/td>661<\/td>unread<\/td>83<\/td>10603<\/td><\/td>4900<\/td>Das Rolleiflex-buch<\/td>Dr.Walther Heering<\/td>Walter Heering verlag<\/td>Seebruk<\/td>1952<\/td><\/td>84<\/td> <\/tr>\n
5249<\/td>662<\/td>unread<\/td>83<\/td>10604<\/td><\/td>4901<\/td>Das Rolleiflex-buch<\/td>Dr.Walther Heering<\/td>Heering verlag<\/td>Seebruck<\/td>1952<\/td><\/td>84<\/td> <\/tr>\n
5250<\/td>663<\/td>unread<\/td>83<\/td>10605<\/td><\/td>4902<\/td>Das Rolleiflex-buch<\/td>Dr.Walther Heering<\/td>IM Heering verlag<\/td>Seebruck<\/td>1958<\/td><\/td>84<\/td> <\/tr>\n
5251<\/td>664<\/td>unread<\/td>83<\/td>10606<\/td><\/td>4903<\/td>Das Rollei-buch<\/td>Dr.Walther Heering<\/td>IM Heering-verlag<\/td>Seebruck. Am Chiemsee<\/td>1964<\/td><\/td>84<\/td> <\/tr>\n
5252<\/td>665<\/td>unread<\/td>83<\/td>10607<\/td><\/td>4904<\/td>Das photo-jahr 1932<\/td>Walther Heering<\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5253<\/td>666<\/td>unread<\/td>83<\/td>10608<\/td><\/td>4905<\/td>Das photo-jahr 1933<\/td>Walther Heering<\/td>Wilhelm Knapp verlag<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5254<\/td>667<\/td>unread<\/td>83<\/td>10609<\/td><\/td>4906<\/td>Das photo graphische werk im querschnitt<\/td>Heinrich Heidersberger<\/td>Verlag Gunter Hempel<\/td>Wolfsburg<\/td>1986<\/td><\/td>53<\/td> <\/tr>\n
5255<\/td>668<\/td>unread<\/td>83<\/td>10610<\/td><\/td>4907<\/td>Das photo-jahr 1932<\/td>Walther Heering<\/td>Wilhelm Knapp verlag<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5256<\/td>669<\/td>unread<\/td>83<\/td>10611<\/td><\/td>4908<\/td><\/td>Franz Fiedler<\/td>Otto Elsner verlag<\/td>Berlin<\/td>1941<\/td><\/td>69<\/td> <\/tr>\n
5257<\/td>670<\/td>unread<\/td>83<\/td>10612<\/td><\/td>4909<\/td>Das objectiv<\/td>E.Holm<\/td>Gustav Schmidt verlag<\/td>Berlin<\/td>1902<\/td><\/td>68<\/td> <\/tr>\n
5258<\/td>671<\/td>unread<\/td>83<\/td>10613<\/td><\/td>4910<\/td>Das Schaja photobuch<\/td>Georg Gesell<\/td>Photo Schaja verlag<\/td>Tyskland<\/td><\/td><\/td>69<\/td> <\/tr>\n
5259<\/td>672<\/td>unread<\/td>83<\/td>10614<\/td><\/td>4911<\/td>Das Stereoskop<\/td>Albrecht Hoffmann<\/td><\/td><\/td>1990<\/td>Deutsche Museum.<\/td>83<\/td> <\/tr>\n
5260<\/td>673<\/td>unread<\/td>83<\/td>10615<\/td><\/td>4912<\/td><\/td><\/td>Walter F.Benser<\/td>Tyskland<\/td>1970<\/td><\/td>83<\/td> <\/tr>\n
5261<\/td>674<\/td>unread<\/td>83<\/td>10616<\/td><\/td>4913<\/td>Das Olfarben.kopierverfahren<\/td><\/td>Union Deutsche verlagsgesellschaft<\/td>Berlin<\/td>1914<\/td><\/td>81<\/td> <\/tr>\n
5262<\/td>675<\/td>unread<\/td>81<\/td>10617<\/td><\/td>4914<\/td>Databog for professionelle fotografer<\/td><\/td><\/td><\/td>1972<\/td><\/td>57<\/td> <\/tr>\n
5263<\/td>676<\/td>unread<\/td>81<\/td>10618<\/td><\/td>4915<\/td>Databog for professionelle fotografer<\/td><\/td><\/td><\/td><\/td>Kodak.<\/td>57<\/td> <\/tr>\n
5264<\/td>677<\/td>unread<\/td>88<\/td>10619<\/td><\/td>4916<\/td>Hellas<\/td>George Davis<\/td>J.J.Augustin publisher<\/td>New York<\/td>1945<\/td><\/td>49<\/td> <\/tr>\n
5265<\/td>678<\/td>unread<\/td>88<\/td>10620<\/td><\/td>4917<\/td><\/td>David O.Hill\/Robert Adamson<\/td>Scottish Arts Council<\/td>Edinburgh<\/td>1970<\/td><\/td>50<\/td> <\/tr>\n
5266<\/td>679<\/td>unread<\/td>83<\/td>10621<\/td><\/td>4918<\/td>Photogr.Praktikum<\/td>Ludvig David<\/td>Wilhelm Knapp verlag<\/td>Berlin<\/td>1921<\/td><\/td>68<\/td> <\/tr>\n
5267<\/td>680<\/td>unread<\/td>83<\/td>10622<\/td><\/td>4919<\/td>Photographisches Praktikum<\/td>Ludwig David<\/td>Wilhelm Knapp verlag<\/td><\/td>1910<\/td><\/td>68<\/td> <\/tr>\n
5268<\/td>681<\/td>unread<\/td>83<\/td>10623<\/td><\/td>4920<\/td>Photogr. Praktikum<\/td>Ludwig David<\/td>Wilhelm Knapp verlag<\/td><\/td>1919<\/td><\/td>68<\/td> <\/tr>\n
5269<\/td>682<\/td>unread<\/td>83<\/td>10624<\/td><\/td>4921<\/td>Ratgeber im photographieren<\/td>L.David<\/td>Wilhelm Knapp<\/td><\/td>1913<\/td><\/td>69<\/td> <\/tr>\n
5270<\/td>683<\/td>unread<\/td>83<\/td>10625<\/td><\/td>4922<\/td>Ratgeber im photographieren<\/td>L.David<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1916<\/td><\/td>69<\/td> <\/tr>\n
5271<\/td>684<\/td>unread<\/td>83<\/td>10626<\/td><\/td>4923<\/td>Ratgeber im photographieren<\/td>L.David<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1920<\/td><\/td>69<\/td> <\/tr>\n
5272<\/td>685<\/td>unread<\/td>83<\/td>10627<\/td><\/td>4924<\/td>Ratgeber im photographieren<\/td>Ludwig David<\/td><\/td>Halle (Saale)<\/td>1931<\/td><\/td>69<\/td> <\/tr>\n
5273<\/td>686<\/td>unread<\/td>83<\/td>10628<\/td><\/td>4925<\/td>Ratgeber im photographieren<\/td>Ludwig David<\/td>Wilhelm Knapp<\/td><\/td>1929<\/td><\/td>69<\/td> <\/tr>\n
5274<\/td>687<\/td>unread<\/td>88<\/td>10629<\/td><\/td>4926<\/td><\/td>Harro Dau<\/td>Wilhelm Heune verlag<\/td><\/td>1974<\/td><\/td>53<\/td> <\/tr>\n
5275<\/td>688<\/td>unread<\/td>82<\/td>10630<\/td><\/td>4927<\/td>De fotografiska kemikalierna<\/td>John Hertzberg<\/td>Svensk fotografisk bibliotek<\/td><\/td>1915<\/td><\/td>64<\/td> <\/tr>\n
5276<\/td>689<\/td>unread<\/td>81<\/td>10631<\/td><\/td>4928<\/td><\/td>Claus Toksvig<\/td><\/td><\/td><\/td><\/td>59<\/td> <\/tr>\n
5277<\/td>690<\/td>unread<\/td>86<\/td>10632<\/td><\/td>4929<\/td>The history of the Japanese camera<\/td>Peter Dechert<\/td><\/td>USA<\/td>1989<\/td>REG.01.<\/td>0<\/td> <\/tr>\n
5278<\/td>691<\/td>unread<\/td>88<\/td>10633<\/td><\/td>4930<\/td>Decorative art 1942<\/td>C.G.Holme<\/td>The studio limited<\/td>London<\/td>1942<\/td><\/td>49<\/td> <\/tr>\n
5279<\/td>692<\/td>unread<\/td>81<\/td>10634<\/td><\/td>4931<\/td>Dekoration-Tips til fotovinduer<\/td>Knud Aage Thureholm<\/td><\/td><\/td>1954<\/td><\/td>79<\/td> <\/tr>\n
5280<\/td>693<\/td>unread<\/td>83<\/td>10635<\/td><\/td>4932<\/td><\/td>Robert Defregger<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1929<\/td><\/td>68<\/td> <\/tr>\n
5281<\/td>694<\/td>unread<\/td>83<\/td>10636<\/td><\/td>4933<\/td>Kurz Gefakt<\/td>Luis Demmeler<\/td>IM Heering verlag<\/td>Seebruck<\/td>1954<\/td><\/td>66<\/td> <\/tr>\n
5282<\/td>695<\/td>unread<\/td>88<\/td>10637<\/td><\/td>4934<\/td><\/td><\/td>Gyldendalske boghandel<\/td><\/td>1949<\/td><\/td>46<\/td> <\/tr>\n
5283<\/td>696<\/td>unread<\/td>88<\/td>10638<\/td><\/td>4935<\/td>Den sidste bonde<\/td><\/td>Teknisk forlag<\/td><\/td>1994<\/td><\/td>53<\/td> <\/tr>\n
5284<\/td>697<\/td>unread<\/td>88<\/td>10639<\/td><\/td>4936<\/td>Den uendelige rejse<\/td>Jacob Tue Larsen<\/td>Gentofte Kunstbibliotek. Museet for foto<\/td><\/td>1995<\/td><\/td>42<\/td> <\/tr>\n
5285<\/td>698<\/td>unread<\/td>81<\/td>10640<\/td><\/td>4937<\/td>Dengang i Odense<\/td>Kylle Topp<\/td>Odense Universitetsforlag<\/td><\/td>1981<\/td><\/td>64<\/td> <\/tr>\n
5286<\/td>699<\/td>unread<\/td>88<\/td>10641<\/td><\/td>4938<\/td><\/td>Steffan Linvald<\/td>Bogans forlag<\/td><\/td>1988<\/td><\/td>55<\/td> <\/tr>\n
5287<\/td>700<\/td>unread<\/td>81<\/td>10642<\/td><\/td>4939<\/td>Den nye fotobog<\/td>Hans Windisch<\/td>Skrifola forlag<\/td><\/td>1956<\/td><\/td>60<\/td> <\/tr>\n
5288<\/td>701<\/td>unread<\/td>81<\/td>10643<\/td><\/td>4940<\/td>Den nye fotobog 2, praktik.<\/td>Hans Windisch<\/td>Skrifola forlag<\/td><\/td>1957<\/td><\/td>60<\/td> <\/tr>\n
5289<\/td>702<\/td>unread<\/td>84<\/td>10644<\/td><\/td>4941<\/td>Jessop International blue book 1989-90<\/td>Douglas st. Denny<\/td><\/td><\/td><\/td><\/td>82<\/td> <\/tr>\n
5290<\/td>703<\/td>unread<\/td>81<\/td>10645<\/td><\/td>4942<\/td>Den karakteristiske kurve og fremka. Ilf<\/td><\/td>Laboratoriet for fotokemi<\/td><\/td>1972<\/td><\/td>61<\/td> <\/tr>\n
5291<\/td>704<\/td>unread<\/td>83<\/td>10646<\/td><\/td>4943<\/td>Der Contessa Camera-werke<\/td>Karl Otto Kemmler<\/td>Gisela Kemmler verlag<\/td><\/td><\/td><\/td>73<\/td> <\/tr>\n
5292<\/td>705<\/td>unread<\/td>83<\/td>10647<\/td><\/td>4944<\/td>Der elektronenblitz<\/td>Dimitri Rebikoff<\/td>IM Heering verlag<\/td>Seebruck am Chiemsee<\/td>1952<\/td><\/td>66<\/td> <\/tr>\n
5293<\/td>706<\/td>unread<\/td>81<\/td>10648<\/td><\/td>4945<\/td>Der er penge i foto<\/td><\/td>Forlaget Abelli<\/td><\/td>1982<\/td><\/td>60<\/td> <\/tr>\n
5294<\/td>707<\/td>unread<\/td>83<\/td>10649<\/td><\/td>4946<\/td>Der gebrauch der blende in der photograp<\/td>Dr. Robert Richter<\/td>Wilhelm Knapp<\/td><\/td>1925<\/td>Sort ringbind.<\/td>78<\/td> <\/tr>\n
5295<\/td>708<\/td>unread<\/td>83<\/td>10650<\/td><\/td>4947<\/td>Der grosse photoh.<\/td>Heinz Temmler<\/td>Hanns-Porst verlag<\/td><\/td>1959<\/td><\/td>67<\/td> <\/tr>\n
5296<\/td>709<\/td>unread<\/td>83<\/td>10651<\/td><\/td>4948<\/td>Der foto dienst.Formeln und tabellen<\/td>Heinrich Thiehl<\/td>Heering verlag<\/td>Tyskland<\/td>1950<\/td><\/td>79<\/td> <\/tr>\n
5297<\/td>710<\/td>unread<\/td>83<\/td>10652<\/td><\/td>4949<\/td>Der foto dienst. Der bild reporter<\/td>Dr.Ralph Weizacker<\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5298<\/td>711<\/td>unread<\/td>83<\/td>10653<\/td><\/td>4950<\/td>Der foto dienst. Erprobte rezepte<\/td>Heinrich Thiel<\/td>Heering verlag<\/td>Tyskland<\/td>1950<\/td><\/td>79<\/td> <\/tr>\n
5299<\/td>712<\/td>unread<\/td>83<\/td>10654<\/td><\/td>4951<\/td>Der foto dienst.Spezielle kleinbild tech<\/td>Heinrich Freytag<\/td>Heering verlag<\/td>Tyskland<\/td>1950<\/td><\/td>79<\/td> <\/tr>\n
5300<\/td>713<\/td>unread<\/td>88<\/td>10655<\/td><\/td>4952<\/td>Der letzte Schliff<\/td>Frank Markowski<\/td>Aufbau verlag<\/td><\/td>1997<\/td><\/td>43<\/td> <\/tr>\n
5301<\/td>714<\/td>unread<\/td>83<\/td>10656<\/td><\/td>4953<\/td>Der neue schmalfilmer<\/td>Hellmuth Lange<\/td>Otto Elsner verlag<\/td>Berlin<\/td>1941<\/td><\/td>68<\/td> <\/tr>\n
5302<\/td>715<\/td>unread<\/td>83<\/td>10657<\/td><\/td>4954<\/td>Der photohelfer.Der photo-porst<\/td><\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5303<\/td>716<\/td>unread<\/td>83<\/td>10658<\/td><\/td>4955<\/td>Der schmalfilm-amat<\/td>M.V.Hotschewar<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1944<\/td><\/td>69<\/td> <\/tr>\n
5304<\/td>717<\/td>unread<\/td>83<\/td>10659<\/td><\/td>4956<\/td>Der silber - druck<\/td>Paul E.Liesegang<\/td>E.Liesegang verlag<\/td><\/td>1884<\/td>Sort ringbind.<\/td>78<\/td> <\/tr>\n
5305<\/td>718<\/td>unread<\/td>83<\/td>10660<\/td><\/td>4957<\/td><\/td>Ing.W.Hasenberg<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1943<\/td><\/td>74<\/td> <\/tr>\n
5306<\/td>719<\/td>unread<\/td>83<\/td>10661<\/td><\/td>4958<\/td>Der unsichtbare photograph<\/td>Erich Salomon<\/td>Franz Greno verlag<\/td><\/td>1988<\/td><\/td>75<\/td> <\/tr>\n
5307<\/td>720<\/td>unread<\/td>88<\/td>10662<\/td><\/td>4959<\/td>Der weg des films<\/td>Friedrich Zglinicki<\/td>Rembrandt verlag<\/td>Berlin<\/td><\/td><\/td>73<\/td> <\/tr>\n
5308<\/td>721<\/td>unread<\/td>83<\/td>10663<\/td><\/td>4960<\/td>Der weg zum guten bild<\/td><\/td><\/td><\/td><\/td><\/td>69<\/td> <\/tr>\n
5309<\/td>722<\/td>unread<\/td>86<\/td>10664<\/td><\/td>4961<\/td>Tabletop photography<\/td>Jacob Deschin A.R.P.S.<\/td><\/td>Amerika<\/td><\/td><\/td>72<\/td> <\/tr>\n
5310<\/td>723<\/td>unread<\/td>88<\/td>10665<\/td><\/td>4962<\/td>Det danske landskab<\/td><\/td>Fotografisk center<\/td><\/td>1996<\/td><\/td>53<\/td> <\/tr>\n
5311<\/td>724<\/td>unread<\/td>88<\/td>10666<\/td><\/td>4963<\/td>Det intime sprog<\/td>Gladys<\/td>Fotografisk center<\/td><\/td>1996<\/td><\/td>53<\/td> <\/tr>\n
5312<\/td>725<\/td>unread<\/td>81<\/td>10667<\/td><\/td>4964<\/td>Fund og forsk.i der kgl.biblioteks saml.<\/td><\/td><\/td><\/td>1997<\/td><\/td>0<\/td> <\/tr>\n
5313<\/td>726<\/td>unread<\/td>88<\/td>10668<\/td><\/td>4965<\/td>Det kgl.bibliotek i dag<\/td><\/td>Kgl.Bibl.tryk<\/td><\/td>1981<\/td>ISBN.0105-3167.<\/td>57<\/td> <\/tr>\n
5314<\/td>727<\/td>unread<\/td>88<\/td>10669<\/td><\/td>4966<\/td>Det kongelige bibliotek<\/td>Kongelig hoffotograf Peter Elfelt<\/td><\/td><\/td>1989<\/td>ISBN.87-7023-548-1.<\/td>47<\/td> <\/tr>\n
5315<\/td>728<\/td>unread<\/td>83<\/td>10670<\/td><\/td>4967<\/td>Deutsche Meristerausnahmen nr 10.<\/td>Kurt Hielscher<\/td>F.Bruckmann<\/td><\/td>1938<\/td>Titel: Burgen im Bozener land.<\/td>65<\/td> <\/tr>\n
5316<\/td>729<\/td>unread<\/td>83<\/td>10671<\/td><\/td>4968<\/td>Deu.Meristerausnahm.9.Nordsee Menchen<\/td>E.Lendvai-Dircksen<\/td>F.Bruckmann<\/td><\/td>1937<\/td><\/td>65<\/td> <\/tr>\n
5317<\/td>730<\/td>unread<\/td>83<\/td>10672<\/td><\/td>4969<\/td>Deutcher camera-Almanach<\/td>Fritz Loecher<\/td>Gustav Schmidt<\/td>Berlin<\/td>1909<\/td><\/td>65<\/td> <\/tr>\n
5318<\/td>731<\/td>unread<\/td>83<\/td>10673<\/td><\/td>4970<\/td>Deutscher camera-Almanach<\/td>Fritz Loescher<\/td>Gustav Schmidt<\/td>Berlin<\/td>1905<\/td><\/td>65<\/td> <\/tr>\n
5319<\/td>732<\/td>unread<\/td>83<\/td>10674<\/td><\/td>4971<\/td>Deutscher camera Almanach<\/td>Fritz Loescher<\/td>Gustav Schmidt<\/td>Berlin<\/td>1907<\/td><\/td>65<\/td> <\/tr>\n
5320<\/td>733<\/td>unread<\/td>83<\/td>10675<\/td><\/td>4972<\/td>Deutsche camera-Almanach<\/td>Fritz Loecher<\/td>Gustav Schmidt<\/td>Berlin<\/td>1910<\/td><\/td>65<\/td> <\/tr>\n
5321<\/td>734<\/td>unread<\/td>83<\/td>10676<\/td><\/td>4973<\/td>Deutscher camera-Almanach<\/td>Fritz Loecher<\/td>Gustav Schmidt<\/td>Berlin<\/td>1911<\/td><\/td>65<\/td> <\/tr>\n
5322<\/td>735<\/td>unread<\/td>83<\/td>10677<\/td><\/td>4974<\/td>Deutscher camera-Almanach<\/td>Fritz Loescher<\/td>Gustav Schmidt<\/td><\/td>1922<\/td><\/td>65<\/td> <\/tr>\n
5323<\/td>736<\/td>unread<\/td>83<\/td>10678<\/td><\/td>4975<\/td>Deutscher camera-Almanach<\/td>Fritz Loescher<\/td>Gustav Schmidt<\/td>Berlin<\/td>1906<\/td><\/td>65<\/td> <\/tr>\n
5324<\/td>737<\/td>unread<\/td>83<\/td>10679<\/td><\/td>4976<\/td>Deutscher camera-Almanach<\/td>Fritz Loescher<\/td>Gustav Schmidt<\/td>Berlin<\/td>1913<\/td><\/td>65<\/td> <\/tr>\n
5325<\/td>738<\/td>unread<\/td>83<\/td>10680<\/td><\/td>4977<\/td>Deutscher kamera-Almanach<\/td>Karl Weiss<\/td>Union Deutscher verlagsgesellschaft<\/td>Berlin<\/td>1931<\/td><\/td>65<\/td> <\/tr>\n
5326<\/td>739<\/td>unread<\/td>83<\/td>10681<\/td><\/td>4978<\/td>Deutscher kamera-Almanach<\/td>Karl Weiss<\/td>Union Deutsche verlagsgesellshaft<\/td>Berlin<\/td>1936<\/td><\/td>65<\/td> <\/tr>\n
5327<\/td>740<\/td>unread<\/td>83<\/td>10682<\/td><\/td>4979<\/td>Deu.Meristerausnahm. nr.6<\/td>A. Renger-Patzsch<\/td>F.Bruckmann verlag<\/td><\/td>1937<\/td>Sylt\/bild einer Insel.<\/td>65<\/td> <\/tr>\n
5328<\/td>741<\/td>unread<\/td>83<\/td>10683<\/td><\/td>4980<\/td>Deutsches Filmmuseum<\/td><\/td><\/td><\/td><\/td>ACR.register 001-288. REG.05.<\/td>0<\/td> <\/tr>\n
5329<\/td>742<\/td>unread<\/td>83<\/td>10684<\/td><\/td>4981<\/td>Deutsches Filmmuseum.<\/td><\/td><\/td><\/td><\/td>ACR. Register 289-564. REG. 05.<\/td>0<\/td> <\/tr>\n
5330<\/td>743<\/td>unread<\/td>83<\/td>10685<\/td><\/td>4982<\/td>Deutsches Filmmuseum.<\/td><\/td><\/td><\/td><\/td>ACR.Register 565-840. REG.05<\/td>0<\/td> <\/tr>\n
5331<\/td>744<\/td>unread<\/td>83<\/td>10686<\/td><\/td>4983<\/td>Deutsches Filmmuseum.<\/td><\/td><\/td><\/td><\/td>ACR. Register 0841-1120. REG.05.<\/td>0<\/td> <\/tr>\n
5332<\/td>745<\/td>unread<\/td>83<\/td>10687<\/td><\/td>4984<\/td>Deu.photographen-kalender<\/td>K.Schwier<\/td>Deutschen photographenzeitung<\/td>Weimar<\/td>1903<\/td><\/td>79<\/td> <\/tr>\n
5333<\/td>746<\/td>unread<\/td>84<\/td>10688<\/td><\/td>4985<\/td>Developing<\/td>C.I.Jacobsen<\/td>The focal press<\/td><\/td><\/td><\/td>84<\/td> <\/tr>\n
5334<\/td>747<\/td>unread<\/td>83<\/td>10689<\/td><\/td>4986<\/td>Diapositive<\/td>Max Schiel<\/td>Otto Elsner verlagsgesellschaft<\/td>Berlin<\/td>1941<\/td><\/td>66<\/td> <\/tr>\n
5335<\/td>748<\/td>unread<\/td>83<\/td>10690<\/td><\/td>4987<\/td>Diaposetiv-Technik<\/td><\/td>Wilhelm Knapp verlag<\/td><\/td>1956<\/td><\/td>66<\/td> <\/tr>\n
5336<\/td>749<\/td>unread<\/td>85<\/td>10691<\/td><\/td>4988<\/td>Dictionnaire Synonymique<\/td>Anthonny Guerronnan<\/td>Gauthier Villars et Fils<\/td>Paris<\/td>1895<\/td><\/td>58<\/td> <\/tr>\n
5337<\/td>750<\/td>unread<\/td>83<\/td>10692<\/td><\/td>4989<\/td>Nordische Sarbenmunder<\/td>Elisabeth Did<\/td><\/td>Leipsig<\/td>1940<\/td><\/td>51<\/td> <\/tr>\n
5338<\/td>751<\/td>unread<\/td>83<\/td>10693<\/td><\/td>4990<\/td>Die schnelle aufnahme<\/td>Dr. Walther Kross<\/td>Heering verlag Harzburg<\/td><\/td>1936<\/td><\/td>72<\/td> <\/tr>\n
5339<\/td>752<\/td>unread<\/td>83<\/td>10694<\/td><\/td>4991<\/td>Die blitzlicht photographie<\/td>Hermann Schnauss<\/td>Ed.Liesegangs verlag<\/td><\/td>1896<\/td><\/td>73<\/td> <\/tr>\n
5340<\/td>753<\/td>unread<\/td>88<\/td>10695<\/td><\/td>4992<\/td>Die erotische Daguerreotypie<\/td>Hans Christian Adam<\/td>Odephil Editions<\/td>Praha<\/td>1998<\/td>Titel: Eine mediengeschichtliche bestandsaufnahme.<\/td>53<\/td> <\/tr>\n
5341<\/td>754<\/td>unread<\/td>83<\/td>10696<\/td><\/td>4993<\/td>Die fotografie. Rolleiflex-Rolleicord<\/td><\/td><\/td><\/td>1939-1940<\/td><\/td>81<\/td> <\/tr>\n
5342<\/td>755<\/td>unread<\/td>83<\/td>10697<\/td><\/td>4994<\/td>Die kamera.Time-life-bucher<\/td><\/td>Time inc. 1970.<\/td><\/td>1975<\/td><\/td>101<\/td> <\/tr>\n
5343<\/td>756<\/td>unread<\/td>83<\/td>10698<\/td><\/td>4995<\/td>Die kopie im Flachdruch<\/td>Hanns Eggen<\/td>Carl Garte verlag<\/td><\/td>1948<\/td><\/td>69<\/td> <\/tr>\n
5344<\/td>757<\/td>unread<\/td>83<\/td>10699<\/td><\/td>4996<\/td>Die Daguerreotypie<\/td>Josef Maria Eder<\/td>Wilhelm Knapp<\/td>Halle<\/td>1927<\/td><\/td>65<\/td> <\/tr>\n
5345<\/td>758<\/td>unread<\/td>83<\/td>10700<\/td><\/td>4997<\/td>Die 12 filmtips<\/td>Heinrich Freytag<\/td>Wilhelm Knapp<\/td><\/td>1955<\/td><\/td>74<\/td> <\/tr>\n
5346<\/td>759<\/td>unread<\/td>83<\/td>10701<\/td><\/td>4998<\/td>Die grundlagen der photographie<\/td>W.Scheffer<\/td>Union Deutsche verlag<\/td><\/td><\/td><\/td>68<\/td> <\/tr>\n
5347<\/td>760<\/td>unread<\/td>83<\/td>10702<\/td><\/td>4999<\/td>Die infrarot-fotografie<\/td>Dr. Othmar Helwich<\/td>Walther Heering verlag<\/td>Tyskland<\/td>1937<\/td><\/td>83<\/td> <\/tr>\n
5348<\/td>761<\/td>unread<\/td>83<\/td>10703<\/td><\/td>5000<\/td>Die kamera der nichts entgeht<\/td><\/td>Verlag H. Lindemanns<\/td>Stuttgart<\/td>1992<\/td><\/td>81<\/td> <\/tr>\n
5349<\/td>762<\/td>unread<\/td>83<\/td>10704<\/td><\/td>5001<\/td>Die Leica in beruf und wissenschaft<\/td><\/td><\/td><\/td>1941<\/td><\/td>67<\/td> <\/tr>\n
5350<\/td>763<\/td>unread<\/td>83<\/td>10705<\/td><\/td>5002<\/td>Die Leica in beruf<\/td><\/td>Umschau verlag<\/td>Frankfurt<\/td>1954-1941<\/td><\/td>67<\/td> <\/tr>\n
5351<\/td>764<\/td>unread<\/td>83<\/td>10706<\/td><\/td>5003<\/td>Die Misserfolge in der photographie<\/td><\/td><\/td>Dresden<\/td>1921<\/td><\/td>68<\/td> <\/tr>\n
5352<\/td>765<\/td>unread<\/td>83<\/td>10707<\/td><\/td>5004<\/td>Die moderne graph.reproduktion<\/td>L.P.Mosler<\/td>Gustav Fischer verlag<\/td>Berlin<\/td>1911<\/td>Sort ringbind.<\/td>78<\/td> <\/tr>\n
5353<\/td>766<\/td>unread<\/td>83<\/td>10708<\/td><\/td>5005<\/td>Die modernen lichtpaus-verfahren<\/td><\/td>Wilhelm Knapp verlag<\/td><\/td><\/td><\/td>68<\/td> <\/tr>\n
5354<\/td>767<\/td>unread<\/td>83<\/td>10709<\/td><\/td>5006<\/td>Die Multiblitz photographie<\/td>Ulrich Mohr<\/td>Drei Mohren verlag<\/td>Hamburg<\/td><\/td><\/td>68<\/td> <\/tr>\n
5355<\/td>768<\/td>unread<\/td>88<\/td>10710<\/td><\/td>5007<\/td><\/td>Heiner Hennings<\/td>Augustus verlag<\/td><\/td>1994<\/td><\/td>43<\/td> <\/tr>\n
5356<\/td>769<\/td>unread<\/td>83<\/td>10711<\/td><\/td>5008<\/td>Die neue Ton-Schule<\/td>H.C.Opfermann<\/td>Heering verlag<\/td>Seebruck<\/td>1961<\/td><\/td>74<\/td> <\/tr>\n
5357<\/td>770<\/td>unread<\/td>83<\/td>10712<\/td><\/td>5009<\/td>Die neue foto-schule<\/td>Hans Windisch<\/td>Heering verlag<\/td>Harzburg<\/td>1941<\/td><\/td>66<\/td> <\/tr>\n
5358<\/td>771<\/td>unread<\/td>83<\/td>10713<\/td><\/td>5010<\/td>Die neue foto-schule<\/td>Hans Windisch<\/td>Heering verlag<\/td>Seebruck<\/td>1949<\/td>2.stk.<\/td>66<\/td> <\/tr>\n
5359<\/td>772<\/td>unread<\/td>83<\/td>10714<\/td><\/td>5011<\/td>Die neue foto-schule<\/td>Hans Windisch<\/td>Heering verlag<\/td>Seebruck<\/td>1951-52<\/td><\/td>66<\/td> <\/tr>\n
5360<\/td>773<\/td>unread<\/td>83<\/td>10715<\/td><\/td>5012<\/td>Die neue foto-schule<\/td>Hans Windisch<\/td>Heering verlag<\/td>Harzburg<\/td>1938<\/td><\/td>66<\/td> <\/tr>\n
5361<\/td>774<\/td>unread<\/td>83<\/td>10716<\/td><\/td>5013<\/td>Die neue foto-schule<\/td>Hans Windisch<\/td>Walther Heering verlag<\/td>Harzburg<\/td>1937<\/td>1-20 tausend. 21-40 tausend.<\/td>66<\/td> <\/tr>\n
5362<\/td>775<\/td>unread<\/td>83<\/td>10717<\/td><\/td>5014<\/td>Die neue fotolehre<\/td>Andreas Feinger<\/td>Econ-verlag<\/td><\/td>1965<\/td><\/td>66<\/td> <\/tr>\n
5363<\/td>776<\/td>unread<\/td>83<\/td>10718<\/td><\/td>5015<\/td>Die Photographie<\/td>Otto Prelinger<\/td>B.G.Teubner verlag<\/td>Berlin<\/td>1914<\/td><\/td>68<\/td> <\/tr>\n
5364<\/td>777<\/td>unread<\/td>83<\/td>10719<\/td><\/td>5016<\/td>Die photographie<\/td>I.Rheden<\/td>Union Deutsche verlag<\/td>Berlin<\/td>1921<\/td><\/td>68<\/td> <\/tr>\n
5365<\/td>778<\/td>unread<\/td>83<\/td>10720<\/td><\/td>5017<\/td>Die photographische kamera und ihr Zubeh<\/td>Karl Pritschow<\/td>Julius Springer verlag<\/td><\/td>1931<\/td><\/td>59<\/td> <\/tr>\n
5366<\/td>779<\/td>unread<\/td>83<\/td>10721<\/td><\/td>5018<\/td>Die richtige belichtung<\/td>J.Rheden<\/td>Wilhelm Knapp verlag<\/td>Berlin<\/td>1920<\/td><\/td>59<\/td> <\/tr>\n
5367<\/td>780<\/td>unread<\/td>83<\/td>10722<\/td><\/td>5019<\/td>Die Rolleicord-Fibel<\/td><\/td>Heering verlag<\/td>Harzburg<\/td>1936<\/td><\/td>69<\/td> <\/tr>\n
5368<\/td>781<\/td>unread<\/td>88<\/td>10723<\/td><\/td>5020<\/td><\/td><\/td>Forlaget Palle Fogtdal<\/td><\/td>1999<\/td><\/td>4<\/td> <\/tr>\n
5369<\/td>782<\/td>unread<\/td>83<\/td>10724<\/td><\/td>5021<\/td><\/td>Fritz Vith<\/td><\/td>Tyskland<\/td>1934<\/td><\/td>69<\/td> <\/tr>\n
5370<\/td>783<\/td>unread<\/td>83<\/td>10725<\/td><\/td>5022<\/td>Die Spektralanalyse<\/td><\/td><\/td><\/td><\/td><\/td>69<\/td> <\/tr>\n
5371<\/td>784<\/td>unread<\/td>83<\/td>10726<\/td><\/td>5023<\/td>Die Spiegelreflextech. Minolta<\/td><\/td><\/td><\/td><\/td><\/td>68<\/td> <\/tr>\n
5372<\/td>785<\/td>unread<\/td>83<\/td>10727<\/td><\/td>5024<\/td>Die Tankentwicklung.<\/td>Wilhelm Triepel<\/td><\/td>Berlin<\/td>1960<\/td><\/td>69<\/td> <\/tr>\n
5373<\/td>786<\/td>unread<\/td>83<\/td>10728<\/td><\/td>5025<\/td>Die Tankentwicklung<\/td>Wilhelm Triepel<\/td><\/td>Berlin<\/td>1938<\/td><\/td>69<\/td> <\/tr>\n
5374<\/td>787<\/td>unread<\/td>83<\/td>10729<\/td><\/td>5026<\/td>Die Tankentwicklung<\/td>Wilhelm Triepel<\/td><\/td>Berlin<\/td>1935<\/td><\/td>69<\/td> <\/tr>\n
5375<\/td>788<\/td>unread<\/td>83<\/td>10730<\/td><\/td>5027<\/td>Die Technik der retusche<\/td><\/td>Verlag des Photograph L.Fernbach<\/td><\/td>1919<\/td><\/td>89<\/td> <\/tr>\n
5376<\/td>789<\/td>unread<\/td>83<\/td>10731<\/td><\/td>5028<\/td>Die Technik der retusche<\/td><\/td>Photograph verlag<\/td>Bunzlau<\/td>1912<\/td><\/td>69<\/td> <\/tr>\n
5377<\/td>790<\/td>unread<\/td>83<\/td>10732<\/td><\/td>5029<\/td>Die Technik der Entwicklung<\/td>Robert Renger-Patzch<\/td>Union deutsche verlag<\/td>Berlin<\/td>1921<\/td><\/td>68<\/td> <\/tr>\n
5378<\/td>791<\/td>unread<\/td>83<\/td>10733<\/td><\/td>5030<\/td>Die Wahrheit<\/td>S. Fischer<\/td><\/td><\/td><\/td><\/td>69<\/td> <\/tr>\n
5379<\/td>792<\/td>unread<\/td>88<\/td>10734<\/td><\/td>5031<\/td>Dimanche 17 Juni 1990<\/td>Drouot Richelieu<\/td><\/td>Italien<\/td>1990<\/td><\/td>51<\/td> <\/tr>\n
5380<\/td>793<\/td>unread<\/td>88<\/td>10735<\/td><\/td>5032<\/td>Din for evigt<\/td><\/td>Forlaget Rhodos<\/td><\/td>1984<\/td><\/td>46<\/td> <\/tr>\n
5381<\/td>794<\/td>unread<\/td>84<\/td>10736<\/td><\/td>5033<\/td>Directory.Japan Camera Industry associat<\/td><\/td><\/td><\/td>1969<\/td>REG. 01.<\/td>0<\/td> <\/tr>\n
5382<\/td>795<\/td>unread<\/td>86<\/td>10737<\/td><\/td>5034<\/td>Directory of Collectable cameras<\/td>Myron Wolf<\/td><\/td>USA<\/td>1972<\/td><\/td>82<\/td> <\/tr>\n
5383<\/td>796<\/td>unread<\/td>81<\/td>10738<\/td><\/td>5035<\/td><\/td>Disderi<\/td>Chr.Falkenbergs boghandel<\/td><\/td>1864<\/td><\/td>64<\/td> <\/tr>\n
5384<\/td>797<\/td>unread<\/td>83<\/td>10739<\/td><\/td>5036<\/td>Photogrammetrie<\/td>Hans Dock<\/td><\/td>Berlin<\/td>1913<\/td><\/td>68<\/td> <\/tr>\n
5385<\/td>798<\/td>unread<\/td>86<\/td>10740<\/td><\/td>5037<\/td>Photo Directory of antique cameras<\/td>Thomas B. Douglas<\/td>Thomas International<\/td>Washington<\/td>1983<\/td><\/td>83<\/td> <\/tr>\n
5386<\/td>799<\/td>unread<\/td>84<\/td>10741<\/td><\/td>5038<\/td>Social-Documentary Photography in the US<\/td>R.J.Doherty<\/td>Amphoto<\/td><\/td>1976<\/td>ISBN.0-8174-0316-7<\/td>50<\/td> <\/tr>\n
5387<\/td>800<\/td>unread<\/td>84<\/td>10742<\/td><\/td>5039<\/td>Document photography<\/td>H.W.Greenwod<\/td>The Focal press<\/td>London<\/td>1943<\/td><\/td>83<\/td> <\/tr>\n
5388<\/td>801<\/td>unread<\/td>84<\/td>10743<\/td><\/td>5040<\/td>Document photography<\/td>H.W.Greenwood<\/td>The Focal press<\/td><\/td>1947<\/td><\/td>81<\/td> <\/tr>\n
5389<\/td>802<\/td>unread<\/td>88<\/td>10744<\/td><\/td>5041<\/td><\/td><\/td>Holzner-verlag<\/td>Kitzinger\/Main<\/td>1954<\/td><\/td>51<\/td> <\/tr>\n
5390<\/td>803<\/td>unread<\/td>88<\/td>10745<\/td><\/td>5042<\/td>Dom-Tempel-Skulptur.Architekturphotograp<\/td>Walter Hege<\/td>Druck-und verlagshaus Wienand<\/td><\/td>1993<\/td><\/td>43<\/td> <\/tr>\n
5391<\/td>804<\/td>unread<\/td>88<\/td>10746<\/td><\/td>5043<\/td>Photography in America<\/td>Robert Doty<\/td>Ridge press book Random house<\/td>New York<\/td>1974<\/td><\/td>50<\/td> <\/tr>\n
5392<\/td>805<\/td>unread<\/td>88<\/td>10747<\/td><\/td>5044<\/td>Do you know Denmark<\/td>Viggo Emil Kaaris<\/td>Codex tryk<\/td><\/td><\/td><\/td>47<\/td> <\/tr>\n
5393<\/td>806<\/td>unread<\/td>88<\/td>10748<\/td><\/td>5045<\/td>Dr.Alexandrines julebog<\/td><\/td><\/td><\/td><\/td><\/td>47<\/td> <\/tr>\n
5394<\/td>807<\/td>unread<\/td>83<\/td>10749<\/td><\/td>5046<\/td>Dr. Ernst Leitz 80 Geburtstag<\/td><\/td>Bronners druckerei<\/td>Frankfurt am Main<\/td>1951<\/td><\/td>58<\/td> <\/tr>\n
5395<\/td>808<\/td>unread<\/td>83<\/td>10750<\/td><\/td>5047<\/td>Dr.H.C.Henridumur<\/td><\/td><\/td><\/td>08-jun-63<\/td><\/td>57<\/td> <\/tr>\n
5396<\/td>809<\/td>unread<\/td>81<\/td>10751<\/td><\/td>5048<\/td>DRB skolen. Kurser.<\/td><\/td><\/td><\/td>1990<\/td><\/td>65<\/td> <\/tr>\n
5397<\/td>810<\/td>unread<\/td>88<\/td>10752<\/td><\/td>5049<\/td>30 jahre kulturpreis.Deutche gesellshaft<\/td><\/td><\/td>Holland<\/td>1988<\/td>Zeitprofile.<\/td>42<\/td> <\/tr>\n
5398<\/td>811<\/td>unread<\/td>84<\/td>10753<\/td><\/td>5050<\/td>Negative Retouching<\/td>Ernest Draper<\/td><\/td><\/td>1941<\/td><\/td>79<\/td> <\/tr>\n
5399<\/td>812<\/td>unread<\/td>88<\/td>10754<\/td><\/td>5051<\/td>Dronning Margrethe<\/td><\/td>Berlingske Tidende<\/td><\/td>1990<\/td><\/td>47<\/td> <\/tr>\n
5400<\/td>813<\/td>unread<\/td>88<\/td>10755<\/td><\/td>5052<\/td><\/td>Henrik M. Jansen<\/td><\/td><\/td>1998<\/td>Skrifter fra Svendborg og omegns Museum.<\/td>47<\/td> <\/tr>\n
5401<\/td>814<\/td>unread<\/td>88<\/td>10756<\/td><\/td>5053<\/td><\/td><\/td>Lademann<\/td><\/td>1972<\/td><\/td>46<\/td> <\/tr>\n
5402<\/td>815<\/td>unread<\/td>83<\/td>10757<\/td><\/td>5054<\/td>Meine Technik<\/td>J.Dulovits<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1945<\/td><\/td>67<\/td> <\/tr>\n
5403<\/td>816<\/td>unread<\/td>88<\/td>10758<\/td><\/td>5055<\/td>Un Amateur photographe<\/td>Jacques Ducom<\/td>G.Carre et C.Naud Editeurs<\/td>Paris<\/td>1898<\/td><\/td>48<\/td> <\/tr>\n
5404<\/td>817<\/td>unread<\/td>88<\/td>10759<\/td><\/td>5056<\/td>Nomad<\/td>David D. Duncan<\/td><\/td>Hassing<\/td>1966<\/td><\/td>50<\/td> <\/tr>\n
5405<\/td>818<\/td>unread<\/td>83<\/td>10760<\/td><\/td>5057<\/td><\/td><\/td>\"Die Galerie\" Josef Gottschammel<\/td>Wien<\/td>1942<\/td><\/td>73<\/td> <\/tr>\n
5406<\/td>819<\/td>unread<\/td>81<\/td>10761<\/td><\/td>5058<\/td><\/td>Erik Haugmark<\/td>Skrifola forlag<\/td><\/td>1960<\/td><\/td>74<\/td> <\/tr>\n
5407<\/td>820<\/td>unread<\/td>84<\/td>10762<\/td><\/td>5059<\/td>Natural color processes<\/td>Carlton E. Dunn<\/td>American Photographic Publ.<\/td><\/td>1945<\/td><\/td>71<\/td> <\/tr>\n
5408<\/td>821<\/td>unread<\/td>84<\/td>10763<\/td><\/td>5060<\/td>Exposure manual<\/td>J.F. Dunn<\/td>Fountain press<\/td>London<\/td>1952<\/td><\/td>84<\/td> <\/tr>\n
5409<\/td>822<\/td>unread<\/td>81<\/td>10764<\/td><\/td>5061<\/td>Historisk vejviser<\/td>Annegrete Dybdahl<\/td><\/td><\/td>1986<\/td><\/td>81<\/td> <\/tr>\n
5410<\/td>823<\/td>unread<\/td>88<\/td>10765<\/td><\/td>5062<\/td>Hugo Matthiessens Odense<\/td>Holger Dyrby<\/td>Forlaget Hikuin<\/td><\/td>1991<\/td><\/td>56<\/td> <\/tr>\n
5411<\/td>824<\/td>unread<\/td>83<\/td>10766<\/td><\/td>5063<\/td>Photo und Kunstlicht<\/td><\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td><\/td><\/td>68<\/td> <\/tr>\n
5412<\/td>825<\/td>unread<\/td>83<\/td>10767<\/td><\/td>5064<\/td>Photofehler A bis Z<\/td><\/td>Wilhelm Knapp verlag<\/td>Leipzig<\/td>1933<\/td><\/td>68<\/td> <\/tr>\n
5413<\/td>826<\/td>unread<\/td>83<\/td>10768<\/td><\/td>5065<\/td>Foto fehler A bis Z<\/td><\/td><\/td>Halle ( Saale)<\/td>1937<\/td><\/td>68<\/td> <\/tr>\n
5414<\/td>827<\/td>unread<\/td>83<\/td>10769<\/td><\/td>5066<\/td>Wolken ins foto<\/td><\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1936<\/td><\/td>79<\/td> <\/tr>\n
5415<\/td>828<\/td>unread<\/td>83<\/td>10770<\/td><\/td>5067<\/td>Wolken ins foto<\/td><\/td>Wilhelm Knapp verlag<\/td><\/td>1941<\/td><\/td>79<\/td> <\/tr>\n
5416<\/td>829<\/td>unread<\/td>83<\/td>10771<\/td><\/td>5068<\/td><\/td><\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1935<\/td><\/td>79<\/td> <\/tr>\n
5417<\/td>830<\/td>unread<\/td>83<\/td>10772<\/td><\/td>5069<\/td>Knipfe-aber richtig<\/td><\/td>Hanns Porst photoverlag<\/td><\/td><\/td><\/td>67<\/td> <\/tr>\n
5418<\/td>831<\/td>unread<\/td>83<\/td>10773<\/td><\/td>5070<\/td>Farbenfotos<\/td><\/td>IM Heering verlag<\/td>Harzburg<\/td>1942<\/td><\/td>66<\/td> <\/tr>\n
5419<\/td>832<\/td>unread<\/td>83<\/td>10774<\/td><\/td>5071<\/td>Photo in wort und bild<\/td><\/td>Photoverlag<\/td><\/td>1935<\/td><\/td>68<\/td> <\/tr>\n
5420<\/td>833<\/td>unread<\/td>83<\/td>10775<\/td><\/td>5072<\/td>Photographieren aber richtig<\/td><\/td><\/td><\/td>1954<\/td><\/td>68<\/td> <\/tr>\n
5421<\/td>834<\/td>unread<\/td>83<\/td>10776<\/td><\/td>5073<\/td><\/td><\/td>Hanns Porst verlag<\/td><\/td>1939<\/td><\/td>69<\/td> <\/tr>\n
5422<\/td>835<\/td>unread<\/td>83<\/td>10777<\/td><\/td>5074<\/td><\/td><\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1943<\/td><\/td>69<\/td> <\/tr>\n
5423<\/td>836<\/td>unread<\/td>88<\/td>10778<\/td><\/td>5075<\/td>Early Erotic Photos<\/td><\/td>Verlag Benedikt Tachen<\/td><\/td>1944<\/td>30 postcards.<\/td>53<\/td> <\/tr>\n
5424<\/td>837<\/td>unread<\/td>88<\/td>10779<\/td><\/td>5076<\/td>Early erotic photography<\/td>Serge Nazarieff<\/td><\/td><\/td>1993<\/td><\/td>41<\/td> <\/tr>\n
5425<\/td>838<\/td>unread<\/td>84<\/td>10780<\/td><\/td>5077<\/td>International Museum of Photography<\/td>George Eastman House<\/td><\/td><\/td>1947<\/td><\/td>58<\/td> <\/tr>\n
5426<\/td>839<\/td>unread<\/td>86<\/td>10781<\/td><\/td>5078<\/td>Photographic Chemistry<\/td>George T. Eaton<\/td>Eastman Kodak Company<\/td>USA<\/td>1957<\/td><\/td>81<\/td> <\/tr>\n
5427<\/td>840<\/td>unread<\/td>83<\/td>10782<\/td><\/td>5079<\/td>Geschichte der Photographie<\/td>J.M.Eder<\/td><\/td><\/td><\/td>Band 1,1.<\/td>61<\/td> <\/tr>\n
5428<\/td>841<\/td>unread<\/td>83<\/td>10783<\/td><\/td>5080<\/td><\/td>J.M.Eder<\/td>Wilhelm Knapp verlag<\/td>Wien<\/td>1921<\/td><\/td>67<\/td> <\/tr>\n
5429<\/td>842<\/td>unread<\/td>118<\/td>10784<\/td><\/td>5081<\/td>Rezepte und tabellen<\/td>J.M.Eder<\/td>Wilhelm Knapp verlag<\/td>Wien<\/td>1892<\/td><\/td>69<\/td> <\/tr>\n
5430<\/td>843<\/td>unread<\/td>118<\/td>10785<\/td><\/td>5082<\/td>Rezepte und tabellen<\/td>J.M.Eder<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1912<\/td><\/td>69<\/td> <\/tr>\n
5431<\/td>844<\/td>unread<\/td>118<\/td>10786<\/td><\/td>5083<\/td>Rezepte und tabellen<\/td>J.M.Eder<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1933<\/td><\/td>69<\/td> <\/tr>\n
5432<\/td>845<\/td>unread<\/td>118<\/td>10787<\/td><\/td>5084<\/td>Rezepte tabellen und arbeitsvorschriften<\/td>J.M.Eder<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1949<\/td><\/td>69<\/td> <\/tr>\n
5433<\/td>846<\/td>unread<\/td>118<\/td>10788<\/td><\/td>5085<\/td>Rezepte-tabellen<\/td>J.M.Eder<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1942<\/td><\/td>69<\/td> <\/tr>\n
5434<\/td>847<\/td>unread<\/td>118<\/td>10789<\/td><\/td>5086<\/td>Rezepte-tabellen<\/td>J.M.Eder<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1948<\/td><\/td>69<\/td> <\/tr>\n
5435<\/td>848<\/td>unread<\/td>81<\/td>10790<\/td><\/td>5087<\/td>Edixa-kursus.nr.1<\/td><\/td>Bico Foto-kino import<\/td>Hellerup<\/td><\/td><\/td>72<\/td> <\/tr>\n
5436<\/td>849<\/td>unread<\/td>84<\/td>10791<\/td><\/td>5088<\/td>Educational & Scientific films<\/td>Ebbe Neergaard<\/td><\/td><\/td>1950<\/td><\/td>74<\/td> <\/tr>\n
5437<\/td>850<\/td>unread<\/td>81<\/td>10792<\/td><\/td>5089<\/td>Lys, glas og linser<\/td>Poul Egede<\/td>Fotoforhandlerforeningens forlag<\/td><\/td>1946<\/td><\/td>64<\/td> <\/tr>\n
5438<\/td>851<\/td>unread<\/td>81<\/td>10793<\/td><\/td>5090<\/td>Eventyret om en film<\/td>Poul Egede<\/td><\/td><\/td>1949<\/td><\/td>74<\/td> <\/tr>\n
5439<\/td>852<\/td>unread<\/td>88<\/td>10794<\/td><\/td>5091<\/td><\/td>William Eggleston<\/td><\/td>Louisianna<\/td>1992<\/td><\/td>42<\/td> <\/tr>\n
5440<\/td>853<\/td>unread<\/td>88<\/td>10795<\/td><\/td>5092<\/td>Eikon.<\/td><\/td>Turia & Kant<\/td>Wien<\/td>1994\/95<\/td><\/td>41<\/td> <\/tr>\n
5441<\/td>854<\/td>unread<\/td>83<\/td>10796<\/td><\/td>5093<\/td>Eine branche arbeitet erfolgreich<\/td><\/td><\/td><\/td>1964<\/td><\/td>57<\/td> <\/tr>\n
5442<\/td>855<\/td>unread<\/td>88<\/td>10797<\/td><\/td>5094<\/td>Eisenstadts album<\/td><\/td>The Viking press<\/td><\/td>1976<\/td><\/td>52<\/td> <\/tr>\n
5443<\/td>856<\/td>unread<\/td>88<\/td>10798<\/td><\/td>5095<\/td>Ein Fotograf aus Belgien 1870-1943<\/td>Leonard Misonne<\/td>Im Heering verlag<\/td><\/td>1976<\/td><\/td>42<\/td> <\/tr>\n
5444<\/td>857<\/td>unread<\/td>83<\/td>10799<\/td><\/td>5096<\/td>Ein dunkelkammerkursus<\/td>Theo Rockenfeller<\/td>Otto Elsner verlag<\/td>Berlin<\/td>1941<\/td><\/td>67<\/td> <\/tr>\n
5445<\/td>858<\/td>unread<\/td>83<\/td>10800<\/td><\/td>5097<\/td>Ein auge sieht mehr als zwei<\/td>Curt Neumeister<\/td>Verlag neue foto linie<\/td><\/td><\/td><\/td>65<\/td> <\/tr>\n
5446<\/td>859<\/td>unread<\/td>83<\/td>10801<\/td><\/td>5098<\/td>Eisen-kopierverfahren im allegemeinen<\/td>Dr. F. Stolze<\/td>Wilhelm Knapp verlag<\/td><\/td>1905<\/td>Sort ringbind.<\/td>78<\/td> <\/tr>\n
5447<\/td>860<\/td>unread<\/td>84<\/td>10802<\/td><\/td>5099<\/td>Photography handbook<\/td>Larry Eisinger<\/td><\/td><\/td><\/td><\/td>72<\/td> <\/tr>\n
5448<\/td>861<\/td>unread<\/td>84<\/td>10803<\/td><\/td>5100<\/td>Elementary Photographic Chemistry<\/td><\/td>Kodak Company<\/td>Rochester<\/td>1931<\/td><\/td>84<\/td> <\/tr>\n
5449<\/td>862<\/td>unread<\/td>82<\/td>10804<\/td><\/td>5101<\/td><\/td>J.L.Nerlien<\/td><\/td>Oslo<\/td>1929<\/td><\/td>59<\/td> <\/tr>\n
5450<\/td>863<\/td>unread<\/td>84<\/td>10805<\/td><\/td>5102<\/td>Elementary Telephotography<\/td>Ernest Marriage<\/td>Iliffe & Sons Limited<\/td>London<\/td>1901<\/td><\/td>81<\/td> <\/tr>\n
5451<\/td>864<\/td>unread<\/td>88<\/td>10806<\/td><\/td>5103<\/td>El Neointimismo fotografico de Luis<\/td>Miguel Angel Yanez Polo<\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
5452<\/td>865<\/td>unread<\/td>81<\/td>10807<\/td><\/td>5104<\/td>Isolette bogen<\/td>W.D.Emanuel<\/td>Skrifola forlag<\/td><\/td>1954<\/td><\/td>79<\/td> <\/tr>\n
5453<\/td>866<\/td>unread<\/td>84<\/td>10808<\/td><\/td>5105<\/td>Leica Guide<\/td>W.D.Emanuel<\/td>The Focal press<\/td>London<\/td>1945\/ 1955<\/td><\/td>79<\/td> <\/tr>\n
5454<\/td>867<\/td>unread<\/td>84<\/td>10809<\/td><\/td>5106<\/td>Korelle Guide<\/td>W.D.Emanuel<\/td>The Focal press<\/td>London<\/td>1946<\/td><\/td>79<\/td> <\/tr>\n
5455<\/td>868<\/td>unread<\/td>84<\/td>10810<\/td><\/td>5107<\/td>Exakta Guide<\/td>W.D.Emanuel<\/td>The Focal Press<\/td>London<\/td>1946<\/td><\/td>79<\/td> <\/tr>\n
5456<\/td>869<\/td>unread<\/td>84<\/td>10811<\/td><\/td>5108<\/td>Minox Guide<\/td>W.D.Emanuel<\/td>The Focal Press<\/td>London<\/td>1957<\/td><\/td>79<\/td> <\/tr>\n
5457<\/td>870<\/td>unread<\/td>81<\/td>10812<\/td><\/td>5109<\/td>Retina kameraet<\/td>W.D.Emanuel<\/td>Skrifola forlag<\/td><\/td>1954<\/td><\/td>79<\/td> <\/tr>\n
5458<\/td>871<\/td>unread<\/td>83<\/td>10813<\/td><\/td>5110<\/td>Leica Technik<\/td>Curt Emmermann<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1951<\/td><\/td>67<\/td> <\/tr>\n
5459<\/td>872<\/td>unread<\/td>83<\/td>10814<\/td><\/td>5111<\/td>Leica Technik<\/td>Curt Emmermann<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1944<\/td><\/td>67<\/td> <\/tr>\n
5460<\/td>873<\/td>unread<\/td>83<\/td>10815<\/td><\/td>5112<\/td>Leica Technik<\/td>Curt Emmermann<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1942<\/td><\/td>67<\/td> <\/tr>\n
5461<\/td>874<\/td>unread<\/td>83<\/td>10816<\/td><\/td>5113<\/td>Leica Technik. 8-11 Auflace<\/td>Curt Emmermann<\/td><\/td><\/td><\/td><\/td>84<\/td> <\/tr>\n
5462<\/td>875<\/td>unread<\/td>83<\/td>10817<\/td><\/td>5114<\/td>Leica Technik. 15-18.Auflace<\/td>Curt Emmermann<\/td>Wilhelm Knapp verlag<\/td><\/td>1937<\/td><\/td>84<\/td> <\/tr>\n
5463<\/td>876<\/td>unread<\/td>83<\/td>10818<\/td><\/td>5115<\/td><\/td>C.Emmermann<\/td>Wilhelm Knapp verlag<\/td><\/td>1929<\/td><\/td>68<\/td> <\/tr>\n
5464<\/td>877<\/td>unread<\/td>83<\/td>10819<\/td><\/td>5116<\/td>Richtige rezepte<\/td>Curt Emmermann<\/td>Wilhelm Knapp verlag<\/td>Tyskland<\/td>1935<\/td><\/td>79<\/td> <\/tr>\n
5465<\/td>878<\/td>unread<\/td>83<\/td>10820<\/td><\/td>5117<\/td>Werkstatt des Photographen<\/td>G.H.Emmerich<\/td>Otto Nemmich verlag<\/td>Wiesbaden<\/td>1904<\/td><\/td>69<\/td> <\/tr>\n
5466<\/td>879<\/td>unread<\/td>83<\/td>10821<\/td><\/td>5118<\/td>Mimosa handbuch<\/td>Emmerich<\/td>Der Mimosa verlag<\/td>Dresden<\/td>1921<\/td><\/td>68<\/td> <\/tr>\n
5467<\/td>880<\/td>unread<\/td>84<\/td>10822<\/td><\/td>5119<\/td>Naturalistic Photogr.<\/td>P.H.Emerson<\/td><\/td>London<\/td><\/td><\/td>68<\/td> <\/tr>\n
5468<\/td>881<\/td>unread<\/td>88<\/td>10823<\/td><\/td>5120<\/td><\/td>Hans A. Eriksen<\/td><\/td>Norge<\/td>1978<\/td>Preus fotomuseum, Horton.<\/td>41<\/td> <\/tr>\n
5469<\/td>882<\/td>unread<\/td>88<\/td>10824<\/td><\/td>5121<\/td>En mandag i Herning<\/td>Gunner Merrild Jensen<\/td>Grafisk Centrum<\/td>Herning<\/td>1981<\/td>ISBN 87-981238-08.<\/td>47<\/td> <\/tr>\n
5470<\/td>883<\/td>unread<\/td>82<\/td>10825<\/td><\/td>5122<\/td>En idehistorisk vurdering<\/td><\/td><\/td><\/td><\/td>John Riise. Hovedopgave ved idehistorie for Eva Klerck Gange.<\/td>58<\/td> <\/tr>\n
5471<\/td>884<\/td>unread<\/td>88<\/td>10826<\/td><\/td>5123<\/td>En konge og et folk<\/td><\/td>Berlingske Forlag<\/td><\/td>1937<\/td><\/td>47<\/td> <\/tr>\n
5472<\/td>885<\/td>unread<\/td>88<\/td>10827<\/td><\/td>5124<\/td>En vestjydsk privatbane 1978<\/td><\/td>Vestkystens bogtrykkeri<\/td><\/td>1978<\/td>ISBN 87-980646-0-6.<\/td>46<\/td> <\/tr>\n
5473<\/td>886<\/td>unread<\/td>103<\/td>10828<\/td>Filmlitteratur<\/td>5125<\/td>Filmen<\/td>Harald Engberg<\/td>Forlaget Fremad<\/td><\/td>1939<\/td><\/td>74<\/td> <\/tr>\n
5474<\/td>887<\/td>unread<\/td>103<\/td>10829<\/td>Filmlitteratur<\/td>5126<\/td>Registrant over danske film 1896-1914<\/td>Margurite Engberg<\/td>Institut for filmvidenskab<\/td><\/td>1977<\/td>Bind 1.<\/td>76<\/td> <\/tr>\n
5475<\/td>888<\/td>unread<\/td>103<\/td>10830<\/td>Filmlitteratur<\/td>5127<\/td>Registrant over danske film 1896-1914<\/td>M.Engberg<\/td>Institut for filmvidenskab<\/td><\/td>1977<\/td>Bind 2.<\/td>76<\/td> <\/tr>\n
5476<\/td>889<\/td>unread<\/td>103<\/td>10831<\/td>Filmlitteratur<\/td>5128<\/td>Registrant over danske film 1896-1914<\/td>M.Engberg<\/td>Institut for flmvidenskab<\/td><\/td>1977<\/td>Bind 3.<\/td>76<\/td> <\/tr>\n
5477<\/td>890<\/td>unread<\/td>103<\/td>10832<\/td>Filmlitteratur<\/td>5129<\/td>Registrant over danske film 1915-1930<\/td>M.Engberg<\/td>Institut for filmvidenskab<\/td><\/td>1982<\/td>Bind 4<\/td>76<\/td> <\/tr>\n
5478<\/td>891<\/td>unread<\/td>103<\/td>10833<\/td>Filmlitteratur<\/td>5130<\/td>Registrant over danske film 1915-1930<\/td>M.Engberg<\/td>Institut for filmvidenskab<\/td><\/td>1982<\/td>Bind 5.<\/td>76<\/td> <\/tr>\n
5479<\/td>892<\/td>unread<\/td>83<\/td>10834<\/td><\/td>5131<\/td>Enlarge your own color prints. Dark room<\/td><\/td><\/td>Tyskland<\/td>1973<\/td><\/td>72<\/td> <\/tr>\n
5480<\/td>893<\/td>unread<\/td>84<\/td>10835<\/td><\/td>5132<\/td>Enlarging<\/td>C.I.Jacobsen<\/td>The Focal Press<\/td>London<\/td><\/td><\/td>83<\/td> <\/tr>\n
5481<\/td>894<\/td>unread<\/td>83<\/td>10836<\/td><\/td>5133<\/td>Entwickeln-Kopieren<\/td>Andreas Feininger<\/td>IM Heering verlag<\/td>Harzburg<\/td>1938<\/td><\/td>66<\/td> <\/tr>\n
5482<\/td>895<\/td>unread<\/td>83<\/td>10837<\/td><\/td>5134<\/td>Erfolge auf foto-wettbewerben<\/td>Dr. Heinz Naumann<\/td>Walther Heering verlag<\/td>Harzburg<\/td>1935<\/td><\/td>66<\/td> <\/tr>\n
5483<\/td>896<\/td>unread<\/td>81<\/td>10838<\/td><\/td>5135<\/td>Erhvervsark. arkivoversigter bind 1<\/td>V\/ Erik Korr Johansen<\/td><\/td><\/td><\/td><\/td>57<\/td> <\/tr>\n
5484<\/td>897<\/td>unread<\/td>81<\/td>10839<\/td><\/td>5136<\/td><\/td>Olav Lind Eriksen<\/td>Frydenlund Grafisk<\/td><\/td>1993<\/td><\/td>76<\/td> <\/tr>\n
5485<\/td>898<\/td>unread<\/td>81<\/td>10840<\/td><\/td>5137<\/td>Erindringer<\/td>Fotograf C.K.Olesen<\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
5486<\/td>899<\/td>unread<\/td>82<\/td>10841<\/td><\/td>5138<\/td><\/td>R.Erlandsen. E.Espeland. V.Halvorsen. Sp<\/td><\/td><\/td><\/td><\/td>57<\/td> <\/tr>\n
5487<\/td>900<\/td>unread<\/td>83<\/td>10842<\/td><\/td>5139<\/td>Ernemanns kameras<\/td><\/td>Ernemanns werkw A.G.<\/td>Dresden<\/td>1922<\/td>REG. 01.<\/td>0<\/td> <\/tr>\n
5488<\/td>901<\/td>unread<\/td>83<\/td>10843<\/td><\/td>5140<\/td>Ernst Abbes Apochromate<\/td>Moritz von Rohr<\/td><\/td><\/td><\/td><\/td>66<\/td> <\/tr>\n
5489<\/td>902<\/td>unread<\/td>83<\/td>10844<\/td><\/td>5141<\/td>Carl Zeiss leben und werk<\/td>P.G.Esche<\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
5490<\/td>903<\/td>unread<\/td>83<\/td>10845<\/td><\/td>5142<\/td>Wie hell ist hell<\/td>Klaus Esser<\/td><\/td>Tyskland<\/td>1970<\/td><\/td>69<\/td> <\/tr>\n
5491<\/td>904<\/td>unread<\/td>81<\/td>10846<\/td><\/td>5143<\/td>Fotografi. Essays om billede<\/td>Susan Sontag<\/td>Forlaget Fremad<\/td><\/td>1977<\/td><\/td>64<\/td> <\/tr>\n
5492<\/td>905<\/td>unread<\/td>88<\/td>10847<\/td><\/td>5144<\/td>Et liv med grafisk teknik<\/td>Eli Ponsaing<\/td><\/td><\/td>1993<\/td>Danmarks grafiske museum.<\/td>42<\/td> <\/tr>\n
5493<\/td>906<\/td>unread<\/td>88<\/td>10848<\/td><\/td>5145<\/td><\/td><\/td><\/td><\/td>1996<\/td>Norsk museum for fotografi. Preus Fotomuseum<\/td>53<\/td> <\/tr>\n
5494<\/td>907<\/td>unread<\/td>88<\/td>10849<\/td><\/td>5146<\/td>Europa camera<\/td>K.Zentner. B.Lohse<\/td>Frankfurter Societats druckerei<\/td>Frankfurt am Main<\/td>1951<\/td>Engelsk\/Tysk\/Fransk.<\/td>49<\/td> <\/tr>\n
5495<\/td>908<\/td>unread<\/td>81<\/td>10850<\/td><\/td>5147<\/td>Europa rundt<\/td>Erich Grisar<\/td>A.O.F. bogkreds. Forlaget Fremad<\/td><\/td>1933<\/td><\/td>57<\/td> <\/tr>\n
5496<\/td>909<\/td>unread<\/td>84<\/td>10851<\/td><\/td>5148<\/td>European Photography guide 3<\/td>Daniel Mooney<\/td><\/td><\/td>1987<\/td>ISBN. 3-923283-14-8.<\/td>57<\/td> <\/tr>\n
5497<\/td>910<\/td>unread<\/td>88<\/td>10852<\/td><\/td>5149<\/td><\/td><\/td><\/td><\/td>1996<\/td>D. familiesaga fra Christian den 4 til Margrethe II.<\/td>47<\/td> <\/tr>\n
5498<\/td>911<\/td>unread<\/td>88<\/td>10853<\/td><\/td>5150<\/td>Personal Exposures<\/td>Elliott Erwitt<\/td>W.W.Norton & Company<\/td><\/td>1988<\/td><\/td>41<\/td> <\/tr>\n
5499<\/td>912<\/td>unread<\/td>88<\/td>10854<\/td><\/td>5151<\/td><\/td><\/td><\/td><\/td><\/td>Kunsthalle Wien.<\/td>43<\/td> <\/tr>\n
5500<\/td>913<\/td>unread<\/td>84<\/td>10855<\/td><\/td>5152<\/td>Exposing cine film<\/td>P.C.Smethurst<\/td>Link House Publications<\/td><\/td><\/td><\/td>76<\/td> <\/tr>\n
5501<\/td>914<\/td>unread<\/td>83<\/td>10856<\/td><\/td>5153<\/td>Exakta Kleinbildf.<\/td>Werner Wurst<\/td>Wilhelm Knapp verlag<\/td>Dresden<\/td>1955<\/td><\/td>66<\/td> <\/tr>\n
5502<\/td>915<\/td>unread<\/td>83<\/td>10857<\/td><\/td>5154<\/td>Exakta Kleinbildf.<\/td>Werner Wurst<\/td>Fotokino Verlag<\/td>Dresden<\/td>1964<\/td><\/td>66<\/td> <\/tr>\n
5503<\/td>916<\/td>unread<\/td>84<\/td>10858<\/td><\/td>5155<\/td>Evidence in camera<\/td>C.Babington Smith<\/td>David & Charles forlag<\/td>London<\/td>1957<\/td><\/td>64<\/td> <\/tr>\n
5504<\/td>917<\/td>unread<\/td>88<\/td>10859<\/td><\/td>5156<\/td>Eye of Britain<\/td><\/td><\/td><\/td><\/td>British Television. Olympic Games London 1948.<\/td>49<\/td> <\/tr>\n
5505<\/td>918<\/td>unread<\/td>88<\/td>10860<\/td><\/td>5157<\/td>Faces of Destiny<\/td>Yousuf Karsh<\/td>G.Harrap Co.<\/td>London<\/td><\/td><\/td>49<\/td> <\/tr>\n
5506<\/td>919<\/td>unread<\/td>81<\/td>10861<\/td><\/td>5158<\/td>Fakta om foto<\/td>H.Zim<\/td>Skrifola forlag<\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5507<\/td>920<\/td>unread<\/td>88<\/td>10862<\/td><\/td>5159<\/td>The fameli of Man<\/td>Edward Steichen<\/td>Marco Magazine Corporation<\/td>New York<\/td>1955<\/td><\/td>49<\/td> <\/tr>\n
5508<\/td>921<\/td>unread<\/td>88<\/td>10863<\/td><\/td>5160<\/td><\/td>Henrik Fangel<\/td><\/td><\/td>1994<\/td><\/td>42<\/td> <\/tr>\n
5509<\/td>922<\/td>unread<\/td>83<\/td>10864<\/td><\/td>5161<\/td>Farbe im photo<\/td>Josef Haubrich<\/td><\/td><\/td><\/td><\/td>43<\/td> <\/tr>\n
5510<\/td>923<\/td>unread<\/td>83<\/td>10865<\/td><\/td>5162<\/td>Farbenfilm und farbenphoto<\/td>Max Feiss<\/td>K.Meister verlag<\/td>Tyskland<\/td>1949<\/td><\/td>69<\/td> <\/tr>\n
5511<\/td>924<\/td>unread<\/td>83<\/td>10866<\/td><\/td>5163<\/td>Farbenfilme<\/td>Gustav Theilgaard<\/td>IM Heering verlag<\/td>Seebruck am Chimsee<\/td>1960<\/td><\/td>66<\/td> <\/tr>\n
5512<\/td>925<\/td>unread<\/td>83<\/td>10867<\/td><\/td>5164<\/td>Schule der farben-fotografie<\/td>H.Windisch<\/td>Heering verlag<\/td>Harzburg<\/td>1939<\/td><\/td>69<\/td> <\/tr>\n
5513<\/td>926<\/td>unread<\/td>83<\/td>10868<\/td><\/td>5165<\/td>Farbenmischlehre<\/td>Otto Hummel<\/td>Polygraph verlag<\/td>Tyskland<\/td>1950<\/td><\/td>72<\/td> <\/tr>\n
5514<\/td>927<\/td>unread<\/td>83<\/td>10869<\/td><\/td>5166<\/td>Farbenphoto<\/td>Hans Hammer<\/td>Verlag Rud<\/td>Wien<\/td>1956<\/td><\/td>66<\/td> <\/tr>\n
5515<\/td>928<\/td>unread<\/td>83<\/td>10870<\/td><\/td>5167<\/td>Farben-Photographie<\/td><\/td>Union Deutsche Verlagsgesellsc<\/td>Berlin<\/td>1912<\/td>Sort ringbind<\/td>78<\/td> <\/tr>\n
5516<\/td>929<\/td>unread<\/td>83<\/td>10871<\/td><\/td>5168<\/td>Farbenphoto<\/td>R.Ottwil Maurer<\/td>Photokino-verlag<\/td>Berlin SW<\/td>1968<\/td><\/td>66<\/td> <\/tr>\n
5517<\/td>930<\/td>unread<\/td>83<\/td>10872<\/td><\/td>5169<\/td>Farbenphotographie<\/td><\/td>Wilhelm Knapp verlag<\/td><\/td>1916<\/td><\/td>66<\/td> <\/tr>\n
5518<\/td>931<\/td>unread<\/td>83<\/td>10873<\/td><\/td>5170<\/td>Farbenphotographie<\/td>H.C.Opfermann<\/td>Wilhelm Knapp verlag<\/td><\/td>1953<\/td><\/td>66<\/td> <\/tr>\n
5519<\/td>932<\/td>unread<\/td>82<\/td>10874<\/td><\/td>5171<\/td><\/td>Einar Lenning<\/td><\/td>Stockholm<\/td>1948<\/td><\/td>64<\/td> <\/tr>\n
5520<\/td>933<\/td>unread<\/td>82<\/td>10875<\/td><\/td>5172<\/td><\/td>Einar Lenning<\/td><\/td>Stockholm<\/td>1943<\/td><\/td>64<\/td> <\/tr>\n
5521<\/td>934<\/td>unread<\/td>81<\/td>10876<\/td><\/td>5173<\/td>Farvebilleder fremstilling<\/td>Gustav Theilgaard<\/td><\/td><\/td>1957<\/td><\/td>60<\/td> <\/tr>\n
5522<\/td>935<\/td>unread<\/td>81<\/td>10877<\/td><\/td>5174<\/td>Farvefotografi<\/td>Hans Windisch<\/td>Skrifola forlag<\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5523<\/td>936<\/td>unread<\/td>81<\/td>10878<\/td><\/td>5175<\/td>122 farvefotografier<\/td>K.H.Petersen<\/td><\/td><\/td>1948<\/td><\/td>75<\/td> <\/tr>\n
5524<\/td>937<\/td>unread<\/td>82<\/td>10879<\/td><\/td>5176<\/td><\/td><\/td><\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5525<\/td>938<\/td>unread<\/td>88<\/td>10880<\/td><\/td>5177<\/td>Pictorial Artistry<\/td>Adolf Fassbender<\/td>Westermann Compagny<\/td>New York<\/td>1937<\/td><\/td>45<\/td> <\/tr>\n
5526<\/td>939<\/td>unread<\/td>81<\/td>10881<\/td><\/td>5178<\/td><\/td><\/td>Wirtschaft forlag<\/td><\/td>1973<\/td><\/td>60<\/td> <\/tr>\n
5527<\/td>940<\/td>unread<\/td>88<\/td>10882<\/td><\/td>5179<\/td>The features of Japan in air photos<\/td>T.Yoshida<\/td><\/td><\/td>1966<\/td><\/td>43<\/td> <\/tr>\n
5528<\/td>941<\/td>unread<\/td>84<\/td>10884<\/td><\/td>5181<\/td>The Kodak Collector<\/td>Alan R.Feinberg<\/td><\/td><\/td>1972<\/td>REG.01.<\/td>0<\/td> <\/tr>\n
5529<\/td>942<\/td>unread<\/td>81<\/td>10885<\/td><\/td>5182<\/td>Feiningers fotoskole<\/td>A.Feininger<\/td>Grafisk forlag<\/td><\/td><\/td><\/td>54<\/td> <\/tr>\n
5530<\/td>943<\/td>unread<\/td>83<\/td>10886<\/td><\/td>5183<\/td>Motive im Gegenlicht<\/td>A.Feininger<\/td>IM Heering verlag<\/td>Harzburg<\/td>1936<\/td><\/td>66<\/td> <\/tr>\n
5531<\/td>944<\/td>unread<\/td>83<\/td>10887<\/td><\/td>5184<\/td><\/td>A.Feininger<\/td>IM Heering Verlag<\/td>Harzburg<\/td>1938<\/td><\/td>66<\/td> <\/tr>\n
5532<\/td>945<\/td>unread<\/td>83<\/td>10888<\/td><\/td>5185<\/td>Selbst entwickeln und kopieren<\/td>A.Feininger<\/td>IM Heering verlag<\/td>Harzburg<\/td>1935<\/td><\/td>66<\/td> <\/tr>\n
5533<\/td>946<\/td>unread<\/td>83<\/td>10889<\/td><\/td>5186<\/td>Ferrania. April 1951.<\/td><\/td><\/td>PEG. Milano<\/td>1951<\/td>Udst.kat.57.<\/td>0<\/td> <\/tr>\n
5534<\/td>947<\/td>unread<\/td>88<\/td>10890<\/td><\/td>5187<\/td>Fejekost og stemmeret<\/td>Elisabeth Andersen<\/td><\/td><\/td><\/td>Hernov ?<\/td>0<\/td> <\/tr>\n
5535<\/td>948<\/td>unread<\/td>84<\/td>10891<\/td><\/td>5188<\/td>35mm photo technique<\/td>H.S.Newcombe<\/td>The focal press<\/td><\/td><\/td><\/td>83<\/td> <\/tr>\n
5536<\/td>949<\/td>unread<\/td>81<\/td>10892<\/td><\/td>5189<\/td>Feriefotografering<\/td><\/td>Berlingske forlag<\/td><\/td>1970<\/td><\/td>60<\/td> <\/tr>\n
5537<\/td>950<\/td>unread<\/td>81<\/td>10893<\/td><\/td>5190<\/td>Registrant over danske stereoskopbillede<\/td>Erik Fersling<\/td><\/td><\/td>Dec.1987<\/td>REG.43.<\/td>0<\/td> <\/tr>\n
5538<\/td>951<\/td>unread<\/td>81<\/td>10894<\/td><\/td>5191<\/td>Registrant over danske stereoskopbillede<\/td>Erik Fersling<\/td><\/td><\/td>Nov.1988<\/td>REG.43.<\/td>0<\/td> <\/tr>\n
5539<\/td>952<\/td>unread<\/td>81<\/td>10895<\/td><\/td>5192<\/td>Registrant over danske stereoskopbillede<\/td>Erik Fersling<\/td><\/td><\/td>maj-89<\/td>REG.43<\/td>0<\/td> <\/tr>\n
5540<\/td>953<\/td>unread<\/td>81<\/td>10896<\/td><\/td>5193<\/td>Registrant over danske stereoskopbillede<\/td>Erik Fersling<\/td><\/td><\/td>1996<\/td><\/td>43<\/td> <\/tr>\n
5541<\/td>954<\/td>unread<\/td>83<\/td>10897<\/td><\/td>5194<\/td><\/td><\/td>Hauserpresse verlag<\/td>Frankfurt am Main<\/td>1941<\/td><\/td>58<\/td> <\/tr>\n
5542<\/td>955<\/td>unread<\/td>88<\/td>10898<\/td><\/td>5195<\/td><\/td><\/td><\/td><\/td><\/td><\/td>42<\/td> <\/tr>\n
5543<\/td>956<\/td>unread<\/td>88<\/td>10899<\/td><\/td>5196<\/td><\/td>M.Koetzle. U.Scheid<\/td>Benedikt Taschen verlag<\/td><\/td>1994<\/td><\/td>55<\/td> <\/tr>\n
5544<\/td>957<\/td>unread<\/td>83<\/td>10900<\/td><\/td>5197<\/td><\/td>Franz Fiedler<\/td>Otto Elsner verlag<\/td>Berlin<\/td>1940<\/td><\/td>69<\/td> <\/tr>\n
5545<\/td>958<\/td>unread<\/td>84<\/td>10901<\/td><\/td>5198<\/td>Portrait photography<\/td>Franz Fiedler<\/td>Photokino verlag<\/td>Stettin<\/td>1934<\/td><\/td>68<\/td> <\/tr>\n
5546<\/td>959<\/td>unread<\/td>88<\/td>10902<\/td><\/td>5199<\/td>Berlin,und seine bedeutung etc.<\/td>A.Narath. J.Eggert. H.G.Kindermann<\/td>Verlag Dr.Othmar Helwich<\/td>Darmstadt und Wien<\/td>1964<\/td><\/td>43<\/td> <\/tr>\n
5547<\/td>960<\/td>unread<\/td>88<\/td>10903<\/td><\/td>5200<\/td>13 photo essays<\/td>Erwin Fieger<\/td>Accidentia Druck und verlags GmbH<\/td><\/td>1969<\/td><\/td>45<\/td> <\/tr>\n
5548<\/td>961<\/td>unread<\/td>88<\/td>10904<\/td><\/td>5201<\/td>Japan<\/td>Erwin Fieger<\/td>Accidentia Druck und verlag-GmbH<\/td><\/td>1971<\/td><\/td>45<\/td> <\/tr>\n
5549<\/td>962<\/td>unread<\/td>88<\/td>10905<\/td><\/td>5202<\/td>Fiktion og virkelighed<\/td>Leila Krigh<\/td><\/td><\/td>1995<\/td>J.F.Willumsen Museum<\/td>42<\/td> <\/tr>\n
5550<\/td>963<\/td>unread<\/td>81<\/td>10906<\/td><\/td>5203<\/td>Erhvervens Filmcenter 1972-1973<\/td><\/td><\/td><\/td>1972<\/td>Filmkatalog. REG.57<\/td>0<\/td> <\/tr>\n
5551<\/td>964<\/td>unread<\/td>82<\/td>10907<\/td><\/td>5204<\/td>Hur man Filmar<\/td><\/td><\/td><\/td><\/td>Hasselblads Fotografiska A B<\/td>60<\/td> <\/tr>\n
5552<\/td>965<\/td>unread<\/td>83<\/td>10908<\/td><\/td>5205<\/td>Zwischen film und foto<\/td><\/td>Neue foto verlag<\/td><\/td><\/td><\/td>66<\/td> <\/tr>\n
5553<\/td>966<\/td>unread<\/td>103<\/td>10909<\/td>Filmlitteratur<\/td>5206<\/td>Filmens hvem er hvem<\/td><\/td>Politikkens forlag<\/td><\/td>1957<\/td><\/td>74<\/td> <\/tr>\n
5554<\/td>967<\/td>unread<\/td>81<\/td>10910<\/td><\/td>5207<\/td><\/td>Urban Gad<\/td>Nordisk forlag. Gyldendalske boghandel<\/td><\/td>1919<\/td><\/td>76<\/td> <\/tr>\n
5555<\/td>968<\/td>unread<\/td>103<\/td>10911<\/td>Filmlitteratur<\/td>5208<\/td>Filmen nu<\/td><\/td>Fremads forlag<\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
5556<\/td>969<\/td>unread<\/td>103<\/td>10912<\/td>Filmlitteratur<\/td>5209<\/td>Filmkundskab<\/td>Ebbe Neergaard<\/td>Gyldendals forlag<\/td><\/td>1952<\/td><\/td>74<\/td> <\/tr>\n
5557<\/td>970<\/td>unread<\/td>83<\/td>10913<\/td><\/td>5210<\/td>Filmschnitt in theorie und praxis<\/td><\/td><\/td>Tyskland<\/td><\/td><\/td>76<\/td> <\/tr>\n
5558<\/td>971<\/td>unread<\/td>103<\/td>10914<\/td>Filmlitteratur<\/td>5211<\/td>Filmkunst<\/td>Niels Jensen<\/td>Nordisk forlag<\/td><\/td>1969<\/td><\/td>74<\/td> <\/tr>\n
5559<\/td>972<\/td>unread<\/td>86<\/td>10915<\/td><\/td>5212<\/td>Film and its techniques<\/td>Raymond Spottiswoode<\/td>University of California press<\/td><\/td>1953<\/td><\/td>83<\/td> <\/tr>\n
5560<\/td>973<\/td>unread<\/td>83<\/td>10916<\/td><\/td>5213<\/td>Filmthemen noch und noch<\/td>Hellmuth Lange<\/td><\/td><\/td><\/td><\/td>67<\/td> <\/tr>\n
5561<\/td>974<\/td>unread<\/td>103<\/td>10917<\/td>Filmlitteratur<\/td>5214<\/td><\/td>Rune Waldekranz<\/td><\/td>Stockholm<\/td>1985<\/td><\/td>76<\/td> <\/tr>\n
5562<\/td>975<\/td>unread<\/td>103<\/td>10918<\/td>Filmlitteratur<\/td>5215<\/td><\/td>Rune Waldekranz<\/td>Norstedts forlag<\/td>Stockholm<\/td>1986<\/td><\/td>76<\/td> <\/tr>\n
5563<\/td>976<\/td>unread<\/td>103<\/td>10919<\/td>Filmlitteratur<\/td>5216<\/td><\/td>Rune Waldekranz<\/td>Norstedt forlag<\/td>Stockholm<\/td>1995<\/td>v cdsd bbbbbbbbb jjjjxvcb bmmm<\/td>76<\/td> <\/tr>\n
5564<\/td>977<\/td>unread<\/td>103<\/td>10920<\/td>Filmlitteratur<\/td>5217<\/td>Films og tonefilmsteknik<\/td><\/td>Teknologisk instituts forlag<\/td><\/td>1944<\/td><\/td>76<\/td> <\/tr>\n
5565<\/td>978<\/td>unread<\/td>83<\/td>10921<\/td><\/td>5218<\/td>Filmtricks als hobby<\/td>Klaus Unbehaun<\/td>Wilhelm Knapp verlag<\/td><\/td>1979<\/td><\/td>76<\/td> <\/tr>\n
5566<\/td>979<\/td>unread<\/td>83<\/td>10922<\/td><\/td>5219<\/td><\/td>Walter Werner<\/td><\/td>Tyskland<\/td>1981<\/td><\/td>76<\/td> <\/tr>\n
5567<\/td>980<\/td>unread<\/td>86<\/td>10923<\/td><\/td>5220<\/td>Filters and theirs uses<\/td>W.Bradford Shank<\/td>Ziff-davis publishing company<\/td>USA<\/td>1939<\/td><\/td>83<\/td> <\/tr>\n
5568<\/td>981<\/td>unread<\/td>103<\/td>10924<\/td>Filmlitteratur<\/td>5221<\/td>Die 12 Filmtips<\/td>Heinrich Freytag<\/td>Wilhelm Knapp verlag<\/td><\/td>1955<\/td><\/td>74<\/td> <\/tr>\n
5569<\/td>982<\/td>unread<\/td>88<\/td>10925<\/td><\/td>5222<\/td>Filmens eventyr og mit eget<\/td>Ole Olsen<\/td>Jespersen og Pios forlag<\/td><\/td>1940<\/td><\/td>55<\/td> <\/tr>\n
5570<\/td>983<\/td>unread<\/td>103<\/td>10926<\/td>Filmlitteratur<\/td>5223<\/td>Filmundeervisning<\/td>Ellen Siersted<\/td>Gyldendals forlag<\/td><\/td>1961<\/td><\/td>74<\/td> <\/tr>\n
5571<\/td>984<\/td>unread<\/td>88<\/td>10927<\/td><\/td>5224<\/td><\/td><\/td>Verlag Scherl<\/td>Berlin<\/td>1935<\/td><\/td>52<\/td> <\/tr>\n
5572<\/td>985<\/td>unread<\/td>81<\/td>10928<\/td><\/td>5225<\/td>Films og tonefilmsteknik<\/td>Max Scharnberg<\/td>Teknologisk institut<\/td><\/td>1938<\/td><\/td>60<\/td> <\/tr>\n
5573<\/td>986<\/td>unread<\/td>103<\/td>10929<\/td>Filmlitteratur<\/td>5226<\/td><\/td><\/td>Illustrationsforlaget<\/td><\/td>1971<\/td><\/td>74<\/td> <\/tr>\n
5574<\/td>987<\/td>unread<\/td>103<\/td>10930<\/td>Filmlitteratur<\/td>5227<\/td><\/td><\/td>Illustrationsforlaget<\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
5575<\/td>988<\/td>unread<\/td>103<\/td>10931<\/td>Filmlitteratur<\/td>5228<\/td><\/td><\/td>Illustrationsforlaget<\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
5576<\/td>989<\/td>unread<\/td>81<\/td>10932<\/td><\/td>5229<\/td>Films og tonefilmsteknik<\/td>Max Scharnberg<\/td>Teknologisk instituts forlag<\/td><\/td>1944<\/td><\/td>74<\/td> <\/tr>\n
5577<\/td>990<\/td>unread<\/td>83<\/td>10933<\/td><\/td>5230<\/td>Filterfaszination<\/td>Rudolph Hanke<\/td><\/td><\/td>Hama 1977<\/td><\/td>59<\/td> <\/tr>\n
5578<\/td>991<\/td>unread<\/td>88<\/td>10934<\/td><\/td>5231<\/td>Tierjagd mit der kamera<\/td>H.Fischer<\/td>Dr.Walther Heering verlag<\/td>Harzburg<\/td>1936<\/td><\/td>55<\/td> <\/tr>\n
5579<\/td>992<\/td>unread<\/td>83<\/td>10935<\/td><\/td>5232<\/td><\/td>Herman Fischer. Dr.Heinz Woltereck<\/td>Heering verlag<\/td>Seebruck<\/td>1960<\/td><\/td>67<\/td> <\/tr>\n
5580<\/td>993<\/td>unread<\/td>83<\/td>10936<\/td><\/td>5233<\/td>Tierjago mit der kamera<\/td>Herman Fischer<\/td>Heering verlag<\/td>Seebruck<\/td>1953<\/td><\/td>68<\/td> <\/tr>\n
5581<\/td>994<\/td>unread<\/td>83<\/td>10937<\/td><\/td>5234<\/td>Tierfotografie<\/td>Hermann Fischer<\/td>Heering verlag<\/td>Harzburg<\/td>1939<\/td><\/td>69<\/td> <\/tr>\n
5582<\/td>995<\/td>unread<\/td>88<\/td>10938<\/td><\/td>5235<\/td>A taste of Ireland<\/td>Theodora Fitzgibbon<\/td>Pan Books LTD<\/td>London<\/td>1956<\/td><\/td>49<\/td> <\/tr>\n
5583<\/td>996<\/td>unread<\/td>88<\/td>10939<\/td><\/td>5236<\/td>Five girls<\/td>Sam Haskins<\/td>Corgi Book<\/td>London<\/td>1962<\/td>ISBN. 552-08121-3.<\/td>49<\/td> <\/tr>\n
5584<\/td>997<\/td>unread<\/td>84<\/td>10940<\/td><\/td>5237<\/td>Flash<\/td>Don M. Paul<\/td><\/td>Californien<\/td>1947<\/td><\/td>83<\/td> <\/tr>\n
5585<\/td>998<\/td>unread<\/td>83<\/td>10941<\/td><\/td>5238<\/td>Photokeramik<\/td>C.Fleck<\/td>Verlag Von Gustav Schmidt<\/td>Berlin<\/td>1909<\/td>Sort ringbind.<\/td>78<\/td> <\/tr>\n
5586<\/td>999<\/td>unread<\/td>83<\/td>10942<\/td><\/td>5239<\/td>Photokeramik<\/td>C.Fleck<\/td>Union Deutsche verlag<\/td>Berlin<\/td>1925<\/td><\/td>68<\/td> <\/tr>\n
5587<\/td>1000<\/td>unread<\/td>88<\/td>10943<\/td><\/td>5240<\/td>Hugo Matthiessens Grenaa<\/td>Brita Flou<\/td>Hikuin Forlag<\/td><\/td>1990<\/td><\/td>56<\/td> <\/tr>\n
5588<\/td>1001<\/td>unread<\/td>88<\/td>10944<\/td><\/td>5241<\/td>Flygspanning efter historien<\/td><\/td><\/td><\/td><\/td><\/td>46<\/td> <\/tr>\n
5589<\/td>1002<\/td>unread<\/td>88<\/td>10945<\/td><\/td>5242<\/td><\/td>Ebbe Fog. Carl Stuhr<\/td><\/td><\/td><\/td><\/td>48<\/td> <\/tr>\n
5590<\/td>1003<\/td>unread<\/td>88<\/td>10946<\/td><\/td>5243<\/td>Folkets Dronning Alexandrine<\/td><\/td>Bogforlaget Dana<\/td>Odense<\/td><\/td><\/td>47<\/td> <\/tr>\n
5591<\/td>1004<\/td>unread<\/td>88<\/td>10947<\/td><\/td>5244<\/td>Forbryder billeder<\/td>F.Nielsen. J.Laurberg<\/td>Mammens Bogtrykkeri<\/td>Odense<\/td>1989<\/td><\/td>46<\/td> <\/tr>\n
5592<\/td>1005<\/td>unread<\/td>88<\/td>10948<\/td><\/td>5245<\/td>You press the button we do the rest<\/td>C.Ford - K.Steinorth<\/td>Dirk Nishen Publishing<\/td><\/td>1988<\/td>ISBN.1853780103.<\/td>50<\/td> <\/tr>\n
5593<\/td>1006<\/td>unread<\/td>81<\/td>10949<\/td><\/td>5246<\/td><\/td>O.V.Glistrup<\/td><\/td><\/td>1966<\/td><\/td>61<\/td> <\/tr>\n
5594<\/td>1007<\/td>unread<\/td>81<\/td>10950<\/td><\/td>5247<\/td><\/td>O.V.Glistrup<\/td><\/td><\/td>1966<\/td><\/td>61<\/td> <\/tr>\n
5595<\/td>1008<\/td>unread<\/td>81<\/td>10951<\/td><\/td>5248<\/td><\/td>O.V.Glistrup<\/td><\/td><\/td>1975<\/td><\/td>61<\/td> <\/tr>\n
5596<\/td>1009<\/td>unread<\/td>81<\/td>10952<\/td><\/td>5249<\/td>, nr. 6<\/td>Hugo van Wadenoyen<\/td>Forlaget Skrifola<\/td><\/td>1956<\/td><\/td>79<\/td> <\/tr>\n
5597<\/td>1010<\/td>unread<\/td>81<\/td>10953<\/td><\/td>5250<\/td>Alt om.. Kort og godt om smalfilm<\/td>Pierre Faveau<\/td>Forlaget Skrifola<\/td><\/td>1957<\/td><\/td>74<\/td> <\/tr>\n
5598<\/td>1011<\/td>unread<\/td>81<\/td>10954<\/td><\/td>5251<\/td><\/td>Bente Herman<\/td>Hirschsprungs Forlag<\/td><\/td>1938<\/td><\/td>60<\/td> <\/tr>\n
5599<\/td>1012<\/td>unread<\/td>81<\/td>10955<\/td><\/td>5252<\/td><\/td><\/td>Skrifola Forlag<\/td><\/td>1977<\/td><\/td>60<\/td> <\/tr>\n
5600<\/td>1013<\/td>unread<\/td>81<\/td>10956<\/td><\/td>5253<\/td><\/td>H.S.de Kue<\/td><\/td><\/td>1977<\/td><\/td>60<\/td> <\/tr>\n
5601<\/td>1014<\/td>unread<\/td>88<\/td>10957<\/td><\/td>5254<\/td>Foto-Verdens udstilling<\/td><\/td>Henri Nannen Verlag<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
5602<\/td>1015<\/td>unread<\/td>82<\/td>10958<\/td><\/td>5255<\/td><\/td>J.Nerlien<\/td><\/td>Oslo<\/td><\/td><\/td>59<\/td> <\/tr>\n
5603<\/td>1016<\/td>unread<\/td>81<\/td>10959<\/td><\/td>5256<\/td>Foto<\/td>John Hedgecoe<\/td>Politikkens Forlag<\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5604<\/td>1017<\/td>unread<\/td>81<\/td>10960<\/td><\/td>5257<\/td>Foto ABC<\/td>Erik Olsen<\/td>Nyt Nordisk Forlag<\/td><\/td>1958<\/td><\/td>60<\/td> <\/tr>\n
5605<\/td>1018<\/td>unread<\/td>81<\/td>10961<\/td><\/td>5258<\/td>Foto ABC<\/td>Dr.H.G.Wandelt<\/td><\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5606<\/td>1019<\/td>unread<\/td>88<\/td>10962<\/td><\/td>5259<\/td>Foto Canada<\/td><\/td><\/td><\/td>Sep.1968<\/td><\/td>49<\/td> <\/tr>\n
5607<\/td>1020<\/td>unread<\/td>88<\/td>10963<\/td><\/td>5260<\/td>Foto C. Fotografi 1974<\/td><\/td>Marselis Tryk A\/S<\/td><\/td>1974<\/td><\/td>46<\/td> <\/tr>\n
5608<\/td>1021<\/td>unread<\/td>88<\/td>10964<\/td><\/td>5261<\/td>International Foto-Diegest<\/td><\/td>Ehapa-Verlag<\/td>Stuttgart<\/td>1971<\/td><\/td>51<\/td> <\/tr>\n
5609<\/td>1022<\/td>unread<\/td>83<\/td>10965<\/td><\/td>5262<\/td>Fotoerfolg am Badenstrand.Fotorat auf re<\/td>Hein Gorny und H.E.Trieb<\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5610<\/td>1023<\/td>unread<\/td>82<\/td>10966<\/td><\/td>5263<\/td>Foto Experiment<\/td>Lars Larsson. Bertil Ludvigsson<\/td><\/td>Stockholm<\/td>1971<\/td><\/td>73<\/td> <\/tr>\n
5611<\/td>1024<\/td>unread<\/td>83<\/td>10967<\/td><\/td>5264<\/td>Foto Exkursionen mit der Exa<\/td>Werner Wurst<\/td>Wilhelm Knapp Verlag<\/td>Saale<\/td>1955<\/td><\/td>66<\/td> <\/tr>\n
5612<\/td>1025<\/td>unread<\/td>83<\/td>10968<\/td><\/td>5265<\/td>Fotofazination<\/td>Johan Willsberger<\/td>Bertelsmann Lexicon-Verlag<\/td>Tyskland<\/td>1975<\/td><\/td>58<\/td> <\/tr>\n
5613<\/td>1026<\/td>unread<\/td>83<\/td>10969<\/td><\/td>5266<\/td>Fotofehlerbuch<\/td>Kurt Fritsche<\/td>Veb. Fotokinoverlag<\/td>Leipzig<\/td>1979<\/td><\/td>66<\/td> <\/tr>\n
5614<\/td>1027<\/td>unread<\/td>82<\/td>10970<\/td><\/td>5267<\/td><\/td>K.W.Gullers<\/td><\/td>Stockholm<\/td><\/td><\/td>61<\/td> <\/tr>\n
5615<\/td>1028<\/td>unread<\/td>81<\/td>10971<\/td><\/td>5268<\/td>Foto for alle<\/td><\/td>Grusgaard Forlag<\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5616<\/td>1029<\/td>unread<\/td>81<\/td>10972<\/td><\/td>5269<\/td><\/td><\/td><\/td><\/td>1951<\/td><\/td>60<\/td> <\/tr>\n
5617<\/td>1030<\/td>unread<\/td>81<\/td>10973<\/td><\/td>5270<\/td>Foto 24 x 36<\/td>Lancelot Vining<\/td>Kongsbak & Cohns forlag<\/td><\/td>1948<\/td><\/td>60<\/td> <\/tr>\n
5618<\/td>1031<\/td>unread<\/td>81<\/td>10974<\/td><\/td>5271<\/td><\/td>Mogens von Haven<\/td>Sesam<\/td><\/td>1981<\/td><\/td>43<\/td> <\/tr>\n
5619<\/td>1032<\/td>unread<\/td>81<\/td>10975<\/td><\/td>5272<\/td><\/td><\/td><\/td><\/td>1995<\/td>Danmarks Grafiske museum\/ Dansk pressemuseum.<\/td>84<\/td> <\/tr>\n
5620<\/td>1033<\/td>unread<\/td>86<\/td>10976<\/td><\/td>5273<\/td>Fotografia.Officine Mondadori<\/td><\/td><\/td>Verona<\/td><\/td><\/td>79<\/td> <\/tr>\n
5621<\/td>1034<\/td>unread<\/td>81<\/td>10977<\/td><\/td>5274<\/td>Fotogravure<\/td>Eli Ponsaing<\/td>Borgens Forlag<\/td><\/td>1995<\/td><\/td>84<\/td> <\/tr>\n
5622<\/td>1035<\/td>unread<\/td>81<\/td>10978<\/td><\/td>5275<\/td>Fotografik<\/td>H.S.de Kue<\/td><\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5623<\/td>1036<\/td>unread<\/td>81<\/td>10979<\/td><\/td>5276<\/td>Fotografik<\/td><\/td><\/td><\/td>1969<\/td><\/td>72<\/td> <\/tr>\n
5624<\/td>1037<\/td>unread<\/td>83<\/td>10980<\/td><\/td>5277<\/td>Foto Heim Labor<\/td><\/td>Heering verlag<\/td><\/td><\/td><\/td>59<\/td> <\/tr>\n
5625<\/td>1038<\/td>unread<\/td>81<\/td>10981<\/td><\/td>5278<\/td><\/td><\/td><\/td><\/td><\/td><\/td>62<\/td> <\/tr>\n
5626<\/td>1039<\/td>unread<\/td>81<\/td>10982<\/td><\/td>5279<\/td><\/td>Mogens Haven<\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5627<\/td>1040<\/td>unread<\/td>81<\/td>10983<\/td><\/td>5280<\/td><\/td>Mogens Haven<\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5628<\/td>1041<\/td>unread<\/td>81<\/td>10984<\/td><\/td>5281<\/td>Foto idag<\/td>E.H.Mynster<\/td><\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5629<\/td>1042<\/td>unread<\/td>81<\/td>10985<\/td><\/td>5282<\/td>Foto i farve<\/td>Kisselbach<\/td>Skrifola Forlag<\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5630<\/td>1043<\/td>unread<\/td>81<\/td>10986<\/td><\/td>5283<\/td>Foto i samfundets tjeneste<\/td>E.Jul Hother<\/td><\/td><\/td>1948<\/td><\/td>64<\/td> <\/tr>\n
5631<\/td>1044<\/td>unread<\/td>81<\/td>10987<\/td><\/td>5284<\/td>Foto kino. Hovedkatalog<\/td><\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5632<\/td>1045<\/td>unread<\/td>83<\/td>10988<\/td><\/td>5285<\/td>Foto Kino Wegert<\/td><\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5633<\/td>1046<\/td>unread<\/td>81<\/td>10989<\/td><\/td>5286<\/td>Foto og Kino<\/td><\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5634<\/td>1047<\/td>unread<\/td>83<\/td>10990<\/td><\/td>5287<\/td>Fotos farbig<\/td><\/td>Verlag Rudolf Hans Hammer<\/td>Wien<\/td>1954<\/td><\/td>81<\/td> <\/tr>\n
5635<\/td>1048<\/td>unread<\/td>81<\/td>10991<\/td><\/td>5288<\/td>Fotograf, Fotografering<\/td>John Hedgecoe<\/td>Lademanns Forlag<\/td>London<\/td>1976<\/td><\/td>57<\/td> <\/tr>\n
5636<\/td>1049<\/td>unread<\/td>88<\/td>10992<\/td><\/td>5289<\/td>Fotografer i Kolding indtil 1940<\/td>Inge Ladegaard<\/td>Kolding Stadsarkiv<\/td><\/td>1989<\/td><\/td>51<\/td> <\/tr>\n
5637<\/td>1050<\/td>unread<\/td>81<\/td>10993<\/td><\/td>5290<\/td>Fotografer i og fra DK til og med1920<\/td><\/td>Bib.centralens forlag<\/td><\/td>1986<\/td>Dansk\/Engelsk\/Tysk\/Fransk.<\/td>57<\/td> <\/tr>\n
5638<\/td>1051<\/td>unread<\/td>81<\/td>10994<\/td><\/td>5291<\/td>Fotografer i og fra DK til og med 1920<\/td><\/td>Bib.Centralens forlag<\/td><\/td>1986<\/td>ISBN. 87-552-1216-6. DK.ENG.TYSK.FRANSK.<\/td>57<\/td> <\/tr>\n
5639<\/td>1052<\/td>unread<\/td>81<\/td>10995<\/td><\/td>5292<\/td>Fotografer i og fra DK indtil 1900<\/td>B.Ochsner<\/td>Det Kgl.Bibliotek<\/td><\/td>1969<\/td><\/td>57<\/td> <\/tr>\n
5640<\/td>1053<\/td>unread<\/td>81<\/td>10996<\/td><\/td>5293<\/td><\/td>B.Ochsner<\/td>Det Kgl.Bibliotek<\/td><\/td>1969<\/td>Bind I A-L.<\/td>57<\/td> <\/tr>\n
5641<\/td>1054<\/td>unread<\/td>81<\/td>10997<\/td><\/td>5294<\/td><\/td><\/td>Dansk Bibliografisk Kontor<\/td><\/td>1956<\/td><\/td>57<\/td> <\/tr>\n
5642<\/td>1055<\/td>unread<\/td>81<\/td>10998<\/td><\/td>5295<\/td>Fotografer i Herning 1870-1970<\/td>Doris Frederiksen<\/td>Historisk forening.Herning<\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
5643<\/td>1056<\/td>unread<\/td>88<\/td>10999<\/td><\/td>5296<\/td><\/td>Harald Paetz<\/td><\/td><\/td><\/td><\/td>53<\/td> <\/tr>\n
5644<\/td>1057<\/td>unread<\/td>88<\/td>11000<\/td><\/td>5297<\/td>Fotografering<\/td>Steen Agger<\/td>Forlaget Vigra<\/td><\/td>1989<\/td><\/td>46<\/td> <\/tr>\n
5645<\/td>1058<\/td>unread<\/td>88<\/td>11001<\/td><\/td>5298<\/td>Fotograferna Piil<\/td><\/td><\/td><\/td>1988<\/td><\/td>72<\/td> <\/tr>\n
5646<\/td>1059<\/td>unread<\/td>88<\/td>11002<\/td><\/td>5299<\/td>Fotografernes Rom 1846-1878<\/td><\/td><\/td><\/td>1978<\/td>Thorvaldsens Museum<\/td>46<\/td> <\/tr>\n
5647<\/td>1060<\/td>unread<\/td>88<\/td>11003<\/td><\/td>5300<\/td>Fotografia<\/td>Gabriel Lacomba. Micel Quijorna<\/td>Biennal<\/td>Barcelona<\/td>1991<\/td><\/td>51<\/td> <\/tr>\n
5648<\/td>1061<\/td>unread<\/td>88<\/td>11004<\/td><\/td>5301<\/td><\/td><\/td>Ad.Goeckers eft.<\/td><\/td>1962<\/td><\/td>46<\/td> <\/tr>\n
5649<\/td>1062<\/td>unread<\/td>88<\/td>11005<\/td><\/td>5302<\/td><\/td><\/td>Det Kgl.Bibliotek<\/td><\/td>1996<\/td><\/td>46<\/td> <\/tr>\n
5650<\/td>1063<\/td>unread<\/td>88<\/td>11006<\/td><\/td>5303<\/td>Fotografi i tre generationer<\/td>Poul Pedersen<\/td>BJ Offset<\/td><\/td>1987<\/td>ISBN. 87-87075-47-4.<\/td>46<\/td> <\/tr>\n
5651<\/td>1064<\/td>unread<\/td>81<\/td>11007<\/td><\/td>5304<\/td>Fotografi 1974. Foto C.<\/td><\/td>Marselis Tryk A\/S<\/td><\/td>1974<\/td><\/td>46<\/td> <\/tr>\n
5652<\/td>1065<\/td>unread<\/td>82<\/td>11008<\/td><\/td>5305<\/td><\/td>Gunnar Lenning<\/td>Almqvist & Wiksell<\/td><\/td>1971<\/td><\/td>74<\/td> <\/tr>\n
5653<\/td>1066<\/td>unread<\/td>81<\/td>11009<\/td><\/td>5306<\/td>Fotografi i lovens historie<\/td>Rasmus Reeh<\/td>Dagspressens Fond<\/td><\/td>1985<\/td><\/td>57<\/td> <\/tr>\n
5654<\/td>1067<\/td>unread<\/td>88<\/td>11010<\/td><\/td>5307<\/td>Fotografia<\/td>Poulo Greuel<\/td>Galerie Alexander Sies<\/td><\/td>1998<\/td><\/td>42<\/td> <\/tr>\n
5655<\/td>1068<\/td>unread<\/td>83<\/td>11011<\/td><\/td>5308<\/td>Fotografie mit der Praktica<\/td><\/td>Veb Fotokinoverlag<\/td>Leipzig<\/td>1985<\/td><\/td>84<\/td> <\/tr>\n
5656<\/td>1069<\/td>unread<\/td>81<\/td>11012<\/td><\/td>5309<\/td>Fotografer i Kolding indtil 1940<\/td>Inge Ladegaard<\/td><\/td>Kolding<\/td>1989<\/td><\/td>64<\/td> <\/tr>\n
5657<\/td>1070<\/td>unread<\/td>88<\/td>11013<\/td><\/td>5310<\/td>Fotografier fra 1930-1945<\/td>Judit Karasz<\/td><\/td>Bornholm<\/td>1994<\/td><\/td>42<\/td> <\/tr>\n
5658<\/td>1071<\/td>unread<\/td>88<\/td>11014<\/td><\/td>5311<\/td>Fotografier Cherlottenborg<\/td><\/td>Laursens bogtrykkeri<\/td><\/td>1986<\/td>Der Kongelige biblioteks samling. ISBN. 87-88944-02-06.<\/td>46<\/td> <\/tr>\n
5659<\/td>1072<\/td>unread<\/td>88<\/td>11015<\/td><\/td>5312<\/td>Fotografier af H.C.Andersen<\/td><\/td>Udg.H.C.Andersens hus<\/td>Odense<\/td>1857<\/td><\/td>46<\/td> <\/tr>\n
5660<\/td>1073<\/td>unread<\/td>81<\/td>11016<\/td><\/td>5313<\/td>Fotografier er minder<\/td>Hakon Mielche<\/td>AGFA<\/td><\/td>1943<\/td><\/td>73<\/td> <\/tr>\n
5661<\/td>1074<\/td>unread<\/td>88<\/td>11017<\/td><\/td>5314<\/td>Fotografier i Hobro<\/td><\/td><\/td>Hobro<\/td>1994<\/td><\/td>41<\/td> <\/tr>\n
5662<\/td>1075<\/td>unread<\/td>83<\/td>11018<\/td><\/td>5315<\/td>Fotografiere dein Leben<\/td>Alex Strasser<\/td><\/td><\/td><\/td><\/td>65<\/td> <\/tr>\n
5663<\/td>1076<\/td>unread<\/td>83<\/td>11019<\/td><\/td>5316<\/td>Fotografieren mit infrarot<\/td>Gehard Isert<\/td>G.Hirth Verlag<\/td><\/td>1935<\/td><\/td>66<\/td> <\/tr>\n
5664<\/td>1077<\/td>unread<\/td>81<\/td>11020<\/td><\/td>5317<\/td>Fotografiens udviklingshistorie<\/td>Christian Winther<\/td>Poul Petri Bogtrykkeri<\/td><\/td>1948<\/td><\/td>58<\/td> <\/tr>\n
5665<\/td>1078<\/td>unread<\/td>81<\/td>11021<\/td><\/td>5318<\/td>Fotografiens historie<\/td>Michael Langford<\/td><\/td><\/td>1981<\/td><\/td>83<\/td> <\/tr>\n
5666<\/td>1079<\/td>unread<\/td>83<\/td>11022<\/td><\/td>5319<\/td>Fotografien tecnik zerfall und konservie<\/td>Mogens Koch<\/td><\/td><\/td>1983<\/td><\/td>57<\/td> <\/tr>\n
5667<\/td>1080<\/td>unread<\/td>88<\/td>11023<\/td><\/td>5320<\/td>Fotografiet i dk. 1840-1940<\/td><\/td>Th.Laursens bogtrykkeri<\/td><\/td>1974<\/td>ISBN. 87-7442-003-8.<\/td>46<\/td> <\/tr>\n
5668<\/td>1081<\/td>unread<\/td>102<\/td>11024<\/td>Fototidsskrifter (andre)<\/td>5321<\/td>Fotgrafiska Artiklar 1.<\/td>F.W.Hasselblad & Co.<\/td><\/td><\/td>1900<\/td>REG.01.<\/td>0<\/td> <\/tr>\n
5669<\/td>1082<\/td>unread<\/td>88<\/td>11025<\/td><\/td>5322<\/td>Fotografiska teckningar<\/td><\/td><\/td><\/td>1992<\/td><\/td>42<\/td> <\/tr>\n
5670<\/td>1083<\/td>unread<\/td>102<\/td>11026<\/td>Fototidsskrifter (andre)<\/td>5323<\/td>Fotografiska Artiklar 2.<\/td>F.W. Hasselblad & Co.<\/td><\/td><\/td>1900<\/td>REG.01.<\/td>0<\/td> <\/tr>\n
5671<\/td>1084<\/td>unread<\/td>88<\/td>11027<\/td><\/td>5324<\/td><\/td><\/td><\/td><\/td>1988<\/td>Udstil.Katalog.<\/td>46<\/td> <\/tr>\n
5672<\/td>1085<\/td>unread<\/td>81<\/td>11028<\/td><\/td>5325<\/td>Fotografiske teknikker 1839-1920<\/td>J.Johnsen - J-Palm<\/td><\/td><\/td>1984<\/td>Det Kgl. Danske Kunstakademi.<\/td>57<\/td> <\/tr>\n
5673<\/td>1086<\/td>unread<\/td>81<\/td>11029<\/td><\/td>5326<\/td><\/td>Thomas Pedersen<\/td>Borgens Forlag<\/td><\/td>1962<\/td><\/td>57<\/td> <\/tr>\n
5674<\/td>1087<\/td>unread<\/td>81<\/td>11030<\/td><\/td>5327<\/td>Fotografisk Haandbog<\/td>Wellington & Ward<\/td><\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5675<\/td>1088<\/td>unread<\/td>82<\/td>11031<\/td><\/td>5328<\/td>Fotografisk teknik<\/td><\/td>Teknologisk Forlag<\/td>Oslo<\/td>1976<\/td>ISBN. 82-512-0117-9.<\/td>59<\/td> <\/tr>\n
5676<\/td>1089<\/td>unread<\/td>81<\/td>11032<\/td><\/td>5329<\/td><\/td>Chr.Winther<\/td>G.E.C.Gads Forlag<\/td><\/td>1919<\/td><\/td>58<\/td> <\/tr>\n
5677<\/td>1090<\/td>unread<\/td>81<\/td>11033<\/td><\/td>5330<\/td><\/td>Chr.Winther<\/td>G.E.C.Gads Forlag<\/td><\/td>1935<\/td><\/td>60<\/td> <\/tr>\n
5678<\/td>1091<\/td>unread<\/td>82<\/td>11034<\/td><\/td>5331<\/td>Fotohistorisk<\/td>Per Hemmingsson<\/td>Bonniers<\/td>Stockholm<\/td>1970<\/td><\/td>58<\/td> <\/tr>\n
5679<\/td>1092<\/td>unread<\/td>81<\/td>11035<\/td><\/td>5332<\/td>Foto-Haandbogen<\/td><\/td><\/td><\/td>1922<\/td><\/td>60<\/td> <\/tr>\n
5680<\/td>1093<\/td>unread<\/td>81<\/td>11036<\/td><\/td>5333<\/td><\/td><\/td>Skrifola Forlag<\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5681<\/td>1094<\/td>unread<\/td>81<\/td>11037<\/td><\/td>5334<\/td><\/td><\/td>Skrifola Forlag<\/td><\/td>1959<\/td><\/td>60<\/td> <\/tr>\n
5682<\/td>1095<\/td>unread<\/td>81<\/td>11038<\/td><\/td>5335<\/td><\/td><\/td><\/td><\/td>1922<\/td><\/td>60<\/td> <\/tr>\n
5683<\/td>1096<\/td>unread<\/td>83<\/td>11039<\/td><\/td>5336<\/td>Fotokurs in farbe<\/td>Kisselbach und Scheerer<\/td>IM Heering Verlag<\/td>Seebruck<\/td>1956<\/td><\/td>66<\/td> <\/tr>\n
5684<\/td>1097<\/td>unread<\/td>81<\/td>11040<\/td><\/td>5337<\/td><\/td><\/td>Skrifola Forlag<\/td><\/td>1958<\/td><\/td>61<\/td> <\/tr>\n
5685<\/td>1098<\/td>unread<\/td>82<\/td>11041<\/td><\/td>5338<\/td><\/td><\/td>Nordisk Rotogravyr<\/td>Stockholm<\/td>1958<\/td><\/td>73<\/td> <\/tr>\n
5686<\/td>1099<\/td>unread<\/td>82<\/td>11042<\/td><\/td>5339<\/td><\/td><\/td>Nordisk Rotogravyr<\/td>Stockholm<\/td>1952<\/td><\/td>64<\/td> <\/tr>\n
5687<\/td>1100<\/td>unread<\/td>81<\/td>11043<\/td><\/td>5340<\/td><\/td><\/td>G.E.C.Gads Forlag<\/td><\/td>1976<\/td><\/td>61<\/td> <\/tr>\n
5688<\/td>1101<\/td>unread<\/td>82<\/td>11044<\/td><\/td>5341<\/td>Foto-Lexikon<\/td>Albert Svensson<\/td>Hugo Svensson & Co.<\/td>Stockholm<\/td><\/td><\/td>74<\/td> <\/tr>\n
5689<\/td>1102<\/td>unread<\/td>81<\/td>11045<\/td><\/td>5342<\/td>Fotomontage<\/td>John Heartfield<\/td><\/td><\/td>1970<\/td><\/td>75<\/td> <\/tr>\n
5690<\/td>1103<\/td>unread<\/td>81<\/td>11046<\/td><\/td>5343<\/td>Foto-Mikkel<\/td><\/td>Vilhelm Priors Forlag<\/td><\/td>1945<\/td><\/td>64<\/td> <\/tr>\n
5691<\/td>1104<\/td>unread<\/td>83<\/td>11047<\/td><\/td>5344<\/td>Fotos in der Werbung Autorenkollektiv<\/td><\/td>VEB Fotokinoverlag<\/td>Leipzig<\/td><\/td><\/td>43<\/td> <\/tr>\n
5692<\/td>1105<\/td>unread<\/td>83<\/td>11048<\/td><\/td>5345<\/td>Fotos mit Nitraph<\/td>Gerhard Isert<\/td>G.Hirth Verlag<\/td><\/td><\/td><\/td>66<\/td> <\/tr>\n
5693<\/td>1106<\/td>unread<\/td>88<\/td>11049<\/td><\/td>5346<\/td>Foto Professionel<\/td><\/td>Verlag Laterna Magica<\/td><\/td>1974<\/td>ISBN. 3-87467-67-8.<\/td>52<\/td> <\/tr>\n
5694<\/td>1107<\/td>unread<\/td>88<\/td>11050<\/td><\/td>5347<\/td><\/td><\/td><\/td><\/td>1991<\/td>Edition Braus.<\/td>43<\/td> <\/tr>\n
5695<\/td>1108<\/td>unread<\/td>88<\/td>11051<\/td><\/td>5348<\/td>Fotopop<\/td>Milan Kunc<\/td><\/td><\/td>1991<\/td><\/td>59<\/td> <\/tr>\n
5696<\/td>1109<\/td>unread<\/td>83<\/td>11052<\/td><\/td>5349<\/td>Fotorat:Schnappschuss<\/td>H.Starke<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1935<\/td><\/td>79<\/td> <\/tr>\n
5697<\/td>1110<\/td>unread<\/td>83<\/td>11053<\/td><\/td>5350<\/td>Fotorat: Entwickeln<\/td>Walter Peterhans<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1935<\/td><\/td>79<\/td> <\/tr>\n
5698<\/td>1111<\/td>unread<\/td>83<\/td>11054<\/td><\/td>5351<\/td>Der Fotorat. Bind 1-11<\/td><\/td>Verlag Wilhelm Knapp<\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
5699<\/td>1112<\/td>unread<\/td>83<\/td>11055<\/td><\/td>5352<\/td><\/td><\/td>Laterna Magica<\/td>Tyskland<\/td>1989<\/td><\/td>81<\/td> <\/tr>\n
5700<\/td>1113<\/td>unread<\/td>81<\/td>11056<\/td><\/td>5353<\/td>Foto som hobby<\/td>K.W.Gullers<\/td>Gyldendalsforlag<\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5701<\/td>1114<\/td>unread<\/td>81<\/td>11057<\/td><\/td>5354<\/td><\/td>Keld Poulsen<\/td>Gyldendal<\/td><\/td>1978<\/td><\/td>61<\/td> <\/tr>\n
5702<\/td>1115<\/td>unread<\/td>88<\/td>11058<\/td><\/td>5355<\/td><\/td>Kjeld Hansen<\/td>Kustannus oy Otava<\/td>Findland<\/td>1981<\/td>ISBN. 87-88146-00-6.<\/td>48<\/td> <\/tr>\n
5703<\/td>1116<\/td>unread<\/td>83<\/td>11059<\/td><\/td>5356<\/td>Fotoserien Serienf.<\/td>Heinrich Freytag<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1935<\/td><\/td>66<\/td> <\/tr>\n
5704<\/td>1117<\/td>unread<\/td>88<\/td>11060<\/td><\/td>5357<\/td>Fotosport 98.<\/td><\/td><\/td><\/td><\/td>xv Biennal International de Fotografia de L'esport<\/td>56<\/td> <\/tr>\n
5705<\/td>1118<\/td>unread<\/td>81<\/td>11061<\/td><\/td>5358<\/td>Fototeknik-lys lux og liminans<\/td>K.Lund<\/td>Forlaget Skrifola<\/td><\/td>1956<\/td><\/td>61<\/td> <\/tr>\n
5706<\/td>1119<\/td>unread<\/td>81<\/td>11062<\/td><\/td>5359<\/td>Foto-tips. 3.Modlysbilleder<\/td>Dieder Renner<\/td>Heering Verlag<\/td><\/td>1954<\/td>Belgisk Import Compagni<\/td>79<\/td> <\/tr>\n
5707<\/td>1120<\/td>unread<\/td>81<\/td>11063<\/td><\/td>5360<\/td><\/td>Alexander Niklitschek<\/td>Heering Verlag<\/td><\/td>1954<\/td><\/td>79<\/td> <\/tr>\n
5708<\/td>1121<\/td>unread<\/td>81<\/td>11064<\/td><\/td>5361<\/td>Foto-tips. Smalfilm.<\/td>Fritz Schultz<\/td><\/td><\/td>1954<\/td>Belgisk Import Compagni<\/td>79<\/td> <\/tr>\n
5709<\/td>1122<\/td>unread<\/td>81<\/td>11065<\/td><\/td>5362<\/td><\/td>Alexander Niklitschek<\/td><\/td><\/td><\/td>Belgisk Import Compagni.<\/td>79<\/td> <\/tr>\n
5710<\/td>1123<\/td>unread<\/td>81<\/td>11066<\/td><\/td>5363<\/td>Foto-tips. Modlysbilleder<\/td>Dieder Renner<\/td><\/td><\/td>1954<\/td>Belgisk Import Compagni.<\/td>79<\/td> <\/tr>\n
5711<\/td>1124<\/td>unread<\/td>81<\/td>11067<\/td><\/td>5364<\/td>Foto-tips. Bedre Boxbilleder<\/td>Rudolf Knapman<\/td><\/td><\/td><\/td>Belgisk Import Compagni.<\/td>79<\/td> <\/tr>\n
5712<\/td>1125<\/td>unread<\/td>88<\/td>11068<\/td><\/td>5365<\/td><\/td><\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
5713<\/td>1126<\/td>unread<\/td>81<\/td>11069<\/td><\/td>5366<\/td>Foto uden kamera. Fotogrammer<\/td><\/td><\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
5714<\/td>1127<\/td>unread<\/td>84<\/td>11070<\/td><\/td>5367<\/td>Photography using only avail light<\/td>Stuart Fox<\/td>Cornestone Library<\/td>New York<\/td>1966<\/td><\/td>72<\/td> <\/tr>\n
5715<\/td>1128<\/td>unread<\/td>88<\/td>11071<\/td><\/td>5368<\/td><\/td><\/td><\/td><\/td>1996<\/td>Fra Bjerringbro Kommune. Lokalhistorisk arkiv 1996.<\/td>42<\/td> <\/tr>\n
5716<\/td>1129<\/td>unread<\/td>88<\/td>11072<\/td><\/td>5369<\/td>Fra en landsbyfotografs billedbog<\/td><\/td>Historisk Samfund for Vendsyssel<\/td><\/td>1975<\/td><\/td>52<\/td> <\/tr>\n
5717<\/td>1130<\/td>unread<\/td>81<\/td>11073<\/td><\/td>5370<\/td>Fra Rom til Nordpolen<\/td>Umberto Nobile<\/td>Levin og Munksgaards forlag<\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
5718<\/td>1131<\/td>unread<\/td>88<\/td>11074<\/td><\/td>5371<\/td>Fra Venezia<\/td>V.Rivad. M.Hebsgaard<\/td>Forlaget Rhodos<\/td><\/td><\/td><\/td>48<\/td> <\/tr>\n
5719<\/td>1132<\/td>unread<\/td>88<\/td>11075<\/td><\/td>5372<\/td><\/td><\/td>Strandbergs Forlag<\/td><\/td>1987<\/td><\/td>75<\/td> <\/tr>\n
5720<\/td>1133<\/td>unread<\/td>88<\/td>11076<\/td><\/td>5373<\/td>Fra det nu forsvundne Kgl.Lyngby<\/td><\/td>Strandsbergs Forlag<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
5721<\/td>1134<\/td>unread<\/td>88<\/td>11077<\/td><\/td>5374<\/td><\/td><\/td>Paght & Grone<\/td><\/td>1898<\/td><\/td>41<\/td> <\/tr>\n
5722<\/td>1135<\/td>unread<\/td>88<\/td>11078<\/td><\/td>5375<\/td>Fragments of a City<\/td>Karl H. Petersen<\/td>Hans Reitzel<\/td><\/td>1960<\/td><\/td>49<\/td> <\/tr>\n
5723<\/td>1136<\/td>unread<\/td>88<\/td>11079<\/td><\/td>5376<\/td>Frank Darius<\/td><\/td><\/td><\/td>1998<\/td>Galerie Alexander Sies.<\/td>53<\/td> <\/tr>\n
5724<\/td>1137<\/td>unread<\/td>88<\/td>11080<\/td><\/td>5377<\/td>Frank Meadow Sutcliffe 1953-1941.<\/td><\/td>The British Council<\/td>London<\/td>1985<\/td>ISBN. 0-86355-031-2.<\/td>49<\/td> <\/tr>\n
5725<\/td>1138<\/td>unread<\/td>84<\/td>11081<\/td><\/td>5378<\/td>Free Lance Photography<\/td>Towsend Godsey<\/td><\/td>New York<\/td><\/td><\/td>81<\/td> <\/tr>\n
5726<\/td>1139<\/td>unread<\/td>84<\/td>11082<\/td><\/td>5379<\/td>Free-lance journalism. With a Camera<\/td>Rufus H.Mallinson F.E.S<\/td><\/td><\/td><\/td><\/td>72<\/td> <\/tr>\n
5727<\/td>1140<\/td>unread<\/td>81<\/td>11083<\/td><\/td>5380<\/td>Fredensborg slot.MOnomenter og minder<\/td>Jan Steenberg<\/td>G.E.C. Gads forlag<\/td><\/td>1969<\/td><\/td>75<\/td> <\/tr>\n
5728<\/td>1141<\/td>unread<\/td>88<\/td>11084<\/td><\/td>5381<\/td><\/td><\/td>Berlingske Forlag<\/td><\/td>1949<\/td><\/td>47<\/td> <\/tr>\n
5729<\/td>1142<\/td>unread<\/td>88<\/td>11085<\/td><\/td>5382<\/td>Frederik-Ingrid<\/td><\/td><\/td>Stockholm<\/td>1935<\/td><\/td>47<\/td> <\/tr>\n
5730<\/td>1143<\/td>unread<\/td>81<\/td>11086<\/td><\/td>5383<\/td>Den karak. kurve og fremk. Ilford 35mm<\/td><\/td><\/td><\/td>1972<\/td>Laboratoriet for fotokemi.<\/td>61<\/td> <\/tr>\n
5731<\/td>1144<\/td>unread<\/td>81<\/td>11087<\/td><\/td>5384<\/td>Fremkaldelse<\/td>Helge Jacobsen<\/td><\/td><\/td>1970<\/td><\/td>83<\/td> <\/tr>\n
5732<\/td>1145<\/td>unread<\/td>81<\/td>11088<\/td><\/td>5385<\/td>Fremkaldelses teknik<\/td>C.I.Jacobson<\/td>Forlaget Skrifola<\/td><\/td><\/td><\/td>59<\/td> <\/tr>\n
5733<\/td>1146<\/td>unread<\/td>88<\/td>11089<\/td><\/td>5386<\/td><\/td><\/td>Gyldendalske boghandel<\/td><\/td><\/td><\/td>55<\/td> <\/tr>\n
5734<\/td>1147<\/td>unread<\/td>82<\/td>11090<\/td><\/td>5387<\/td><\/td>Tommy Frenning<\/td>Dreyers Forlag<\/td>Oslo<\/td><\/td><\/td>61<\/td> <\/tr>\n
5735<\/td>1148<\/td>unread<\/td>81<\/td>11091<\/td><\/td>5388<\/td>Jeg smalfilmer<\/td>Tommy Frenning<\/td><\/td><\/td>1967<\/td><\/td>74<\/td> <\/tr>\n
5736<\/td>1149<\/td>unread<\/td>81<\/td>11092<\/td><\/td>5389<\/td>Politikens foto 1. Optagelsesteknik<\/td>Tommy Frenning<\/td>Politikens forlag<\/td><\/td>1983<\/td><\/td>73<\/td> <\/tr>\n
5737<\/td>1150<\/td>unread<\/td>81<\/td>11093<\/td><\/td>5390<\/td><\/td>Tommy Frenning<\/td>Politikens forlag<\/td><\/td>1984<\/td><\/td>73<\/td> <\/tr>\n
5738<\/td>1151<\/td>unread<\/td>81<\/td>11094<\/td><\/td>5391<\/td>Jeg fotografere<\/td>Tommy Frenning<\/td>Politikens forlag<\/td><\/td>1964<\/td><\/td>73<\/td> <\/tr>\n
5739<\/td>1152<\/td>unread<\/td>81<\/td>11095<\/td><\/td>5392<\/td>Jeg fotografere<\/td>Tommy Frenning<\/td>Politikens forlag<\/td><\/td>1965<\/td><\/td>73<\/td> <\/tr>\n
5740<\/td>1153<\/td>unread<\/td>81<\/td>11096<\/td><\/td>5393<\/td>Jeg fotografere<\/td>Tommy Frenning<\/td>Politikens forlag<\/td><\/td>1967<\/td><\/td>73<\/td> <\/tr>\n
5741<\/td>1154<\/td>unread<\/td>81<\/td>11097<\/td><\/td>5394<\/td>Jeg fotografere<\/td>Tommy Frenning<\/td>Politikens forlag<\/td><\/td>1969<\/td><\/td>73<\/td> <\/tr>\n
5742<\/td>1155<\/td>unread<\/td>81<\/td>11098<\/td><\/td>5395<\/td>Jeg fotografere<\/td>Tommy Frenning<\/td>Politikens forlag<\/td><\/td>1973<\/td><\/td>73<\/td> <\/tr>\n
5743<\/td>1156<\/td>unread<\/td>81<\/td>11099<\/td><\/td>5396<\/td>Jeg fotografere 1<\/td>Tommy Frenning<\/td>Politikens forlag<\/td><\/td>1978<\/td><\/td>73<\/td> <\/tr>\n
5744<\/td>1157<\/td>unread<\/td>81<\/td>11100<\/td><\/td>5397<\/td>Jeg fotografere<\/td>Tommy Frenning<\/td>Politikens forlag<\/td><\/td>1979<\/td><\/td>73<\/td> <\/tr>\n
5745<\/td>1158<\/td>unread<\/td>88<\/td>11101<\/td><\/td>5398<\/td><\/td>Tommy Frenning<\/td>Politikens forlag<\/td><\/td>1976<\/td>ISBN.87-567-2287-7.<\/td>48<\/td> <\/tr>\n
5746<\/td>1159<\/td>unread<\/td>83<\/td>11102<\/td><\/td>5399<\/td>Unter Heisser Sonne<\/td>Willy Frerk<\/td><\/td>Tyskland<\/td>1956<\/td><\/td>79<\/td> <\/tr>\n
5747<\/td>1160<\/td>unread<\/td>83<\/td>11103<\/td><\/td>5400<\/td>Die Sportphotographie<\/td>Willy Frerk Jr<\/td><\/td><\/td><\/td><\/td>66<\/td> <\/tr>\n
5748<\/td>1161<\/td>unread<\/td>88<\/td>11104<\/td><\/td>5401<\/td>Photofreund Jahrbuch<\/td>Willy Frerk Jr.<\/td>Photokino-verlag Hellmut Elsner<\/td>Berlin<\/td>1938<\/td><\/td>52<\/td> <\/tr>\n
5749<\/td>1162<\/td>unread<\/td>83<\/td>11105<\/td><\/td>5402<\/td>Gehen,sehen,drehen<\/td>Willy Frerk<\/td>Photokino Verlag<\/td><\/td><\/td><\/td>66<\/td> <\/tr>\n
5750<\/td>1163<\/td>unread<\/td>83<\/td>11106<\/td><\/td>5403<\/td>Photographieren auf reisen<\/td>Willy Frerk<\/td>Photokino Verlag<\/td>Berlin<\/td>1934<\/td><\/td>68<\/td> <\/tr>\n
5751<\/td>1164<\/td>unread<\/td>83<\/td>11107<\/td><\/td>5404<\/td>Das Hasselblad - Buch<\/td>Heinrich Freytag<\/td><\/td><\/td>1967<\/td><\/td>66<\/td> <\/tr>\n
5752<\/td>1165<\/td>unread<\/td>83<\/td>11108<\/td><\/td>5405<\/td><\/td>Karl von Fricke<\/td>Herm. Beyer Verlag<\/td>Leipzig<\/td>1992<\/td><\/td>81<\/td> <\/tr>\n
5753<\/td>1166<\/td>unread<\/td>88<\/td>11109<\/td><\/td>5406<\/td>Frieboeshvile-et landsted i Lyngby<\/td><\/td><\/td>Lyngby<\/td>1984<\/td><\/td>42<\/td> <\/tr>\n
5754<\/td>1167<\/td>unread<\/td>88<\/td>11110<\/td><\/td>5407<\/td>The frozen image<\/td>Martin Friedman<\/td>Abbeville Press<\/td>New York<\/td><\/td>ISBN. 0-89659-311-8.<\/td>50<\/td> <\/tr>\n
5755<\/td>1168<\/td>unread<\/td>81<\/td>11111<\/td><\/td>5408<\/td><\/td>F.R.Friis<\/td><\/td><\/td>1867<\/td>Titel : Kortfattet anvisning til at dreje, arbejde i metaller og slibe optisk glas.<\/td>81<\/td> <\/tr>\n
5756<\/td>1169<\/td>unread<\/td>88<\/td>11112<\/td><\/td>5409<\/td>Frivole Fahrt<\/td>Uwe Scheid<\/td><\/td>Tyskland<\/td>1993<\/td><\/td>53<\/td> <\/tr>\n
5757<\/td>1170<\/td>unread<\/td>81<\/td>11113<\/td><\/td>5410<\/td><\/td><\/td>Historisk samfund for Fyns Stift<\/td>Odense<\/td>1972<\/td><\/td>81<\/td> <\/tr>\n
5758<\/td>1171<\/td>unread<\/td>88<\/td>11114<\/td><\/td>5411<\/td><\/td><\/td>Berlingske Forlag<\/td><\/td>1942<\/td><\/td>48<\/td> <\/tr>\n
5759<\/td>1172<\/td>unread<\/td>88<\/td>11115<\/td><\/td>5412<\/td><\/td>V.Riegels<\/td><\/td><\/td><\/td><\/td>53<\/td> <\/tr>\n
5760<\/td>1173<\/td>unread<\/td>88<\/td>11116<\/td><\/td>5413<\/td>Herning sogn og plads<\/td><\/td>Rostrupbogmarked<\/td><\/td>1981<\/td><\/td>42<\/td> <\/tr>\n
5761<\/td>1174<\/td>unread<\/td>88<\/td>11117<\/td><\/td>5414<\/td><\/td>F.Zachariae<\/td>E.Jespersen Forlag<\/td><\/td>1915<\/td><\/td>46<\/td> <\/tr>\n
5762<\/td>1175<\/td>unread<\/td>88<\/td>11118<\/td><\/td>5415<\/td><\/td>F.Zachariae<\/td>E.Jespersen Forlag<\/td><\/td><\/td><\/td>46<\/td> <\/tr>\n
5763<\/td>1176<\/td>unread<\/td>88<\/td>11119<\/td><\/td>5416<\/td><\/td>F.Zachariae<\/td>E.Jespersen<\/td><\/td>1917<\/td><\/td>46<\/td> <\/tr>\n
5764<\/td>1177<\/td>unread<\/td>88<\/td>11120<\/td><\/td>5417<\/td><\/td>F.Zachariae<\/td>E.Jespersen Forlag<\/td><\/td>1918<\/td><\/td>46<\/td> <\/tr>\n
5765<\/td>1178<\/td>unread<\/td>88<\/td>11121<\/td><\/td>5418<\/td><\/td>F.Zachariae<\/td>E.Jespersen Forlag<\/td><\/td>1919<\/td><\/td>46<\/td> <\/tr>\n
5766<\/td>1179<\/td>unread<\/td>88<\/td>11122<\/td><\/td>5419<\/td><\/td>F.Zachariae<\/td>E.Jespersen Forlag<\/td><\/td>1920<\/td><\/td>46<\/td> <\/tr>\n
5767<\/td>1180<\/td>unread<\/td>88<\/td>11123<\/td><\/td>5420<\/td><\/td>F.Zachariae<\/td>E.Jespersen Forlag<\/td><\/td>1921<\/td><\/td>46<\/td> <\/tr>\n
5768<\/td>1181<\/td>unread<\/td>88<\/td>11124<\/td><\/td>5421<\/td><\/td>F.Zachariae<\/td>E.Jespersen Forlag<\/td><\/td>1922\/1923<\/td><\/td>46<\/td> <\/tr>\n
5769<\/td>1182<\/td>unread<\/td>88<\/td>11125<\/td><\/td>5422<\/td><\/td>F.Zachriae<\/td>E.Jespersen Forlag<\/td><\/td><\/td><\/td>46<\/td> <\/tr>\n
5770<\/td>1183<\/td>unread<\/td>88<\/td>11126<\/td><\/td>5423<\/td><\/td>F.Zachariae<\/td>E.Jespersen Forlag<\/td><\/td><\/td><\/td>46<\/td> <\/tr>\n
5771<\/td>1184<\/td>unread<\/td>81<\/td>11127<\/td><\/td>5424<\/td><\/td>Ronald Seth<\/td>Forlaget Union<\/td><\/td>1970<\/td><\/td>59<\/td> <\/tr>\n
5772<\/td>1185<\/td>unread<\/td>81<\/td>11128<\/td><\/td>5425<\/td><\/td><\/td><\/td><\/td><\/td>Indbydelse til reception. 20 febr.1981<\/td>64<\/td> <\/tr>\n
5773<\/td>1186<\/td>unread<\/td>83<\/td>11129<\/td><\/td>5426<\/td>Vollendte Spiegelreflexf. Novoflex<\/td>Dieter Gabler<\/td><\/td>Tyskland<\/td>1973<\/td><\/td>69<\/td> <\/tr>\n
5774<\/td>1187<\/td>unread<\/td>83<\/td>11130<\/td><\/td>5427<\/td>Spiegelreflexfotografie<\/td>Dieter Gabler<\/td>Novoflex<\/td>Tyskland<\/td>1978<\/td><\/td>84<\/td> <\/tr>\n
5775<\/td>1188<\/td>unread<\/td>83<\/td>11131<\/td><\/td>5428<\/td>Spiegelreflex-fotografie<\/td>Dieter Gabler<\/td>Novoflex<\/td>Tyskland<\/td>1980<\/td><\/td>84<\/td> <\/tr>\n
5776<\/td>1189<\/td>unread<\/td>88<\/td>11132<\/td><\/td>5429<\/td>Nature-Everybodys home 98<\/td><\/td><\/td><\/td><\/td>Gamta-Visu Namai 98. Rotuses a. 3000 Kaunas,Lietuva. Fujifilm Photography Gallery<\/td>43<\/td> <\/tr>\n
5777<\/td>1190<\/td>unread<\/td>83<\/td>11133<\/td><\/td>5430<\/td>Das Platinverfahren<\/td>J.Gaedicke<\/td>Verlag von Gustav Schmidt<\/td><\/td>1897<\/td><\/td>69<\/td> <\/tr>\n
5778<\/td>1191<\/td>unread<\/td>88<\/td>11134<\/td><\/td>5431<\/td>Relief !<\/td>Joe Gaffney<\/td>Taco Verlag und Agentur<\/td><\/td>1988<\/td><\/td>59<\/td> <\/tr>\n
5779<\/td>1192<\/td>unread<\/td>88<\/td>11135<\/td><\/td>5432<\/td><\/td>Mogens Lebech<\/td>Alfred G. Hassings Forlag<\/td><\/td><\/td><\/td>41<\/td> <\/tr>\n
5780<\/td>1193<\/td>unread<\/td>88<\/td>11136<\/td><\/td>5433<\/td>Garbo. Historien om hendes liv<\/td>Antoni Growicz<\/td><\/td><\/td>1990<\/td><\/td>64<\/td> <\/tr>\n
5781<\/td>1194<\/td>unread<\/td>88<\/td>11137<\/td><\/td>5434<\/td>Publicites Kodak 1910-1939<\/td>Jean.Claude Gautrand<\/td>Contrejour<\/td>Paris<\/td>1983<\/td>ISBN.2-859-49-049-3.<\/td>48<\/td> <\/tr>\n
5782<\/td>1195<\/td>unread<\/td>83<\/td>11138<\/td><\/td>5435<\/td>Gebirgs-Photographie<\/td>Anton Mazel<\/td>Gustav Schmidt Verlag<\/td>Berlin<\/td>1908<\/td><\/td>67<\/td> <\/tr>\n
5783<\/td>1196<\/td>unread<\/td>83<\/td>11139<\/td><\/td>5436<\/td><\/td>Dr. Gerhard Isert<\/td>Dr. Gerhard Isert Verlag<\/td><\/td>1941<\/td><\/td>68<\/td> <\/tr>\n
5784<\/td>1197<\/td>unread<\/td>83<\/td>11140<\/td><\/td>5437<\/td>Geshichte der photographie<\/td>Urs Tillmanns<\/td>Huber Frauenfeld Verlag<\/td>Stuttgart<\/td>1981<\/td><\/td>58<\/td> <\/tr>\n
5785<\/td>1198<\/td>unread<\/td>83<\/td>11141<\/td><\/td>5438<\/td>Die geheimkameras<\/td>Eaton S.jr. Lorhrop. Michael Auer<\/td>Heering verlag<\/td><\/td>1978<\/td>REG. 01.<\/td>0<\/td> <\/tr>\n
5786<\/td>1199<\/td>unread<\/td>83<\/td>11142<\/td><\/td>5439<\/td>Geistige Welt.Gallerie Zeitgenossen<\/td><\/td>Adolf Ecksteins Verlag<\/td>Berlin. Charlottenburg<\/td><\/td><\/td>65<\/td> <\/tr>\n
5787<\/td>1200<\/td>unread<\/td>83<\/td>11143<\/td><\/td>5440<\/td>Gelbscheiben<\/td>Max Kellner<\/td>Verlag von Konrad Sill<\/td><\/td><\/td><\/td>81<\/td> <\/tr>\n
5788<\/td>1201<\/td>unread<\/td>88<\/td>11144<\/td><\/td>5441<\/td>Gennem Lys og skygge<\/td>Johanne Marie Jensen<\/td><\/td>Herning<\/td>1994<\/td><\/td>42<\/td> <\/tr>\n
5789<\/td>1202<\/td>unread<\/td>84<\/td>11145<\/td><\/td>5442<\/td>The Rise of Photography<\/td>Helmut Gernsheim<\/td>Thames and Hudson<\/td><\/td>1988<\/td><\/td>58<\/td> <\/tr>\n
5790<\/td>1203<\/td>unread<\/td>84<\/td>11146<\/td><\/td>5443<\/td>New Photo vision<\/td>Helmut Gersheim<\/td>The Fountain Press<\/td>London<\/td>1942<\/td><\/td>71<\/td> <\/tr>\n
5791<\/td>1204<\/td>unread<\/td>84<\/td>11147<\/td><\/td>5444<\/td>The history of photography<\/td>H.Gernsheim. A.Gernsheim<\/td>Oxford University Press<\/td>London. New York. Toronto.<\/td>1955<\/td><\/td>43<\/td> <\/tr>\n
5792<\/td>1205<\/td>unread<\/td>86<\/td>11148<\/td><\/td>5445<\/td>De geschiedenis von de fotografie<\/td><\/td><\/td>Amsterdam<\/td><\/td><\/td>58<\/td> <\/tr>\n
5793<\/td>1206<\/td>unread<\/td>82<\/td>11149<\/td><\/td>5446<\/td>Gevaert Foto-handbok<\/td>A.H.S.Craeybeck<\/td>A-B. FAhlcrantz Boktryckeri<\/td>Stockholm<\/td>1943<\/td><\/td>82<\/td> <\/tr>\n
5794<\/td>1207<\/td>unread<\/td>86<\/td>11150<\/td><\/td>5447<\/td>Gevaert Foto-haandbog<\/td><\/td>Gevaert photo-producten<\/td>Oude-God Antwerben Belgien<\/td>1930<\/td><\/td>82<\/td> <\/tr>\n
5795<\/td>1208<\/td>unread<\/td>81<\/td>11151<\/td><\/td>5448<\/td>Gevaert 1. Fremkaldelse<\/td><\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5796<\/td>1209<\/td>unread<\/td>81<\/td>11152<\/td><\/td>5449<\/td>Gevaert 2. Box-billeder<\/td><\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5797<\/td>1210<\/td>unread<\/td>81<\/td>11153<\/td><\/td>5450<\/td>Gevaert 3. Smalfilm<\/td>Pape, K. Wedell<\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5798<\/td>1211<\/td>unread<\/td>83<\/td>11154<\/td><\/td>5451<\/td>Geveart Handboch<\/td><\/td><\/td>Berlin<\/td>1916<\/td><\/td>61<\/td> <\/tr>\n
5799<\/td>1212<\/td>unread<\/td>81<\/td>11155<\/td><\/td>5452<\/td><\/td><\/td><\/td>Antwerben<\/td>1930<\/td><\/td>61<\/td> <\/tr>\n
5800<\/td>1213<\/td>unread<\/td>81<\/td>11156<\/td><\/td>5453<\/td><\/td><\/td><\/td>Antwerben<\/td>1934<\/td><\/td>61<\/td> <\/tr>\n
5801<\/td>1214<\/td>unread<\/td>81<\/td>11157<\/td><\/td>5454<\/td><\/td><\/td><\/td>Antwerben<\/td>1940<\/td><\/td>61<\/td> <\/tr>\n
5802<\/td>1215<\/td>unread<\/td>82<\/td>11158<\/td><\/td>5455<\/td><\/td><\/td><\/td>Stockholm<\/td>1943<\/td><\/td>61<\/td> <\/tr>\n
5803<\/td>1216<\/td>unread<\/td>83<\/td>11159<\/td><\/td>5456<\/td>Gevaert Photo handbuch<\/td><\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5804<\/td>1217<\/td>unread<\/td>118<\/td>11160<\/td><\/td>5457<\/td>Gevaert fotografiske recepter<\/td><\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5805<\/td>1218<\/td>unread<\/td>118<\/td>11161<\/td><\/td>5458<\/td>Gevaert recepter<\/td><\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5806<\/td>1219<\/td>unread<\/td>83<\/td>11162<\/td><\/td>5459<\/td>Photo phantasien<\/td>Joachim Giebelhausen<\/td>Josef Keller Verlag<\/td>Tyskland<\/td>1963<\/td><\/td>59<\/td> <\/tr>\n
5807<\/td>1220<\/td>unread<\/td>83<\/td>11163<\/td><\/td>5460<\/td>Technik des Werbefotos<\/td>Joachim Giebelhausen<\/td>Verlag Grossbild-Technik<\/td><\/td>1962<\/td><\/td>59<\/td> <\/tr>\n
5808<\/td>1221<\/td>unread<\/td>84<\/td>11164<\/td><\/td>5461<\/td>Photography: The early years<\/td>George Gilbert<\/td>Harper & Row, Publishers<\/td><\/td>1980<\/td>ISBN 0-06-011497-5.<\/td>58<\/td> <\/tr>\n
5809<\/td>1222<\/td>unread<\/td>84<\/td>11165<\/td><\/td>5462<\/td>Photo-Flash in practice<\/td>Geoffrey Gilbert<\/td><\/td>New York<\/td><\/td><\/td>83<\/td> <\/tr>\n
5810<\/td>1223<\/td>unread<\/td>88<\/td>11166<\/td><\/td>5463<\/td>Instants Magiques<\/td>Pierre Gisling<\/td>Poloraid<\/td>Zurich<\/td>1984<\/td><\/td>43<\/td> <\/tr>\n
5811<\/td>1224<\/td>unread<\/td>81<\/td>11167<\/td><\/td>5464<\/td><\/td><\/td><\/td><\/td>1980<\/td>Glanzlichter der photographie 30 jahre photokina bilderschauen. Photokina 1980-bilder und filmshaue.<\/td>54<\/td> <\/tr>\n
5812<\/td>1225<\/td>unread<\/td>81<\/td>11168<\/td><\/td>5465<\/td><\/td>O.V.Glistrup<\/td><\/td><\/td>1969<\/td><\/td>61<\/td> <\/tr>\n
5813<\/td>1226<\/td>unread<\/td>84<\/td>11169<\/td><\/td>5466<\/td>Photographic Filters<\/td>B.T.J.Glover<\/td>Fountain Press<\/td>London<\/td>1927<\/td><\/td>72<\/td> <\/tr>\n
5814<\/td>1227<\/td>unread<\/td>88<\/td>11170<\/td><\/td>5467<\/td><\/td><\/td>Lademann Forlagsaktieselskab<\/td><\/td>1973<\/td><\/td>41<\/td> <\/tr>\n
5815<\/td>1228<\/td>unread<\/td>88<\/td>11171<\/td><\/td>5468<\/td>Perfecy Nude photography<\/td>Michael Gnade<\/td>Fountain Press Ltd<\/td>England<\/td>1982<\/td><\/td>75<\/td> <\/tr>\n
5816<\/td>1229<\/td>unread<\/td>88<\/td>11172<\/td><\/td>5469<\/td>30 postcards<\/td>Wilhelm von Gloeden<\/td>Verlag Benedikt Tachen<\/td><\/td>1993<\/td><\/td>53<\/td> <\/tr>\n
5817<\/td>1230<\/td>unread<\/td>81<\/td>11173<\/td><\/td>5470<\/td>Gode billeder. Kodak vejledening.<\/td><\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5818<\/td>1231<\/td>unread<\/td>81<\/td>11174<\/td><\/td>5471<\/td>Gode billeder. Kodak<\/td><\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5819<\/td>1232<\/td>unread<\/td>81<\/td>11175<\/td><\/td>5472<\/td>Gode billeder.Kodak Aktieselskab.<\/td><\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5820<\/td>1233<\/td>unread<\/td>81<\/td>11176<\/td><\/td>5473<\/td>Gode billeder. Kodak<\/td><\/td><\/td><\/td>1951<\/td><\/td>61<\/td> <\/tr>\n
5821<\/td>1234<\/td>unread<\/td>81<\/td>11177<\/td><\/td>5474<\/td>Gode billeder<\/td>J.L.Nerlien<\/td><\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5822<\/td>1235<\/td>unread<\/td>82<\/td>11178<\/td><\/td>5475<\/td>Kamerabilden<\/td>Henry B.Goodwin<\/td>Hasselblads Fotografiska Aktieb.<\/td>Stockholm<\/td>1929<\/td><\/td>64<\/td> <\/tr>\n
5823<\/td>1236<\/td>unread<\/td>83<\/td>11179<\/td><\/td>5476<\/td>Die grundlagen der reproduktionstechnik<\/td>Dr.E.Goldberg<\/td><\/td><\/td>1912+1923<\/td><\/td>66<\/td> <\/tr>\n
5824<\/td>1237<\/td>unread<\/td>84<\/td>11180<\/td><\/td>5477<\/td>Pictures<\/td>A.Goldsmith<\/td><\/td><\/td><\/td><\/td>73<\/td> <\/tr>\n
5825<\/td>1238<\/td>unread<\/td>88<\/td>11181<\/td><\/td>5478<\/td>Golden boy<\/td>Yang Meng - Jer Photographs<\/td><\/td><\/td>1994<\/td><\/td>41<\/td> <\/tr>\n
5826<\/td>1239<\/td>unread<\/td>88<\/td>11182<\/td><\/td>5479<\/td>Nadar<\/td>Nigel Gosling<\/td>Secker & Warburg<\/td>London<\/td>1976<\/td>ISBN. 0-290-08849.<\/td>49<\/td> <\/tr>\n
5827<\/td>1240<\/td>unread<\/td>88<\/td>11183<\/td><\/td>5480<\/td>How to photograph Women<\/td>Peter Gowland<\/td>Crown Publishers Inc.<\/td>New York<\/td>May 1956<\/td><\/td>43<\/td> <\/tr>\n
5828<\/td>1241<\/td>unread<\/td>83<\/td>11184<\/td><\/td>5481<\/td>Robot<\/td>Hans Grahner<\/td>Geschicte und Technik<\/td>Aachen<\/td>1989<\/td>REG.01.<\/td>0<\/td> <\/tr>\n
5829<\/td>1242<\/td>unread<\/td>83<\/td>11185<\/td><\/td>5482<\/td>Kamera und Auge<\/td>Werner Graeff<\/td>Urs Graf Verlag<\/td>Basel<\/td>1942<\/td><\/td>67<\/td> <\/tr>\n
5830<\/td>1243<\/td>unread<\/td>88<\/td>11186<\/td><\/td>5483<\/td>Odense i fotografiets barndom<\/td>Finn Grandt-Nielsen<\/td>Lokalhistorisk forlag. Fyn<\/td>Odense<\/td>1979<\/td><\/td>42<\/td> <\/tr>\n
5831<\/td>1244<\/td>unread<\/td>86<\/td>11187<\/td><\/td>5484<\/td>Graphic,Graflex,Photography<\/td>Morgan and Lester<\/td><\/td>USA<\/td>1944<\/td><\/td>83<\/td> <\/tr>\n
5832<\/td>1245<\/td>unread<\/td>86<\/td>11188<\/td><\/td>5485<\/td>Graphic Graflex Photography<\/td>Morgan and Lester<\/td>American book Stratford Press<\/td>USA<\/td>1947<\/td><\/td>59<\/td> <\/tr>\n
5833<\/td>1246<\/td>unread<\/td>103<\/td>11189<\/td>Filmlitteratur<\/td>5486<\/td>Gratis film og video<\/td><\/td>Erhvervenes filmcenter<\/td><\/td>1981<\/td><\/td>74<\/td> <\/tr>\n
5834<\/td>1247<\/td>unread<\/td>83<\/td>11190<\/td><\/td>5487<\/td><\/td>Wolfgang Grau<\/td><\/td>Berlin-Borsigwalde<\/td>1958<\/td><\/td>73<\/td> <\/tr>\n
5835<\/td>1248<\/td>unread<\/td>86<\/td>11191<\/td><\/td>5488<\/td>The keepers of light<\/td>William Grawford<\/td>Morgan & Morgan<\/td>New York<\/td>1979<\/td><\/td>83<\/td> <\/tr>\n
5836<\/td>1249<\/td>unread<\/td>88<\/td>11192<\/td><\/td>5489<\/td>Great Danes<\/td>Joyce Tenneson<\/td><\/td><\/td><\/td>ISBN. 87-237431. ENG\/DANSK.<\/td>75<\/td> <\/tr>\n
5837<\/td>1250<\/td>unread<\/td>88<\/td>11193<\/td><\/td>5490<\/td>Great photographers of the American West<\/td><\/td>Bison Croup<\/td>London<\/td>1993<\/td><\/td>51<\/td> <\/tr>\n
5838<\/td>1251<\/td>unread<\/td>86<\/td>11194<\/td><\/td>5491<\/td>Great price Maker. Catalogue 117<\/td><\/td><\/td>USA<\/td>1908<\/td><\/td>83<\/td> <\/tr>\n
5839<\/td>1252<\/td>unread<\/td>84<\/td>11195<\/td><\/td>5492<\/td>Motion picture<\/td>C.L.Gregory<\/td><\/td>New York<\/td><\/td><\/td>76<\/td> <\/tr>\n
5840<\/td>1253<\/td>unread<\/td>118<\/td>11196<\/td><\/td>5493<\/td><\/td>A.L.Grentzmann<\/td><\/td><\/td>1896<\/td><\/td>82<\/td> <\/tr>\n
5841<\/td>1254<\/td>unread<\/td>88<\/td>11197<\/td><\/td>5494<\/td>Photographic Composition<\/td>Tom Grill. Tom Scanlon<\/td><\/td>New York<\/td>1998<\/td><\/td>43<\/td> <\/tr>\n
5842<\/td>1255<\/td>unread<\/td>88<\/td>11198<\/td><\/td>5495<\/td>Gross oder klein bild<\/td>Dr.Paul Wolff<\/td><\/td>Frankfurt Am Main<\/td>1938<\/td><\/td>52<\/td> <\/tr>\n
5843<\/td>1256<\/td>unread<\/td>83<\/td>11199<\/td><\/td>5496<\/td>Das Grosse Nizo Schmallfilmbuch<\/td>H.C.Opfermann<\/td>Heering Verlag<\/td>Seebruck<\/td>1957<\/td><\/td>74<\/td> <\/tr>\n
5844<\/td>1257<\/td>unread<\/td>84<\/td>11200<\/td><\/td>5497<\/td>Planning and script<\/td>Philip Grosset<\/td>Fountain Press<\/td>London<\/td>1963<\/td><\/td>72<\/td> <\/tr>\n
5845<\/td>1258<\/td>unread<\/td>88<\/td>11201<\/td><\/td>5498<\/td><\/td>L.Fritz Gruber<\/td>J.P.Bachem<\/td><\/td>1966<\/td><\/td>55<\/td> <\/tr>\n
5846<\/td>1259<\/td>unread<\/td>83<\/td>11202<\/td><\/td>5499<\/td>Photographien 1900-1970<\/td>Fritz Gruber<\/td><\/td><\/td>1972<\/td><\/td>58<\/td> <\/tr>\n
5847<\/td>1260<\/td>unread<\/td>83<\/td>11203<\/td><\/td>5500<\/td>Grundbegriffe der photographifchen optik<\/td>Dr.Chr.Pfeiffer<\/td>Theod Thomas Verlag<\/td>Leipzig<\/td>1920<\/td><\/td>83<\/td> <\/tr>\n
5848<\/td>1261<\/td>unread<\/td>83<\/td>11204<\/td><\/td>5501<\/td>Grundlagen des tonfilms<\/td>Paul Hatschek<\/td>Wilhelm Knapp Verlag<\/td><\/td>1943<\/td><\/td>74<\/td> <\/tr>\n
5849<\/td>1262<\/td>unread<\/td>88<\/td>11205<\/td><\/td>5502<\/td>Minderige steder i Grundtvigs liv<\/td><\/td>Forlaget Rodos<\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
5850<\/td>1263<\/td>unread<\/td>84<\/td>11206<\/td><\/td>5503<\/td>A guide to studio lighting<\/td><\/td>Kodak Limited<\/td>London<\/td><\/td><\/td>59<\/td> <\/tr>\n
5851<\/td>1264<\/td>unread<\/td>88<\/td>11207<\/td><\/td>5504<\/td><\/td>Keld Hansen<\/td>Christian Ejlers Forlag<\/td><\/td>1976<\/td><\/td>48<\/td> <\/tr>\n
5852<\/td>1265<\/td>unread<\/td>88<\/td>11208<\/td><\/td>5505<\/td><\/td><\/td>Berlingske forlag<\/td>Danmark<\/td>1947<\/td><\/td>75<\/td> <\/tr>\n
5853<\/td>1266<\/td>unread<\/td>88<\/td>11209<\/td><\/td>5506<\/td><\/td><\/td>Berlingske forlag<\/td><\/td>1952<\/td><\/td>75<\/td> <\/tr>\n
5854<\/td>1267<\/td>unread<\/td>88<\/td>11210<\/td><\/td>5507<\/td><\/td>Peter Weiermair<\/td><\/td><\/td>1993<\/td><\/td>42<\/td> <\/tr>\n
5855<\/td>1268<\/td>unread<\/td>88<\/td>11211<\/td><\/td>5508<\/td>Sweden<\/td>K.W.Gullers<\/td>P.A.Norstedt & Sonners Forlag<\/td>Stockholm<\/td><\/td><\/td>50<\/td> <\/tr>\n
5856<\/td>1269<\/td>unread<\/td>81<\/td>11212<\/td><\/td>5509<\/td><\/td>Herman Vinterberg. Jens Axelsen<\/td>Gyldeldal<\/td><\/td>1964<\/td>ENG\/DANSK DANSK\/ENG.<\/td>54<\/td> <\/tr>\n
5857<\/td>1270<\/td>unread<\/td>88<\/td>11213<\/td><\/td>5510<\/td>Gymnasiet i byen. Herning bogen<\/td><\/td>Historisk Forening for Herning Kommune<\/td><\/td>1998<\/td><\/td>47<\/td> <\/tr>\n
5858<\/td>1271<\/td>unread<\/td>88<\/td>11214<\/td><\/td>5511<\/td>Gypsies<\/td>Josef Koudelka<\/td>Hasselblads center<\/td><\/td>1992<\/td><\/td>55<\/td> <\/tr>\n
5859<\/td>1272<\/td>unread<\/td>83<\/td>11215<\/td><\/td>5512<\/td><\/td>Dr. Otto von Hackler<\/td>Verlag von Wilhelm Knapp<\/td><\/td>1938<\/td><\/td>84<\/td> <\/tr>\n
5860<\/td>1273<\/td>unread<\/td>83<\/td>11216<\/td><\/td>5513<\/td>Lexicon der optik<\/td>Heinz Haferkorn<\/td>Verlag Werner DAuisen<\/td><\/td>1990<\/td><\/td>72<\/td> <\/tr>\n
5861<\/td>1274<\/td>unread<\/td>88<\/td>11217<\/td><\/td>5514<\/td>Japanese Folk Festivals<\/td>Hideo Haga<\/td><\/td><\/td><\/td>Illistrated<\/td>43<\/td> <\/tr>\n
5862<\/td>1275<\/td>unread<\/td>88<\/td>11218<\/td><\/td>5515<\/td>Photography Yearbook 1961<\/td>Norman Hall<\/td>Balding & MAnsel<\/td>London<\/td>1961<\/td><\/td>50<\/td> <\/tr>\n
5863<\/td>1276<\/td>unread<\/td>88<\/td>11219<\/td><\/td>5516<\/td><\/td><\/td>Gyldeldal<\/td><\/td>1962<\/td><\/td>48<\/td> <\/tr>\n
5864<\/td>1277<\/td>unread<\/td>88<\/td>11220<\/td><\/td>5517<\/td>50Jahre. Moderne Farbefotografie<\/td><\/td><\/td>Holland<\/td>1986<\/td><\/td>42<\/td> <\/tr>\n
5865<\/td>1278<\/td>unread<\/td>88<\/td>11221<\/td><\/td>5518<\/td>World Beuties<\/td>Bill Hamilton<\/td><\/td>USA<\/td>1965<\/td><\/td>51<\/td> <\/tr>\n
5866<\/td>1279<\/td>unread<\/td>88<\/td>11222<\/td><\/td>5519<\/td>Stand Orte<\/td>Robert Hammerstiel<\/td>Blau-Gelbe Galerie<\/td>Wien<\/td>1988<\/td><\/td>50<\/td> <\/tr>\n
5867<\/td>1280<\/td>unread<\/td>83<\/td>11223<\/td><\/td>5520<\/td>Handb. der modernen reprodukt.Technik<\/td>R.Russ<\/td>Klimsch & Co. Verlag<\/td>Frankfurt A.M.<\/td>1934<\/td><\/td>67<\/td> <\/tr>\n
5868<\/td>1281<\/td>unread<\/td>83<\/td>11224<\/td><\/td>5521<\/td>Handbuch der photographie<\/td><\/td><\/td><\/td>1970<\/td><\/td>81<\/td> <\/tr>\n
5869<\/td>1282<\/td>unread<\/td>83<\/td>11225<\/td><\/td>5522<\/td>Handbuch der photographie<\/td>G.Pizzighelli<\/td>Verlag von Wilhelm Knapp<\/td>Tyskland<\/td>1891<\/td><\/td>84<\/td> <\/tr>\n
5870<\/td>1283<\/td>unread<\/td>84<\/td>11226<\/td><\/td>5523<\/td>Handbook of photography<\/td>Keith Henney<\/td>Hill Book Company<\/td>London<\/td>1939<\/td><\/td>81<\/td> <\/tr>\n
5871<\/td>1284<\/td>unread<\/td>84<\/td>11227<\/td><\/td>5524<\/td>Masters of Victorian Photography<\/td>John Hannavy<\/td>David & Charles<\/td><\/td>1976<\/td>ISBN. 0-7153-7032-4.<\/td>58<\/td> <\/tr>\n
5872<\/td>1285<\/td>unread<\/td>83<\/td>11228<\/td><\/td>5525<\/td>Photographisches rezepttaschenbuch<\/td>P.Hanneke<\/td>Union Deutsche Verlag<\/td>Berlin<\/td>1938<\/td><\/td>69<\/td> <\/tr>\n
5873<\/td>1286<\/td>unread<\/td>88<\/td>11229<\/td><\/td>5526<\/td><\/td>B.Hansen. E.Jensen<\/td><\/td>Svendborg<\/td>1962<\/td><\/td>48<\/td> <\/tr>\n
5874<\/td>1287<\/td>unread<\/td>81<\/td>11230<\/td><\/td>5527<\/td>Photographisk album<\/td>H.Hansen<\/td>Otto B.Wroblewsky<\/td><\/td>1965<\/td>Eduard Flemmers Folkelige Foredrag.<\/td>75<\/td> <\/tr>\n
5875<\/td>1288<\/td>unread<\/td>81<\/td>11231<\/td><\/td>5528<\/td><\/td>Hans Hansen<\/td>Berlingske forlag<\/td><\/td>1969<\/td><\/td>74<\/td> <\/tr>\n
5876<\/td>1289<\/td>unread<\/td>88<\/td>11232<\/td><\/td>5529<\/td>Skulptur<\/td>Johannes Hansen<\/td><\/td><\/td>1991<\/td><\/td>42<\/td> <\/tr>\n
5877<\/td>1290<\/td>unread<\/td>81<\/td>11233<\/td><\/td>5530<\/td><\/td>Tove Hansen<\/td>Det Kongelige bibliotek<\/td><\/td><\/td><\/td>57<\/td> <\/tr>\n
5878<\/td>1291<\/td>unread<\/td>88<\/td>11234<\/td><\/td>5531<\/td>Henry Peach Robinson<\/td>Margaret F. Harker<\/td>Basil Blakwell<\/td><\/td>1988<\/td><\/td>42<\/td> <\/tr>\n
5879<\/td>1292<\/td>unread<\/td>88<\/td>11235<\/td><\/td>5532<\/td>Victorian and Edwardian Photographis<\/td>M.F.Haeker<\/td><\/td><\/td><\/td><\/td>50<\/td> <\/tr>\n
5880<\/td>1293<\/td>unread<\/td>84<\/td>11236<\/td><\/td>5533<\/td>The Leica<\/td>P.H.van Hasbroeck<\/td>Morgan & Morgan<\/td><\/td>1983<\/td><\/td>58<\/td> <\/tr>\n
5881<\/td>1294<\/td>unread<\/td>88<\/td>11237<\/td><\/td>5534<\/td><\/td>Hans Hass<\/td>Skrifola A\/S<\/td>Aalborg<\/td>1955<\/td><\/td>48<\/td> <\/tr>\n
5882<\/td>1295<\/td>unread<\/td>82<\/td>11238<\/td><\/td>5535<\/td>Hasselblad<\/td>Evald Karlsten<\/td>Gullers Forlag<\/td><\/td>1981<\/td><\/td>64<\/td> <\/tr>\n
5883<\/td>1296<\/td>unread<\/td>81<\/td>11239<\/td><\/td>5536<\/td>Kompendium i fotografi<\/td>H.Hammer Hasselholdt<\/td><\/td><\/td>1960<\/td><\/td>83<\/td> <\/tr>\n
5884<\/td>1297<\/td>unread<\/td>88<\/td>11240<\/td><\/td>5537<\/td><\/td>i ord och bild<\/td><\/td><\/td>1989<\/td><\/td>41<\/td> <\/tr>\n
5885<\/td>1298<\/td>unread<\/td>88<\/td>11241<\/td><\/td>5538<\/td>Hassner<\/td>Rune Hassner<\/td>Nilsson & Bergholm AB<\/td>Stockholm<\/td>1993<\/td><\/td>41<\/td> <\/tr>\n
5886<\/td>1299<\/td>unread<\/td>83<\/td>11242<\/td><\/td>5539<\/td><\/td>Georg Hauberriser<\/td>Ed.Liesgangs Verlag<\/td>Leipzig<\/td>1921<\/td>Sort ringbind.<\/td>78<\/td> <\/tr>\n
5887<\/td>1300<\/td>unread<\/td>83<\/td>11243<\/td><\/td>5540<\/td><\/td>Josef Haubrich<\/td>Samarbejde med Agfa-Geavert<\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
5888<\/td>1301<\/td>unread<\/td>81<\/td>11244<\/td><\/td>5541<\/td><\/td>Gerhard Haufler<\/td>Heering verlag<\/td>Seebruck<\/td>1959<\/td><\/td>74<\/td> <\/tr>\n
5889<\/td>1302<\/td>unread<\/td>88<\/td>11245<\/td><\/td>5542<\/td><\/td>Ida Haugsted<\/td>Forlaget Hikuin<\/td><\/td>1994<\/td><\/td>56<\/td> <\/tr>\n
5890<\/td>1303<\/td>unread<\/td>83<\/td>11246<\/td><\/td>5543<\/td>Fotokatalog 1927<\/td>Hausmann & Co.<\/td>Lindemanns Verlag, Reprint<\/td><\/td>1993<\/td><\/td>59<\/td> <\/tr>\n
5891<\/td>1304<\/td>unread<\/td>81<\/td>11247<\/td><\/td>5544<\/td>Moderne foto ABC<\/td>Mogens von Haven<\/td>Grafisk forlag<\/td><\/td>1963<\/td><\/td>64<\/td> <\/tr>\n
5892<\/td>1305<\/td>unread<\/td>81<\/td>11248<\/td><\/td>5545<\/td>Ny fotoskole II<\/td>Mogens von Haven<\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
5893<\/td>1306<\/td>unread<\/td>81<\/td>11249<\/td><\/td>5546<\/td>Ny fotoskole<\/td>Mogens von HAven<\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
5894<\/td>1307<\/td>unread<\/td>81<\/td>11250<\/td><\/td>5547<\/td>Status over fremtiden<\/td><\/td>Statens filmcentral<\/td><\/td>1964<\/td><\/td>74<\/td> <\/tr>\n
5895<\/td>1308<\/td>unread<\/td>81<\/td>11251<\/td><\/td>5548<\/td><\/td>John Hedgecoe<\/td>Lademann Forlagsaktieselskab<\/td><\/td>1979<\/td><\/td>60<\/td> <\/tr>\n
5896<\/td>1309<\/td>unread<\/td>88<\/td>11252<\/td><\/td>5549<\/td><\/td>Jens A. Petersen<\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
5897<\/td>1310<\/td>unread<\/td>83<\/td>11253<\/td><\/td>5550<\/td>Meine fotopraxis<\/td>Walther Heering<\/td>Walther Heering Verlag<\/td>Seebruck<\/td>1949<\/td><\/td>67<\/td> <\/tr>\n
5898<\/td>1311<\/td>unread<\/td>83<\/td>11254<\/td><\/td>5551<\/td>Photo,Ski und Schnee<\/td>Walther Heering<\/td>Walther Heering Verlag<\/td><\/td>1934<\/td><\/td>68<\/td> <\/tr>\n
5899<\/td>1312<\/td>unread<\/td>83<\/td>11255<\/td><\/td>5552<\/td>Le Rolleiflex<\/td>Dr. Walther Heering<\/td>Le Rollicord<\/td>Harzbourg<\/td>1939<\/td><\/td>84<\/td> <\/tr>\n
5900<\/td>1313<\/td>unread<\/td>83<\/td>11256<\/td><\/td>5553<\/td>Rolleiflex<\/td>Dr. W.Heering<\/td><\/td>Harzburg<\/td>1936<\/td><\/td>84<\/td> <\/tr>\n
5901<\/td>1314<\/td>unread<\/td>88<\/td>11257<\/td><\/td>5554<\/td>Im Zauber des Lichts<\/td>W.Heering<\/td>Heering Verlag<\/td>Harzburg<\/td>1940<\/td><\/td>52<\/td> <\/tr>\n
5902<\/td>1315<\/td>unread<\/td>83<\/td>11258<\/td><\/td>5555<\/td>Das Rolleiflex-buch<\/td>Dr.W.Heering<\/td><\/td>Halle ( Saale )<\/td>1952<\/td><\/td>84<\/td> <\/tr>\n
5903<\/td>1316<\/td>unread<\/td>88<\/td>11259<\/td><\/td>5556<\/td>Meisterwerke der photographie<\/td>F.Heilbrun. P.Neagu<\/td><\/td><\/td>1986<\/td><\/td>59<\/td> <\/tr>\n
5904<\/td>1317<\/td>unread<\/td>81<\/td>11260<\/td><\/td>5557<\/td><\/td><\/td><\/td><\/td><\/td><\/td>81<\/td> <\/tr>\n
5905<\/td>1318<\/td>unread<\/td>88<\/td>11261<\/td><\/td>5558<\/td>Paris<\/td>F.Henle. Paul E.<\/td>Ziff Davis Publishing Co.<\/td>Chicago\/New York<\/td>1947<\/td><\/td>50<\/td> <\/tr>\n
5906<\/td>1319<\/td>unread<\/td>83<\/td>11262<\/td><\/td>5559<\/td>Leica R-5<\/td>Heiner Hennings<\/td>G+G Urban Verlag<\/td><\/td>1988<\/td><\/td>67<\/td> <\/tr>\n
5907<\/td>1320<\/td>unread<\/td>81<\/td>11263<\/td><\/td>5560<\/td><\/td>T.Henriksen<\/td>Belgisk Import Company<\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
5908<\/td>1321<\/td>unread<\/td>83<\/td>11264<\/td><\/td>5561<\/td><\/td>A.Horsley Hinton<\/td>Verlag von Gustav Schmidt<\/td>Berlin<\/td>1909<\/td><\/td>81<\/td> <\/tr>\n
5909<\/td>1322<\/td>unread<\/td>84<\/td>11265<\/td><\/td>5562<\/td>Photographis<\/td>Walther Herdeg<\/td>The Graphis Press<\/td><\/td>1977<\/td><\/td>52<\/td> <\/tr>\n
5910<\/td>1323<\/td>unread<\/td>88<\/td>11266<\/td><\/td>5563<\/td><\/td><\/td>Poul Kristensen<\/td>Herning<\/td>1976<\/td><\/td>47<\/td> <\/tr>\n
5911<\/td>1324<\/td>unread<\/td>88<\/td>11267<\/td><\/td>5564<\/td><\/td><\/td>Poul Kristensen<\/td>Herning<\/td><\/td>ISBN. 87-7468-225-3. Dansk-Eng.-Tysk.<\/td>47<\/td> <\/tr>\n
5912<\/td>1325<\/td>unread<\/td>88<\/td>11268<\/td><\/td>5565<\/td>Herning-by og egn i billeder<\/td><\/td>Poul Kristensen bogtrykkeri<\/td>Herning<\/td>1963<\/td><\/td>47<\/td> <\/tr>\n
5913<\/td>1326<\/td>unread<\/td>88<\/td>11269<\/td><\/td>5566<\/td>Herning by og egn i billeder.<\/td><\/td>Poul Kristensen bogtrykkeri<\/td>Herning<\/td>1963<\/td><\/td>47<\/td> <\/tr>\n
5914<\/td>1327<\/td>unread<\/td>88<\/td>11270<\/td><\/td>5567<\/td><\/td><\/td>Historisk forening for Herning Kommune<\/td><\/td><\/td><\/td>47<\/td> <\/tr>\n
5915<\/td>1328<\/td>unread<\/td>88<\/td>11271<\/td><\/td>5568<\/td>Herning og billedkunsten<\/td>Birgit Hessellund<\/td><\/td><\/td><\/td>Herning Kunstmuseum.<\/td>49<\/td> <\/tr>\n
5916<\/td>1329<\/td>unread<\/td>88<\/td>11272<\/td><\/td>5569<\/td>Herning og omegn<\/td><\/td>Christensen bogtrykkeri<\/td>Herning<\/td>1949<\/td><\/td>47<\/td> <\/tr>\n
5917<\/td>1330<\/td>unread<\/td>88<\/td>11273<\/td><\/td>5570<\/td>Noget om jul<\/td><\/td><\/td><\/td><\/td>Herning Museum.<\/td>43<\/td> <\/tr>\n
5918<\/td>1331<\/td>unread<\/td>84<\/td>11274<\/td><\/td>5571<\/td>Lighting ideas in photography<\/td>William Herrschaft<\/td><\/td>London<\/td><\/td><\/td>71<\/td> <\/tr>\n
5919<\/td>1332<\/td>unread<\/td>84<\/td>11275<\/td><\/td>5572<\/td>Make your pictures sing<\/td>P.L.Hexter<\/td>Camera Craft Publishing Company<\/td>USA<\/td>1946<\/td><\/td>72<\/td> <\/tr>\n
5920<\/td>1333<\/td>unread<\/td>88<\/td>11276<\/td><\/td>5573<\/td>The Art of colour photography<\/td>Roger Hicks<\/td><\/td>London<\/td>1991<\/td><\/td>41<\/td> <\/tr>\n
5921<\/td>1334<\/td>unread<\/td>88<\/td>11277<\/td><\/td>5574<\/td>High-grafisk society.nr 1 jan.1988<\/td><\/td>Deleuran & Marconi<\/td>Gentofte<\/td>1988<\/td><\/td>47<\/td> <\/tr>\n
5922<\/td>1335<\/td>unread<\/td>83<\/td>11278<\/td><\/td>5575<\/td><\/td>Dr. Walther Meinel<\/td><\/td><\/td><\/td><\/td>67<\/td> <\/tr>\n
5923<\/td>1336<\/td>unread<\/td>88<\/td>11279<\/td><\/td>5576<\/td>Den Hirschsprungske samling 1990<\/td><\/td><\/td><\/td><\/td><\/td>47<\/td> <\/tr>\n
5924<\/td>1337<\/td>unread<\/td>83<\/td>11280<\/td><\/td>5577<\/td>Historische kameras<\/td>Peter Langner. Hans Kleffe<\/td>VEB Fotokinoverlag<\/td>Leipzig<\/td>1989<\/td><\/td>61<\/td> <\/tr>\n
5925<\/td>1338<\/td>unread<\/td>85<\/td>11281<\/td><\/td>5578<\/td>Histoire de la photographie<\/td>Raymond Lecuyer<\/td>Baschet et Cie<\/td>Paris<\/td>1945<\/td><\/td>58<\/td> <\/tr>\n
5926<\/td>1339<\/td>unread<\/td>84<\/td>11282<\/td><\/td>5579<\/td>The history of photography<\/td>Beumont Newhall<\/td>The Museum of modern art<\/td><\/td>1964<\/td>ISBN. 0-87070-357-7.<\/td>58<\/td> <\/tr>\n
5927<\/td>1340<\/td>unread<\/td>81<\/td>11283<\/td><\/td>5580<\/td><\/td><\/td>Statens filmcentral<\/td><\/td>1962<\/td><\/td>74<\/td> <\/tr>\n
5928<\/td>1341<\/td>unread<\/td>81<\/td>11284<\/td><\/td>5581<\/td><\/td><\/td>Statens Filmcentral<\/td><\/td>1958<\/td><\/td>74<\/td> <\/tr>\n
5929<\/td>1342<\/td>unread<\/td>88<\/td>11285<\/td><\/td>5582<\/td><\/td><\/td><\/td><\/td>1996<\/td><\/td>53<\/td> <\/tr>\n
5930<\/td>1343<\/td>unread<\/td>88<\/td>11286<\/td><\/td>5583<\/td>Photography New<\/td>Bruno Hollywood<\/td>Visual Art Publications<\/td>New York<\/td><\/td><\/td>50<\/td> <\/tr>\n
5931<\/td>1344<\/td>unread<\/td>88<\/td>11287<\/td><\/td>5584<\/td>Af Meldgaards billedbog<\/td>Bent Torben Holm<\/td>Hilmer Thomsens BOghandel<\/td><\/td>1969<\/td>Bind II<\/td>48<\/td> <\/tr>\n
5932<\/td>1345<\/td>unread<\/td>88<\/td>11288<\/td><\/td>5585<\/td>Af Meldgaards billedbog<\/td>Bent Torben Holm<\/td>Hilmer Thomsen Boghandel<\/td><\/td>1967<\/td>Bind I<\/td>48<\/td> <\/tr>\n
5933<\/td>1346<\/td>unread<\/td>88<\/td>11289<\/td><\/td>5586<\/td>Modern Photography 1935-1936<\/td>C.G.Holme<\/td>The Studio LTD<\/td>London<\/td><\/td><\/td>49<\/td> <\/tr>\n
5934<\/td>1347<\/td>unread<\/td>88<\/td>11290<\/td><\/td>5587<\/td>Modern photography 1936-1937<\/td>C.G.Holme<\/td>The Studio<\/td>London<\/td><\/td><\/td>49<\/td> <\/tr>\n
5935<\/td>1348<\/td>unread<\/td>88<\/td>11291<\/td><\/td>5588<\/td>Modern Photography<\/td>C.G.Holme<\/td>The Studio<\/td>London<\/td><\/td><\/td>49<\/td> <\/tr>\n
5936<\/td>1349<\/td>unread<\/td>88<\/td>11292<\/td><\/td>5589<\/td>Modern Photography 1941-1942<\/td>C.G.Holme<\/td>The Studio<\/td>London<\/td><\/td><\/td>49<\/td> <\/tr>\n
5937<\/td>1350<\/td>unread<\/td>88<\/td>11293<\/td><\/td>5590<\/td>Modern Photography 1942-1943<\/td>C.G.Holme<\/td>The Studio<\/td>London<\/td><\/td><\/td>49<\/td> <\/tr>\n
5938<\/td>1351<\/td>unread<\/td>88<\/td>11294<\/td><\/td>5591<\/td>Photography for Commerce<\/td>C.G.Holme<\/td>The Studio<\/td>New York<\/td><\/td><\/td>50<\/td> <\/tr>\n
5939<\/td>1352<\/td>unread<\/td>81<\/td>11295<\/td><\/td>5592<\/td>Restaurering: Fotoalbum<\/td>Anne T. Holmgaard<\/td><\/td><\/td>1990<\/td><\/td>57<\/td> <\/tr>\n
5940<\/td>1353<\/td>unread<\/td>88<\/td>11296<\/td><\/td>5593<\/td>Hommage de Julia Margaret Cameron<\/td>Victor Hugo<\/td>Madison de Victor Hugo<\/td><\/td>1980<\/td><\/td>42<\/td> <\/tr>\n
5941<\/td>1354<\/td>unread<\/td>82<\/td>11297<\/td><\/td>5594<\/td>Hon,Kamera och Jag<\/td>Karl G. Kristoffersen<\/td>Nordisk Rotogravyr<\/td>Stockholm<\/td>1939<\/td><\/td>64<\/td> <\/tr>\n
5942<\/td>1355<\/td>unread<\/td>81<\/td>11298<\/td><\/td>5595<\/td>Holografi<\/td>F.M.Poulsen<\/td>Munksgaard<\/td><\/td>1988<\/td><\/td>83<\/td> <\/tr>\n
5943<\/td>1356<\/td>unread<\/td>82<\/td>11299<\/td><\/td>5596<\/td>Orbok: Tysk \/ Svensk<\/td>Otto Hoppe<\/td><\/td>Stockholm<\/td>1917<\/td><\/td>73<\/td> <\/tr>\n
5944<\/td>1357<\/td>unread<\/td>84<\/td>11300<\/td><\/td>5597<\/td>Ilford manual of photography<\/td>Alan Horder<\/td>Ilford Limited<\/td><\/td>1958<\/td><\/td>81<\/td> <\/tr>\n
5945<\/td>1358<\/td>unread<\/td>81<\/td>11301<\/td><\/td>5598<\/td>Hos fotografen<\/td>Bent Nicilajsen<\/td>AUC-Historie<\/td><\/td>1988<\/td><\/td>57<\/td> <\/tr>\n
5946<\/td>1359<\/td>unread<\/td>84<\/td>11302<\/td><\/td>5599<\/td>How to be a succ. amat.photograph<\/td>W-J.Lancaster<\/td><\/td>England<\/td>1974<\/td><\/td>79<\/td> <\/tr>\n
5947<\/td>1360<\/td>unread<\/td>88<\/td>11303<\/td><\/td>5600<\/td>How the other halflives<\/td>Jacob A. Riis<\/td>Charles Scribners sons<\/td>New York<\/td>1890<\/td><\/td>49<\/td> <\/tr>\n
5948<\/td>1361<\/td>unread<\/td>84<\/td>11304<\/td><\/td>5601<\/td>How to make good pictures<\/td><\/td>Eastman Kodak Company<\/td><\/td>1967<\/td><\/td>84<\/td> <\/tr>\n
5949<\/td>1362<\/td>unread<\/td>84<\/td>11305<\/td><\/td>5602<\/td>How to make good pictures<\/td><\/td>Eastman Kodak Co.<\/td>Rochester<\/td><\/td><\/td>84<\/td> <\/tr>\n
5950<\/td>1363<\/td>unread<\/td>84<\/td>11306<\/td><\/td>5603<\/td>How to make good pictures<\/td><\/td>Eastman Kodak Co<\/td>Rochester<\/td>1951<\/td><\/td>84<\/td> <\/tr>\n
5951<\/td>1364<\/td>unread<\/td>88<\/td>11307<\/td><\/td>5604<\/td>The sweet flypaper of life<\/td>Langston Hughes<\/td><\/td>New York<\/td>1955<\/td><\/td>48<\/td> <\/tr>\n
5952<\/td>1365<\/td>unread<\/td>83<\/td>11308<\/td><\/td>5605<\/td>Kalendarium<\/td>Richard Hummel<\/td><\/td>Leipzig<\/td>1992<\/td>Zur 150 Jahrigen Geschte des Dresdner Kamerabaues.<\/td>72<\/td> <\/tr>\n
5953<\/td>1366<\/td>unread<\/td>84<\/td>11309<\/td><\/td>5606<\/td>A hundred years of photography<\/td>Lucia Moholy<\/td>Penguin Books Ltd<\/td><\/td>1939<\/td><\/td>58<\/td> <\/tr>\n
5954<\/td>1367<\/td>unread<\/td>88<\/td>11310<\/td><\/td>5607<\/td>The Human figure in motion<\/td>Eadweard Muybridge<\/td>Dover Publications inc.<\/td>New York<\/td>1955<\/td><\/td>47<\/td> <\/tr>\n
5955<\/td>1368<\/td>unread<\/td>88<\/td>11311<\/td><\/td>5608<\/td>Human and animal location I<\/td>E.Muybridge<\/td>Dover Publicationns, Inc.<\/td>New York<\/td>1979<\/td><\/td>47<\/td> <\/tr>\n
5956<\/td>1369<\/td>unread<\/td>88<\/td>11312<\/td><\/td>5609<\/td>Human and animal. Location II<\/td>E.Muybridge<\/td>Dover Publications,inc<\/td>New York<\/td>1979<\/td><\/td>47<\/td> <\/tr>\n
5957<\/td>1370<\/td>unread<\/td>88<\/td>11313<\/td><\/td>5610<\/td>Human and animal, location III<\/td>E.Muybridge<\/td>Dover Publications, Inc<\/td>New York<\/td>1979<\/td><\/td>47<\/td> <\/tr>\n
5958<\/td>1371<\/td>unread<\/td>83<\/td>11314<\/td><\/td>5611<\/td>Kine Exakta oder sport<\/td>Richard Hummel<\/td>Lindemanns Verlag<\/td>Stuttgart<\/td>1997<\/td><\/td>84<\/td> <\/tr>\n
5959<\/td>1372<\/td>unread<\/td>88<\/td>11315<\/td><\/td>5612<\/td><\/td><\/td><\/td><\/td><\/td><\/td>83<\/td> <\/tr>\n
5960<\/td>1373<\/td>unread<\/td>83<\/td>11316<\/td><\/td>5613<\/td>Hurra wir blitzen<\/td>Heinz Temmler<\/td>Hanns-Porst Verlag<\/td><\/td>1958<\/td><\/td>79<\/td> <\/tr>\n
5961<\/td>1374<\/td>unread<\/td>81<\/td>11317<\/td><\/td>5614<\/td>Hvad blev der af dem?<\/td>Erik Nielsen<\/td><\/td><\/td>1998<\/td><\/td>84<\/td> <\/tr>\n
5962<\/td>1375<\/td>unread<\/td>81<\/td>11318<\/td><\/td>5615<\/td><\/td>J.L.Nerlien<\/td><\/td>Kristiania<\/td><\/td><\/td>61<\/td> <\/tr>\n
5963<\/td>1376<\/td>unread<\/td>88<\/td>11319<\/td><\/td>5616<\/td>Spritztour<\/td><\/td><\/td><\/td>1993<\/td><\/td>42<\/td> <\/tr>\n
5964<\/td>1377<\/td>unread<\/td>88<\/td>11320<\/td><\/td>5617<\/td><\/td><\/td>Forlaget Per Kofoed<\/td><\/td>1995<\/td><\/td>42<\/td> <\/tr>\n
5965<\/td>1378<\/td>unread<\/td>83<\/td>11321<\/td><\/td>5618<\/td>Optiker-Taschenbuch<\/td>Max Haase<\/td>Wissenchaftliche Verlag<\/td>Stuttgart<\/td>1958<\/td><\/td>59<\/td> <\/tr>\n
5966<\/td>1379<\/td>unread<\/td>88<\/td>11322<\/td><\/td>5619<\/td>I pionieri della fotografia<\/td>Robert Lebecks<\/td>Idea Books<\/td><\/td>1988<\/td><\/td>50<\/td> <\/tr>\n
5967<\/td>1380<\/td>unread<\/td>88<\/td>11323<\/td><\/td>5620<\/td>Iagttagelser<\/td><\/td>Forlaget UPS<\/td>Danmark<\/td>1987<\/td><\/td>42<\/td> <\/tr>\n
5968<\/td>1381<\/td>unread<\/td>88<\/td>11324<\/td><\/td>5621<\/td>Ich ist ein Andere<\/td>Margit Zuckriegl<\/td>Kulturhaus der Stadt Granz<\/td>Salzburg<\/td>1997<\/td><\/td>43<\/td> <\/tr>\n
5969<\/td>1382<\/td>unread<\/td>88<\/td>11325<\/td><\/td>5622<\/td>Ide'<\/td>Gunnar Merrild<\/td>Gunner Merrild Fotografi<\/td><\/td>1991<\/td><\/td>53<\/td> <\/tr>\n
5970<\/td>1383<\/td>unread<\/td>84<\/td>11326<\/td><\/td>5623<\/td>Ideas for short films<\/td>Alex trasser<\/td>Link House Publications Ltd<\/td><\/td><\/td><\/td>76<\/td> <\/tr>\n
5971<\/td>1384<\/td>unread<\/td>88<\/td>11327<\/td><\/td>5624<\/td><\/td>Henry M. Stanley<\/td>P.T. Mallings boghandels forlag<\/td>Christiania<\/td>1890<\/td>Bind I.<\/td>55<\/td> <\/tr>\n
5972<\/td>1385<\/td>unread<\/td>88<\/td>11328<\/td><\/td>5625<\/td><\/td>Henry M. Stanley<\/td>P.T.Mallings boghandels forlag<\/td>Christiania<\/td>1890<\/td>Bind II.<\/td>55<\/td> <\/tr>\n
5973<\/td>1386<\/td>unread<\/td>81<\/td>11329<\/td><\/td>5626<\/td>Ilford Foto Akts<\/td>K.Jensen<\/td><\/td><\/td>1923<\/td><\/td>72<\/td> <\/tr>\n
5974<\/td>1387<\/td>unread<\/td>84<\/td>11330<\/td><\/td>5627<\/td>Ilford: Winter Photography<\/td><\/td><\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
5975<\/td>1388<\/td>unread<\/td>84<\/td>11331<\/td><\/td>5628<\/td>Ilford manual of photography<\/td>James Mitchell<\/td><\/td>England<\/td>1942<\/td><\/td>83<\/td> <\/tr>\n
5976<\/td>1389<\/td>unread<\/td>84<\/td>11332<\/td><\/td>5629<\/td>The illumination of photographic darkroo<\/td>G.Weber<\/td>G.E.Gads Forlag<\/td><\/td>1950<\/td>Nr.1.<\/td>71<\/td> <\/tr>\n
5977<\/td>1390<\/td>unread<\/td>84<\/td>11333<\/td><\/td>5630<\/td>The illumination of photographic darkroo<\/td>G.Weber<\/td>G.E.Gads forlag<\/td><\/td>1950<\/td><\/td>71<\/td> <\/tr>\n
5978<\/td>1391<\/td>unread<\/td>84<\/td>11334<\/td><\/td>5631<\/td>Illustrated price guide.Col.Cameras<\/td>Myron Wolf<\/td>Blue Book<\/td>USA<\/td>1979<\/td><\/td>82<\/td> <\/tr>\n
5979<\/td>1392<\/td>unread<\/td>84<\/td>11335<\/td><\/td>5632<\/td>Illutrated price guide to coll. cameras<\/td>Myron Wolf<\/td>Blue Book<\/td>USA<\/td>1985<\/td><\/td>82<\/td> <\/tr>\n
5980<\/td>1393<\/td>unread<\/td>83<\/td>11336<\/td><\/td>5633<\/td>Im Auftrag<\/td>Snowdon<\/td>Manesse Verlag<\/td><\/td>1972<\/td>ISBN. 3-7175-8026-4.<\/td>52<\/td> <\/tr>\n
5981<\/td>1394<\/td>unread<\/td>84<\/td>11337<\/td><\/td>5634<\/td>Immortal Portraits<\/td>Alex Strasser<\/td>Focal Press<\/td>London<\/td>1941<\/td><\/td>57<\/td> <\/tr>\n
5982<\/td>1395<\/td>unread<\/td>88<\/td>11338<\/td><\/td>5635<\/td>Impact<\/td>William A. Reedy<\/td>Eastman & Kodak Co.<\/td><\/td>1973<\/td>ISBN. 0-87985-081-7.<\/td>49<\/td> <\/tr>\n
5983<\/td>1396<\/td>unread<\/td>83<\/td>11339<\/td><\/td>5636<\/td>Im Reiche der Kamera<\/td>Felix Naumann<\/td>Ed. Liesegangs Verlag<\/td>Dresden<\/td>1919<\/td><\/td>69<\/td> <\/tr>\n
5984<\/td>1397<\/td>unread<\/td>88<\/td>11340<\/td><\/td>5637<\/td>In our time<\/td>William Manchester<\/td>W.W.Norton & Co.<\/td>New York. London<\/td>1989<\/td><\/td>51<\/td> <\/tr>\n
5985<\/td>1398<\/td>unread<\/td>88<\/td>11341<\/td><\/td>5638<\/td><\/td>O.Meyer. K.W.Petersen. O.H.Post. L.S.Nie<\/td><\/td><\/td>1995<\/td><\/td>42<\/td> <\/tr>\n
5986<\/td>1399<\/td>unread<\/td>88<\/td>11342<\/td><\/td>5639<\/td>Indian Photographer<\/td>Will Soule<\/td>The Ward Ritchie Press<\/td><\/td>1969<\/td>ISBN. 0378-02032-3.<\/td>49<\/td> <\/tr>\n
5987<\/td>1400<\/td>unread<\/td>83<\/td>11343<\/td><\/td>5640<\/td>Information foto<\/td><\/td>Verlag Laterna MAgica<\/td><\/td>1973<\/td><\/td>83<\/td> <\/tr>\n
5988<\/td>1401<\/td>unread<\/td>84<\/td>11344<\/td><\/td>5641<\/td>Infrared photography in medicine<\/td>Leo C.Massopust<\/td><\/td>USA<\/td>1952<\/td><\/td>71<\/td> <\/tr>\n
5989<\/td>1402<\/td>unread<\/td>81<\/td>11345<\/td><\/td>5642<\/td>Insekt fotografering<\/td>Bent Spang-Larsen<\/td>J.Fr.Clausens forlag<\/td><\/td>1968<\/td><\/td>74<\/td> <\/tr>\n
5990<\/td>1403<\/td>unread<\/td>88<\/td>11346<\/td><\/td>5643<\/td>International photos<\/td><\/td>Verlag Grossbild-Technik<\/td><\/td>1957<\/td><\/td>52<\/td> <\/tr>\n
5991<\/td>1404<\/td>unread<\/td>88<\/td>11347<\/td><\/td>5644<\/td>International Photos<\/td><\/td>Verlag Bernhard Meissner<\/td><\/td>Manheim<\/td><\/td>52<\/td> <\/tr>\n
5992<\/td>1405<\/td>unread<\/td>88<\/td>11348<\/td><\/td>5645<\/td>International photos 2.<\/td><\/td>Verlag Grossbild-technik Gmbh<\/td><\/td>1960<\/td><\/td>52<\/td> <\/tr>\n
5993<\/td>1406<\/td>unread<\/td>88<\/td>11349<\/td><\/td>5646<\/td><\/td>Allan Ratved<\/td>Verlag Grossbild-technik<\/td><\/td>1962<\/td>Tysk\/Eng.\/Fransk\/Italiensk.<\/td>52<\/td> <\/tr>\n
5994<\/td>1407<\/td>unread<\/td>88<\/td>11350<\/td><\/td>5647<\/td>International photos 4<\/td>Allan Ratved<\/td>Verlag Grossbild-technik<\/td><\/td>1964<\/td>Eng\/Tysk\/Fransk\/Italiensk.<\/td>52<\/td> <\/tr>\n
5995<\/td>1408<\/td>unread<\/td>88<\/td>11351<\/td><\/td>5648<\/td>Internationale Photoszene<\/td><\/td>Reinhold Mibelbeck<\/td><\/td>1988<\/td><\/td>52<\/td> <\/tr>\n
5996<\/td>1409<\/td>unread<\/td>84<\/td>11352<\/td><\/td>5649<\/td>Instructions for operating the Kodascope<\/td><\/td>Eastman Kodak Company.<\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
5997<\/td>1410<\/td>unread<\/td>88<\/td>11353<\/td><\/td>5650<\/td>Ireland<\/td>Kirsten Klein<\/td>Gyldendal<\/td><\/td>1998<\/td><\/td>42<\/td> <\/tr>\n
5998<\/td>1411<\/td>unread<\/td>88<\/td>11354<\/td><\/td>5651<\/td>Szarkowski<\/td>Irving Penn<\/td>The museum of modern art<\/td>New York<\/td><\/td><\/td>50<\/td> <\/tr>\n
5999<\/td>1412<\/td>unread<\/td>83<\/td>11355<\/td><\/td>5652<\/td>Kinder im Lichtbild<\/td>Gerhard Isert<\/td>Gerhard Isert Verlag<\/td><\/td><\/td><\/td>67<\/td> <\/tr>\n
6000<\/td>1413<\/td>unread<\/td>83<\/td>11356<\/td><\/td>5653<\/td>Panchromatische fotografie<\/td>Gerhard Isert<\/td>Gerhard Isert Verlag<\/td>Tyskland<\/td><\/td><\/td>68<\/td> <\/tr>\n
6001<\/td>1414<\/td>unread<\/td>88<\/td>11357<\/td><\/td>5654<\/td><\/td>Bo Iversen<\/td>Forlaget Mama<\/td>Skive<\/td>1986<\/td>ISBN 87-982363-1-8.<\/td>48<\/td> <\/tr>\n
6002<\/td>1415<\/td>unread<\/td>83<\/td>11358<\/td><\/td>5655<\/td>So photographiert man farbig<\/td>Adolf Jacobs<\/td>Photo-Schaja Verlag<\/td><\/td>1931<\/td><\/td>69<\/td> <\/tr>\n
6003<\/td>1416<\/td>unread<\/td>88<\/td>11359<\/td><\/td>5656<\/td><\/td><\/td>C.H.Jacobsen produktion A B<\/td><\/td>1989<\/td><\/td>41<\/td> <\/tr>\n
6004<\/td>1417<\/td>unread<\/td>88<\/td>11360<\/td><\/td>5657<\/td><\/td><\/td><\/td><\/td>1969<\/td>Kristian JAcobsen. JAnus La Cour..<\/td>53<\/td> <\/tr>\n
6005<\/td>1418<\/td>unread<\/td>83<\/td>11361<\/td><\/td>5658<\/td><\/td>Kurt Jacobsen<\/td>Union Deutsche Verlag<\/td>Berlin<\/td><\/td><\/td>69<\/td> <\/tr>\n
6006<\/td>1419<\/td>unread<\/td>83<\/td>11362<\/td><\/td>5659<\/td><\/td>Dr.J.M.Eder<\/td><\/td><\/td><\/td><\/td>172<\/td> <\/tr>\n
6007<\/td>1420<\/td>unread<\/td>83<\/td>11363<\/td><\/td>5660<\/td><\/td>Dr. J.M:Eder<\/td><\/td><\/td><\/td><\/td>179<\/td> <\/tr>\n
6008<\/td>1421<\/td>unread<\/td>83<\/td>11364<\/td><\/td>5661<\/td>Dauerre Kepri<\/td>Jacab Zimmerman<\/td><\/td>Becsben<\/td>1840<\/td><\/td>59<\/td> <\/tr>\n
6009<\/td>1422<\/td>unread<\/td>88<\/td>11365<\/td><\/td>5662<\/td>Hugo matthiessens Svendborg og Troense<\/td>M.Henrik Jansen<\/td>Svendborg & omegns museum forl.Hikuin<\/td><\/td>1997<\/td><\/td>56<\/td> <\/tr>\n
6010<\/td>1423<\/td>unread<\/td>83<\/td>11366<\/td><\/td>5663<\/td>100 jahre photogr.und die Agfa 1839-1939<\/td>Dr. Erich Stenger<\/td>Knorr & Hirth<\/td><\/td><\/td><\/td>58<\/td> <\/tr>\n
6011<\/td>1424<\/td>unread<\/td>88<\/td>11368<\/td><\/td>5664<\/td>Photography Yearbook 1965<\/td>Ian James<\/td>Fountain Press Limited<\/td>London<\/td><\/td><\/td>50<\/td> <\/tr>\n
6012<\/td>1425<\/td>unread<\/td>84<\/td>11369<\/td><\/td>5665<\/td>Japanese Cameras 1845-1984<\/td>K.Sugiyama. H.Naoi. J.R.Bullock-<\/td><\/td><\/td>1985<\/td>REG.01.<\/td>0<\/td> <\/tr>\n
6013<\/td>1426<\/td>unread<\/td>84<\/td>11370<\/td><\/td>5666<\/td>The col.guide to Japanese cam.1845-1984<\/td>K.Sugiyama. H.Naoi. J.R.Bullock<\/td><\/td><\/td><\/td><\/td>83<\/td> <\/tr>\n
6014<\/td>1427<\/td>unread<\/td>83<\/td>11371<\/td><\/td>5667<\/td>Japanische photographie 1860-1929.<\/td><\/td>Argon Verlag<\/td>Berlin<\/td>1993<\/td><\/td>41<\/td> <\/tr>\n
6015<\/td>1428<\/td>unread<\/td>81<\/td>11372<\/td><\/td>5668<\/td>Vi fotografere med udskiftlig optik<\/td>Lennert Jansson<\/td>Clausens forlag<\/td><\/td>1965<\/td><\/td>64<\/td> <\/tr>\n
6016<\/td>1429<\/td>unread<\/td>88<\/td>11373<\/td><\/td>5669<\/td>Jazz,guldfeber og farlige damer<\/td><\/td>Forlaget Fremad<\/td><\/td>1965<\/td><\/td>46<\/td> <\/tr>\n
6017<\/td>1430<\/td>unread<\/td>81<\/td>11374<\/td><\/td>5670<\/td>Jeg smalfilmer<\/td>Tommy Frenning<\/td>Politikkens forlag<\/td><\/td>1965<\/td>1.Udgave<\/td>74<\/td> <\/tr>\n
6018<\/td>1431<\/td>unread<\/td>81<\/td>11375<\/td><\/td>5671<\/td>Jeg smalfilmer<\/td><\/td>Kodak A\/S<\/td><\/td>1940<\/td><\/td>74<\/td> <\/tr>\n
6019<\/td>1432<\/td>unread<\/td>81<\/td>11376<\/td><\/td>5672<\/td><\/td>Norman Jenkins<\/td>Skrifola Forlaget<\/td><\/td>1959<\/td><\/td>74<\/td> <\/tr>\n
6020<\/td>1433<\/td>unread<\/td>88<\/td>11377<\/td><\/td>5673<\/td>Jens Bomholts Silkeborg<\/td><\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
6021<\/td>1434<\/td>unread<\/td>88<\/td>11378<\/td><\/td>5674<\/td>Set fra luften<\/td>Sylvest Jensen<\/td><\/td>Odense<\/td>1993<\/td><\/td>42<\/td> <\/tr>\n
6022<\/td>1435<\/td>unread<\/td>88<\/td>11379<\/td><\/td>5675<\/td><\/td><\/td><\/td><\/td>1977<\/td><\/td>42<\/td> <\/tr>\n
6023<\/td>1436<\/td>unread<\/td>88<\/td>11380<\/td><\/td>5676<\/td>Jon 21 lystegninger<\/td>A.Jon. Petersen<\/td>Permild & Rosemgreen<\/td><\/td>1971<\/td><\/td>47<\/td> <\/tr>\n
6024<\/td>1437<\/td>unread<\/td>84<\/td>11381<\/td><\/td>5677<\/td>The art of retouching<\/td>Robert Johnson<\/td>American Photographie<\/td>Boston<\/td>1946<\/td><\/td>83<\/td> <\/tr>\n
6025<\/td>1438<\/td>unread<\/td>81<\/td>11382<\/td><\/td>5678<\/td>Vi begynder at fotografere<\/td>Rune Jonsson<\/td>Clausens forlag<\/td><\/td>1967<\/td><\/td>64<\/td> <\/tr>\n
6026<\/td>1439<\/td>unread<\/td>84<\/td>11383<\/td><\/td>5679<\/td>Modern portraiture<\/td>Jordan R.Stanley<\/td>The Mercury Press<\/td>San Francisco<\/td>1938<\/td><\/td>71<\/td> <\/tr>\n
6027<\/td>1440<\/td>unread<\/td>88<\/td>11384<\/td><\/td>5680<\/td>Svenska Konungar och deres tidenhvarf.<\/td>M.Josephson<\/td><\/td><\/td>1866<\/td><\/td>45<\/td> <\/tr>\n
6028<\/td>1441<\/td>unread<\/td>88<\/td>11385<\/td><\/td>5681<\/td><\/td><\/td><\/td><\/td>1937<\/td>15 Maj 1912-1937.<\/td>47<\/td> <\/tr>\n
6029<\/td>1442<\/td>unread<\/td>88<\/td>11386<\/td><\/td>5682<\/td><\/td><\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6030<\/td>1443<\/td>unread<\/td>88<\/td>11387<\/td><\/td>5683<\/td><\/td>J.Juncker Jensen<\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
6031<\/td>1444<\/td>unread<\/td>88<\/td>11388<\/td><\/td>5684<\/td><\/td>J.Juncker Jensen<\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
6032<\/td>1445<\/td>unread<\/td>88<\/td>11389<\/td><\/td>5685<\/td>Juncker Jensens dagbog<\/td><\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
6033<\/td>1446<\/td>unread<\/td>88<\/td>11390<\/td><\/td>5686<\/td><\/td><\/td><\/td><\/td>1990<\/td><\/td>53<\/td> <\/tr>\n
6034<\/td>1447<\/td>unread<\/td>88<\/td>11391<\/td><\/td>5687<\/td>Jyske billeder<\/td>Leo Novrup<\/td>Billedhistorisk Forlag<\/td><\/td>1991<\/td><\/td>49<\/td> <\/tr>\n
6035<\/td>1448<\/td>unread<\/td>82<\/td>11392<\/td><\/td>5688<\/td>A-B Fotovaror. Katalog<\/td><\/td><\/td><\/td>1923<\/td>REG.05<\/td>0<\/td> <\/tr>\n
6036<\/td>1449<\/td>unread<\/td>83<\/td>11393<\/td><\/td>5689<\/td>AGFA Hauptkatalog<\/td><\/td><\/td><\/td>1937<\/td>REG 01.<\/td>0<\/td> <\/tr>\n
6037<\/td>1450<\/td>unread<\/td>83<\/td>11394<\/td><\/td>5690<\/td>AGFA Hauptkatalog<\/td><\/td><\/td><\/td>1938<\/td>REG 01.<\/td>0<\/td> <\/tr>\n
6038<\/td>1451<\/td>unread<\/td>83<\/td>11395<\/td><\/td>5691<\/td>AGFA Hauptkatalog<\/td><\/td><\/td><\/td>1939<\/td>REG 01.<\/td>0<\/td> <\/tr>\n
6039<\/td>1452<\/td>unread<\/td>83<\/td>11396<\/td><\/td>5692<\/td>AGFA Hauptkatalog<\/td><\/td><\/td><\/td>1953<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6040<\/td>1453<\/td>unread<\/td>84<\/td>11397<\/td><\/td>5693<\/td>Illustrated Catalogue of Photog.Equipmen<\/td>E & H.T.Anthony<\/td><\/td>New York<\/td>1891<\/td>REG. 05<\/td>0<\/td> <\/tr>\n
6041<\/td>1454<\/td>unread<\/td>85<\/td>11398<\/td><\/td>5694<\/td>Foto Katalog<\/td>E.Barbier. G. Thierry<\/td><\/td><\/td>1925<\/td>REG. 01<\/td>0<\/td> <\/tr>\n
6042<\/td>1455<\/td>unread<\/td>84<\/td>11399<\/td><\/td>5695<\/td>Catalog nr 290.<\/td>Burke & James<\/td><\/td>USA<\/td>1934<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6043<\/td>1456<\/td>unread<\/td>84<\/td>11400<\/td><\/td>5696<\/td>Catalog nr 339<\/td>Burke & James<\/td><\/td>USA<\/td>1939<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6044<\/td>1457<\/td>unread<\/td>84<\/td>11401<\/td><\/td>5697<\/td>Photo Catalog<\/td><\/td>Carhart Photo service<\/td><\/td>1960<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6045<\/td>1458<\/td>unread<\/td>81<\/td>11402<\/td><\/td>5698<\/td>Katalog over artikler for fotografi og r<\/td><\/td><\/td><\/td>1907<\/td>Udarbejdet af J.P.Hansen. Norka-Hansen. Cohen & Co. . Siegfried. REG 01.<\/td>0<\/td> <\/tr>\n
6046<\/td>1459<\/td>unread<\/td>81<\/td>11403<\/td><\/td>5699<\/td>Katalog 1912<\/td>Siegfried Cohen<\/td><\/td><\/td><\/td>Udarbejdet af J.P.Hansen. Norka-Hansen.REG 05.<\/td>0<\/td> <\/tr>\n
6047<\/td>1460<\/td>unread<\/td>83<\/td>11404<\/td><\/td>5700<\/td>Deutscher Photo katalog<\/td><\/td><\/td><\/td>1963<\/td>REG 04.<\/td>0<\/td> <\/tr>\n
6048<\/td>1461<\/td>unread<\/td>83<\/td>11405<\/td><\/td>5701<\/td>Deutscher Photo Katalog<\/td><\/td><\/td><\/td>1966\/67<\/td>REG. 04.<\/td>0<\/td> <\/tr>\n
6049<\/td>1462<\/td>unread<\/td>83<\/td>11406<\/td><\/td>5702<\/td>Deutscher Photo Katalog<\/td><\/td><\/td><\/td>1970-71<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6050<\/td>1463<\/td>unread<\/td>84<\/td>11407<\/td><\/td>5703<\/td>Alan R. Feinberg<\/td>Catalog of Kodak and Brownie Cameras<\/td><\/td><\/td>1972. 1975.<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6051<\/td>1464<\/td>unread<\/td>81<\/td>11408<\/td><\/td>5704<\/td>Katalog over fotografiske artikler<\/td><\/td><\/td><\/td>1898<\/td>Ad.Goecker. REG 02.<\/td>0<\/td> <\/tr>\n
6052<\/td>1465<\/td>unread<\/td>81<\/td>11409<\/td><\/td>5705<\/td>Katalog over fotografiske artikler<\/td>Ad. Goecker<\/td><\/td><\/td>1906<\/td>REG. 01<\/td>0<\/td> <\/tr>\n
6053<\/td>1466<\/td>unread<\/td>83<\/td>11410<\/td><\/td>5706<\/td>Der grosse foto katalog<\/td><\/td><\/td><\/td>1980\/81<\/td>REG. 04.<\/td>0<\/td> <\/tr>\n
6054<\/td>1467<\/td>unread<\/td>83<\/td>11411<\/td><\/td>5707<\/td>Der grosse foto katalog<\/td><\/td><\/td><\/td>1982\/83<\/td>REG 04.<\/td>0<\/td> <\/tr>\n
6055<\/td>1468<\/td>unread<\/td>83<\/td>11412<\/td><\/td>5708<\/td>Der Grosse foto katalog<\/td><\/td><\/td><\/td>1988\/89<\/td>REG 04.<\/td>0<\/td> <\/tr>\n
6056<\/td>1469<\/td>unread<\/td>81<\/td>11413<\/td><\/td>5709<\/td><\/td><\/td>Heinrich & Poulsen<\/td><\/td>1930\/31<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6057<\/td>1470<\/td>unread<\/td>81<\/td>11414<\/td><\/td>5710<\/td>Internationale Photo Katalog<\/td><\/td><\/td><\/td>1972<\/td>REG 04.<\/td>0<\/td> <\/tr>\n
6058<\/td>1471<\/td>unread<\/td>83<\/td>11415<\/td><\/td>5711<\/td>Internale Photo Katalog<\/td><\/td>GFW Verlag<\/td><\/td>1974<\/td>REG 04.<\/td>0<\/td> <\/tr>\n
6059<\/td>1472<\/td>unread<\/td>83<\/td>11416<\/td><\/td>5712<\/td>Internationale Photo Katalog<\/td><\/td>GFW Verlag<\/td><\/td>1976<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6060<\/td>1473<\/td>unread<\/td>83<\/td>11417<\/td><\/td>5713<\/td>Internationale photo Katalog<\/td><\/td><\/td><\/td>1978<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6061<\/td>1474<\/td>unread<\/td>83<\/td>11418<\/td><\/td>5714<\/td>Katalog<\/td><\/td>Jonass & Co.<\/td>Berlin<\/td>1912<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6062<\/td>1475<\/td>unread<\/td>83<\/td>11419<\/td><\/td>5715<\/td>Nagel und Kodak Kameras Katalog<\/td>Karl Otto Kemmler<\/td><\/td><\/td><\/td>REG 01.<\/td>0<\/td> <\/tr>\n
6063<\/td>1476<\/td>unread<\/td>83<\/td>11420<\/td><\/td>5716<\/td>Kodak Katalog<\/td><\/td><\/td><\/td>1911<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6064<\/td>1477<\/td>unread<\/td>83<\/td>11421<\/td><\/td>5717<\/td>Kodak Katalog<\/td><\/td><\/td><\/td>1913<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6065<\/td>1478<\/td>unread<\/td>84<\/td>11422<\/td><\/td>5718<\/td>Kodak Katalog<\/td><\/td><\/td><\/td>1913<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6066<\/td>1479<\/td>unread<\/td>83<\/td>11423<\/td><\/td>5719<\/td>Kodak Katalog<\/td><\/td><\/td><\/td>1914<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6067<\/td>1480<\/td>unread<\/td>84<\/td>11424<\/td><\/td>5720<\/td>Kodak Katalog<\/td><\/td><\/td><\/td>1919<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6068<\/td>1481<\/td>unread<\/td>81<\/td>11425<\/td><\/td>5721<\/td>Kodak Katalog<\/td><\/td><\/td><\/td>1921<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6069<\/td>1482<\/td>unread<\/td>81<\/td>11426<\/td><\/td>5722<\/td>Kodak General Catalogue<\/td><\/td><\/td><\/td>1921<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6070<\/td>1483<\/td>unread<\/td>81<\/td>11427<\/td><\/td>5723<\/td>Kodak Katalog<\/td><\/td><\/td><\/td>1923<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6071<\/td>1484<\/td>unread<\/td>84<\/td>11428<\/td><\/td>5724<\/td>Profes.Photographic Apparatus and Materi<\/td><\/td><\/td><\/td>1923<\/td>Kodak Katalog. REG 03<\/td>0<\/td> <\/tr>\n
6072<\/td>1485<\/td>unread<\/td>81<\/td>11429<\/td><\/td>5725<\/td>Kodak Katalog<\/td><\/td><\/td><\/td>1928<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6073<\/td>1486<\/td>unread<\/td>86<\/td>11430<\/td><\/td>5726<\/td>Catalog of PREMO Cameras<\/td>Joan C. McKeown<\/td><\/td>Wisconsin USA<\/td>1981<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6074<\/td>1487<\/td>unread<\/td>81<\/td>11431<\/td><\/td>5727<\/td>Fotografiske Artikler. Kata. nr. 21<\/td><\/td><\/td><\/td>1907\/1908<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6075<\/td>1488<\/td>unread<\/td>81<\/td>11432<\/td><\/td>5728<\/td>Illustreret Katal. over fotografi-appara<\/td><\/td><\/td><\/td>1987<\/td>Ny tryk. REG 01<\/td>0<\/td> <\/tr>\n
6076<\/td>1489<\/td>unread<\/td>83<\/td>11433<\/td><\/td>5729<\/td>Foto Kino Optik Katalog<\/td>Neckerman<\/td><\/td><\/td>1972\/73<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6077<\/td>1490<\/td>unread<\/td>83<\/td>11434<\/td><\/td>5730<\/td>Foto-Kino-Optik Katalog<\/td>Neckermann<\/td><\/td><\/td>1973\/74<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6078<\/td>1491<\/td>unread<\/td>83<\/td>11435<\/td><\/td>5731<\/td>Foto- Kino- Optik KAtalog<\/td>Neckermann<\/td><\/td><\/td>1975\/76<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6079<\/td>1492<\/td>unread<\/td>84<\/td>11436<\/td><\/td>5732<\/td>Photography Directory Katalog<\/td><\/td><\/td><\/td>1955<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6080<\/td>1493<\/td>unread<\/td>84<\/td>11437<\/td><\/td>5733<\/td>Photography Directory Buying guide Katal<\/td><\/td><\/td><\/td>1973<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6081<\/td>1494<\/td>unread<\/td>83<\/td>11438<\/td><\/td>5734<\/td>Foto -Profi Katalog<\/td><\/td>GFW Verlag<\/td><\/td>1980<\/td>REG 04.<\/td>0<\/td> <\/tr>\n
6082<\/td>1495<\/td>unread<\/td>83<\/td>11439<\/td><\/td>5735<\/td>Foto-Profi Katalog<\/td><\/td>GFW Verlag<\/td><\/td>1982<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6083<\/td>1496<\/td>unread<\/td>84<\/td>11440<\/td><\/td>5736<\/td>PTN Master buying guide Katalog<\/td><\/td><\/td><\/td>1976<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6084<\/td>1497<\/td>unread<\/td>85<\/td>11441<\/td><\/td>5737<\/td>Foto Quelle Katalog<\/td><\/td><\/td><\/td>1972<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6085<\/td>1498<\/td>unread<\/td>85<\/td>11442<\/td><\/td>5738<\/td>Foto Quelle Katalog<\/td><\/td><\/td><\/td>1973\/74<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6086<\/td>1499<\/td>unread<\/td>85<\/td>11443<\/td><\/td>5739<\/td>Foto Quelle Katalog<\/td><\/td><\/td><\/td>1974\/75<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6087<\/td>1500<\/td>unread<\/td>85<\/td>11444<\/td><\/td>5740<\/td>Foto Quelle Katalog<\/td><\/td><\/td><\/td>1976<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6088<\/td>1501<\/td>unread<\/td>81<\/td>11445<\/td><\/td>5741<\/td>Foto Revyen Katalog<\/td><\/td><\/td><\/td>1982<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6089<\/td>1502<\/td>unread<\/td>83<\/td>11446<\/td><\/td>5742<\/td>Rolleiflex KAtalog nr 61<\/td>Hans J. Borth<\/td><\/td>Weingarten<\/td>1985<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6090<\/td>1503<\/td>unread<\/td>84<\/td>11447<\/td><\/td>5743<\/td>Photo trade Master Catalog and merchandi<\/td><\/td><\/td><\/td>1947<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6091<\/td>1504<\/td>unread<\/td>83<\/td>11448<\/td><\/td>5744<\/td>Photo weltmarkt Katalog<\/td><\/td>GFW Verlag<\/td><\/td>1974<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6092<\/td>1505<\/td>unread<\/td>83<\/td>11449<\/td><\/td>5745<\/td>Zeiss Ikon Camera Hauptkatalog<\/td><\/td><\/td>Dresden<\/td>1930<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6093<\/td>1506<\/td>unread<\/td>83<\/td>11450<\/td><\/td>5746<\/td>Zeiss Ikon Hauptkatalog<\/td><\/td><\/td>Dresden<\/td>1931<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6094<\/td>1507<\/td>unread<\/td>83<\/td>11451<\/td><\/td>5747<\/td>Zeiss Ikon HAuptkatalog<\/td><\/td><\/td>Dresden<\/td>1934<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6095<\/td>1508<\/td>unread<\/td>83<\/td>11452<\/td><\/td>5748<\/td>Nachtrag 2 Zeiss Ikon Hauptkat. C 555<\/td><\/td><\/td>Dresden<\/td>1936<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6096<\/td>1509<\/td>unread<\/td>83<\/td>11453<\/td><\/td>5749<\/td>Zeiss Ikon Hauptkatalog<\/td><\/td><\/td>Dresden<\/td>1938<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6097<\/td>1510<\/td>unread<\/td>83<\/td>11454<\/td><\/td>5750<\/td>Photo weltmarkt Katalog<\/td><\/td>GFW Verlag<\/td><\/td>1976\/77<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6098<\/td>1511<\/td>unread<\/td>83<\/td>11455<\/td><\/td>5751<\/td>Photo weltmarkt Katalog<\/td><\/td>GFW Verlag<\/td><\/td>1978<\/td>REG 04<\/td>0<\/td> <\/tr>\n
6099<\/td>1512<\/td>unread<\/td>83<\/td>11456<\/td><\/td>5752<\/td>Praktikum der Wissenchaftlichen<\/td>Carl Kaiserling<\/td>Gustav Schmidt Verlag<\/td>Berlin<\/td>1898<\/td><\/td>68<\/td> <\/tr>\n
6100<\/td>1513<\/td>unread<\/td>88<\/td>11457<\/td><\/td>5753<\/td>Kalejdoskop<\/td>Kirsten Klein<\/td><\/td>Charlottenborg<\/td>1992<\/td><\/td>42<\/td> <\/tr>\n
6101<\/td>1514<\/td>unread<\/td>88<\/td>11458<\/td><\/td>5754<\/td>Kamera 78<\/td>Gits Olsson. Bengt Forsberg<\/td><\/td>Sverige<\/td>1978<\/td><\/td>41<\/td> <\/tr>\n
6102<\/td>1515<\/td>unread<\/td>88<\/td>11459<\/td><\/td>5755<\/td>Kamera 79<\/td>Gits Olsson. Bengt Forsberg<\/td><\/td>Sverige<\/td>1979<\/td><\/td>41<\/td> <\/tr>\n
6103<\/td>1516<\/td>unread<\/td>88<\/td>11460<\/td><\/td>5756<\/td>Kamera 80<\/td>Gits Olsson. Bengt Forsberg<\/td><\/td>Sverige<\/td>1980<\/td><\/td>41<\/td> <\/tr>\n
6104<\/td>1517<\/td>unread<\/td>88<\/td>11461<\/td><\/td>5757<\/td>Kamera 81<\/td>Gits Olsson. Bengt Forsberg<\/td><\/td>Sverige 1981<\/td>1981<\/td><\/td>41<\/td> <\/tr>\n
6105<\/td>1518<\/td>unread<\/td>88<\/td>11462<\/td><\/td>5758<\/td>Kamera 83<\/td>Gits Olsson. Bengt Forsberg<\/td><\/td>Sverige<\/td>1983<\/td><\/td>41<\/td> <\/tr>\n
6106<\/td>1519<\/td>unread<\/td>88<\/td>11463<\/td><\/td>5759<\/td><\/td><\/td>Politikkens Forlag<\/td><\/td>1958<\/td><\/td>51<\/td> <\/tr>\n
6107<\/td>1520<\/td>unread<\/td>82<\/td>11464<\/td><\/td>5760<\/td>Kameran i naturen<\/td>Svante Lundgren<\/td>Nordisk Rotogravyr<\/td><\/td>1953<\/td><\/td>61<\/td> <\/tr>\n
6108<\/td>1521<\/td>unread<\/td>81<\/td>11465<\/td><\/td>5761<\/td>Kanonfotografens Apparat<\/td><\/td><\/td>Randers<\/td>1974<\/td>Kulturhistorisk museum. Fotofagskolen<\/td>83<\/td> <\/tr>\n
6109<\/td>1522<\/td>unread<\/td>83<\/td>11466<\/td><\/td>5762<\/td><\/td>Georg Seibt<\/td><\/td><\/td><\/td><\/td>67<\/td> <\/tr>\n
6110<\/td>1523<\/td>unread<\/td>88<\/td>11467<\/td><\/td>5763<\/td>Leica in Aller Welt<\/td>K.P.Karfeld<\/td>Verlag Knorr & Hirth<\/td><\/td>1938<\/td><\/td>52<\/td> <\/tr>\n
6111<\/td>1524<\/td>unread<\/td>88<\/td>11468<\/td><\/td>5764<\/td>Karneval<\/td>Karen Val<\/td>Modtryk<\/td><\/td>1983<\/td><\/td>42<\/td> <\/tr>\n
6112<\/td>1525<\/td>unread<\/td>88<\/td>11469<\/td><\/td>5765<\/td>Karsh.American Legend<\/td>Yousuf Karsh<\/td>Little,Brown and Co.<\/td><\/td>1992<\/td><\/td>41<\/td> <\/tr>\n
6113<\/td>1526<\/td>unread<\/td>83<\/td>11470<\/td><\/td>5766<\/td>Kleine Minox<\/td>Rolf Kasemeier<\/td>Heering Verlag<\/td>Seebruck<\/td>1958<\/td><\/td>67<\/td> <\/tr>\n
6114<\/td>1527<\/td>unread<\/td>88<\/td>11471<\/td><\/td>5767<\/td>Katalog der bibliothek des club Dauerre<\/td><\/td><\/td>Berlin<\/td>1981<\/td><\/td>43<\/td> <\/tr>\n
6115<\/td>1528<\/td>unread<\/td>88<\/td>11472<\/td><\/td>5768<\/td>Sort magi.<\/td><\/td><\/td><\/td>1998<\/td><\/td>53<\/td> <\/tr>\n
6116<\/td>1529<\/td>unread<\/td>88<\/td>11473<\/td><\/td>5769<\/td>Kaneus ja hulluus.Valo Kuva 1989<\/td><\/td><\/td><\/td>1990<\/td>The Photographic Museum of Finland<\/td>54<\/td> <\/tr>\n
6117<\/td>1530<\/td>unread<\/td>88<\/td>11474<\/td><\/td>5770<\/td><\/td>Matti Poutvaara<\/td><\/td>Finland<\/td>1948<\/td><\/td>43<\/td> <\/tr>\n
6118<\/td>1531<\/td>unread<\/td>88<\/td>11475<\/td><\/td>5771<\/td>Kazimierz<\/td>Stanislaw Markowski<\/td><\/td>Krakow<\/td>1992<\/td><\/td>41<\/td> <\/tr>\n
6119<\/td>1532<\/td>unread<\/td>83<\/td>11476<\/td><\/td>5772<\/td><\/td>Ernst Kempke<\/td>Verlag Wilhelm Knapp<\/td><\/td>1917<\/td>Sort ringbind.<\/td>78<\/td> <\/tr>\n
6120<\/td>1533<\/td>unread<\/td>88<\/td>11477<\/td><\/td>5773<\/td><\/td><\/td>Dansk Tidsskrifts tryk<\/td><\/td>1998<\/td><\/td>54<\/td> <\/tr>\n
6121<\/td>1534<\/td>unread<\/td>88<\/td>11478<\/td><\/td>5774<\/td>Kendte Danskere<\/td><\/td><\/td><\/td>1998<\/td>Post Danmark.<\/td>54<\/td> <\/tr>\n
6122<\/td>1535<\/td>unread<\/td>84<\/td>11479<\/td><\/td>5775<\/td>The Asahi Pentax way<\/td>H.Keppler<\/td>Focal Press Limited<\/td>London. New York<\/td>1970<\/td><\/td>68<\/td> <\/tr>\n
6123<\/td>1536<\/td>unread<\/td>88<\/td>11480<\/td><\/td>5776<\/td>Pictures with a purpose<\/td>Charles Kerlee<\/td>Camera Craft Publishing Co.<\/td>San Francisco<\/td>1939<\/td><\/td>50<\/td> <\/tr>\n
6124<\/td>1537<\/td>unread<\/td>88<\/td>11481<\/td><\/td>5777<\/td>Fra det nu forsvundne Kgl.Lyngby<\/td><\/td>Strandbergs Forlag<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6125<\/td>1538<\/td>unread<\/td>88<\/td>11482<\/td><\/td>5778<\/td><\/td>J.L.Heiberg<\/td><\/td><\/td><\/td>1:1827 - 2:1828 - 3:1830 - 4:1834\/37.<\/td>51<\/td> <\/tr>\n
6126<\/td>1539<\/td>unread<\/td>81<\/td>11483<\/td><\/td>5779<\/td>Kinoteknik<\/td>M.Scharnberg<\/td>Jul.Gjllerups forlag<\/td><\/td>1954<\/td><\/td>74<\/td> <\/tr>\n
6127<\/td>1540<\/td>unread<\/td>81<\/td>11484<\/td><\/td>5780<\/td>Bogen om Leica<\/td>Theo Kisselbach<\/td>Skrifola Forlag<\/td><\/td>1956<\/td><\/td>60<\/td> <\/tr>\n
6128<\/td>1541<\/td>unread<\/td>84<\/td>11485<\/td><\/td>5781<\/td>The Leica Book<\/td>Theo Kisselbach<\/td>Heering Verlag<\/td>Seebruck<\/td>1967<\/td><\/td>71<\/td> <\/tr>\n
6129<\/td>1542<\/td>unread<\/td>83<\/td>11486<\/td><\/td>5782<\/td>Leica CL<\/td>Theo Kisselbach<\/td>Heering Verlag<\/td>Seebruck<\/td>1976<\/td><\/td>67<\/td> <\/tr>\n
6130<\/td>1543<\/td>unread<\/td>83<\/td>11487<\/td><\/td>5783<\/td>Kleines Leica buch<\/td>Theo Kisselbach<\/td>Heering Verlag<\/td>Seebruck<\/td>1952<\/td><\/td>67<\/td> <\/tr>\n
6131<\/td>1544<\/td>unread<\/td>83<\/td>11488<\/td><\/td>5784<\/td>Leica Brevier<\/td>Theo Kisselbach<\/td><\/td><\/td><\/td><\/td>67<\/td> <\/tr>\n
6132<\/td>1545<\/td>unread<\/td>83<\/td>11489<\/td><\/td>5785<\/td><\/td>Karl Wernert<\/td><\/td><\/td><\/td><\/td>67<\/td> <\/tr>\n
6133<\/td>1546<\/td>unread<\/td>83<\/td>11490<\/td><\/td>5786<\/td>Kleiner Fotokurs<\/td>Hans Windisch<\/td>Heering Verlag<\/td>Seebruck<\/td>1955<\/td><\/td>67<\/td> <\/tr>\n
6134<\/td>1547<\/td>unread<\/td>84<\/td>11491<\/td><\/td>5787<\/td>Pocket Leica Book<\/td>Theo Kisselbach<\/td>Heering Verlag<\/td>Seebruck<\/td>1953<\/td><\/td>71<\/td> <\/tr>\n
6135<\/td>1548<\/td>unread<\/td>83<\/td>11492<\/td><\/td>5788<\/td>Kleinbild jagd<\/td>Hans Windisch<\/td>Heering Verlag in Harzburg<\/td><\/td>1937<\/td><\/td>60<\/td> <\/tr>\n
6136<\/td>1549<\/td>unread<\/td>88<\/td>11493<\/td><\/td>5789<\/td>Landet omkring Ribe<\/td>Kirsten Klein<\/td><\/td>Ribe Kunstmuseum<\/td>1994<\/td><\/td>42<\/td> <\/tr>\n
6137<\/td>1550<\/td>unread<\/td>88<\/td>11494<\/td><\/td>5790<\/td><\/td>Kirsten Klein<\/td><\/td><\/td><\/td><\/td>42<\/td> <\/tr>\n
6138<\/td>1551<\/td>unread<\/td>88<\/td>11495<\/td><\/td>5791<\/td>Rhodos<\/td>Kirsten Klein<\/td><\/td><\/td>1994<\/td><\/td>42<\/td> <\/tr>\n
6139<\/td>1552<\/td>unread<\/td>88<\/td>11496<\/td><\/td>5792<\/td>Vejr og landskab<\/td>Kirsten Klein<\/td>Hans Reitzels forlag<\/td><\/td>1997<\/td><\/td>42<\/td> <\/tr>\n
6140<\/td>1553<\/td>unread<\/td>88<\/td>11497<\/td><\/td>5793<\/td>Photokina<\/td>Willy Klemz<\/td>Gryphus Verlag<\/td>Hannover. Berlin<\/td>1980<\/td><\/td>90<\/td> <\/tr>\n
6141<\/td>1554<\/td>unread<\/td>83<\/td>11498<\/td><\/td>5794<\/td>Lehrbuch der Kleintierfotografie<\/td>HAns Pfletschinger<\/td>Kilda Verlag<\/td><\/td>1973<\/td><\/td>66<\/td> <\/tr>\n
6142<\/td>1555<\/td>unread<\/td>88<\/td>11499<\/td><\/td>5795<\/td><\/td>Jan Kock<\/td>Forlaget Hikuin<\/td><\/td>1987<\/td>ISBN 87-87409-01-1.<\/td>56<\/td> <\/tr>\n
6143<\/td>1556<\/td>unread<\/td>83<\/td>11500<\/td><\/td>5796<\/td><\/td><\/td><\/td><\/td><\/td><\/td>66<\/td> <\/tr>\n
6144<\/td>1557<\/td>unread<\/td>83<\/td>11501<\/td><\/td>5797<\/td>The Cine - Kodak special<\/td><\/td><\/td><\/td><\/td>REG 03.<\/td>0<\/td> <\/tr>\n
6145<\/td>1558<\/td>unread<\/td>81<\/td>11502<\/td><\/td>5798<\/td>Kodak cameras the first 100 years<\/td><\/td>Hove Foto Books<\/td><\/td><\/td>REG. 01<\/td>0<\/td> <\/tr>\n
6146<\/td>1559<\/td>unread<\/td>84<\/td>11503<\/td><\/td>5799<\/td>Kodak.Color as seen and photographed<\/td><\/td>Eastman Kodak Co.<\/td><\/td>1950\/1972<\/td><\/td>81<\/td> <\/tr>\n
6147<\/td>1560<\/td>unread<\/td>84<\/td>11504<\/td><\/td>5800<\/td>Kodak. Commercial Photo Finishing<\/td><\/td><\/td><\/td>1932<\/td>REG 03.<\/td>0<\/td> <\/tr>\n
6148<\/td>1561<\/td>unread<\/td>84<\/td>11505<\/td><\/td>5801<\/td>Kodak. Bromide Pictures<\/td><\/td>Kodak Limited<\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
6149<\/td>1562<\/td>unread<\/td>81<\/td>11506<\/td><\/td>5802<\/td><\/td><\/td><\/td><\/td><\/td><\/td>57<\/td> <\/tr>\n
6150<\/td>1563<\/td>unread<\/td>81<\/td>11507<\/td><\/td>5803<\/td>Kodak Databog.<\/td><\/td><\/td><\/td>1977<\/td>ISBN 87-980547-0-8.<\/td>57<\/td> <\/tr>\n
6151<\/td>1564<\/td>unread<\/td>81<\/td>11508<\/td><\/td>5804<\/td>Kodak. FAg-fotografens formularbog<\/td><\/td><\/td><\/td><\/td>REG 03.<\/td>0<\/td> <\/tr>\n
6152<\/td>1565<\/td>unread<\/td>81<\/td>11509<\/td><\/td>5805<\/td>Kodak Handels-meddelse<\/td><\/td><\/td><\/td>1913-1916<\/td>REG 03.<\/td>0<\/td> <\/tr>\n
6153<\/td>1566<\/td>unread<\/td>81<\/td>11510<\/td><\/td>5806<\/td>Kodak Handels meddelelse<\/td><\/td><\/td><\/td>1913\/16 1922\/2<\/td>REG<\/td>0<\/td> <\/tr>\n
6154<\/td>1567<\/td>unread<\/td>81<\/td>11511<\/td><\/td>5807<\/td>Kodak handels meddelelse<\/td><\/td><\/td><\/td>1927\/1928\/1929<\/td>REG. 03<\/td>0<\/td> <\/tr>\n
6155<\/td>1568<\/td>unread<\/td>81<\/td>11512<\/td><\/td>5808<\/td>Kodak handels meddelelse<\/td><\/td><\/td><\/td>1930\/31\/32<\/td>REG. 03<\/td>0<\/td> <\/tr>\n
6156<\/td>1569<\/td>unread<\/td>81<\/td>11513<\/td><\/td>5809<\/td>Kodak. Handels meddelelser<\/td><\/td><\/td><\/td>1934\/35<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6157<\/td>1570<\/td>unread<\/td>81<\/td>11514<\/td><\/td>5810<\/td>Kodak. Handels meddelelse<\/td><\/td><\/td><\/td>1936<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6158<\/td>1571<\/td>unread<\/td>81<\/td>11515<\/td><\/td>5811<\/td>Kodak. Handels meddelelser<\/td><\/td><\/td><\/td>1937\/38\/39\/40<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6159<\/td>1572<\/td>unread<\/td>85<\/td>11516<\/td><\/td>5812<\/td>Lettre de Paris. Kodak Pathe<\/td><\/td><\/td><\/td>1962<\/td><\/td>60<\/td> <\/tr>\n
6160<\/td>1573<\/td>unread<\/td>88<\/td>11517<\/td><\/td>5813<\/td>Naughty Paris<\/td>M.Koetzle. U.Scheid<\/td>Benedikt Taschen Verlag<\/td><\/td>1994<\/td><\/td>55<\/td> <\/tr>\n
6161<\/td>1574<\/td>unread<\/td>88<\/td>11518<\/td><\/td>5814<\/td>Pariser Pikanterien<\/td>M.Koetzle. U.Scheid<\/td><\/td><\/td>1993<\/td><\/td>42<\/td> <\/tr>\n
6162<\/td>1575<\/td>unread<\/td>83<\/td>11519<\/td><\/td>5815<\/td>Photo und filmzeitschrift<\/td>Walter Koelzer<\/td><\/td><\/td>1992<\/td><\/td>57<\/td> <\/tr>\n
6163<\/td>1576<\/td>unread<\/td>82<\/td>11520<\/td><\/td>5816<\/td><\/td>Runo Kohlbeck<\/td><\/td><\/td>1974<\/td>Fotografiska Museet. ISBN 91-7100-050-X.<\/td>57<\/td> <\/tr>\n
6164<\/td>1577<\/td>unread<\/td>81<\/td>11521<\/td><\/td>5817<\/td>Kolding Stadsarkiv. Dedenroth-Schou<\/td><\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
6165<\/td>1578<\/td>unread<\/td>83<\/td>11522<\/td><\/td>5818<\/td>Kompendium der prakt. photographie<\/td>F.Schmidt<\/td><\/td>Leipzig<\/td>1908<\/td><\/td>67<\/td> <\/tr>\n
6166<\/td>1579<\/td>unread<\/td>83<\/td>11523<\/td><\/td>5819<\/td>Kompendium der prakt. photographie<\/td>F.Schmidt<\/td>E.A. Seemann Verlag<\/td>Leipzig<\/td>1922<\/td><\/td>67<\/td> <\/tr>\n
6167<\/td>1580<\/td>unread<\/td>88<\/td>11524<\/td><\/td>5820<\/td>Kong Christian IV<\/td><\/td><\/td><\/td>1862<\/td>Samlet og udgivet af J.A.Gold.<\/td>47<\/td> <\/tr>\n
6168<\/td>1581<\/td>unread<\/td>88<\/td>11525<\/td><\/td>5821<\/td>Kong Frederik III og hans samtid<\/td><\/td><\/td><\/td>1865<\/td>Samlet og udgivet af J.A.Gold.<\/td>45<\/td> <\/tr>\n
6169<\/td>1582<\/td>unread<\/td>88<\/td>11526<\/td><\/td>5822<\/td>Kongens hverdag<\/td><\/td>Berlingske forlag<\/td><\/td>1957<\/td><\/td>47<\/td> <\/tr>\n
6170<\/td>1583<\/td>unread<\/td>88<\/td>11527<\/td><\/td>5823<\/td><\/td><\/td>Berlingske forlag<\/td><\/td>1940<\/td><\/td>47<\/td> <\/tr>\n
6171<\/td>1584<\/td>unread<\/td>81<\/td>11528<\/td><\/td>5824<\/td>Kopier \/Afskrifter<\/td>Poul R. Porse<\/td><\/td><\/td>Jan. 1988<\/td>REG.57.<\/td>0<\/td> <\/tr>\n
6172<\/td>1585<\/td>unread<\/td>88<\/td>11529<\/td><\/td>5825<\/td>Korea International Salon of photography<\/td><\/td><\/td>The Dong-A Ilbo<\/td>1980<\/td><\/td>49<\/td> <\/tr>\n
6173<\/td>1586<\/td>unread<\/td>88<\/td>11530<\/td><\/td>5826<\/td><\/td>Hother Waagenseh<\/td>Strandbergs Forlag<\/td><\/td>1995<\/td><\/td>41<\/td> <\/tr>\n
6174<\/td>1587<\/td>unread<\/td>88<\/td>11531<\/td><\/td>5827<\/td><\/td><\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6175<\/td>1588<\/td>unread<\/td>83<\/td>11532<\/td><\/td>5828<\/td>Kortfattet fotovejledning for begyndere<\/td>S.Skotner<\/td>Otto Perutz<\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
6176<\/td>1589<\/td>unread<\/td>81<\/td>11533<\/td><\/td>5829<\/td>Kreativ fotografering. Kodak<\/td><\/td><\/td>Danmark<\/td>1975<\/td><\/td>61<\/td> <\/tr>\n
6177<\/td>1590<\/td>unread<\/td>81<\/td>11534<\/td><\/td>5830<\/td>Kreativ fotografering. Kodak 2<\/td><\/td><\/td>Albertslund<\/td>1977<\/td><\/td>61<\/td> <\/tr>\n
6178<\/td>1591<\/td>unread<\/td>81<\/td>11535<\/td><\/td>5831<\/td><\/td><\/td><\/td>Rochester<\/td>1975<\/td><\/td>61<\/td> <\/tr>\n
6179<\/td>1592<\/td>unread<\/td>88<\/td>11536<\/td><\/td>5832<\/td><\/td>Th.Weg<\/td>Fotografisk Galleri<\/td><\/td>1985<\/td><\/td>48<\/td> <\/tr>\n
6180<\/td>1593<\/td>unread<\/td>83<\/td>11537<\/td><\/td>5833<\/td>Kunstlicht-Technik<\/td>Walther Kross<\/td>Heering Verlag<\/td>Harzburg<\/td>1942<\/td><\/td>67<\/td> <\/tr>\n
6181<\/td>1594<\/td>unread<\/td>88<\/td>11538<\/td><\/td>5834<\/td>Lebendige Leica<\/td>Walther Kross<\/td>Umschau Verlag<\/td>Frankfurt Am MAin<\/td>1955<\/td><\/td>52<\/td> <\/tr>\n
6182<\/td>1595<\/td>unread<\/td>83<\/td>11539<\/td><\/td>5835<\/td>Momentfotos bei Nacht<\/td>Walther Kross<\/td>Wilhelm Knapp Verlag<\/td>Leipzig<\/td><\/td><\/td>68<\/td> <\/tr>\n
6183<\/td>1596<\/td>unread<\/td>88<\/td>11540<\/td><\/td>5836<\/td>Krystallogrammer. Crystallograms<\/td>Eli Ponsaing<\/td><\/td><\/td>1996<\/td><\/td>42<\/td> <\/tr>\n
6184<\/td>1597<\/td>unread<\/td>88<\/td>11541<\/td><\/td>5837<\/td><\/td><\/td><\/td><\/td>1990<\/td>Den Hirschsprungske samling.<\/td>47<\/td> <\/tr>\n
6185<\/td>1598<\/td>unread<\/td>81<\/td>11542<\/td><\/td>5838<\/td>Sort\/hvid fremkaldelse<\/td>H.S.de Kue<\/td>Aschehoug<\/td><\/td>1978<\/td><\/td>64<\/td> <\/tr>\n
6186<\/td>1599<\/td>unread<\/td>88<\/td>11543<\/td><\/td>5839<\/td>Kulturens Fristad<\/td><\/td>Udgiver : Alternativ.<\/td>Danmark<\/td>1995<\/td><\/td>42<\/td> <\/tr>\n
6187<\/td>1600<\/td>unread<\/td>88<\/td>11544<\/td><\/td>5840<\/td>Kulturministeriets bogpris<\/td>Finn MAnford<\/td><\/td><\/td>1996<\/td><\/td>51<\/td> <\/tr>\n
6188<\/td>1601<\/td>unread<\/td>81<\/td>11545<\/td><\/td>5841<\/td>Modelsimulering med stereoskopi<\/td><\/td><\/td>Kunstakadamiets Arkitekskole. Danmark<\/td>1995<\/td><\/td>84<\/td> <\/tr>\n
6189<\/td>1602<\/td>unread<\/td>83<\/td>11546<\/td><\/td>5842<\/td>Kunstlicht und photographie<\/td>Rieck\/Verbeek<\/td>Philips Technische Bibliotek<\/td><\/td>1952<\/td><\/td>59<\/td> <\/tr>\n
6190<\/td>1603<\/td>unread<\/td>81<\/td>11547<\/td><\/td>5843<\/td>Kursus i fotografi<\/td><\/td>Teknisk Kursus<\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
6191<\/td>1604<\/td>unread<\/td>88<\/td>11548<\/td><\/td>5844<\/td><\/td>T.Kurtzweil, L.Schwander<\/td>Forlaget Djurs<\/td><\/td>1996<\/td><\/td>47<\/td> <\/tr>\n
6192<\/td>1605<\/td>unread<\/td>88<\/td>11549<\/td><\/td>5845<\/td><\/td>Sigwart Werner<\/td><\/td><\/td>1996<\/td><\/td>46<\/td> <\/tr>\n
6193<\/td>1606<\/td>unread<\/td>88<\/td>11550<\/td><\/td>5846<\/td><\/td>Alfred G. Hassing<\/td><\/td><\/td>1941<\/td><\/td>41<\/td> <\/tr>\n
6194<\/td>1607<\/td>unread<\/td>88<\/td>11551<\/td><\/td>5847<\/td><\/td>Alfred G. Hassing<\/td><\/td><\/td>1941<\/td><\/td>41<\/td> <\/tr>\n
6195<\/td>1608<\/td>unread<\/td>88<\/td>11552<\/td><\/td>5848<\/td><\/td>Alfred G. Hassing<\/td><\/td><\/td>1947<\/td><\/td>41<\/td> <\/tr>\n
6196<\/td>1609<\/td>unread<\/td>88<\/td>11553<\/td><\/td>5849<\/td><\/td>Alfred G. Hassing<\/td><\/td><\/td>1948<\/td><\/td>41<\/td> <\/tr>\n
6197<\/td>1610<\/td>unread<\/td>88<\/td>11554<\/td><\/td>5850<\/td><\/td>Alfred G. Hassing<\/td><\/td><\/td>1950<\/td><\/td>41<\/td> <\/tr>\n
6198<\/td>1611<\/td>unread<\/td>88<\/td>11555<\/td><\/td>5851<\/td><\/td>Alfred G. Hassing<\/td><\/td><\/td>1950<\/td><\/td>41<\/td> <\/tr>\n
6199<\/td>1612<\/td>unread<\/td>88<\/td>11556<\/td><\/td>5852<\/td><\/td><\/td>Strandbergs Forlag<\/td><\/td>1995<\/td><\/td>41<\/td> <\/tr>\n
6200<\/td>1613<\/td>unread<\/td>81<\/td>11557<\/td><\/td>5853<\/td>Menneskeaandens Sejre<\/td>Poul La Cour<\/td>Det Nordiske Forlag<\/td><\/td>1904<\/td><\/td>59<\/td> <\/tr>\n
6201<\/td>1614<\/td>unread<\/td>88<\/td>11558<\/td><\/td>5854<\/td>So photographiert die Welt<\/td>Hieronymus Lann<\/td>Im Apolle Verlag<\/td>Munchen<\/td><\/td><\/td>55<\/td> <\/tr>\n
6202<\/td>1615<\/td>unread<\/td>84<\/td>11559<\/td><\/td>5855<\/td>The instant picture<\/td>Michael Langford<\/td>Alfred A.Knopf forlag<\/td><\/td><\/td><\/td>83<\/td> <\/tr>\n
6203<\/td>1616<\/td>unread<\/td>81<\/td>11560<\/td><\/td>5856<\/td><\/td>Herman Larsen<\/td>Fr.Clausens forlag<\/td><\/td>1934<\/td><\/td>74<\/td> <\/tr>\n
6204<\/td>1617<\/td>unread<\/td>88<\/td>11561<\/td><\/td>5857<\/td>Las Arenas. Francisco Molto Esquembre<\/td><\/td><\/td><\/td><\/td><\/td>49<\/td> <\/tr>\n
6205<\/td>1618<\/td>unread<\/td>88<\/td>11562<\/td><\/td>5858<\/td><\/td>Uwe Laysiepen<\/td><\/td><\/td><\/td>Eng\/Tysk\/Ita\/Fr. Polaroid Corporation.<\/td>49<\/td> <\/tr>\n
6206<\/td>1619<\/td>unread<\/td>84<\/td>11563<\/td><\/td>5859<\/td>Making colorprints<\/td>Jerome Leadley<\/td>Little Tecnical Library<\/td>New York<\/td>1941<\/td><\/td>71<\/td> <\/tr>\n
6207<\/td>1620<\/td>unread<\/td>88<\/td>11564<\/td><\/td>5860<\/td>Playgirls von damals<\/td>Robert Lebeck<\/td>Harenberg Kommunikation<\/td>Tyskland<\/td>1978<\/td><\/td>53<\/td> <\/tr>\n
6208<\/td>1621<\/td>unread<\/td>83<\/td>11565<\/td><\/td>5861<\/td>Wiener Mittellungen.Photograph. inhalts<\/td>R.Lechner<\/td><\/td>Wien<\/td>1907<\/td><\/td>64<\/td> <\/tr>\n
6209<\/td>1622<\/td>unread<\/td>88<\/td>11566<\/td><\/td>5862<\/td>Vintage and modern photography<\/td>Janet Lehr<\/td><\/td>New York<\/td><\/td><\/td>51<\/td> <\/tr>\n
6210<\/td>1623<\/td>unread<\/td>83<\/td>11567<\/td><\/td>5863<\/td>Lehrb. der prakt. photographie<\/td>A.Miethe<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1922<\/td><\/td>67<\/td> <\/tr>\n
6211<\/td>1624<\/td>unread<\/td>84<\/td>11568<\/td><\/td>5864<\/td>Illustrated Guide . Leica<\/td>Morgan & Morgan<\/td><\/td>New York<\/td>1975<\/td><\/td>83<\/td> <\/tr>\n
6212<\/td>1625<\/td>unread<\/td>84<\/td>11569<\/td><\/td>5865<\/td>Leica M<\/td><\/td>Umschau Verlag<\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
6213<\/td>1626<\/td>unread<\/td>84<\/td>11570<\/td><\/td>5866<\/td>The Leica Rangefinder way<\/td>Andrew Matheson<\/td><\/td>London<\/td>1984<\/td><\/td>83<\/td> <\/tr>\n
6214<\/td>1627<\/td>unread<\/td>84<\/td>11571<\/td><\/td>5867<\/td>Leica,Darkroom Pratice<\/td>Rudolph Seck<\/td>Hove foto Books<\/td><\/td>1983<\/td><\/td>67<\/td> <\/tr>\n
6215<\/td>1628<\/td>unread<\/td>83<\/td>11572<\/td><\/td>5868<\/td>Leica, Wissenschaft und technik<\/td>Ernst Leitz<\/td><\/td>Wetzlar<\/td>1939<\/td>REG 05<\/td>0<\/td> <\/tr>\n
6216<\/td>1629<\/td>unread<\/td>84<\/td>11573<\/td><\/td>5869<\/td>300 Leica copies.<\/td>P.H.Pont, J.L.Princelle<\/td>Fotosaga<\/td>Frankrig<\/td>1990<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6217<\/td>1630<\/td>unread<\/td>84<\/td>11574<\/td><\/td>5870<\/td>Leica manual<\/td>Morgan\/Vestal\/Broecker<\/td>Morgan & Morgan<\/td><\/td>1973<\/td>ISBN 0-87100-003-2<\/td>59<\/td> <\/tr>\n
6218<\/td>1631<\/td>unread<\/td>84<\/td>11575<\/td><\/td>5871<\/td>Leica Reflex practice R5 to R3<\/td>Andrew Matheson<\/td>Hove foto books<\/td><\/td>1987<\/td>ISBN 0-906447-36-4<\/td>59<\/td> <\/tr>\n
6219<\/td>1632<\/td>unread<\/td>83<\/td>11576<\/td><\/td>5872<\/td>Leica und Leicasystem<\/td>Theo M. Scheerer<\/td>Umschau Verlag<\/td>Frankfurt Am MAin<\/td>1960<\/td><\/td>59<\/td> <\/tr>\n
6220<\/td>1633<\/td>unread<\/td>83<\/td>11577<\/td><\/td>5873<\/td>Leitfaden der Landschaftspho.<\/td>Fritz Loescher<\/td>Gustav Schmidt Verlag<\/td>Berlin<\/td>1904<\/td><\/td>67<\/td> <\/tr>\n
6221<\/td>1634<\/td>unread<\/td>88<\/td>11578<\/td><\/td>5874<\/td>Theater-Fotografiert<\/td>Edgar Lehmann<\/td>Otto Elsner Verlag<\/td>Berlin<\/td>1940<\/td><\/td>55<\/td> <\/tr>\n
6222<\/td>1635<\/td>unread<\/td>81<\/td>11579<\/td><\/td>5875<\/td>Smalfilmens ABC<\/td>Axel Lerche<\/td>H.Hagerups forlag<\/td><\/td>1936<\/td><\/td>74<\/td> <\/tr>\n
6223<\/td>1636<\/td>unread<\/td>88<\/td>11580<\/td><\/td>5876<\/td>Les Miroirs qui se souviennent<\/td><\/td>Syros Alternatives<\/td>Italien<\/td>1987<\/td><\/td>75<\/td> <\/tr>\n
6224<\/td>1637<\/td>unread<\/td>88<\/td>11581<\/td><\/td>5877<\/td>Levande bilder<\/td>Garder Sahlberg<\/td>Bonniers Boktryckeri<\/td>Stockholm<\/td>1966<\/td><\/td>43<\/td> <\/tr>\n
6225<\/td>1638<\/td>unread<\/td>81<\/td>11582<\/td><\/td>5878<\/td>Levende billeder i Danmark<\/td><\/td>Lademanns forlag<\/td><\/td>1971<\/td><\/td>74<\/td> <\/tr>\n
6226<\/td>1639<\/td>unread<\/td>81<\/td>11583<\/td><\/td>5879<\/td>Levende film<\/td>Finn Nesgaard<\/td>Specialbladsforlaget<\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6227<\/td>1640<\/td>unread<\/td>84<\/td>11584<\/td><\/td>5880<\/td>Photography today<\/td>Havold Lewis<\/td><\/td><\/td><\/td><\/td>72<\/td> <\/tr>\n
6228<\/td>1641<\/td>unread<\/td>88<\/td>11585<\/td><\/td>5881<\/td>Photography Yearbook 1949<\/td>Harold Lewis<\/td>Photography<\/td>London<\/td>1949<\/td><\/td>50<\/td> <\/tr>\n
6229<\/td>1642<\/td>unread<\/td>88<\/td>11586<\/td><\/td>5882<\/td>Photography Yearbook 1950<\/td>Harold Lewis<\/td>The Press Centre Limited<\/td>London<\/td>1950<\/td><\/td>50<\/td> <\/tr>\n
6230<\/td>1643<\/td>unread<\/td>88<\/td>11587<\/td><\/td>5883<\/td>Photography Yearbook 1951<\/td>Harold Lewis<\/td>The press centre Limited<\/td>London<\/td>1951<\/td><\/td>50<\/td> <\/tr>\n
6231<\/td>1644<\/td>unread<\/td>88<\/td>11588<\/td><\/td>5884<\/td>Lille rejse gen. den tyske Demokra. repo<\/td><\/td><\/td>Berlin DDR<\/td><\/td>Udgiver Selskabet for kulturelle forbindelser med udlandet.<\/td>55<\/td> <\/tr>\n
6232<\/td>1645<\/td>unread<\/td>88<\/td>11589<\/td><\/td>5885<\/td><\/td>Erich Salomon<\/td>Franz Greno Verlag<\/td><\/td>1988<\/td><\/td>75<\/td> <\/tr>\n
6233<\/td>1646<\/td>unread<\/td>83<\/td>11590<\/td><\/td>5886<\/td>Lifa. Lichtfilter Handbuch<\/td><\/td><\/td><\/td><\/td><\/td>67<\/td> <\/tr>\n
6234<\/td>1647<\/td>unread<\/td>83<\/td>11591<\/td><\/td>5887<\/td>Life die Photographie die Kamera<\/td><\/td><\/td><\/td><\/td><\/td>58<\/td> <\/tr>\n
6235<\/td>1648<\/td>unread<\/td>84<\/td>11592<\/td><\/td>5888<\/td>Life library of photography.Light and fi<\/td><\/td><\/td><\/td><\/td><\/td>58<\/td> <\/tr>\n
6236<\/td>1649<\/td>unread<\/td>84<\/td>11593<\/td><\/td>5889<\/td>Light and Film.<\/td><\/td>Time-life internationel<\/td><\/td>1972<\/td><\/td>101<\/td> <\/tr>\n
6237<\/td>1650<\/td>unread<\/td>84<\/td>11594<\/td><\/td>5890<\/td>Lightning for photography<\/td>Walter Nurnberg<\/td><\/td>London<\/td>1946<\/td><\/td>74<\/td> <\/tr>\n
6238<\/td>1651<\/td>unread<\/td>88<\/td>11595<\/td><\/td>5891<\/td>Lincolns Camera Man<\/td>Brady B. Mathew. Meredith Roy<\/td><\/td>America<\/td><\/td><\/td>78<\/td> <\/tr>\n
6239<\/td>1652<\/td>unread<\/td>88<\/td>11596<\/td><\/td>5892<\/td>Hugo Matthiessens kulturhistorie<\/td>Anders Linde_Lauersen<\/td>Forlaget Hikuin<\/td><\/td>1989<\/td><\/td>56<\/td> <\/tr>\n
6240<\/td>1653<\/td>unread<\/td>83<\/td>11597<\/td><\/td>5893<\/td>Linhof praxis. Linhof<\/td><\/td>Verlag Grossbild-Technik<\/td><\/td>1958<\/td><\/td>59<\/td> <\/tr>\n
6241<\/td>1654<\/td>unread<\/td>83<\/td>11598<\/td><\/td>5894<\/td>Das Linhof Kamerabuch,The Linhof Camera<\/td>Hildrun Kerkmann<\/td>Verlag Photo Technik Internat.<\/td><\/td><\/td>REG. 01.<\/td>0<\/td> <\/tr>\n
6242<\/td>1655<\/td>unread<\/td>81<\/td>11599<\/td><\/td>5895<\/td>P.L.Fangels livserindringer<\/td><\/td><\/td><\/td><\/td><\/td>82<\/td> <\/tr>\n
6243<\/td>1656<\/td>unread<\/td>84<\/td>11600<\/td><\/td>5896<\/td>The miniature camera in profess.hands<\/td>Remie Lohse<\/td><\/td>New York<\/td><\/td><\/td>71<\/td> <\/tr>\n
6244<\/td>1657<\/td>unread<\/td>84<\/td>11601<\/td><\/td>5897<\/td>Photographic enlarging<\/td>J.G.Lootens<\/td><\/td>Baltimore Maryland USA<\/td>1944<\/td><\/td>71<\/td> <\/tr>\n
6245<\/td>1658<\/td>unread<\/td>88<\/td>11602<\/td><\/td>5898<\/td>Louisiana<\/td>Jeff Wall<\/td><\/td><\/td>1992<\/td><\/td>42<\/td> <\/tr>\n
6246<\/td>1659<\/td>unread<\/td>118<\/td>11603<\/td><\/td>5899<\/td>Photographiske recepter<\/td><\/td><\/td><\/td>1860<\/td><\/td>82<\/td> <\/tr>\n
6247<\/td>1660<\/td>unread<\/td>83<\/td>11604<\/td><\/td>5900<\/td>Wie ein Tonfilm entsteht<\/td><\/td>Wilhelm Knapp Verlag<\/td><\/td><\/td><\/td>76<\/td> <\/tr>\n
6248<\/td>1661<\/td>unread<\/td>83<\/td>11605<\/td><\/td>5901<\/td><\/td>Fred Lullack<\/td>Wilhelm Knapp Verlag<\/td><\/td><\/td><\/td>81<\/td> <\/tr>\n
6249<\/td>1662<\/td>unread<\/td>83<\/td>11606<\/td><\/td>5902<\/td>Titeltechnik<\/td>F.Lullack<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1948<\/td><\/td>79<\/td> <\/tr>\n
6250<\/td>1663<\/td>unread<\/td>85<\/td>11607<\/td><\/td>5903<\/td>Lumiere & Jougla<\/td><\/td><\/td>Paris<\/td>1924<\/td><\/td>84<\/td> <\/tr>\n
6251<\/td>1664<\/td>unread<\/td>81<\/td>11608<\/td><\/td>5904<\/td>Ophavsret<\/td>Torben Lund<\/td>Gec Gads Forlag<\/td><\/td>1961<\/td><\/td>81<\/td> <\/tr>\n
6252<\/td>1665<\/td>unread<\/td>82<\/td>11609<\/td><\/td>5905<\/td>Motiv i natur<\/td>Svante Lundgren<\/td>Nordisk Rotogravyr<\/td>Stockholm<\/td>1962<\/td><\/td>64<\/td> <\/tr>\n
6253<\/td>1666<\/td>unread<\/td>81<\/td>11610<\/td><\/td>5906<\/td>Lysbilleder i sort\/hvid og farver<\/td>Anker Tiedemann<\/td>Jul.Gjellerups Forlag<\/td><\/td>1958<\/td><\/td>74<\/td> <\/tr>\n
6254<\/td>1667<\/td>unread<\/td>88<\/td>11611<\/td><\/td>5907<\/td>Lyset over Jerusalem<\/td>Carl-Henning Pedersen og Sidsel Ramon<\/td><\/td><\/td>1988<\/td><\/td>52<\/td> <\/tr>\n
6255<\/td>1668<\/td>unread<\/td>81<\/td>11612<\/td><\/td>5908<\/td>Fototeknik-lys-lux og luminans<\/td>K.Lund<\/td>Skrifola<\/td><\/td>1956<\/td><\/td>61<\/td> <\/tr>\n
6256<\/td>1669<\/td>unread<\/td>81<\/td>11613<\/td><\/td>5909<\/td>Lysbilledserier 1910-25.<\/td>Peter Madsen<\/td><\/td><\/td>1987<\/td>REG 57.<\/td>0<\/td> <\/tr>\n
6257<\/td>1670<\/td>unread<\/td>81<\/td>11614<\/td><\/td>5910<\/td><\/td>K.Wedell<\/td>Danmarks fotoforhandlerforening<\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
6258<\/td>1671<\/td>unread<\/td>81<\/td>11615<\/td><\/td>5911<\/td><\/td><\/td>Danmarks fotoforhandlerforening<\/td><\/td><\/td><\/td>61<\/td> <\/tr>\n
6259<\/td>1672<\/td>unread<\/td>81<\/td>11616<\/td><\/td>5912<\/td><\/td><\/td>Nielsen & Lydiche Forlag<\/td><\/td>1921<\/td><\/td>61<\/td> <\/tr>\n
6260<\/td>1673<\/td>unread<\/td>81<\/td>11617<\/td><\/td>5913<\/td><\/td><\/td><\/td><\/td>1940<\/td><\/td>61<\/td> <\/tr>\n
6261<\/td>1674<\/td>unread<\/td>81<\/td>11618<\/td><\/td>5914<\/td><\/td><\/td>Dansk Fotografisk Forening<\/td><\/td>1950<\/td><\/td>64<\/td> <\/tr>\n
6262<\/td>1675<\/td>unread<\/td>88<\/td>11619<\/td><\/td>5915<\/td>Photography Exhibition Catalogue<\/td>Aleksandras Macijauskas<\/td><\/td>Lithuanian<\/td>1988<\/td><\/td>43<\/td> <\/tr>\n
6263<\/td>1676<\/td>unread<\/td>88<\/td>11620<\/td><\/td>5916<\/td>Madchen in mienen Augen<\/td>Gunter Sachs<\/td>Wilhelm Heyne Verlag<\/td><\/td>1974<\/td><\/td>51<\/td> <\/tr>\n
6264<\/td>1677<\/td>unread<\/td>84<\/td>11621<\/td><\/td>5917<\/td>Magnetic sound recording<\/td><\/td>Eastman Kodak Co.<\/td><\/td>1958<\/td><\/td>74<\/td> <\/tr>\n
6265<\/td>1678<\/td>unread<\/td>88<\/td>11622<\/td><\/td>5918<\/td>Magnum Landscape<\/td><\/td>Phaidon Press Limited<\/td>Paris 1996-1997<\/td><\/td><\/td>54<\/td> <\/tr>\n
6266<\/td>1679<\/td>unread<\/td>88<\/td>11623<\/td><\/td>5919<\/td>Mai de la photo Priorite Overture et la<\/td><\/td><\/td><\/td>1993<\/td><\/td>42<\/td> <\/tr>\n
6267<\/td>1680<\/td>unread<\/td>88<\/td>11624<\/td><\/td>5920<\/td>Mai de la photo 1992 du 5.mai au 7.juni<\/td><\/td><\/td><\/td>1992<\/td><\/td>42<\/td> <\/tr>\n
6268<\/td>1681<\/td>unread<\/td>88<\/td>11625<\/td><\/td>5921<\/td>Mai de la photo<\/td>J.Falala, J.M.Lecomte,G.Talva<\/td><\/td>Reims<\/td>1991<\/td><\/td>42<\/td> <\/tr>\n
6269<\/td>1682<\/td>unread<\/td>88<\/td>11626<\/td><\/td>5922<\/td>Mai de la photo<\/td><\/td><\/td>Reims<\/td>1994<\/td><\/td>42<\/td> <\/tr>\n
6270<\/td>1683<\/td>unread<\/td>84<\/td>11627<\/td><\/td>5923<\/td>Making an enlarger<\/td>Hugo Van Wadenoyen<\/td>Focal Press Ltd.<\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
6271<\/td>1684<\/td>unread<\/td>83<\/td>11628<\/td><\/td>5924<\/td>Sportfotografie<\/td>Josef Makovec<\/td>Umschau Verlag<\/td>Frankfurt<\/td><\/td><\/td>69<\/td> <\/tr>\n
6272<\/td>1685<\/td>unread<\/td>83<\/td>11629<\/td><\/td>5925<\/td>Makro und mikro pr.<\/td>Franz P. Wimmer<\/td>Seemann Verlag<\/td><\/td>1911<\/td><\/td>73<\/td> <\/tr>\n
6273<\/td>1686<\/td>unread<\/td>88<\/td>11630<\/td><\/td>5926<\/td><\/td>H.Felix Man<\/td><\/td><\/td>1975<\/td><\/td>42<\/td> <\/tr>\n
6274<\/td>1687<\/td>unread<\/td>88<\/td>11631<\/td><\/td>5927<\/td>US Camera<\/td>T.J.Maloney<\/td>William Morrow & Co.<\/td>New York<\/td>1937<\/td><\/td>49<\/td> <\/tr>\n
6275<\/td>1688<\/td>unread<\/td>88<\/td>11632<\/td><\/td>5928<\/td>US Camera 1947<\/td>Tom Maloney<\/td>Duell, Sloan & Peace<\/td>USA<\/td>1946<\/td><\/td>49<\/td> <\/tr>\n
6276<\/td>1689<\/td>unread<\/td>88<\/td>11633<\/td><\/td>5929<\/td>US Camera 1949<\/td>Tom Maloney<\/td>Goldmann Co.<\/td>New York<\/td><\/td><\/td>49<\/td> <\/tr>\n
6277<\/td>1690<\/td>unread<\/td>88<\/td>11634<\/td><\/td>5930<\/td><\/td><\/td><\/td>Arles,Paris<\/td>1990<\/td>Man Ray, Derriere la facade Galerie Alain Paviot.<\/td>43<\/td> <\/tr>\n
6278<\/td>1691<\/td>unread<\/td>82<\/td>11635<\/td><\/td>5931<\/td>Med Lampa och Blixt<\/td><\/td>Nordisk Rotogravyr<\/td>Stockholm<\/td>1955<\/td><\/td>64<\/td> <\/tr>\n
6279<\/td>1692<\/td>unread<\/td>88<\/td>11636<\/td><\/td>5932<\/td><\/td><\/td>GFW Verlag<\/td><\/td>1974<\/td><\/td>52<\/td> <\/tr>\n
6280<\/td>1693<\/td>unread<\/td>88<\/td>11637<\/td><\/td>5933<\/td><\/td>Robert Mapplethorpe<\/td><\/td>New York. America<\/td>1992<\/td><\/td>47<\/td> <\/tr>\n
6281<\/td>1694<\/td>unread<\/td>88<\/td>11638<\/td><\/td>5934<\/td>Dronning Margrethe<\/td><\/td>Berlinske Tidende<\/td><\/td>1990<\/td><\/td>47<\/td> <\/tr>\n
6282<\/td>1695<\/td>unread<\/td>83<\/td>11639<\/td><\/td>5935<\/td>SPaziergang durch die Geschichte der fot<\/td><\/td>Selbstverlag Dieter Martin<\/td>Hamburg<\/td>1996<\/td><\/td>72<\/td> <\/tr>\n
6283<\/td>1696<\/td>unread<\/td>84<\/td>11640<\/td><\/td>5936<\/td>Modern Methods of carbon printing<\/td>A.M.Marton<\/td><\/td>USA<\/td>1905<\/td><\/td>71<\/td> <\/tr>\n
6284<\/td>1697<\/td>unread<\/td>88<\/td>11641<\/td><\/td>5937<\/td><\/td><\/td><\/td><\/td>1993<\/td><\/td>46<\/td> <\/tr>\n
6285<\/td>1698<\/td>unread<\/td>88<\/td>11642<\/td><\/td>5938<\/td>Masks. In Aid of Princes Trust<\/td><\/td><\/td><\/td>1996<\/td><\/td>41<\/td> <\/tr>\n
6286<\/td>1699<\/td>unread<\/td>88<\/td>11643<\/td><\/td>5939<\/td>Photograms of the Year 1948<\/td>R.Mason<\/td>Ileffe & Sons<\/td>London<\/td>1948<\/td><\/td>50<\/td> <\/tr>\n
6287<\/td>1700<\/td>unread<\/td>88<\/td>11644<\/td><\/td>5940<\/td>Photograms of the year 1952<\/td>R.Mason<\/td>Ileffe & Sons<\/td>London<\/td>1952<\/td><\/td>50<\/td> <\/tr>\n
6288<\/td>1701<\/td>unread<\/td>84<\/td>11645<\/td><\/td>5941<\/td>Master buying guide<\/td><\/td><\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
6289<\/td>1702<\/td>unread<\/td>88<\/td>11646<\/td><\/td>5942<\/td>Hugo Matthiessens Assens og omegn<\/td>Jette R. Orduna<\/td>Forlaget Hikuin<\/td><\/td>1995<\/td><\/td>56<\/td> <\/tr>\n
6290<\/td>1703<\/td>unread<\/td>88<\/td>11647<\/td><\/td>5943<\/td>Hugo Matthiessens Horsens<\/td><\/td>Horsens Museum & Forlaget Hikuin<\/td><\/td>1996<\/td><\/td>56<\/td> <\/tr>\n
6291<\/td>1704<\/td>unread<\/td>88<\/td>11648<\/td><\/td>5944<\/td>Hugo Matthiessens Viborg<\/td>Jens Vellev<\/td>Forlaget Hikuin<\/td><\/td>1987<\/td><\/td>56<\/td> <\/tr>\n
6292<\/td>1705<\/td>unread<\/td>88<\/td>11649<\/td><\/td>5945<\/td>Photofreund Jahrbuch<\/td>R.Ottwil Maurer<\/td>Photokino-verlag Helmut Elsner<\/td>Berlin<\/td>1838<\/td><\/td>52<\/td> <\/tr>\n
6293<\/td>1706<\/td>unread<\/td>88<\/td>11650<\/td><\/td>5946<\/td>Photofreund Jahrbuch<\/td>R.Ottwil Maurer<\/td>Photokino Verlag Helmut Elsner<\/td>Berlin<\/td>1939<\/td><\/td>52<\/td> <\/tr>\n
6294<\/td>1707<\/td>unread<\/td>88<\/td>11651<\/td><\/td>5947<\/td>Pariserinder<\/td>Andre Maurois<\/td>Allhems Forlag<\/td><\/td>1954<\/td><\/td>48<\/td> <\/tr>\n
6295<\/td>1708<\/td>unread<\/td>84<\/td>11652<\/td><\/td>5948<\/td>Movie making for the beginner<\/td>H.C.McKay<\/td>Ziff-Davis Publishing Co.<\/td>Chicago<\/td>1939<\/td><\/td>81<\/td> <\/tr>\n
6296<\/td>1709<\/td>unread<\/td>84<\/td>11653<\/td><\/td>5949<\/td>Priceguide to cameras 1981\/82<\/td>James M. McKeown<\/td><\/td><\/td><\/td><\/td>82<\/td> <\/tr>\n
6297<\/td>1710<\/td>unread<\/td>84<\/td>11654<\/td><\/td>5950<\/td>Price guide to cameras 1983\/84<\/td>James M. McKeown<\/td><\/td><\/td><\/td><\/td>82<\/td> <\/tr>\n
6298<\/td>1711<\/td>unread<\/td>84<\/td>11655<\/td><\/td>5951<\/td>Price guide to cameras 1985\/86<\/td>James M. McKeown<\/td><\/td><\/td><\/td><\/td>82<\/td> <\/tr>\n
6299<\/td>1712<\/td>unread<\/td>84<\/td>11656<\/td><\/td>5952<\/td>Price guide to cameras 1987\/88<\/td>James M. McKeown<\/td><\/td><\/td><\/td><\/td>82<\/td> <\/tr>\n
6300<\/td>1713<\/td>unread<\/td>84<\/td>11657<\/td><\/td>5953<\/td>Price guide to cameras 1990\/91<\/td>James M. McKeown<\/td><\/td><\/td><\/td><\/td>82<\/td> <\/tr>\n
6301<\/td>1714<\/td>unread<\/td>88<\/td>11658<\/td><\/td>5954<\/td><\/td><\/td>Illustrationsforlaget<\/td><\/td><\/td><\/td>47<\/td> <\/tr>\n
6302<\/td>1715<\/td>unread<\/td>88<\/td>11659<\/td><\/td>5955<\/td><\/td><\/td>Rhodos<\/td><\/td>1968<\/td><\/td>46<\/td> <\/tr>\n
6303<\/td>1716<\/td>unread<\/td>83<\/td>11660<\/td><\/td>5956<\/td>Medizinische fotografie und kinematograf<\/td>Heinz Orbach<\/td>Georg Thieme Verlag<\/td>Stuttgart<\/td>1971<\/td><\/td>66<\/td> <\/tr>\n
6304<\/td>1717<\/td>unread<\/td>88<\/td>11661<\/td><\/td>5957<\/td>Meine erfahrungen-farbig<\/td>Dr.Paul Wolff<\/td>Umschau Verlag<\/td>Frankfurt Am MAin<\/td>1948<\/td><\/td>52<\/td> <\/tr>\n
6305<\/td>1718<\/td>unread<\/td>88<\/td>11662<\/td><\/td>5958<\/td>Meine erfahrungen mit der Leica<\/td>Dr. Paul Wolff<\/td>Breidenstein Verlagsgesellschaft<\/td>Frankfurt Am MAin<\/td>1935<\/td><\/td>52<\/td> <\/tr>\n
6306<\/td>1719<\/td>unread<\/td>83<\/td>11663<\/td><\/td>5959<\/td><\/td><\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1937<\/td><\/td>67<\/td> <\/tr>\n
6307<\/td>1720<\/td>unread<\/td>88<\/td>11664<\/td><\/td>5960<\/td>Meister der erotischenfotografie<\/td><\/td>Wilhelm Heyne Verlag<\/td><\/td>1972<\/td><\/td>51<\/td> <\/tr>\n
6308<\/td>1721<\/td>unread<\/td>88<\/td>11665<\/td><\/td>5961<\/td>Meisterphotos der photokina<\/td><\/td>Verlag J.P.Bachem<\/td><\/td>1966<\/td><\/td>53<\/td> <\/tr>\n
6309<\/td>1722<\/td>unread<\/td>88<\/td>11666<\/td><\/td>5962<\/td>Meisterphotos der photokina<\/td><\/td>Viktoria Werbe und Vertribsgesellschaft<\/td><\/td>1968<\/td><\/td>53<\/td> <\/tr>\n
6310<\/td>1723<\/td>unread<\/td>88<\/td>11667<\/td><\/td>5963<\/td>Meisterfotos und wie mann sie macht<\/td><\/td>EHAPA Verlag<\/td>Stuttgart<\/td><\/td><\/td>51<\/td> <\/tr>\n
6311<\/td>1724<\/td>unread<\/td>88<\/td>11668<\/td><\/td>5964<\/td>Meine Tibet bilder<\/td>Heinz Woltereck<\/td>Heering Verlag<\/td>Seebruck<\/td>1953<\/td><\/td>75<\/td> <\/tr>\n
6312<\/td>1725<\/td>unread<\/td>81<\/td>11669<\/td><\/td>5965<\/td><\/td>Israel Berendt Melchior<\/td><\/td><\/td>1993<\/td><\/td>64<\/td> <\/tr>\n
6313<\/td>1726<\/td>unread<\/td>88<\/td>11670<\/td><\/td>5966<\/td>Queen Alexandra<\/td>Andrew Melrose<\/td><\/td><\/td>1925<\/td><\/td>49<\/td> <\/tr>\n
6314<\/td>1727<\/td>unread<\/td>88<\/td>11671<\/td><\/td>5967<\/td>Mesiac Fotografie.Slovensko Nov.1994<\/td><\/td>Vydala<\/td><\/td><\/td>Month of Photography.<\/td>43<\/td> <\/tr>\n
6315<\/td>1728<\/td>unread<\/td>83<\/td>11672<\/td><\/td>5968<\/td>Prisliste 20, 1910\/11<\/td>Ferd. Franz Meyer<\/td><\/td><\/td><\/td>REG 05.<\/td>0<\/td> <\/tr>\n
6316<\/td>1729<\/td>unread<\/td>81<\/td>11673<\/td><\/td>5969<\/td>Sfinxen griber ind<\/td>Hakon Mielche<\/td>Union Forlaget<\/td><\/td>1940<\/td><\/td>73<\/td> <\/tr>\n
6317<\/td>1730<\/td>unread<\/td>83<\/td>11674<\/td><\/td>5970<\/td>Photographischer.Notiz-Kalender<\/td>A. Miethe<\/td>Wilhelm Knapp Verlag<\/td><\/td>1922<\/td><\/td>68<\/td> <\/tr>\n
6318<\/td>1731<\/td>unread<\/td>83<\/td>11675<\/td><\/td>5971<\/td>Mikrophotographie<\/td>Dr.G.Stade, Dr. Herbert<\/td>Akedemische Verlageeselischaft<\/td>Leipzig<\/td>1939<\/td><\/td>83<\/td> <\/tr>\n
6319<\/td>1732<\/td>unread<\/td>83<\/td>11676<\/td><\/td>5972<\/td><\/td>Georg Stehli<\/td>Franckhsche Verlag<\/td>Stuttgart<\/td>1932<\/td><\/td>68<\/td> <\/tr>\n
6320<\/td>1733<\/td>unread<\/td>83<\/td>11677<\/td><\/td>5973<\/td>Mimosa-Handbuch<\/td><\/td>Verlag der Mimosa<\/td>Dresden<\/td>1929<\/td><\/td>73<\/td> <\/tr>\n
6321<\/td>1734<\/td>unread<\/td>84<\/td>11678<\/td><\/td>5974<\/td>Miniature camera technique<\/td>Fenwick G. Small<\/td>Little technical Library<\/td>New York<\/td>1940<\/td><\/td>71<\/td> <\/tr>\n
6322<\/td>1735<\/td>unread<\/td>88<\/td>11679<\/td><\/td>5975<\/td>Miniature camera work<\/td>W.Morgan, Henry Lester<\/td>Morgan & Lester<\/td>New York<\/td>1938<\/td><\/td>49<\/td> <\/tr>\n
6323<\/td>1736<\/td>unread<\/td>84<\/td>11680<\/td><\/td>5976<\/td>Miniature Photography after dark<\/td>Henry G. Russel<\/td>The Fountain Press<\/td>London<\/td><\/td><\/td>83<\/td> <\/tr>\n
6324<\/td>1737<\/td>unread<\/td>84<\/td>11681<\/td><\/td>5977<\/td>Processing miniature films<\/td>P.K.Tuner<\/td>Link House Ltd.<\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6325<\/td>1738<\/td>unread<\/td>84<\/td>11682<\/td><\/td>5978<\/td>Minoltas Kameratechnik<\/td>A.R. und J. Scheibel<\/td>Herbert Steller Verlag<\/td><\/td>1978<\/td>REG 05<\/td>0<\/td> <\/tr>\n
6326<\/td>1739<\/td>unread<\/td>81<\/td>11683<\/td><\/td>5979<\/td><\/td>L.F.Minter<\/td>Skrifola<\/td><\/td>1958<\/td><\/td>74<\/td> <\/tr>\n
6327<\/td>1740<\/td>unread<\/td>81<\/td>11684<\/td><\/td>5980<\/td><\/td>L.F.Minter<\/td>Skrifola Forlag<\/td><\/td>1958<\/td><\/td>74<\/td> <\/tr>\n
6328<\/td>1741<\/td>unread<\/td>81<\/td>11685<\/td><\/td>5981<\/td><\/td>L.Minter<\/td>Skrifola Forlag<\/td><\/td>1962<\/td><\/td>74<\/td> <\/tr>\n
6329<\/td>1742<\/td>unread<\/td>81<\/td>11686<\/td><\/td>5982<\/td><\/td><\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
6330<\/td>1743<\/td>unread<\/td>81<\/td>11687<\/td><\/td>5983<\/td><\/td><\/td><\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
6331<\/td>1744<\/td>unread<\/td>88<\/td>11688<\/td><\/td>5984<\/td>Model, A portrait of beaty by ten master<\/td><\/td>Ridge press<\/td><\/td>1958<\/td><\/td>51<\/td> <\/tr>\n
6332<\/td>1745<\/td>unread<\/td>88<\/td>11689<\/td><\/td>5985<\/td>Photographs that changed the world<\/td>Lorraine Monk<\/td>Walter Cronkite<\/td><\/td>1989<\/td><\/td>41<\/td> <\/tr>\n
6333<\/td>1746<\/td>unread<\/td>83<\/td>11690<\/td><\/td>5986<\/td>Moderne infarot und UV fotografie<\/td><\/td>Augustus Verlag<\/td>Tyskland<\/td>1992<\/td><\/td>81<\/td> <\/tr>\n
6334<\/td>1747<\/td>unread<\/td>88<\/td>11691<\/td><\/td>5987<\/td>Modern photography<\/td><\/td>The Studio Ltd<\/td>London<\/td>1931<\/td><\/td>75<\/td> <\/tr>\n
6335<\/td>1748<\/td>unread<\/td>88<\/td>11692<\/td><\/td>5988<\/td>Modern photography<\/td><\/td>The Studio Ltd<\/td>London<\/td>1932<\/td><\/td>75<\/td> <\/tr>\n
6336<\/td>1749<\/td>unread<\/td>84<\/td>11693<\/td><\/td>5989<\/td>The modern encyclop of photography I<\/td><\/td>The Waverley Book Co. Ltd<\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
6337<\/td>1750<\/td>unread<\/td>84<\/td>11694<\/td><\/td>5990<\/td>The modern ecyclop of photography II<\/td><\/td>The Waverley Book Co. Ltd.<\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
6338<\/td>1751<\/td>unread<\/td>88<\/td>11695<\/td><\/td>5991<\/td>Modene farbfot. 1936\/86, 50 jahre<\/td><\/td><\/td>Holland<\/td>1986<\/td><\/td>42<\/td> <\/tr>\n
6339<\/td>1752<\/td>unread<\/td>81<\/td>11696<\/td><\/td>5992<\/td><\/td>Hanns Neumann<\/td>V.Richters Forlag<\/td><\/td>1941<\/td><\/td>64<\/td> <\/tr>\n
6340<\/td>1753<\/td>unread<\/td>81<\/td>11697<\/td><\/td>5993<\/td><\/td><\/td>Ilford<\/td><\/td><\/td><\/td>59<\/td> <\/tr>\n
6341<\/td>1754<\/td>unread<\/td>84<\/td>11698<\/td><\/td>5994<\/td>The model<\/td>William Mortensen<\/td>The Mercury Press<\/td>Californien<\/td>1936<\/td><\/td>71<\/td> <\/tr>\n
6342<\/td>1755<\/td>unread<\/td>84<\/td>11699<\/td><\/td>5995<\/td>Mortensen on the negative<\/td>William Mortensen<\/td>Simon & Schuster<\/td>New York<\/td>1946<\/td><\/td>71<\/td> <\/tr>\n
6343<\/td>1756<\/td>unread<\/td>84<\/td>11700<\/td><\/td>5996<\/td>Motensen on the negative<\/td>William Mortensen<\/td>Simon & Schuster<\/td>New York<\/td>1947<\/td><\/td>71<\/td> <\/tr>\n
6344<\/td>1757<\/td>unread<\/td>84<\/td>11701<\/td><\/td>5997<\/td>Projection control<\/td>William Mortensen<\/td>Camera Craft Publishing Co.<\/td>USA<\/td>1948<\/td><\/td>72<\/td> <\/tr>\n
6345<\/td>1758<\/td>unread<\/td>84<\/td>11702<\/td><\/td>5998<\/td>The command to look<\/td>William MOrtensen<\/td>Camera Craft Pub. Co.<\/td>San Fancisco<\/td>1946<\/td><\/td>72<\/td> <\/tr>\n
6346<\/td>1759<\/td>unread<\/td>84<\/td>11703<\/td><\/td>5999<\/td>Projection control<\/td>William Mortensen<\/td>Camera Craft Pub.<\/td>San Francisco<\/td>1934<\/td><\/td>72<\/td> <\/tr>\n
6347<\/td>1760<\/td>unread<\/td>84<\/td>11704<\/td><\/td>6000<\/td>Pictorial Lighting<\/td>William Mortensen<\/td>Camera Craft Pub. Co.<\/td>San Francisco<\/td>1935<\/td><\/td>72<\/td> <\/tr>\n
6348<\/td>1761<\/td>unread<\/td>84<\/td>11705<\/td><\/td>6001<\/td>Pictorial Lighting<\/td>William Mortensen<\/td>Camera Craft Pub. Co.<\/td>San Francisco<\/td>1940<\/td><\/td>72<\/td> <\/tr>\n
6349<\/td>1762<\/td>unread<\/td>84<\/td>11706<\/td><\/td>6002<\/td>Pictorial Lighting<\/td>William Mortensen<\/td>Camera Craft Pub.<\/td>San Francisco<\/td>1947<\/td><\/td>72<\/td> <\/tr>\n
6350<\/td>1763<\/td>unread<\/td>84<\/td>11707<\/td><\/td>6003<\/td>Print Finishing<\/td>William Mortensen<\/td>Camera Craft Pub.<\/td>San Francisco<\/td>1938<\/td><\/td>72<\/td> <\/tr>\n
6351<\/td>1764<\/td>unread<\/td>84<\/td>11708<\/td><\/td>6004<\/td>Print Finishing<\/td>William Mortensen<\/td>Camera Craft Pub.Co.<\/td>USA<\/td>1948<\/td><\/td>72<\/td> <\/tr>\n
6352<\/td>1765<\/td>unread<\/td>88<\/td>11709<\/td><\/td>6005<\/td>Photograms of the year 1928<\/td>F.J.Mortimer<\/td>Iliffe & Sons<\/td>London<\/td>1928<\/td><\/td>50<\/td> <\/tr>\n
6353<\/td>1766<\/td>unread<\/td>88<\/td>11710<\/td><\/td>6006<\/td>Photograms of the year 1930<\/td>F.J.Mortimer<\/td>Ileffe & Sons<\/td>London<\/td>1930<\/td><\/td>50<\/td> <\/tr>\n
6354<\/td>1767<\/td>unread<\/td>88<\/td>11711<\/td><\/td>6007<\/td>Photograms of the year 1933<\/td>F.J.Mortimer<\/td>Ileffe & Sons<\/td>London<\/td>1933<\/td><\/td>50<\/td> <\/tr>\n
6355<\/td>1768<\/td>unread<\/td>88<\/td>11712<\/td><\/td>6008<\/td>Photograms of the year 1936<\/td>F.J.Mortimer<\/td>Ileffe & Sons<\/td>London<\/td>1936<\/td><\/td>50<\/td> <\/tr>\n
6356<\/td>1769<\/td>unread<\/td>88<\/td>11713<\/td><\/td>6009<\/td>Photograms of the year 1939<\/td>F.J.Mortimer<\/td>Ileffe & Sons<\/td>London<\/td>1939<\/td><\/td>50<\/td> <\/tr>\n
6357<\/td>1770<\/td>unread<\/td>88<\/td>11714<\/td><\/td>6010<\/td>Photograms of the year 1940<\/td>F.J.Mortimer<\/td>Ileffe & Sons<\/td>London<\/td>1940<\/td><\/td>50<\/td> <\/tr>\n
6358<\/td>1771<\/td>unread<\/td>84<\/td>11715<\/td><\/td>6011<\/td>Spy camera , The Minox story<\/td>Morris G. Moses<\/td>Hove foto books<\/td><\/td>1990<\/td>REG 05<\/td>0<\/td> <\/tr>\n
6359<\/td>1772<\/td>unread<\/td>88<\/td>11716<\/td><\/td>6012<\/td>Mostra Internazionale di arte Fotografic<\/td><\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6360<\/td>1773<\/td>unread<\/td>83<\/td>11717<\/td><\/td>6013<\/td><\/td>Herbert Starke<\/td>Photokino Verlag<\/td>Berlin<\/td>1933<\/td><\/td>64<\/td> <\/tr>\n
6361<\/td>1774<\/td>unread<\/td>88<\/td>11718<\/td><\/td>6014<\/td>Portrait dun Muse<\/td>Michele Moutashar<\/td><\/td><\/td>1990<\/td><\/td>48<\/td> <\/tr>\n
6362<\/td>1775<\/td>unread<\/td>88<\/td>11719<\/td><\/td>6015<\/td>The Standfort years 1872-1882<\/td>E.Muybridge<\/td>Standfort Art Book<\/td>New York<\/td>1972<\/td><\/td>47<\/td> <\/tr>\n
6363<\/td>1776<\/td>unread<\/td>81<\/td>11720<\/td><\/td>6016<\/td>Vejledning for amateurer<\/td><\/td><\/td><\/td>1888<\/td><\/td>60<\/td> <\/tr>\n
6364<\/td>1777<\/td>unread<\/td>81<\/td>11721<\/td><\/td>6017<\/td><\/td><\/td><\/td><\/td><\/td><\/td>59<\/td> <\/tr>\n
6365<\/td>1778<\/td>unread<\/td>81<\/td>11722<\/td><\/td>6018<\/td>Vejledning for amateurer<\/td><\/td><\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
6366<\/td>1779<\/td>unread<\/td>83<\/td>11723<\/td><\/td>6019<\/td><\/td><\/td><\/td>Dresden<\/td>1936<\/td><\/td>68<\/td> <\/tr>\n
6367<\/td>1780<\/td>unread<\/td>88<\/td>11724<\/td><\/td>6020<\/td>Museology<\/td>Richard Ross<\/td><\/td><\/td><\/td><\/td>48<\/td> <\/tr>\n
6368<\/td>1781<\/td>unread<\/td>84<\/td>11725<\/td><\/td>6021<\/td>My way with the miniature<\/td>Lancelot Vining<\/td><\/td>England<\/td>1941<\/td><\/td>71<\/td> <\/tr>\n
6369<\/td>1782<\/td>unread<\/td>84<\/td>11726<\/td><\/td>6022<\/td>My way with the miniature<\/td>Lancelot Vining<\/td><\/td>England<\/td>1946<\/td><\/td>71<\/td> <\/tr>\n
6370<\/td>1783<\/td>unread<\/td>88<\/td>11727<\/td><\/td>6023<\/td><\/td>Rigmor Mydtskov<\/td><\/td><\/td>1994<\/td><\/td>47<\/td> <\/tr>\n
6371<\/td>1784<\/td>unread<\/td>81<\/td>11728<\/td><\/td>6024<\/td>Tjen penge ved fotografering<\/td><\/td>Hobby Studio<\/td><\/td><\/td><\/td>60<\/td> <\/tr>\n
6372<\/td>1785<\/td>unread<\/td>81<\/td>11729<\/td><\/td>6025<\/td><\/td><\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
6373<\/td>1786<\/td>unread<\/td>81<\/td>11730<\/td><\/td>6026<\/td><\/td><\/td>G.W.Foto<\/td><\/td><\/td><\/td>81<\/td> <\/tr>\n
6374<\/td>1787<\/td>unread<\/td>81<\/td>11731<\/td><\/td>6027<\/td><\/td><\/td><\/td>Rochester<\/td>1975<\/td><\/td>61<\/td> <\/tr>\n
6375<\/td>1788<\/td>unread<\/td>83<\/td>11732<\/td><\/td>6028<\/td>Zauber der kamera<\/td>Helmut Nagel<\/td>Deutsche Verlags anstalt<\/td><\/td>1977<\/td>REG 01.<\/td>0<\/td> <\/tr>\n
6376<\/td>1789<\/td>unread<\/td>83<\/td>11733<\/td><\/td>6029<\/td>Zauber der kamera<\/td>Helmut Nagel<\/td>Deu. Verlags-anstalt<\/td>Stuttgart<\/td>1977<\/td><\/td>58<\/td> <\/tr>\n
6377<\/td>1790<\/td>unread<\/td>83<\/td>11734<\/td><\/td>6030<\/td>Photographische negativprozesse<\/td>Rudolf Namias<\/td>Wilhelm Knapp Verlag<\/td><\/td>1907<\/td><\/td>78<\/td> <\/tr>\n
6378<\/td>1791<\/td>unread<\/td>88<\/td>11735<\/td><\/td>6031<\/td>The National geographic society<\/td><\/td><\/td><\/td>1989<\/td><\/td>75<\/td> <\/tr>\n
6379<\/td>1792<\/td>unread<\/td>84<\/td>11736<\/td><\/td>6032<\/td>Photography by artifical light<\/td>Marcel Natkin<\/td>The fountain Press<\/td><\/td><\/td><\/td>72<\/td> <\/tr>\n
6380<\/td>1793<\/td>unread<\/td>84<\/td>11737<\/td><\/td>6033<\/td>Nature and camera<\/td>Oliver G. Pike<\/td>The Focal Press<\/td>London<\/td>1943<\/td><\/td>71<\/td> <\/tr>\n
6381<\/td>1794<\/td>unread<\/td>88<\/td>11738<\/td><\/td>6034<\/td>Naturfotografie 1988\/89<\/td><\/td>Kilda Verlag<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6382<\/td>1795<\/td>unread<\/td>81<\/td>11739<\/td><\/td>6035<\/td><\/td>D.M.Neale<\/td>Skrifola forlag<\/td><\/td>1959<\/td><\/td>74<\/td> <\/tr>\n
6383<\/td>1796<\/td>unread<\/td>81<\/td>11740<\/td><\/td>6036<\/td>Praktisk eksponeringsteknik<\/td>W. Neergaard<\/td><\/td><\/td>1956<\/td><\/td>79<\/td> <\/tr>\n
6384<\/td>1797<\/td>unread<\/td>81<\/td>11741<\/td><\/td>6037<\/td>Negativ-positiv processer<\/td>C.M.Ramskou<\/td>Dansk foto imports forlag<\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
6385<\/td>1798<\/td>unread<\/td>81<\/td>11742<\/td><\/td>6038<\/td><\/td>Finn Nesgaard<\/td>Clausens Forlag<\/td><\/td>1978<\/td><\/td>74<\/td> <\/tr>\n
6386<\/td>1799<\/td>unread<\/td>83<\/td>11743<\/td><\/td>6039<\/td><\/td>Hanns Neuman<\/td>Ed,Liesegang<\/td>Berlin<\/td>1937<\/td><\/td>68<\/td> <\/tr>\n
6387<\/td>1800<\/td>unread<\/td>83<\/td>11744<\/td><\/td>6040<\/td><\/td>Hanns Neumann<\/td><\/td>Dusseldorf<\/td>1937<\/td><\/td>68<\/td> <\/tr>\n
6388<\/td>1801<\/td>unread<\/td>83<\/td>11745<\/td><\/td>6041<\/td>Werkbuch der foto<\/td>Hanns Neuman<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1944<\/td><\/td>69<\/td> <\/tr>\n
6389<\/td>1802<\/td>unread<\/td>88<\/td>11746<\/td><\/td>6042<\/td><\/td>Knud Nielsen<\/td>Udgivet af Knud Nielsen<\/td>Danmark<\/td>1993<\/td><\/td>42<\/td> <\/tr>\n
6390<\/td>1803<\/td>unread<\/td>88<\/td>11747<\/td><\/td>6043<\/td>Nikkon Annual 1972\/73<\/td><\/td><\/td><\/td><\/td><\/td>52<\/td> <\/tr>\n
6391<\/td>1804<\/td>unread<\/td>88<\/td>11748<\/td><\/td>6044<\/td>Nikkor Annual 1973\/74<\/td><\/td><\/td><\/td><\/td><\/td>52<\/td> <\/tr>\n
6392<\/td>1805<\/td>unread<\/td>88<\/td>11749<\/td><\/td>6045<\/td>Nikkor Annual 1974\/75<\/td><\/td><\/td><\/td><\/td><\/td>52<\/td> <\/tr>\n
6393<\/td>1806<\/td>unread<\/td>88<\/td>11750<\/td><\/td>6046<\/td>Nikkor Annual 1975\/76<\/td><\/td><\/td><\/td><\/td><\/td>52<\/td> <\/tr>\n
6394<\/td>1807<\/td>unread<\/td>88<\/td>11751<\/td><\/td>6047<\/td>Nikkon Annual 1976\/77<\/td><\/td><\/td><\/td><\/td><\/td>52<\/td> <\/tr>\n
6395<\/td>1808<\/td>unread<\/td>88<\/td>11752<\/td><\/td>6048<\/td>Nikkon Annual 1982\/83<\/td><\/td><\/td><\/td><\/td><\/td>52<\/td> <\/tr>\n
6396<\/td>1809<\/td>unread<\/td>88<\/td>11753<\/td><\/td>6049<\/td>Nikkor Annual 1994\/95<\/td><\/td><\/td><\/td>1995<\/td><\/td>52<\/td> <\/tr>\n
6397<\/td>1810<\/td>unread<\/td>88<\/td>11754<\/td><\/td>6050<\/td>Nikon photo contest intern. 1982\/83<\/td><\/td>Nippon Kogaku<\/td>Tokyo<\/td>1982<\/td><\/td>52<\/td> <\/tr>\n
6398<\/td>1811<\/td>unread<\/td>84<\/td>11755<\/td><\/td>6051<\/td>The Nikon Rangefinder camera<\/td>Robert Rotoloni<\/td>Hove foto books<\/td><\/td>1983<\/td>REG. 05.<\/td>0<\/td> <\/tr>\n
6399<\/td>1812<\/td>unread<\/td>88<\/td>11756<\/td><\/td>6052<\/td>Nikkor Club<\/td><\/td><\/td><\/td><\/td><\/td>52<\/td> <\/tr>\n
6400<\/td>1813<\/td>unread<\/td>88<\/td>11757<\/td><\/td>6053<\/td>Tag und nacht mit der kleinkamera<\/td>A. Niklitschek<\/td>Verlag F. Bruckmannag<\/td><\/td><\/td><\/td>41<\/td> <\/tr>\n
6401<\/td>1814<\/td>unread<\/td>88<\/td>11758<\/td><\/td>6054<\/td>Tag und NAcht mit der Camera<\/td>A. Niklitschek<\/td>Verlag F. Bruckmann<\/td><\/td><\/td><\/td>51<\/td> <\/tr>\n
6402<\/td>1815<\/td>unread<\/td>83<\/td>11759<\/td><\/td>6055<\/td>Wasjeder knipser basteln kann<\/td>A. Niklitschek<\/td><\/td>Wien<\/td><\/td><\/td>81<\/td> <\/tr>\n
6403<\/td>1816<\/td>unread<\/td>88<\/td>11760<\/td><\/td>6056<\/td>Panorama Fotografiee<\/td>Mickael Nischke<\/td>Augustus Verlag<\/td><\/td>1994<\/td><\/td>55<\/td> <\/tr>\n
6404<\/td>1817<\/td>unread<\/td>81<\/td>11761<\/td><\/td>6057<\/td>Om mennesker og mig<\/td>Rie Nissen<\/td>Rosenkilde og Bagger<\/td><\/td>1974<\/td><\/td>64<\/td> <\/tr>\n
6405<\/td>1818<\/td>unread<\/td>88<\/td>11762<\/td><\/td>6058<\/td>Noget om Jul. Herning Museum<\/td><\/td><\/td><\/td><\/td><\/td>43<\/td> <\/tr>\n
6406<\/td>1819<\/td>unread<\/td>88<\/td>11763<\/td><\/td>6059<\/td>Nordisk Fagfotografi udstilling<\/td><\/td><\/td><\/td>apr-49<\/td>Udstillings katalog.<\/td>53<\/td> <\/tr>\n
6407<\/td>1820<\/td>unread<\/td>88<\/td>11764<\/td><\/td>6060<\/td><\/td><\/td><\/td>Stockholm<\/td>1934<\/td><\/td>48<\/td> <\/tr>\n
6408<\/td>1821<\/td>unread<\/td>88<\/td>11765<\/td><\/td>6061<\/td><\/td><\/td><\/td>Stockholm<\/td>1935<\/td><\/td>48<\/td> <\/tr>\n
6409<\/td>1822<\/td>unread<\/td>88<\/td>11766<\/td><\/td>6062<\/td><\/td><\/td><\/td>Stockholm<\/td>1936<\/td><\/td>48<\/td> <\/tr>\n
6410<\/td>1823<\/td>unread<\/td>88<\/td>11767<\/td><\/td>6063<\/td><\/td><\/td><\/td>Stockholm<\/td>1937<\/td><\/td>48<\/td> <\/tr>\n
6411<\/td>1824<\/td>unread<\/td>88<\/td>11768<\/td><\/td>6064<\/td>Nordisk fotografi i 1937<\/td><\/td><\/td>Stockholm<\/td>1937<\/td><\/td>48<\/td> <\/tr>\n
6412<\/td>1825<\/td>unread<\/td>88<\/td>11769<\/td><\/td>6065<\/td><\/td><\/td><\/td>Stockholm<\/td>1938<\/td><\/td>48<\/td> <\/tr>\n
6413<\/td>1826<\/td>unread<\/td>88<\/td>11770<\/td><\/td>6066<\/td><\/td><\/td><\/td><\/td>1939<\/td><\/td>48<\/td> <\/tr>\n
6414<\/td>1827<\/td>unread<\/td>88<\/td>11771<\/td><\/td>6067<\/td>Nordisk fotokunst<\/td><\/td>OAB Tryk<\/td>Odense<\/td>1985<\/td>Museet for fotokunst.<\/td>48<\/td> <\/tr>\n
6415<\/td>1828<\/td>unread<\/td>88<\/td>11772<\/td><\/td>6068<\/td>Nordisk fotokunst- et synspunkt<\/td><\/td><\/td>Odense<\/td>1987<\/td>Museet for Fotokunst.<\/td>48<\/td> <\/tr>\n
6416<\/td>1829<\/td>unread<\/td>88<\/td>11773<\/td><\/td>6069<\/td><\/td><\/td>Strandbergs forlag<\/td><\/td><\/td><\/td>43<\/td> <\/tr>\n
6417<\/td>1830<\/td>unread<\/td>88<\/td>11774<\/td><\/td>6070<\/td><\/td><\/td>Norsk fotohistorisk forening<\/td><\/td>1982<\/td><\/td>53<\/td> <\/tr>\n
6418<\/td>1831<\/td>unread<\/td>88<\/td>11775<\/td><\/td>6071<\/td><\/td><\/td>Norsk fotohistorisk forening<\/td><\/td>1980<\/td><\/td>53<\/td> <\/tr>\n
6419<\/td>1832<\/td>unread<\/td>88<\/td>11776<\/td><\/td>6072<\/td>Norsk Familie Album<\/td>Finn P. Nyquist<\/td><\/td>Oslo<\/td>1969<\/td><\/td>43<\/td> <\/tr>\n
6420<\/td>1833<\/td>unread<\/td>88<\/td>11777<\/td><\/td>6073<\/td>Nude Photographs<\/td>Constance Sullivan<\/td>Constance Sullivan Forlag<\/td>New York<\/td>1980<\/td><\/td>47<\/td> <\/tr>\n
6421<\/td>1834<\/td>unread<\/td>88<\/td>11778<\/td><\/td>6074<\/td>1000 Nudes. Scheid Uwe Collection<\/td><\/td><\/td>Taschen<\/td>1994<\/td><\/td>53<\/td> <\/tr>\n
6422<\/td>1835<\/td>unread<\/td>88<\/td>11779<\/td><\/td>6075<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6423<\/td>1836<\/td>unread<\/td>88<\/td>11780<\/td><\/td>6076<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6424<\/td>1837<\/td>unread<\/td>88<\/td>11781<\/td><\/td>6077<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6425<\/td>1838<\/td>unread<\/td>88<\/td>11782<\/td><\/td>6078<\/td><\/td><\/td>A\/S BOgforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6426<\/td>1839<\/td>unread<\/td>88<\/td>11783<\/td><\/td>6079<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6427<\/td>1840<\/td>unread<\/td>88<\/td>11784<\/td><\/td>6080<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6428<\/td>1841<\/td>unread<\/td>88<\/td>11785<\/td><\/td>6081<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6429<\/td>1842<\/td>unread<\/td>88<\/td>11786<\/td><\/td>6082<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6430<\/td>1843<\/td>unread<\/td>88<\/td>11787<\/td><\/td>6083<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6431<\/td>1844<\/td>unread<\/td>88<\/td>11788<\/td><\/td>6084<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6432<\/td>1845<\/td>unread<\/td>88<\/td>11789<\/td><\/td>6085<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6433<\/td>1846<\/td>unread<\/td>88<\/td>11790<\/td><\/td>6086<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6434<\/td>1847<\/td>unread<\/td>88<\/td>11791<\/td><\/td>6087<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6435<\/td>1848<\/td>unread<\/td>88<\/td>11792<\/td><\/td>6088<\/td><\/td><\/td>A\/S Bogforlaget Dana<\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6436<\/td>1849<\/td>unread<\/td>88<\/td>11793<\/td><\/td>6089<\/td>Wunder der grossen und kleinen Welt<\/td>Hans Ludwig Oeser<\/td>Deutsche Buch Gemeinschaft<\/td>Berlin<\/td>1937<\/td><\/td>53<\/td> <\/tr>\n
6437<\/td>1850<\/td>unread<\/td>84<\/td>11794<\/td><\/td>6090<\/td>16 mm sound motion pictures<\/td>W.H.Offenhauser<\/td>Interciene Publishers<\/td>New York<\/td><\/td><\/td>71<\/td> <\/tr>\n
6438<\/td>1851<\/td>unread<\/td>88<\/td>11795<\/td><\/td>6091<\/td>Olaf Poulsen.Kgl.Skuespiller.Karater.bil<\/td>Harald Paetz<\/td><\/td><\/td><\/td><\/td>45<\/td> <\/tr>\n
6439<\/td>1852<\/td>unread<\/td>82<\/td>11796<\/td><\/td>6092<\/td><\/td>Jan Olsheden<\/td><\/td>Stockholm<\/td>1967<\/td><\/td>64<\/td> <\/tr>\n
6440<\/td>1853<\/td>unread<\/td>88<\/td>11797<\/td><\/td>6093<\/td>Olympiade - Berlin 1936<\/td><\/td><\/td><\/td><\/td><\/td>42<\/td> <\/tr>\n
6441<\/td>1854<\/td>unread<\/td>88<\/td>11798<\/td><\/td>6094<\/td>One moment of the world-vol.1 1983<\/td><\/td>Goes Image<\/td><\/td><\/td><\/td>50<\/td> <\/tr>\n
6442<\/td>1855<\/td>unread<\/td>88<\/td>11799<\/td><\/td>6095<\/td>One moment of the world- Vol.2 1984<\/td><\/td>Meteosat Image<\/td><\/td><\/td><\/td>50<\/td> <\/tr>\n
6443<\/td>1856<\/td>unread<\/td>88<\/td>11800<\/td><\/td>6096<\/td>One moment of the world - Vol.3<\/td><\/td><\/td><\/td>1985<\/td><\/td>50<\/td> <\/tr>\n
6444<\/td>1857<\/td>unread<\/td>81<\/td>11801<\/td><\/td>6097<\/td>Smalfilmbogen<\/td>H.C.Opfermann<\/td>Skrifola Forlag<\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6445<\/td>1858<\/td>unread<\/td>81<\/td>11802<\/td><\/td>6098<\/td>Smalfilmbogen 8- 9,5 og 16mm<\/td>H.C.Opfermann<\/td>Skrifola Forlag<\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6446<\/td>1859<\/td>unread<\/td>84<\/td>11803<\/td><\/td>6099<\/td>Photographic Enlarging. A History<\/td>Eugene Ostroff<\/td>Smithsonnian Institution<\/td>Washington<\/td>1984<\/td><\/td>83<\/td> <\/tr>\n
6447<\/td>1860<\/td>unread<\/td>83<\/td>11804<\/td><\/td>6100<\/td>Optische Werke 1913\/1963<\/td>Jos. Schneider<\/td><\/td><\/td><\/td><\/td>66<\/td> <\/tr>\n
6448<\/td>1861<\/td>unread<\/td>88<\/td>11805<\/td><\/td>6101<\/td>Svendborg i billeder<\/td>V.Orloff \/ E. Jensen<\/td>Svendborg Avis Bogtrukkeri<\/td><\/td><\/td><\/td>48<\/td> <\/tr>\n
6449<\/td>1862<\/td>unread<\/td>84<\/td>11806<\/td><\/td>6102<\/td>Orthochrmatic Filters<\/td><\/td>Roffey & Clark<\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
6450<\/td>1863<\/td>unread<\/td>88<\/td>11807<\/td><\/td>6103<\/td>Oslo 1991. Homenajes<\/td>Leif Preus<\/td><\/td><\/td><\/td><\/td>49<\/td> <\/tr>\n
6451<\/td>1864<\/td>unread<\/td>84<\/td>11808<\/td><\/td>6104<\/td>Panchromatism<\/td><\/td>Ilford Limited 22 udgave<\/td>London. England<\/td><\/td><\/td>59<\/td> <\/tr>\n
6452<\/td>1865<\/td>unread<\/td>88<\/td>11809<\/td><\/td>6105<\/td>Panchromatism<\/td><\/td>Ilford Limited 23 udgave<\/td>London. England<\/td><\/td><\/td>59<\/td> <\/tr>\n
6453<\/td>1866<\/td>unread<\/td>81<\/td>11810<\/td><\/td>6106<\/td>Panoptic Photography<\/td><\/td><\/td><\/td>1993<\/td><\/td>798<\/td> <\/tr>\n
6454<\/td>1867<\/td>unread<\/td>88<\/td>11811<\/td><\/td>6107<\/td>Panorama<\/td>Josef Sudek<\/td>Zdenek Kirschner<\/td><\/td>1982<\/td><\/td>42<\/td> <\/tr>\n
6455<\/td>1868<\/td>unread<\/td>81<\/td>11812<\/td><\/td>6108<\/td><\/td>Wedell Pape<\/td>Skrifola forlag<\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6456<\/td>1869<\/td>unread<\/td>88<\/td>11813<\/td><\/td>6109<\/td>Paris et le Daguerreotype<\/td><\/td><\/td><\/td><\/td>Paris Museet 1989.<\/td>48<\/td> <\/tr>\n
6457<\/td>1870<\/td>unread<\/td>83<\/td>11814<\/td><\/td>6110<\/td><\/td>Ian Parker<\/td><\/td><\/td>1992<\/td><\/td>84<\/td> <\/tr>\n
6458<\/td>1871<\/td>unread<\/td>88<\/td>11815<\/td><\/td>6111<\/td>Under the looking glass<\/td>Olivia Parker<\/td>New York Graphic Sociaty book<\/td>Boston<\/td>1983<\/td><\/td>50<\/td> <\/tr>\n
6459<\/td>1872<\/td>unread<\/td>86<\/td>11816<\/td><\/td>6112<\/td>Out of this world.<\/td><\/td><\/td><\/td>1977<\/td>American Space photography Paul Dickson, A Delta Special.<\/td>76<\/td> <\/tr>\n
6460<\/td>1873<\/td>unread<\/td>84<\/td>11817<\/td><\/td>6113<\/td>Rollei Manual<\/td>Alec Pearlman<\/td>Fountain Press<\/td>London<\/td>1966<\/td><\/td>84<\/td> <\/tr>\n
6461<\/td>1874<\/td>unread<\/td>81<\/td>11818<\/td><\/td>6114<\/td><\/td>Ole Pedersen<\/td>Clausens Forlag<\/td><\/td>1965<\/td><\/td>64<\/td> <\/tr>\n
6462<\/td>1875<\/td>unread<\/td>81<\/td>11819<\/td><\/td>6115<\/td>Skyggebilleder<\/td>Vilhelm Pedersen<\/td>Gyldendalske boghandel. Nordisk Forlag<\/td><\/td>1905<\/td><\/td>75<\/td> <\/tr>\n
6463<\/td>1876<\/td>unread<\/td>86<\/td>11820<\/td><\/td>6116<\/td>Photography.Resent work of Japanese pho<\/td>Asahi Pentax<\/td><\/td>Japan<\/td>1970<\/td><\/td>45<\/td> <\/tr>\n
6464<\/td>1877<\/td>unread<\/td>88<\/td>11821<\/td><\/td>6117<\/td>Peter Lorents Livserindringer 1837\/1922<\/td><\/td><\/td><\/td><\/td><\/td>82<\/td> <\/tr>\n
6465<\/td>1878<\/td>unread<\/td>86<\/td>11822<\/td><\/td>6118<\/td>Photo Almanac<\/td>H.P.Sidel<\/td>Falk Publishing<\/td>New York<\/td>1939<\/td><\/td>81<\/td> <\/tr>\n
6466<\/td>1879<\/td>unread<\/td>84<\/td>11823<\/td><\/td>6119<\/td>Photo Almanac<\/td><\/td>The Falk Publishing<\/td><\/td>1940<\/td>Universal Photo Almanac and Market Guide.<\/td>73<\/td> <\/tr>\n
6467<\/td>1880<\/td>unread<\/td>83<\/td>11824<\/td><\/td>6120<\/td>Photo hilfsbuch<\/td>C. Schlleussner<\/td><\/td>Dresden<\/td>1909<\/td><\/td>69<\/td> <\/tr>\n
6468<\/td>1881<\/td>unread<\/td>83<\/td>11825<\/td><\/td>6121<\/td>Photo-Chemikalien und ihre anwendung<\/td>Dr. Ed Schloemann<\/td><\/td><\/td>1952<\/td><\/td>59<\/td> <\/tr>\n
6469<\/td>1882<\/td>unread<\/td>84<\/td>11826<\/td><\/td>6122<\/td>Photo Craftsmann. Science and mechanics<\/td><\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6470<\/td>1883<\/td>unread<\/td>88<\/td>11827<\/td><\/td>6123<\/td>Photo Recording from Cathode tubes<\/td><\/td><\/td><\/td><\/td><\/td>81<\/td> <\/tr>\n
6471<\/td>1884<\/td>unread<\/td>85<\/td>11828<\/td><\/td>6124<\/td>Photographe Amateur<\/td>L. Tranchant<\/td><\/td>Paris<\/td><\/td><\/td>81<\/td> <\/tr>\n
6472<\/td>1885<\/td>unread<\/td>88<\/td>11829<\/td><\/td>6125<\/td>Photographers haandbook.Time Life Books<\/td><\/td><\/td><\/td><\/td><\/td>81<\/td> <\/tr>\n
6473<\/td>1886<\/td>unread<\/td>83<\/td>11830<\/td><\/td>6126<\/td>Photographia sammeeln<\/td>Uwe Scheid<\/td>Keysersche Verlag<\/td><\/td>1977<\/td><\/td>68<\/td> <\/tr>\n
6474<\/td>1887<\/td>unread<\/td>83<\/td>11831<\/td><\/td>6127<\/td>Photo Antiquariaspecial. L.J.M..Daguerre<\/td><\/td><\/td><\/td>nov-87<\/td>1987-1987.<\/td>57<\/td> <\/tr>\n
6475<\/td>1888<\/td>unread<\/td>83<\/td>11832<\/td><\/td>6128<\/td>Das Pentax ME-MX spiegelreflexbuch<\/td><\/td><\/td><\/td>1978<\/td><\/td>66<\/td> <\/tr>\n
6476<\/td>1889<\/td>unread<\/td>88<\/td>11833<\/td><\/td>6129<\/td><\/td><\/td><\/td>Berlin<\/td>1916<\/td>Union Deutsche Verlagsgesellschaft Zweigniederlassung.<\/td>43<\/td> <\/tr>\n
6477<\/td>1890<\/td>unread<\/td>118<\/td>11834<\/td><\/td>6130<\/td>Photographisches rezeptbuch<\/td><\/td><\/td><\/td><\/td><\/td>69<\/td> <\/tr>\n
6478<\/td>1891<\/td>unread<\/td>83<\/td>11835<\/td><\/td>6131<\/td>Photographieren schwarzweiss und farbig<\/td><\/td>Francksche Verlag<\/td>Stuttgart<\/td><\/td><\/td>68<\/td> <\/tr>\n
6479<\/td>1892<\/td>unread<\/td>83<\/td>11836<\/td><\/td>6132<\/td>Das Photographieren mit blitzlicht<\/td>H. Schmidt<\/td>Verlag Wilhelm Knapp<\/td><\/td>1920<\/td><\/td>73<\/td> <\/tr>\n
6480<\/td>1893<\/td>unread<\/td>84<\/td>11837<\/td><\/td>6133<\/td>Photographing people<\/td>Hugo van Wadenoyen<\/td>The Focal Press<\/td><\/td>1945<\/td><\/td>72<\/td> <\/tr>\n
6481<\/td>1894<\/td>unread<\/td>83<\/td>11838<\/td><\/td>6134<\/td><\/td><\/td><\/td><\/td><\/td>Udgivet af Kodak.<\/td>66<\/td> <\/tr>\n
6482<\/td>1895<\/td>unread<\/td>84<\/td>11839<\/td><\/td>6135<\/td>Photographic facts and formulas<\/td>E.J.Walls<\/td>American Photograp.Publish<\/td>Boston<\/td>1924<\/td><\/td>73<\/td> <\/tr>\n
6483<\/td>1896<\/td>unread<\/td>81<\/td>11840<\/td><\/td>6136<\/td>Photographisk Haandbog<\/td>C.Piil<\/td><\/td><\/td>1861<\/td><\/td>60<\/td> <\/tr>\n
6484<\/td>1897<\/td>unread<\/td>83<\/td>11841<\/td><\/td>6137<\/td>Photogrammatik. Das Neue Mimosah<\/td><\/td>Der Mimose Verlag<\/td>Dresden<\/td>1933<\/td><\/td>68<\/td> <\/tr>\n
6485<\/td>1898<\/td>unread<\/td>88<\/td>11842<\/td><\/td>6138<\/td>Photogram of 95<\/td><\/td><\/td><\/td>1895<\/td><\/td>50<\/td> <\/tr>\n
6486<\/td>1899<\/td>unread<\/td>88<\/td>11843<\/td><\/td>6139<\/td>Photograms of the year 1908<\/td><\/td>Dawbarn & Ward<\/td>London<\/td>1908<\/td><\/td>50<\/td> <\/tr>\n
6487<\/td>1900<\/td>unread<\/td>88<\/td>11844<\/td><\/td>6140<\/td>Photograms of the year 1947<\/td>F.Tritton<\/td>Ileffe & Sons<\/td>London<\/td>1947<\/td><\/td>50<\/td> <\/tr>\n
6488<\/td>1901<\/td>unread<\/td>88<\/td>11845<\/td><\/td>6141<\/td>Photograms of the year 1954<\/td>Bertram Sinkinson<\/td>Ileffe & Sons<\/td>London<\/td>1954<\/td><\/td>50<\/td> <\/tr>\n
6489<\/td>1902<\/td>unread<\/td>88<\/td>11846<\/td><\/td>6142<\/td>Photo-Graphie<\/td><\/td>Arts et Metiers Graphiques<\/td>Paris<\/td>1936<\/td><\/td>48<\/td> <\/tr>\n
6490<\/td>1903<\/td>unread<\/td>88<\/td>11847<\/td><\/td>6143<\/td>Photographie 360<\/td>Leif Preus<\/td><\/td>Norge<\/td>1984<\/td>Preus Fotomuseum.<\/td>51<\/td> <\/tr>\n
6491<\/td>1904<\/td>unread<\/td>88<\/td>11848<\/td><\/td>6144<\/td>Photo.Luzern Weltausstel.der phot. 1952<\/td><\/td><\/td><\/td>1952<\/td>Tysk\/Eng\/Fransk.<\/td>55<\/td> <\/tr>\n
6492<\/td>1905<\/td>unread<\/td>81<\/td>11849<\/td><\/td>6145<\/td><\/td>C.Piil<\/td><\/td><\/td>1994<\/td><\/td>83<\/td> <\/tr>\n
6493<\/td>1906<\/td>unread<\/td>83<\/td>11850<\/td><\/td>6146<\/td><\/td>Urs Tillmanns<\/td><\/td>Schaffhausen<\/td>1982<\/td><\/td>84<\/td> <\/tr>\n
6494<\/td>1907<\/td>unread<\/td>83<\/td>11851<\/td><\/td>6147<\/td><\/td><\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1921<\/td><\/td>68<\/td> <\/tr>\n
6495<\/td>1908<\/td>unread<\/td>83<\/td>11852<\/td><\/td>6148<\/td>Photographischer notizkalender<\/td>Dr.F.Stolze<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1921<\/td><\/td>68<\/td> <\/tr>\n
6496<\/td>1909<\/td>unread<\/td>83<\/td>11853<\/td><\/td>6149<\/td>Photographische Notiz-kalender<\/td>Dr. F. Stolze<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1914<\/td><\/td>68<\/td> <\/tr>\n
6497<\/td>1910<\/td>unread<\/td>83<\/td>11854<\/td><\/td>6150<\/td>Photographisches hilfbuch<\/td>HAns Schmidt<\/td>Gustav Schmidt Verlag<\/td>Berlin<\/td>1910<\/td><\/td>68<\/td> <\/tr>\n
6498<\/td>1911<\/td>unread<\/td>83<\/td>11855<\/td><\/td>6151<\/td>Photographisches hilfsbuch<\/td>Hans Schmidt<\/td>Union Deutsche Verlag<\/td>Berlin<\/td>1914<\/td><\/td>68<\/td> <\/tr>\n
6499<\/td>1912<\/td>unread<\/td>83<\/td>11856<\/td><\/td>6152<\/td>Photographische optik<\/td>Hans Schmidt<\/td>Verlag Wilhelm Knapp<\/td><\/td>1917<\/td>Sort ringbind.<\/td>78<\/td> <\/tr>\n
6500<\/td>1913<\/td>unread<\/td>83<\/td>11857<\/td><\/td>6153<\/td>Photographiskes hilfsbuch<\/td>Hans Schmidt<\/td>Union Deutsche Verlag<\/td>Berlin<\/td>1919<\/td><\/td>68<\/td> <\/tr>\n
6501<\/td>1914<\/td>unread<\/td>83<\/td>11858<\/td><\/td>6154<\/td>Photogra.rezept-buch<\/td><\/td>Wilhelm Knapp Verlag<\/td><\/td><\/td><\/td>69<\/td> <\/tr>\n
6502<\/td>1915<\/td>unread<\/td>84<\/td>11859<\/td><\/td>6155<\/td>Phorography as a aid to scientific work<\/td><\/td>Ilford Limited<\/td><\/td><\/td><\/td>72<\/td> <\/tr>\n
6503<\/td>1916<\/td>unread<\/td>84<\/td>11860<\/td><\/td>6156<\/td>Photography in the modern advertisemant<\/td>Gordon Stapely<\/td>Chapman & Hall<\/td><\/td>1937<\/td><\/td>72<\/td> <\/tr>\n
6504<\/td>1917<\/td>unread<\/td>84<\/td>11861<\/td><\/td>6157<\/td>Photography Annual<\/td><\/td><\/td><\/td>1893<\/td><\/td>71<\/td> <\/tr>\n
6505<\/td>1918<\/td>unread<\/td>88<\/td>11862<\/td><\/td>6158<\/td>Photography after photography<\/td><\/td>G+B Arts<\/td><\/td>1996<\/td><\/td>41<\/td> <\/tr>\n
6506<\/td>1919<\/td>unread<\/td>84<\/td>11863<\/td><\/td>6159<\/td>Photography handbook<\/td><\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6507<\/td>1920<\/td>unread<\/td>84<\/td>11864<\/td><\/td>6160<\/td>Photography 1839-1939<\/td><\/td>Noel Chanan<\/td>London<\/td>1989<\/td><\/td>57<\/td> <\/tr>\n
6508<\/td>1921<\/td>unread<\/td>83<\/td>11865<\/td><\/td>6161<\/td>Photography yearbook(jahrbuch der fotogr<\/td><\/td>Wilhelm Knapp Verlag<\/td><\/td>1996<\/td><\/td>78<\/td> <\/tr>\n
6509<\/td>1922<\/td>unread<\/td>83<\/td>11866<\/td><\/td>6162<\/td>Photography yearbuch 1995<\/td><\/td>Wilhelm Knapp Verlag<\/td><\/td>1994<\/td>Internationales Jahrbuch der fotografie 1935-1995.<\/td>78<\/td> <\/tr>\n
6510<\/td>1923<\/td>unread<\/td>84<\/td>11867<\/td><\/td>6163<\/td>Photography yearbook<\/td><\/td>Press Centre Limited<\/td>London<\/td><\/td><\/td>78<\/td> <\/tr>\n
6511<\/td>1924<\/td>unread<\/td>88<\/td>11868<\/td><\/td>6164<\/td>Photography 150 years 1839-1989<\/td>Helen Ennis<\/td>Austrailien National Gallery.ASM Group<\/td>Sydney<\/td><\/td><\/td>49<\/td> <\/tr>\n
6512<\/td>1925<\/td>unread<\/td>88<\/td>11869<\/td><\/td>6165<\/td>Photography yearbook 1971<\/td>John Sanders<\/td>Fountain Press<\/td>LOndon<\/td>1971<\/td><\/td>50<\/td> <\/tr>\n
6513<\/td>1926<\/td>unread<\/td>88<\/td>11870<\/td><\/td>6166<\/td>Photokina 1990. Szene.bilder<\/td><\/td><\/td><\/td>1990<\/td>Eng\/Tysk<\/td>75<\/td> <\/tr>\n
6514<\/td>1927<\/td>unread<\/td>84<\/td>11871<\/td><\/td>6167<\/td>Picture making with paper negatives<\/td>Nowell Ward<\/td>American Photographic Publish<\/td><\/td>1941<\/td><\/td>72<\/td> <\/tr>\n
6515<\/td>1928<\/td>unread<\/td>81<\/td>11872<\/td><\/td>6168<\/td>Alt om smalfilm:Udstyr<\/td>Pierre Faveau<\/td>Skrifola forlag<\/td><\/td>1957<\/td><\/td>74<\/td> <\/tr>\n
6516<\/td>1929<\/td>unread<\/td>83<\/td>11873<\/td><\/td>6169<\/td>Pigmentdruck<\/td><\/td>Ed.Liesegang verlag<\/td>Leipzig<\/td>1920<\/td>Sort ringbind<\/td>78<\/td> <\/tr>\n
6517<\/td>1930<\/td>unread<\/td>83<\/td>11874<\/td><\/td>6170<\/td>Pina Handbuch<\/td><\/td><\/td><\/td><\/td><\/td>67<\/td> <\/tr>\n
6518<\/td>1931<\/td>unread<\/td>81<\/td>11875<\/td><\/td>6171<\/td>Pioneren Eyvind Rafn<\/td><\/td><\/td><\/td>1961<\/td><\/td>64<\/td> <\/tr>\n
6519<\/td>1932<\/td>unread<\/td>88<\/td>11876<\/td><\/td>6172<\/td>Pioneers of photography<\/td>Eva Weber<\/td>Bison Books<\/td>London<\/td>1995<\/td><\/td>51<\/td> <\/tr>\n
6520<\/td>1933<\/td>unread<\/td>82<\/td>11877<\/td><\/td>6173<\/td><\/td><\/td><\/td><\/td><\/td><\/td>57<\/td> <\/tr>\n
6521<\/td>1934<\/td>unread<\/td>88<\/td>11878<\/td><\/td>6174<\/td>Poesi og realitet.Sovjetisk fotografi<\/td><\/td><\/td><\/td>1990<\/td>Louisiana.<\/td>42<\/td> <\/tr>\n
6522<\/td>1935<\/td>unread<\/td>88<\/td>11879<\/td><\/td>6175<\/td>Polarios 1971-1986<\/td>Andy Warhol<\/td><\/td>New York<\/td>1992<\/td><\/td>52<\/td> <\/tr>\n
6523<\/td>1936<\/td>unread<\/td>81<\/td>11880<\/td><\/td>6176<\/td>Politikkens bog om foto teknilk<\/td><\/td>Politikkens Forlag<\/td><\/td>1979<\/td><\/td>59<\/td> <\/tr>\n
6524<\/td>1937<\/td>unread<\/td>81<\/td>11881<\/td><\/td>6177<\/td>Politikkens foto 1. Optagelsesteknik<\/td><\/td>Fyns Stiftsbogtrykkeri<\/td><\/td><\/td><\/td>59<\/td> <\/tr>\n
6525<\/td>1938<\/td>unread<\/td>84<\/td>11882<\/td><\/td>6178<\/td>Popular Mech.Photo handbook<\/td><\/td><\/td><\/td>1948<\/td><\/td>71<\/td> <\/tr>\n
6526<\/td>1939<\/td>unread<\/td>81<\/td>11883<\/td><\/td>6179<\/td><\/td>J.C.Stockholm<\/td>August Bangs Forlag<\/td><\/td>1923<\/td><\/td>73<\/td> <\/tr>\n
6527<\/td>1940<\/td>unread<\/td>81<\/td>11884<\/td><\/td>6180<\/td><\/td>J.C.Stockholm<\/td>Nordisk Forlag<\/td><\/td><\/td><\/td>73<\/td> <\/tr>\n
6528<\/td>1941<\/td>unread<\/td>81<\/td>11885<\/td><\/td>6181<\/td><\/td>J.C.Stockholm<\/td>Det Nordiske forlag<\/td><\/td><\/td><\/td>73<\/td> <\/tr>\n
6529<\/td>1942<\/td>unread<\/td>81<\/td>11886<\/td><\/td>6182<\/td><\/td><\/td><\/td><\/td>1968<\/td><\/td>73<\/td> <\/tr>\n
6530<\/td>1943<\/td>unread<\/td>84<\/td>11887<\/td><\/td>6183<\/td>Popular Photography. Photo Magazine<\/td><\/td><\/td><\/td>1958<\/td>REG.04.<\/td>0<\/td> <\/tr>\n
6531<\/td>1944<\/td>unread<\/td>88<\/td>11888<\/td><\/td>6184<\/td>Graphic design with polaroid land photog<\/td>Weston Andrews<\/td><\/td><\/td><\/td><\/td>52<\/td> <\/tr>\n
6532<\/td>1945<\/td>unread<\/td>88<\/td>11889<\/td><\/td>6185<\/td>Polaroid<\/td>Reza Khatir<\/td><\/td><\/td><\/td><\/td>58<\/td> <\/tr>\n
6533<\/td>1946<\/td>unread<\/td>88<\/td>11890<\/td><\/td>6186<\/td>6 Portfolios<\/td>Se under beskrivelse!<\/td>Solstrejf<\/td>Danmark<\/td>1989<\/td>Freddie Hansen. Johnny A. Henriksen. Karsten Madsen. Torkil Michelsen. Knud Nielsen.<\/td>41<\/td> <\/tr>\n
6534<\/td>1947<\/td>unread<\/td>82<\/td>11891<\/td><\/td>6187<\/td><\/td><\/td><\/td>Lund , Sverige<\/td>1993<\/td><\/td>81<\/td> <\/tr>\n
6535<\/td>1948<\/td>unread<\/td>81<\/td>11892<\/td><\/td>6188<\/td>Portretter og billedmessig fotografi<\/td>Aage Remfeldt<\/td><\/td><\/td>1936<\/td><\/td>79<\/td> <\/tr>\n
6536<\/td>1949<\/td>unread<\/td>81<\/td>11893<\/td><\/td>6189<\/td>Portretter<\/td>Aage Remfeldt<\/td><\/td><\/td>1936<\/td><\/td>64<\/td> <\/tr>\n
6537<\/td>1950<\/td>unread<\/td>88<\/td>11894<\/td><\/td>6190<\/td>P.O.V. Point of view<\/td>Henrik Saxgren<\/td>Gyldendal<\/td><\/td>1996<\/td><\/td>42<\/td> <\/tr>\n
6538<\/td>1951<\/td>unread<\/td>88<\/td>11895<\/td><\/td>6191<\/td><\/td><\/td><\/td>Hamburg<\/td><\/td>Gesamtkatalog 92<\/td>53<\/td> <\/tr>\n
6539<\/td>1952<\/td>unread<\/td>83<\/td>11896<\/td><\/td>6192<\/td>Practische mikro.<\/td>Guido G. Reinert<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1940<\/td><\/td>68<\/td> <\/tr>\n
6540<\/td>1953<\/td>unread<\/td>118<\/td>11897<\/td><\/td>6193<\/td>Praktische rezeptsamlung<\/td><\/td>Ed. Liesegang Verlag<\/td>Leipzig<\/td>1919<\/td><\/td>69<\/td> <\/tr>\n
6541<\/td>1954<\/td>unread<\/td>83<\/td>11898<\/td><\/td>6194<\/td><\/td><\/td><\/td><\/td>1988<\/td>Tysk\/Eng\/Fransk\/Russisk.<\/td>58<\/td> <\/tr>\n
6542<\/td>1955<\/td>unread<\/td>83<\/td>11899<\/td><\/td>6195<\/td><\/td><\/td><\/td><\/td>1988<\/td>Tysk\/Eng\/Fransk\/Russisk.<\/td>57<\/td> <\/tr>\n
6543<\/td>1956<\/td>unread<\/td>88<\/td>11900<\/td><\/td>6196<\/td>Premis Ciutat de Reus de Fotografia 1995<\/td><\/td><\/td><\/td><\/td>I Biennal Internacional de fotografia. Medella Gaudi. Premis Reus 1995-96<\/td>4<\/td> <\/tr>\n
6544<\/td>1957<\/td>unread<\/td>88<\/td>11901<\/td><\/td>6197<\/td>Premis Ciutat de Reus de fotografia<\/td><\/td><\/td><\/td>1997<\/td>Biennal Internacional de fotografia 1991 1996.<\/td>4<\/td> <\/tr>\n
6545<\/td>1958<\/td>unread<\/td>84<\/td>11902<\/td><\/td>6198<\/td>The Premo Camera<\/td><\/td>Rochester Optical Co.<\/td><\/td>1898<\/td>Catalog. REG 05<\/td>0<\/td> <\/tr>\n
6546<\/td>1959<\/td>unread<\/td>81<\/td>11903<\/td><\/td>6199<\/td>Presse fotograf forbundet<\/td><\/td>Frede Skaarup<\/td><\/td>1942<\/td><\/td>57<\/td> <\/tr>\n
6547<\/td>1960<\/td>unread<\/td>88<\/td>11904<\/td><\/td>6200<\/td>Se under beskrivelse<\/td><\/td>Berlingske forlag<\/td><\/td>1942<\/td><\/td>48<\/td> <\/tr>\n
6548<\/td>1961<\/td>unread<\/td>88<\/td>11905<\/td><\/td>6201<\/td><\/td><\/td>Gyldendal<\/td><\/td><\/td><\/td>48<\/td> <\/tr>\n
6549<\/td>1962<\/td>unread<\/td>88<\/td>11906<\/td><\/td>6202<\/td><\/td><\/td><\/td><\/td><\/td><\/td>51<\/td> <\/tr>\n
6550<\/td>1963<\/td>unread<\/td>84<\/td>11907<\/td><\/td>6203<\/td>Price guide to collec. cameras<\/td>M.Russel. R.Lockton<\/td>Fountain Press<\/td><\/td>1986<\/td><\/td>82<\/td> <\/tr>\n
6551<\/td>1964<\/td>unread<\/td>88<\/td>11908<\/td><\/td>6204<\/td>Prinsessen og hele kongeriget<\/td>Sven Sabroe<\/td><\/td><\/td><\/td><\/td>47<\/td> <\/tr>\n
6552<\/td>1965<\/td>unread<\/td>83<\/td>11909<\/td><\/td>6205<\/td>Se under beskrivelse<\/td>Karl Pritschow<\/td>Lindemanns Verlag<\/td><\/td>1943<\/td>Objektiv mikro photographie kleinbild kamera polarfilter elektr. Belichtungs-messer farben-photographie.<\/td>59<\/td> <\/tr>\n
6553<\/td>1966<\/td>unread<\/td>83<\/td>11910<\/td><\/td>6206<\/td>Rollei, report 1<\/td>Claus Prochnow<\/td><\/td><\/td><\/td><\/td>84<\/td> <\/tr>\n
6554<\/td>1967<\/td>unread<\/td>83<\/td>11911<\/td><\/td>6207<\/td>Rollei, report 2.<\/td>Claus Prochnow<\/td>Lindemanns Verlag<\/td>Tyskland<\/td>1994<\/td><\/td>84<\/td> <\/tr>\n
6555<\/td>1968<\/td>unread<\/td>83<\/td>11912<\/td><\/td>6208<\/td>Rollei, report 3<\/td>Claus Procnow<\/td>Lindemanns Verlag<\/td>Tyskland<\/td>1994<\/td><\/td>84<\/td> <\/tr>\n
6556<\/td>1969<\/td>unread<\/td>83<\/td>11913<\/td><\/td>6209<\/td>Rollei, report 4<\/td>Claus Prochnow<\/td>Lindemanns Verlag<\/td>Tyskland<\/td>1997<\/td><\/td>84<\/td> <\/tr>\n
6557<\/td>1970<\/td>unread<\/td>81<\/td>11914<\/td><\/td>6210<\/td><\/td><\/td>Kongsbak & Cohn<\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
6558<\/td>1971<\/td>unread<\/td>83<\/td>11915<\/td><\/td>6211<\/td><\/td>C.Puyo<\/td>Verlag von Gustav schmidt<\/td><\/td>1908<\/td><\/td>69<\/td> <\/tr>\n
6559<\/td>1972<\/td>unread<\/td>83<\/td>11916<\/td><\/td>6212<\/td>Prisliste nr 220<\/td>Franz Matthias<\/td><\/td><\/td>1924<\/td>REG 05<\/td>0<\/td> <\/tr>\n
6560<\/td>1973<\/td>unread<\/td>83<\/td>11917<\/td><\/td>6213<\/td>Prisliste nr.230<\/td>F.Matthias<\/td><\/td><\/td>1929<\/td>REG 05<\/td>0<\/td> <\/tr>\n
6561<\/td>1974<\/td>unread<\/td>82<\/td>11918<\/td><\/td>6214<\/td>Prisliste<\/td>Algot Persson<\/td><\/td><\/td>1912<\/td>REG 05<\/td>0<\/td> <\/tr>\n
6562<\/td>1975<\/td>unread<\/td>82<\/td>11919<\/td><\/td>6215<\/td>Prisliste. A-B Fotovaror<\/td><\/td><\/td><\/td>1923<\/td>reg 05<\/td>0<\/td> <\/tr>\n
6563<\/td>1976<\/td>unread<\/td>83<\/td>11920<\/td><\/td>6216<\/td>Brack & Co. Prisliste 1893<\/td><\/td><\/td><\/td><\/td>reg 05<\/td>0<\/td> <\/tr>\n
6564<\/td>1977<\/td>unread<\/td>81<\/td>11921<\/td><\/td>6217<\/td>Prisliste over artik.for fotogr. og repr<\/td><\/td>Siegfried Cohen & Co.<\/td><\/td>1907<\/td>Udarbejdet af J.P.HAnsen. Norka Hansen. REG 01<\/td>0<\/td> <\/tr>\n
6565<\/td>1978<\/td>unread<\/td>81<\/td>11922<\/td><\/td>6218<\/td>Prisliste. Siegfried Cohen. 1912<\/td><\/td><\/td><\/td><\/td>REG 05. Udarbejdet af J.P.Hansen. Norka Hansen.<\/td>0<\/td> <\/tr>\n
6566<\/td>1979<\/td>unread<\/td>82<\/td>11923<\/td><\/td>6219<\/td>Forsners A-B. Prisliste<\/td><\/td><\/td><\/td>1922-1923<\/td>reg 05<\/td>0<\/td> <\/tr>\n
6567<\/td>1980<\/td>unread<\/td>82<\/td>11924<\/td><\/td>6220<\/td>Forsners A-B. Prisliste 1924-1925<\/td><\/td><\/td><\/td><\/td>REG 05<\/td>0<\/td> <\/tr>\n
6568<\/td>1981<\/td>unread<\/td>82<\/td>11925<\/td><\/td>6221<\/td>Fotografiske magasin.Prisliste 1925<\/td><\/td><\/td><\/td><\/td>REG 05<\/td>0<\/td> <\/tr>\n
6569<\/td>1982<\/td>unread<\/td>85<\/td>11926<\/td><\/td>6222<\/td>Hermagis. Prislistte 1925<\/td><\/td><\/td><\/td><\/td>REG 05<\/td>0<\/td> <\/tr>\n
6570<\/td>1983<\/td>unread<\/td>83<\/td>11927<\/td><\/td>6223<\/td>ICA. Prisliste 1910<\/td><\/td><\/td><\/td><\/td>REG 05<\/td>0<\/td> <\/tr>\n
6571<\/td>1984<\/td>unread<\/td>83<\/td>11928<\/td><\/td>6224<\/td>ICA. Prisliste 1912<\/td><\/td><\/td><\/td><\/td>REG 05<\/td>0<\/td> <\/tr>\n
6572<\/td>1985<\/td>unread<\/td>83<\/td>11929<\/td><\/td>6225<\/td>ICA.Prisliste 1925<\/td><\/td><\/td><\/td><\/td>REG 05<\/td>0<\/td> <\/tr>\n
6573<\/td>1986<\/td>unread<\/td>83<\/td>11930<\/td><\/td>6226<\/td>Jonass & Co. Prisliste 1912<\/td><\/td><\/td>Berlin<\/td><\/td>REG 01<\/td>0<\/td> <\/tr>\n
6574<\/td>1987<\/td>unread<\/td>84<\/td>11931<\/td><\/td>6227<\/td>Kodak. Price list 1914<\/td><\/td><\/td><\/td><\/td>REG 03<\/td>0<\/td> <\/tr>\n
6575<\/td>1988<\/td>unread<\/td>83<\/td>11932<\/td><\/td>6228<\/td>Prisliste 1908<\/td>Friedo Wiesenhavern<\/td><\/td><\/td><\/td>REG 05<\/td>0<\/td> <\/tr>\n
6576<\/td>1989<\/td>unread<\/td>88<\/td>11933<\/td><\/td>6229<\/td>Queen Alexandras Christmas gift book<\/td><\/td>The DAily Telegraph<\/td>London<\/td>1908<\/td><\/td>50<\/td> <\/tr>\n
6577<\/td>1990<\/td>unread<\/td>88<\/td>11934<\/td><\/td>6230<\/td>Svenskarna sedda elva fotografer<\/td>Allan Ratved<\/td>Moderna Museet<\/td><\/td>1962-63<\/td><\/td>51<\/td> <\/tr>\n
6578<\/td>1991<\/td>unread<\/td>88<\/td>11935<\/td><\/td>6231<\/td><\/td>Man Ray<\/td><\/td><\/td>1996<\/td><\/td>53<\/td> <\/tr>\n
6579<\/td>1992<\/td>unread<\/td>86<\/td>11936<\/td><\/td>6232<\/td>The Univex story<\/td>C.A.Repinski<\/td><\/td><\/td><\/td>REG 06<\/td>0<\/td> <\/tr>\n
6580<\/td>1993<\/td>unread<\/td>88<\/td>11937<\/td><\/td>6233<\/td>Research Techniques in photogra.convatio<\/td><\/td>The Royal Danish Academy of fine art<\/td><\/td>1996<\/td><\/td>43<\/td> <\/tr>\n
6581<\/td>1994<\/td>unread<\/td>88<\/td>11938<\/td><\/td>6234<\/td>Riksforbundet.Svensk fotografi.<\/td><\/td><\/td><\/td>1995<\/td><\/td>53<\/td> <\/tr>\n
6582<\/td>1995<\/td>unread<\/td>83<\/td>11939<\/td><\/td>6235<\/td>Der UrRingblitz<\/td><\/td>Paffrath & Kemper<\/td><\/td>1978<\/td><\/td>66<\/td> <\/tr>\n
6583<\/td>1996<\/td>unread<\/td>88<\/td>11940<\/td><\/td>6236<\/td>8 Skildringer<\/td>Viggo Rivard<\/td>NKN offset<\/td><\/td>1975<\/td><\/td>48<\/td> <\/tr>\n
6584<\/td>1997<\/td>unread<\/td>84<\/td>11941<\/td><\/td>6237<\/td>Video yearbook 1980<\/td>Angus Robertsen<\/td>Blandford press<\/td>England<\/td>1979<\/td><\/td>54<\/td> <\/tr>\n
6585<\/td>1998<\/td>unread<\/td>88<\/td>11942<\/td><\/td>6238<\/td>19th Rochester international salon of ph<\/td><\/td><\/td>Rochester<\/td>1955<\/td><\/td>75<\/td> <\/tr>\n
6586<\/td>1999<\/td>unread<\/td>83<\/td>11943<\/td><\/td>6239<\/td>Rollei 1.Jahrbuch-annual -edition 1951<\/td><\/td>Verlag Rud. H. HAmmer<\/td>Wien<\/td><\/td><\/td>42<\/td> <\/tr>\n
6587<\/td>2000<\/td>unread<\/td>88<\/td>11944<\/td><\/td>6240<\/td>Rollei 2.Jahrbuch 1952<\/td><\/td>Verlag R.H.Hammer<\/td>Wien<\/td>1952<\/td>Tysk\/Eng.<\/td>42<\/td> <\/tr>\n
6588<\/td>2001<\/td>unread<\/td>88<\/td>11945<\/td><\/td>6241<\/td>Rollei 3.JAhrbuch-annual 1953<\/td><\/td>R.H.Hammer<\/td>Wien<\/td><\/td><\/td>42<\/td> <\/tr>\n
6589<\/td>2002<\/td>unread<\/td>83<\/td>11946<\/td><\/td>6242<\/td>Rollei.1920 75 years 1995<\/td>Claus Prochnow<\/td><\/td>Braunschweig,Tyskland<\/td>1994<\/td><\/td>84<\/td> <\/tr>\n
6590<\/td>2003<\/td>unread<\/td>88<\/td>11947<\/td><\/td>6243<\/td>Rollei Meisterfotos 1954<\/td><\/td>Verlag R.H.Hammer<\/td>Wien<\/td>1954<\/td>Tysk\/Eng<\/td>55<\/td> <\/tr>\n
6591<\/td>2004<\/td>unread<\/td>83<\/td>11948<\/td><\/td>6244<\/td>Rolleiflex SL 66. Rollei-Werke<\/td><\/td><\/td>Tyskland<\/td>1966<\/td><\/td>84<\/td> <\/tr>\n
6592<\/td>2005<\/td>unread<\/td>88<\/td>11949<\/td><\/td>6245<\/td>Rollei fotos<\/td><\/td>Verlag R.H.Hammer<\/td>Wien<\/td>1959<\/td><\/td>55<\/td> <\/tr>\n
6593<\/td>2006<\/td>unread<\/td>88<\/td>11950<\/td><\/td>6246<\/td><\/td>1981<\/td>Forlaget Hikuin<\/td><\/td>1981<\/td><\/td>48<\/td> <\/tr>\n
6594<\/td>2007<\/td>unread<\/td>88<\/td>11951<\/td><\/td>6247<\/td><\/td><\/td>Forlaget Hikuin<\/td><\/td>1984<\/td><\/td>48<\/td> <\/tr>\n
6595<\/td>2008<\/td>unread<\/td>88<\/td>11952<\/td><\/td>6248<\/td><\/td><\/td>Forlaget Hikuin<\/td><\/td>1986<\/td><\/td>48<\/td> <\/tr>\n
6596<\/td>2009<\/td>unread<\/td>88<\/td>11953<\/td><\/td>6249<\/td>The camera and the pencil or the heliogr<\/td>Marcus Aurelius Root<\/td>HELLOS Pawlet<\/td>Vermont<\/td>1971<\/td><\/td>54<\/td> <\/tr>\n
6597<\/td>2010<\/td>unread<\/td>84<\/td>11954<\/td><\/td>6250<\/td>Table top photography<\/td>Henry G. Russel<\/td>The Fountain Presss<\/td>London<\/td>1942<\/td><\/td>72<\/td> <\/tr>\n
6598<\/td>2011<\/td>unread<\/td>84<\/td>11955<\/td><\/td>6251<\/td>Salon Photograph<\/td><\/td><\/td><\/td><\/td><\/td>73<\/td> <\/tr>\n
6599<\/td>2012<\/td>unread<\/td>88<\/td>11956<\/td><\/td>6252<\/td>Photographs 1987-1997<\/td>Jan Saudek<\/td><\/td>Taschen<\/td><\/td><\/td>49<\/td> <\/tr>\n
6600<\/td>2013<\/td>unread<\/td>84<\/td>11957<\/td><\/td>6253<\/td>Se under beskrivelse<\/td>Larry J.Schaaf<\/td>Science Museum and National Museum of ph<\/td>USA<\/td>1994<\/td>Selected correspondence of William Henry Fox Talbot 1823-1874.<\/td>72<\/td> <\/tr>\n
6601<\/td>2014<\/td>unread<\/td>81<\/td>11958<\/td><\/td>6254<\/td>Beretninger fra dansk fotogr. foren.<\/td>A.E.M.Schleisner<\/td><\/td><\/td>1881<\/td><\/td>72<\/td> <\/tr>\n
6602<\/td>2015<\/td>unread<\/td>83<\/td>11959<\/td><\/td>6255<\/td>Schmalfilm-tips<\/td>Fritz Schulz<\/td><\/td>Seebruck am Chiemsee<\/td>1952<\/td><\/td>79<\/td> <\/tr>\n
6603<\/td>2016<\/td>unread<\/td>88<\/td>11960<\/td><\/td>6256<\/td>Spritztour<\/td>Uwe Scheid<\/td><\/td><\/td>1993<\/td><\/td>42<\/td> <\/tr>\n
6604<\/td>2017<\/td>unread<\/td>83<\/td>11961<\/td><\/td>6257<\/td>Schmalfilm-handbuch<\/td><\/td>R.H.Hammer verlag<\/td>Wien<\/td>1958<\/td><\/td>74<\/td> <\/tr>\n
6605<\/td>2018<\/td>unread<\/td>83<\/td>11962<\/td><\/td>6258<\/td><\/td><\/td>Umschau Verlag<\/td><\/td>1956<\/td><\/td>81<\/td> <\/tr>\n
6606<\/td>2019<\/td>unread<\/td>83<\/td>11963<\/td><\/td>6259<\/td><\/td>Friedrich W.Voigt<\/td><\/td><\/td>1971<\/td><\/td>66<\/td> <\/tr>\n
6607<\/td>2020<\/td>unread<\/td>83<\/td>11964<\/td><\/td>6260<\/td>Schule der farben fotografie<\/td>Hans Windisch<\/td>Im Heering Verlag<\/td><\/td>1941<\/td><\/td>67<\/td> <\/tr>\n
6608<\/td>2021<\/td>unread<\/td>83<\/td>11965<\/td><\/td>6261<\/td>Schule der farben fotografie<\/td>HAns Windisch<\/td>Heering Verlag<\/td>Seebruck<\/td>1952<\/td><\/td>69<\/td> <\/tr>\n
6609<\/td>2022<\/td>unread<\/td>81<\/td>11966<\/td><\/td>6262<\/td>P.S<\/td>Peter Seeberg<\/td>Hikuin<\/td><\/td>1993<\/td><\/td>64<\/td> <\/tr>\n
6610<\/td>2023<\/td>unread<\/td>88<\/td>11967<\/td><\/td>6263<\/td>Sekula Allan<\/td>Karen Knorr, Jessica Evans<\/td><\/td><\/td><\/td>International Photography Magazine. TEN 8.<\/td>57<\/td> <\/tr>\n
6611<\/td>2024<\/td>unread<\/td>88<\/td>11968<\/td><\/td>6264<\/td>Selections 1 1982<\/td><\/td>Verlag Photographie<\/td>Schaffhausen<\/td>1982<\/td>Tysk\/Eng\/Fransk.<\/td>55<\/td> <\/tr>\n
6612<\/td>2025<\/td>unread<\/td>88<\/td>11969<\/td><\/td>6265<\/td>Selections 2 1984<\/td><\/td>Verlag Photographie<\/td>Schaffhausen<\/td>1984<\/td>Tysk\/Eng\/Fransk.<\/td>55<\/td> <\/tr>\n
6613<\/td>2026<\/td>unread<\/td>88<\/td>11970<\/td><\/td>6266<\/td>Selections 3 1986<\/td><\/td>Verlag Photographie<\/td>Schaffhausen<\/td>1986<\/td>Tysk\/Eng\/Fransk.<\/td>55<\/td> <\/tr>\n
6614<\/td>2027<\/td>unread<\/td>88<\/td>11971<\/td><\/td>6267<\/td>Selections 5.The internat.polaroid colle<\/td><\/td><\/td><\/td>1990<\/td>Eng\/Amerikansk.<\/td>55<\/td> <\/tr>\n
6615<\/td>2028<\/td>unread<\/td>88<\/td>11972<\/td><\/td>6268<\/td><\/td><\/td><\/td>Helsinki<\/td>1992<\/td>Finlands Fotografiska Museum.<\/td>54<\/td> <\/tr>\n
6616<\/td>2029<\/td>unread<\/td>88<\/td>11973<\/td><\/td>6269<\/td>Viev Camera<\/td>Harvey Shaman<\/td>Amphoto<\/td>USA<\/td>1991<\/td><\/td>43<\/td> <\/tr>\n
6617<\/td>2030<\/td>unread<\/td>84<\/td>11974<\/td><\/td>6270<\/td>The photographers guide<\/td>W.F.F.Shearcroft<\/td>The Fountain Press<\/td>London<\/td><\/td><\/td>72<\/td> <\/tr>\n
6618<\/td>2031<\/td>unread<\/td>84<\/td>11975<\/td><\/td>6271<\/td>The om system lens handbook<\/td>Jeanloup Sieff<\/td><\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
6619<\/td>2032<\/td>unread<\/td>88<\/td>11976<\/td><\/td>6272<\/td>Sorgenfri slot<\/td>Erik Sinding<\/td>Poul Kristensen forlag<\/td>Herning<\/td>1980<\/td><\/td>47<\/td> <\/tr>\n
6620<\/td>2033<\/td>unread<\/td>81<\/td>11977<\/td><\/td>6273<\/td>S.Skotner<\/td>Vejledning i fotografi<\/td>Nordisk forlag<\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
6621<\/td>2034<\/td>unread<\/td>84<\/td>11978<\/td><\/td>6274<\/td>Slides-planning and produk. slide progra<\/td><\/td>Eastman Kodak Co.<\/td><\/td>1986<\/td><\/td>57<\/td> <\/tr>\n
6622<\/td>2035<\/td>unread<\/td>81<\/td>11979<\/td><\/td>6275<\/td>Smalfilm<\/td>Wedell Pape<\/td>Gevearts foto bibliotek<\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6623<\/td>2036<\/td>unread<\/td>81<\/td>11980<\/td><\/td>6276<\/td><\/td><\/td><\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6624<\/td>2037<\/td>unread<\/td>81<\/td>11981<\/td><\/td>6277<\/td>Smalfilm 63<\/td><\/td>Skrifola forlag<\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6625<\/td>2038<\/td>unread<\/td>82<\/td>11982<\/td><\/td>6278<\/td>Smalfilm 64<\/td><\/td><\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6626<\/td>2039<\/td>unread<\/td>81<\/td>11983<\/td><\/td>6279<\/td>16mm smalfilmgeng.<\/td><\/td>Statens filmcentral<\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6627<\/td>2040<\/td>unread<\/td>81<\/td>11984<\/td><\/td>6280<\/td>Bogen om smalfilm<\/td><\/td>Politikkens forlag<\/td><\/td>1977<\/td><\/td>74<\/td> <\/tr>\n
6628<\/td>2041<\/td>unread<\/td>84<\/td>11985<\/td><\/td>6281<\/td><\/td>C.L.Thomson<\/td>Skrifola forlag<\/td><\/td>1963<\/td><\/td>74<\/td> <\/tr>\n
6629<\/td>2042<\/td>unread<\/td>81<\/td>11986<\/td><\/td>6282<\/td><\/td>C.L.Thomson<\/td>Skrifola Forlag<\/td><\/td>1963<\/td><\/td>74<\/td> <\/tr>\n
6630<\/td>2043<\/td>unread<\/td>81<\/td>11987<\/td><\/td>6283<\/td>Vi smalfilmer.Vejledning for smalfilmama<\/td><\/td>Skrifola<\/td><\/td>1956<\/td><\/td>74<\/td> <\/tr>\n
6631<\/td>2044<\/td>unread<\/td>81<\/td>11988<\/td><\/td>6284<\/td><\/td><\/td><\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6632<\/td>2045<\/td>unread<\/td>84<\/td>11989<\/td><\/td>6285<\/td>Snow and ice photography<\/td>H.W.Wagner<\/td>Camera Craft Publishing<\/td>San Francisco<\/td>1938<\/td><\/td>72<\/td> <\/tr>\n
6633<\/td>2046<\/td>unread<\/td>83<\/td>11990<\/td><\/td>6286<\/td><\/td>Paul Wolff<\/td>Bechhold Verlag<\/td>Frankfurt<\/td>1936<\/td><\/td>83<\/td> <\/tr>\n
6634<\/td>2047<\/td>unread<\/td>81<\/td>11991<\/td><\/td>6287<\/td>Special-catalog nr 32<\/td><\/td><\/td><\/td>1995<\/td><\/td>81<\/td> <\/tr>\n
6635<\/td>2048<\/td>unread<\/td>81<\/td>11992<\/td><\/td>6288<\/td><\/td><\/td><\/td><\/td><\/td><\/td>81<\/td> <\/tr>\n
6636<\/td>2049<\/td>unread<\/td>88<\/td>11993<\/td><\/td>6289<\/td>Stokholm-Sommerstaden<\/td><\/td><\/td>Stokholm<\/td>1950<\/td><\/td>42<\/td> <\/tr>\n
6637<\/td>2050<\/td>unread<\/td>88<\/td>11994<\/td><\/td>6290<\/td>Stockholm panoramor<\/td><\/td><\/td><\/td><\/td>Stockholm Stadsmuseum<\/td>53<\/td> <\/tr>\n
6638<\/td>2051<\/td>unread<\/td>88<\/td>11995<\/td><\/td>6291<\/td>Stockholm Vision Intima<\/td><\/td><\/td><\/td>1990<\/td>Francisco Molto Esquembre<\/td>48<\/td> <\/tr>\n
6639<\/td>2052<\/td>unread<\/td>81<\/td>11996<\/td><\/td>6292<\/td><\/td>Eline van Stuve<\/td>Forlaget H. Aschehoug & Co.<\/td>Kristiania<\/td>1915<\/td><\/td>81<\/td> <\/tr>\n
6640<\/td>2053<\/td>unread<\/td>88<\/td>11997<\/td><\/td>6293<\/td>Sucasna Slovenska Fotografia<\/td><\/td><\/td><\/td>1991<\/td>Slovak contemporary photography, Vydala SKZ MK SR. Bratisslava.<\/td>43<\/td> <\/tr>\n
6641<\/td>2054<\/td>unread<\/td>88<\/td>11998<\/td><\/td>6294<\/td>Svendborg & Omegns museum<\/td><\/td><\/td>Svendborg<\/td>1982<\/td><\/td>64<\/td> <\/tr>\n
6642<\/td>2055<\/td>unread<\/td>88<\/td>11999<\/td><\/td>6295<\/td>Szene-Bilder. Photokina 1990<\/td><\/td><\/td><\/td>1990<\/td>Eng\/Tysk.<\/td>75<\/td> <\/tr>\n
6643<\/td>2056<\/td>unread<\/td>84<\/td>12000<\/td><\/td>6296<\/td>Synchronized flashlight photography<\/td>G.L.Wakefield<\/td>The Fountain Press<\/td>London<\/td>1945<\/td><\/td>72<\/td> <\/tr>\n
6644<\/td>2057<\/td>unread<\/td>81<\/td>12001<\/td><\/td>6297<\/td><\/td>C.I.Thomsen<\/td>Forlaget Skrifola<\/td><\/td>1958<\/td><\/td>74<\/td> <\/tr>\n
6645<\/td>2058<\/td>unread<\/td>81<\/td>12002<\/td><\/td>6298<\/td><\/td>G.Wain<\/td>Skrifola Forlaget<\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6646<\/td>2059<\/td>unread<\/td>81<\/td>12003<\/td><\/td>6299<\/td>Tema kommunikation.Fotohist. i Norden<\/td><\/td><\/td>Norden<\/td><\/td><\/td>57<\/td> <\/tr>\n
6647<\/td>2060<\/td>unread<\/td>88<\/td>12004<\/td><\/td>6300<\/td>The pencil of nature<\/td>H.Fox Talbot<\/td><\/td>Hungary<\/td>1998<\/td><\/td>43<\/td> <\/tr>\n
6648<\/td>2061<\/td>unread<\/td>83<\/td>12005<\/td><\/td>6301<\/td>Taschenbuch der photographie<\/td>E.Vogel<\/td>Union Deutsche verlag<\/td>Berlin<\/td>1917<\/td><\/td>69<\/td> <\/tr>\n
6649<\/td>2062<\/td>unread<\/td>84<\/td>12006<\/td><\/td>6302<\/td>The ABC guide to autotype carbon printin<\/td><\/td>The Autotype Co Ltd<\/td>London<\/td><\/td><\/td>81<\/td> <\/tr>\n
6650<\/td>2063<\/td>unread<\/td>88<\/td>12007<\/td><\/td>6303<\/td>The Amateur photographer & Photography<\/td><\/td><\/td><\/td><\/td>1918-1923<\/td>51<\/td> <\/tr>\n
6651<\/td>2064<\/td>unread<\/td>88<\/td>12008<\/td><\/td>6304<\/td>What you see in Denmark 114 photographs<\/td><\/td><\/td><\/td><\/td>The American-Scandinavian Foundation.<\/td>47<\/td> <\/tr>\n
6652<\/td>2065<\/td>unread<\/td>88<\/td>12009<\/td><\/td>6305<\/td>The 1st Kodak Panther work book<\/td><\/td>Verlag Herman Schmidt Mainz<\/td>Tyskland<\/td>1994<\/td><\/td>43<\/td> <\/tr>\n
6653<\/td>2066<\/td>unread<\/td>84<\/td>12010<\/td><\/td>6306<\/td>The modernencylop of photography ,bind 1<\/td><\/td>The Waverly Book Co Ltd<\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
6654<\/td>2067<\/td>unread<\/td>84<\/td>12011<\/td><\/td>6307<\/td>The modern encylop of photography,bind 2<\/td><\/td>The Waverly Book Co. Ltd<\/td><\/td><\/td><\/td>71<\/td> <\/tr>\n
6655<\/td>2068<\/td>unread<\/td>84<\/td>12012<\/td><\/td>6308<\/td>The langham book of electronic flash<\/td><\/td><\/td>London<\/td><\/td><\/td>71<\/td> <\/tr>\n
6656<\/td>2069<\/td>unread<\/td>84<\/td>12013<\/td><\/td>6309<\/td>The Photogram<\/td>H.Snowden Ward<\/td><\/td><\/td>1900<\/td><\/td>71<\/td> <\/tr>\n
6657<\/td>2070<\/td>unread<\/td>88<\/td>12014<\/td><\/td>6310<\/td>Se under beskrivelse<\/td><\/td><\/td>Rochester House<\/td>1976<\/td>The spirit of fact. The International museum of photography at George Eastman.<\/td>42<\/td> <\/tr>\n
6658<\/td>2071<\/td>unread<\/td>84<\/td>12015<\/td><\/td>6311<\/td>The Technique of micro-copying<\/td><\/td>Ilford Limited<\/td><\/td><\/td><\/td>72<\/td> <\/tr>\n
6659<\/td>2072<\/td>unread<\/td>88<\/td>12016<\/td><\/td>6312<\/td>The Worlds best photographs<\/td><\/td>Odhams press Limited<\/td>London<\/td><\/td><\/td>51<\/td> <\/tr>\n
6660<\/td>2073<\/td>unread<\/td>88<\/td>12017<\/td><\/td>6313<\/td>Thorvaldsen<\/td><\/td>Nordlundes bogtrykkeri<\/td><\/td><\/td><\/td>54<\/td> <\/tr>\n
6661<\/td>2074<\/td>unread<\/td>83<\/td>12018<\/td><\/td>6314<\/td>Tiere der Berge<\/td>E.P.Tratz<\/td>Heering Verlag<\/td>Seebruck<\/td>1953<\/td><\/td>69<\/td> <\/tr>\n
6662<\/td>2075<\/td>unread<\/td>83<\/td>12019<\/td><\/td>6315<\/td>Tierefotografie<\/td>Walther Wissenbach<\/td>Umschau Verlag<\/td>Frankfurt<\/td><\/td><\/td>69<\/td> <\/tr>\n
6663<\/td>2076<\/td>unread<\/td>88<\/td>12020<\/td><\/td>6316<\/td><\/td><\/td>AKTS. Forlagskompagniet<\/td><\/td><\/td><\/td>47<\/td> <\/tr>\n
6664<\/td>2077<\/td>unread<\/td>88<\/td>12021<\/td><\/td>6317<\/td>Vindu mot vor tid<\/td>Kjell Sten Tollefsen<\/td><\/td>Preus Fottomuseum<\/td>1984<\/td><\/td>41<\/td> <\/tr>\n
6665<\/td>2078<\/td>unread<\/td>83<\/td>12022<\/td><\/td>6318<\/td>Tonfilmschule<\/td><\/td>Verlag Gigge Synchronfilm<\/td><\/td>1979<\/td><\/td>76<\/td> <\/tr>\n
6666<\/td>2079<\/td>unread<\/td>81<\/td>12023<\/td><\/td>6319<\/td>Tonefilm med Ektasound<\/td><\/td><\/td><\/td><\/td><\/td>74<\/td> <\/tr>\n
6667<\/td>2080<\/td>unread<\/td>88<\/td>12024<\/td><\/td>6320<\/td>Torvene(menesker og huse Thisted o. 1900<\/td><\/td>Knakken<\/td><\/td>1984<\/td><\/td>48<\/td> <\/tr>\n
6668<\/td>2081<\/td>unread<\/td>88<\/td>12025<\/td><\/td>6321<\/td>Traditionel og eksperimentel fotografik<\/td><\/td><\/td><\/td><\/td><\/td>48<\/td> <\/tr>\n
6669<\/td>2082<\/td>unread<\/td>84<\/td>12026<\/td><\/td>6322<\/td>Tricks for camera owners<\/td><\/td>Little Technical Library<\/td>New York<\/td>1939<\/td><\/td>71<\/td> <\/tr>\n
6670<\/td>2083<\/td>unread<\/td>88<\/td>12027<\/td><\/td>6323<\/td><\/td><\/td>F.Bruns Bokhandels Forlag<\/td><\/td>1948<\/td><\/td>42<\/td> <\/tr>\n
6671<\/td>2084<\/td>unread<\/td>84<\/td>12028<\/td><\/td>6324<\/td>Zeiss Ikon Cameras 1926-39<\/td>D.B.Tubbs<\/td><\/td><\/td><\/td>REG 02<\/td>0<\/td> <\/tr>\n
6672<\/td>2085<\/td>unread<\/td>88<\/td>12029<\/td><\/td>6325<\/td>Una vision real.Eine reale vision<\/td><\/td><\/td>Wien,Salzburg<\/td>1997<\/td>Documentalismos. 1.<\/td>53<\/td> <\/tr>\n
6673<\/td>2086<\/td>unread<\/td>88<\/td>12030<\/td><\/td>6326<\/td>Una vision real.Eine reale vesion<\/td><\/td><\/td>Wien,Salzburg<\/td>1997<\/td>Fotografia poetica II.<\/td>53<\/td> <\/tr>\n
6674<\/td>2087<\/td>unread<\/td>88<\/td>12031<\/td><\/td>6327<\/td>Una vision real.Eine reale vision III<\/td><\/td><\/td>Wien ,Salzburg<\/td>1997<\/td>Mundos alternativos.<\/td>53<\/td> <\/tr>\n
6675<\/td>2088<\/td>unread<\/td>81<\/td>12032<\/td><\/td>6328<\/td>Ungdommens fotobog<\/td><\/td>Gevaerts Generalagentur<\/td><\/td><\/td><\/td>64<\/td> <\/tr>\n
6676<\/td>2089<\/td>unread<\/td>88<\/td>12033<\/td><\/td>6329<\/td>US Camera 1951<\/td>Tom Maloney<\/td>Goldman Co.<\/td>New York<\/td><\/td><\/td>49<\/td> <\/tr>\n
6677<\/td>2090<\/td>unread<\/td>88<\/td>12034<\/td><\/td>6330<\/td>Variation in D<\/td><\/td>GFW Verlag Gmbh<\/td><\/td>1974<\/td><\/td>53<\/td> <\/tr>\n
6678<\/td>2091<\/td>unread<\/td>88<\/td>12035<\/td><\/td>6331<\/td><\/td><\/td><\/td><\/td>1989<\/td>Hassleholm i ord och bild.<\/td>41<\/td> <\/tr>\n
6679<\/td>2092<\/td>unread<\/td>88<\/td>12036<\/td><\/td>6332<\/td><\/td>Per Folkver<\/td>Politisk revy<\/td><\/td><\/td><\/td>49<\/td> <\/tr>\n
6680<\/td>2093<\/td>unread<\/td>83<\/td>12037<\/td><\/td>6333<\/td>Verkaufskunst im photohandel<\/td>B.E.Wulfert<\/td><\/td><\/td>1954<\/td><\/td>69<\/td> <\/tr>\n
6681<\/td>2094<\/td>unread<\/td>88<\/td>12038<\/td><\/td>6334<\/td>Vesthimmerlands museum<\/td><\/td><\/td><\/td>1995<\/td><\/td>53<\/td> <\/tr>\n
6682<\/td>2095<\/td>unread<\/td>88<\/td>12039<\/td><\/td>6335<\/td><\/td><\/td><\/td><\/td>nr.23. 1998<\/td><\/td>43<\/td> <\/tr>\n
6683<\/td>2096<\/td>unread<\/td>88<\/td>12040<\/td><\/td>6336<\/td>Vier meister der erotischen fotografie<\/td><\/td>Wilhelm Heyne Verlag<\/td><\/td>1970<\/td><\/td>55<\/td> <\/tr>\n
6684<\/td>2097<\/td>unread<\/td>88<\/td>12041<\/td><\/td>6337<\/td>Vor konge Kong Chr.X 70aars dag<\/td><\/td>CHR.Erichsens forlag<\/td><\/td>1940<\/td><\/td>47<\/td> <\/tr>\n
6685<\/td>2098<\/td>unread<\/td>88<\/td>12042<\/td><\/td>6338<\/td><\/td><\/td>Martins forlag<\/td><\/td>1960<\/td><\/td>47<\/td> <\/tr>\n
6686<\/td>2099<\/td>unread<\/td>88<\/td>12043<\/td><\/td>6339<\/td>Se under beskrivelse<\/td><\/td><\/td><\/td><\/td>Voyage.Photographs by Herbert Ascherman jr. The Books on photography press.<\/td>49<\/td> <\/tr>\n
6687<\/td>2100<\/td>unread<\/td>81<\/td>12044<\/td><\/td>6340<\/td><\/td><\/td><\/td><\/td><\/td><\/td>44<\/td> <\/tr>\n
6688<\/td>2101<\/td>unread<\/td>88<\/td>12045<\/td><\/td>6341<\/td>Weltausstellung der photographie<\/td><\/td>Verlag Gruner+Jahr<\/td>Hamburg<\/td>1952<\/td><\/td>55<\/td> <\/tr>\n
6689<\/td>2102<\/td>unread<\/td>88<\/td>12046<\/td><\/td>6342<\/td>Weltausstellung der photographie<\/td><\/td><\/td>Tyskland<\/td>1973<\/td><\/td>55<\/td> <\/tr>\n
6690<\/td>2103<\/td>unread<\/td>88<\/td>12047<\/td><\/td>6343<\/td>Wetzlar<\/td><\/td>Umschau Verlag<\/td>Frankfurt Am Main<\/td>1953<\/td><\/td>55<\/td> <\/tr>\n
6691<\/td>2104<\/td>unread<\/td>88<\/td>12048<\/td><\/td>6344<\/td>What you see i Denmark 114 photographs<\/td><\/td>The American-Scandinavian foundation<\/td><\/td><\/td><\/td>47<\/td> <\/tr>\n
6692<\/td>2105<\/td>unread<\/td>83<\/td>12049<\/td><\/td>6345<\/td>Wie erzielt mann gute Aufnahme<\/td><\/td><\/td>Berlin<\/td><\/td><\/td>73<\/td> <\/tr>\n
6693<\/td>2106<\/td>unread<\/td>88<\/td>12050<\/td><\/td>6346<\/td>World press photo<\/td><\/td><\/td><\/td>1964<\/td>Hollandsk.<\/td>52<\/td> <\/tr>\n
6694<\/td>2107<\/td>unread<\/td>88<\/td>12051<\/td><\/td>6347<\/td>World press photo. Eyewitness<\/td><\/td><\/td><\/td>1989<\/td>Hollandsk<\/td>52<\/td> <\/tr>\n
6695<\/td>2108<\/td>unread<\/td>88<\/td>12052<\/td><\/td>6348<\/td>World press photo<\/td><\/td>GFW Verlag<\/td><\/td><\/td><\/td>52<\/td> <\/tr>\n
6696<\/td>2109<\/td>unread<\/td>84<\/td>12053<\/td><\/td>6349<\/td>The world of camera<\/td><\/td>Thomas Nelson & Sons<\/td><\/td>1964<\/td><\/td>75<\/td> <\/tr>\n
6697<\/td>2110<\/td>unread<\/td>88<\/td>12054<\/td><\/td>6350<\/td>The years photography 1938-39<\/td><\/td><\/td><\/td><\/td><\/td>50<\/td> <\/tr>\n
6698<\/td>2111<\/td>unread<\/td>83<\/td>12055<\/td><\/td>6351<\/td>Zeiss-Mikroskope<\/td><\/td><\/td><\/td><\/td><\/td>69<\/td> <\/tr>\n
6699<\/td>2112<\/td>unread<\/td>83<\/td>12056<\/td><\/td>6352<\/td><\/td><\/td><\/td><\/td><\/td><\/td>69<\/td> <\/tr>\n
6700<\/td>2113<\/td>unread<\/td>83<\/td>12057<\/td><\/td>6353<\/td>Photo objektive<\/td>Carl Jena Zeiss<\/td>Palmos Kameras<\/td><\/td>1907<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6701<\/td>2114<\/td>unread<\/td>83<\/td>12058<\/td><\/td>6354<\/td>Zeiss Ikon 1933-34 , 1926 ringbind A-5<\/td><\/td><\/td><\/td><\/td>REG 02<\/td>0<\/td> <\/tr>\n
6702<\/td>2115<\/td>unread<\/td>83<\/td>12059<\/td><\/td>6355<\/td>Zeiss Ikon 1935-37. Ringbind A-5<\/td><\/td><\/td><\/td><\/td>REG 02<\/td>0<\/td> <\/tr>\n
6703<\/td>2116<\/td>unread<\/td>83<\/td>12060<\/td><\/td>6356<\/td>Zeiss Ikon 1938-39.Ringbind A-5<\/td><\/td><\/td><\/td><\/td>REG 02<\/td>0<\/td> <\/tr>\n
6704<\/td>2117<\/td>unread<\/td>83<\/td>12061<\/td><\/td>6357<\/td>Zeiss Ikon 1939.Ringbind A-5<\/td><\/td><\/td><\/td><\/td>REG 02<\/td>0<\/td> <\/tr>\n
6705<\/td>2118<\/td>unread<\/td>83<\/td>12062<\/td><\/td>6358<\/td>Zeiss Ikon 1949-55. Ringbind A-5<\/td><\/td><\/td><\/td><\/td>REG 02<\/td>0<\/td> <\/tr>\n
6706<\/td>2119<\/td>unread<\/td>83<\/td>12063<\/td><\/td>6359<\/td>Zeiss Ikon Bruche.Ringbind A-5<\/td><\/td><\/td><\/td><\/td>REG 02<\/td>0<\/td> <\/tr>\n
6707<\/td>2120<\/td>unread<\/td>83<\/td>12064<\/td><\/td>6360<\/td>Zeiss Ikon Bruche.1936-37.Ringbind A-5<\/td><\/td><\/td><\/td><\/td>REG 02<\/td>0<\/td> <\/tr>\n
6708<\/td>2121<\/td>unread<\/td>83<\/td>12065<\/td><\/td>6361<\/td>Zeiss Ikon Bruche 1937-39.Ringbind A-5<\/td><\/td><\/td><\/td><\/td>REG A-5<\/td>0<\/td> <\/tr>\n
6709<\/td>2122<\/td>unread<\/td>83<\/td>12066<\/td><\/td>6362<\/td>Zeiss Ikon Bruche 1939-43.Ringbind A-5<\/td><\/td><\/td><\/td><\/td>REG 02.<\/td>0<\/td> <\/tr>\n
6710<\/td>2123<\/td>unread<\/td>81<\/td>12067<\/td><\/td>6363<\/td>Zeiss Ikon Bruche 1954-57.Ringbind A-5<\/td><\/td><\/td><\/td><\/td>Dansk udgave 57-62. REG 02<\/td>0<\/td> <\/tr>\n
6711<\/td>2124<\/td>unread<\/td>84<\/td>12068<\/td><\/td>6364<\/td>Zeiss Ikon.Stereo system for contax(flex<\/td><\/td><\/td><\/td>apr-56<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6712<\/td>2125<\/td>unread<\/td>88<\/td>12069<\/td><\/td>6365<\/td><\/td><\/td><\/td><\/td>1995<\/td><\/td>42<\/td> <\/tr>\n
6713<\/td>2126<\/td>unread<\/td>88<\/td>12070<\/td><\/td>6366<\/td>Aalborgbogen 1968<\/td><\/td><\/td><\/td><\/td>Selskabet for Aalborgs historie.<\/td>48<\/td> <\/tr>\n
6714<\/td>2127<\/td>unread<\/td>88<\/td>12071<\/td><\/td>6367<\/td>Aalborgbogen 1967<\/td><\/td><\/td><\/td><\/td>Selskabet for Aalborgs historie.<\/td>48<\/td> <\/tr>\n
6715<\/td>2128<\/td>unread<\/td>88<\/td>12072<\/td><\/td>6368<\/td>Aalborg.Aalborg turistforening<\/td><\/td>Aalborg Stiftsbogtrykkeri<\/td><\/td><\/td>Dansk\/Tysk\/Eng.<\/td>48<\/td> <\/tr>\n
6716<\/td>2129<\/td>unread<\/td>88<\/td>12073<\/td><\/td>6369<\/td><\/td><\/td>Nordisk Rotogravyr<\/td>Stockholm<\/td>1945<\/td><\/td>43<\/td> <\/tr>\n
6717<\/td>2130<\/td>unread<\/td>88<\/td>12074<\/td><\/td>6370<\/td><\/td><\/td>Svensk Fotografi<\/td><\/td>1995<\/td><\/td>53<\/td> <\/tr>\n
6718<\/td>2131<\/td>unread<\/td>88<\/td>12075<\/td><\/td>6371<\/td><\/td><\/td>Universitetsforlaget<\/td><\/td>1980<\/td><\/td>47<\/td> <\/tr>\n
6719<\/td>2132<\/td>unread<\/td>88<\/td>12076<\/td><\/td>6372<\/td><\/td><\/td><\/td><\/td><\/td><\/td>75<\/td> <\/tr>\n
6720<\/td>2133<\/td>unread<\/td>88<\/td>12077<\/td><\/td>6373<\/td><\/td><\/td>Rune Offset<\/td><\/td><\/td><\/td>57<\/td> <\/tr>\n
6721<\/td>2134<\/td>unread<\/td>88<\/td>12078<\/td><\/td>6374<\/td><\/td><\/td>Rune Offset<\/td><\/td><\/td><\/td>57<\/td> <\/tr>\n
6722<\/td>2135<\/td>unread<\/td>84<\/td>12079<\/td><\/td>6375<\/td>Kodak.Wratten Light Filters<\/td><\/td>Kodak Limited<\/td>London<\/td>1953<\/td><\/td>0<\/td> <\/tr>\n
6723<\/td>2136<\/td>unread<\/td>88<\/td>12080<\/td><\/td>6376<\/td>That large small World photographes<\/td>Romuldas Augunas<\/td><\/td><\/td>1998<\/td><\/td>0<\/td> <\/tr>\n
6724<\/td>2137<\/td>unread<\/td>88<\/td>12081<\/td><\/td>6377<\/td>Rumfotografi<\/td>Paul Dickson<\/td><\/td><\/td>1977<\/td>Out of this world. American space photography. A Delta Special.<\/td>76<\/td> <\/tr>\n
6725<\/td>2138<\/td>unread<\/td>88<\/td>12082<\/td><\/td>6378<\/td>Skagen,Lysets land<\/td><\/td><\/td><\/td><\/td><\/td>46<\/td> <\/tr>\n
6726<\/td>2139<\/td>unread<\/td>83<\/td>12084<\/td><\/td>6380<\/td>Die photographische kunst im jahre 1910<\/td>F.Matthies-Masuren<\/td><\/td>Tyskland<\/td><\/td><\/td>1<\/td> <\/tr>\n
6727<\/td>2140<\/td>unread<\/td>83<\/td>12085<\/td><\/td>6381<\/td>Die photographische kunst im jahre 1911<\/td>F.Matthies-Masuren<\/td><\/td>Tyskland<\/td><\/td><\/td>1<\/td> <\/tr>\n
6728<\/td>2141<\/td>unread<\/td>83<\/td>12086<\/td><\/td>6382<\/td>Die photographische kunst im jahre 1913<\/td>F.Matthies-Masuren<\/td>Verlag der photogr. verlagsgesellschaft<\/td>Tyskland<\/td><\/td><\/td>1<\/td> <\/tr>\n
6729<\/td>2142<\/td>unread<\/td>84<\/td>12087<\/td><\/td>6383<\/td>Professional portrait Techniques<\/td><\/td>Eastman Kodak Co.<\/td><\/td>1980<\/td><\/td>1<\/td> <\/tr>\n
6730<\/td>2143<\/td>unread<\/td>82<\/td>12088<\/td><\/td>6384<\/td><\/td>Ewvert Bergdahl<\/td><\/td><\/td>1976<\/td><\/td>1<\/td> <\/tr>\n
6731<\/td>2144<\/td>unread<\/td>83<\/td>12089<\/td><\/td>6385<\/td>Die photographische kunst im jahre 1906<\/td>F.Matthies-Masuren<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td><\/td><\/td>1<\/td> <\/tr>\n
6732<\/td>2145<\/td>unread<\/td>83<\/td>12090<\/td><\/td>6386<\/td>Die photographische kunst im jahre 1910<\/td>F.Matthies-Masuren<\/td>Wilhelm Knapp<\/td>Tyskland<\/td><\/td><\/td>1<\/td> <\/tr>\n
6733<\/td>2146<\/td>unread<\/td>83<\/td>12091<\/td><\/td>6387<\/td>Die photographische kunst im jahre 1907<\/td><\/td><\/td>Tyskland<\/td><\/td><\/td>1<\/td> <\/tr>\n
6734<\/td>2147<\/td>unread<\/td>84<\/td>12092<\/td><\/td>6388<\/td>The prac.audiovisual haandbook for teach<\/td>Herbert E. Scuorzo<\/td>Parker Publishing Co.<\/td>New York<\/td>1967<\/td><\/td>1<\/td> <\/tr>\n
6735<\/td>2148<\/td>unread<\/td>84<\/td>12093<\/td><\/td>6389<\/td>The new projektion control<\/td>William Mortensen<\/td>Camera Craft Publishing Co.<\/td>San Francisco<\/td>1948<\/td><\/td>1<\/td> <\/tr>\n
6736<\/td>2149<\/td>unread<\/td>84<\/td>12094<\/td><\/td>6390<\/td>Lighting for photography<\/td>Walter Nurnberg<\/td>Focal Press<\/td>England<\/td>1944<\/td><\/td>1<\/td> <\/tr>\n
6737<\/td>2150<\/td>unread<\/td>84<\/td>12095<\/td><\/td>6391<\/td>Lighting for photography<\/td>Walter Nurnberg<\/td>Focal Press<\/td>England<\/td>1965<\/td><\/td>1<\/td> <\/tr>\n
6738<\/td>2151<\/td>unread<\/td>84<\/td>12096<\/td><\/td>6392<\/td>Lighting for photography<\/td>Walter Nurnberg<\/td>Focal Press<\/td>England<\/td>1968<\/td><\/td>1<\/td> <\/tr>\n
6739<\/td>2152<\/td>unread<\/td>83<\/td>12097<\/td><\/td>6393<\/td>Multivision<\/td>Klaus Karch<\/td>Verlag Dieter Gitzel<\/td>Tyskland<\/td><\/td><\/td>1<\/td> <\/tr>\n
6740<\/td>2153<\/td>unread<\/td>85<\/td>12098<\/td><\/td>6394<\/td>Lecons de photographie<\/td>A.H.Cuisinier<\/td><\/td>Paul Montel,Paris<\/td>1954<\/td><\/td>1<\/td> <\/tr>\n
6741<\/td>2154<\/td>unread<\/td>84<\/td>12099<\/td><\/td>6395<\/td>Make your picture sing<\/td>Paul Louis Hexter<\/td>Camera Craft<\/td>USA<\/td>1940<\/td><\/td>1<\/td> <\/tr>\n
6742<\/td>2155<\/td>unread<\/td>83<\/td>12100<\/td><\/td>6396<\/td>Verarb. der photogr.platten,filme und pa<\/td><\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1930<\/td><\/td>1<\/td> <\/tr>\n
6743<\/td>2156<\/td>unread<\/td>83<\/td>12101<\/td><\/td>6397<\/td><\/td>Heinrich Freytag<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td><\/td><\/td>1<\/td> <\/tr>\n
6744<\/td>2157<\/td>unread<\/td>84<\/td>12102<\/td><\/td>6398<\/td>Photography as an aid to Scient. work<\/td><\/td>Ilford Limited<\/td>London<\/td>1950<\/td>Ilford Texbook<\/td>1<\/td> <\/tr>\n
6745<\/td>2158<\/td>unread<\/td>84<\/td>12103<\/td><\/td>6399<\/td>Document and plan copy.with Ilford mater<\/td><\/td>Ilford Limited<\/td>London<\/td>1951<\/td><\/td>1<\/td> <\/tr>\n
6746<\/td>2159<\/td>unread<\/td>84<\/td>12104<\/td><\/td>6400<\/td>Photographic lenses<\/td>C.B.Neblette<\/td>Morgan & Morgan<\/td><\/td>1965<\/td><\/td>1<\/td> <\/tr>\n
6747<\/td>2160<\/td>unread<\/td>83<\/td>12105<\/td><\/td>6401<\/td>Kompendium der photographie<\/td>Dr.Edwin Nutter<\/td><\/td>Tyskland<\/td>1957<\/td><\/td>1<\/td> <\/tr>\n
6748<\/td>2161<\/td>unread<\/td>84<\/td>12106<\/td><\/td>6402<\/td>Modern teaching Aids<\/td>Norman J. Atkinson<\/td>Maclaren & Sons Ltd<\/td>London<\/td>1967<\/td><\/td>1<\/td> <\/tr>\n
6749<\/td>2162<\/td>unread<\/td>83<\/td>12107<\/td><\/td>6403<\/td><\/td>Dr. Paul Hatschek<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1941<\/td><\/td>1<\/td> <\/tr>\n
6750<\/td>2163<\/td>unread<\/td>84<\/td>12108<\/td><\/td>6404<\/td>This is photography<\/td>Thomas H. Miller<\/td>Garden City Publishing Co.<\/td>New york<\/td>1945<\/td><\/td>1<\/td> <\/tr>\n
6751<\/td>2164<\/td>unread<\/td>83<\/td>12109<\/td><\/td>6405<\/td><\/td>Dr.E.Schloeman<\/td>Verlag W.Giraardet<\/td>Tyskland<\/td>1950<\/td><\/td>1<\/td> <\/tr>\n
6752<\/td>2165<\/td>unread<\/td>84<\/td>12110<\/td><\/td>6406<\/td>Pearlman on print Quality<\/td>Alec Pearlman<\/td>The fountain Press<\/td>London<\/td>1968<\/td><\/td>1<\/td> <\/tr>\n
6753<\/td>2166<\/td>unread<\/td>83<\/td>12111<\/td><\/td>6407<\/td>Der Nadeltonfilm<\/td>Dr.Curt Borchardt<\/td>Druck und verlag wilhelm Knapp<\/td>Tyskland<\/td>1931<\/td><\/td>1<\/td> <\/tr>\n
6754<\/td>2167<\/td>unread<\/td>83<\/td>12112<\/td><\/td>6408<\/td><\/td>Ing.Werner Hasenberg<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td><\/td><\/td>1<\/td> <\/tr>\n
6755<\/td>2168<\/td>unread<\/td>84<\/td>12113<\/td><\/td>6409<\/td>The art and practice of photogr.painting<\/td><\/td>Kodak Ltd<\/td>London<\/td>1919<\/td><\/td>1<\/td> <\/tr>\n
6756<\/td>2169<\/td>unread<\/td>84<\/td>12114<\/td><\/td>6410<\/td>The Modern method of photogr.furniture<\/td><\/td>Kodak Limited<\/td>London<\/td>1919<\/td><\/td>1<\/td> <\/tr>\n
6757<\/td>2170<\/td>unread<\/td>84<\/td>12115<\/td><\/td>6411<\/td>Se under beskrivelse<\/td>R.J.Hercovk<\/td>Ilford Limited<\/td>London<\/td>1947<\/td>The Photographic recording of Cathode Ray Tube Traces.<\/td>1<\/td> <\/tr>\n
6758<\/td>2171<\/td>unread<\/td>83<\/td>12116<\/td><\/td>6412<\/td>Wie ein tonfilm entsteht<\/td><\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td><\/td><\/td>1<\/td> <\/tr>\n
6759<\/td>2172<\/td>unread<\/td>83<\/td>12117<\/td><\/td>6413<\/td>Knaurs foto und film buch<\/td>Heinrich von Freytag<\/td>Th.Knaur Nachf. Verlag<\/td><\/td>1955<\/td><\/td>1<\/td> <\/tr>\n
6760<\/td>2173<\/td>unread<\/td>83<\/td>12118<\/td><\/td>6414<\/td>Diaprojektion<\/td>Josef Scheibel<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1968<\/td><\/td>1<\/td> <\/tr>\n
6761<\/td>2174<\/td>unread<\/td>83<\/td>12119<\/td><\/td>6415<\/td><\/td><\/td><\/td><\/td>1929<\/td><\/td>1<\/td> <\/tr>\n
6762<\/td>2175<\/td>unread<\/td>84<\/td>12120<\/td><\/td>6416<\/td>Teaching by projection<\/td>Stephen R. Judd<\/td>Focal Press<\/td>London<\/td>1963<\/td><\/td>1<\/td> <\/tr>\n
6763<\/td>2176<\/td>unread<\/td>84<\/td>12121<\/td><\/td>6417<\/td>Teaching with tape<\/td>J.Graham Jones<\/td>The focal Press<\/td>England<\/td>1962<\/td><\/td>1<\/td> <\/tr>\n
6764<\/td>2177<\/td>unread<\/td>83<\/td>12123<\/td><\/td>6418<\/td><\/td>Hienz von Umbehr<\/td><\/td>Tyskland<\/td>1938<\/td><\/td>1<\/td> <\/tr>\n
6765<\/td>2178<\/td>unread<\/td>81<\/td>12124<\/td><\/td>6419<\/td><\/td>T.Bjerge<\/td>Ejnar Munksgaard<\/td><\/td>1943<\/td><\/td>2<\/td> <\/tr>\n
6766<\/td>2179<\/td>unread<\/td>84<\/td>12125<\/td><\/td>6420<\/td>Through the Microscope<\/td>M.D.Andersen<\/td>Aldus books<\/td>London<\/td>1965<\/td><\/td>2<\/td> <\/tr>\n
6767<\/td>2180<\/td>unread<\/td>83<\/td>12126<\/td><\/td>6421<\/td>Handbuch der kamerakunde<\/td>Richard Gritter<\/td>Verlag Luitpold Lang<\/td><\/td>1954<\/td><\/td>2<\/td> <\/tr>\n
6768<\/td>2181<\/td>unread<\/td>83<\/td>12127<\/td><\/td>6422<\/td>Farbenphotographie in der Medizin<\/td>Adolf Jaiser<\/td>Verlag von Ferdinand Enke<\/td>Stuttgart<\/td>1914<\/td><\/td>2<\/td> <\/tr>\n
6769<\/td>2182<\/td>unread<\/td>83<\/td>12128<\/td><\/td>6423<\/td>Lehrbuch der mikrophotographie<\/td>Richard Neuhauss<\/td>Verlag von S. Hirzel<\/td>Leipzig<\/td>1907<\/td><\/td>2<\/td> <\/tr>\n
6770<\/td>2183<\/td>unread<\/td>84<\/td>12129<\/td><\/td>6424<\/td>Amateur photomicrography<\/td>M.I.Walker<\/td>Focal Press<\/td>London<\/td>1971<\/td><\/td>2<\/td> <\/tr>\n
6771<\/td>2184<\/td>unread<\/td>86<\/td>12130<\/td><\/td>6425<\/td>Photomicography<\/td><\/td>Eastman Kodak Co.<\/td>Rochester, USA<\/td>1944<\/td><\/td>1<\/td> <\/tr>\n
6772<\/td>2185<\/td>unread<\/td>83<\/td>12131<\/td><\/td>6426<\/td><\/td>Dr.Fritz Bode<\/td>Franckhsche verlagshandlung.W.Keller&Co<\/td>Stuttgart<\/td>1958<\/td><\/td>2<\/td> <\/tr>\n
6773<\/td>2186<\/td>unread<\/td>84<\/td>12132<\/td><\/td>6427<\/td>Photographic sensitometry<\/td>Hollis N. Todd\/Richard D. Zakia<\/td>Morgan & Morgan<\/td>USA<\/td>1969<\/td><\/td>2<\/td> <\/tr>\n
6774<\/td>2187<\/td>unread<\/td>83<\/td>12133<\/td><\/td>6428<\/td>Praxis der polaroid land fotografie<\/td>Herbert Maas<\/td>Im Heering Verlag<\/td>Tyskland<\/td>1965<\/td><\/td>2<\/td> <\/tr>\n
6775<\/td>2188<\/td>unread<\/td>83<\/td>12134<\/td><\/td>6429<\/td>Mikroskop und kamera<\/td>Hanns Bettin<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1938<\/td><\/td>2<\/td> <\/tr>\n
6776<\/td>2189<\/td>unread<\/td>84<\/td>12135<\/td><\/td>6430<\/td>Photography.Royal Air Force<\/td><\/td><\/td>Air Ministry<\/td>1952<\/td><\/td>2<\/td> <\/tr>\n
6777<\/td>2190<\/td>unread<\/td>83<\/td>12136<\/td><\/td>6431<\/td>Lichtbild und schule<\/td>Prof.Dr.Ernst Kunzfeld<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1932<\/td><\/td>2<\/td> <\/tr>\n
6778<\/td>2191<\/td>unread<\/td>83<\/td>12137<\/td><\/td>6432<\/td>Kinderspaziergang<\/td>Hedda Walther<\/td>F.Bruckmann<\/td><\/td>1937<\/td><\/td>2<\/td> <\/tr>\n
6779<\/td>2192<\/td>unread<\/td>84<\/td>12138<\/td><\/td>6433<\/td>Se under beskrivelse<\/td><\/td><\/td><\/td><\/td>Industrial Radiography.Using Ilford Materials.<\/td>2<\/td> <\/tr>\n
6780<\/td>2193<\/td>unread<\/td>84<\/td>12139<\/td><\/td>6434<\/td>Absorption Spectra<\/td>C.E.Kenneth Mees<\/td>Longmans,Green & Co<\/td><\/td>1909<\/td><\/td>2<\/td> <\/tr>\n
6781<\/td>2194<\/td>unread<\/td>83<\/td>12140<\/td><\/td>6435<\/td>Das Bastel-Buch<\/td>Paul Korth<\/td>Walther Heering Verlag<\/td>Tyskland<\/td>1934<\/td><\/td>2<\/td> <\/tr>\n
6782<\/td>2195<\/td>unread<\/td>83<\/td>12141<\/td><\/td>6436<\/td>Lehrbuch der mikrophotographie<\/td>Carl Kaiserling<\/td>Gustav Schmidt<\/td>Berlin<\/td>1903<\/td><\/td>2<\/td> <\/tr>\n
6783<\/td>2196<\/td>unread<\/td>81<\/td>12142<\/td><\/td>6437<\/td><\/td>Knut Birkeland<\/td><\/td><\/td>1970<\/td><\/td>2<\/td> <\/tr>\n
6784<\/td>2197<\/td>unread<\/td>83<\/td>12143<\/td><\/td>6438<\/td>Carl Zeiss<\/td>Armin Hermann<\/td>Piper<\/td><\/td>1992<\/td><\/td>2<\/td> <\/tr>\n
6785<\/td>2198<\/td>unread<\/td>84<\/td>12144<\/td><\/td>6439<\/td>Amateur photographic handbook<\/td><\/td>Ilford Limited<\/td>London<\/td><\/td><\/td>2<\/td> <\/tr>\n
6786<\/td>2199<\/td>unread<\/td>84<\/td>12145<\/td><\/td>6440<\/td>Infra-red photography<\/td>S.O.Rawling<\/td>Blackie & Son Limited<\/td>London<\/td>1933<\/td><\/td>2<\/td> <\/tr>\n
6787<\/td>2200<\/td>unread<\/td>83<\/td>12146<\/td><\/td>6441<\/td>Contax, Kurz-Schule<\/td>HansHempel<\/td>Carl von Lamas Nachfolger<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
6788<\/td>2201<\/td>unread<\/td>84<\/td>12147<\/td><\/td>6442<\/td>Photographic geography<\/td>Allan Murray<\/td>Collins Cllar-type press<\/td><\/td><\/td>Bog 2<\/td>2<\/td> <\/tr>\n
6789<\/td>2202<\/td>unread<\/td>84<\/td>12148<\/td><\/td>6443<\/td>Photographing action<\/td>Victor de Palme<\/td>Ziff-Davis Publishing Co<\/td>USA<\/td>1940<\/td><\/td>2<\/td> <\/tr>\n
6790<\/td>2203<\/td>unread<\/td>81<\/td>12149<\/td><\/td>6444<\/td>Jeg er samler<\/td>P.H.Traustedt<\/td>Polikkens Forlag<\/td><\/td>1975<\/td><\/td>2<\/td> <\/tr>\n
6791<\/td>2204<\/td>unread<\/td>84<\/td>12150<\/td><\/td>6445<\/td>Amateur photomicr.with simple apparatus<\/td>Alan Jackson<\/td>The Focal Press<\/td><\/td>1944<\/td><\/td>2<\/td> <\/tr>\n
6792<\/td>2205<\/td>unread<\/td>84<\/td>12151<\/td><\/td>6446<\/td>The Ilford Manual of photography<\/td>E.George Brown<\/td>Ilford Limited<\/td>London<\/td><\/td><\/td>2<\/td> <\/tr>\n
6793<\/td>2206<\/td>unread<\/td>83<\/td>12152<\/td><\/td>6447<\/td>Fotos ohne fehl<\/td>Dr.Hans Harting\/Dr.Kurt Jacobsen<\/td>Union Deutsche Verlagsgesellschaft Zweig<\/td>Berlin<\/td>1933<\/td><\/td>2<\/td> <\/tr>\n
6794<\/td>2207<\/td>unread<\/td>83<\/td>12153<\/td><\/td>6448<\/td>Vom dia zum dia vortrag<\/td>Georg Blitz<\/td><\/td>Stuttgart<\/td>1965<\/td><\/td>2<\/td> <\/tr>\n
6795<\/td>2208<\/td>unread<\/td>83<\/td>12154<\/td><\/td>6449<\/td>Die fabrikation der photograp. platten f<\/td>Fritz Wentzel<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1930<\/td><\/td>3<\/td> <\/tr>\n
6796<\/td>2209<\/td>unread<\/td>84<\/td>12155<\/td><\/td>6450<\/td>Contarex guide<\/td>W.D.Emanuel<\/td>Focal Press<\/td>London. Nrw York<\/td>1960<\/td><\/td>3<\/td> <\/tr>\n
6797<\/td>2210<\/td>unread<\/td>84<\/td>12156<\/td><\/td>6451<\/td>35mm filmstrip<\/td>Peter Hansell<\/td>Ilford Limited<\/td>London<\/td>1949<\/td><\/td>3<\/td> <\/tr>\n
6798<\/td>2211<\/td>unread<\/td>84<\/td>12157<\/td><\/td>6452<\/td>Enlarging<\/td>Ph.D C.I.Jacison<\/td>The Focal Press<\/td>London<\/td>1947<\/td><\/td>3<\/td> <\/tr>\n
6799<\/td>2212<\/td>unread<\/td>84<\/td>12158<\/td><\/td>6453<\/td>Deceloping<\/td>Ph.D. C.I.Jacobsen<\/td>Focal Press<\/td>London<\/td>1946<\/td><\/td>3<\/td> <\/tr>\n
6800<\/td>2213<\/td>unread<\/td>84<\/td>12159<\/td><\/td>6454<\/td>Sensitometry<\/td>L.Lobel \/ M.Dubois<\/td>The Focal Press<\/td>London<\/td>1955<\/td><\/td>3<\/td> <\/tr>\n
6801<\/td>2214<\/td>unread<\/td>84<\/td>12160<\/td><\/td>6455<\/td>Professional Photography<\/td>Michael J. Langford<\/td>The Focal Press<\/td><\/td>1974<\/td><\/td>3<\/td> <\/tr>\n
6802<\/td>2215<\/td>unread<\/td>82<\/td>12161<\/td><\/td>6456<\/td>Fotokatalog<\/td><\/td><\/td>Stockholm<\/td>1951<\/td><\/td>3<\/td> <\/tr>\n
6803<\/td>2216<\/td>unread<\/td>83<\/td>12162<\/td><\/td>6457<\/td>Grundregeln der mikro-photographie<\/td><\/td>Speidel & Wurzel<\/td><\/td>1917<\/td><\/td>3<\/td> <\/tr>\n
6804<\/td>2217<\/td>unread<\/td>81<\/td>12163<\/td><\/td>6458<\/td>Foto og Kino<\/td><\/td><\/td><\/td>1937-1938<\/td><\/td>3<\/td> <\/tr>\n
6805<\/td>2218<\/td>unread<\/td>81<\/td>12164<\/td><\/td>6459<\/td>Foto og Kino<\/td><\/td><\/td><\/td>1936-1937<\/td><\/td>3<\/td> <\/tr>\n
6806<\/td>2219<\/td>unread<\/td>82<\/td>12165<\/td><\/td>6460<\/td><\/td>O.R.Croy<\/td>Focal Press<\/td>Sverige<\/td>1956<\/td><\/td>3<\/td> <\/tr>\n
6807<\/td>2220<\/td>unread<\/td>83<\/td>12166<\/td><\/td>6461<\/td>Fotografik<\/td>Otto Croy<\/td>Heering Verlag<\/td>Tyskland<\/td>1964<\/td><\/td>3<\/td> <\/tr>\n
6808<\/td>2221<\/td>unread<\/td>83<\/td>12167<\/td><\/td>6462<\/td>Bild-lehrbuch der fotografie<\/td>Dr.Otto Croy<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1941<\/td><\/td>3<\/td> <\/tr>\n
6809<\/td>2222<\/td>unread<\/td>85<\/td>12168<\/td><\/td>6463<\/td>Annuaire des industries de la photo et c<\/td>Paul Montel<\/td><\/td>Paris<\/td>1950<\/td><\/td>3<\/td> <\/tr>\n
6810<\/td>2223<\/td>unread<\/td>83<\/td>12169<\/td><\/td>6464<\/td><\/td>Frotz Schmidt<\/td>Wilhelm Knapp Verlag<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
6811<\/td>2224<\/td>unread<\/td>84<\/td>12170<\/td><\/td>6465<\/td>Ilford formulae and packed chemicals<\/td><\/td>Ilford Limited<\/td>Essex<\/td>1960<\/td>Ilford textbook.<\/td>3<\/td> <\/tr>\n
6812<\/td>2225<\/td>unread<\/td>84<\/td>12171<\/td><\/td>6466<\/td>Ilford manual of process work<\/td>L.P.Clerc<\/td>Ilford Limited<\/td>London<\/td>1951<\/td><\/td>3<\/td> <\/tr>\n
6813<\/td>2226<\/td>unread<\/td>84<\/td>12172<\/td><\/td>6467<\/td>Photorecording from cathode ray tubes<\/td><\/td>Fairchild camera and instrument corp.<\/td>USA<\/td>1964<\/td><\/td>3<\/td> <\/tr>\n
6814<\/td>2227<\/td>unread<\/td>84<\/td>12173<\/td><\/td>6468<\/td>Exposure control in enlarging<\/td>George L.Wakefield<\/td>Fountain Press<\/td>London<\/td>1972<\/td><\/td>3<\/td> <\/tr>\n
6815<\/td>2228<\/td>unread<\/td>84<\/td>12174<\/td><\/td>6469<\/td>Electronics in photography<\/td>Byron G.Wels<\/td>W.Foulham & Co.<\/td>England<\/td>1968<\/td><\/td>3<\/td> <\/tr>\n
6816<\/td>2229<\/td>unread<\/td>84<\/td>12175<\/td><\/td>6470<\/td>Devoloping<\/td>C.I.Jacobson<\/td>Focal Press<\/td>England<\/td>1966<\/td><\/td>3<\/td> <\/tr>\n
6817<\/td>2230<\/td>unread<\/td>84<\/td>12176<\/td><\/td>6471<\/td>Enlaring<\/td>C.I.Jacobson\/L.A.Mannheim<\/td>Focal Press<\/td>England<\/td>1967<\/td><\/td>3<\/td> <\/tr>\n
6818<\/td>2231<\/td>unread<\/td>81<\/td>12177<\/td><\/td>6472<\/td><\/td>Sven Rodevang \/ Kaj Lund<\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
6819<\/td>2232<\/td>unread<\/td>83<\/td>12178<\/td><\/td>6473<\/td>Fotografieren in der nacht<\/td>Walther Heering<\/td>Walther Heering Verlag<\/td>Tyskland<\/td>1934<\/td><\/td>3<\/td> <\/tr>\n
6820<\/td>2233<\/td>unread<\/td>84<\/td>12179<\/td><\/td>6474<\/td>Brilliance gradation sharpness<\/td>Harry Champlin<\/td>Camera Craft Publishing Co.<\/td>USA<\/td>1938<\/td><\/td>3<\/td> <\/tr>\n
6821<\/td>2234<\/td>unread<\/td>84<\/td>12180<\/td><\/td>6475<\/td>Champlin on fine grain<\/td>Harry Chaplin<\/td>Camera Craft Publishing Co.<\/td>USA<\/td>1938<\/td><\/td>3<\/td> <\/tr>\n
6822<\/td>2235<\/td>unread<\/td>84<\/td>12181<\/td><\/td>6476<\/td>Hundred Thousand exposures<\/td>E.O.Hoppe<\/td>Focal Press<\/td>London \/New York<\/td>1945<\/td><\/td>3<\/td> <\/tr>\n
6823<\/td>2236<\/td>unread<\/td>82<\/td>12182<\/td><\/td>6477<\/td><\/td><\/td>Aktiebolaget Fahlcrantz Boktryckeri<\/td>Stockholm<\/td>1943<\/td><\/td>3<\/td> <\/tr>\n
6824<\/td>2237<\/td>unread<\/td>83<\/td>12183<\/td><\/td>6478<\/td>Filmtecnik und kultur<\/td>Dr. Nicholas Kaufmann<\/td>J.G.Cottasche buchhandlung<\/td>Tyskland<\/td>1931<\/td><\/td>3<\/td> <\/tr>\n
6825<\/td>2238<\/td>unread<\/td>84<\/td>12184<\/td><\/td>6479<\/td>Photo technique 35mm<\/td>H.S.Newcombe<\/td>Focal Press<\/td>London\/New York<\/td>1946<\/td><\/td>3<\/td> <\/tr>\n
6826<\/td>2239<\/td>unread<\/td>83<\/td>12185<\/td><\/td>6480<\/td>Filmmanuskripte und film ideen<\/td>Hellmuth Lange<\/td>Photokino Verlag<\/td>Berlin<\/td>1932<\/td><\/td>3<\/td> <\/tr>\n
6827<\/td>2240<\/td>unread<\/td>84<\/td>12186<\/td><\/td>6481<\/td>Contina Guide<\/td>W.D.Emanuel<\/td>The Focal Press<\/td>London\/New York<\/td>1955<\/td><\/td>3<\/td> <\/tr>\n
6828<\/td>2241<\/td>unread<\/td>84<\/td>12187<\/td><\/td>6482<\/td>Ikophot guide<\/td>L.A.Mannheim<\/td>The Focal Press<\/td><\/td>1958<\/td><\/td>3<\/td> <\/tr>\n
6829<\/td>2242<\/td>unread<\/td>84<\/td>12188<\/td><\/td>6483<\/td>Bolex guide<\/td>A.J.Surgenor<\/td>The Focal Press<\/td>London\/New York<\/td>1967<\/td><\/td>3<\/td> <\/tr>\n
6830<\/td>2243<\/td>unread<\/td>84<\/td>12189<\/td><\/td>6484<\/td>Contaflex guide<\/td>W.D.Emanuel<\/td>Focal Press<\/td>London\/New York<\/td>1955<\/td><\/td>3<\/td> <\/tr>\n
6831<\/td>2244<\/td>unread<\/td>84<\/td>12190<\/td><\/td>6485<\/td>Contaflex guide<\/td>W.D.Emanuel<\/td>Focal Press<\/td>London\/New York<\/td>1960<\/td><\/td>3<\/td> <\/tr>\n
6832<\/td>2245<\/td>unread<\/td>84<\/td>12191<\/td><\/td>6486<\/td>Contaflex guide<\/td>W.D.Emanuel<\/td>Focal Press<\/td>London\/New York<\/td>1961<\/td><\/td>3<\/td> <\/tr>\n
6833<\/td>2246<\/td>unread<\/td>83<\/td>12192<\/td><\/td>6487<\/td>150 foto fehler<\/td>Wolf H.Doring<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td><\/td><\/td>3<\/td> <\/tr>\n
6834<\/td>2247<\/td>unread<\/td>82<\/td>12193<\/td><\/td>6488<\/td><\/td>Ove Lind<\/td><\/td>Stockholm<\/td>1941<\/td><\/td>3<\/td> <\/tr>\n
6835<\/td>2248<\/td>unread<\/td>84<\/td>12194<\/td><\/td>6489<\/td>Se under beskrivelse<\/td><\/td>Eastman Kodak Co.<\/td>New York<\/td>1977<\/td>Enclyopedia of practical photography. Vol.1 A-BAB.<\/td>4<\/td> <\/tr>\n
6836<\/td>2249<\/td>unread<\/td>84<\/td>12195<\/td><\/td>6490<\/td>Se under beskrivelse<\/td><\/td>Eastmann Kodak Co.<\/td>New York<\/td>1977<\/td>Encyclopedia of practical photography. Vol 2. BAC-CHA<\/td>4<\/td> <\/tr>\n
6837<\/td>2250<\/td>unread<\/td>84<\/td>12196<\/td><\/td>6491<\/td>Encyclopedia of prac.photography<\/td><\/td>Eastman Kodak Co.<\/td>New York<\/td>1978<\/td>Vol. 3. CHE-CONTACT<\/td>4<\/td> <\/tr>\n
6838<\/td>2251<\/td>unread<\/td>84<\/td>12197<\/td><\/td>6492<\/td>Encyclopedia of prac. photography<\/td><\/td>Eastman Kodak Co.<\/td>New York<\/td>1978<\/td>Vol.4. CONTE-DES<\/td>4<\/td> <\/tr>\n
6839<\/td>2252<\/td>unread<\/td>84<\/td>12198<\/td><\/td>6493<\/td>Encyclopedia of practical photography<\/td><\/td>Eastman Kodak Co.<\/td>New York<\/td>1978<\/td>Vol. 5. DEV-EDIS<\/td>4<\/td> <\/tr>\n
6840<\/td>2253<\/td>unread<\/td>84<\/td>12199<\/td><\/td>6494<\/td>Encyclopedia of practical photography<\/td><\/td>Eastman Kodak Co<\/td>New York<\/td>1978<\/td>Vol.6. EDIT-FLA<\/td>4<\/td> <\/tr>\n
6841<\/td>2254<\/td>unread<\/td>84<\/td>12200<\/td><\/td>6495<\/td>Encyclopedia practical photography<\/td><\/td>Eastman Kodak Co.<\/td>New York<\/td>1978<\/td>Vol 7. FLO-GUM<\/td>4<\/td> <\/tr>\n
6842<\/td>2255<\/td>unread<\/td>84<\/td>12201<\/td><\/td>6496<\/td>Encyclopedia of practical photography<\/td><\/td>Eastman Kodak Co.<\/td>New York<\/td>1978<\/td>Vol 8. GUM-K<\/td>4<\/td> <\/tr>\n
6843<\/td>2256<\/td>unread<\/td>84<\/td>12202<\/td><\/td>6497<\/td>Encyclopedia of practical photography<\/td><\/td>Eastman Kodak Co.<\/td>New York<\/td>1978<\/td>Vol. 9. L-MI<\/td>4<\/td> <\/tr>\n
6844<\/td>2257<\/td>unread<\/td>84<\/td>12203<\/td><\/td>6498<\/td>Encyclopedia of practical photography<\/td><\/td>Eastman Kodak Co.<\/td>New York<\/td>1978<\/td>Vol 10. MO-PAN<\/td>4<\/td> <\/tr>\n
6845<\/td>2258<\/td>unread<\/td>84<\/td>12204<\/td><\/td>6499<\/td>Encyclopedia of practical photography<\/td><\/td>Eastman Kodak Co<\/td>New York<\/td>1978<\/td>Vol 11. PAP-PROC<\/td>4<\/td> <\/tr>\n
6846<\/td>2259<\/td>unread<\/td>84<\/td>12205<\/td><\/td>6500<\/td>Encyclopedia of practical photography<\/td><\/td>Eastman Kodak Co<\/td>New York<\/td>1979<\/td>Vol 12. PROD-SLI<\/td>4<\/td> <\/tr>\n
6847<\/td>2260<\/td>unread<\/td>84<\/td>12206<\/td><\/td>6501<\/td>Encyclopedia of practical photography<\/td><\/td>Eastman Kodak Co<\/td>New York<\/td>1979<\/td>Vol 13. SLI-TRAN<\/td>4<\/td> <\/tr>\n
6848<\/td>2261<\/td>unread<\/td>84<\/td>12207<\/td><\/td>6502<\/td>Encyclopedia of practical photography<\/td><\/td>Eastman Kodak Co.<\/td>New York<\/td>1979<\/td>Vol 14. TRAV-Z Index.<\/td>4<\/td> <\/tr>\n
6849<\/td>2262<\/td>unread<\/td>84<\/td>12208<\/td><\/td>6503<\/td>The Hasselblad way<\/td>H.Freytag<\/td>The Focal Press<\/td>London<\/td>1973<\/td><\/td>5<\/td> <\/tr>\n
6850<\/td>2263<\/td>unread<\/td>83<\/td>12209<\/td><\/td>6504<\/td>Die photographischen objektive<\/td>Josef Maria Eder<\/td>Wilhelm Knapp Verlag<\/td>Tyskland<\/td>1911<\/td><\/td>5<\/td> <\/tr>\n
6851<\/td>2264<\/td>unread<\/td>84<\/td>12210<\/td><\/td>6505<\/td>The Hasselblad way<\/td>H.Freytag<\/td>The Focal Press<\/td>London<\/td>1974<\/td><\/td>5<\/td> <\/tr>\n
6852<\/td>2265<\/td>unread<\/td>83<\/td>12211<\/td><\/td>6506<\/td>Photographie und forschung. Bind 5<\/td><\/td>Zeiss Ikon AG<\/td>Stuttgart<\/td>1952<\/td><\/td>5<\/td> <\/tr>\n
6853<\/td>2266<\/td>unread<\/td>82<\/td>12212<\/td><\/td>6507<\/td>De fotografiska kemikalierna<\/td>John Hertzberg<\/td><\/td>Stockholm<\/td>1924<\/td><\/td>5<\/td> <\/tr>\n
6854<\/td>2267<\/td>unread<\/td>83<\/td>12213<\/td><\/td>6508<\/td>Foto praktikum<\/td>Ernst A.Weber<\/td>Heering Verlag<\/td>Tyskland<\/td>1967<\/td><\/td>5<\/td> <\/tr>\n
6855<\/td>2268<\/td>unread<\/td>83<\/td>12214<\/td><\/td>6509<\/td>Laufbildprojektion<\/td><\/td>Springer Verlag<\/td>Wien<\/td>1973<\/td><\/td>5<\/td> <\/tr>\n
6856<\/td>2269<\/td>unread<\/td>83<\/td>12215<\/td><\/td>6510<\/td>Theorie der modernen optischen instrumen<\/td>Alexander Gleichen<\/td>Verlag von Ferdinand Enke<\/td>Stuttgart<\/td>1911<\/td><\/td>5<\/td> <\/tr>\n
6857<\/td>2270<\/td>unread<\/td>83<\/td>12216<\/td><\/td>6511<\/td>Photographie und forschung<\/td><\/td><\/td><\/td>1935-1936<\/td><\/td>5<\/td> <\/tr>\n
6858<\/td>2271<\/td>unread<\/td>83<\/td>12217<\/td><\/td>6512<\/td>Das photographische objektiv<\/td><\/td>Springer Verlag<\/td>Wien<\/td>1955<\/td><\/td>5<\/td> <\/tr>\n
6859<\/td>2272<\/td>unread<\/td>83<\/td>12218<\/td><\/td>6513<\/td>Die kinematographische kamera<\/td>Harald Weise<\/td>Springer Verlag<\/td>Wien<\/td>1955<\/td><\/td>5<\/td> <\/tr>\n
6860<\/td>2273<\/td>unread<\/td>83<\/td>12219<\/td><\/td>6514<\/td>Die photographische kamera<\/td><\/td>Springer Verlag<\/td>Wien<\/td>1962<\/td><\/td>5<\/td> <\/tr>\n
6861<\/td>2274<\/td>unread<\/td>84<\/td>12220<\/td><\/td>6515<\/td>Advanced Photography<\/td>Michael J. Langford<\/td>Focal Press<\/td>England<\/td>1969<\/td><\/td>5<\/td> <\/tr>\n
6862<\/td>2275<\/td>unread<\/td>84<\/td>12221<\/td><\/td>6516<\/td>Fibre optics and its applications<\/td>Robert Tiedeken<\/td>Focal Press<\/td>England<\/td>1972<\/td><\/td>5<\/td> <\/tr>\n
6863<\/td>2276<\/td>unread<\/td>84<\/td>12222<\/td><\/td>6517<\/td>Basic photography<\/td>Michael J. Langford<\/td>Focal Press<\/td>England<\/td>1971<\/td><\/td>5<\/td> <\/tr>\n
6864<\/td>2277<\/td>unread<\/td>84<\/td>12223<\/td><\/td>6518<\/td>Photography on Expeditions<\/td>John D.H.O.<\/td>Focal Press<\/td>England<\/td>1965<\/td><\/td>5<\/td> <\/tr>\n
6865<\/td>2278<\/td>unread<\/td>84<\/td>12224<\/td><\/td>6519<\/td>Color photography in practice<\/td>D.A.Spencers<\/td>Focal Press<\/td>England<\/td>1966<\/td><\/td>5<\/td> <\/tr>\n
6866<\/td>2279<\/td>unread<\/td>84<\/td>12225<\/td><\/td>6520<\/td>Applied photography<\/td>C.R.Arnold\/P.J.Rolls\/J.C.J.Stewart<\/td>Focal Press<\/td>England<\/td>1971<\/td><\/td>5<\/td> <\/tr>\n
6867<\/td>2280<\/td>unread<\/td>84<\/td>12226<\/td><\/td>6521<\/td>Basic photography<\/td>Michael J. Langford<\/td>Focal Press<\/td>England<\/td>1965<\/td><\/td>5<\/td> <\/tr>\n
6868<\/td>2281<\/td>unread<\/td>84<\/td>12227<\/td><\/td>6522<\/td>Print finishing<\/td>William Mortensen<\/td>Camera Craft Publishing Co.<\/td>San Francisco<\/td>1938<\/td><\/td>5<\/td> <\/tr>\n
6869<\/td>2282<\/td>unread<\/td>84<\/td>12228<\/td><\/td>6523<\/td>Photography in engineering<\/td>C.H.S.Tupholme<\/td>Farber & Farber Limited<\/td>England<\/td><\/td><\/td>5<\/td> <\/tr>\n
6870<\/td>2283<\/td>unread<\/td>81<\/td>12229<\/td><\/td>6622<\/td>Lav lysbilleder og tegnefilm<\/td>Nina og Ebbe Knudsen<\/td>Berlingske forlag<\/td><\/td>1970<\/td><\/td>54<\/td> <\/tr>\n
6871<\/td>2284<\/td>unread<\/td>81<\/td>12230<\/td><\/td>6623<\/td>Foto for enhver<\/td>Joachim Jerrik<\/td>H.Hirschprungs forlag<\/td><\/td>1956<\/td><\/td>54<\/td> <\/tr>\n
6872<\/td>2285<\/td>unread<\/td>84<\/td>12231<\/td><\/td>6624<\/td>Child photography<\/td>Harold Lambert<\/td>Little technical Library<\/td>New York<\/td>1939<\/td><\/td>54<\/td> <\/tr>\n
6873<\/td>2286<\/td>unread<\/td>81<\/td>12232<\/td><\/td>6625<\/td>En bibliografi med fotografier af H.P.Ha<\/td>H.P.Hansen<\/td>Bogtrykskolen i Herning<\/td><\/td>1970<\/td><\/td>54<\/td> <\/tr>\n
6874<\/td>2287<\/td>unread<\/td>81<\/td>12233<\/td><\/td>6626<\/td><\/td><\/td><\/td><\/td><\/td><\/td>54<\/td> <\/tr>\n
6875<\/td>2288<\/td>unread<\/td>81<\/td>12234<\/td><\/td>6627<\/td><\/td><\/td><\/td><\/td><\/td><\/td>54<\/td> <\/tr>\n
6876<\/td>2289<\/td>unread<\/td>81<\/td>12235<\/td><\/td>6628<\/td><\/td>Jock Carroll<\/td>Hasselbalhs forlag<\/td><\/td>1969<\/td><\/td>54<\/td> <\/tr>\n
6877<\/td>2290<\/td>unread<\/td>83<\/td>12236<\/td><\/td>6629<\/td>Special katalog No.32<\/td>Ed.Messter Berlin 1898<\/td>Stroemfeld \/ Roter Stern<\/td>Frankfurt<\/td>1995<\/td><\/td>54<\/td> <\/tr>\n
6878<\/td>2291<\/td>unread<\/td>83<\/td>12237<\/td><\/td>6630<\/td>Der foto-blitz.Seine geschichte<\/td>P.Bron\/ P.L.Condax<\/td>Bron Electronik AG<\/td>Schweiz<\/td>1998<\/td><\/td>44<\/td> <\/tr>\n
6879<\/td>2292<\/td>unread<\/td>84<\/td>12238<\/td><\/td>6631<\/td>Historic,photographic,processes<\/td>Richard Farber<\/td>Allworth Press<\/td>New York<\/td>1998<\/td><\/td>44<\/td> <\/tr>\n
6880<\/td>2293<\/td>unread<\/td>86<\/td>12239<\/td><\/td>6632<\/td>Aqueducte 98.V Biennal intervacional de<\/td><\/td><\/td>Spain<\/td>1998<\/td><\/td>44<\/td> <\/tr>\n
6881<\/td>2294<\/td>unread<\/td>81<\/td>12240<\/td><\/td>6633<\/td>Danske billeder<\/td><\/td>Recht & Tryde<\/td><\/td>1918<\/td><\/td>44<\/td> <\/tr>\n
6882<\/td>2295<\/td>unread<\/td>83<\/td>12241<\/td><\/td>6634<\/td>Stereo Skopie<\/td>Gerhard Kemner<\/td><\/td><\/td>1989<\/td><\/td>44<\/td> <\/tr>\n
6883<\/td>2296<\/td>unread<\/td>88<\/td>12242<\/td><\/td>6657<\/td><\/td><\/td><\/td>Barcelona<\/td>1999<\/td><\/td>44<\/td> <\/tr>\n
6884<\/td>2297<\/td>unread<\/td>81<\/td>12243<\/td><\/td>6665<\/td>Stoffer og materiale i grafiske virksomh<\/td>Arbejdstilsynet<\/td><\/td><\/td><\/td><\/td>82<\/td> <\/tr>\n
6885<\/td>2298<\/td>unread<\/td>88<\/td>12244<\/td><\/td>6666<\/td>Se under beskrivelse!!!<\/td><\/td><\/td>Finland. Helsinki<\/td>1998<\/td>Frames - Viewing Finnish Contemporary Photography 1998.<\/td>44<\/td> <\/tr>\n
6886<\/td>2299<\/td>unread<\/td>88<\/td>12245<\/td><\/td>6667<\/td>Bare det var mig<\/td>Lotte Heise<\/td>Forlaget Parlando<\/td><\/td>1992<\/td><\/td>54<\/td> <\/tr>\n
6887<\/td>2300<\/td>unread<\/td>81<\/td>12246<\/td><\/td>6677<\/td>Stereoskopiske kameraer 1847-1990<\/td>Rudi Hass<\/td><\/td><\/td>1992<\/td>Reg. 01<\/td>0<\/td> <\/tr>\n
6888<\/td>2301<\/td>unread<\/td>86<\/td>12247<\/td><\/td>6678<\/td>Photographic equipment and instrumenttat<\/td><\/td>Burke & James<\/td>USA<\/td><\/td>REG.01.<\/td>0<\/td> <\/tr>\n
6889<\/td>2302<\/td>unread<\/td>86<\/td>12248<\/td><\/td>6679<\/td>Catalog of Kodak and Brownie cameras<\/td><\/td><\/td>USA<\/td>1975<\/td>REG. 01<\/td>0<\/td> <\/tr>\n
6890<\/td>2303<\/td>unread<\/td>81<\/td>12249<\/td><\/td>6680<\/td>Illustreret katalog over fotografi-appar<\/td><\/td><\/td>Gentofte<\/td>1987<\/td>REG 01.<\/td>0<\/td> <\/tr>\n
6891<\/td>2304<\/td>unread<\/td>83<\/td>12250<\/td><\/td>6681<\/td>Kodak. Die kameras von 1888 bis heute<\/td>Brian Coe<\/td>Callwey<\/td><\/td>1990<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6892<\/td>2305<\/td>unread<\/td>86<\/td>12251<\/td><\/td>6682<\/td><\/td><\/td><\/td><\/td><\/td>Burke & James. Nr. 339. REG.01.<\/td>0<\/td> <\/tr>\n
6893<\/td>2306<\/td>unread<\/td>86<\/td>12252<\/td><\/td>6683<\/td>Photographic supplies<\/td><\/td>Burke & James<\/td><\/td>1934<\/td>REG 01.<\/td>0<\/td> <\/tr>\n
6894<\/td>2307<\/td>unread<\/td>83<\/td>12253<\/td><\/td>6684<\/td>Von Daguerre bis heute IV<\/td><\/td><\/td>Leipzig<\/td>1997<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6895<\/td>2308<\/td>unread<\/td>83<\/td>12254<\/td><\/td>6685<\/td><\/td>P.Mayer<\/td>Carl Zeiss, Jena<\/td><\/td><\/td>REG 01<\/td>0<\/td> <\/tr>\n
6896<\/td>2309<\/td>unread<\/td>83<\/td>12255<\/td><\/td>6686<\/td><\/td><\/td>Agfa Gevaert<\/td><\/td>1980<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6897<\/td>2310<\/td>unread<\/td>83<\/td>12256<\/td><\/td>6687<\/td>Agfa Hauptkatalog<\/td><\/td><\/td>Berlin<\/td><\/td>REG 01<\/td>0<\/td> <\/tr>\n
6898<\/td>2311<\/td>unread<\/td>83<\/td>12257<\/td><\/td>6688<\/td>Agfa Hauptkatalog<\/td><\/td>Filmfabrik Agfa wolfen<\/td>Leipzig<\/td>1951<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6899<\/td>2312<\/td>unread<\/td>82<\/td>12258<\/td><\/td>6689<\/td>Fotografiska artikler.Hasselblad I<\/td><\/td><\/td><\/td><\/td>REG 01<\/td>0<\/td> <\/tr>\n
6900<\/td>2313<\/td>unread<\/td>83<\/td>12259<\/td><\/td>6690<\/td>Ernemanns Cameras<\/td><\/td>Wittig FAchbuch<\/td>Tyskland<\/td>1995<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6901<\/td>2314<\/td>unread<\/td>83<\/td>12260<\/td><\/td>6691<\/td>Photographie im wandel der zeiten<\/td>Rudolf Skopec<\/td>Artia<\/td><\/td><\/td>REG 01<\/td>0<\/td> <\/tr>\n
6902<\/td>2315<\/td>unread<\/td>83<\/td>12261<\/td><\/td>6692<\/td>Spiegelreflexkameras aus Dresden<\/td>Richard Hummel<\/td>Edition Reintzsch<\/td>Leipzig<\/td>1994<\/td>REG 01<\/td>0<\/td> <\/tr>\n
6903<\/td>2316<\/td>unread<\/td>83<\/td>12262<\/td><\/td>6693<\/td>Zeiss Ikon<\/td><\/td>Lindemanns verlag<\/td>Stuttgart<\/td>1994<\/td><\/td>54<\/td> <\/tr>\n
6904<\/td>2317<\/td>unread<\/td>83<\/td>12263<\/td><\/td>6694<\/td>Die photographie in kultur und technik<\/td>Erich Stenger<\/td>Lindemanns Verlag<\/td>Stuttgart<\/td>1992<\/td><\/td>42<\/td> <\/tr>\n
6905<\/td>2318<\/td>unread<\/td>88<\/td>12264<\/td><\/td>6695<\/td><\/td>John Pultz<\/td>Dumont forlag<\/td><\/td>1995<\/td><\/td>42<\/td> <\/tr>\n
6906<\/td>2319<\/td>unread<\/td>83<\/td>12265<\/td><\/td>6696<\/td><\/td>Luis Nadeau<\/td>Lindemanns Verlag<\/td>Stuttgart<\/td>1992<\/td><\/td>54<\/td> <\/tr>\n
6907<\/td>2320<\/td>unread<\/td>88<\/td>12266<\/td><\/td>6697<\/td><\/td>Dorthea Lange<\/td><\/td><\/td>1998<\/td><\/td>44<\/td> <\/tr>\n
6908<\/td>2321<\/td>unread<\/td>83<\/td>12267<\/td><\/td>6698<\/td><\/td><\/td><\/td>Berlin<\/td><\/td>REG.02.<\/td>0<\/td> <\/tr>\n
6909<\/td>2322<\/td>unread<\/td>83<\/td>12268<\/td><\/td>6699<\/td>Nagel und Kodak kameras<\/td>Karl Otto Kemmler<\/td>Gisela Kemmler verlag<\/td>Tyskland<\/td>1983<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6910<\/td>2323<\/td>unread<\/td>83<\/td>12269<\/td><\/td>6700<\/td>Linhof 100 jahre 1887-1987<\/td><\/td><\/td><\/td>1987<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6911<\/td>2324<\/td>unread<\/td>84<\/td>12270<\/td><\/td>6701<\/td>Russian and Soviet cameras 1840-1991<\/td><\/td><\/td><\/td>1993<\/td>Iskusstvo. Rostov-on-don. REG.02.<\/td>0<\/td> <\/tr>\n
6912<\/td>2325<\/td>unread<\/td>83<\/td>12271<\/td><\/td>6702<\/td>Topcon story<\/td>M.Antonette \/ C.Russo<\/td>Nassa Watch Gallery<\/td>Switzerland<\/td>1997<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6913<\/td>2326<\/td>unread<\/td>83<\/td>12272<\/td><\/td>6703<\/td>Rund um das kleinbild<\/td><\/td>Elme Verlag<\/td><\/td><\/td>reg 02<\/td>0<\/td> <\/tr>\n
6914<\/td>2327<\/td>unread<\/td>83<\/td>12273<\/td><\/td>6704<\/td>Goerz 1886-1911.Kameras & Objektive<\/td><\/td>Lindemanns verlag<\/td>Stuttgart<\/td>1994<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6915<\/td>2328<\/td>unread<\/td>83<\/td>12274<\/td><\/td>6705<\/td>Historische kameras<\/td>Kleffe Langner<\/td>Veb.Fotokino verlag<\/td>Leipzig<\/td>1989<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6916<\/td>2329<\/td>unread<\/td>84<\/td>12275<\/td><\/td>6706<\/td>Cameras of China<\/td>Douglas St.Denny<\/td>Jessop specialist publishing<\/td>Leicester<\/td>1989<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6917<\/td>2330<\/td>unread<\/td>86<\/td>12276<\/td><\/td>6707<\/td>A review of graflex<\/td>Richard P. Paine<\/td><\/td>Texas<\/td>1981<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6918<\/td>2331<\/td>unread<\/td>84<\/td>12277<\/td><\/td>6708<\/td>Spy camera- THe Minox story<\/td>Morris Moses<\/td>Hove Foto Books<\/td>England<\/td>1990<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6919<\/td>2332<\/td>unread<\/td>84<\/td>12278<\/td><\/td>6709<\/td>Zeiss Comp.east and west 1940-1972<\/td>C.M.Barringer\/M.J.Books<\/td>Hove Collectors Books<\/td>England<\/td>1995<\/td>REG.02<\/td>0<\/td> <\/tr>\n
6920<\/td>2333<\/td>unread<\/td>85<\/td>12279<\/td><\/td>6710<\/td>300 Leica copies<\/td>Pont\/Pricelle<\/td>Foto Saga<\/td>Frankrig<\/td>1990<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6921<\/td>2334<\/td>unread<\/td>83<\/td>12280<\/td><\/td>6711<\/td>Historische kameras 1845-1970<\/td>James E. Cornwall<\/td>VWI-Verlag<\/td>Tyskland<\/td>1979<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6922<\/td>2335<\/td>unread<\/td>83<\/td>12281<\/td><\/td>6712<\/td>Nikon Faszination<\/td>Peter Braczko<\/td>Wittig Fachbuch<\/td>Tyskland<\/td>1992<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6923<\/td>2336<\/td>unread<\/td>83<\/td>12282<\/td><\/td>6713<\/td>Minox<\/td>Hubert E. Heckmann<\/td>Wittig Fachbuch<\/td><\/td><\/td>REG 02<\/td>0<\/td> <\/tr>\n
6924<\/td>2337<\/td>unread<\/td>83<\/td>12283<\/td><\/td>6714<\/td>Canon handbuch<\/td><\/td>Laterna Magica<\/td><\/td>1994<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6925<\/td>2338<\/td>unread<\/td>83<\/td>12284<\/td><\/td>6715<\/td>Das komplette handbuch<\/td>B.Moose Peterson<\/td>Laterna Magica<\/td><\/td>1998<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6926<\/td>2339<\/td>unread<\/td>83<\/td>12285<\/td><\/td>6716<\/td>Minoltas kameratechnik<\/td>A.R. und Scheibel<\/td>Herbert Steller verlag<\/td>Tyskland<\/td>1978<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6927<\/td>2340<\/td>unread<\/td>84<\/td>12286<\/td><\/td>6717<\/td>Exakta cameras 1933-1978<\/td>C.Aguila \/ M. Rouah<\/td>Hove foto books<\/td>England<\/td>1987<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6928<\/td>2341<\/td>unread<\/td>83<\/td>12287<\/td><\/td>6718<\/td>Exakta von der Kine-Exakta bis zur elbaf<\/td>Klaus Wichmann<\/td>Lindemanns verlag<\/td>Stuttgart<\/td>1995<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6929<\/td>2342<\/td>unread<\/td>81<\/td>12288<\/td><\/td>6719<\/td>Nikon Saga<\/td>P.H.Pont<\/td>Foto Saga<\/td><\/td>1997<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6930<\/td>2343<\/td>unread<\/td>83<\/td>12289<\/td><\/td>6720<\/td>Das Nikon handbuch<\/td>Peter Braczko<\/td>Wittig Fachbuch<\/td>Tyskland<\/td><\/td>REG 02<\/td>0<\/td> <\/tr>\n
6931<\/td>2344<\/td>unread<\/td>84<\/td>12290<\/td><\/td>6721<\/td>Col.guide to Rollei cameras<\/td>Arthur Evans<\/td><\/td>England<\/td>1986<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6932<\/td>2345<\/td>unread<\/td>86<\/td>12291<\/td><\/td>6722<\/td>Belichttungsmesser<\/td>Miha Podlogar<\/td>Bebop<\/td>Slovenija<\/td>1996<\/td>REG 02<\/td>0<\/td> <\/tr>\n
6933<\/td>2346<\/td>unread<\/td>88<\/td>12292<\/td><\/td>6723<\/td>Fotografie! das 20.jahrhundert<\/td><\/td>Prestel<\/td>Tyskland<\/td>1999<\/td><\/td>44<\/td> <\/tr>\n
6934<\/td>2347<\/td>unread<\/td>84<\/td>12293<\/td><\/td>6724<\/td>Kodak.Professional,photographic,apparatu<\/td><\/td><\/td>London<\/td>1937<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6935<\/td>2348<\/td>unread<\/td>84<\/td>12294<\/td><\/td>6725<\/td>Kodak.Photographic apparatus and materia<\/td><\/td><\/td>London<\/td>1936<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6936<\/td>2349<\/td>unread<\/td>83<\/td>12295<\/td><\/td>6726<\/td>Die Anatomie der Kodak Retina<\/td><\/td><\/td>Stuttgart<\/td>1956<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6937<\/td>2350<\/td>unread<\/td>84<\/td>12296<\/td><\/td>6727<\/td>Retina guide<\/td>W.D.Emanuel<\/td>The Focal Press<\/td>England<\/td>1946<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6938<\/td>2351<\/td>unread<\/td>81<\/td>12297<\/td><\/td>6728<\/td>Foto tips - Retina tips<\/td><\/td><\/td><\/td>1955<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6939<\/td>2352<\/td>unread<\/td>84<\/td>12298<\/td><\/td>6729<\/td>Real Orthochromatism. Kodak<\/td><\/td><\/td>London<\/td>1914<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6940<\/td>2353<\/td>unread<\/td>84<\/td>12299<\/td><\/td>6730<\/td>Wratten \"M\" Filters<\/td><\/td><\/td>Kodak House. London<\/td><\/td>REG 03<\/td>0<\/td> <\/tr>\n
6941<\/td>2354<\/td>unread<\/td>81<\/td>12300<\/td><\/td>6731<\/td><\/td><\/td><\/td><\/td>1922<\/td>REG 03<\/td>0<\/td> <\/tr>\n
6942<\/td>2355<\/td>unread<\/td>84<\/td>12301<\/td><\/td>6732<\/td>Lantern slides<\/td><\/td>Kodak Limited<\/td>London<\/td><\/td>REG 03<\/td>0<\/td> <\/tr>\n
6943<\/td>2356<\/td>unread<\/td>88<\/td>12302<\/td><\/td>6733<\/td>Fotografi & Skulptur<\/td>Kirsten Klein og Erik Heide<\/td><\/td>Sophienholm<\/td>1998<\/td><\/td>42<\/td> <\/tr>\n
6944<\/td>2357<\/td>unread<\/td>88<\/td>12303<\/td><\/td>6734<\/td>Lady Harwarden<\/td>Virginia Dodier<\/td>V & A Publications<\/td>England<\/td>1999<\/td><\/td>44<\/td> <\/tr>\n
6945<\/td>2358<\/td>unread<\/td>84<\/td>12304<\/td><\/td>6735<\/td>Leica darkroom practice<\/td>Rudolph Seck<\/td>Hove foto books<\/td>England<\/td>1983<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6946<\/td>2359<\/td>unread<\/td>84<\/td>12305<\/td><\/td>6736<\/td>Leica & Leicaflex lenses<\/td>G.Rogliatti<\/td>Hove foto books<\/td>England<\/td>1978<\/td>reg<\/td>0<\/td> <\/tr>\n
6947<\/td>2360<\/td>unread<\/td>83<\/td>12306<\/td><\/td>6737<\/td>Kleinfilmkamera Leica 1925-1950<\/td><\/td>Wittig Fachbuch<\/td>Tyskland<\/td>1986<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6948<\/td>2361<\/td>unread<\/td>84<\/td>12307<\/td><\/td>6738<\/td>Leica the first 60 years<\/td>G. Rogliatti<\/td>Hove foto books<\/td>England<\/td>1982<\/td>reg<\/td>0<\/td> <\/tr>\n
6949<\/td>2362<\/td>unread<\/td>84<\/td>12308<\/td><\/td>6739<\/td>Leica the first fifty years<\/td>G. Rogliatti<\/td>Hove foto books<\/td>England<\/td>1977<\/td>reg<\/td>0<\/td> <\/tr>\n
6950<\/td>2363<\/td>unread<\/td>84<\/td>12309<\/td><\/td>6740<\/td>Leica - R4<\/td>Theo Kisselbach<\/td>Hove foto books<\/td>England<\/td>1981<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6951<\/td>2364<\/td>unread<\/td>83<\/td>12310<\/td><\/td>6741<\/td>Applied Leica technique<\/td>Gunther Osterloh<\/td>Umschau verlag<\/td>Tyskland<\/td>1984<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6952<\/td>2365<\/td>unread<\/td>86<\/td>12311<\/td><\/td>6742<\/td>Identifying Leica lenses<\/td>Ghester Sartorius<\/td>Editrice reflex<\/td>Italien<\/td>1999<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6953<\/td>2366<\/td>unread<\/td>86<\/td>12312<\/td><\/td>6743<\/td>Identifying Leica cameras<\/td>Ghester Sartorius<\/td>Editrice reflex<\/td>Italien<\/td>1997<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6954<\/td>2367<\/td>unread<\/td>86<\/td>12313<\/td><\/td>6744<\/td>Directory of collectable cameras<\/td>Myron Wolf<\/td><\/td>USA<\/td>1975<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6955<\/td>2368<\/td>unread<\/td>83<\/td>12314<\/td><\/td>6745<\/td>Leica 50 jahre<\/td><\/td><\/td>Tyskland<\/td>1974<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6956<\/td>2369<\/td>unread<\/td>83<\/td>12315<\/td><\/td>6746<\/td>Ernst Leitz prisliste i DM 1967<\/td><\/td><\/td><\/td><\/td>REG 06<\/td>0<\/td> <\/tr>\n
6957<\/td>2370<\/td>unread<\/td>83<\/td>12316<\/td><\/td>6747<\/td>e.lEITZ PRISLISTE I dm 1966<\/td><\/td><\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6958<\/td>2371<\/td>unread<\/td>83<\/td>12317<\/td><\/td>6748<\/td>E.Leitz prisliste i DM 1965<\/td><\/td><\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6959<\/td>2372<\/td>unread<\/td>83<\/td>12318<\/td><\/td>6749<\/td>E.Leitz 1964<\/td><\/td><\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6960<\/td>2373<\/td>unread<\/td>83<\/td>12319<\/td><\/td>6750<\/td>E.Leitz prisliste 1963<\/td><\/td><\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6961<\/td>2374<\/td>unread<\/td>83<\/td>12320<\/td><\/td>6751<\/td>E.Leitz 1961<\/td><\/td><\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6962<\/td>2375<\/td>unread<\/td>83<\/td>12321<\/td><\/td>6752<\/td>Leica in wissenschaft u technik<\/td>E.Leitz<\/td><\/td>Wetzlar<\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6963<\/td>2376<\/td>unread<\/td>83<\/td>12322<\/td><\/td>6753<\/td>Leica,full codewords description and ind<\/td>E.Leitz<\/td><\/td>Wetzlar & London<\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6964<\/td>2377<\/td>unread<\/td>84<\/td>12323<\/td><\/td>6754<\/td>Instructions for use of the Leica camera<\/td>E.Leitz<\/td><\/td><\/td><\/td>reg 06. 5 stk.<\/td>0<\/td> <\/tr>\n
6965<\/td>2378<\/td>unread<\/td>84<\/td>12324<\/td><\/td>6755<\/td>Handbook of the Leica system<\/td><\/td><\/td><\/td>1989<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6966<\/td>2379<\/td>unread<\/td>84<\/td>12325<\/td><\/td>6756<\/td>Handbook of the Leica system<\/td><\/td><\/td><\/td>1994<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6967<\/td>2380<\/td>unread<\/td>84<\/td>12326<\/td><\/td>6757<\/td>Handbook of the Leica system<\/td>Leitz<\/td><\/td><\/td>1987<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6968<\/td>2381<\/td>unread<\/td>83<\/td>12327<\/td><\/td>6758<\/td>Handbuch des Leica system<\/td>Leitz<\/td><\/td><\/td>1984<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6969<\/td>2382<\/td>unread<\/td>83<\/td>12328<\/td><\/td>6759<\/td>Handbuch des Leica system<\/td><\/td><\/td><\/td>1998\/99<\/td>Reg 06<\/td>0<\/td> <\/tr>\n
6970<\/td>2383<\/td>unread<\/td>83<\/td>12329<\/td><\/td>6760<\/td>Photographica sammln<\/td>Uwe Scheid<\/td>Verlag Laterna Magica<\/td><\/td>1977<\/td>reg<\/td>0<\/td> <\/tr>\n
6971<\/td>2384<\/td>unread<\/td>84<\/td>12330<\/td><\/td>6761<\/td>Leica pocket book 1980<\/td><\/td>Hove foto books<\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6972<\/td>2385<\/td>unread<\/td>84<\/td>12331<\/td><\/td>6762<\/td>Leica Accessory guide 1984<\/td><\/td>Hove foto books<\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6973<\/td>2386<\/td>unread<\/td>84<\/td>12332<\/td><\/td>6763<\/td>Leica priceguide 1984\/85<\/td><\/td>Hove foto books<\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6974<\/td>2387<\/td>unread<\/td>84<\/td>12333<\/td><\/td>6764<\/td>Leica price guide 1988<\/td><\/td>Hove foto books<\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6975<\/td>2388<\/td>unread<\/td>84<\/td>12334<\/td><\/td>6765<\/td>Leica price guide 1986\/87<\/td><\/td>Hove foto books<\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6976<\/td>2389<\/td>unread<\/td>84<\/td>12335<\/td><\/td>6766<\/td>Zeiss Ikon cameras 1926-39<\/td>D.B.Tubbs<\/td>Hove foto books<\/td>England<\/td>1977<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6977<\/td>2390<\/td>unread<\/td>88<\/td>12336<\/td><\/td>6767<\/td><\/td><\/td>Nordisk forlag<\/td><\/td>1949<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6978<\/td>2391<\/td>unread<\/td>86<\/td>12337<\/td><\/td>6768<\/td>The american 35 mm<\/td>K.C.Lahue \/ J.A.Bailey<\/td>Amphoto<\/td>New York<\/td>1972<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6979<\/td>2392<\/td>unread<\/td>81<\/td>12338<\/td><\/td>6769<\/td><\/td><\/td>Politikkens forlag<\/td><\/td>1975<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6980<\/td>2393<\/td>unread<\/td>86<\/td>12339<\/td><\/td>6770<\/td>The Univex story<\/td>Cynthia A Repinski<\/td><\/td>USA<\/td>1991<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6981<\/td>2394<\/td>unread<\/td>86<\/td>12340<\/td><\/td>6771<\/td>Kuribayashi-Petri cameras<\/td>John R. Baird<\/td><\/td>USA<\/td>1991<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6982<\/td>2395<\/td>unread<\/td>84<\/td>12341<\/td><\/td>6772<\/td>Blue book 1982 priceguide<\/td><\/td><\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6983<\/td>2396<\/td>unread<\/td>83<\/td>12342<\/td><\/td>6773<\/td>Das Retina Buch<\/td>Croy<\/td>Heering verlag<\/td>Tyskland<\/td>1952<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6984<\/td>2397<\/td>unread<\/td>84<\/td>12343<\/td><\/td>6774<\/td>Canon rangefinder cameras 1933-68<\/td>Peter Dechert<\/td>Hove foto books<\/td>England<\/td>1985<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6985<\/td>2398<\/td>unread<\/td>84<\/td>12344<\/td><\/td>6775<\/td>Priceguide to cameras 1981\/82<\/td><\/td><\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6986<\/td>2399<\/td>unread<\/td>84<\/td>12345<\/td><\/td>6776<\/td>Leica price guide 1982\/83<\/td><\/td>Hove foto books<\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6987<\/td>2400<\/td>unread<\/td>88<\/td>12346<\/td><\/td>6777<\/td>Verkehrs-Museum-Berlin photo. 1839\/1979<\/td><\/td><\/td>Berlin<\/td><\/td>Reg 06<\/td>0<\/td> <\/tr>\n
6988<\/td>2401<\/td>unread<\/td>83<\/td>12347<\/td><\/td>6778<\/td>Katalog 3<\/td>Michel Auer<\/td><\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6989<\/td>2402<\/td>unread<\/td>83<\/td>12348<\/td><\/td>6779<\/td>Katalog 2<\/td>Michel Auer<\/td><\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6990<\/td>2403<\/td>unread<\/td>83<\/td>12349<\/td><\/td>6780<\/td>Katalog 1<\/td>Michel Auer<\/td><\/td><\/td><\/td>reg 06<\/td>0<\/td> <\/tr>\n
6991<\/td>2404<\/td>unread<\/td>83<\/td>12350<\/td><\/td>6781<\/td>Contaflex\/Contarex<\/td>Hans Jurgen Kuc<\/td><\/td>Tyskland<\/td>1988<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6992<\/td>2405<\/td>unread<\/td>83<\/td>12351<\/td><\/td>6782<\/td>Contessa<\/td>Karl Otto Kemmler<\/td>Gisela Kemmler verlag<\/td>Tyskland<\/td>1984<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6993<\/td>2406<\/td>unread<\/td>84<\/td>12352<\/td><\/td>6783<\/td>Asahi Pentax<\/td>Danilo Cecchi<\/td>Hove foto books<\/td>England<\/td>1990<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6994<\/td>2407<\/td>unread<\/td>84<\/td>12353<\/td><\/td>6784<\/td>Nikon.Rangefinder camera<\/td>Robert Rotoloni<\/td>Hove foto books<\/td>England<\/td>1981<\/td>reg 06<\/td>0<\/td> <\/tr>\n
6995<\/td>2408<\/td>unread<\/td>81<\/td>12354<\/td><\/td>7106<\/td><\/td>Arnold Hending<\/td>Kandrup & Wunsch Forlag<\/td><\/td>1961<\/td><\/td>8<\/td> <\/tr>\n
6996<\/td>2409<\/td>unread<\/td>81<\/td>12355<\/td><\/td>7107<\/td>Filmmanuskriptet<\/td>Karl Roos<\/td>Atheneum Dansk Forlag<\/td><\/td>1940<\/td><\/td>7<\/td> <\/tr>\n
6997<\/td>2410<\/td>unread<\/td>81<\/td>12356<\/td><\/td>7108<\/td>Jeg har elsket og levet<\/td>Mogens Brandt<\/td>Carl Allers Bogforlag<\/td><\/td>1940<\/td><\/td>7<\/td> <\/tr>\n
6998<\/td>2411<\/td>unread<\/td>81<\/td>12357<\/td><\/td>7109<\/td><\/td>Arnold Hending<\/td>Forlaget Urania<\/td><\/td>1943<\/td><\/td>7<\/td> <\/tr>\n
6999<\/td>2412<\/td>unread<\/td>81<\/td>12358<\/td><\/td>7110<\/td><\/td>Ebbe Neergaard<\/td>Atheneum Dansk Forlag<\/td><\/td>1940<\/td><\/td>8<\/td> <\/tr>\n
7000<\/td>2413<\/td>unread<\/td>81<\/td>12359<\/td><\/td>7111<\/td>Fremmede fugle i dansk film<\/td>Arnold Hending<\/td>Athene<\/td><\/td>1951<\/td><\/td>7<\/td> <\/tr>\n
7001<\/td>2414<\/td>unread<\/td>81<\/td>12360<\/td><\/td>7112<\/td>A.W. Sandberg og hans film<\/td>Harald Engberg<\/td>Aschehoug Dansk Forlag<\/td><\/td>1944<\/td><\/td>7<\/td> <\/tr>\n
7002<\/td>2415<\/td>unread<\/td>82<\/td>12361<\/td><\/td>7113<\/td>Filmens eventyr<\/td>Waldemar Reiersen<\/td>Det norske Romanforlag<\/td><\/td><\/td><\/td>7<\/td> <\/tr>\n
7003<\/td>2416<\/td>unread<\/td>86<\/td>12362<\/td><\/td>7114<\/td><\/td><\/td>Steinsviks Bokforlag AB<\/td><\/td>1944<\/td><\/td>10<\/td> <\/tr>\n
7004<\/td>2417<\/td>unread<\/td>81<\/td>12363<\/td><\/td>7115<\/td>Filmen i Danmark<\/td><\/td>Akademisk Forlag<\/td><\/td>1983<\/td>Medforfatter Edvin Kau<\/td>7<\/td> <\/tr>\n
7005<\/td>2418<\/td>unread<\/td>81<\/td>12364<\/td><\/td>7116<\/td>Theodor Christensen<\/td>John Ernst<\/td>Rhodos<\/td><\/td>1974<\/td>Bogens hele titel Theodor Christensen - om en handling af billeder.<\/td>8<\/td> <\/tr>\n
7006<\/td>2419<\/td>unread<\/td>81<\/td>12365<\/td><\/td>7117<\/td>Dreyer<\/td>Ebbe Neergaard<\/td>Dansk Videnskabs Forlag<\/td><\/td>1963<\/td><\/td>7<\/td> <\/tr>\n
7007<\/td>2420<\/td>unread<\/td>81<\/td>12366<\/td><\/td>7118<\/td>Om film<\/td>Ohilip Lauritzen<\/td>Rhodos<\/td><\/td>1971<\/td><\/td>8<\/td> <\/tr>\n
7008<\/td>2421<\/td>unread<\/td>81<\/td>12367<\/td><\/td>7119<\/td><\/td>Arnold Hending<\/td>Forlaget Urania<\/td><\/td>1945<\/td><\/td>8<\/td> <\/tr>\n
7009<\/td>2422<\/td>unread<\/td>81<\/td>12368<\/td><\/td>7120<\/td>A.W. Sandberg<\/td>Knud Overs<\/td>Carit Andersens Forlag<\/td><\/td>1944<\/td><\/td>9<\/td> <\/tr>\n
7010<\/td>2423<\/td>unread<\/td>81<\/td>12369<\/td><\/td>7121<\/td>Hollywood 1927<\/td>Henry Hellssen<\/td>Gyldendalske bogh. Nordisk Forlag<\/td><\/td>1927<\/td>Forlagets rigtige navn Gyldendalske boghandel Nordisk Forlag.<\/td>10<\/td> <\/tr>\n
7011<\/td>2424<\/td>unread<\/td>81<\/td>12370<\/td><\/td>7122<\/td>Valdemar Psilander<\/td>Arnold Hending<\/td>Forlaget Urania<\/td><\/td>1942<\/td><\/td>7<\/td> <\/tr>\n
7012<\/td>2425<\/td>unread<\/td>81<\/td>12371<\/td><\/td>7123<\/td><\/td>Niels Skyum-Nielsen<\/td>Nationalmuseet<\/td><\/td>1970<\/td><\/td>8<\/td> <\/tr>\n
7013<\/td>2426<\/td>unread<\/td>81<\/td>12372<\/td><\/td>7124<\/td>Benjamin Christensen<\/td>John Ernst<\/td>Det Danske Filmmuseum<\/td><\/td>1967<\/td><\/td>9<\/td> <\/tr>\n
7014<\/td>2427<\/td>unread<\/td>81<\/td>12373<\/td><\/td>7125<\/td><\/td><\/td><\/td><\/td><\/td><\/td>10<\/td> <\/tr>\n
7015<\/td>2428<\/td>unread<\/td>83<\/td>12374<\/td><\/td>7126<\/td>Geschichte des Films, Band 3<\/td>Jerzy Toeplitz<\/td>Henschelverlag Berlin<\/td><\/td>1979<\/td><\/td>9<\/td> <\/tr>\n
7016<\/td>2429<\/td>unread<\/td>83<\/td>12375<\/td><\/td>7127<\/td>Geschichte des Films, Band 2<\/td>Jerzy Toeplitz<\/td>Henschelverlag Berlin<\/td><\/td>1976<\/td><\/td>9<\/td> <\/tr>\n
7017<\/td>2430<\/td>unread<\/td>83<\/td>12376<\/td><\/td>7128<\/td>Geschichte des Films, Band 1<\/td>Jerzy Toeplitz<\/td>Henschelverlag<\/td><\/td>1972<\/td><\/td>9<\/td> <\/tr>\n
7018<\/td>2431<\/td>unread<\/td>83<\/td>12377<\/td><\/td>7129<\/td>Foto und Filmtechnik in der Medizin<\/td>Manfred Boy<\/td>Fotokinovarlag Halle<\/td><\/td>1961<\/td><\/td>9<\/td> <\/tr>\n
7019<\/td>2432<\/td>unread<\/td>83<\/td>12378<\/td><\/td>7130<\/td>Physik und Technik des Tonfilms<\/td>Hugo Lichte<\/td>Verlag von S. Hirzel<\/td><\/td>1943<\/td>Medforfatter: Albert Narath<\/td>10<\/td> <\/tr>\n
7020<\/td>2433<\/td>unread<\/td>81<\/td>12379<\/td><\/td>7131<\/td><\/td><\/td>H. Hagerup<\/td><\/td>1943<\/td><\/td>7<\/td> <\/tr>\n
7021<\/td>2434<\/td>unread<\/td>81<\/td>12380<\/td><\/td>7132<\/td><\/td><\/td>Nutids Forlag<\/td><\/td>1930<\/td><\/td>7<\/td> <\/tr>\n
7022<\/td>2435<\/td>unread<\/td>84<\/td>12381<\/td><\/td>7133<\/td>The War, th West and the Wilderness<\/td>Kevin Brownlow<\/td><\/td><\/td>1979<\/td><\/td>10<\/td> <\/tr>\n
7023<\/td>2436<\/td>unread<\/td>81<\/td>12382<\/td><\/td>7134<\/td>Filmens smil<\/td>Arnold Hending<\/td>Gravers Andersens Forlag<\/td><\/td><\/td><\/td>8<\/td> <\/tr>\n
7024<\/td>2437<\/td>unread<\/td>86<\/td>12383<\/td><\/td>7135<\/td>Filmboken, Svenska Filmsamfundets<\/td><\/td><\/td><\/td>1944<\/td><\/td>7<\/td> <\/tr>\n
7025<\/td>2438<\/td>unread<\/td>81<\/td>12384<\/td><\/td>7136<\/td>Filmen og H.C. Andersen<\/td>Arnold Hending<\/td>Kandrup & Wunsch<\/td><\/td>1955<\/td><\/td>8<\/td> <\/tr>\n
7026<\/td>2439<\/td>unread<\/td>81<\/td>12385<\/td><\/td>7137<\/td>Alverdens barnestjerner<\/td>Arnold Hending<\/td>Ernst Andersens Bogtrykkeri<\/td><\/td>1949<\/td>Modtaget 2 stk, hvoraf det ene er nummereret.<\/td>7<\/td> <\/tr>\n
7027<\/td>2440<\/td>unread<\/td>84<\/td>12386<\/td><\/td>7138<\/td>Griffith and the Rise of Hollywood<\/td>Paul O``dell<\/td>A.S.Barnes & Co<\/td><\/td>1970<\/td><\/td>10<\/td> <\/tr>\n
7028<\/td>2441<\/td>unread<\/td>81<\/td>12387<\/td><\/td>7139<\/td><\/td>Claus Hesselberg<\/td>Politikens Forlag<\/td><\/td>1981<\/td><\/td>7<\/td> <\/tr>\n
7029<\/td>2442<\/td>unread<\/td>81<\/td>12388<\/td><\/td>7140<\/td><\/td>Claus Hesselberg<\/td>Politikens Forlag<\/td><\/td>1981<\/td><\/td>7<\/td> <\/tr>\n
7030<\/td>2443<\/td>unread<\/td>81<\/td>12390<\/td><\/td>7141<\/td>Den stumme Scene<\/td>Gunner Sandfeld<\/td>Nyt Nordisk Forlag<\/td><\/td>1966<\/td><\/td>8<\/td> <\/tr>\n
7031<\/td>2444<\/td>unread<\/td>84<\/td>12391<\/td><\/td>7142<\/td><\/td>Kevin Brownlow<\/td><\/td><\/td>1989<\/td><\/td>9<\/td> <\/tr>\n
7032<\/td>2445<\/td>unread<\/td>81<\/td>12392<\/td><\/td>7143<\/td>Fire film<\/td>Carl Th. Dreyer<\/td>Gyldendalske bogh. Nordisk Forlag<\/td><\/td>1964<\/td><\/td>8<\/td> <\/tr>\n
7033<\/td>2446<\/td>unread<\/td>81<\/td>12393<\/td><\/td>7144<\/td>Hollywood Saga<\/td>William C. De Mille<\/td>Aschehoug Dansk Forlag<\/td><\/td>1941<\/td><\/td>9<\/td> <\/tr>\n
7034<\/td>2447<\/td>unread<\/td>81<\/td>12394<\/td><\/td>7145<\/td>Filmens eventyr og mit eget<\/td>Ole Olsen<\/td>Jespersen og Pios forlag<\/td><\/td>1940<\/td><\/td>8<\/td> <\/tr>\n
7035<\/td>2448<\/td>unread<\/td>84<\/td>12395<\/td><\/td>7146<\/td>The Golden Age og Sound Comedy<\/td>Donal W. McCaffrey<\/td>A.S. Barnes and Co<\/td><\/td>1973<\/td><\/td>10<\/td> <\/tr>\n
7036<\/td>2449<\/td>unread<\/td>86<\/td>12396<\/td><\/td>7147<\/td><\/td><\/td><\/td><\/td>1944<\/td><\/td>10<\/td> <\/tr>\n
7037<\/td>2450<\/td>unread<\/td>84<\/td>12397<\/td><\/td>7148<\/td>Hollywood the Pioneers<\/td>Kevin Brownlow<\/td>Alfred A. Knopf<\/td><\/td>1979<\/td>Medforfatter John Kobal<\/td>10<\/td> <\/tr>\n
7038<\/td>2451<\/td>unread<\/td>84<\/td>12398<\/td><\/td>7149<\/td>Movie Parade<\/td>Paul Rotha<\/td><\/td><\/td>1936<\/td><\/td>10<\/td> <\/tr>\n
7039<\/td>2452<\/td>unread<\/td>84<\/td>12399<\/td><\/td>7150<\/td>Classics og the Silent Screen<\/td>Joe Franklin<\/td><\/td><\/td>1972<\/td><\/td>10<\/td> <\/tr>\n
7040<\/td>2453<\/td>unread<\/td>84<\/td>12400<\/td><\/td>7151<\/td>The Movies<\/td>Richard Griffith<\/td>The Hamlyn Publishing Group Ltd.<\/td><\/td>1971<\/td>Medforfatter: Arthur Mayer<\/td>10<\/td> <\/tr>\n
7041<\/td>2454<\/td>unread<\/td>84<\/td>12401<\/td><\/td>7152<\/td>A Pictorial History of the Silent Screen<\/td>Daniel Blum<\/td>Westbook House<\/td><\/td>1953<\/td><\/td>10<\/td> <\/tr>\n
7042<\/td>2455<\/td>unread<\/td>84<\/td>12402<\/td><\/td>7153<\/td>The International Encyclopedia of Film<\/td>Michael Joseph<\/td>Rainbird Reference Books Ltd<\/td><\/td>1972<\/td><\/td>10<\/td> <\/tr>\n
7043<\/td>2456<\/td>unread<\/td>81<\/td>12403<\/td><\/td>7154<\/td><\/td><\/td><\/td><\/td><\/td><\/td>10<\/td> <\/tr>\n
7044<\/td>2457<\/td>unread<\/td>84<\/td>12404<\/td><\/td>7155<\/td>A History of Movie Musicals<\/td>John Kobal<\/td>Exeter Books<\/td><\/td>1983<\/td>Fulde Titel: A History of Movie Musicals. Gotta Sing Gotta Dance.<\/td>10<\/td> <\/tr>\n
7045<\/td>2458<\/td>unread<\/td>84<\/td>12405<\/td><\/td>7156<\/td>A Pictorial History of the Talkies<\/td>Daniel Blum<\/td>Spring Books<\/td><\/td>1958<\/td><\/td>10<\/td> <\/tr>\n
7046<\/td>2459<\/td>unread<\/td>81<\/td>12406<\/td><\/td>7157<\/td><\/td><\/td>Rhodos<\/td><\/td>1974<\/td><\/td>9<\/td> <\/tr>\n
7047<\/td>2460<\/td>unread<\/td>81<\/td>12407<\/td><\/td>7158<\/td>Hitchcock om Hitchcock<\/td>Francois Truffaut<\/td>Rhodos<\/td><\/td>1973<\/td><\/td>9<\/td> <\/tr>\n
7048<\/td>2461<\/td>unread<\/td>81<\/td>12408<\/td><\/td>7159<\/td>Beretning om den 2. nordiske filmkongr<\/td>Knud Gantzel<\/td>Kandrup & Wunsch<\/td><\/td>1926<\/td><\/td>7<\/td> <\/tr>\n
7049<\/td>2462<\/td>unread<\/td>86<\/td>12409<\/td><\/td>7160<\/td><\/td>Jan Aghed<\/td><\/td><\/td>1977<\/td><\/td>10<\/td> <\/tr>\n
7050<\/td>2463<\/td>unread<\/td>81<\/td>12410<\/td><\/td>7161<\/td>Statens Filmcentral 16 mm film<\/td><\/td>Statens Filmcentral<\/td><\/td>1972<\/td><\/td>10<\/td> <\/tr>\n
7051<\/td>2464<\/td>unread<\/td>84<\/td>12411<\/td><\/td>7162<\/td>Cinema<\/td>Kenneth W. Leish<\/td>Newsweek Books<\/td><\/td><\/td><\/td>10<\/td> <\/tr>\n
7052<\/td>2465<\/td>unread<\/td>81<\/td>12412<\/td><\/td>7163<\/td><\/td>Bernhardt Jensen<\/td>Universitetsforlaget i Aarhus<\/td><\/td>1969<\/td><\/td>8<\/td> <\/tr>\n
7053<\/td>2466<\/td>unread<\/td>84<\/td>12413<\/td><\/td>7164<\/td>French Film<\/td>Georges Sadoul<\/td>The Falcon Press<\/td><\/td>1953<\/td><\/td>10<\/td> <\/tr>\n
7054<\/td>2467<\/td>unread<\/td>81<\/td>12414<\/td><\/td>7165<\/td><\/td><\/td><\/td><\/td>1956<\/td><\/td>7<\/td> <\/tr>\n
7055<\/td>2468<\/td>unread<\/td>81<\/td>12415<\/td><\/td>7166<\/td>Filmen dens navne og historie, 2<\/td>Ove Brusendorff<\/td>Universal-Forlaget<\/td><\/td><\/td><\/td>7<\/td> <\/tr>\n
7056<\/td>2469<\/td>unread<\/td>81<\/td>12416<\/td><\/td>7167<\/td>Fy og Bi<\/td>Marguerite Engberg<\/td>Gyldendal<\/td><\/td>1980<\/td><\/td>7<\/td> <\/tr>\n
7057<\/td>2470<\/td>unread<\/td>81<\/td>12417<\/td><\/td>7168<\/td>Filmkunst<\/td>Niels Jensen<\/td>Gyldendalske Bogh. Nordisk Forlag<\/td><\/td>1973<\/td><\/td>7<\/td> <\/tr>\n
7058<\/td>2471<\/td>unread<\/td>84<\/td>12418<\/td><\/td>7169<\/td>Sound Motion Pictures Recording and<\/td>James R. Cameron<\/td>Cameron Publishing Company<\/td><\/td>1947<\/td>Fulde titel: Sound Motion Pictures Recording and Reproducing.<\/td>9<\/td> <\/tr>\n
7059<\/td>2472<\/td>unread<\/td>81<\/td>12419<\/td><\/td>7170<\/td>Hvad er film ?<\/td>Ellen Siersted<\/td>Gyldendal<\/td><\/td><\/td><\/td>8<\/td> <\/tr>\n
7060<\/td>2473<\/td>unread<\/td>81<\/td>12420<\/td><\/td>7171<\/td>Historien om Dansk Film<\/td>Ebbe Neergaard<\/td>Gyldendal<\/td><\/td>1960<\/td><\/td>8<\/td> <\/tr>\n
7061<\/td>2474<\/td>unread<\/td>83<\/td>12421<\/td><\/td>7172<\/td>Handbuch der praktischen kinematographie<\/td>H. Joachim<\/td>Verlag von Wilhelm Knapp<\/td><\/td>1928<\/td><\/td>10<\/td> <\/tr>\n
7062<\/td>2475<\/td>unread<\/td>83<\/td>12422<\/td><\/td>7173<\/td>Der film, seine mittel - seine ziele<\/td>Ueban Gag<\/td>Schuster & Loeffler<\/td><\/td>1921<\/td><\/td>10<\/td> <\/tr>\n
7063<\/td>2476<\/td>unread<\/td>81<\/td>12423<\/td><\/td>7174<\/td>Filmen dens navne og historie, 3<\/td>Ove Brusendorff<\/td>Universl-Forlaget<\/td><\/td><\/td><\/td>7<\/td> <\/tr>\n
7064<\/td>2477<\/td>unread<\/td>81<\/td>12424<\/td><\/td>7175<\/td>Filmen dens navne og historie, 1<\/td>Over Brusendorff<\/td><\/td><\/td><\/td><\/td>7<\/td> <\/tr>\n
7065<\/td>2478<\/td>unread<\/td>81<\/td>12425<\/td><\/td>7176<\/td><\/td>M. Drouzy<\/td>Gyldendal<\/td><\/td>1982<\/td><\/td>7<\/td> <\/tr>\n
7066<\/td>2479<\/td>unread<\/td>81<\/td>12427<\/td><\/td>7177<\/td><\/td>M. Drouzy<\/td>Gyldendal<\/td><\/td>1982<\/td><\/td>7<\/td> <\/tr>\n
7067<\/td>2480<\/td>unread<\/td>84<\/td>12428<\/td><\/td>7178<\/td>The Camera and I<\/td>Joris Ivens<\/td>Seven Seas Book<\/td><\/td>1969<\/td><\/td>9<\/td> <\/tr>\n
7068<\/td>2481<\/td>unread<\/td>81<\/td>12429<\/td><\/td>7179<\/td><\/td>Henri Agel<\/td>Carit Andersens Forlag<\/td><\/td>1972<\/td><\/td>8<\/td> <\/tr>\n
7069<\/td>2482<\/td>unread<\/td>83<\/td>12430<\/td><\/td>7180<\/td>Die Kamera<\/td><\/td>Union Deutsche Verlagsgesellschaft<\/td><\/td>1933<\/td><\/td>54<\/td> <\/tr>\n
7070<\/td>2483<\/td>unread<\/td>83<\/td>12431<\/td><\/td>7181<\/td><\/td>H. Naumann<\/td>Verlag von Wilhelm Knapp<\/td><\/td><\/td><\/td>9<\/td> <\/tr>\n
7071<\/td>2484<\/td>unread<\/td>81<\/td>12432<\/td><\/td>7182<\/td>Filmens hvem, hvad, hvor- danske titler<\/td><\/td>Politikens Forlag<\/td><\/td><\/td>Fulde titel: Filmens hvem, hvad, hvor - danske titler og biografer 1929 - 1967, bind 1<\/td>8<\/td> <\/tr>\n
7072<\/td>2485<\/td>unread<\/td>83<\/td>12433<\/td><\/td>7183<\/td>Die Kinematographi ihre Grundlagen<\/td>H. Lehmann<\/td>Drud und Verlag von B.G. Teubner<\/td><\/td>1911<\/td>Fulde titel: Die Kinematographi ihre Grundlagen und ihre Anwnedungen<\/td>9<\/td> <\/tr>\n
7073<\/td>2486<\/td>unread<\/td>81<\/td>12434<\/td><\/td>7184<\/td>Filmkundskab, en introduktion<\/td>Ebbe Neergaard<\/td>Gyldendalske bogh. Nordisk Forlag<\/td><\/td>1952<\/td><\/td>8<\/td> <\/tr>\n
7074<\/td>2487<\/td>unread<\/td>81<\/td>12435<\/td><\/td>7185<\/td>Filmens hvem, hvad, hvor - udenlandsk<\/td><\/td>Politikens Forlag<\/td><\/td>1969<\/td><\/td>8<\/td> <\/tr>\n
7075<\/td>2488<\/td>unread<\/td>81<\/td>12437<\/td><\/td>7186<\/td>Fillmens hvem, hvad, hvor<\/td>Politikens filmleksikon<\/td>Politikens Forlag<\/td><\/td>1950<\/td><\/td>8<\/td> <\/tr>\n
7076<\/td>2489<\/td>unread<\/td>81<\/td>12438<\/td><\/td>7187<\/td>Filmens hvem, hvad, hvor - verdens be<\/td><\/td>Politikens Forlag<\/td><\/td>1970<\/td>Fulde titel: Filmens hvem, hvad, hvor - verdens bedste film, bind 5<\/td>0<\/td> <\/tr>\n
7077<\/td>2490<\/td>unread<\/td>81<\/td>12439<\/td><\/td>7188<\/td>Film<\/td><\/td>Borgens Billigbogs Bibliotek<\/td><\/td>1966<\/td><\/td>8<\/td> <\/tr>\n
7078<\/td>2491<\/td>unread<\/td>83<\/td>12440<\/td><\/td>7189<\/td><\/td><\/td>Verlag von Wilhelm Knapp<\/td><\/td>1938<\/td><\/td>9<\/td> <\/tr>\n
7079<\/td>2492<\/td>unread<\/td>81<\/td>12441<\/td><\/td>7190<\/td>Filmens hvem-er-hvem<\/td>Politikens filmleksikon<\/td>Politikens Forlag<\/td><\/td>1957<\/td><\/td>8<\/td> <\/tr>\n
7080<\/td>2493<\/td>unread<\/td>81<\/td>12442<\/td><\/td>7191<\/td>Hvorledes skriver man en film?<\/td>Jens Locher<\/td>V. Pios Boghandel - Povl Branner<\/td><\/td>1916<\/td><\/td>8<\/td> <\/tr>\n
7081<\/td>2494<\/td>unread<\/td>86<\/td>12443<\/td><\/td>7192<\/td>Roberto Rossellini<\/td><\/td>Ministero Degli Affari Esteri<\/td><\/td>1960<\/td><\/td>9<\/td> <\/tr>\n
7082<\/td>2495<\/td>unread<\/td>86<\/td>12444<\/td><\/td>7193<\/td>Visionen i svensk film<\/td>Bo Widerberg<\/td>Albert Bonniers Forlag<\/td><\/td>1962<\/td><\/td>9<\/td> <\/tr>\n
7083<\/td>2496<\/td>unread<\/td>81<\/td>12445<\/td><\/td>7194<\/td>Hurra for Hollywood<\/td><\/td>Nyt Nordisk Forlag Arnold Busck<\/td><\/td>1987<\/td><\/td>9<\/td> <\/tr>\n
7084<\/td>2497<\/td>unread<\/td>81<\/td>12446<\/td><\/td>7195<\/td><\/td><\/td>Nyt Nordisk Forlag Arnold Busck<\/td><\/td>1986<\/td><\/td>9<\/td> <\/tr>\n
7085<\/td>2498<\/td>unread<\/td>81<\/td>12448<\/td><\/td>7196<\/td>Jewg er ikke nogen engel<\/td><\/td>Nyt Nordisk Forlag Arnold Busck<\/td><\/td>1984<\/td><\/td>9<\/td> <\/tr>\n
7086<\/td>2499<\/td>unread<\/td>81<\/td>12449<\/td><\/td>7197<\/td>Marx for viderekomne<\/td><\/td>Nyt Nordisk Forlag Arnold Busck<\/td><\/td>1985<\/td><\/td>9<\/td> <\/tr>\n
7087<\/td>2500<\/td>unread<\/td>81<\/td>12450<\/td><\/td>7198<\/td>Se, der er Film - i klip<\/td>Ib Monty<\/td><\/td><\/td>1970<\/td>Medforfatter Morten Piil<\/td>8<\/td> <\/tr>\n
7088<\/td>2501<\/td>unread<\/td>81<\/td>12451<\/td><\/td>7199<\/td>Den glemte Poul Reumert<\/td>Arnold Hending<\/td><\/td><\/td><\/td><\/td>9<\/td> <\/tr>\n
7089<\/td>2502<\/td>unread<\/td>81<\/td>12452<\/td><\/td>7200<\/td>Den glemte Storm P.<\/td>Arnold Hending<\/td><\/td><\/td><\/td><\/td>9<\/td> <\/tr>\n
7090<\/td>2503<\/td>unread<\/td>81<\/td>12453<\/td><\/td>7201<\/td>Filmens hvem, hvad, hvor - udenlandsk<\/td><\/td>Politikens Forlag<\/td><\/td>1968<\/td>Fuld titel: Filmens hvem, hvad, hvor - udenlandske titler 1950-1967, bind 3<\/td>8<\/td> <\/tr>\n
7091<\/td>2504<\/td>unread<\/td>81<\/td>12454<\/td><\/td>7202<\/td>Groucho & Co`s groveste<\/td>Jussi H. Olsen<\/td>Forlaget Donna<\/td><\/td>1984<\/td><\/td>9<\/td> <\/tr>\n
7092<\/td>2505<\/td>unread<\/td>84<\/td>12455<\/td><\/td>7203<\/td>Cine-Film Projection<\/td>Cecil A. Hill<\/td>The Fountain Press<\/td><\/td>1948<\/td><\/td>9<\/td> <\/tr>\n
7093<\/td>2506<\/td>unread<\/td>81<\/td>12456<\/td><\/td>7204<\/td><\/td>A\/S Film-Centralen-Palladium<\/td><\/td><\/td><\/td><\/td>8<\/td> <\/tr>\n
7094<\/td>2507<\/td>unread<\/td>81<\/td>12460<\/td><\/td>7208<\/td>Herman Bang<\/td>Arnold Hending<\/td>Kandrup og Wunscj Forlag<\/td><\/td>1957<\/td><\/td>9<\/td> <\/tr>\n
7095<\/td>2508<\/td>unread<\/td>83<\/td>12461<\/td><\/td>7209<\/td>Agfa Schmalfilmhandbuch<\/td>H. Lummerzheim<\/td>IM Dr. Walther Heering Verlag<\/td><\/td>1935<\/td><\/td>9<\/td> <\/tr>\n
7096<\/td>2509<\/td>unread<\/td>81<\/td>12462<\/td><\/td>7210<\/td>Filmens hvem ved hvad<\/td>Peter Hirsch<\/td>Forlaget Donna og Peter Hirsch<\/td><\/td>1986<\/td><\/td>8<\/td> <\/tr>\n
7097<\/td>2510<\/td>unread<\/td>86<\/td>12463<\/td><\/td>7211<\/td>Vid den svenska filmens vagga<\/td>B. Idestam-Almquist<\/td><\/td><\/td><\/td><\/td>9<\/td> <\/tr>\n
7098<\/td>2511<\/td>unread<\/td>81<\/td>12464<\/td><\/td>7212<\/td>Film og kildekritik<\/td>Niels Skyum-Nielsen<\/td><\/td><\/td><\/td><\/td>8<\/td> <\/tr>\n
7099<\/td>2512<\/td>unread<\/td>84<\/td>12465<\/td><\/td>7213<\/td>The Birth and the Movies<\/td>D.J. Wenden<\/td>Macdonald<\/td><\/td><\/td><\/td>10<\/td> <\/tr>\n
7100<\/td>2513<\/td>unread<\/td>81<\/td>12466<\/td><\/td>7214<\/td>Klip fra en filmmands liv<\/td>Ingolf Boisen<\/td>Nyt Nordisk Forlag Arnold Busck<\/td><\/td><\/td><\/td>8<\/td> <\/tr>\n
7101<\/td>2514<\/td>unread<\/td>86<\/td>12467<\/td><\/td>7215<\/td><\/td>Rune Waldekranz<\/td><\/td><\/td>1941<\/td><\/td>9<\/td> <\/tr>\n
7102<\/td>2515<\/td>unread<\/td>85<\/td>12468<\/td><\/td>7216<\/td>Carl Th. Dreyer, cineaste danois<\/td><\/td><\/td><\/td><\/td>Fulde titel: Carl Th. Dreyer, cineaste danois 1889-1968.<\/td>9<\/td> <\/tr>\n
7103<\/td>2516<\/td>unread<\/td>81<\/td>12469<\/td><\/td>7217<\/td><\/td>Arnold Hending<\/td><\/td><\/td>1956<\/td><\/td>9<\/td> <\/tr>\n
7104<\/td>2517<\/td>unread<\/td>86<\/td>12470<\/td><\/td>7218<\/td>Om film<\/td><\/td><\/td><\/td>1934<\/td><\/td>9<\/td> <\/tr>\n
7105<\/td>2518<\/td>unread<\/td>81<\/td>12471<\/td><\/td>7219<\/td>Dansk film Sophienholm<\/td><\/td><\/td><\/td>1981<\/td><\/td>9<\/td> <\/tr>\n
7106<\/td>2519<\/td>unread<\/td>81<\/td>12472<\/td><\/td>7220<\/td>Filmens hvem, hvad, hvor - verdens b<\/td><\/td>Politikens Forlag<\/td><\/td>1970<\/td><\/td>8<\/td> <\/tr>\n
7107<\/td>2520<\/td>unread<\/td>83<\/td>12557<\/td><\/td>7205<\/td>Familienkino, band l, 1900-30.<\/td>Michael Kuball<\/td>Rowolt Tascheenbuch Verlag GmbH<\/td><\/td>1980<\/td><\/td>9<\/td> <\/tr>\n
7108<\/td>2521<\/td>unread<\/td>81<\/td>12558<\/td><\/td>7206<\/td>Film<\/td>Theodor Christensen<\/td>Levin og Munksgaard<\/td><\/td>1936<\/td>Medforfatter: Karl Roos.<\/td>7<\/td> <\/tr>\n
7109<\/td>2522<\/td>unread<\/td>81<\/td>12559<\/td><\/td>7207<\/td>Filmens vovehalse<\/td>Arnold Hending<\/td>Urania<\/td><\/td>1948<\/td><\/td>7<\/td> <\/tr>\n
7110<\/td>2523<\/td>unread<\/td>81<\/td>12560<\/td><\/td>7221<\/td>Nordisk Fotokunst 1985<\/td><\/td><\/td><\/td>1985<\/td><\/td>44<\/td> <\/tr>\n
7111<\/td>2524<\/td>unread<\/td>81<\/td>12561<\/td><\/td>7222<\/td>Monopolloven<\/td><\/td>Juristforbundets Forlag<\/td><\/td>1968<\/td><\/td>44<\/td> <\/tr>\n
7112<\/td>2525<\/td>unread<\/td>86<\/td>12562<\/td><\/td>7223<\/td><\/td><\/td><\/td><\/td>1956<\/td><\/td>44<\/td> <\/tr>\n
7113<\/td>2526<\/td>unread<\/td>86<\/td>12563<\/td><\/td>7224<\/td>Fotografisk Bild<\/td><\/td>Norstedts<\/td><\/td>1953<\/td><\/td>44<\/td> <\/tr>\n
7114<\/td>2527<\/td>unread<\/td>84<\/td>12564<\/td><\/td>7225<\/td>The new projection Control<\/td>William Mortensen<\/td>Camera Craft Publishing Company<\/td><\/td>1942<\/td><\/td>44<\/td> <\/tr>\n
7115<\/td>2528<\/td>unread<\/td>86<\/td>12565<\/td><\/td>7226<\/td><\/td>Hans Permbo<\/td><\/td><\/td>1997<\/td><\/td>54<\/td> <\/tr>\n
7116<\/td>2529<\/td>unread<\/td>81<\/td>12566<\/td><\/td>7227<\/td>Danmarks telniske Museum<\/td><\/td>Danmarks tekniske Museum<\/td><\/td>1969<\/td><\/td>54<\/td> <\/tr>\n
7117<\/td>2530<\/td>unread<\/td>81<\/td>12567<\/td><\/td>7228<\/td>Smalfilm<\/td><\/td>J. Fr. Clausens Forlag<\/td><\/td>1966<\/td><\/td>54<\/td> <\/tr>\n
7118<\/td>2531<\/td>unread<\/td>86<\/td>12568<\/td><\/td>7229<\/td>Fotobromografie<\/td>Alfredo Libero Ferretti<\/td>Roma - Giugno<\/td><\/td>1999<\/td><\/td>54<\/td> <\/tr>\n
7119<\/td>2532<\/td>unread<\/td>83<\/td>12569<\/td><\/td>7230<\/td>Wie - mit der super-Ikonta<\/td>C. Croeber<\/td>Verlag Wilhelm Knapp<\/td><\/td>1939<\/td><\/td>54<\/td> <\/tr>\n
7120<\/td>2533<\/td>unread<\/td>81<\/td>12570<\/td><\/td>7231<\/td>Erotik<\/td><\/td>Forlaget Kitore<\/td><\/td>1989<\/td>Fulde titel: Erotik. 48 kvindelige fotografers reflektioner over temaet.<\/td>0<\/td> <\/tr>\n
7121<\/td>2534<\/td>unread<\/td>81<\/td>12571<\/td><\/td>7232<\/td>Fremstilling af farvebilleder<\/td>Gustav Theilgaard<\/td><\/td><\/td>1957<\/td><\/td>54<\/td> <\/tr>\n
7122<\/td>2535<\/td>unread<\/td>81<\/td>12572<\/td><\/td>7233<\/td>Den nye fotobog<\/td>Hans Windisch<\/td>Fotoforlaget Skrifola<\/td><\/td>1955<\/td><\/td>54<\/td> <\/tr>\n
7123<\/td>2536<\/td>unread<\/td>84<\/td>12573<\/td><\/td>7234<\/td>Creative Photography<\/td>Lew Parrella<\/td>Maco Magazine Corp.<\/td><\/td>1957<\/td><\/td>44<\/td> <\/tr>\n
7124<\/td>2537<\/td>unread<\/td>84<\/td>12576<\/td><\/td>7235<\/td>Conservation Management and Archi<\/td>Jesper Stub Johnsen<\/td>Acta Universitatis Gothoburgensis<\/td><\/td>1997<\/td>Fulde titel: Conservation Management and Archival Survival of Photograthic Collestions.<\/td>44<\/td> <\/tr>\n
7125<\/td>2538<\/td>unread<\/td>81<\/td>12577<\/td><\/td>7236<\/td><\/td>Henrik M. Jansen<\/td>Svendborg og omegns Museum og<\/td><\/td>1998<\/td><\/td>56<\/td> <\/tr>\n
7126<\/td>2539<\/td>unread<\/td>81<\/td>12578<\/td><\/td>7237<\/td>Hugo Matthiessens Aarhus, 1917<\/td>Bue Beck<\/td>Forlaget Hikuin<\/td><\/td>1999<\/td><\/td>56<\/td> <\/tr>\n
7127<\/td>2540<\/td>unread<\/td>81<\/td>12579<\/td><\/td>7238<\/td>Hugo Matthiessens Hals, 1916<\/td><\/td>Hals Museum og Forlaget Hikuin<\/td><\/td>1998<\/td><\/td>56<\/td> <\/tr>\n
7128<\/td>2541<\/td>unread<\/td>83<\/td>12580<\/td><\/td>7239<\/td>World Press Photo 1991<\/td><\/td>GFW Verlag<\/td><\/td><\/td><\/td>44<\/td> <\/tr>\n
7129<\/td>2542<\/td>unread<\/td>83<\/td>12581<\/td><\/td>7240<\/td>World Press Photo 1993<\/td><\/td>Gfw Verlag<\/td><\/td><\/td><\/td>44<\/td> <\/tr>\n
7130<\/td>2543<\/td>unread<\/td>83<\/td>12582<\/td><\/td>7241<\/td>World Press Photo 1994<\/td><\/td>Gfw Verlag<\/td><\/td><\/td><\/td>44<\/td> <\/tr>\n
7131<\/td>2544<\/td>unread<\/td>83<\/td>12583<\/td><\/td>7242<\/td>World Press Photo<\/td><\/td>Gfw Verlag<\/td><\/td><\/td><\/td>44<\/td> <\/tr>\n
7132<\/td>2545<\/td>unread<\/td>84<\/td>12584<\/td><\/td>7243<\/td>The Majesty of the Black Woman<\/td>Arthur Tcholaikain<\/td>Good Book, Inc<\/td><\/td>1971<\/td><\/td>45<\/td> <\/tr>\n
7133<\/td>2546<\/td>unread<\/td>84<\/td>12585<\/td><\/td>7244<\/td>FIAP 1964<\/td><\/td>Verlag C.J.Bucher Ltd.<\/td><\/td><\/td><\/td>44<\/td> <\/tr>\n
7134<\/td>2547<\/td>unread<\/td>84<\/td>12586<\/td><\/td>7245<\/td>FIAP 1966<\/td><\/td>Verlag C.J. Bucher AG<\/td><\/td><\/td>The International Federation of Photographic Art<\/td>44<\/td> <\/tr>\n
7135<\/td>2548<\/td>unread<\/td>84<\/td>12587<\/td><\/td>7246<\/td>Special Problems<\/td><\/td>Time-Life Books<\/td><\/td>1972<\/td>Life Library of Photography.<\/td>101<\/td> <\/tr>\n
7136<\/td>2549<\/td>unread<\/td>84<\/td>12588<\/td><\/td>7247<\/td>Light and film<\/td><\/td>Time-Life Books<\/td><\/td>1972<\/td><\/td>44<\/td> <\/tr>\n
7137<\/td>2550<\/td>unread<\/td>84<\/td>12589<\/td><\/td>7248<\/td>Color<\/td><\/td>Time-Life Books<\/td><\/td>1973<\/td><\/td>101<\/td> <\/tr>\n
7138<\/td>2551<\/td>unread<\/td>84<\/td>12590<\/td><\/td>7249<\/td>The Print<\/td><\/td>Time-life Books<\/td><\/td>1972<\/td><\/td>101<\/td> <\/tr>\n
7139<\/td>2552<\/td>unread<\/td>84<\/td>12591<\/td><\/td>7250<\/td>The Camera<\/td><\/td>Time-Life Books<\/td><\/td>1971<\/td><\/td>101<\/td> <\/tr>\n
7140<\/td>2553<\/td>unread<\/td>84<\/td>12592<\/td><\/td>7251<\/td>Photographing Nature<\/td><\/td>Time-Life Books<\/td><\/td>1973<\/td><\/td>101<\/td> <\/tr>\n
7141<\/td>2554<\/td>unread<\/td>86<\/td>12593<\/td><\/td>7252<\/td>Panorama Hrvatski fotosavez<\/td><\/td>Croatian Photographic Union<\/td><\/td><\/td>Fulde titel: \"PANORAMA\" Hrvatski fotosavez 1939-1999<\/td>44<\/td> <\/tr>\n
7142<\/td>2555<\/td>unread<\/td>83<\/td>12594<\/td><\/td>7253<\/td>Die vergessenen Briefe und Schriften<\/td>Anna Auer<\/td><\/td><\/td>1997<\/td><\/td>44<\/td> <\/tr>\n
7143<\/td>2556<\/td>unread<\/td>83<\/td>12595<\/td><\/td>7254<\/td>Agfacolor<\/td>Heinz Berger<\/td>Verlag W. Girardet<\/td><\/td>1950<\/td><\/td>54<\/td> <\/tr>\n
7144<\/td>2557<\/td>unread<\/td>83<\/td>12596<\/td><\/td>7255<\/td><\/td>Otto Croy<\/td>IM Heering Verlag in Harzburg<\/td><\/td>1940<\/td><\/td>54<\/td> <\/tr>\n
7145<\/td>2558<\/td>unread<\/td>83<\/td>12597<\/td><\/td>7256<\/td>Akt - Fotografie<\/td>Wlly Zielke<\/td>Wilhelm Knapp Verlag<\/td><\/td><\/td><\/td>54<\/td> <\/tr>\n
7146<\/td>2559<\/td>unread<\/td>83<\/td>12598<\/td><\/td>7257<\/td><\/td>Peter Oettel<\/td>Union Deutsche Verlagsgesellschaft<\/td><\/td>1921<\/td><\/td>54<\/td> <\/tr>\n
7147<\/td>2560<\/td>unread<\/td>84<\/td>12599<\/td><\/td>7258<\/td>Bromoil and Transfer<\/td>Geoffrey E. Whalley<\/td>Fountain Press<\/td><\/td>1961<\/td><\/td>54<\/td> <\/tr>\n
7148<\/td>2561<\/td>unread<\/td>84<\/td>12600<\/td><\/td>7259<\/td>The Children of this World<\/td><\/td>Grunwe + Jahr AG & Co<\/td><\/td>1977<\/td>4th World Exhibition of Photography.<\/td>44<\/td> <\/tr>\n
7149<\/td>2562<\/td>unread<\/td>81<\/td>12601<\/td><\/td>7260<\/td>Natur-ligvis<\/td>Michael Jensen<\/td>Forlaget Mosegaard<\/td><\/td>1999<\/td><\/td>44<\/td> <\/tr>\n
7150<\/td>2563<\/td>unread<\/td>81<\/td>12602<\/td><\/td>7261<\/td><\/td>Thomas Nykrog<\/td>PhotoCare<\/td><\/td>1998<\/td><\/td>44<\/td> <\/tr>\n
7151<\/td>2564<\/td>unread<\/td>81<\/td>12603<\/td><\/td>7262<\/td><\/td><\/td>Fynske Kulturminder<\/td><\/td>1999<\/td><\/td>56<\/td> <\/tr>\n
7152<\/td>2565<\/td>unread<\/td>81<\/td>12604<\/td><\/td>7263<\/td>Den sidste Harefanger<\/td><\/td><\/td><\/td>1996<\/td><\/td>56<\/td> <\/tr>\n
7153<\/td>2566<\/td>unread<\/td>81<\/td>12605<\/td><\/td>7264<\/td>Hans Julius<\/td><\/td>Fynske Kulturminder<\/td><\/td>1998<\/td><\/td>56<\/td> <\/tr>\n
7154<\/td>2567<\/td>unread<\/td>84<\/td>12606<\/td><\/td>7265<\/td>More Money selling Portraits<\/td>Fred Winchell<\/td>The Photographers Association of A<\/td><\/td>1956<\/td><\/td>54<\/td> <\/tr>\n
7155<\/td>2568<\/td>unread<\/td>86<\/td>12607<\/td><\/td>7266<\/td>Bygatan<\/td>Henning Hamilton<\/td><\/td><\/td>1988<\/td>Flere forfattere: Anders Lindahl, Gunnar Lindqvist, Thorsten Petersson og Ann Sofi Topelius.<\/td>54<\/td> <\/tr>\n
7156<\/td>2569<\/td>unread<\/td>81<\/td>12608<\/td><\/td>7267<\/td>Dansk Fotografi 1999<\/td><\/td>Selskabet for dansk Fotografi<\/td><\/td><\/td><\/td>53<\/td> <\/tr>\n
7157<\/td>2570<\/td>unread<\/td>81<\/td>12609<\/td><\/td>7268<\/td>Dabsk Fotografi 1988<\/td><\/td>Selskabet for dansk fotografi<\/td><\/td><\/td><\/td>53<\/td> <\/tr>\n
7158<\/td>2571<\/td>unread<\/td>84<\/td>12610<\/td><\/td>7269<\/td>Photography Year Book 1973<\/td>John Sanders<\/td>Fountain Press<\/td><\/td><\/td><\/td>78<\/td> <\/tr>\n
7159<\/td>2572<\/td>unread<\/td>81<\/td>12611<\/td><\/td>7270<\/td>Jeg fotograferer<\/td>Tommy Frenning<\/td>Poltikens Forlag<\/td><\/td><\/td><\/td>73<\/td> <\/tr>\n
7160<\/td>2573<\/td>unread<\/td>81<\/td>12612<\/td><\/td>7271<\/td><\/td>Ole Pedersen<\/td>J.Fr. Clausens Forlag<\/td><\/td>1969<\/td><\/td>64<\/td> <\/tr>\n
7161<\/td>2574<\/td>unread<\/td>81<\/td>12613<\/td><\/td>7272<\/td>Bogen om spejlrefleks<\/td>H.S. de Kue<\/td><\/td><\/td>1979<\/td><\/td>73<\/td> <\/tr>\n
7162<\/td>2575<\/td>unread<\/td>81<\/td>12614<\/td><\/td>7273<\/td>Olie pigment preocesserne<\/td>Bertram Cox<\/td><\/td><\/td><\/td><\/td>44<\/td> <\/tr>\n
7163<\/td>2576<\/td>unread<\/td>81<\/td>12615<\/td><\/td>7274<\/td>Glimt af den danske urskov<\/td>Lars Gejl<\/td>Borgen<\/td><\/td>1999<\/td>Medforfatter: Finn Olofsen.<\/td>44<\/td> <\/tr>\n
7164<\/td>2577<\/td>unread<\/td>81<\/td>12616<\/td><\/td>7275<\/td><\/td><\/td>Historisk Forening f. Herning Kommune<\/td><\/td>1999<\/td><\/td>54<\/td> <\/tr>\n
7165<\/td>2578<\/td>unread<\/td>81<\/td>12617<\/td><\/td>7276<\/td><\/td>Mogens Vincentz<\/td>Politikens Forlag<\/td><\/td>1967<\/td><\/td>54<\/td> <\/tr>\n
7166<\/td>2579<\/td>unread<\/td>81<\/td>12618<\/td><\/td>7277<\/td>Lyd og billede<\/td>Erik Ulrichsen<\/td>Berlingske Forlag<\/td><\/td>1958<\/td><\/td>54<\/td> <\/tr>\n
7167<\/td>2580<\/td>unread<\/td>84<\/td>12619<\/td><\/td>7278<\/td>The art of Photogrraphing Children<\/td>Frank og Molly Partington<\/td>The Fountain Press<\/td><\/td>1945<\/td><\/td>44<\/td> <\/tr>\n
7168<\/td>2581<\/td>unread<\/td>81<\/td>12620<\/td><\/td>7279<\/td>Fatamorgana<\/td><\/td>Danmarks fotografiske billedkunstsk.<\/td><\/td><\/td><\/td>44<\/td> <\/tr>\n
7169<\/td>2582<\/td>unread<\/td>83<\/td>12621<\/td><\/td>7280<\/td>Photographisches Hilfsbuch<\/td>Hans Schmidt<\/td>Union Deutsche Verlagsgesellschaft<\/td><\/td>1921<\/td><\/td>68<\/td> <\/tr>\n
7170<\/td>2583<\/td>unread<\/td>81<\/td>12622<\/td><\/td>7281<\/td><\/td>Hermann Fischer<\/td>Forlaget Skrifola A\/S<\/td><\/td>1955<\/td><\/td>44<\/td> <\/tr>\n
7171<\/td>2584<\/td>unread<\/td>84<\/td>12623<\/td><\/td>7282<\/td>The World of 3-D<\/td>Jac. G. Ferwerda<\/td>Netherlands Society for Stereo Photo<\/td><\/td>1982<\/td><\/td>44<\/td> <\/tr>\n
7172<\/td>2585<\/td>unread<\/td>84<\/td>12624<\/td><\/td>7283<\/td>Photographing People<\/td>Hugo van Wadenoyen<\/td>The Focal Press<\/td><\/td>1946<\/td>Ways ti new portraiture.<\/td>44<\/td> <\/tr>\n
7173<\/td>2586<\/td>unread<\/td>81<\/td>12625<\/td><\/td>7284<\/td><\/td>Sven Arnholtz<\/td><\/td><\/td>1954<\/td><\/td>44<\/td> <\/tr>\n
7174<\/td>2587<\/td>unread<\/td>81<\/td>12626<\/td><\/td>7285<\/td><\/td>Hanns Neumann<\/td>V. Richters Forlag<\/td><\/td>1943<\/td><\/td>44<\/td> <\/tr>\n
7175<\/td>2588<\/td>unread<\/td>83<\/td>12627<\/td><\/td>7286<\/td>Gestalte und filme<\/td><\/td>VEB fototkinoverlag<\/td><\/td>1963<\/td><\/td>54<\/td> <\/tr>\n
7176<\/td>2589<\/td>unread<\/td>83<\/td>12628<\/td><\/td>7287<\/td>Bild-lehrbuch der Fotografie<\/td>Otto Croy<\/td>Verlag von Wilhelm Knapp<\/td><\/td>1940<\/td><\/td>54<\/td> <\/tr>\n
7177<\/td>2590<\/td>unread<\/td>86<\/td>12629<\/td><\/td>7288<\/td>Pejzaz fotograficzhy<\/td>Lidislav Paule<\/td>Wydawnictwa Artystyczne<\/td><\/td>1984<\/td><\/td>54<\/td> <\/tr>\n
7178<\/td>2591<\/td>unread<\/td>81<\/td>12630<\/td><\/td>7289<\/td>Irsk Dialog<\/td>Bernadette Kiely<\/td>Skive Museum<\/td><\/td>1999<\/td>Medforfatter: Kirsten Klein.<\/td>54<\/td> <\/tr>\n
7179<\/td>2592<\/td>unread<\/td>83<\/td>12632<\/td><\/td>7381<\/td>Ratgeber im Photographieren<\/td>Ludvig David<\/td>Verlag von Wilhelm Knapp<\/td><\/td>1914<\/td><\/td>56<\/td> <\/tr>\n
7180<\/td>2593<\/td>unread<\/td>81<\/td>12633<\/td><\/td>7389<\/td>Filmregi<\/td><\/td>Braun AG<\/td><\/td>1979<\/td><\/td>45<\/td> <\/tr>\n
7181<\/td>2594<\/td>unread<\/td>81<\/td>12634<\/td><\/td>7390<\/td><\/td>Einar Poulsen<\/td>J. Frimodts Forlag<\/td><\/td><\/td><\/td>56<\/td> <\/tr>\n
7182<\/td>2595<\/td>unread<\/td>83<\/td>12635<\/td><\/td>7391<\/td>Dr. E. Vogels Taschenbuch der Photo<\/td>K.W. Wolf-Czapek<\/td>Union Deutsche Verlagsgesellschaft<\/td><\/td>1913<\/td><\/td>56<\/td> <\/tr>\n
7183<\/td>2596<\/td>unread<\/td>83<\/td>12636<\/td><\/td>7392<\/td>Optisches Spielzeug und Laterna magi<\/td><\/td><\/td><\/td>1990<\/td><\/td>44<\/td> <\/tr>\n
7184<\/td>2597<\/td>unread<\/td>81<\/td>12637<\/td><\/td>7393<\/td><\/td>Aage Rudal<\/td>Dansk foto imports forlag<\/td><\/td><\/td><\/td>56<\/td> <\/tr>\n
7185<\/td>2598<\/td>unread<\/td>81<\/td>12638<\/td><\/td>7394<\/td>Jeg fotograferer (nr. 6)<\/td>Adzer Blume<\/td>Erik Lundsgaards Forlag<\/td><\/td><\/td><\/td>56<\/td> <\/tr>\n
7186<\/td>2599<\/td>unread<\/td>81<\/td>12639<\/td><\/td>7395<\/td>Gode billeder<\/td><\/td>Kodak Aktieselskab<\/td><\/td><\/td><\/td>56<\/td> <\/tr>\n
7187<\/td>2600<\/td>unread<\/td>81<\/td>12640<\/td><\/td>7396<\/td><\/td><\/td>Kongsbak og Cohn<\/td><\/td><\/td><\/td>56<\/td> <\/tr>\n
7188<\/td>2601<\/td>unread<\/td>81<\/td>12641<\/td><\/td>7397<\/td>Ikke mere snak, tak!<\/td>Mogens Laier<\/td>Billeforlaget ApS<\/td><\/td>1999<\/td><\/td>44<\/td> <\/tr>\n
7189<\/td>2602<\/td>unread<\/td>84<\/td>12642<\/td><\/td>7411<\/td>The Art of Black and White<\/td>John Barrett<\/td>Amphoto<\/td><\/td>1990<\/td><\/td>44<\/td> <\/tr>\n
7190<\/td>2603<\/td>unread<\/td>84<\/td>12643<\/td><\/td>7412<\/td>Photograms of the Year 1953<\/td>Bertram Sinkinson<\/td>Iliffe & sons<\/td>London<\/td>1953<\/td><\/td>50<\/td> <\/tr>\n
7191<\/td>2604<\/td>unread<\/td>84<\/td>12644<\/td><\/td>7413<\/td>Asahi Pentax Annual 79<\/td><\/td>Pentax Family Secretariat<\/td><\/td>1978<\/td><\/td>78<\/td> <\/tr>\n
7192<\/td>2605<\/td>unread<\/td>84<\/td>12645<\/td><\/td>7414<\/td>Photochemistry simplified<\/td>Carl J. Spinatelli<\/td>Ziff-Davis Publishing Comp.<\/td><\/td>1948<\/td><\/td>56<\/td> <\/tr>\n
7193<\/td>2606<\/td>unread<\/td>84<\/td>12646<\/td><\/td>7415<\/td>The Ilford Manual of Photography<\/td>Alan Horder<\/td>Ilford Limited<\/td><\/td>1958<\/td><\/td>0<\/td> <\/tr>\n
7194<\/td>2607<\/td>unread<\/td>84<\/td>12647<\/td><\/td>7416<\/td>Available light<\/td>George B. Wright<\/td>American Photographic Book Publ.<\/td><\/td>1955<\/td><\/td>82<\/td> <\/tr>\n
7195<\/td>2608<\/td>unread<\/td>86<\/td>12648<\/td><\/td>7417<\/td>Skapande fotografering<\/td>Andreas Feininger<\/td>Bonniers<\/td><\/td>1958<\/td><\/td>82<\/td> <\/tr>\n
7196<\/td>2609<\/td>unread<\/td>86<\/td>12649<\/td><\/td>7418<\/td><\/td>Andreas Feininger<\/td>Bonniers<\/td><\/td>1956<\/td><\/td>82<\/td> <\/tr>\n
7197<\/td>2610<\/td>unread<\/td>84<\/td>12650<\/td><\/td>7419<\/td>How to make money in photography<\/td>Eugene Hanson<\/td>American Photographic Book Publ.<\/td><\/td>1955<\/td><\/td>56<\/td> <\/tr>\n
7198<\/td>2611<\/td>unread<\/td>84<\/td>12651<\/td><\/td>7420<\/td>The Contax Way<\/td>H. Freytag<\/td>Focal Press<\/td><\/td>1956<\/td><\/td>56<\/td> <\/tr>\n
7199<\/td>2612<\/td>unread<\/td>81<\/td>12652<\/td><\/td>7421<\/td>Foto tips om film og filtre (6)<\/td>Otto Croy<\/td>Belgisk Import Compagni<\/td><\/td>1955<\/td><\/td>79<\/td> <\/tr>\n
7200<\/td>2613<\/td>unread<\/td>86<\/td>12653<\/td><\/td>7422<\/td><\/td>Olof Vessberg<\/td><\/td><\/td>1950<\/td><\/td>56<\/td> <\/tr>\n
7201<\/td>2614<\/td>unread<\/td>84<\/td>12654<\/td><\/td>7423<\/td>Basic photography. AF manual 95-l<\/td><\/td>Department of the Air Force<\/td><\/td>1953<\/td><\/td>55<\/td> <\/tr>\n
7202<\/td>2615<\/td>unread<\/td>83<\/td>12655<\/td><\/td>7430<\/td>Geschichte der photographie 1839 bis<\/td><\/td>Taschen Verlag<\/td><\/td><\/td><\/td>56<\/td> <\/tr>\n
7203<\/td>2616<\/td>unread<\/td>81<\/td>12656<\/td><\/td>7431<\/td>Fototekniske processer u. lave temp.<\/td><\/td>Industritrykkeriet<\/td><\/td>1954<\/td><\/td>82<\/td> <\/tr>\n
7204<\/td>2617<\/td>unread<\/td>82<\/td>12657<\/td><\/td>7432<\/td>Det maleriske fotografiet<\/td>Norsk museum for fotografi<\/td><\/td><\/td>1999<\/td><\/td>82<\/td> <\/tr>\n
7205<\/td>2618<\/td>unread<\/td>81<\/td>12658<\/td><\/td>7478<\/td>Publikation nr. 2<\/td><\/td><\/td><\/td>jul-51<\/td><\/td>2<\/td> <\/tr>\n
7206<\/td>2619<\/td>unread<\/td>81<\/td>12659<\/td><\/td>7479<\/td>Publikation nr. 6<\/td><\/td><\/td><\/td>jul-55<\/td><\/td>2<\/td> <\/tr>\n
7207<\/td>2620<\/td>unread<\/td>81<\/td>12660<\/td><\/td>7480<\/td>Publikation nr. 7<\/td><\/td><\/td><\/td>jun-56<\/td><\/td>2<\/td> <\/tr>\n
7208<\/td>2621<\/td>unread<\/td>83<\/td>12661<\/td><\/td>7481<\/td>Offset-Kamerad<\/td><\/td><\/td>Celle<\/td>1937<\/td><\/td>2<\/td> <\/tr>\n
7209<\/td>2622<\/td>unread<\/td>86<\/td>12662<\/td><\/td>7482<\/td><\/td><\/td>Wratten & Wainwright<\/td>England<\/td>1913<\/td><\/td>2<\/td> <\/tr>\n
7210<\/td>2623<\/td>unread<\/td>83<\/td>12663<\/td><\/td>7483<\/td>Handbuch der Reproduktionstechnik<\/td><\/td>Polygraph Verlag<\/td>Frankfurt am Main<\/td>1949<\/td>Band 3 - Photolithographie, Offsetreproduktion, Lichtdruck.<\/td>2<\/td> <\/tr>\n
7211<\/td>2624<\/td>unread<\/td>83<\/td>12664<\/td><\/td>7484<\/td>Handbuch der Reproduktionstechnik<\/td><\/td>Polygraph Verlag<\/td>Frankfurt am Main<\/td>1948<\/td>Band 2 - Chemigraphie.<\/td>2<\/td> <\/tr>\n
7212<\/td>2625<\/td>unread<\/td>84<\/td>12665<\/td><\/td>7485<\/td>General Catalogue og Photographic<\/td><\/td><\/td><\/td><\/td>Bogens hele titel: General Catalogue of Photographic Equiptment 1975. 50th Leica Anniversary.<\/td>6<\/td> <\/tr>\n
7213<\/td>2626<\/td>unread<\/td>84<\/td>12666<\/td><\/td>7486<\/td>General Catalogue for Leica Dealers<\/td><\/td><\/td><\/td>1961<\/td>Hel titel: General Catalogue for Leica Dealers 1961. Models Ml, M2, M3 and their accessories.<\/td>6<\/td> <\/tr>\n
7214<\/td>2627<\/td>unread<\/td>83<\/td>12667<\/td><\/td>7487<\/td><\/td>G. Rogliatti<\/td>Wittig Fachbuchverlag<\/td><\/td>1985<\/td><\/td>6<\/td> <\/tr>\n
7215<\/td>2628<\/td>unread<\/td>84<\/td>12668<\/td><\/td>7488<\/td>The Histoyand Praktice of the Art of<\/td>Henry H. Snelling<\/td>Morgan and Morgan<\/td><\/td>1970<\/td>Hel titel: The Histoyand Praktice of the Art of Photography.<\/td>2<\/td> <\/tr>\n
7216<\/td>2629<\/td>unread<\/td>83<\/td>12669<\/td><\/td>7489<\/td>Rollei 35<\/td>Franz Pangerl<\/td>IM Heering Verlag<\/td><\/td>1977<\/td><\/td>2<\/td> <\/tr>\n
7217<\/td>2630<\/td>unread<\/td>83<\/td>12670<\/td><\/td>7490<\/td>Bildideen entdecken und gestalten<\/td>Joachim Giebelhausen<\/td>Gossen GmbH<\/td>Erlangen<\/td>1982<\/td><\/td>2<\/td> <\/tr>\n
7218<\/td>2631<\/td>unread<\/td>84<\/td>12671<\/td><\/td>7491<\/td>The Hole Thing<\/td>Jim Shull<\/td>Morgan and Morgan<\/td><\/td>1974<\/td><\/td>2<\/td> <\/tr>\n
7219<\/td>2632<\/td>unread<\/td>83<\/td>12672<\/td><\/td>7492<\/td>Konica mon amour<\/td>Alexander Borell<\/td>Heering Verlag<\/td><\/td>1975<\/td><\/td>4<\/td> <\/tr>\n
7220<\/td>2633<\/td>unread<\/td>84<\/td>12673<\/td><\/td>7493<\/td>The Canon EOS System<\/td>Bob Shell<\/td>Hove-Fountain Books<\/td><\/td>1990<\/td><\/td>4<\/td> <\/tr>\n
7221<\/td>2634<\/td>unread<\/td>84<\/td>12674<\/td><\/td>7494<\/td>Leica R6<\/td>Fritz Meisnitzer<\/td>Hove Foto Books<\/td><\/td>1989<\/td><\/td>4<\/td> <\/tr>\n
7222<\/td>2635<\/td>unread<\/td>84<\/td>12675<\/td><\/td>7495<\/td>101 Experiments in Photography<\/td>Richards Zakia og Hollis Todd<\/td>Morgan and Morgan<\/td><\/td>1978<\/td><\/td>56<\/td> <\/tr>\n
7223<\/td>2636<\/td>unread<\/td>83<\/td>12676<\/td><\/td>7496<\/td><\/td>Arnold Mellert<\/td><\/td>Berlin<\/td>1982<\/td><\/td>56<\/td> <\/tr>\n
7224<\/td>2637<\/td>unread<\/td>84<\/td>12677<\/td><\/td>7497<\/td>Color Primer l og 2<\/td>Richard Zakia og Hollis Todd<\/td>Morgan and Morgan<\/td><\/td>1978<\/td><\/td>56<\/td> <\/tr>\n
7225<\/td>2638<\/td>unread<\/td>83<\/td>12678<\/td><\/td>7498<\/td><\/td>Willy Zielke<\/td>Verlag von Wilhelm Knapp<\/td>Halle<\/td>1931<\/td><\/td>56<\/td> <\/tr>\n
7226<\/td>2639<\/td>unread<\/td>81<\/td>12679<\/td><\/td>7499<\/td><\/td>Tommy Frenning<\/td>Politikens Forlag<\/td><\/td>1979<\/td><\/td>8<\/td> <\/tr>\n
7227<\/td>2640<\/td>unread<\/td>84<\/td>12680<\/td><\/td>7500<\/td>Camera Collecting<\/td>Jason Schneider<\/td>Wallace-Homestead<\/td><\/td>1985<\/td><\/td>42<\/td> <\/tr>\n
7228<\/td>2641<\/td>unread<\/td>81<\/td>12681<\/td><\/td>7501<\/td>Fotografering<\/td>Steen Agger<\/td>Forlaget Vigra<\/td><\/td>1989<\/td><\/td>42<\/td> <\/tr>\n
7229<\/td>2642<\/td>unread<\/td>83<\/td>12682<\/td><\/td>7502<\/td>Die Rollei Chronik<\/td>Udo Afalter<\/td><\/td><\/td>1990<\/td><\/td>42<\/td> <\/tr>\n
7230<\/td>2643<\/td>unread<\/td>83<\/td>12683<\/td><\/td>7503<\/td>Die Rollei Chronik<\/td>Udo Afalter<\/td><\/td><\/td>1990<\/td><\/td>42<\/td> <\/tr>\n
7231<\/td>2644<\/td>unread<\/td>84<\/td>12684<\/td><\/td>7504<\/td>Leica lens praktice<\/td>Dennis Laney<\/td>Hove Foto Books<\/td><\/td>1985<\/td><\/td>56<\/td> <\/tr>\n
7232<\/td>2645<\/td>unread<\/td>84<\/td>12685<\/td><\/td>7505<\/td>Cokin Filter System for Photo and Video<\/td>Heiner Henninges<\/td>Hove Foto Books<\/td><\/td>1990<\/td><\/td>56<\/td> <\/tr>\n
7233<\/td>2646<\/td>unread<\/td>84<\/td>12686<\/td><\/td>7506<\/td>Leica Rangefinder Praktice M6 to Ml<\/td>Andrew Matheson<\/td>Hove Foto Books<\/td><\/td>1986<\/td><\/td>56<\/td> <\/tr>\n
7234<\/td>2647<\/td>unread<\/td>84<\/td>12687<\/td><\/td>7507<\/td>The Photographic Researches of<\/td>W.B. Ferguson<\/td>Morgan and Morgan<\/td><\/td>1974<\/td>Hel titel: The Photographic Researches of Ferdinand Hurter & Vero C. Driffield.<\/td>4<\/td> <\/tr>\n
7235<\/td>2648<\/td>unread<\/td>84<\/td>12688<\/td><\/td>7508<\/td>Illustrated dictionary of photography<\/td>Backhouse\/Marsh\/Tait\/Wakefield<\/td>Fountain Press<\/td><\/td>1972<\/td><\/td>4<\/td> <\/tr>\n
7236<\/td>2649<\/td>unread<\/td>81<\/td>12689<\/td><\/td>7509<\/td>Politikens bog om foto teknik<\/td>Andrew Hwakins og Dennis Avon<\/td>Politikens forlag<\/td><\/td>1979<\/td><\/td>4<\/td> <\/tr>\n
7237<\/td>2650<\/td>unread<\/td>84<\/td>12690<\/td><\/td>7510<\/td>How to Shoot a Movie & Video Story<\/td>Arthur L. Gaskill and David Englander<\/td>Morgan and Morgan<\/td><\/td>1985<\/td><\/td>4<\/td> <\/tr>\n
7238<\/td>2651<\/td>unread<\/td>84<\/td>12691<\/td><\/td>7511<\/td>My Life with the Leica<\/td>Walther Benser<\/td>Hove Foto Books<\/td><\/td>1990<\/td><\/td>4<\/td> <\/tr>\n
7239<\/td>2652<\/td>unread<\/td>83<\/td>12692<\/td><\/td>7512<\/td>Das Leica Flex Buch<\/td>Theo Kisselbach<\/td>Lindemanns Verlag<\/td><\/td>1977<\/td><\/td>4<\/td> <\/tr>\n
7240<\/td>2653<\/td>unread<\/td>84<\/td>12693<\/td><\/td>7513<\/td>Nikon F 4 and F 3<\/td>Heiner Henninges<\/td>Hove-Fountain Books<\/td><\/td>1989<\/td><\/td>4<\/td> <\/tr>\n
7241<\/td>2654<\/td>unread<\/td>84<\/td>12694<\/td><\/td>7514<\/td>The Ultimate Asahi Pentax<\/td>Gerjan van Oosten<\/td><\/td><\/td>1990<\/td><\/td>2<\/td> <\/tr>\n
7242<\/td>2655<\/td>unread<\/td>81<\/td>12695<\/td><\/td>7515<\/td><\/td><\/td>Palle Fogtdal<\/td><\/td>2000<\/td><\/td>4<\/td> <\/tr>\n
7243<\/td>2656<\/td>unread<\/td>86<\/td>12696<\/td><\/td>7516<\/td>Premis Ciutat de Reus de Fotografia 99<\/td><\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
7244<\/td>2657<\/td>unread<\/td>81<\/td>12697<\/td><\/td>7517<\/td>Det definitive Afslag<\/td><\/td><\/td><\/td>2000<\/td><\/td>4<\/td> <\/tr>\n
7245<\/td>2658<\/td>unread<\/td>81<\/td>12698<\/td><\/td>7518<\/td>Farvefotografiets kunst<\/td>John Hedgecoe<\/td>Lademann, Forlagsaktieselskab<\/td><\/td>1980<\/td><\/td>61<\/td> <\/tr>\n
7246<\/td>2659<\/td>unread<\/td>86<\/td>12699<\/td><\/td>7519<\/td>Undervattens fotografering<\/td>Tony Holm<\/td>Boktryckeribolaget<\/td>Varberg<\/td>1974<\/td><\/td>8<\/td> <\/tr>\n
7247<\/td>2660<\/td>unread<\/td>81<\/td>12700<\/td><\/td>7520<\/td><\/td>Jens Erik Kjeldsen<\/td>Sepia<\/td><\/td><\/td><\/td>8<\/td> <\/tr>\n
7248<\/td>2661<\/td>unread<\/td>81<\/td>12701<\/td><\/td>7521<\/td>Farvefoto<\/td><\/td><\/td><\/td>1982<\/td><\/td>8<\/td> <\/tr>\n
7249<\/td>2662<\/td>unread<\/td>81<\/td>12702<\/td><\/td>7522<\/td>Vejen til bedre blitzbilleder<\/td><\/td>Osram A\/S<\/td><\/td>1985<\/td><\/td>8<\/td> <\/tr>\n
7250<\/td>2663<\/td>unread<\/td>88<\/td>12703<\/td><\/td>7523<\/td>Photography Year Book 1962<\/td><\/td><\/td><\/td><\/td><\/td>78<\/td> <\/tr>\n
7251<\/td>2664<\/td>unread<\/td>81<\/td>12704<\/td><\/td>7524<\/td>Politikens Foto l - Optagelsesteknik<\/td>Tommy Frenning<\/td>Politikens Forlag<\/td><\/td>rev.udg. 1988<\/td><\/td>73<\/td> <\/tr>\n
7252<\/td>2665<\/td>unread<\/td>88<\/td>12705<\/td><\/td>7525<\/td>Das Deutsche Lichtbild 1957<\/td><\/td>Verlag Dr. Wolf Strache<\/td><\/td>Stuttgart<\/td><\/td>40<\/td> <\/tr>\n
7253<\/td>2666<\/td>unread<\/td>88<\/td>12706<\/td><\/td>7526<\/td>Das Deutsche Lichtbild - 1958<\/td><\/td>Verlag Dr. Wolf Strache<\/td><\/td>Stuttgart<\/td><\/td>40<\/td> <\/tr>\n
7254<\/td>2667<\/td>unread<\/td>88<\/td>12707<\/td><\/td>7527<\/td>Das Deutsche Lichtbild - 1961<\/td><\/td>Verlag Dr. Wolf Strache<\/td><\/td>Stuttgart<\/td><\/td>40<\/td> <\/tr>\n
7255<\/td>2668<\/td>unread<\/td>88<\/td>12708<\/td><\/td>7528<\/td>Das Deutsche Lichtbild - 1962<\/td><\/td>Verlag Dr. Wolf Strache<\/td><\/td>Stuttgart<\/td><\/td>40<\/td> <\/tr>\n
7256<\/td>2669<\/td>unread<\/td>88<\/td>12709<\/td><\/td>7529<\/td>Das Deutsche Lichtbild - 1963<\/td><\/td>Verlag Dr. Wolf Stache<\/td><\/td>Stuttgart<\/td><\/td>0<\/td> <\/tr>\n
7257<\/td>2670<\/td>unread<\/td>88<\/td>12710<\/td><\/td>7530<\/td>Das Deutsche Lichtbild - 1964<\/td><\/td>Verlag Dr. Wolf Strache<\/td><\/td>Stuttgart<\/td><\/td>40<\/td> <\/tr>\n
7258<\/td>2671<\/td>unread<\/td>91<\/td>12711<\/td><\/td>7531<\/td><\/td><\/td><\/td><\/td><\/td><\/td>96<\/td> <\/tr>\n
7259<\/td>2672<\/td>unread<\/td>81<\/td>12712<\/td><\/td>7532<\/td>Omkring radioen, vinteren 1941-42<\/td><\/td><\/td><\/td><\/td><\/td>96<\/td> <\/tr>\n
7260<\/td>2673<\/td>unread<\/td>81<\/td>12713<\/td><\/td>7551<\/td>Helle<\/td>Bertha Holst<\/td>Nordisk Forlag<\/td><\/td>1919<\/td><\/td>9<\/td> <\/tr>\n
7261<\/td>2674<\/td>unread<\/td>88<\/td>12714<\/td><\/td>7562<\/td>Stardust. Annie Leibovitz 1970-1999<\/td><\/td><\/td>Louisiana. Museum for moderne kunst<\/td><\/td><\/td>42<\/td> <\/tr>\n
7262<\/td>2675<\/td>unread<\/td>88<\/td>12715<\/td><\/td>7592<\/td>Fotosport 2000<\/td><\/td><\/td>Spanien<\/td>2000<\/td><\/td>56<\/td> <\/tr>\n
7263<\/td>2676<\/td>unread<\/td>88<\/td>12716<\/td><\/td>7593<\/td>Esport per a Tothom<\/td><\/td>Club natacio Reus Ploms<\/td><\/td>2000<\/td><\/td>56<\/td> <\/tr>\n
7264<\/td>2677<\/td>unread<\/td>83<\/td>12717<\/td><\/td>7594<\/td>Monochrom<\/td>Tony Worobiec og Ray Spence<\/td>Augustus<\/td><\/td>2000<\/td>Fulde titel: Monochrom und weitere Kunst-Printing-Techniken.<\/td>83<\/td> <\/tr>\n
7265<\/td>2678<\/td>unread<\/td>88<\/td>12718<\/td><\/td>7623<\/td>Man Ray<\/td>Man Ray<\/td><\/td><\/td>1998<\/td><\/td>44<\/td> <\/tr>\n
7266<\/td>2679<\/td>unread<\/td>83<\/td>12719<\/td><\/td>7624<\/td><\/td><\/td>Dresdner Compact Disc.<\/td><\/td>1996<\/td><\/td>44<\/td> <\/tr>\n
7267<\/td>2680<\/td>unread<\/td>88<\/td>12720<\/td><\/td>7625<\/td>Leica - Gallery, volume 2<\/td><\/td>Verlag Hermann Schmidt Mainz<\/td><\/td><\/td><\/td>44<\/td> <\/tr>\n
7268<\/td>2681<\/td>unread<\/td>88<\/td>12721<\/td><\/td>7640<\/td>Dansk Fotografi 2000<\/td><\/td>Selskabet for Dansk Fotografi<\/td><\/td>2000<\/td><\/td>53<\/td> <\/tr>\n
7269<\/td>2682<\/td>unread<\/td>86<\/td>12722<\/td><\/td>7641<\/td>Pas nu paa! Nu tar jeg fra hullet<\/td>Roger Erlandsen<\/td>Inter-View og Norge Fotografforbund<\/td><\/td>2000<\/td><\/td>44<\/td> <\/tr>\n
7270<\/td>2683<\/td>unread<\/td>88<\/td>12723<\/td><\/td>7642<\/td>Jyske billeder<\/td>Valdemar Hedegaard<\/td>Koldby Bogtrykkeri A\/S<\/td><\/td>2000<\/td><\/td>56<\/td> <\/tr>\n
7271<\/td>2684<\/td>unread<\/td>84<\/td>12724<\/td><\/td>7659<\/td>Victorian Cartes-de-Visite<\/td>Robin and Carol Wichard<\/td>Shire Publications<\/td><\/td>1999<\/td><\/td>56<\/td> <\/tr>\n
7272<\/td>2685<\/td>unread<\/td>81<\/td>12725<\/td><\/td>7693<\/td>Victor Hermansens efterladte papirer<\/td><\/td><\/td><\/td><\/td><\/td>40<\/td> <\/tr>\n
7273<\/td>2686<\/td>unread<\/td>81<\/td>12726<\/td><\/td>7694<\/td>Vejledning for amateurer og begyndere<\/td><\/td><\/td><\/td>1888<\/td><\/td>40<\/td> <\/tr>\n
7274<\/td>2687<\/td>unread<\/td>83<\/td>12727<\/td><\/td>7695<\/td>Der Weg des Films<\/td>Friedrich v. Zglinicki<\/td><\/td><\/td>1956<\/td><\/td>40<\/td> <\/tr>\n
7275<\/td>2688<\/td>unread<\/td>81<\/td>12728<\/td><\/td>7696<\/td>Farvefotografien, dens materialer og p<\/td><\/td><\/td><\/td><\/td>Hele titel: Farvefotografien, dens materialer og problemer.<\/td>40<\/td> <\/tr>\n
7276<\/td>2689<\/td>unread<\/td>81<\/td>12729<\/td><\/td>7697<\/td>Vejledning i Fotografi<\/td>N. Fischer<\/td><\/td><\/td>1887<\/td><\/td>40<\/td> <\/tr>\n
7277<\/td>2690<\/td>unread<\/td>83<\/td>12730<\/td><\/td>7698<\/td>Der practische Photograph<\/td><\/td><\/td><\/td>1855<\/td><\/td>40<\/td> <\/tr>\n
7278<\/td>2691<\/td>unread<\/td>81<\/td>12731<\/td><\/td>7699<\/td><\/td><\/td><\/td><\/td>1974<\/td><\/td>40<\/td> <\/tr>\n
7279<\/td>2692<\/td>unread<\/td>81<\/td>12732<\/td><\/td>7700<\/td><\/td><\/td><\/td><\/td>1979<\/td><\/td>40<\/td> <\/tr>\n
7280<\/td>2693<\/td>unread<\/td>81<\/td>12733<\/td><\/td>7701<\/td>Opfindelsens bog.<\/td><\/td><\/td><\/td>1880<\/td><\/td>40<\/td> <\/tr>\n
7281<\/td>2694<\/td>unread<\/td>83<\/td>12734<\/td><\/td>7702<\/td>Atelier und Apparat des Photographen<\/td>Otto Buchler<\/td><\/td><\/td>1869<\/td><\/td>40<\/td> <\/tr>\n
7282<\/td>2695<\/td>unread<\/td>81<\/td>12735<\/td><\/td>7703<\/td>Kinobladet x)<\/td><\/td><\/td><\/td>1919-1929<\/td><\/td>40<\/td> <\/tr>\n
7283<\/td>2696<\/td>unread<\/td>81<\/td>12736<\/td><\/td>7704<\/td>ALFEN. Tidende for fotografien i N.<\/td><\/td>Reg. og udg. Pet. Chr. Koch<\/td><\/td><\/td>ALFEN. Tidenden for fotografien i Norden.<\/td>40<\/td> <\/tr>\n
7284<\/td>2697<\/td>unread<\/td>81<\/td>12737<\/td><\/td>7705<\/td>Kopier fra hoffotograf Peter Elfelts Sc<\/td><\/td><\/td><\/td><\/td>Hele titel: Kopier fra hoffotograf Peter Elfelts Scrap Book.<\/td>40<\/td> <\/tr>\n
7285<\/td>2698<\/td>unread<\/td>84<\/td>12738<\/td><\/td>7706<\/td>Poetical of John Keats<\/td>John Keats<\/td>Suttaby & Co<\/td><\/td>1887<\/td><\/td>56<\/td> <\/tr>\n
7286<\/td>2699<\/td>unread<\/td>83<\/td>12739<\/td><\/td>7707<\/td><\/td>Emil Becher<\/td><\/td><\/td>1887<\/td><\/td>40<\/td> <\/tr>\n
7287<\/td>2700<\/td>unread<\/td>81<\/td>12740<\/td><\/td>7708<\/td>Skandinavisk kunst og fotografi.<\/td>Arne Eggum og Bodil Stenseth<\/td><\/td>Oslo kommunes kunstsamlinger x)<\/td><\/td>Hele udgivelsessted: Oslo kommunes kunstsamlinger Munch-museets skrifter 4.<\/td>40<\/td> <\/tr>\n
7288<\/td>2701<\/td>unread<\/td>81<\/td>12741<\/td><\/td>7709<\/td><\/td>Frederik Bakewell<\/td><\/td><\/td>1859<\/td><\/td>40<\/td> <\/tr>\n
7289<\/td>2702<\/td>unread<\/td>81<\/td>12742<\/td><\/td>7710<\/td>Fortegnelse over danske stereoskop-<\/td><\/td><\/td><\/td>1962<\/td><\/td>40<\/td> <\/tr>\n
7290<\/td>2703<\/td>unread<\/td>81<\/td>12743<\/td><\/td>7711<\/td><\/td>H.K. Kristensen<\/td>Historisk samfund for Ribe Amt<\/td><\/td>1963<\/td><\/td>40<\/td> <\/tr>\n
7291<\/td>2704<\/td>unread<\/td>81<\/td>12744<\/td><\/td>7712<\/td>Jorden rund med Holger Rosenberg<\/td>Holder Rosenberg<\/td>Steen Hasselbalchs Forlag<\/td><\/td><\/td><\/td>40<\/td> <\/tr>\n
7292<\/td>2705<\/td>unread<\/td>81<\/td>12745<\/td><\/td>7713<\/td>Om trykning af oliebilleder<\/td>R. Demachy<\/td><\/td><\/td><\/td><\/td>40<\/td> <\/tr>\n
7293<\/td>2706<\/td>unread<\/td>83<\/td>12746<\/td><\/td>7714<\/td><\/td>G.T. Fischer<\/td>Verlags - Magazin<\/td><\/td>1844<\/td><\/td>40<\/td> <\/tr>\n
7294<\/td>2707<\/td>unread<\/td>81<\/td>12747<\/td><\/td>7715<\/td>Universum<\/td><\/td>Udg. af Jacob Erslev<\/td><\/td>1858<\/td>Fuld titel: Universum. Indeholden populaire fremstillinger.<\/td>40<\/td> <\/tr>\n
7295<\/td>2708<\/td>unread<\/td>81<\/td>12748<\/td><\/td>7716<\/td>Notits for fotografi. A.Hansen, Odense<\/td><\/td><\/td><\/td><\/td><\/td>40<\/td> <\/tr>\n
7296<\/td>2709<\/td>unread<\/td>83<\/td>12749<\/td><\/td>7717<\/td><\/td><\/td>Zeitlin & Ver Brugge Booksellers<\/td><\/td><\/td><\/td>40<\/td> <\/tr>\n
7297<\/td>2710<\/td>unread<\/td>86<\/td>12750<\/td><\/td>7718<\/td>Foto x)<\/td><\/td><\/td><\/td><\/td>x) Fulde titel: Foto. Kopier fra det svenske tidsskrift 1939-1957 vedr. den historiske udvikling af blitz-udstyr.<\/td>40<\/td> <\/tr>\n
7298<\/td>2711<\/td>unread<\/td>88<\/td>12751<\/td><\/td>7736<\/td>Herning-Bogen 2000<\/td><\/td>Historisk fore. f. Herning Kommune<\/td><\/td>2000<\/td><\/td>47<\/td> <\/tr>\n
7299<\/td>2712<\/td>unread<\/td>88<\/td>12752<\/td><\/td>7746<\/td>National Gallery of Art<\/td>Alfred Stieglitz<\/td><\/td><\/td>1998<\/td><\/td>85<\/td> <\/tr>\n
7300<\/td>2713<\/td>unread<\/td>83<\/td>12753<\/td><\/td>7747<\/td>Rollei Report 5<\/td>Claus Prochnow<\/td>Lindemanns Verlag<\/td><\/td>2000<\/td><\/td>84<\/td> <\/tr>\n
7301<\/td>2714<\/td>unread<\/td>88<\/td>12754<\/td><\/td>7788<\/td>Prague<\/td>Alfred Seiland<\/td>Edition Stemmle<\/td><\/td>2000<\/td><\/td>78<\/td> <\/tr>\n
7302<\/td>2715<\/td>unread<\/td>88<\/td>12755<\/td><\/td>7789<\/td>Sviatchenko<\/td><\/td>Arkitektskolen i Aarhus<\/td><\/td>2000<\/td><\/td>56<\/td> <\/tr>\n
7303<\/td>2716<\/td>unread<\/td>84<\/td>12756<\/td><\/td>8041<\/td>Index<\/td><\/td>Life Library of Photography<\/td><\/td>1974<\/td><\/td>101<\/td> <\/tr>\n
7304<\/td>2717<\/td>unread<\/td>84<\/td>12757<\/td><\/td>8042<\/td>Caring for Photographs<\/td><\/td>Life Library of Photography<\/td><\/td>1973<\/td><\/td>101<\/td> <\/tr>\n
7305<\/td>2718<\/td>unread<\/td>84<\/td>12758<\/td><\/td>8043<\/td>Documentary Photography<\/td><\/td>Life Library of Photography<\/td><\/td>l973<\/td><\/td>101<\/td> <\/tr>\n
7306<\/td>2719<\/td>unread<\/td>84<\/td>12759<\/td><\/td>8044<\/td>Photography As a Tool<\/td><\/td>Life Library of Photography<\/td><\/td>l973<\/td><\/td>101<\/td> <\/tr>\n
7307<\/td>2720<\/td>unread<\/td>84<\/td>12760<\/td><\/td>8045<\/td>Photojournalism<\/td><\/td>Life Library of Photography<\/td><\/td>l972<\/td><\/td>101<\/td> <\/tr>\n
7308<\/td>2721<\/td>unread<\/td>84<\/td>12761<\/td><\/td>8046<\/td>Photographing Chrildren<\/td><\/td>Life Library of Photography<\/td><\/td>l973<\/td><\/td>101<\/td> <\/tr>\n
7309<\/td>2722<\/td>unread<\/td>84<\/td>12762<\/td><\/td>8047<\/td>Frontiers of Photography<\/td><\/td>Life Library of Photography<\/td><\/td>l972<\/td><\/td>101<\/td> <\/tr>\n
7310<\/td>2723<\/td>unread<\/td>84<\/td>12763<\/td><\/td>8048<\/td>Great Photographers<\/td><\/td>Life Library of Photography<\/td><\/td>l974<\/td><\/td>101<\/td> <\/tr>\n
7311<\/td>2724<\/td>unread<\/td>84<\/td>12764<\/td><\/td>8049<\/td>The Art of Photography<\/td><\/td>Life Library of Photography<\/td><\/td>l973<\/td><\/td>101<\/td> <\/tr>\n
7312<\/td>2725<\/td>unread<\/td>84<\/td>12765<\/td><\/td>8050<\/td>The Great Themes<\/td><\/td>Life Library of Photography<\/td><\/td>l972<\/td><\/td>101<\/td> <\/tr>\n
7313<\/td>2726<\/td>unread<\/td>84<\/td>12766<\/td><\/td>8051<\/td>The Studio<\/td><\/td>Life Library of Photography<\/td><\/td>l972<\/td><\/td>101<\/td> <\/tr>\n
7314<\/td>2727<\/td>unread<\/td>84<\/td>12767<\/td><\/td>8052<\/td>Travel Photography<\/td><\/td>Life Library of Photography<\/td><\/td>l973<\/td><\/td>101<\/td> <\/tr>\n
7315<\/td>2728<\/td>unread<\/td>81<\/td>12768<\/td><\/td>8053<\/td><\/td><\/td><\/td><\/td><\/td>l900 - l9l4<\/td>101<\/td> <\/tr>\n
7316<\/td>2729<\/td>unread<\/td>81<\/td>12769<\/td><\/td>8054<\/td><\/td><\/td><\/td><\/td><\/td>1914 - 1920<\/td>101<\/td> <\/tr>\n
7317<\/td>2730<\/td>unread<\/td>81<\/td>12770<\/td><\/td>8055<\/td><\/td><\/td><\/td><\/td><\/td>1920 - 1930<\/td>101<\/td> <\/tr>\n
7318<\/td>2731<\/td>unread<\/td>81<\/td>12771<\/td><\/td>8056<\/td><\/td><\/td><\/td><\/td><\/td>1930 - 1935<\/td>101<\/td> <\/tr>\n
7319<\/td>2732<\/td>unread<\/td>81<\/td>12772<\/td><\/td>8057<\/td><\/td><\/td><\/td><\/td><\/td>1935 - 1940<\/td>101<\/td> <\/tr>\n
7320<\/td>2733<\/td>unread<\/td>81<\/td>12773<\/td><\/td>8058<\/td><\/td><\/td><\/td><\/td><\/td>\"Den danske Kamp \" 1940 - 43<\/td>101<\/td> <\/tr>\n
7321<\/td>2734<\/td>unread<\/td>81<\/td>12774<\/td><\/td>8059<\/td><\/td><\/td><\/td><\/td><\/td>\"Den danske Kamp\" l943 - 45<\/td>101<\/td> <\/tr>\n
7322<\/td>2735<\/td>unread<\/td>81<\/td>12775<\/td><\/td>8060<\/td><\/td><\/td><\/td><\/td><\/td>\"Tiden der fulgte\" l945-47<\/td>101<\/td> <\/tr>\n
7323<\/td>2736<\/td>unread<\/td>81<\/td>12776<\/td><\/td>8061<\/td><\/td><\/td><\/td><\/td><\/td>1948<\/td>101<\/td> <\/tr>\n
7324<\/td>2737<\/td>unread<\/td>81<\/td>12777<\/td><\/td>8062<\/td><\/td><\/td><\/td><\/td><\/td>l950<\/td>101<\/td> <\/tr>\n
7325<\/td>2738<\/td>unread<\/td>81<\/td>12778<\/td><\/td>8063<\/td><\/td><\/td><\/td><\/td><\/td>l952<\/td>101<\/td> <\/tr>\n
7326<\/td>2739<\/td>unread<\/td>81<\/td>12779<\/td><\/td>8064<\/td><\/td><\/td><\/td><\/td><\/td>l954<\/td>101<\/td> <\/tr>\n
7327<\/td>2740<\/td>unread<\/td>81<\/td>12780<\/td><\/td>8065<\/td><\/td><\/td><\/td><\/td><\/td>l956<\/td>101<\/td> <\/tr>\n
7328<\/td>2741<\/td>unread<\/td>81<\/td>12781<\/td><\/td>8066<\/td><\/td><\/td><\/td><\/td><\/td>1957<\/td>101<\/td> <\/tr>\n
7329<\/td>2742<\/td>unread<\/td>81<\/td>12782<\/td><\/td>8067<\/td><\/td><\/td><\/td><\/td><\/td>l958<\/td>101<\/td> <\/tr>\n
7330<\/td>2743<\/td>unread<\/td>81<\/td>12783<\/td><\/td>8068<\/td><\/td><\/td><\/td><\/td><\/td>l959<\/td>101<\/td> <\/tr>\n
7331<\/td>2744<\/td>unread<\/td>81<\/td>12784<\/td><\/td>8069<\/td><\/td><\/td><\/td><\/td><\/td>l960<\/td>101<\/td> <\/tr>\n
7332<\/td>2745<\/td>unread<\/td>81<\/td>12785<\/td><\/td>8070<\/td><\/td><\/td><\/td><\/td><\/td>1961<\/td>101<\/td> <\/tr>\n
7333<\/td>2746<\/td>unread<\/td>81<\/td>12786<\/td><\/td>8071<\/td><\/td><\/td><\/td><\/td><\/td>1962<\/td>101<\/td> <\/tr>\n
7334<\/td>2747<\/td>unread<\/td>81<\/td>12787<\/td><\/td>8072<\/td><\/td><\/td><\/td><\/td><\/td>l963<\/td>101<\/td> <\/tr>\n
7335<\/td>2748<\/td>unread<\/td>81<\/td>12788<\/td><\/td>8073<\/td><\/td><\/td><\/td><\/td><\/td>1964<\/td>101<\/td> <\/tr>\n
7336<\/td>2749<\/td>unread<\/td>81<\/td>12789<\/td><\/td>8074<\/td><\/td><\/td><\/td><\/td><\/td>1965<\/td>101<\/td> <\/tr>\n
7337<\/td>2750<\/td>unread<\/td>81<\/td>12790<\/td><\/td>8075<\/td><\/td><\/td><\/td><\/td><\/td>1966<\/td>101<\/td> <\/tr>\n
7338<\/td>2751<\/td>unread<\/td>81<\/td>12791<\/td><\/td>8076<\/td><\/td><\/td><\/td><\/td><\/td>1967<\/td>101<\/td> <\/tr>\n
7339<\/td>2752<\/td>unread<\/td>81<\/td>12792<\/td><\/td>8077<\/td><\/td><\/td><\/td><\/td><\/td>1968<\/td>101<\/td> <\/tr>\n
7340<\/td>2753<\/td>unread<\/td>83<\/td>12793<\/td><\/td>8078<\/td>Holger Muhlenbeck-Illusion-Fotografien<\/td>Heydt Museum,Holger Muhlenbeck<\/td>Lumi Art der Stora Enso,Dortmund<\/td><\/td>2001<\/td><\/td>100<\/td> <\/tr>\n
7341<\/td>2754<\/td>unread<\/td>81<\/td>12794<\/td><\/td>8079<\/td><\/td>Tove Pedersen<\/td>Skippershoved<\/td><\/td>2001<\/td><\/td>100<\/td> <\/tr>\n
7342<\/td>2755<\/td>unread<\/td>81<\/td>12795<\/td><\/td>8080<\/td>Dronning i Danmark<\/td><\/td>Gyldendal<\/td><\/td>l989<\/td><\/td>12<\/td> <\/tr>\n
7343<\/td>2756<\/td>unread<\/td>81<\/td>12796<\/td><\/td>8081<\/td>Viggo Rivad (Mellem lys og skygge)<\/td>Lars Schwander<\/td>Produktion Rhodos<\/td><\/td>1996<\/td><\/td>12<\/td> <\/tr>\n
7344<\/td>2757<\/td>unread<\/td>81<\/td>12797<\/td><\/td>8082<\/td>Flyvske Billeder<\/td>Henning Carlsen<\/td>Gyldendal<\/td><\/td>2000<\/td><\/td>12<\/td> <\/tr>\n
7345<\/td>2758<\/td>unread<\/td>81<\/td>12798<\/td><\/td>8083<\/td>Magnum verden nu<\/td><\/td><\/td><\/td>2001<\/td><\/td>12<\/td> <\/tr>\n
7346<\/td>2759<\/td>unread<\/td>82<\/td>12799<\/td><\/td>8084<\/td>Face<\/td><\/td>Zinc Gallery, Stockholm<\/td><\/td>2001<\/td><\/td>100<\/td> <\/tr>\n
7347<\/td>2760<\/td>unread<\/td>81<\/td>12800<\/td><\/td>8085<\/td>Pludselig i verdensklasse om d.fotoj.<\/td><\/td>Ajour<\/td><\/td>2001<\/td>pludselig i verdensklasse om dansk fotojournalistik<\/td>12<\/td> <\/tr>\n
7348<\/td>2761<\/td>unread<\/td>81<\/td>12801<\/td><\/td>8086<\/td>Den rene Smag<\/td>Ida Haugsted<\/td>Nyt Nordisk Forlag\/Arnold Busck<\/td><\/td>1999<\/td><\/td>100<\/td> <\/tr>\n
7349<\/td>2762<\/td>unread<\/td>81<\/td>12802<\/td><\/td>8087<\/td><\/td>Mogens Bencard<\/td>Gyldendal<\/td><\/td>2000<\/td><\/td>100<\/td> <\/tr>\n
7350<\/td>2763<\/td>unread<\/td>84<\/td>12803<\/td><\/td>8088<\/td>B.E.S.T. -<\/td><\/td>Photography 1984<\/td><\/td>1984<\/td>B.E.S.T - The Best Of Worlds Sport<\/td>100<\/td> <\/tr>\n
7351<\/td>2764<\/td>unread<\/td>83<\/td>12804<\/td><\/td>8089<\/td>Farbfotografie gestern und heute<\/td><\/td>Kodak<\/td><\/td>1987<\/td><\/td>100<\/td> <\/tr>\n
7352<\/td>2765<\/td>unread<\/td>83<\/td>12805<\/td><\/td>8090<\/td>Video Faszination<\/td><\/td>Hama<\/td><\/td><\/td><\/td>100<\/td> <\/tr>\n
7353<\/td>2766<\/td>unread<\/td>84<\/td>12806<\/td><\/td>8091<\/td>The History of Photography<\/td>Beaumont Newhall<\/td>Secker & Warburg, London<\/td><\/td>1972<\/td><\/td>58<\/td> <\/tr>\n
7354<\/td>2767<\/td>unread<\/td>84<\/td>12807<\/td><\/td>8092<\/td>The Best of Popular Prhotography<\/td>Harvey Fondiller<\/td>Ziff-Davis Publishing Company-New Y<\/td><\/td>1980<\/td>The Best of Popular Photography over 40 years<\/td>100<\/td> <\/tr>\n
7355<\/td>2768<\/td>unread<\/td>84<\/td>12808<\/td><\/td>8093<\/td>Portfolio 7<\/td>Superstock<\/td><\/td><\/td><\/td><\/td>100<\/td> <\/tr>\n
7356<\/td>2769<\/td>unread<\/td>84<\/td>12809<\/td><\/td>8094<\/td>Annual 21<\/td><\/td>Image Bank<\/td><\/td><\/td><\/td>100<\/td> <\/tr>\n
7357<\/td>2770<\/td>unread<\/td>83<\/td>12810<\/td><\/td>8095<\/td>Nature & Animals<\/td><\/td>Premium Stock Photography GmbH<\/td><\/td><\/td>Printed in Italy<\/td>100<\/td> <\/tr>\n
7358<\/td>2771<\/td>unread<\/td>84<\/td>12811<\/td><\/td>8096<\/td>Perceptions 24<\/td><\/td>Image Bank<\/td><\/td><\/td><\/td>100<\/td> <\/tr>\n
7359<\/td>2772<\/td>unread<\/td>81<\/td>12812<\/td><\/td>8097<\/td>Copenhagen Living<\/td><\/td><\/td><\/td>1999\/2000<\/td><\/td>100<\/td> <\/tr>\n
7360<\/td>2773<\/td>unread<\/td>83<\/td>12813<\/td><\/td>8098<\/td>Belichtung und Farbwerte in der fotop.<\/td>Michael Nischke og Jens Sovak<\/td>Image Plus, Munchen<\/td><\/td>1992<\/td>Belichtung und Farbwerte in der Fotopraxis<\/td>100<\/td> <\/tr>\n
7361<\/td>2774<\/td>unread<\/td>81<\/td>12814<\/td><\/td>8099<\/td><\/td><\/td><\/td><\/td>l965<\/td><\/td>100<\/td> <\/tr>\n
7362<\/td>2775<\/td>unread<\/td>81<\/td>12815<\/td><\/td>8100<\/td><\/td><\/td><\/td><\/td>1964<\/td><\/td>100<\/td> <\/tr>\n
7363<\/td>2776<\/td>unread<\/td>81<\/td>12816<\/td><\/td>8101<\/td><\/td><\/td><\/td><\/td>1964<\/td><\/td>100<\/td> <\/tr>\n
7364<\/td>2777<\/td>unread<\/td>84<\/td>12817<\/td><\/td>8102<\/td>Charles Johnson<\/td>New Photograms<\/td>London: ILIFFE books LTD<\/td><\/td>1962<\/td><\/td>100<\/td> <\/tr>\n
7365<\/td>2778<\/td>unread<\/td>83<\/td>12818<\/td><\/td>8103<\/td>Karl Borgmann<\/td>Des Menschen Bild<\/td>Hanne Reich Verlag-Munchen<\/td><\/td>1963<\/td><\/td>100<\/td> <\/tr>\n
7366<\/td>2779<\/td>unread<\/td>84<\/td>12819<\/td><\/td>8104<\/td>Helmut Gernsheim<\/td>Creative Photography<\/td>Faber and Faber LTD, London<\/td><\/td>1839 - 1960<\/td><\/td>100<\/td> <\/tr>\n
7367<\/td>2780<\/td>unread<\/td>83<\/td>12820<\/td><\/td>8105<\/td>Schule Des Akt Fotos<\/td><\/td>Der International Photo Technik<\/td><\/td>1968<\/td><\/td>100<\/td> <\/tr>\n
7368<\/td>2781<\/td>unread<\/td>86<\/td>12821<\/td><\/td>8106<\/td>Cyclopedia of Motion-Picture Work<\/td>David S. Hulfish<\/td>Chicago, American Technical Society<\/td><\/td>1914<\/td>Bind 1<\/td>6<\/td> <\/tr>\n
7369<\/td>2782<\/td>unread<\/td>86<\/td>12822<\/td><\/td>8107<\/td>Cyclopedia of Motion-Picture Work<\/td>David S. Hulfish<\/td>Chicago, American Technical Society<\/td><\/td>1914<\/td>Bind 2<\/td>6<\/td> <\/tr>\n
7370<\/td>2783<\/td>unread<\/td>84<\/td>12823<\/td><\/td>8108<\/td>Photography Year Book<\/td>Norman Hall<\/td>Photography Magazine (Great Britain)<\/td><\/td>1961<\/td><\/td>78<\/td> <\/tr>\n
7371<\/td>2784<\/td>unread<\/td>84<\/td>12824<\/td><\/td>8109<\/td>Photography Year Book<\/td>Norman Hall<\/td>Photography Magazine (Great Britain)<\/td><\/td>1963<\/td><\/td>78<\/td> <\/tr>\n
7372<\/td>2785<\/td>unread<\/td>84<\/td>12825<\/td><\/td>8110<\/td>Photography Year Book<\/td>Ian James<\/td>Fountain Press Ltd.<\/td><\/td>1964<\/td><\/td>78<\/td> <\/tr>\n
7373<\/td>2786<\/td>unread<\/td>84<\/td>12826<\/td><\/td>8111<\/td>Photography Year Book<\/td>Ian James<\/td>Fountain Press Ltd.<\/td><\/td>1965<\/td><\/td>78<\/td> <\/tr>\n
7374<\/td>2787<\/td>unread<\/td>84<\/td>12827<\/td><\/td>8112<\/td>Photography Year Book<\/td>Ian James<\/td>Fountain Press Ltd.<\/td><\/td>1966<\/td><\/td>78<\/td> <\/tr>\n
7375<\/td>2788<\/td>unread<\/td>84<\/td>12828<\/td><\/td>8113<\/td>Photography Year Book<\/td>John Sanders and Richard Gee<\/td>Fountain Press Ltd<\/td><\/td>1969<\/td><\/td>78<\/td> <\/tr>\n
7376<\/td>2789<\/td>unread<\/td>84<\/td>12829<\/td><\/td>8114<\/td>Photography Year Book 1967<\/td>Derek Steven and Richard Gee<\/td>Fountain Press Ltd., London<\/td><\/td>1967<\/td><\/td>78<\/td> <\/tr>\n
7377<\/td>2790<\/td>unread<\/td>83<\/td>12830<\/td><\/td>8115<\/td>Meisterfotos und wie man sie macht\/<\/td>Hobby-biblioteket<\/td>EHAPA-Verlag GMBH,Stetten a.F.<\/td><\/td>1968<\/td>Meisterfotos und wie man sie macht\/Folge 4<\/td>51<\/td> <\/tr>\n
7378<\/td>2791<\/td>unread<\/td>83<\/td>12831<\/td><\/td>8116<\/td>Das Deutsche Lichtbild<\/td>Wolf Strache und Otto Steinert<\/td>DSB Dr.Wolf Strache Stuttgart<\/td><\/td>1966<\/td><\/td>40<\/td> <\/tr>\n
7379<\/td>2792<\/td>unread<\/td>83<\/td>12832<\/td><\/td>8117<\/td>Das Deutsche Lichtnild<\/td>Wolf Strache und Otto Steinert<\/td>DSB Dr. Wolf Strache Stuttgart<\/td><\/td>1965<\/td><\/td>40<\/td> <\/tr>\n
7380<\/td>2793<\/td>unread<\/td>83<\/td>12833<\/td><\/td>8118<\/td>Das Deutsche Lichtbild<\/td>Wolf Strache und Otto Steinert<\/td>DSB Dr. Wolf Strache Stuttgart<\/td><\/td>1969<\/td><\/td>40<\/td> <\/tr>\n
7381<\/td>2794<\/td>unread<\/td>84<\/td>12834<\/td><\/td>8119<\/td>FIAP<\/td>C.J.Bucher \/ S.A. Lucerne<\/td>Druck der Bilder in Tiefdruck<\/td><\/td>1962<\/td><\/td>44<\/td> <\/tr>\n
7382<\/td>2795<\/td>unread<\/td>86<\/td>12835<\/td><\/td>8120<\/td>Nikko Annual 1983-84<\/td><\/td><\/td><\/td><\/td><\/td>100<\/td> <\/tr>\n
7383<\/td>2796<\/td>unread<\/td>81<\/td>12836<\/td><\/td>8121<\/td>Politikens Foto I (udstyr og teknik)<\/td>Thomas Nykrog<\/td>Politiken<\/td><\/td>1992<\/td><\/td>44<\/td> <\/tr>\n
7384<\/td>2797<\/td>unread<\/td>81<\/td>12837<\/td><\/td>8122<\/td>Politikens Foto 2 (praktisk fotograferin<\/td>Thomas Nykrog<\/td>Politiken<\/td><\/td>1992<\/td><\/td>44<\/td> <\/tr>\n
7385<\/td>2798<\/td>unread<\/td>81<\/td>12838<\/td><\/td>8123<\/td>Politikens Foto 3 \/kreativ fotografering<\/td>Thomas Nykrog<\/td>Politiken<\/td><\/td>1991<\/td><\/td>44<\/td> <\/tr>\n
7386<\/td>2799<\/td>unread<\/td>81<\/td>12839<\/td><\/td>8124<\/td>Foto 23x36 mm<\/td>Politiken<\/td>Politiken<\/td><\/td>1980<\/td><\/td>44<\/td> <\/tr>\n
7387<\/td>2800<\/td>unread<\/td>86<\/td>12840<\/td><\/td>8125<\/td>Filmen Schmalfilm-Hanvuch<\/td>R. Hansham<\/td>Rudolf Hans Hammer<\/td><\/td>1962<\/td><\/td>6<\/td> <\/tr>\n
7388<\/td>2801<\/td>unread<\/td>82<\/td>12841<\/td><\/td>8126<\/td><\/td>Odd Tommelstad<\/td>Gyldendal<\/td><\/td>1968<\/td>svensk<\/td>6<\/td> <\/tr>\n
7389<\/td>2802<\/td>unread<\/td>83<\/td>12842<\/td><\/td>8127<\/td>Der schmalfilm Tont<\/td>D.M. Neale<\/td>Wilhelm Knapp, Dusseldorf<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7390<\/td>2803<\/td>unread<\/td>83<\/td>12843<\/td><\/td>8128<\/td>Filmentwurf und Filmgestaltung<\/td>Richard Groschopp<\/td>Fotokino Halle , Halle\/Saale<\/td><\/td>1960<\/td><\/td>6<\/td> <\/tr>\n
7391<\/td>2804<\/td>unread<\/td>84<\/td>12844<\/td><\/td>8129<\/td>Filmen som kunstart<\/td>Ralph Stephenson og J.R. Debrix<\/td>Aalborg Stiftsbogtrykkeri<\/td><\/td>1967<\/td><\/td>6<\/td> <\/tr>\n
7392<\/td>2805<\/td>unread<\/td>81<\/td>12845<\/td><\/td>8130<\/td><\/td>Lise Roos<\/td><\/td><\/td>1976<\/td><\/td>6<\/td> <\/tr>\n
7393<\/td>2806<\/td>unread<\/td>81<\/td>12846<\/td><\/td>8131<\/td>Home Movies made easy<\/td><\/td>Kodak Company<\/td><\/td>1974<\/td><\/td>6<\/td> <\/tr>\n
7394<\/td>2807<\/td>unread<\/td>83<\/td>12847<\/td><\/td>8132<\/td>Der Filmtrick und der Trickfilm<\/td>Werner Reff-Stefan Vasarhelyi<\/td>Veb Fotokinoverlag Halle-Halle(Saale)<\/td><\/td>1960<\/td><\/td>6<\/td> <\/tr>\n
7395<\/td>2808<\/td>unread<\/td>84<\/td>12848<\/td><\/td>8133<\/td>Fotografen - At skrive med lys<\/td>L. Ron Hubbard<\/td><\/td><\/td>1999<\/td><\/td>100<\/td> <\/tr>\n
7396<\/td>2809<\/td>unread<\/td>81<\/td>12849<\/td><\/td>8134<\/td>600 Fototips<\/td>Mogens von Haven<\/td>Danmark<\/td><\/td>1985<\/td><\/td>100<\/td> <\/tr>\n
7397<\/td>2810<\/td>unread<\/td>83<\/td>12850<\/td><\/td>8135<\/td>Weltausstellung der Photographie<\/td>Heinrich Boll<\/td>Henri Nannen GmbH, Hamborg<\/td><\/td><\/td><\/td>100<\/td> <\/tr>\n
7398<\/td>2811<\/td>unread<\/td>81<\/td>12851<\/td><\/td>8136<\/td>Selskabet for Dansk Fotografi<\/td>Dansk Fotografi<\/td><\/td><\/td>1994<\/td><\/td>53<\/td> <\/tr>\n
7399<\/td>2812<\/td>unread<\/td>85<\/td>12852<\/td><\/td>8137<\/td>Aqueducte 2000<\/td>L.Home Protagonista Del Segle XX<\/td>P.O.Box 73<\/td><\/td>2000<\/td>Spansk<\/td>100<\/td> <\/tr>\n
7400<\/td>2813<\/td>unread<\/td>81<\/td>12853<\/td><\/td>8138<\/td><\/td>Carl Hornby<\/td><\/td><\/td>1916<\/td><\/td>56<\/td> <\/tr>\n
7401<\/td>2814<\/td>unread<\/td>81<\/td>12854<\/td><\/td>8139<\/td><\/td>Kodak A\/S, Kbh.V.<\/td>C.Th.Thomsens Bogtrykkeri, Kbhv.<\/td><\/td><\/td><\/td>56<\/td> <\/tr>\n
7402<\/td>2815<\/td>unread<\/td>81<\/td>12855<\/td><\/td>8140<\/td>Billedsprog<\/td><\/td>Aulum Bogtryk & Offset<\/td><\/td><\/td><\/td>44<\/td> <\/tr>\n
7403<\/td>2816<\/td>unread<\/td>81<\/td>12856<\/td><\/td>8141<\/td>Billeder er sprog<\/td>Axel Bolvig<\/td>Gyldendal<\/td><\/td>1979<\/td><\/td>44<\/td> <\/tr>\n
7404<\/td>2817<\/td>unread<\/td>81<\/td>12857<\/td><\/td>8142<\/td>Tidens Tand<\/td><\/td>Thomsens Bogtrykkeri i I\/S,Holstebro<\/td><\/td>2001<\/td><\/td>44<\/td> <\/tr>\n
7405<\/td>2818<\/td>unread<\/td>81<\/td>12858<\/td><\/td>8143<\/td><\/td><\/td>Lindhardt og Ringhof<\/td><\/td>1973<\/td><\/td>44<\/td> <\/tr>\n
7406<\/td>2819<\/td>unread<\/td>81<\/td>12859<\/td><\/td>8144<\/td>Algarve Photo<\/td><\/td><\/td><\/td>1997<\/td><\/td>44<\/td> <\/tr>\n
7407<\/td>2820<\/td>unread<\/td>86<\/td>12860<\/td><\/td>8145<\/td>La Collection Cousteau<\/td>Jacques-Yves Cousteau<\/td>The image Bank<\/td><\/td>1979<\/td><\/td>44<\/td> <\/tr>\n
7408<\/td>2821<\/td>unread<\/td>81<\/td>12861<\/td><\/td>8146<\/td>Fotografiet,fotografen - og os andre<\/td>Jesper Frederiksen<\/td>Munksgaard<\/td><\/td>1976<\/td><\/td>56<\/td> <\/tr>\n
7409<\/td>2822<\/td>unread<\/td>83<\/td>12862<\/td><\/td>8147<\/td>Foto-warenkunde<\/td>Edmund Henseler<\/td>Winklers Verlag<\/td><\/td>1964<\/td><\/td>56<\/td> <\/tr>\n
7410<\/td>2823<\/td>unread<\/td>83<\/td>12863<\/td><\/td>8148<\/td>Das grose hobby - Fotobuch 1<\/td>Dr. Walter Boje<\/td>Ehapa-Verlag GmbH<\/td><\/td>1970<\/td><\/td>56<\/td> <\/tr>\n
7411<\/td>2824<\/td>unread<\/td>81<\/td>12864<\/td><\/td>8149<\/td>Den nye fotobog - teknik 1<\/td>Hans Windisch<\/td>Skrifola<\/td><\/td>1958<\/td><\/td>56<\/td> <\/tr>\n
7412<\/td>2825<\/td>unread<\/td>82<\/td>12865<\/td><\/td>8150<\/td><\/td><\/td>Skrifola<\/td><\/td><\/td>Svensk<\/td>56<\/td> <\/tr>\n
7413<\/td>2826<\/td>unread<\/td>82<\/td>12866<\/td><\/td>8151<\/td><\/td><\/td><\/td><\/td>1968<\/td>svensk<\/td>56<\/td> <\/tr>\n
7414<\/td>2827<\/td>unread<\/td>83<\/td>12867<\/td><\/td>8152<\/td>Foto-Querschnitt von Agfa bis Zeiss<\/td><\/td>Photo Klimesch<\/td><\/td><\/td><\/td>56<\/td> <\/tr>\n
7415<\/td>2828<\/td>unread<\/td>84<\/td>12868<\/td><\/td>8153<\/td>Mirror of Venus<\/td>Wingate Paine<\/td>Bantam books<\/td><\/td><\/td><\/td>56<\/td> <\/tr>\n
7416<\/td>2829<\/td>unread<\/td>84<\/td>12869<\/td><\/td>8154<\/td>Martin Chambi 55<\/td><\/td>Phaidon Press Ltd.<\/td><\/td>2001<\/td><\/td>56<\/td> <\/tr>\n
7417<\/td>2830<\/td>unread<\/td>81<\/td>12870<\/td><\/td>8155<\/td>Fanget af fotografen<\/td><\/td>Det Bedste<\/td><\/td>1968<\/td><\/td>56<\/td> <\/tr>\n
7418<\/td>2831<\/td>unread<\/td>81<\/td>12871<\/td><\/td>8156<\/td><\/td>Axel bolvig<\/td>Stavnsager<\/td><\/td>1987<\/td><\/td>100<\/td> <\/tr>\n
7419<\/td>2832<\/td>unread<\/td>86<\/td>12872<\/td><\/td>8157<\/td>The best of Photojournalism<\/td>Edwin D. Bayrd,Jr.\/Mary Ann Joulwan<\/td>Alvin Garfin, New York<\/td><\/td>1979<\/td><\/td>100<\/td> <\/tr>\n
7420<\/td>2833<\/td>unread<\/td>81<\/td>12873<\/td><\/td>8158<\/td><\/td>Mogens A. Knudsen\/Bruno Ingemann<\/td>Fremad<\/td><\/td>1983<\/td><\/td>6<\/td> <\/tr>\n
7421<\/td>2834<\/td>unread<\/td>83<\/td>12874<\/td><\/td>8159<\/td>Illustrations of German Literature<\/td><\/td>Heinz Moos Verlag, Munchen<\/td><\/td>1973<\/td><\/td>12<\/td> <\/tr>\n
7422<\/td>2835<\/td>unread<\/td>85<\/td>12875<\/td><\/td>8160<\/td><\/td><\/td>Collection Musee Niepce<\/td><\/td>1993\/94<\/td><\/td>12<\/td> <\/tr>\n
7423<\/td>2836<\/td>unread<\/td>85<\/td>12876<\/td><\/td>8161<\/td>Nicephoreniepce Une Nouvelle Image<\/td><\/td>A New image<\/td><\/td>1998<\/td><\/td>12<\/td> <\/tr>\n
7424<\/td>2837<\/td>unread<\/td>83<\/td>12877<\/td><\/td>8162<\/td>Portraits in Farbe<\/td>Walter Boje<\/td>Wilhelm Knapp Verlag, Dusseldorf<\/td><\/td>1976<\/td><\/td>12<\/td> <\/tr>\n
7425<\/td>2838<\/td>unread<\/td>86<\/td>12878<\/td><\/td>8163<\/td>Modern Carbon Printing<\/td>Luis Nadeau<\/td>Atelier Luis Nadeau, Canada<\/td><\/td>1951<\/td><\/td>11<\/td> <\/tr>\n
7426<\/td>2839<\/td>unread<\/td>83<\/td>12879<\/td><\/td>8164<\/td>Vredeborch<\/td>Harald Goergens Osterholz-Scharmb.<\/td><\/td><\/td>2001<\/td>Vredeborch ( Die Geschichte einer erfolgreichen Firma)<\/td>11<\/td> <\/tr>\n
7427<\/td>2840<\/td>unread<\/td>85<\/td>12880<\/td><\/td>8165<\/td>La vie est un theatre<\/td>Gilbert Garcin\/Yves Gerbal<\/td>Filigranes<\/td><\/td>1999<\/td><\/td>12<\/td> <\/tr>\n
7428<\/td>2841<\/td>unread<\/td>81<\/td>12881<\/td><\/td>8166<\/td>Chatelet Pour une Ethique no 7<\/td>Lars bay\/Poul Pedersen m.v.<\/td>Damsgaard Tryk, Mariager<\/td><\/td>2001<\/td><\/td>12<\/td> <\/tr>\n
7429<\/td>2842<\/td>unread<\/td>82<\/td>12882<\/td><\/td>8167<\/td><\/td><\/td>Pressefotografenses Klubb<\/td><\/td>1990<\/td><\/td>100<\/td> <\/tr>\n
7430<\/td>2843<\/td>unread<\/td>82<\/td>12883<\/td><\/td>8168<\/td><\/td><\/td>Pressefotografenes klub<\/td><\/td>1994<\/td><\/td>100<\/td> <\/tr>\n
7431<\/td>2844<\/td>unread<\/td>86<\/td>12884<\/td><\/td>8169<\/td>World Press Photo 1992<\/td>Terri James-Kester<\/td>thames and hudson, New York<\/td><\/td>1992<\/td><\/td>52<\/td> <\/tr>\n
7432<\/td>2845<\/td>unread<\/td>84<\/td>12885<\/td><\/td>8170<\/td>Landscape The Library of World Phot.<\/td>David Plowden\/ian Jeffrey<\/td>Hill & Company,Publishers-Boston<\/td><\/td>1984<\/td>Landscape The Library of World Photography<\/td>100<\/td> <\/tr>\n
7433<\/td>2846<\/td>unread<\/td>81<\/td>12886<\/td><\/td>8171<\/td><\/td><\/td>Lolland-Falster Folketidende A\/S<\/td><\/td>1989<\/td><\/td>12<\/td> <\/tr>\n
7434<\/td>2847<\/td>unread<\/td>81<\/td>12887<\/td><\/td>8172<\/td><\/td>Anders Knudsen<\/td><\/td><\/td>1985<\/td><\/td>12<\/td> <\/tr>\n
7435<\/td>2848<\/td>unread<\/td>81<\/td>12888<\/td><\/td>8173<\/td>Bogen om Zonesystemet for film<\/td>G. Wilhjelm<\/td>Rounborgs grafiske Hus, Holstebro<\/td><\/td>1979<\/td>Bogen om Zonesystemet for 35 mm og 120 film<\/td>100<\/td> <\/tr>\n
7436<\/td>2849<\/td>unread<\/td>83<\/td>12889<\/td><\/td>8174<\/td>Dia-Audiovision mit Kodak Projektoren<\/td>Heiner Henninges\/Karl Stechl<\/td>Verlag Laterna Magica, Munchen<\/td><\/td>1996<\/td><\/td>12<\/td> <\/tr>\n
7437<\/td>2850<\/td>unread<\/td>84<\/td>12890<\/td><\/td>8175<\/td>Kodak og George Eastman<\/td>Peter Brooke-Ball\/Birgitte Brix<\/td>Bogfabrikken Fakta<\/td><\/td>1996<\/td><\/td>12<\/td> <\/tr>\n
7438<\/td>2851<\/td>unread<\/td>81<\/td>12891<\/td><\/td>8176<\/td><\/td><\/td>Bogforlaget Dana, Odense<\/td><\/td>1947<\/td><\/td>100<\/td> <\/tr>\n
7439<\/td>2852<\/td>unread<\/td>81<\/td>12892<\/td><\/td>8177<\/td><\/td><\/td>Bogforlaget \"Dana\", Odense<\/td><\/td>1947<\/td><\/td>100<\/td> <\/tr>\n
7440<\/td>2853<\/td>unread<\/td>83<\/td>12893<\/td><\/td>8178<\/td>Kunstphotographische Edeldruckverfahren<\/td>Frank Heidtmann<\/td>Berlin<\/td><\/td>1978<\/td><\/td>11<\/td> <\/tr>\n
7441<\/td>2854<\/td>unread<\/td>86<\/td>12894<\/td><\/td>8179<\/td>Proffessional Photography For Profit<\/td>Charles Abel<\/td>Greenberg, New York<\/td><\/td>1946<\/td><\/td>12<\/td> <\/tr>\n
7442<\/td>2855<\/td>unread<\/td>81<\/td>12895<\/td><\/td>8180<\/td>Vor konge Frederik IX<\/td>Ernst Mentze<\/td>Chr. Erichsen<\/td><\/td>1949<\/td><\/td>100<\/td> <\/tr>\n
7443<\/td>2856<\/td>unread<\/td>81<\/td>12896<\/td><\/td>8181<\/td>Ingrid Dronning af Danmark<\/td><\/td>Branner og Korch<\/td><\/td>1955<\/td><\/td>100<\/td> <\/tr>\n
7444<\/td>2857<\/td>unread<\/td>81<\/td>12897<\/td><\/td>8182<\/td>Vort Kongehus 1863 - 1913<\/td>Mimi Carstensen<\/td><\/td><\/td><\/td><\/td>100<\/td> <\/tr>\n
7445<\/td>2858<\/td>unread<\/td>83<\/td>12898<\/td><\/td>8183<\/td>Der Bromoldruck<\/td>Dr. A. Mebes<\/td>Union Deutsche Verl.Zweigniederl.<\/td><\/td>1914<\/td><\/td>11<\/td> <\/tr>\n
7446<\/td>2859<\/td>unread<\/td>85<\/td>12899<\/td><\/td>8184<\/td>La Photographie des Couleurs<\/td><\/td>A.Lumiere & ses Fils, Lyon<\/td><\/td><\/td>La Photographie des Couleurs Et Les Plaques Autochromes<\/td>11<\/td> <\/tr>\n
7447<\/td>2860<\/td>unread<\/td>83<\/td>12900<\/td><\/td>8185<\/td>Das Bromoldruckcerfahren<\/td>Dr. Emil Mayer<\/td>Wilhelm Knapp<\/td><\/td>1912<\/td><\/td>11<\/td> <\/tr>\n
7448<\/td>2861<\/td>unread<\/td>82<\/td>12901<\/td><\/td>8186<\/td>Kolme Artikkelia Valokuvasta<\/td>Hannu Sinisallo<\/td>Risteen Kirjapaino, Kokemaki<\/td><\/td>1994<\/td>Finland<\/td>12<\/td> <\/tr>\n
7449<\/td>2862<\/td>unread<\/td>83<\/td>12902<\/td><\/td>8187<\/td>Camera Work<\/td>Alfred Stieglitz<\/td>U. BarVerlag, Zurich<\/td><\/td>1985<\/td><\/td>12<\/td> <\/tr>\n
7450<\/td>2863<\/td>unread<\/td>82<\/td>12903<\/td><\/td>8188<\/td>Victor Hasselblad<\/td>Evald Karlsten<\/td>Gullers Int. ab, Stockholm<\/td><\/td>1981<\/td><\/td>100<\/td> <\/tr>\n
7451<\/td>2864<\/td>unread<\/td>81<\/td>12904<\/td><\/td>8189<\/td>Airbrush Bogen (kunst,historie og tekn.<\/td>Seng-gye Tombs Curtis og Chr.Hunt<\/td>Lademann<\/td><\/td>1985<\/td><\/td>100<\/td> <\/tr>\n
7452<\/td>2865<\/td>unread<\/td>81<\/td>12905<\/td><\/td>8190<\/td><\/td><\/td>Pressefotograf Forbundet<\/td><\/td>1987<\/td><\/td>100<\/td> <\/tr>\n
7453<\/td>2866<\/td>unread<\/td>84<\/td>12906<\/td><\/td>8191<\/td>The Forest<\/td>Paul Seawright<\/td>Christine Redmond\/Val Williams<\/td><\/td>2001<\/td><\/td>53<\/td> <\/tr>\n
7454<\/td>2867<\/td>unread<\/td>81<\/td>12907<\/td><\/td>8192<\/td>Tusindfryd<\/td>Monica C. Madsen<\/td><\/td><\/td>2001<\/td><\/td>12<\/td> <\/tr>\n
7455<\/td>2868<\/td>unread<\/td>81<\/td>12908<\/td><\/td>8193<\/td>En antlogi om et hus og dets mennesker<\/td>Johan Severin<\/td>holkenfeldt<\/td><\/td>1992<\/td><\/td>12<\/td> <\/tr>\n
7456<\/td>2869<\/td>unread<\/td>83<\/td>12909<\/td><\/td>8194<\/td>Photographischer Bucherschatz XI<\/td>Dr. Erwin Quedenfeldt<\/td>Ed.Liesegang, Leipzig<\/td><\/td>1909<\/td><\/td>11<\/td> <\/tr>\n
7457<\/td>2870<\/td>unread<\/td>83<\/td>12910<\/td><\/td>8195<\/td>Photographischer Bucherschatz Bd. 1<\/td>Der Pigment-Druck<\/td>Ed. Liesegang, Leipzig<\/td><\/td>1911<\/td><\/td>11<\/td> <\/tr>\n
7458<\/td>2871<\/td>unread<\/td>83<\/td>12911<\/td><\/td>8196<\/td>Praktische Rezeptsammlung<\/td><\/td>Ed. Liesegang, Leipzig<\/td><\/td>1912<\/td><\/td>11<\/td> <\/tr>\n
7459<\/td>2872<\/td>unread<\/td>81<\/td>12912<\/td><\/td>8197<\/td>Fotoform<\/td>J.D. Dallet<\/td><\/td><\/td>1970<\/td><\/td>53<\/td> <\/tr>\n
7460<\/td>2873<\/td>unread<\/td>81<\/td>12913<\/td><\/td>8198<\/td>Spejlrefleks 24 x 36<\/td>H.S. de Kue<\/td><\/td><\/td>1975<\/td><\/td>60<\/td> <\/tr>\n
7461<\/td>2874<\/td>unread<\/td>81<\/td>12914<\/td><\/td>8199<\/td>Fotografering af fugle<\/td><\/td><\/td><\/td>1976<\/td><\/td>12<\/td> <\/tr>\n
7462<\/td>2875<\/td>unread<\/td>81<\/td>12915<\/td><\/td>8200<\/td>Kultur og folkeminder XXII<\/td><\/td><\/td><\/td>1970<\/td><\/td>12<\/td> <\/tr>\n
7463<\/td>2876<\/td>unread<\/td>81<\/td>12916<\/td><\/td>8201<\/td><\/td><\/td>P.J. Schmidt, Vojens<\/td><\/td>1990<\/td><\/td>12<\/td> <\/tr>\n
7464<\/td>2877<\/td>unread<\/td>81<\/td>12917<\/td><\/td>8202<\/td><\/td><\/td>Poul Kristensen, Herning<\/td><\/td><\/td><\/td>12<\/td> <\/tr>\n
7465<\/td>2878<\/td>unread<\/td>81<\/td>12918<\/td><\/td>8203<\/td><\/td>Peter Ludvigsen\/Anne-Lise Walsted<\/td><\/td><\/td>1986<\/td><\/td>12<\/td> <\/tr>\n
7466<\/td>2879<\/td>unread<\/td>81<\/td>12919<\/td><\/td>8204<\/td><\/td><\/td><\/td><\/td>1972<\/td><\/td>12<\/td> <\/tr>\n
7467<\/td>2880<\/td>unread<\/td>81<\/td>12920<\/td><\/td>8205<\/td><\/td>Mogens G. Stryhn<\/td>Eget forlag (M.G.Stryhn)<\/td><\/td>1993<\/td><\/td>12<\/td> <\/tr>\n
7468<\/td>2881<\/td>unread<\/td>81<\/td>12921<\/td><\/td>8206<\/td>Gentagelsens Fest<\/td>Krass Clement<\/td><\/td><\/td>1984<\/td><\/td>12<\/td> <\/tr>\n
7469<\/td>2882<\/td>unread<\/td>84<\/td>12922<\/td><\/td>8207<\/td>The Victorian Home at The National M.<\/td>Tove Clemmensen<\/td>The National Museum of Denmark<\/td><\/td>1990<\/td>The Victorian Home at the National Museum<\/td>12<\/td> <\/tr>\n
7470<\/td>2883<\/td>unread<\/td>83<\/td>12923<\/td><\/td>8208<\/td>Mit den augen eines rollegrafen<\/td>Fritz henle<\/td>Im Heering-Verlag,Seebruck am Ch.<\/td><\/td>1964<\/td>Im Heering-Verlag, Seebruck am Chiemsee<\/td>12<\/td> <\/tr>\n
7471<\/td>2884<\/td>unread<\/td>82<\/td>12924<\/td><\/td>8209<\/td>Fotografik<\/td><\/td>Spektra, Halmstad<\/td><\/td>1967<\/td>Svensk<\/td>12<\/td> <\/tr>\n
7472<\/td>2885<\/td>unread<\/td>81<\/td>12925<\/td><\/td>8210<\/td><\/td>Mogens Boam\/Jan Fialla<\/td>Dr. Voksenundervisning<\/td><\/td><\/td><\/td>12<\/td> <\/tr>\n
7473<\/td>2886<\/td>unread<\/td>81<\/td>12926<\/td><\/td>8211<\/td>Made in Japan (selvbiografi)<\/td>Christian Dahlerup Koch<\/td><\/td><\/td>1986<\/td><\/td>12<\/td> <\/tr>\n
7474<\/td>2887<\/td>unread<\/td>83<\/td>12927<\/td><\/td>8212<\/td>Lachende Kamera<\/td>Heinz Held<\/td><\/td><\/td>1965<\/td><\/td>12<\/td> <\/tr>\n
7475<\/td>2888<\/td>unread<\/td>83<\/td>12928<\/td><\/td>8213<\/td><\/td><\/td>Wilhelm knapp, Halle (Saale)<\/td><\/td><\/td><\/td>12<\/td> <\/tr>\n
7476<\/td>2889<\/td>unread<\/td>85<\/td>12929<\/td><\/td>8214<\/td>Lovers Moving<\/td>John Ray<\/td>Andre Balland, Paris<\/td><\/td>1970<\/td><\/td>12<\/td> <\/tr>\n
7477<\/td>2890<\/td>unread<\/td>86<\/td>12930<\/td><\/td>8215<\/td>We, the People<\/td><\/td>The National Geographic Society<\/td><\/td>1973<\/td>The National Geographic Society, Washington, D.C.<\/td>12<\/td> <\/tr>\n
7478<\/td>2891<\/td>unread<\/td>81<\/td>12931<\/td><\/td>8216<\/td><\/td>Th. Bentzen<\/td><\/td><\/td>1986<\/td><\/td>11<\/td> <\/tr>\n
7479<\/td>2892<\/td>unread<\/td>83<\/td>12932<\/td><\/td>8217<\/td>Photographisches Praktikum<\/td>Ludwig David<\/td>Wilhelm Knapp<\/td><\/td>1919<\/td><\/td>11<\/td> <\/tr>\n
7480<\/td>2893<\/td>unread<\/td>83<\/td>12933<\/td><\/td>8218<\/td>Photographisches Praktikum<\/td>Ludwig David<\/td>Wilhelm Knapp<\/td><\/td>1911<\/td><\/td>11<\/td> <\/tr>\n
7481<\/td>2894<\/td>unread<\/td>85<\/td>12934<\/td><\/td>8219<\/td>Vues Plastographiques du Monde<\/td><\/td>Fasc. 7 - Ser.1<\/td>Une Journee a Paris<\/td><\/td><\/td>11<\/td> <\/tr>\n
7482<\/td>2895<\/td>unread<\/td>83<\/td>12935<\/td><\/td>8220<\/td>Was die meisten Anateur-und<\/td>Fritz Schmidt<\/td>Otto Nemnch, Leipzig<\/td><\/td>1911<\/td>Was die meisten Amateur - und manche Fachphotographen nicht wissen<\/td>11<\/td> <\/tr>\n
7483<\/td>2896<\/td>unread<\/td>83<\/td>12936<\/td><\/td>8221<\/td>Kleinbild - Jagd<\/td>Hans Windisch<\/td>Heering , Harzburg<\/td><\/td>1937<\/td><\/td>11<\/td> <\/tr>\n
7484<\/td>2897<\/td>unread<\/td>83<\/td>12937<\/td><\/td>8222<\/td>Handbuch der Photographie B.IV<\/td>Josef Maria Eder<\/td>Wilhelm Knapp<\/td><\/td>1917<\/td><\/td>11<\/td> <\/tr>\n
7485<\/td>2898<\/td>unread<\/td>83<\/td>12938<\/td><\/td>8223<\/td><\/td><\/td>\"Die Galeri\" Josef Gottschammel,Wien<\/td><\/td>1946<\/td><\/td>11<\/td> <\/tr>\n
7486<\/td>2899<\/td>unread<\/td>86<\/td>12939<\/td><\/td>8224<\/td>Almanach Fotografiki Polskiej<\/td><\/td><\/td><\/td>1964<\/td>Polen<\/td>11<\/td> <\/tr>\n
7487<\/td>2900<\/td>unread<\/td>84<\/td>12940<\/td><\/td>8225<\/td>Victorian Photography<\/td>Alex Strasser<\/td>The Focal Press<\/td><\/td>1942<\/td><\/td>11<\/td> <\/tr>\n
7488<\/td>2901<\/td>unread<\/td>84<\/td>12941<\/td><\/td>8226<\/td>Composition for Photographers<\/td>Richard n. Haile<\/td>The Fountain Press,Chancery,Lane<\/td><\/td>1946\/47<\/td><\/td>11<\/td> <\/tr>\n
7489<\/td>2902<\/td>unread<\/td>83<\/td>12942<\/td><\/td>8227<\/td>Photofreund Jahrbuch 1926\/27<\/td>Satrap-Foto<\/td>Photographische Abteilung, Berlin<\/td><\/td>1926\/27<\/td><\/td>11<\/td> <\/tr>\n
7490<\/td>2903<\/td>unread<\/td>81<\/td>12943<\/td><\/td>8228<\/td><\/td>Fagskolen, Julius folkmann<\/td><\/td><\/td>1940<\/td><\/td>11<\/td> <\/tr>\n
7491<\/td>2904<\/td>unread<\/td>83<\/td>12944<\/td><\/td>8229<\/td>Die neue schmalfilm-schule<\/td>H.C. Oppermann<\/td>Heering, Seebruck<\/td><\/td>1953<\/td><\/td>6<\/td> <\/tr>\n
7492<\/td>2905<\/td>unread<\/td>83<\/td>12945<\/td><\/td>8230<\/td><\/td><\/td>Wilhelm Knapp, Halle<\/td><\/td>1936<\/td><\/td>79<\/td> <\/tr>\n
7493<\/td>2906<\/td>unread<\/td>81<\/td>12946<\/td><\/td>8231<\/td>Bedre smalfilm<\/td>Paul Petzold<\/td>J.Fr. Clausens<\/td><\/td>1971<\/td><\/td>6<\/td> <\/tr>\n
7494<\/td>2907<\/td>unread<\/td>81<\/td>12947<\/td><\/td>8232<\/td><\/td>Selskabet for Dansk Fotografi<\/td><\/td><\/td>2001<\/td><\/td>53<\/td> <\/tr>\n
7495<\/td>2908<\/td>unread<\/td>84<\/td>12948<\/td><\/td>8233<\/td>Peace Snapped<\/td>Ruppert Hopkins<\/td>Podivin books, Bristol<\/td><\/td>1986<\/td><\/td>100<\/td> <\/tr>\n
7496<\/td>2909<\/td>unread<\/td>82<\/td>12949<\/td><\/td>8234<\/td>Bild Kompendium<\/td>Lars Fahlen<\/td>Fojo, Kalmar<\/td><\/td>1980<\/td><\/td>100<\/td> <\/tr>\n
7497<\/td>2910<\/td>unread<\/td>81<\/td>12950<\/td><\/td>8235<\/td><\/td>Eigil Skovgaard Hansen<\/td>Hedehusene Bogtrykkeri A\/S<\/td><\/td>1981<\/td><\/td>100<\/td> <\/tr>\n
7498<\/td>2911<\/td>unread<\/td>86<\/td>12951<\/td><\/td>8236<\/td>Horst photographs 1931-1986<\/td><\/td>Idea Books Edizioni, Milano<\/td><\/td>1985<\/td><\/td>100<\/td> <\/tr>\n
7499<\/td>2912<\/td>unread<\/td>81<\/td>12952<\/td><\/td>8237<\/td><\/td>Regnar Josephson<\/td><\/td><\/td>1948<\/td><\/td>100<\/td> <\/tr>\n
7500<\/td>2913<\/td>unread<\/td>86<\/td>12953<\/td><\/td>8238<\/td>The American annual of Photography<\/td><\/td><\/td><\/td>1934<\/td><\/td>100<\/td> <\/tr>\n
7501<\/td>2914<\/td>unread<\/td>81<\/td>12954<\/td><\/td>8239<\/td>Jeg smalfilmer 3. udg.<\/td>Tommy Frenning<\/td>Politikens<\/td><\/td>1965<\/td><\/td>8<\/td> <\/tr>\n
7502<\/td>2915<\/td>unread<\/td>81<\/td>12955<\/td><\/td>8240<\/td>Sang og sagn samt haandtegninger<\/td>Christian Winther<\/td><\/td><\/td>1866<\/td><\/td>79<\/td> <\/tr>\n
7503<\/td>2916<\/td>unread<\/td>83<\/td>12956<\/td><\/td>8241<\/td>Spiegel Reflex 6x6<\/td>Dr. Walter Kross<\/td>Wilhelm Knapp, Halle<\/td><\/td>1939<\/td><\/td>79<\/td> <\/tr>\n
7504<\/td>2917<\/td>unread<\/td>83<\/td>12957<\/td><\/td>8242<\/td>Sommer Sonne Wochenende<\/td>Alex Strasser<\/td>Wilhelm Knapp, Halle<\/td><\/td>1935<\/td><\/td>79<\/td> <\/tr>\n
7505<\/td>2918<\/td>unread<\/td>83<\/td>12958<\/td><\/td>8243<\/td>Kamera-Ausflug in die Natur<\/td>G. Olberg<\/td>Wilhelm Knapp, Halle<\/td><\/td>1936<\/td><\/td>79<\/td> <\/tr>\n
7506<\/td>2919<\/td>unread<\/td>84<\/td>12959<\/td><\/td>8244<\/td>Chronicles of An African Trip<\/td>George Eastman<\/td>John P. Smith Company, U.S.A.<\/td><\/td>1927<\/td><\/td>11<\/td> <\/tr>\n
7507<\/td>2920<\/td>unread<\/td>84<\/td>12960<\/td><\/td>8245<\/td>The Pictorial Work of The Royal Ph.<\/td>F.C. Tilney, F.R.P.S.<\/td>H.R. Grubb,Ltd., England<\/td><\/td>1927<\/td>The Pictorial Work of The Royal Photographic Society<\/td>11<\/td> <\/tr>\n
7508<\/td>2921<\/td>unread<\/td>84<\/td>12961<\/td><\/td>8246<\/td>The Photo-Miniature nr. 175<\/td><\/td><\/td><\/td>1919<\/td><\/td>11<\/td> <\/tr>\n
7509<\/td>2922<\/td>unread<\/td>85<\/td>12962<\/td><\/td>8247<\/td>En filmant avec eumig<\/td>Pierre Monier<\/td>Poul Montel, Paris<\/td><\/td>1964<\/td><\/td>12<\/td> <\/tr>\n
7510<\/td>2923<\/td>unread<\/td>83<\/td>12963<\/td><\/td>8248<\/td><\/td><\/td>Dr. Walter Heering, Halle<\/td><\/td><\/td><\/td>12<\/td> <\/tr>\n
7511<\/td>2924<\/td>unread<\/td>84<\/td>12964<\/td><\/td>8249<\/td>The Photo-Miniature nr. 70<\/td><\/td><\/td><\/td>1905<\/td><\/td>11<\/td> <\/tr>\n
7512<\/td>2925<\/td>unread<\/td>84<\/td>12965<\/td><\/td>8250<\/td>The Photo-Miniature nr. 27<\/td><\/td><\/td><\/td>1901<\/td><\/td>11<\/td> <\/tr>\n
7513<\/td>2926<\/td>unread<\/td>81<\/td>12966<\/td><\/td>8432<\/td>Frem i lyset se: beskrivelse<\/td><\/td>Poul Kristensens Forlag, Herning<\/td><\/td>2001<\/td>Frem i lyset ( Herning-bogen 2001)<\/td>47<\/td> <\/tr>\n
7514<\/td>2927<\/td>unread<\/td>82<\/td>12967<\/td><\/td>8433<\/td>Endelig se beskrivelse:<\/td><\/td>Jacob Dybwads<\/td><\/td>1945<\/td><\/td>100<\/td> <\/tr>\n
7515<\/td>2928<\/td>unread<\/td>82<\/td>12968<\/td><\/td>8434<\/td><\/td><\/td><\/td><\/td>1941<\/td><\/td>100<\/td> <\/tr>\n
7516<\/td>2929<\/td>unread<\/td>82<\/td>12969<\/td><\/td>8435<\/td>Norge i Fest<\/td><\/td>Mittet & Co, Oslo<\/td><\/td>1946<\/td><\/td>100<\/td> <\/tr>\n
7517<\/td>2930<\/td>unread<\/td>86<\/td>12970<\/td><\/td>8436<\/td>Fotografie 58<\/td><\/td><\/td><\/td>1958<\/td>Tysk\/Zekoslovakiet<\/td>100<\/td> <\/tr>\n
7518<\/td>2931<\/td>unread<\/td>81<\/td>12971<\/td><\/td>8437<\/td>Dansk Kunst 2001<\/td>Torben Weirup<\/td><\/td><\/td><\/td><\/td>100<\/td> <\/tr>\n
7519<\/td>2932<\/td>unread<\/td>83<\/td>12972<\/td><\/td>8438<\/td><\/td>Helmut Franz-Eduard Reutinger<\/td>H.Lindemann, Stuttgart<\/td><\/td>1995<\/td><\/td>100<\/td> <\/tr>\n
7520<\/td>2933<\/td>unread<\/td>83<\/td>12973<\/td><\/td>8439<\/td>Eugenie von Garvens<\/td>Wetzlar Bild einer Stadt<\/td>Umschau, Frankfurt am Main<\/td><\/td>1958<\/td><\/td>12<\/td> <\/tr>\n
7521<\/td>2934<\/td>unread<\/td>81<\/td>12974<\/td><\/td>8451<\/td>Fangels protokol m\/danske stereofotogr.<\/td><\/td><\/td><\/td>1985<\/td>Fangels protokol m\/danske stereofotografer<\/td>91<\/td> <\/tr>\n
7522<\/td>2935<\/td>unread<\/td>83<\/td>12975<\/td><\/td>8452<\/td>Handbuch der Photographie II<\/td>Josef Maria Eder<\/td>Wilhelm Knapp<\/td><\/td>1893<\/td><\/td>91<\/td> <\/tr>\n
7523<\/td>2936<\/td>unread<\/td>83<\/td>12976<\/td><\/td>8453<\/td>Handbuch der Photographie I.<\/td>Josef Maria Eder<\/td>Wilhelm Knapp<\/td><\/td>1893<\/td><\/td>91<\/td> <\/tr>\n
7524<\/td>2937<\/td>unread<\/td>81<\/td>12977<\/td><\/td>8454<\/td>Portrait-Photographer i Skive gennem 120<\/td><\/td><\/td><\/td>1854-1974<\/td><\/td>91<\/td> <\/tr>\n
7525<\/td>2938<\/td>unread<\/td>81<\/td>12978<\/td><\/td>8455<\/td>Lagerbog 1918-1969<\/td><\/td>Fotomagasinet, Kolding<\/td><\/td><\/td><\/td>91<\/td> <\/tr>\n
7526<\/td>2939<\/td>unread<\/td>81<\/td>12979<\/td><\/td>8456<\/td>Forhandlings Protokol nr.2<\/td><\/td><\/td><\/td><\/td>Forhandlings Protokol nr. 2 for Forening for handlende i fotografiske Artikler. 19. marts 1906\/23. aug. 1932.<\/td>91<\/td> <\/tr>\n
7527<\/td>2940<\/td>unread<\/td>81<\/td>12980<\/td><\/td>8457<\/td>Karl og Peter Elfelts stereo-katalog<\/td><\/td><\/td><\/td><\/td>Karl og Peter Egfeldts stereo-katalog 1887-1926<\/td>91<\/td> <\/tr>\n
7528<\/td>2941<\/td>unread<\/td>81<\/td>12981<\/td><\/td>8458<\/td>Skandinavisk Foto-Tidsskrift nr. 1<\/td><\/td><\/td><\/td>1911<\/td><\/td>91<\/td> <\/tr>\n
7529<\/td>2942<\/td>unread<\/td>81<\/td>12982<\/td><\/td>8459<\/td>Den fotografiske Forenings Tidende<\/td><\/td><\/td><\/td>1868<\/td>Den fotografiske Forenings Tidende - hefte 1<\/td>91<\/td> <\/tr>\n
7530<\/td>2943<\/td>unread<\/td>84<\/td>12983<\/td><\/td>8460<\/td>Photographic Pleasures<\/td>Cuthbert Bede, B.A.<\/td>Thomas McLean, 26. Haymarket<\/td><\/td>1855<\/td>Photographic Pleasures: With Pen and Pencil<\/td>91<\/td> <\/tr>\n
7531<\/td>2944<\/td>unread<\/td>81<\/td>12984<\/td><\/td>8461<\/td>Fotografiens Forhistorie<\/td>J. Petersen<\/td><\/td><\/td>1889<\/td><\/td>91<\/td> <\/tr>\n
7532<\/td>2945<\/td>unread<\/td>81<\/td>12985<\/td><\/td>8462<\/td>Dansk kunst 2001<\/td>Torben Weirup<\/td>Aschehoug<\/td><\/td>2001<\/td><\/td>12<\/td> <\/tr>\n
7533<\/td>2946<\/td>unread<\/td>86<\/td>12986<\/td><\/td>8463<\/td>Japan og The East<\/td>Earl Spencer<\/td>Jolly og Barber Ltd., England<\/td><\/td>1986<\/td><\/td>12<\/td> <\/tr>\n
7534<\/td>2947<\/td>unread<\/td>83<\/td>12987<\/td><\/td>8464<\/td>Fotolabor Handbuch<\/td>Dr. Gerhard Graeb<\/td>Wilhelm Knapp<\/td><\/td>1970<\/td>Fotolabor Handbuch Schwarz-Weiss und Farbe<\/td>12<\/td> <\/tr>\n
7535<\/td>2948<\/td>unread<\/td>84<\/td>12988<\/td><\/td>8465<\/td>The periflex story<\/td>John E. Lewis<\/td>Ashwell Print Services, Ltd.<\/td><\/td>1985<\/td><\/td>12<\/td> <\/tr>\n
7536<\/td>2949<\/td>unread<\/td>81<\/td>12989<\/td><\/td>8466<\/td><\/td><\/td>Mansfeld-Bullner og Larsen<\/td><\/td>1879-1880<\/td><\/td>91<\/td> <\/tr>\n
7537<\/td>2950<\/td>unread<\/td>81<\/td>12990<\/td><\/td>8467<\/td><\/td><\/td><\/td><\/td>1873-74<\/td><\/td>91<\/td> <\/tr>\n
7538<\/td>2951<\/td>unread<\/td>81<\/td>12991<\/td><\/td>8468<\/td><\/td><\/td><\/td><\/td>1880-81<\/td><\/td>91<\/td> <\/tr>\n
7539<\/td>2952<\/td>unread<\/td>81<\/td>12992<\/td><\/td>8469<\/td><\/td><\/td><\/td><\/td>1876-77<\/td><\/td>91<\/td> <\/tr>\n
7540<\/td>2953<\/td>unread<\/td>81<\/td>12993<\/td><\/td>8470<\/td><\/td><\/td><\/td><\/td>1874 - (73)<\/td><\/td>91<\/td> <\/tr>\n
7541<\/td>2954<\/td>unread<\/td>81<\/td>12994<\/td><\/td>8471<\/td>Fotografiske Meddelelser nr. 3<\/td><\/td><\/td><\/td>1872<\/td><\/td>91<\/td> <\/tr>\n
7542<\/td>2955<\/td>unread<\/td>81<\/td>12995<\/td><\/td>8472<\/td><\/td><\/td><\/td><\/td>1875-76<\/td><\/td>91<\/td> <\/tr>\n
7543<\/td>2956<\/td>unread<\/td>83<\/td>12996<\/td><\/td>8473<\/td>Hyalographie<\/td><\/td><\/td><\/td>1853<\/td><\/td>91<\/td> <\/tr>\n
7544<\/td>2957<\/td>unread<\/td>81<\/td>12997<\/td><\/td>8474<\/td><\/td><\/td><\/td><\/td>1924<\/td><\/td>91<\/td> <\/tr>\n
7545<\/td>2958<\/td>unread<\/td>84<\/td>12998<\/td><\/td>8475<\/td>Photogenic Manipulation Part 1<\/td>Robert J. Bingham<\/td><\/td><\/td>1852<\/td><\/td>91<\/td> <\/tr>\n
7546<\/td>2959<\/td>unread<\/td>83<\/td>12999<\/td><\/td>8476<\/td>Handbuch der practischen Photographie<\/td>L.G. Kleffel<\/td><\/td><\/td>1861<\/td><\/td>91<\/td> <\/tr>\n
7547<\/td>2960<\/td>unread<\/td>83<\/td>13000<\/td><\/td>8477<\/td>Handbuch der Photographie auf Collodion<\/td>Poul E. Liesegang<\/td><\/td><\/td>1861<\/td><\/td>91<\/td> <\/tr>\n
7548<\/td>2961<\/td>unread<\/td>83<\/td>13001<\/td><\/td>8478<\/td>Photographisches Archiv<\/td>Poul E. Liesegang<\/td><\/td><\/td>1870<\/td><\/td>91<\/td> <\/tr>\n
7549<\/td>2962<\/td>unread<\/td>81<\/td>13002<\/td><\/td>8479<\/td>Vejledning i Fotografi<\/td><\/td><\/td><\/td>1917<\/td><\/td>91<\/td> <\/tr>\n
7550<\/td>2963<\/td>unread<\/td>84<\/td>13003<\/td><\/td>8480<\/td>The Magic Lantern<\/td><\/td><\/td><\/td><\/td><\/td>91<\/td> <\/tr>\n
7551<\/td>2964<\/td>unread<\/td>81<\/td>13004<\/td><\/td>8481<\/td>Den fotografiske Forenings Tidende nr. 1<\/td><\/td>J. Holmblad<\/td><\/td>1865<\/td><\/td>91<\/td> <\/tr>\n
7552<\/td>2965<\/td>unread<\/td>85<\/td>13005<\/td><\/td>8482<\/td>Jamais deux fois de meme regard<\/td>Leon Herschtritt<\/td><\/td><\/td><\/td><\/td>100<\/td> <\/tr>\n
7553<\/td>2966<\/td>unread<\/td>85<\/td>13006<\/td><\/td>8483<\/td>Toni Catany Photographs<\/td><\/td><\/td><\/td>1991<\/td><\/td>100<\/td> <\/tr>\n
7554<\/td>2967<\/td>unread<\/td>81<\/td>13007<\/td><\/td>8484<\/td><\/td>Flemming Beyer<\/td>Forlaget Hikuin<\/td><\/td>2001<\/td><\/td>56<\/td> <\/tr>\n
7555<\/td>2968<\/td>unread<\/td>81<\/td>13008<\/td><\/td>8485<\/td>\"Hver 8. dag\"<\/td>Ludvig Rosenberg<\/td><\/td><\/td>1908-09<\/td><\/td>97<\/td> <\/tr>\n
7556<\/td>2969<\/td>unread<\/td>83<\/td>13009<\/td><\/td>8486<\/td><\/td><\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
7557<\/td>2970<\/td>unread<\/td>83<\/td>13010<\/td><\/td>8487<\/td>Die Photographie in naturlichen Farben<\/td><\/td><\/td><\/td><\/td>Miniatur-Bibliothek<\/td>0<\/td> <\/tr>\n
7558<\/td>2971<\/td>unread<\/td>83<\/td>13011<\/td><\/td>8488<\/td><\/td>Leni Riefenstahl<\/td>Im Deutschen Verlag, Berlin<\/td><\/td>1936<\/td><\/td>100<\/td> <\/tr>\n
7559<\/td>2972<\/td>unread<\/td>142<\/td>13012<\/td>Video<\/td>8543<\/td>Rigmor Mydtskov<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7560<\/td>2973<\/td>unread<\/td>142<\/td>13013<\/td>Video<\/td>8544<\/td>Rigmor Mydtskov \"Fotograferne I\"<\/td><\/td><\/td><\/td>1990<\/td><\/td>80<\/td> <\/tr>\n
7561<\/td>2974<\/td>unread<\/td>142<\/td>13014<\/td>Video<\/td>8545<\/td>Rigmor Mydtskov \"Fotograferne II\"<\/td><\/td><\/td><\/td>1990<\/td><\/td>80<\/td> <\/tr>\n
7562<\/td>2975<\/td>unread<\/td>142<\/td>13015<\/td>Video<\/td>8546<\/td><\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7563<\/td>2976<\/td>unread<\/td>142<\/td>13016<\/td>Video<\/td>8547<\/td>Remfeldt<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7564<\/td>2977<\/td>unread<\/td>142<\/td>13017<\/td>Video<\/td>8548<\/td>Hammerschmidt foto 24-9. 84<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7565<\/td>2978<\/td>unread<\/td>142<\/td>13018<\/td>Video<\/td>8549<\/td>Gabs - Arne - Tv.syd marts 1989<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7566<\/td>2979<\/td>unread<\/td>142<\/td>13019<\/td>Video<\/td>8550<\/td>\"Kodak for The Gold\"<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7567<\/td>2980<\/td>unread<\/td>142<\/td>13020<\/td>Video<\/td>8551<\/td>Kodak\/Jyfo \"435\" dec.1990<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7568<\/td>2981<\/td>unread<\/td>142<\/td>13021<\/td>Video<\/td>8552<\/td>Go' til Video<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7569<\/td>2982<\/td>unread<\/td>142<\/td>13022<\/td>Video<\/td>8553<\/td>Dynax 5000 i Product Information Video<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7570<\/td>2983<\/td>unread<\/td>142<\/td>13023<\/td>Video<\/td>8554<\/td>Danmarks Fotomuseum 1995 -F.Berendt<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7571<\/td>2984<\/td>unread<\/td>142<\/td>13024<\/td>Video<\/td>8555<\/td><\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7572<\/td>2985<\/td>unread<\/td>142<\/td>13025<\/td>Video<\/td>8556<\/td>Danmarks Fotomuseum<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7573<\/td>2986<\/td>unread<\/td>142<\/td>13026<\/td>Video<\/td>8557<\/td>Erik H. brandt, Hedensted<\/td><\/td><\/td><\/td><\/td>Erik H. Brandt, Hedensted Smalfilm fra 1959.<\/td>80<\/td> <\/tr>\n
7574<\/td>2987<\/td>unread<\/td>142<\/td>13027<\/td>Video<\/td>8558<\/td>Fotografiets historie 9-13<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7575<\/td>2988<\/td>unread<\/td>142<\/td>13028<\/td>Video<\/td>8559<\/td>Fotografiets historie 1-3 og 5-8<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7576<\/td>2989<\/td>unread<\/td>142<\/td>13029<\/td>Video<\/td>8560<\/td>Indvielse af Danmarks Fotomuseum<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7577<\/td>2990<\/td>unread<\/td>142<\/td>13030<\/td>Video<\/td>8561<\/td>Museum for Fotografi Antwerpen 1998<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7578<\/td>2991<\/td>unread<\/td>142<\/td>13031<\/td>Video<\/td>8562<\/td><\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7579<\/td>2992<\/td>unread<\/td>142<\/td>13032<\/td>Video<\/td>8563<\/td><\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7580<\/td>2993<\/td>unread<\/td>142<\/td>13033<\/td>Video<\/td>8564<\/td>Filmens Historie I 11\/4-89<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7581<\/td>2994<\/td>unread<\/td>142<\/td>13034<\/td>Video<\/td>8565<\/td><\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7582<\/td>2995<\/td>unread<\/td>142<\/td>13035<\/td>Video<\/td>8566<\/td>Pentax Demo<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7583<\/td>2996<\/td>unread<\/td>142<\/td>13036<\/td>Video<\/td>8567<\/td>Multimedia af Hans Christian Andersen<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7584<\/td>2997<\/td>unread<\/td>142<\/td>13037<\/td>Video<\/td>8568<\/td><\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7585<\/td>2998<\/td>unread<\/td>142<\/td>13038<\/td>Video<\/td>8569<\/td>Thager Exakta<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7586<\/td>2999<\/td>unread<\/td>142<\/td>13039<\/td>Video<\/td>8570<\/td>Der Rollei Click<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7587<\/td>3000<\/td>unread<\/td>142<\/td>13040<\/td>Video<\/td>8571<\/td><\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7588<\/td>3001<\/td>unread<\/td>142<\/td>13041<\/td>Video<\/td>8572<\/td>Dansk 1800 tals fotografi i Ystad<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7589<\/td>3002<\/td>unread<\/td>142<\/td>13042<\/td>Video<\/td>8573<\/td>Kreativ fotografering<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7590<\/td>3003<\/td>unread<\/td>142<\/td>13043<\/td>Video<\/td>8574<\/td><\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7591<\/td>3004<\/td>unread<\/td>142<\/td>13044<\/td>Video<\/td>8575<\/td>Lumiere Et Compagnie 1996<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7592<\/td>3005<\/td>unread<\/td>142<\/td>13045<\/td>Video<\/td>8576<\/td>P. Elfeldt. Schwerin film.<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7593<\/td>3006<\/td>unread<\/td>142<\/td>13046<\/td>Video<\/td>8577<\/td><\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7594<\/td>3007<\/td>unread<\/td>142<\/td>13047<\/td>Video<\/td>8578<\/td>Pentax<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7595<\/td>3008<\/td>unread<\/td>142<\/td>13048<\/td>Video<\/td>8579<\/td>Impressions of Germany<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7596<\/td>3009<\/td>unread<\/td>142<\/td>13049<\/td>Video<\/td>8580<\/td>Toilet Life<\/td><\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
7597<\/td>3010<\/td>unread<\/td>142<\/td>13050<\/td>Video<\/td>8581<\/td>Kodak Tv-spot<\/td><\/td><\/td><\/td><\/td>Kodak Tv-spot - Nu kommer der for alvor gang i julesalget!<\/td>80<\/td> <\/tr>\n
7598<\/td>3011<\/td>unread<\/td>81<\/td>13051<\/td><\/td>8717<\/td>Album : Fotografier fra Vestjylland<\/td><\/td>Skippershoved, Ebeltoft<\/td><\/td>2002<\/td><\/td>12<\/td> <\/tr>\n
7599<\/td>3012<\/td>unread<\/td>83<\/td>13052<\/td><\/td>8718<\/td>Photographica im Kreismuseum Bitterfeld<\/td>Uwe Holz<\/td><\/td><\/td>1994<\/td><\/td>12<\/td> <\/tr>\n
7600<\/td>3013<\/td>unread<\/td>81<\/td>13053<\/td><\/td>8719<\/td><\/td>Fotograf Ingvard Petersen<\/td><\/td>Herning Museum<\/td>1980<\/td><\/td>12<\/td> <\/tr>\n
7601<\/td>3014<\/td>unread<\/td>84<\/td>13054<\/td><\/td>8720<\/td>Ottre Le Gabbie<\/td>Fotografie di Massimiliano Camellini<\/td>Charles-Henri Favrod<\/td><\/td>2001<\/td><\/td>12<\/td> <\/tr>\n
7602<\/td>3015<\/td>unread<\/td>81<\/td>13955<\/td><\/td>8746<\/td><\/td>Preben Jensen<\/td>Berlinske Forlag<\/td><\/td>1970<\/td><\/td>0<\/td> <\/tr>\n
7603<\/td>3016<\/td>unread<\/td>81<\/td>13957<\/td><\/td>8748<\/td>Det nye Sibirien<\/td>Holger Rosenberg (Craal)<\/td>Milo'ske Boghandels Forlag, Odensen<\/td><\/td>1904<\/td><\/td>11<\/td> <\/tr>\n
7604<\/td>3017<\/td>unread<\/td>83<\/td>13958<\/td><\/td>8749<\/td>Photographische bibliothek,Band 28<\/td>Prof. Dr. W. Scheffer<\/td><\/td><\/td>1917<\/td><\/td>11<\/td> <\/tr>\n
7605<\/td>3018<\/td>unread<\/td>83<\/td>13959<\/td><\/td>8750<\/td>Leica in Farbe<\/td>Paul-Henry van Hasbroeck<\/td>Heel Verlag<\/td><\/td>1998<\/td><\/td>0<\/td> <\/tr>\n
7606<\/td>3019<\/td>unread<\/td>86<\/td>13960<\/td><\/td>8751<\/td>Terrains Vagues<\/td>J'ai VU l'opposite<\/td><\/td><\/td>2000<\/td><\/td>12<\/td> <\/tr>\n
7607<\/td>3020<\/td>unread<\/td>86<\/td>13961<\/td><\/td>8752<\/td>Michel Lamothe<\/td><\/td><\/td>Canada<\/td>2000<\/td><\/td>12<\/td> <\/tr>\n
7608<\/td>3021<\/td>unread<\/td>81<\/td>13962<\/td><\/td>8753<\/td>Kameraet<\/td>Per Kjelstrup<\/td>Sesam<\/td><\/td>1978<\/td><\/td>12<\/td> <\/tr>\n
7609<\/td>3022<\/td>unread<\/td>83<\/td>13963<\/td><\/td>8754<\/td>Das Panorama<\/td>Bernard Comment<\/td>Nicolai<\/td><\/td>2000<\/td><\/td>12<\/td> <\/tr>\n
7610<\/td>3023<\/td>unread<\/td>84<\/td>13964<\/td><\/td>8801<\/td>The Photographic Flash<\/td>Pierre Bron og Philip L. Condax<\/td><\/td><\/td>1998<\/td><\/td>44<\/td> <\/tr>\n
7611<\/td>3024<\/td>unread<\/td>84<\/td>13965<\/td><\/td>8802<\/td>The Nude<\/td><\/td><\/td><\/td>1956<\/td><\/td>97<\/td> <\/tr>\n
7612<\/td>3025<\/td>unread<\/td>86<\/td>13966<\/td><\/td>8803<\/td>Pictorial Photography In America 1921<\/td>White\/Moore\/Davis\/Edwards<\/td><\/td><\/td>1920<\/td><\/td>97<\/td> <\/tr>\n
7613<\/td>3026<\/td>unread<\/td>83<\/td>13967<\/td><\/td>8804<\/td>Infrarot<\/td>Rudolf Hillebrand<\/td><\/td><\/td>1992<\/td><\/td>97<\/td> <\/tr>\n
7614<\/td>3027<\/td>unread<\/td>83<\/td>13968<\/td><\/td>8805<\/td>Schwarzweiss Vergrossern: Spezialeffekte<\/td>Julien Busselle<\/td><\/td><\/td>2000<\/td><\/td>97<\/td> <\/tr>\n
7615<\/td>3028<\/td>unread<\/td>86<\/td>13969<\/td><\/td>8806<\/td>Black-and-White - Darkroom Techniques<\/td>Hubert C. Birnbaum<\/td><\/td><\/td>1981<\/td><\/td>97<\/td> <\/tr>\n
7616<\/td>3029<\/td>unread<\/td>84<\/td>13970<\/td><\/td>8807<\/td>Pinhole Photography<\/td>Jim Shull<\/td><\/td><\/td>1999<\/td><\/td>97<\/td> <\/tr>\n
7617<\/td>3030<\/td>unread<\/td>83<\/td>13971<\/td><\/td>8808<\/td><\/td><\/td><\/td><\/td>1998<\/td><\/td>97<\/td> <\/tr>\n
7618<\/td>3031<\/td>unread<\/td>83<\/td>13972<\/td><\/td>8809<\/td>150 Jahre Akt Photographie Jub.ausgabe<\/td><\/td><\/td><\/td>1990<\/td><\/td>97<\/td> <\/tr>\n
7619<\/td>3032<\/td>unread<\/td>86<\/td>13973<\/td><\/td>8810<\/td>Best of Graphis Photo 1<\/td><\/td><\/td><\/td>1993<\/td><\/td>97<\/td> <\/tr>\n
7620<\/td>3033<\/td>unread<\/td>86<\/td>13974<\/td><\/td>8811<\/td>Northern Exposures<\/td>Richard Harrington<\/td><\/td>Canada<\/td>1953<\/td><\/td>97<\/td> <\/tr>\n
7621<\/td>3034<\/td>unread<\/td>84<\/td>13975<\/td><\/td>8812<\/td>Nude<\/td>Michael Boys<\/td><\/td><\/td>1981<\/td><\/td>97<\/td> <\/tr>\n
7622<\/td>3035<\/td>unread<\/td>84<\/td>13976<\/td><\/td>8813<\/td>Nude Photography<\/td>John Hedgecoe's<\/td><\/td><\/td>1984<\/td><\/td>97<\/td> <\/tr>\n
7623<\/td>3036<\/td>unread<\/td>86<\/td>13977<\/td><\/td>8814<\/td>Walking Perts<\/td>William Greenfield\/Jean-Claude Lemagny<\/td><\/td><\/td>2001<\/td><\/td>97<\/td> <\/tr>\n
7624<\/td>3037<\/td>unread<\/td>84<\/td>13978<\/td><\/td>8815<\/td>The Art Of Colour Photography<\/td>John Hedgecoe<\/td><\/td><\/td>1989<\/td><\/td>97<\/td> <\/tr>\n
7625<\/td>3038<\/td>unread<\/td>84<\/td>13979<\/td><\/td>8816<\/td>Old and Modern Masters of photography<\/td>Mark Haworth-Booth<\/td><\/td><\/td>1981<\/td><\/td>97<\/td> <\/tr>\n
7626<\/td>3039<\/td>unread<\/td>85<\/td>13980<\/td><\/td>8817<\/td>Manray<\/td>\"Janus\"<\/td><\/td><\/td>1926<\/td><\/td>97<\/td> <\/tr>\n
7627<\/td>3040<\/td>unread<\/td>83<\/td>13981<\/td><\/td>8818<\/td>Jeanloup Sieff Erotic Photography<\/td><\/td><\/td><\/td>1988<\/td><\/td>97<\/td> <\/tr>\n
7628<\/td>3041<\/td>unread<\/td>81<\/td>13982<\/td><\/td>8819<\/td>Kvinder<\/td>L. Fritz Gruber<\/td>Skrifola A\/S<\/td><\/td>1965<\/td><\/td>97<\/td> <\/tr>\n
7629<\/td>3042<\/td>unread<\/td>84<\/td>13983<\/td><\/td>8820<\/td>The Cameron Collection<\/td>Julia Margaret Cameron<\/td>Colin Ford<\/td><\/td>1975<\/td><\/td>97<\/td> <\/tr>\n
7630<\/td>3043<\/td>unread<\/td>84<\/td>13984<\/td><\/td>8821<\/td>Photograms of the Year<\/td>F.J. Mortimer F.R.P.S.<\/td><\/td><\/td>1932<\/td><\/td>97<\/td> <\/tr>\n
7631<\/td>3044<\/td>unread<\/td>84<\/td>13985<\/td><\/td>8822<\/td>Photograms of the Year<\/td>F.J. Mortimer, Hou. F.R.P.S.<\/td><\/td><\/td>1938<\/td><\/td>97<\/td> <\/tr>\n
7632<\/td>3045<\/td>unread<\/td>84<\/td>13986<\/td><\/td>8823<\/td>Photograms of the Year<\/td>F.J. Mortimer F.R.P.S.<\/td><\/td><\/td>1923<\/td><\/td>97<\/td> <\/tr>\n
7633<\/td>3046<\/td>unread<\/td>82<\/td>13987<\/td><\/td>8824<\/td>Edward Steichen<\/td>Preus fotomuseum<\/td><\/td><\/td>2002<\/td><\/td>12<\/td> <\/tr>\n
7634<\/td>3047<\/td>unread<\/td>82<\/td>13988<\/td><\/td>8825<\/td>Faces and Figures<\/td>Preus fotomuseum<\/td><\/td><\/td>2001<\/td><\/td>12<\/td> <\/tr>\n
7635<\/td>3048<\/td>unread<\/td>82<\/td>13989<\/td><\/td>8826<\/td>Fokus<\/td>Preus fotomuseum<\/td><\/td><\/td>2001<\/td><\/td>12<\/td> <\/tr>\n
7636<\/td>3049<\/td>unread<\/td>82<\/td>13990<\/td><\/td>8827<\/td>Midt i Ansiktet<\/td>Preus fotomuseum<\/td><\/td><\/td>2001<\/td><\/td>12<\/td> <\/tr>\n
7637<\/td>3050<\/td>unread<\/td>81<\/td>13991<\/td><\/td>8828<\/td>Danske Reklamefotografer 1986<\/td>Lars Mjaaland<\/td>Dansk Cerebration<\/td><\/td>1986<\/td><\/td>6<\/td> <\/tr>\n
7638<\/td>3051<\/td>unread<\/td>81<\/td>13992<\/td><\/td>8844<\/td>Hos fotografen<\/td>Finn Brasen<\/td>Sjarv, Holte<\/td><\/td>1986<\/td><\/td>6<\/td> <\/tr>\n
7639<\/td>3052<\/td>unread<\/td>83<\/td>13993<\/td><\/td>8845<\/td><\/td>Rita Maahs\/Karl-Eduard von Schnitzler<\/td>Veb Fotokinooverlag Leipzig<\/td><\/td>1963<\/td><\/td>97<\/td> <\/tr>\n
7640<\/td>3053<\/td>unread<\/td>81<\/td>13994<\/td><\/td>8846<\/td><\/td>Dansk Fotografisk Forening<\/td><\/td><\/td>1950<\/td><\/td>11<\/td> <\/tr>\n
7641<\/td>3054<\/td>unread<\/td>82<\/td>13995<\/td><\/td>8847<\/td><\/td>J. Caunter\/Ole Pedersen<\/td>Nordisk Rotagravyr<\/td><\/td>1960<\/td><\/td>6<\/td> <\/tr>\n
7642<\/td>3055<\/td>unread<\/td>82<\/td>13996<\/td><\/td>8848<\/td><\/td>Tony Rose<\/td>Nordisk Rotogravyr<\/td><\/td>1961<\/td><\/td>6<\/td> <\/tr>\n
7643<\/td>3056<\/td>unread<\/td>81<\/td>13997<\/td><\/td>8849<\/td>Videoproduktion<\/td>Siv og Erik Fagerholm<\/td>Thorsgaard, Frederikssund<\/td><\/td>1986<\/td><\/td>6<\/td> <\/tr>\n
7644<\/td>3057<\/td>unread<\/td>82<\/td>13998<\/td><\/td>8850<\/td>Smalfilm 64<\/td><\/td>Nordisk Rotogravyr<\/td><\/td>1963<\/td><\/td>6<\/td> <\/tr>\n
7645<\/td>3058<\/td>unread<\/td>84<\/td>13999<\/td><\/td>8851<\/td>The Modell<\/td>William Mortensen<\/td>Camera Craft Publ. Comp., Californien<\/td><\/td>1937\/40<\/td><\/td>71<\/td> <\/tr>\n
7646<\/td>3059<\/td>unread<\/td>83<\/td>14000<\/td><\/td>9134<\/td><\/td><\/td>Heering-Verlag. Seebruck am Chiemsee<\/td><\/td>1973<\/td><\/td>79<\/td> <\/tr>\n
7647<\/td>3060<\/td>unread<\/td>81<\/td>14001<\/td><\/td>9135<\/td>Johannes Jensen 1902-1984<\/td><\/td><\/td><\/td>2002<\/td><\/td>4<\/td> <\/tr>\n
7648<\/td>3061<\/td>unread<\/td>81<\/td>14002<\/td><\/td>9136<\/td>Digital catalogue nr.2<\/td><\/td><\/td><\/td>1996<\/td>Den er fra Reklamefotograf forening<\/td>80<\/td> <\/tr>\n
7649<\/td>3062<\/td>unread<\/td>83<\/td>14003<\/td><\/td>9137<\/td>Der foto diehst-wie einstallen under bel<\/td>Gerhard Kerf<\/td>Im heering-verlag.Seebruck am chiemsee<\/td><\/td>1952<\/td><\/td>79<\/td> <\/tr>\n
7650<\/td>3063<\/td>unread<\/td>83<\/td>14004<\/td><\/td>9138<\/td>Der foto deiens-Im kunst licht<\/td>Dr. Walter kross<\/td>Im heering- verlag seebruch am chiemsee<\/td><\/td>1952<\/td><\/td>79<\/td> <\/tr>\n
7651<\/td>3064<\/td>unread<\/td>83<\/td>14005<\/td><\/td>9139<\/td>Der foto dienst-dunkel kammer-praxis<\/td>Heinrich Freytag<\/td>Im heering-verlag.seebruck am chiemsee<\/td><\/td>1952<\/td><\/td>79<\/td> <\/tr>\n
7652<\/td>3065<\/td>unread<\/td>81<\/td>14006<\/td><\/td>9140<\/td>Foto tips-smalfilm<\/td>Fritz Schulz<\/td>Belgisk Import Compagi<\/td><\/td>1955<\/td><\/td>79<\/td> <\/tr>\n
7653<\/td>3066<\/td>unread<\/td>81<\/td>14007<\/td><\/td>9141<\/td>Foto tips-Retina tips<\/td><\/td>Belgisk Import Compagni<\/td><\/td>1955<\/td><\/td>79<\/td> <\/tr>\n
7654<\/td>3067<\/td>unread<\/td>142<\/td>14008<\/td>Video<\/td>9142<\/td>Kreativ fotografering<\/td><\/td><\/td><\/td><\/td>filmkompagniet<\/td>80<\/td> <\/tr>\n
7655<\/td>3068<\/td>unread<\/td>142<\/td>14009<\/td>Video<\/td>9143<\/td><\/td><\/td><\/td><\/td>2001<\/td><\/td>80<\/td> <\/tr>\n
7656<\/td>3069<\/td>unread<\/td>88<\/td>14010<\/td><\/td>9144<\/td><\/td>Peter Michael Hornung<\/td>Palle Fogtdal<\/td><\/td>2002<\/td><\/td>97<\/td> <\/tr>\n
7657<\/td>3070<\/td>unread<\/td>83<\/td>14011<\/td><\/td>9145<\/td><\/td>Dr. Otto Croy<\/td>Im heering-verlag in seebruck am chiemse<\/td><\/td>1960<\/td><\/td>11<\/td> <\/tr>\n
7658<\/td>3071<\/td>unread<\/td>81<\/td>14012<\/td><\/td>9245<\/td><\/td>Hermann Larsen<\/td>Jespersen og Pios Forlag<\/td><\/td><\/td><\/td>97<\/td> <\/tr>\n
7659<\/td>3072<\/td>unread<\/td>81<\/td>14013<\/td><\/td>9246<\/td>Kunstfotografen (kunstige billeder)<\/td>Erna Lorenzen<\/td><\/td><\/td>1973<\/td><\/td>4<\/td> <\/tr>\n
7660<\/td>3073<\/td>unread<\/td>84<\/td>14014<\/td><\/td>9247<\/td>You travel far<\/td>Ian Van Coller<\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
7661<\/td>3074<\/td>unread<\/td>81<\/td>14015<\/td><\/td>9248<\/td>Rom<\/td><\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
7662<\/td>3075<\/td>unread<\/td>81<\/td>14016<\/td><\/td>9249<\/td>Kulturimperialisme<\/td>Mogens G. Stryhn<\/td>Mogens G. Styhn<\/td><\/td><\/td>Bogen der fra forfatternes eget forlag.<\/td>4<\/td> <\/tr>\n
7663<\/td>3076<\/td>unread<\/td>103<\/td>14017<\/td>Filmlitteratur<\/td>9250<\/td><\/td>DK 4<\/td><\/td><\/td><\/td>Film<\/td>80<\/td> <\/tr>\n
7664<\/td>3077<\/td>unread<\/td>84<\/td>14018<\/td><\/td>9251<\/td>Life ( Sixty years)<\/td><\/td><\/td><\/td>1996<\/td><\/td>97<\/td> <\/tr>\n
7665<\/td>3078<\/td>unread<\/td>84<\/td>14019<\/td><\/td>9252<\/td>The yechnique of bird<\/td>John Werham<\/td>Focal press London and Boston<\/td><\/td>1983<\/td><\/td>97<\/td> <\/tr>\n
7666<\/td>3079<\/td>unread<\/td>85<\/td>14020<\/td><\/td>9253<\/td>Patrimoine photographique<\/td><\/td><\/td><\/td><\/td><\/td>54<\/td> <\/tr>\n
7667<\/td>3080<\/td>unread<\/td>81<\/td>14021<\/td><\/td>9254<\/td>\"Rekiss me\"<\/td>Jes Wind Andersen<\/td><\/td><\/td>2003<\/td><\/td>4<\/td> <\/tr>\n
7668<\/td>3081<\/td>unread<\/td>83<\/td>14022<\/td><\/td>9255<\/td>Von den kindern weiss man nichts<\/td>Ingar Krass<\/td>Fotografie<\/td><\/td>2003<\/td><\/td>4<\/td> <\/tr>\n
7669<\/td>3082<\/td>unread<\/td>86<\/td>14023<\/td><\/td>9256<\/td>Guram Tikanadze<\/td><\/td><\/td><\/td>2002<\/td><\/td>4<\/td> <\/tr>\n
7670<\/td>3083<\/td>unread<\/td>81<\/td>14024<\/td><\/td>9257<\/td>Jeg fandt nogle billeder<\/td>Inga Linde Jensen<\/td>Holkenfeldt 3<\/td><\/td>2002<\/td><\/td>4<\/td> <\/tr>\n
7671<\/td>3084<\/td>unread<\/td>81<\/td>14025<\/td><\/td>9258<\/td><\/td><\/td><\/td><\/td>1968<\/td><\/td>59<\/td> <\/tr>\n
7672<\/td>3085<\/td>unread<\/td>85<\/td>14026<\/td><\/td>9259<\/td>Patrimoine photograhique<\/td><\/td><\/td><\/td>1999<\/td><\/td>4<\/td> <\/tr>\n
7673<\/td>3086<\/td>unread<\/td>84<\/td>14027<\/td><\/td>9260<\/td>Edward Weston<\/td><\/td>Taschen<\/td><\/td>2001<\/td><\/td>4<\/td> <\/tr>\n
7674<\/td>3087<\/td>unread<\/td>81<\/td>14028<\/td><\/td>9261<\/td><\/td>Michael Freeman<\/td>Gad<\/td><\/td>1984<\/td><\/td>1<\/td> <\/tr>\n
7675<\/td>3088<\/td>unread<\/td>81<\/td>14029<\/td><\/td>9262<\/td>Fotografier fra fox-ekspeditonen 1860<\/td><\/td><\/td><\/td>2002<\/td><\/td>97<\/td> <\/tr>\n
7676<\/td>3089<\/td>unread<\/td>81<\/td>14030<\/td><\/td>9263<\/td>Optag med video kamera<\/td>Roland Lewis<\/td>Politikens forlag<\/td><\/td>1988<\/td><\/td>4<\/td> <\/tr>\n
7677<\/td>3090<\/td>unread<\/td>83<\/td>14031<\/td><\/td>9264<\/td>Photographisches unterhalyunges bruch<\/td><\/td>Union deutche verlagsgesellschaft<\/td><\/td>1915<\/td><\/td>11<\/td> <\/tr>\n
7678<\/td>3091<\/td>unread<\/td>88<\/td>14032<\/td><\/td>9265<\/td>P og Ts histore (Til 1711)<\/td>Otto Madsen<\/td><\/td><\/td>1991<\/td><\/td>97<\/td> <\/tr>\n
7679<\/td>3092<\/td>unread<\/td>88<\/td>14033<\/td><\/td>9266<\/td>P og Ts Hisorie (1711-1850)<\/td><\/td><\/td><\/td>1992<\/td>Postrytter, dagvogn og fodpost.<\/td>97<\/td> <\/tr>\n
7680<\/td>3093<\/td>unread<\/td>88<\/td>14034<\/td><\/td>9267<\/td>P og Ts historie (1850-1927)<\/td>Poul Thestrup<\/td><\/td><\/td>1992<\/td><\/td>97<\/td> <\/tr>\n
7681<\/td>3094<\/td>unread<\/td>88<\/td>14035<\/td><\/td>9268<\/td>P og Ts historie (1927-1960)<\/td><\/td><\/td><\/td>1993<\/td>Post og tele under samme tag<\/td>97<\/td> <\/tr>\n
7682<\/td>3095<\/td>unread<\/td>88<\/td>14036<\/td><\/td>9269<\/td>P og Ts historie (fra 1960)<\/td>Hans Chr. Johansen<\/td><\/td><\/td>1993<\/td>Fra monopol til konkurrence.<\/td>97<\/td> <\/tr>\n
7683<\/td>3096<\/td>unread<\/td>94<\/td>14037<\/td><\/td>9270<\/td>Photograhy Yearbook 2000<\/td><\/td>Fountain press<\/td><\/td>2000<\/td><\/td>78<\/td> <\/tr>\n
7684<\/td>3097<\/td>unread<\/td>84<\/td>14038<\/td><\/td>9271<\/td>Photograhers of Iceland<\/td><\/td><\/td><\/td>2001<\/td><\/td>97<\/td> <\/tr>\n
7685<\/td>3098<\/td>unread<\/td>83<\/td>14039<\/td><\/td>9272<\/td>Contax kurz-schule<\/td>Hans Hempel<\/td><\/td><\/td><\/td><\/td>11<\/td> <\/tr>\n
7686<\/td>3099<\/td>unread<\/td>81<\/td>14040<\/td><\/td>9273<\/td><\/td>Bent Sehested<\/td>UKI TUSE offset<\/td><\/td>1978<\/td><\/td>1<\/td> <\/tr>\n
7687<\/td>3100<\/td>unread<\/td>81<\/td>14041<\/td><\/td>9274<\/td><\/td>Bent Sehested<\/td>UKI TUSE offset<\/td><\/td>1977<\/td><\/td>1<\/td> <\/tr>\n
7688<\/td>3101<\/td>unread<\/td>81<\/td>14042<\/td><\/td>9275<\/td><\/td>Bent Sehested<\/td>UKI TUSE offset<\/td><\/td>1977<\/td><\/td>1<\/td> <\/tr>\n
7689<\/td>3102<\/td>unread<\/td>91<\/td>14043<\/td><\/td>9276<\/td><\/td><\/td><\/td>Herning<\/td>2002<\/td><\/td>47<\/td> <\/tr>\n
7690<\/td>3103<\/td>unread<\/td>97<\/td>14044<\/td>Fototidsskrifter (dansk)<\/td>9277<\/td>Vi flimer<\/td><\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
7691<\/td>3104<\/td>unread<\/td>102<\/td>14045<\/td>Fototidsskrifter (andre)<\/td>9278<\/td>Fotografie<\/td><\/td><\/td><\/td><\/td><\/td>79<\/td> <\/tr>\n
7692<\/td>3105<\/td>unread<\/td>98<\/td>14046<\/td>Fototidsskrifter (norsk\/svensk)<\/td>9279<\/td>Att forstora<\/td><\/td><\/td><\/td>1955<\/td><\/td>97<\/td> <\/tr>\n
7693<\/td>3106<\/td>unread<\/td>84<\/td>14048<\/td><\/td>9280<\/td>The Muivision Manual (Multi vision)<\/td>Klaus Karch<\/td>Dieter gitzel publishers, Karlsruhe<\/td><\/td>1967<\/td><\/td>76<\/td> <\/tr>\n
7694<\/td>3107<\/td>unread<\/td>82<\/td>14049<\/td><\/td>9282<\/td><\/td><\/td>Nordisk rotogavyr<\/td>Stokholm<\/td>1963<\/td><\/td>76<\/td> <\/tr>\n
7695<\/td>3108<\/td>unread<\/td>81<\/td>14050<\/td><\/td>9283<\/td><\/td><\/td><\/td><\/td>1971<\/td><\/td>6<\/td> <\/tr>\n
7696<\/td>3109<\/td>unread<\/td>84<\/td>14051<\/td><\/td>9284<\/td>The hasselblad way<\/td>H. Freytag<\/td>Focal pres<\/td><\/td>1969<\/td><\/td>6<\/td> <\/tr>\n
7697<\/td>3110<\/td>unread<\/td>81<\/td>14052<\/td><\/td>9285<\/td>Fotografiet, Fotografen - og os ander<\/td>Jesper Frederiksen<\/td>Munksgaard<\/td><\/td>1976<\/td><\/td>6<\/td> <\/tr>\n
7698<\/td>3111<\/td>unread<\/td>84<\/td>14053<\/td><\/td>9286<\/td>Photography<\/td><\/td>A Penvin handbook<\/td><\/td>1957<\/td><\/td>6<\/td> <\/tr>\n
7699<\/td>3112<\/td>unread<\/td>81<\/td>14054<\/td><\/td>9287<\/td>Projektionsappartet<\/td>E. J. Hansen<\/td>V. Richter forlag<\/td><\/td>1930<\/td><\/td>6<\/td> <\/tr>\n
7700<\/td>3113<\/td>unread<\/td>83<\/td>14055<\/td><\/td>9288<\/td>Fotografie<\/td>Dave Yorath<\/td>Prestel<\/td><\/td>2001<\/td><\/td>6<\/td> <\/tr>\n
7701<\/td>3114<\/td>unread<\/td>81<\/td>14056<\/td><\/td>9289<\/td>Leg med lys og foto<\/td><\/td>forum<\/td><\/td>1972<\/td><\/td>6<\/td> <\/tr>\n
7702<\/td>3115<\/td>unread<\/td>81<\/td>14057<\/td><\/td>9290<\/td>Fotografering<\/td>K. Wedell Pape<\/td>Gyldenldal<\/td><\/td>1971<\/td>En vejledning for begynder<\/td>6<\/td> <\/tr>\n
7703<\/td>3116<\/td>unread<\/td>81<\/td>14058<\/td><\/td>9291<\/td><\/td>Carl Mydans<\/td>Arnald Busck<\/td><\/td>1961<\/td><\/td>6<\/td> <\/tr>\n
7704<\/td>3117<\/td>unread<\/td>93<\/td>14059<\/td><\/td>9292<\/td>Photofreund Jahrbuch 1930\/31<\/td>Fr. Willy Frerk<\/td>Hackebeil A.-G<\/td><\/td>1948<\/td><\/td>11<\/td> <\/tr>\n
7705<\/td>3118<\/td>unread<\/td>83<\/td>14060<\/td><\/td>9293<\/td>Kunst und photographie<\/td>Otto Stelzer<\/td>Piper<\/td><\/td>1978<\/td><\/td>84<\/td> <\/tr>\n
7706<\/td>3119<\/td>unread<\/td>92<\/td>14061<\/td><\/td>9294<\/td><\/td><\/td><\/td><\/td>1978<\/td><\/td>82<\/td> <\/tr>\n
7707<\/td>3120<\/td>unread<\/td>81<\/td>14062<\/td><\/td>9295<\/td>Ansigtet mod kameraet<\/td><\/td><\/td><\/td>1980<\/td><\/td>82<\/td> <\/tr>\n
7708<\/td>3121<\/td>unread<\/td>81<\/td>14063<\/td><\/td>9296<\/td><\/td><\/td><\/td><\/td>1996<\/td>Fotografier fra 1889 - 1935<\/td>97<\/td> <\/tr>\n
7709<\/td>3122<\/td>unread<\/td>81<\/td>14064<\/td><\/td>9297<\/td>Det Gamle Holstebro<\/td>Esben Gravgaard<\/td><\/td><\/td>2002<\/td>Med forfatter: Bent T. Holm<\/td>97<\/td> <\/tr>\n
7710<\/td>3123<\/td>unread<\/td>83<\/td>14065<\/td><\/td>9298<\/td>Full Moon<\/td>Michael Light<\/td>Frederking Und Thaler<\/td><\/td><\/td>Til titlen: Aufbruch zum mond<\/td>97<\/td> <\/tr>\n
7711<\/td>3124<\/td>unread<\/td>83<\/td>14066<\/td><\/td>9299<\/td>Mikrophotographisch<\/td>E. Leitz. Wetzlar<\/td>Druck von ferd. Schnitzler Wwe.u. kinder<\/td><\/td>1905<\/td><\/td>11<\/td> <\/tr>\n
7712<\/td>3125<\/td>unread<\/td>81<\/td>14067<\/td><\/td>9300<\/td><\/td><\/td>Dana A\/S<\/td>Odense<\/td>1953<\/td><\/td>97<\/td> <\/tr>\n
7713<\/td>3126<\/td>unread<\/td>81<\/td>14068<\/td><\/td>9301<\/td><\/td><\/td>Dana A\/S<\/td>Odense<\/td>1952<\/td><\/td>97<\/td> <\/tr>\n
7714<\/td>3127<\/td>unread<\/td>81<\/td>14069<\/td><\/td>9302<\/td><\/td><\/td>Dana A\/S<\/td>Odense<\/td>1951<\/td><\/td>97<\/td> <\/tr>\n
7715<\/td>3128<\/td>unread<\/td>81<\/td>14070<\/td><\/td>9303<\/td><\/td><\/td>Dana A\/S<\/td>Odense<\/td>1950<\/td><\/td>97<\/td> <\/tr>\n
7716<\/td>3129<\/td>unread<\/td>81<\/td>14071<\/td><\/td>9304<\/td><\/td><\/td>Dana A\/S<\/td>Odense<\/td>1949<\/td><\/td>97<\/td> <\/tr>\n
7717<\/td>3130<\/td>unread<\/td>81<\/td>14072<\/td><\/td>9305<\/td><\/td><\/td>Dana A\/S<\/td>Odense<\/td>1949<\/td><\/td>97<\/td> <\/tr>\n
7718<\/td>3131<\/td>unread<\/td>84<\/td>14073<\/td><\/td>9306<\/td>Viewpoints from the world<\/td><\/td>Olympus<\/td><\/td><\/td><\/td>97<\/td> <\/tr>\n
7719<\/td>3132<\/td>unread<\/td>83<\/td>14074<\/td><\/td>9307<\/td>Die welt im Kasten<\/td>Thomas Ganz<\/td><\/td><\/td>1994<\/td><\/td>97<\/td> <\/tr>\n
7720<\/td>3133<\/td>unread<\/td>83<\/td>14075<\/td><\/td>9308<\/td>Neve geschichte der fotografie<\/td>Herausgegeben Von Michel Frizot<\/td><\/td><\/td>1998<\/td><\/td>97<\/td> <\/tr>\n
7721<\/td>3134<\/td>unread<\/td>81<\/td>14076<\/td><\/td>9309<\/td>Den oversete by<\/td><\/td>Arkitektens forlag<\/td><\/td><\/td><\/td>97<\/td> <\/tr>\n
7722<\/td>3135<\/td>unread<\/td>81<\/td>14077<\/td><\/td>9310<\/td><\/td>Irving Penn<\/td>Lademann<\/td><\/td>1967<\/td><\/td>97<\/td> <\/tr>\n
7723<\/td>3136<\/td>unread<\/td>84<\/td>14078<\/td><\/td>9311<\/td>U.S. Camera<\/td>Tom Maoney<\/td>Duell, Slogan & Pearce<\/td><\/td>1948<\/td><\/td>49<\/td> <\/tr>\n
7724<\/td>3137<\/td>unread<\/td>84<\/td>14079<\/td><\/td>9312<\/td>Man ray<\/td><\/td>Taschen<\/td><\/td>2000<\/td>Der er en fofatter mere og det er Katherine Ware<\/td>97<\/td> <\/tr>\n
7725<\/td>3138<\/td>unread<\/td>91<\/td>14080<\/td><\/td>9313<\/td><\/td><\/td><\/td><\/td>1957<\/td><\/td>97<\/td> <\/tr>\n
7726<\/td>3139<\/td>unread<\/td>91<\/td>14081<\/td><\/td>9314<\/td><\/td><\/td><\/td><\/td>1956<\/td><\/td>97<\/td> <\/tr>\n
7727<\/td>3140<\/td>unread<\/td>91<\/td>14082<\/td><\/td>9315<\/td><\/td><\/td><\/td><\/td>1955<\/td><\/td>97<\/td> <\/tr>\n
7728<\/td>3141<\/td>unread<\/td>91<\/td>14083<\/td><\/td>9316<\/td>Berlingske Illustreret Tidende<\/td><\/td><\/td><\/td>1938<\/td><\/td>90<\/td> <\/tr>\n
7729<\/td>3142<\/td>unread<\/td>91<\/td>14084<\/td><\/td>9317<\/td>Berlingske Illustreret tidende<\/td><\/td><\/td><\/td>1937<\/td><\/td>90<\/td> <\/tr>\n
7730<\/td>3143<\/td>unread<\/td>91<\/td>14085<\/td><\/td>9318<\/td>Berlingske Illustreret tidende<\/td><\/td><\/td><\/td>1939<\/td><\/td>90<\/td> <\/tr>\n
7731<\/td>3144<\/td>unread<\/td>91<\/td>14086<\/td><\/td>9319<\/td>Berlingske Illustreret tidende<\/td><\/td><\/td><\/td>1940<\/td><\/td>90<\/td> <\/tr>\n
7732<\/td>3145<\/td>unread<\/td>83<\/td>14087<\/td><\/td>9320<\/td>Photographisches Praktikum<\/td>Ludwig David<\/td>Verlag von Wilhelm Knapp, Hall (Saale)<\/td><\/td>1932<\/td><\/td>6<\/td> <\/tr>\n
7733<\/td>3146<\/td>unread<\/td>81<\/td>14088<\/td><\/td>9321<\/td>Fortiden set fra himlen<\/td>Palle Eriksen<\/td><\/td><\/td>2002<\/td>Med forfatter er Lis Helles Olesen<\/td>91<\/td> <\/tr>\n
7734<\/td>3147<\/td>unread<\/td>84<\/td>14089<\/td><\/td>9322<\/td>The 35mm handbook<\/td>Michael Freeman<\/td>Windward<\/td><\/td>1980<\/td><\/td>91<\/td> <\/tr>\n
7735<\/td>3148<\/td>unread<\/td>84<\/td>14090<\/td><\/td>9323<\/td>Pirelli Calendar Classies<\/td><\/td>Pirelli<\/td><\/td>1998<\/td><\/td>91<\/td> <\/tr>\n
7736<\/td>3149<\/td>unread<\/td>84<\/td>14091<\/td><\/td>9324<\/td>The Camera (Book 1)<\/td>Ansel Adams<\/td>Little, Brown and Company<\/td><\/td>1980<\/td><\/td>91<\/td> <\/tr>\n
7737<\/td>3150<\/td>unread<\/td>84<\/td>14092<\/td><\/td>9325<\/td>The Negative (book 2)<\/td>Ansel Adams<\/td>Little, Brown and Company<\/td><\/td>1981<\/td><\/td>91<\/td> <\/tr>\n
7738<\/td>3151<\/td>unread<\/td>84<\/td>14093<\/td><\/td>9326<\/td>The Print (Book 3)<\/td>Ansle Adams<\/td>Little, Brown and Company<\/td><\/td>1983<\/td><\/td>91<\/td> <\/tr>\n
7739<\/td>3152<\/td>unread<\/td>84<\/td>14094<\/td><\/td>9327<\/td>Architecture Transfomed<\/td>Cervin Robinson<\/td><\/td><\/td>1987<\/td>Med forfatterne er Joel Herschman<\/td>91<\/td> <\/tr>\n
7740<\/td>3153<\/td>unread<\/td>81<\/td>14095<\/td><\/td>9328<\/td>Copyright dk<\/td>Klaus Rifbjerg<\/td>Ajour<\/td><\/td>2002<\/td><\/td>91<\/td> <\/tr>\n
7741<\/td>3154<\/td>unread<\/td>81<\/td>14096<\/td><\/td>10103<\/td>Bane\/tracks<\/td>Finn Larsen<\/td><\/td><\/td>2001<\/td><\/td>91<\/td> <\/tr>\n
7742<\/td>3155<\/td>unread<\/td>83<\/td>14097<\/td><\/td>10104<\/td>Lachende kamera<\/td>Klinsky E.J.\/Reichihanns<\/td><\/td><\/td>1959<\/td><\/td>91<\/td> <\/tr>\n
7743<\/td>3156<\/td>unread<\/td>81<\/td>14098<\/td><\/td>10105<\/td>Japan<\/td>Ole & Ki. Aabenhus<\/td>Vinten<\/td><\/td>1974<\/td><\/td>91<\/td> <\/tr>\n
7744<\/td>3157<\/td>unread<\/td>83<\/td>14099<\/td><\/td>10106<\/td>Foto verdensudstilling<\/td><\/td>Henr. Nannen Gmbh. Hamburg<\/td><\/td><\/td><\/td>91<\/td> <\/tr>\n
7745<\/td>3158<\/td>unread<\/td>81<\/td>14100<\/td><\/td>10107<\/td><\/td>Bent Riss<\/td>Arnold Busck<\/td><\/td>1995<\/td><\/td>91<\/td> <\/tr>\n
7746<\/td>3159<\/td>unread<\/td>84<\/td>14101<\/td><\/td>10108<\/td><\/td>William Howard Adams<\/td>Gordon Fraser<\/td>London<\/td>1979<\/td><\/td>91<\/td> <\/tr>\n
7747<\/td>3160<\/td>unread<\/td>83<\/td>14102<\/td><\/td>10109<\/td>Das farbige Leica = Buch<\/td>Anton F. Baumann<\/td>Korr & Mirth Gmbh<\/td><\/td>1938<\/td><\/td>91<\/td> <\/tr>\n
7748<\/td>3161<\/td>unread<\/td>81<\/td>14103<\/td><\/td>10110<\/td>Fotografering af planter<\/td><\/td><\/td><\/td>1979<\/td><\/td>6<\/td> <\/tr>\n
7749<\/td>3162<\/td>unread<\/td>81<\/td>14104<\/td><\/td>10111<\/td>Jeg fotografere- ved<\/td>Kameramanden<\/td>Koba forlag KBH.<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7750<\/td>3163<\/td>unread<\/td>83<\/td>14105<\/td><\/td>10112<\/td><\/td>DR. Otto Croy<\/td><\/td><\/td>1971<\/td><\/td>6<\/td> <\/tr>\n
7751<\/td>3164<\/td>unread<\/td>83<\/td>14106<\/td><\/td>10113<\/td>Mikro foto grafik<\/td>Dr. Otto Croy<\/td><\/td><\/td>1968<\/td><\/td>6<\/td> <\/tr>\n
7752<\/td>3165<\/td>unread<\/td>81<\/td>14107<\/td><\/td>10114<\/td>Forseelse.<\/td>Per Bak Jensen<\/td>Bjerggarol<\/td><\/td>1995<\/td><\/td>91<\/td> <\/tr>\n
7753<\/td>3166<\/td>unread<\/td>81<\/td>14108<\/td><\/td>10115<\/td><\/td><\/td>Dana Als<\/td>Odense<\/td>1948<\/td><\/td>97<\/td> <\/tr>\n
7754<\/td>3167<\/td>unread<\/td>86<\/td>14109<\/td><\/td>10116<\/td><\/td>George Wain<\/td>Nordisk Rotogravyer P.A. Norsteelt & S<\/td>Stockholm<\/td>1966<\/td><\/td>76<\/td> <\/tr>\n
7755<\/td>3168<\/td>unread<\/td>81<\/td>14110<\/td><\/td>10117<\/td><\/td><\/td>Selskabet for dansk fotografi<\/td><\/td>2003<\/td><\/td>53<\/td> <\/tr>\n
7756<\/td>3169<\/td>unread<\/td>81<\/td>14111<\/td><\/td>10118<\/td><\/td><\/td>Selskabet for dansk fotografi<\/td><\/td>2002<\/td><\/td>53<\/td> <\/tr>\n
7757<\/td>3170<\/td>unread<\/td>83<\/td>14112<\/td><\/td>10119<\/td>Vom werden Deutcher film kunft<\/td>Dr. Oskar Kalbus<\/td><\/td><\/td>1935<\/td><\/td>91<\/td> <\/tr>\n
7758<\/td>3171<\/td>unread<\/td>83<\/td>14113<\/td><\/td>10120<\/td>Vom Werden Deutcher filmkunft<\/td>Dr. Oskar Kalbus<\/td><\/td><\/td>1935<\/td><\/td>91<\/td> <\/tr>\n
7759<\/td>3172<\/td>unread<\/td>84<\/td>14114<\/td><\/td>10121<\/td>Phrases in photography<\/td>Marija<\/td><\/td><\/td>2000<\/td><\/td>90<\/td> <\/tr>\n
7760<\/td>3173<\/td>unread<\/td>81<\/td>14115<\/td><\/td>10122<\/td>Socle du monde<\/td><\/td><\/td>Herning<\/td>2002<\/td><\/td>91<\/td> <\/tr>\n
7761<\/td>3174<\/td>unread<\/td>81<\/td>14116<\/td><\/td>10123<\/td><\/td>Erik Henriques Bing<\/td><\/td><\/td>2003<\/td><\/td>0<\/td> <\/tr>\n
7762<\/td>3175<\/td>unread<\/td>84<\/td>14117<\/td><\/td>10124<\/td>Stasys Povilaitis<\/td><\/td>Nacionaline Knyga<\/td><\/td>2002<\/td><\/td>91<\/td> <\/tr>\n
7763<\/td>3176<\/td>unread<\/td>86<\/td>14118<\/td><\/td>10125<\/td><\/td>Dr. Poul Wolff<\/td>Fotobokens forlag - Stockholm<\/td><\/td>1995<\/td><\/td>91<\/td> <\/tr>\n
7764<\/td>3177<\/td>unread<\/td>81<\/td>14119<\/td><\/td>10126<\/td>A World of video<\/td><\/td><\/td><\/td><\/td><\/td>91<\/td> <\/tr>\n
7765<\/td>3178<\/td>unread<\/td>83<\/td>14120<\/td><\/td>10440<\/td>Arbeit<\/td>Dr. Paul Wolff<\/td>Volk und Reich Verlag Gmbh<\/td><\/td>1937<\/td><\/td>101<\/td> <\/tr>\n
7766<\/td>3179<\/td>unread<\/td>84<\/td>14121<\/td><\/td>10441<\/td>Pricelist of general photographic appara<\/td><\/td>Arno press<\/td><\/td>1979<\/td><\/td>101<\/td> <\/tr>\n
7767<\/td>3180<\/td>unread<\/td>85<\/td>14122<\/td><\/td>10442<\/td><\/td><\/td>Arno press<\/td><\/td>1979<\/td><\/td>101<\/td> <\/tr>\n
7768<\/td>3181<\/td>unread<\/td>81<\/td>14123<\/td><\/td>10443<\/td>Fotografering<\/td>H.R. Schatter<\/td>G.E.C. gads forlag<\/td><\/td>1976<\/td><\/td>101<\/td> <\/tr>\n
7769<\/td>3182<\/td>unread<\/td>81<\/td>14124<\/td><\/td>10444<\/td>Fotografen & hans hustru<\/td><\/td><\/td><\/td>1997<\/td><\/td>101<\/td> <\/tr>\n
7770<\/td>3183<\/td>unread<\/td>84<\/td>14125<\/td><\/td>10445<\/td>Camera & Lens<\/td>Ansel Adams<\/td>New York graphic society<\/td><\/td>1976<\/td><\/td>101<\/td> <\/tr>\n
7771<\/td>3184<\/td>unread<\/td>82<\/td>14126<\/td><\/td>10446<\/td><\/td><\/td>Kristiansstads bogtryckeri<\/td><\/td><\/td><\/td>101<\/td> <\/tr>\n
7772<\/td>3185<\/td>unread<\/td>83<\/td>14127<\/td><\/td>10447<\/td>50 Jahre - Alfred Gautier Gmbh<\/td><\/td>Golder & co<\/td><\/td><\/td><\/td>101<\/td> <\/tr>\n
7773<\/td>3186<\/td>unread<\/td>81<\/td>14128<\/td><\/td>10448<\/td>Odense foto triennale 2003<\/td><\/td><\/td><\/td>2003<\/td><\/td>101<\/td> <\/tr>\n
7774<\/td>3187<\/td>unread<\/td>81<\/td>14129<\/td><\/td>10449<\/td>Vinden - i ord<\/td><\/td>Ikast bogtrykkeri<\/td><\/td>2003<\/td><\/td>101<\/td> <\/tr>\n
7775<\/td>3188<\/td>unread<\/td>84<\/td>14130<\/td><\/td>10450<\/td>The photographic illusion<\/td><\/td>Morgan & Morgan inc.<\/td><\/td><\/td><\/td>101<\/td> <\/tr>\n
7776<\/td>3189<\/td>unread<\/td>81<\/td>14131<\/td><\/td>10451<\/td>En dokumentation<\/td>Rigmor Mydtskov<\/td>Gyldendal<\/td><\/td>2003<\/td><\/td>101<\/td> <\/tr>\n
7777<\/td>3190<\/td>unread<\/td>84<\/td>14132<\/td><\/td>10452<\/td>Radiography vol.1<\/td>K.C. Clark<\/td>W. Heinemann medical books Ltd.<\/td><\/td>1973<\/td><\/td>101<\/td> <\/tr>\n
7778<\/td>3191<\/td>unread<\/td>84<\/td>14133<\/td><\/td>10453<\/td>Radiography vol.2<\/td>K.C. Clark<\/td>W. Heinemann medical books Ltd.<\/td><\/td>1974<\/td><\/td>101<\/td> <\/tr>\n
7779<\/td>3192<\/td>unread<\/td>86<\/td>14134<\/td><\/td>10454<\/td>Aqueducte<\/td><\/td><\/td><\/td>2002<\/td><\/td>101<\/td> <\/tr>\n
7780<\/td>3193<\/td>unread<\/td>86<\/td>14135<\/td><\/td>10455<\/td>Reus<\/td><\/td><\/td><\/td>2001<\/td><\/td>101<\/td> <\/tr>\n
7781<\/td>3194<\/td>unread<\/td>81<\/td>14136<\/td><\/td>10456<\/td>Atila \"tikkende stilhed\".<\/td><\/td><\/td><\/td>2004<\/td><\/td>101<\/td> <\/tr>\n
7782<\/td>3195<\/td>unread<\/td>86<\/td>14137<\/td><\/td>10457<\/td>Kijken naar het weer<\/td>Martin Kers<\/td>Atrium<\/td><\/td><\/td><\/td>101<\/td> <\/tr>\n
7783<\/td>3196<\/td>unread<\/td>84<\/td>14138<\/td><\/td>10458<\/td>Classic cameras<\/td>Ivor Matanle<\/td>Thames & Hudson<\/td><\/td>1986<\/td><\/td>101<\/td> <\/tr>\n
7784<\/td>3197<\/td>unread<\/td>84<\/td>14139<\/td><\/td>10459<\/td>The science museum<\/td><\/td>One thirty litho limited<\/td><\/td><\/td><\/td>101<\/td> <\/tr>\n
7785<\/td>3198<\/td>unread<\/td>83<\/td>14140<\/td><\/td>10460<\/td>Leica<\/td>Emil G. Keller<\/td>Lindemanns Verlag<\/td><\/td>1990<\/td><\/td>101<\/td> <\/tr>\n
7786<\/td>3199<\/td>unread<\/td>83<\/td>14141<\/td><\/td>10461<\/td>Ernst Leitz 1849-1949<\/td>Erich Stenger<\/td>Umschau Verlag<\/td><\/td>1949<\/td><\/td>101<\/td> <\/tr>\n
7787<\/td>3200<\/td>unread<\/td>83<\/td>14142<\/td><\/td>10462<\/td>Pioniere der Kamera<\/td>Robert Lebeck<\/td>Fotoforum Bremen<\/td><\/td>1987<\/td><\/td>101<\/td> <\/tr>\n
7788<\/td>3201<\/td>unread<\/td>84<\/td>14143<\/td><\/td>10463<\/td>Movie Photography<\/td>Brian Coe<\/td>Ash & Grant<\/td><\/td>1981<\/td><\/td>101<\/td> <\/tr>\n
7789<\/td>3202<\/td>unread<\/td>81<\/td>14144<\/td><\/td>10464<\/td><\/td>Johann Willsberger<\/td>Lademann<\/td><\/td>1975<\/td><\/td>101<\/td> <\/tr>\n
7790<\/td>3203<\/td>unread<\/td>84<\/td>14145<\/td><\/td>10465<\/td>Creativ source Australia<\/td>Elaine Howell & David Lyons<\/td>Armadillo publishers pty. ltd.<\/td><\/td>1986<\/td><\/td>101<\/td> <\/tr>\n
7791<\/td>3204<\/td>unread<\/td>81<\/td>14146<\/td><\/td>10466<\/td>A\/S Filmfabrikken Danmark<\/td>Jan Nielsen<\/td>Multivers<\/td><\/td>2003<\/td><\/td>101<\/td> <\/tr>\n
7792<\/td>3205<\/td>unread<\/td>83<\/td>14147<\/td><\/td>10467<\/td>Pionier des films<\/td>Kevin Brownlow<\/td>Stroenfeld Verlag<\/td><\/td>1997<\/td><\/td>101<\/td> <\/tr>\n
7793<\/td>3206<\/td>unread<\/td>81<\/td>14148<\/td><\/td>10468<\/td><\/td>Palle Fogtdal<\/td>Forlaget Palle Fogtdal<\/td><\/td>2004<\/td><\/td>101<\/td> <\/tr>\n
7794<\/td>3207<\/td>unread<\/td>86<\/td>14149<\/td><\/td>10469<\/td>Prazsky Chodec<\/td><\/td><\/td><\/td>1985<\/td><\/td>101<\/td> <\/tr>\n
7795<\/td>3208<\/td>unread<\/td>86<\/td>14150<\/td><\/td>10470<\/td>Geuze-dodrecht lankhout<\/td><\/td>Immig- the Hague<\/td><\/td><\/td><\/td>101<\/td> <\/tr>\n
7796<\/td>3209<\/td>unread<\/td>84<\/td>14151<\/td><\/td>10471<\/td>Yosemite<\/td>Ansel Adams<\/td>Little, Brown & co.<\/td><\/td>1995<\/td><\/td>101<\/td> <\/tr>\n
7797<\/td>3210<\/td>unread<\/td>86<\/td>14152<\/td><\/td>10472<\/td>Przygody plastyczne fotografii<\/td>Ursula Czarteryska<\/td>Wydawnictwa Artystyczne I filmowe<\/td><\/td>1965<\/td><\/td>101<\/td> <\/tr>\n
7798<\/td>3211<\/td>unread<\/td>83<\/td>14153<\/td><\/td>10473<\/td>Panorama der Menschheit<\/td><\/td>Ein Stern Buch<\/td><\/td>1980<\/td><\/td>101<\/td> <\/tr>\n
7799<\/td>3212<\/td>unread<\/td>84<\/td>14154<\/td><\/td>10474<\/td>The Daguerreotype<\/td>M. Susan Barger & William B. White<\/td>The Johns Hopkins univ. Press<\/td><\/td>1991<\/td><\/td>101<\/td> <\/tr>\n
7800<\/td>3213<\/td>unread<\/td>81<\/td>14155<\/td><\/td>10475<\/td>Jacob A. Riis...<\/td>Alexander Alland, sr.<\/td>Gordon Fraser<\/td><\/td>1975<\/td><\/td>101<\/td> <\/tr>\n
7801<\/td>3214<\/td>unread<\/td>84<\/td>14156<\/td><\/td>10476<\/td>Camera portraits<\/td><\/td>Oxford univ. press<\/td><\/td>1990<\/td><\/td>101<\/td> <\/tr>\n
7802<\/td>3215<\/td>unread<\/td>83<\/td>14157<\/td><\/td>10477<\/td>Im Tibetischen kulturkreis<\/td>Gunter Dimt<\/td><\/td><\/td><\/td><\/td>101<\/td> <\/tr>\n
7803<\/td>3216<\/td>unread<\/td>84<\/td>14158<\/td><\/td>10478<\/td>Extreme photography<\/td>Terry Hope<\/td>Rotovision<\/td><\/td>2004<\/td><\/td>101<\/td> <\/tr>\n
7804<\/td>3217<\/td>unread<\/td>81<\/td>14159<\/td><\/td>10479<\/td>101 danske billedkunsnere<\/td>Viggo Rivad<\/td>Forlaget Palle Fogtdal<\/td><\/td>2000 ca.<\/td><\/td>101<\/td> <\/tr>\n
7805<\/td>3218<\/td>unread<\/td>86<\/td>14160<\/td><\/td>10480<\/td>150 years of photography<\/td><\/td><\/td><\/td>1989<\/td><\/td>101<\/td> <\/tr>\n
7806<\/td>3219<\/td>unread<\/td>86<\/td>14161<\/td><\/td>10481<\/td>Caska a Slovenska, fotografie Dnes<\/td><\/td>Slovensk<\/td><\/td>1991<\/td><\/td>101<\/td> <\/tr>\n
7807<\/td>3220<\/td>unread<\/td>84<\/td>14162<\/td><\/td>10482<\/td>The Book of photography...<\/td>John Hedgecoe<\/td>Ebury press<\/td><\/td>1976<\/td><\/td>101<\/td> <\/tr>\n
7808<\/td>3221<\/td>unread<\/td>81<\/td>14163<\/td><\/td>10483<\/td>Politikens fotobog<\/td>Thomas Nykrog<\/td>Politikens forlag<\/td><\/td>2000<\/td><\/td>101<\/td> <\/tr>\n
7809<\/td>3222<\/td>unread<\/td>84<\/td>14164<\/td><\/td>10484<\/td>Collecting photographic antiques<\/td>Cyril Permutt<\/td>Patrick Stephens, Wellingborough<\/td><\/td>1986<\/td><\/td>101<\/td> <\/tr>\n
7810<\/td>3223<\/td>unread<\/td>84<\/td>14165<\/td><\/td>10485<\/td>The Hasselblad manual<\/td>Ernst Wildi<\/td>Focal press<\/td><\/td>1986<\/td><\/td>101<\/td> <\/tr>\n
7811<\/td>3224<\/td>unread<\/td>86<\/td>14166<\/td><\/td>10486<\/td>Pentax photo annual 1982-83<\/td><\/td>Japansk<\/td><\/td>1983<\/td><\/td>78<\/td> <\/tr>\n
7812<\/td>3225<\/td>unread<\/td>84<\/td>14167<\/td><\/td>10487<\/td>Pentax photo annual 1984-85<\/td><\/td>Pentax family secretariat<\/td><\/td>1985<\/td><\/td>78<\/td> <\/tr>\n
7813<\/td>3226<\/td>unread<\/td>81<\/td>14168<\/td><\/td>10488<\/td>Kirsten Klein<\/td><\/td>Jelling bogtrykkeri A\/S<\/td><\/td>2002<\/td><\/td>42<\/td> <\/tr>\n
7814<\/td>3227<\/td>unread<\/td>81<\/td>14169<\/td><\/td>10489<\/td><\/td><\/td>Tv-danmark<\/td>Herning<\/td>30-08-2003<\/td><\/td>80<\/td> <\/tr>\n
7815<\/td>3228<\/td>unread<\/td>81<\/td>14170<\/td><\/td>10490<\/td>Herning bogen<\/td><\/td>Poul Kristensens forlag<\/td>Herning<\/td>2003<\/td><\/td>47<\/td> <\/tr>\n
7816<\/td>3229<\/td>unread<\/td>84<\/td>14171<\/td><\/td>10491<\/td>Artificial light photography<\/td>Ansel Addams<\/td>N.Y graphic society<\/td><\/td><\/td><\/td>91<\/td> <\/tr>\n
7817<\/td>3230<\/td>unread<\/td>84<\/td>14172<\/td><\/td>10492<\/td>Natural light photography<\/td>Ansel Adams<\/td>N.Y Graphic society<\/td><\/td><\/td><\/td>91<\/td> <\/tr>\n
7818<\/td>3231<\/td>unread<\/td>84<\/td>14173<\/td><\/td>10493<\/td>The Negative<\/td>Ansel Adams<\/td>N.Y graphic society<\/td><\/td><\/td><\/td>91<\/td> <\/tr>\n
7819<\/td>3232<\/td>unread<\/td>84<\/td>14174<\/td><\/td>10494<\/td>The yprint<\/td>Ansel Addams<\/td>N.Y graphic Society<\/td><\/td><\/td><\/td>91<\/td> <\/tr>\n
7820<\/td>3233<\/td>unread<\/td>84<\/td>14175<\/td><\/td>10495<\/td>Camera & Lens.<\/td>Ansel Adams<\/td>N.Y graphic Society<\/td><\/td><\/td><\/td>91<\/td> <\/tr>\n
7821<\/td>3234<\/td>unread<\/td>84<\/td>14176<\/td><\/td>10496<\/td>a.b.c. Photography<\/td><\/td>The london stereoscopic & photography<\/td><\/td><\/td><\/td>13<\/td> <\/tr>\n
7822<\/td>3235<\/td>unread<\/td>83<\/td>14177<\/td><\/td>10497<\/td><\/td><\/td>Ed Liesegang verlag<\/td><\/td>1905<\/td><\/td>13<\/td> <\/tr>\n
7823<\/td>3236<\/td>unread<\/td>83<\/td>14178<\/td><\/td>10498<\/td>Dreifarben photographien<\/td><\/td>Wilhelm Knapp verlag<\/td><\/td>1902<\/td><\/td>13<\/td> <\/tr>\n
7824<\/td>3237<\/td>unread<\/td>83<\/td>14179<\/td><\/td>10499<\/td>Lehrbuch der Photographien<\/td>Proff. Dr. H. Vogel<\/td>Robert Oppenheim Verlag<\/td><\/td>1874<\/td><\/td>13<\/td> <\/tr>\n
7825<\/td>3238<\/td>unread<\/td>83<\/td>14180<\/td><\/td>10500<\/td>Compendium der Practhische Photographie<\/td>F. Schmidt<\/td>Otto Nemnich<\/td><\/td>1891<\/td><\/td>13<\/td> <\/tr>\n
7826<\/td>3239<\/td>unread<\/td>84<\/td>14181<\/td><\/td>10501<\/td><\/td>Leo Solomon<\/td>Funk & Wagnalls co.<\/td><\/td><\/td><\/td>13<\/td> <\/tr>\n
7827<\/td>3240<\/td>unread<\/td>84<\/td>14182<\/td><\/td>10502<\/td>The Nikon & Nikkormat way<\/td>Herbert Keppler<\/td>Focal Press<\/td><\/td>1978<\/td><\/td>13<\/td> <\/tr>\n
7828<\/td>3241<\/td>unread<\/td>84<\/td>14183<\/td><\/td>10503<\/td>Sinclair handbook of photography<\/td>James A. Sinclairew<\/td>James A. Sinclaire & co ltd.<\/td><\/td>1913<\/td><\/td>13<\/td> <\/tr>\n
7829<\/td>3242<\/td>unread<\/td>83<\/td>14184<\/td><\/td>10504<\/td><\/td>Hofrat. Proff. Dr. Josef Maria Eder<\/td>Wilhelm Knapp Verlag<\/td><\/td>1926<\/td><\/td>13<\/td> <\/tr>\n
7830<\/td>3243<\/td>unread<\/td>84<\/td>14185<\/td><\/td>10505<\/td>The story of photography<\/td>Alfred T. Story.<\/td>S.S. McClure co.<\/td><\/td>1902<\/td><\/td>13<\/td> <\/tr>\n
7831<\/td>3244<\/td>unread<\/td>84<\/td>14186<\/td><\/td>10506<\/td>Mid 19th century French photography.<\/td><\/td>Stills<\/td><\/td>1979<\/td><\/td>13<\/td> <\/tr>\n
7832<\/td>3245<\/td>unread<\/td>83<\/td>14187<\/td><\/td>10507<\/td><\/td><\/td>Berlin<\/td><\/td><\/td><\/td>13<\/td> <\/tr>\n
7833<\/td>3246<\/td>unread<\/td>81<\/td>14188<\/td><\/td>10508<\/td><\/td>Svend Arnholtz,<\/td><\/td><\/td>1954<\/td><\/td>13<\/td> <\/tr>\n
7834<\/td>3247<\/td>unread<\/td>84<\/td>14189<\/td><\/td>10509<\/td>Portraiture & the Camera<\/td>Marcel Natkin<\/td>The Garden city press ltd<\/td><\/td>1938<\/td><\/td>13<\/td> <\/tr>\n
7835<\/td>3248<\/td>unread<\/td>83<\/td>14190<\/td><\/td>10510<\/td><\/td>C. B. Schillings<\/td><\/td><\/td>1910<\/td><\/td>13<\/td> <\/tr>\n
7836<\/td>3249<\/td>unread<\/td>84<\/td>14191<\/td><\/td>10511<\/td>100 years in pictures<\/td><\/td>Odhams press limited.<\/td><\/td><\/td><\/td>13<\/td> <\/tr>\n
7837<\/td>3250<\/td>unread<\/td>85<\/td>14192<\/td><\/td>10512<\/td>La Photographie- Developpement et Tirage<\/td>August et Louis Lumiere<\/td>Henri Gautier<\/td><\/td><\/td><\/td>13<\/td> <\/tr>\n
7838<\/td>3251<\/td>unread<\/td>81<\/td>14193<\/td><\/td>10513<\/td>Da Damerne fik ben<\/td><\/td>Trygt af Richard Baur<\/td><\/td><\/td><\/td>13<\/td> <\/tr>\n
7839<\/td>3252<\/td>unread<\/td>82<\/td>14194<\/td><\/td>10514<\/td>Norsk Museeum for fotografi<\/td><\/td>Cicero Grafik a\/s<\/td><\/td><\/td><\/td>13<\/td> <\/tr>\n
7840<\/td>3253<\/td>unread<\/td>83<\/td>14195<\/td><\/td>10515<\/td><\/td>Marilies v. Brevern<\/td><\/td><\/td><\/td><\/td>13<\/td> <\/tr>\n
7841<\/td>3254<\/td>unread<\/td>83<\/td>14196<\/td><\/td>10516<\/td><\/td>Martin Hansch<\/td>Kabinett- verlag Uwe Scheid<\/td><\/td><\/td><\/td>13<\/td> <\/tr>\n
7842<\/td>3255<\/td>unread<\/td>84<\/td>14197<\/td><\/td>10517<\/td>The Charm of two cities<\/td><\/td>Zenith productions<\/td><\/td><\/td><\/td>13<\/td> <\/tr>\n
7843<\/td>3256<\/td>unread<\/td>84<\/td>14198<\/td><\/td>10518<\/td>A Guide to better slides<\/td><\/td>C.H. Boeringer+ Sohn<\/td><\/td><\/td><\/td>13<\/td> <\/tr>\n
7844<\/td>3257<\/td>unread<\/td>81<\/td>14199<\/td><\/td>10519<\/td><\/td><\/td>Molvik grafisk hus A\/S<\/td><\/td>2003<\/td><\/td>13<\/td> <\/tr>\n
7845<\/td>3258<\/td>unread<\/td>82<\/td>14200<\/td><\/td>10520<\/td>Norsk Gullalder<\/td><\/td>Cicero grafisk A\/S<\/td><\/td>2003<\/td><\/td>13<\/td> <\/tr>\n
7846<\/td>3259<\/td>unread<\/td>83<\/td>14201<\/td><\/td>10521<\/td>Diapositiv - technik<\/td>H. Bettin<\/td>Wilhelm Knapp Verlag<\/td><\/td>1949<\/td><\/td>13<\/td> <\/tr>\n
7847<\/td>3260<\/td>unread<\/td>86<\/td>14202<\/td><\/td>10522<\/td>Fotografer: Moderna Museet fotografiska<\/td><\/td>Tryckerigruppen<\/td><\/td>1977<\/td><\/td>13<\/td> <\/tr>\n
7848<\/td>3261<\/td>unread<\/td>84<\/td>14203<\/td><\/td>10523<\/td>The Art of Infrared.<\/td>Joseph Paduano<\/td>Morgan & Morgan inc,<\/td><\/td>1984<\/td><\/td>13<\/td> <\/tr>\n
7849<\/td>3262<\/td>unread<\/td>84<\/td>14204<\/td><\/td>10524<\/td>New ultra - miniature photography,<\/td>Cooper<\/td>Universal photo books inc,<\/td><\/td>1961<\/td><\/td>13<\/td> <\/tr>\n
7850<\/td>3263<\/td>unread<\/td>81<\/td>14205<\/td><\/td>10525<\/td>Arbejderen i fotografiet<\/td><\/td>Fremad<\/td><\/td>1973<\/td><\/td>13<\/td> <\/tr>\n
7851<\/td>3264<\/td>unread<\/td>84<\/td>14206<\/td><\/td>10526<\/td>Konica Autoreflex manual<\/td>Lou Jacobs Junior<\/td>Garden City<\/td><\/td>1972<\/td><\/td>13<\/td> <\/tr>\n
7852<\/td>3265<\/td>unread<\/td>84<\/td>14207<\/td><\/td>10527<\/td>The First photographer<\/td>Tom Wedgewood<\/td>Arno Press<\/td><\/td>1973<\/td><\/td>13<\/td> <\/tr>\n
7853<\/td>3266<\/td>unread<\/td>81<\/td>14208<\/td><\/td>10528<\/td>Hollamnd<\/td><\/td>Van Spijk Art Projecgt, Venlo<\/td><\/td>2004<\/td><\/td>13<\/td> <\/tr>\n
7854<\/td>3267<\/td>unread<\/td>81<\/td>14209<\/td><\/td>10529<\/td>Container TV.<\/td><\/td>AKA Print<\/td><\/td>1989<\/td><\/td>13<\/td> <\/tr>\n
7855<\/td>3268<\/td>unread<\/td>83<\/td>14210<\/td><\/td>10530<\/td>Die AktphoTographie,;<\/td>Dr. Alfred Grabner<\/td>Verlag Gottschammel & Hammer,<\/td><\/td>1939<\/td><\/td>13<\/td> <\/tr>\n
7856<\/td>3269<\/td>unread<\/td>84<\/td>14211<\/td><\/td>11160<\/td>Studio and Lightning<\/td><\/td>Cassell<\/td><\/td>1994<\/td><\/td>6<\/td> <\/tr>\n
7857<\/td>3270<\/td>unread<\/td>84<\/td>14212<\/td><\/td>11161<\/td>Still Life and close-up<\/td><\/td>Cassel<\/td><\/td>1994<\/td><\/td>6<\/td> <\/tr>\n
7858<\/td>3271<\/td>unread<\/td>84<\/td>14213<\/td><\/td>11162<\/td>The Close-up and Still-Life Book<\/td><\/td>Dixons<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7859<\/td>3272<\/td>unread<\/td>81<\/td>14214<\/td><\/td>11163<\/td>Fotografi og skulptur<\/td>Lars Kiel Bertelsen<\/td><\/td><\/td>1994<\/td><\/td>6<\/td> <\/tr>\n
7860<\/td>3273<\/td>unread<\/td>82<\/td>14215<\/td><\/td>11164<\/td><\/td><\/td>Norsk Fotohistorisk Forening<\/td><\/td>1981<\/td><\/td>6<\/td> <\/tr>\n
7861<\/td>3274<\/td>unread<\/td>81<\/td>14216<\/td><\/td>11165<\/td><\/td>John Erichsen<\/td>Gyldendal<\/td><\/td>1978<\/td><\/td>6<\/td> <\/tr>\n
7862<\/td>3275<\/td>unread<\/td>84<\/td>14217<\/td><\/td>11166<\/td>Artificial-Light photography<\/td>Ansel Adams<\/td>Morgan & Morgan<\/td><\/td>1968<\/td><\/td>6<\/td> <\/tr>\n
7863<\/td>3276<\/td>unread<\/td>81<\/td>14218<\/td><\/td>11167<\/td>Denmark Cavalcade 1965<\/td>Hammerschmidts Klichefabrik<\/td>Hammerschmidt Offset A\/S<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7864<\/td>3277<\/td>unread<\/td>86<\/td>14219<\/td><\/td>11168<\/td>American Photographers of the Depression<\/td>Charles Hagen<\/td>Thames and Hudson<\/td><\/td>1991<\/td><\/td>6<\/td> <\/tr>\n
7865<\/td>3278<\/td>unread<\/td>84<\/td>14220<\/td><\/td>11169<\/td>Weegee<\/td><\/td>Thames and Hudson<\/td><\/td>1989<\/td><\/td>6<\/td> <\/tr>\n
7866<\/td>3279<\/td>unread<\/td>83<\/td>14221<\/td><\/td>11170<\/td><\/td>August Nagel<\/td>Contessa-Nettel-Werke<\/td><\/td>1919<\/td><\/td>6<\/td> <\/tr>\n
7867<\/td>3280<\/td>unread<\/td>84<\/td>14222<\/td><\/td>11171<\/td>Microscope Technique<\/td>W. Burells<\/td>Fountain Press<\/td><\/td>1961<\/td><\/td>6<\/td> <\/tr>\n
7868<\/td>3281<\/td>unread<\/td>81<\/td>14223<\/td><\/td>11172<\/td>Fotosport 2004<\/td><\/td>Club Natacio Rens Ploms<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7869<\/td>3282<\/td>unread<\/td>84<\/td>14224<\/td><\/td>11173<\/td>Photographis 73<\/td>Walter Herdeg<\/td>The Graphis Press<\/td><\/td>1973<\/td><\/td>1<\/td> <\/tr>\n
7870<\/td>3283<\/td>unread<\/td>83<\/td>14225<\/td><\/td>11174<\/td>Int.Jahrbuch der fotografie 1970<\/td>John Sanders<\/td>Fountain Press<\/td><\/td>1969<\/td><\/td>6<\/td> <\/tr>\n
7871<\/td>3284<\/td>unread<\/td>83<\/td>14226<\/td><\/td>11175<\/td>Int. Jahrbuch der fotografie 1969<\/td>John Sanders, Richard Gee<\/td>Fountain Press<\/td><\/td>1968<\/td><\/td>6<\/td> <\/tr>\n
7872<\/td>3285<\/td>unread<\/td>83<\/td>14227<\/td><\/td>11176<\/td>Fiap 1958<\/td><\/td>Verlag C. J. Bucher AG<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7873<\/td>3286<\/td>unread<\/td>81<\/td>14228<\/td><\/td>11177<\/td>Guinness Rekordbog 1983 udgave<\/td>Ludvig Bramsen, Yum Kvarts<\/td>Forlaget Komma A\/S<\/td><\/td>1982<\/td><\/td>6<\/td> <\/tr>\n
7874<\/td>3287<\/td>unread<\/td>84<\/td>14229<\/td><\/td>11178<\/td>Flowers<\/td>Irving Penn<\/td>Harmony Books<\/td><\/td>1980<\/td><\/td>6<\/td> <\/tr>\n
7875<\/td>3288<\/td>unread<\/td>81<\/td>14230<\/td><\/td>11179<\/td><\/td>Eastman Kodak Company<\/td>J. L. Nerlien A\/S<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7876<\/td>3289<\/td>unread<\/td>81<\/td>14231<\/td><\/td>11180<\/td><\/td>Ulla Thyrring<\/td>Poul Kristensen<\/td><\/td>1980<\/td><\/td>6<\/td> <\/tr>\n
7877<\/td>3290<\/td>unread<\/td>81<\/td>14232<\/td><\/td>11181<\/td>Sagnsten<\/td>Dorte og Poul Pedersen<\/td>Poul Kristensens forlag<\/td><\/td>1993<\/td><\/td>6<\/td> <\/tr>\n
7878<\/td>3291<\/td>unread<\/td>81<\/td>14233<\/td><\/td>11182<\/td>Anjas far er pressefotograf<\/td>Bodil Frederiksen, Per Kjelstrup<\/td>Delta<\/td><\/td>1981<\/td><\/td>6<\/td> <\/tr>\n
7879<\/td>3292<\/td>unread<\/td>81<\/td>14234<\/td><\/td>11183<\/td>Tove Kurtzweil - retrospektivt<\/td>Lars Schwander<\/td>Lundtofte Publishing<\/td><\/td>1988<\/td><\/td>6<\/td> <\/tr>\n
7880<\/td>3293<\/td>unread<\/td>81<\/td>14235<\/td><\/td>11184<\/td><\/td>Torben Witt<\/td><\/td><\/td>1981<\/td><\/td>6<\/td> <\/tr>\n
7881<\/td>3294<\/td>unread<\/td>83<\/td>14236<\/td><\/td>11185<\/td>Photographie Nadar<\/td><\/td>Klubschule Migros Luzern<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7882<\/td>3295<\/td>unread<\/td>81<\/td>14237<\/td><\/td>11186<\/td>Kontrast og kontrast<\/td>Johan Henrik Piepgrass<\/td>Attika<\/td><\/td>1973<\/td><\/td>6<\/td> <\/tr>\n
7883<\/td>3296<\/td>unread<\/td>84<\/td>14238<\/td><\/td>11187<\/td>Camera Collecting<\/td>Jason Schneider<\/td>Wallace- Homestead Book co.<\/td><\/td>1978<\/td><\/td>6<\/td> <\/tr>\n
7884<\/td>3297<\/td>unread<\/td>81<\/td>14239<\/td><\/td>11188<\/td><\/td>Axel Bolvig<\/td>Gyldendal<\/td><\/td>1974<\/td><\/td>6<\/td> <\/tr>\n
7885<\/td>3298<\/td>unread<\/td>84<\/td>14240<\/td><\/td>11189<\/td>Outdoor Portraiture<\/td>William Mortensen<\/td>Camera Craft Publishing Company<\/td><\/td>1951<\/td><\/td>6<\/td> <\/tr>\n
7886<\/td>3299<\/td>unread<\/td>84<\/td>14241<\/td><\/td>11190<\/td>Foto Praktikum<\/td>Ernst A. Weber<\/td>Heering-Verlag<\/td><\/td>1973<\/td><\/td>6<\/td> <\/tr>\n
7887<\/td>3300<\/td>unread<\/td>84<\/td>14242<\/td><\/td>11191<\/td><\/td>Aaron Sussman<\/td>Thomas Y. Crowell Company<\/td><\/td>1962<\/td><\/td>6<\/td> <\/tr>\n
7888<\/td>3301<\/td>unread<\/td>84<\/td>14243<\/td><\/td>11192<\/td>The Association of Photographers<\/td>The sixth Afaed Awards<\/td>British Media Publications<\/td><\/td>1989<\/td><\/td>6<\/td> <\/tr>\n
7889<\/td>3302<\/td>unread<\/td>84<\/td>14244<\/td><\/td>11193<\/td>Odhams manual of Photography<\/td>C. Tinling & co. Ltd.<\/td>Odhams Press Limited<\/td><\/td>1960<\/td><\/td>6<\/td> <\/tr>\n
7890<\/td>3303<\/td>unread<\/td>83<\/td>14245<\/td><\/td>11194<\/td><\/td><\/td>Wilhelm Knapp Verlag<\/td><\/td>1973<\/td><\/td>6<\/td> <\/tr>\n
7891<\/td>3304<\/td>unread<\/td>83<\/td>14246<\/td><\/td>11195<\/td>Lichtspuren<\/td>Rolf Hartung<\/td>Otto Maier Verlag<\/td><\/td>1972<\/td><\/td>6<\/td> <\/tr>\n
7892<\/td>3305<\/td>unread<\/td>83<\/td>14247<\/td><\/td>11196<\/td>Modern Photographic Techniques<\/td>Wolfgang Freihen<\/td>Crescent Books<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7893<\/td>3306<\/td>unread<\/td>84<\/td>14248<\/td><\/td>11197<\/td>This is Photography<\/td>Miller & Brummitt<\/td>Garden City Books<\/td><\/td>1955<\/td><\/td>6<\/td> <\/tr>\n
7894<\/td>3307<\/td>unread<\/td>84<\/td>14249<\/td><\/td>11198<\/td>Antique Cameras<\/td>R. C. Smith<\/td>David & Charles<\/td><\/td>1975<\/td><\/td>6<\/td> <\/tr>\n
7895<\/td>3308<\/td>unread<\/td>82<\/td>14250<\/td><\/td>11199<\/td><\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
7896<\/td>3309<\/td>unread<\/td>81<\/td>14251<\/td><\/td>11200<\/td>Kamerakunst<\/td>Den kongelige kobberstiksamling<\/td>Statens museum for kunst<\/td><\/td>1980<\/td><\/td>6<\/td> <\/tr>\n
7897<\/td>3310<\/td>unread<\/td>83<\/td>14252<\/td><\/td>11201<\/td>Handbuch der photographie II<\/td>Dr. Josef Maria Eder<\/td>Druck und Verlag von Wilhelm Knapp<\/td><\/td>1897<\/td><\/td>7<\/td> <\/tr>\n
7898<\/td>3311<\/td>unread<\/td>83<\/td>14253<\/td><\/td>11202<\/td>Handbuch der photographie I , 2<\/td>Dr. Josef Maria Eder<\/td>Druck und Verlag von Wilhelm Knapp<\/td><\/td>1893<\/td><\/td>7<\/td> <\/tr>\n
7899<\/td>3312<\/td>unread<\/td>83<\/td>14254<\/td><\/td>11203<\/td>Handbuch der photographie I, 1<\/td>Dr. Josef Maria Eder<\/td>Druck und Verlag von Wilhelm Knapp<\/td><\/td>1892<\/td><\/td>7<\/td> <\/tr>\n
7900<\/td>3313<\/td>unread<\/td>83<\/td>14255<\/td><\/td>11204<\/td>Handbuch der photographie III<\/td>Dr. Josef Maria Eder<\/td>Druck und Verlag von Wilhelm Knapp<\/td><\/td>1890<\/td><\/td>7<\/td> <\/tr>\n
7901<\/td>3314<\/td>unread<\/td>84<\/td>14256<\/td><\/td>11205<\/td>Frameworks<\/td>Keld Helmer-Petersen<\/td>Hans Reitzel Publishers<\/td><\/td>1993<\/td><\/td>7<\/td> <\/tr>\n
7902<\/td>3315<\/td>unread<\/td>81<\/td>14257<\/td><\/td>11206<\/td><\/td>Bruce Chatwin<\/td>Samleren<\/td><\/td>1993<\/td><\/td>7<\/td> <\/tr>\n
7903<\/td>3316<\/td>unread<\/td>84<\/td>14258<\/td><\/td>11207<\/td>Handbook of the practice and art of phot<\/td>Dr. Hermann Vogel<\/td>Benerman & Wilson Publishers<\/td><\/td>1871<\/td><\/td>7<\/td> <\/tr>\n
7904<\/td>3317<\/td>unread<\/td>84<\/td>14259<\/td><\/td>11208<\/td>The silver Bromide Grain of photographic<\/td>Trivelli and Sheppard<\/td>Eastman Kodak Company<\/td><\/td>1921<\/td><\/td>7<\/td> <\/tr>\n
7905<\/td>3318<\/td>unread<\/td>83<\/td>14260<\/td><\/td>11209<\/td>Handbuch der photographie IV<\/td>Josef Maria Eder<\/td>Verlag von Wilhelm Knapp<\/td><\/td>1899<\/td><\/td>7<\/td> <\/tr>\n
7906<\/td>3319<\/td>unread<\/td>81<\/td>14261<\/td><\/td>11210<\/td><\/td><\/td>Forlaget Per Kofod<\/td><\/td>1986<\/td><\/td>6<\/td> <\/tr>\n
7907<\/td>3320<\/td>unread<\/td>84<\/td>14262<\/td><\/td>11211<\/td>Leaves<\/td>Prance - Sandved<\/td>Thames and Hudson<\/td><\/td>1985<\/td><\/td>6<\/td> <\/tr>\n
7908<\/td>3321<\/td>unread<\/td>84<\/td>14263<\/td><\/td>11212<\/td>The Encyclopedia of photography<\/td>Michael Busselle<\/td>Chancellor Press<\/td><\/td>1992<\/td><\/td>6<\/td> <\/tr>\n
7909<\/td>3322<\/td>unread<\/td>81<\/td>14264<\/td><\/td>11213<\/td><\/td>Barrie Watts - Jonathan Hilton<\/td>Carlsen<\/td><\/td>1995<\/td><\/td>6<\/td> <\/tr>\n
7910<\/td>3323<\/td>unread<\/td>81<\/td>14265<\/td><\/td>11214<\/td>Farven og lyset<\/td>Lone Schmidt<\/td>Klematis<\/td><\/td>1993<\/td><\/td>6<\/td> <\/tr>\n
7911<\/td>3324<\/td>unread<\/td>81<\/td>14266<\/td><\/td>11215<\/td>Silhuetter<\/td><\/td>Nyt nordisk Forlag Arnold Busck<\/td><\/td>1998<\/td><\/td>6<\/td> <\/tr>\n
7912<\/td>3325<\/td>unread<\/td>84<\/td>14267<\/td><\/td>11216<\/td>Tabletop - fotos perfekt<\/td>Joachim Giebelhausen<\/td>Verlag Laterna magica<\/td><\/td>1971<\/td><\/td>6<\/td> <\/tr>\n
7913<\/td>3326<\/td>unread<\/td>84<\/td>14268<\/td><\/td>11217<\/td>Liquid Crystal Futures<\/td><\/td>The fruitmarket Gallery<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
7914<\/td>3327<\/td>unread<\/td>84<\/td>14269<\/td><\/td>11218<\/td>Photography<\/td>Peter Feierabend<\/td>Page One Publishing Pte. Ltd.<\/td><\/td>1994<\/td><\/td>1<\/td> <\/tr>\n
7915<\/td>3328<\/td>unread<\/td>84<\/td>14270<\/td><\/td>11219<\/td>Daguerre<\/td>Beumont Newhall<\/td>Winter House Ltd.<\/td><\/td>1971<\/td><\/td>6<\/td> <\/tr>\n
7916<\/td>3329<\/td>unread<\/td>81<\/td>14271<\/td><\/td>11221<\/td>Hvor ingen talte<\/td>Krass Clement<\/td>Gyldendal<\/td><\/td>1991<\/td><\/td>6<\/td> <\/tr>\n
7917<\/td>3330<\/td>unread<\/td>81<\/td>14272<\/td><\/td>11222<\/td>Solbilleder<\/td>Mette Perregaard<\/td>Tidsskriftet Sfinx<\/td><\/td>2005<\/td><\/td>6<\/td> <\/tr>\n
7918<\/td>3331<\/td>unread<\/td>81<\/td>14273<\/td><\/td>11223<\/td>Herning<\/td><\/td>L L Gruppen A\/S, Skanderborg<\/td><\/td>2005<\/td><\/td>7<\/td> <\/tr>\n
7919<\/td>3332<\/td>unread<\/td>81<\/td>14274<\/td><\/td>11224<\/td>Live music venue<\/td>Train<\/td><\/td><\/td>2003<\/td><\/td>7<\/td> <\/tr>\n
7920<\/td>3333<\/td>unread<\/td>81<\/td>14275<\/td><\/td>11225<\/td><\/td>John Roth Andersen<\/td>Flemming Andersens boghandel<\/td><\/td>1986<\/td><\/td>6<\/td> <\/tr>\n
7921<\/td>3334<\/td>unread<\/td>81<\/td>14276<\/td><\/td>11226<\/td><\/td>John Roth Andersen<\/td>Flemming Andersens boghandel<\/td><\/td>1985<\/td><\/td>6<\/td> <\/tr>\n
7922<\/td>3335<\/td>unread<\/td>81<\/td>14277<\/td><\/td>11227<\/td><\/td>John Roth Andersen<\/td>Flemming Andersens boghandel<\/td><\/td>1984<\/td><\/td>6<\/td> <\/tr>\n
7923<\/td>3336<\/td>unread<\/td>81<\/td>14278<\/td><\/td>11228<\/td><\/td>John Roth Andersen<\/td>Flemming Andersens boghandel<\/td><\/td>1983<\/td><\/td>6<\/td> <\/tr>\n
7924<\/td>3337<\/td>unread<\/td>84<\/td>14279<\/td><\/td>11229<\/td>Careers in Photography<\/td>Milton W. Willensen Ed. D.<\/td>Germain School of photography<\/td><\/td>1972<\/td><\/td>6<\/td> <\/tr>\n
7925<\/td>3338<\/td>unread<\/td>81<\/td>14280<\/td><\/td>11230<\/td><\/td>Henning Julius<\/td>Sepia<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7926<\/td>3339<\/td>unread<\/td>81<\/td>14281<\/td><\/td>11231<\/td>Opfindelser<\/td>Lionel Bender<\/td><\/td><\/td>1992<\/td><\/td>6<\/td> <\/tr>\n
7927<\/td>3340<\/td>unread<\/td>86<\/td>14282<\/td><\/td>11232<\/td><\/td><\/td>Fotografiska Museet i Moderna Museet<\/td><\/td>1989<\/td><\/td>6<\/td> <\/tr>\n
7928<\/td>3341<\/td>unread<\/td>81<\/td>14283<\/td><\/td>11233<\/td>Lourdes- Miraklernes by<\/td>Christian Jessen<\/td>Gyldendal<\/td><\/td>1991<\/td><\/td>6<\/td> <\/tr>\n
7929<\/td>3342<\/td>unread<\/td>81<\/td>14284<\/td><\/td>11234<\/td><\/td>Jan Van Steenwijk<\/td>Multi Vision Aps.<\/td><\/td>1982<\/td><\/td>6<\/td> <\/tr>\n
7930<\/td>3343<\/td>unread<\/td>81<\/td>14285<\/td><\/td>11235<\/td>Herning i svundne dage<\/td>Gunnar Jespersen<\/td>Poul Kristensen<\/td><\/td>1981<\/td><\/td>6<\/td> <\/tr>\n
7931<\/td>3344<\/td>unread<\/td>82<\/td>14286<\/td><\/td>11236<\/td>Eldre norske fotografer<\/td>Susanne Bonge<\/td>Universitetsbiblioteket i Bergen<\/td><\/td>1980<\/td><\/td>6<\/td> <\/tr>\n
7932<\/td>3345<\/td>unread<\/td>83<\/td>14287<\/td><\/td>11237<\/td>Das Minolta - Buch<\/td>Josef Scheibel<\/td>Im Heering - Verlag<\/td><\/td>1972<\/td><\/td>6<\/td> <\/tr>\n
7933<\/td>3346<\/td>unread<\/td>81<\/td>14288<\/td><\/td>11238<\/td>Dette er fotografi<\/td>Miller og Brummitt<\/td>Garden city publishing co. inc.<\/td><\/td>1952<\/td><\/td>6<\/td> <\/tr>\n
7934<\/td>3347<\/td>unread<\/td>84<\/td>14289<\/td><\/td>11239<\/td>Better snapshots<\/td>Edwin Smith<\/td>The Focal Press<\/td><\/td>1948<\/td><\/td>6<\/td> <\/tr>\n
7935<\/td>3348<\/td>unread<\/td>83<\/td>14290<\/td><\/td>11240<\/td><\/td>Dr. Otto Croy<\/td>Im Heering - Verlag<\/td><\/td>1950<\/td><\/td>79<\/td> <\/tr>\n
7936<\/td>3349<\/td>unread<\/td>83<\/td>14291<\/td><\/td>11241<\/td><\/td>Heinrich Freytag<\/td>Im Heering - Verlag<\/td><\/td>1951<\/td><\/td>79<\/td> <\/tr>\n
7937<\/td>3350<\/td>unread<\/td>83<\/td>14292<\/td><\/td>11242<\/td>Film und Filter<\/td>Dr. Otto Croy<\/td>Im Heering - Verlag<\/td><\/td>1950<\/td><\/td>79<\/td> <\/tr>\n
7938<\/td>3351<\/td>unread<\/td>83<\/td>14293<\/td><\/td>11243<\/td>Das Goldene Buch der Farbfotografie<\/td>Dr. Gerhard Isert<\/td>Verlag Laterna Magica<\/td><\/td>1970<\/td><\/td>6<\/td> <\/tr>\n
7939<\/td>3352<\/td>unread<\/td>83<\/td>14294<\/td><\/td>11244<\/td>Im zauber der Farbe<\/td>Walther Heering<\/td>Im Heering - Verlag<\/td><\/td>1943<\/td><\/td>6<\/td> <\/tr>\n
7940<\/td>3353<\/td>unread<\/td>82<\/td>14295<\/td><\/td>11245<\/td><\/td><\/td><\/td><\/td>1973<\/td><\/td>6<\/td> <\/tr>\n
7941<\/td>3354<\/td>unread<\/td>83<\/td>14296<\/td><\/td>11246<\/td><\/td>Dr. Josef Maria Eder<\/td>Verlag von Wilhelm Knapp<\/td><\/td>1927<\/td><\/td>6<\/td> <\/tr>\n
7942<\/td>3355<\/td>unread<\/td>84<\/td>14297<\/td><\/td>11247<\/td>The complete Photobook<\/td>Philip Johnson, F. R. P. S.<\/td>Fountain Press<\/td><\/td>1955<\/td><\/td>6<\/td> <\/tr>\n
7943<\/td>3356<\/td>unread<\/td>81<\/td>14298<\/td><\/td>11248<\/td><\/td>Pierre Faveau<\/td>Forlaget Skrifola<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7944<\/td>3357<\/td>unread<\/td>81<\/td>14299<\/td><\/td>11249<\/td>Filmen<\/td>Jens Chr. Lauritzen<\/td><\/td><\/td>1950<\/td><\/td>6<\/td> <\/tr>\n
7945<\/td>3358<\/td>unread<\/td>86<\/td>14300<\/td><\/td>11250<\/td><\/td>Theo Kisselbach<\/td><\/td><\/td>1974<\/td><\/td>6<\/td> <\/tr>\n
7946<\/td>3359<\/td>unread<\/td>84<\/td>14301<\/td><\/td>11251<\/td>Rolleiflex Guide<\/td>W. D. Emanuel<\/td>The Focal Press<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7947<\/td>3360<\/td>unread<\/td>81<\/td>14302<\/td><\/td>11252<\/td>Flashfoto<\/td>Carsten Hansen<\/td><\/td><\/td>1984<\/td><\/td>6<\/td> <\/tr>\n
7948<\/td>3361<\/td>unread<\/td>83<\/td>14303<\/td><\/td>11253<\/td>Photographieren mit der Leica<\/td>C. Emmermann<\/td>Verlag Wilhelm Knapp\/Halle<\/td><\/td>1931<\/td><\/td>6<\/td> <\/tr>\n
7949<\/td>3362<\/td>unread<\/td>81<\/td>14304<\/td><\/td>11254<\/td>Foto som hobby<\/td>K. W. Gullers<\/td>Gyldendal<\/td><\/td>1955<\/td><\/td>6<\/td> <\/tr>\n
7950<\/td>3363<\/td>unread<\/td>81<\/td>14305<\/td><\/td>11255<\/td>Flyfoto - Atlas Danmark<\/td>Balsvig, Dreyer, Furhauge, Hansen, Holme<\/td>Bygd-Geograf-forlaget I\/S<\/td><\/td>1980<\/td><\/td>6<\/td> <\/tr>\n
7951<\/td>3364<\/td>unread<\/td>81<\/td>14306<\/td><\/td>11256<\/td>Dora Maar med og uden Picasso- en biogra<\/td>Mary Ann Caws<\/td><\/td><\/td>2001<\/td><\/td>6<\/td> <\/tr>\n
7952<\/td>3365<\/td>unread<\/td>84<\/td>14307<\/td><\/td>11257<\/td>Photograms of the year 1957<\/td>A. L. M. Sowerby<\/td>Iliffe & sons ltd.<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7953<\/td>3366<\/td>unread<\/td>81<\/td>14308<\/td><\/td>11258<\/td>Anderledes mennesker<\/td>Sten Lange<\/td>Tiderne skifter<\/td><\/td>1999<\/td><\/td>6<\/td> <\/tr>\n
7954<\/td>3367<\/td>unread<\/td>81<\/td>14309<\/td><\/td>11259<\/td>Fynske billeder 1998<\/td><\/td><\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7955<\/td>3368<\/td>unread<\/td>81<\/td>14310<\/td><\/td>11260<\/td>Kongeligt fotoalbum<\/td>Kgl. hoffotograf Elfelt-Royal<\/td>Chr. Erichsens Forlag<\/td><\/td>1986<\/td><\/td>6<\/td> <\/tr>\n
7956<\/td>3369<\/td>unread<\/td>83<\/td>14311<\/td><\/td>11261<\/td>Der Initiator einer fotografischen Beweg<\/td>Otto Steinert<\/td>Fotografiska Museet Stockholm<\/td><\/td>1977<\/td><\/td>6<\/td> <\/tr>\n
7957<\/td>3370<\/td>unread<\/td>81<\/td>14312<\/td><\/td>11262<\/td><\/td>Torben W. Langer<\/td>Lademann<\/td><\/td>1975<\/td><\/td>6<\/td> <\/tr>\n
7958<\/td>3371<\/td>unread<\/td>82<\/td>14313<\/td><\/td>11263<\/td>Fotobevaringsboka<\/td>R. Erlandsen og K. Olsen<\/td>C.Huitfeldt Forlag A.S. Oslo<\/td><\/td>1988<\/td><\/td>6<\/td> <\/tr>\n
7959<\/td>3372<\/td>unread<\/td>83<\/td>14314<\/td><\/td>11264<\/td>Das Bild der Exakten-Objekt :Der Mensch<\/td><\/td><\/td><\/td>1974<\/td><\/td>6<\/td> <\/tr>\n
7960<\/td>3373<\/td>unread<\/td>83<\/td>14315<\/td><\/td>11265<\/td>Photos helfen zeichnen<\/td>Prof. Dr. Otto Croy<\/td><\/td><\/td>1971<\/td><\/td>6<\/td> <\/tr>\n
7961<\/td>3374<\/td>unread<\/td>81<\/td>14316<\/td><\/td>11266<\/td>Med fotog. Hude gennem det gamle Roskild<\/td><\/td>Forlaget Siglev, Roskilde<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7962<\/td>3375<\/td>unread<\/td>83<\/td>14317<\/td><\/td>11267<\/td>Meisterfotos und wie man sie macht<\/td><\/td>Ehapa - Verlag Gmbh<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7963<\/td>3376<\/td>unread<\/td>84<\/td>14318<\/td><\/td>11268<\/td>The picture history of photography<\/td>Peter Pollack<\/td>H.N.Abrams,Inc.Publishers New York<\/td><\/td>1977<\/td><\/td>6<\/td> <\/tr>\n
7964<\/td>3377<\/td>unread<\/td>84<\/td>14319<\/td><\/td>11269<\/td>The pencil of nature<\/td>William Henry Fox Talbot<\/td>Da Capo Press, New York<\/td><\/td>1969<\/td><\/td>6<\/td> <\/tr>\n
7965<\/td>3378<\/td>unread<\/td>81<\/td>14320<\/td><\/td>11270<\/td>Ungdommens fotobog<\/td>Julius Graae<\/td>Gevaerts Generalagentur v\/E. Wessel<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7966<\/td>3379<\/td>unread<\/td>81<\/td>14321<\/td><\/td>11271<\/td>Skal vi fotografere<\/td>Finn Nesgaard<\/td><\/td><\/td>1981<\/td><\/td>6<\/td> <\/tr>\n
7967<\/td>3380<\/td>unread<\/td>81<\/td>14322<\/td><\/td>11272<\/td>Foto og film<\/td>Egon Schmidt<\/td><\/td><\/td>1974<\/td><\/td>6<\/td> <\/tr>\n
7968<\/td>3381<\/td>unread<\/td>81<\/td>14323<\/td><\/td>11273<\/td><\/td>L.E.Grandjean og Albert Fabritius<\/td>Gyldendal<\/td><\/td>1949<\/td><\/td>4<\/td> <\/tr>\n
7969<\/td>3382<\/td>unread<\/td>84<\/td>14324<\/td><\/td>11274<\/td>Private Property<\/td>Helmut Newton<\/td>Schirmer\/Mosel<\/td><\/td>1989<\/td><\/td>4<\/td> <\/tr>\n
7970<\/td>3383<\/td>unread<\/td>81<\/td>14325<\/td><\/td>11275<\/td><\/td>Kenno Pedersen<\/td>Frederiksborg Amts historiske Samfund<\/td><\/td>1981<\/td><\/td>6<\/td> <\/tr>\n
7971<\/td>3384<\/td>unread<\/td>82<\/td>14326<\/td><\/td>11276<\/td>Bildet lever! bidrag til norsk fotohisto<\/td><\/td>C. Huitfeldt forlag A.S.<\/td><\/td>1989<\/td><\/td>6<\/td> <\/tr>\n
7972<\/td>3385<\/td>unread<\/td>82<\/td>14327<\/td><\/td>11277<\/td>Bildet lever! bidrag til norsk fotohisto<\/td>Erlandsen, Halvorsen og Olsen<\/td>Norsk Fotohistorisk Forening<\/td><\/td>1992<\/td><\/td>6<\/td> <\/tr>\n
7973<\/td>3386<\/td>unread<\/td>82<\/td>14328<\/td><\/td>11278<\/td><\/td>Roger Erlandsen<\/td>C. Huitfeldt forlag A.S.<\/td><\/td>1987<\/td><\/td>6<\/td> <\/tr>\n
7974<\/td>3387<\/td>unread<\/td>81<\/td>14329<\/td><\/td>11279<\/td>Det gamle Svendborg i fotos 1865-1900<\/td>Henrik M. Jansen<\/td>Skrifter for Svendborg og Omegns museum<\/td><\/td>1983<\/td><\/td>6<\/td> <\/tr>\n
7975<\/td>3388<\/td>unread<\/td>81<\/td>14330<\/td><\/td>11280<\/td>Levende billeder<\/td><\/td>Stavnsager<\/td><\/td>1986<\/td><\/td>4<\/td> <\/tr>\n
7976<\/td>3389<\/td>unread<\/td>81<\/td>14331<\/td><\/td>11281<\/td><\/td><\/td>Forlaget Viva<\/td><\/td>1999<\/td><\/td>4<\/td> <\/tr>\n
7977<\/td>3390<\/td>unread<\/td>84<\/td>14332<\/td><\/td>11282<\/td>The history of Polaroid One step photogr<\/td>Heiting, Eelco and Walworth<\/td>Van Soest B.V. Amsterdam<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
7978<\/td>3391<\/td>unread<\/td>81<\/td>14333<\/td><\/td>11283<\/td><\/td><\/td><\/td><\/td>2000<\/td><\/td>4<\/td> <\/tr>\n
7979<\/td>3392<\/td>unread<\/td>84<\/td>14334<\/td><\/td>11284<\/td>Innovation\/ Imagination<\/td>Barbara Hitchcock, Deborah Klochko<\/td>Harry N. Abrams, Inc.<\/td><\/td>1999<\/td><\/td>4<\/td> <\/tr>\n
7980<\/td>3393<\/td>unread<\/td>84<\/td>14335<\/td><\/td>11285<\/td>Flora Photographica<\/td>William A. Ewing<\/td>Thames and Hudson<\/td><\/td>1991<\/td><\/td>4<\/td> <\/tr>\n
7981<\/td>3394<\/td>unread<\/td>84<\/td>14336<\/td><\/td>11286<\/td>Masters of Photography<\/td>Beaumont and Nancy Newhall<\/td>Castle Books<\/td><\/td>1958<\/td><\/td>6<\/td> <\/tr>\n
7982<\/td>3395<\/td>unread<\/td>83<\/td>14338<\/td><\/td>11287<\/td>Franz Haufstaengl, Album der zeitgenosse<\/td>Christian Diener und Graham F. Smith<\/td><\/td><\/td>1975<\/td><\/td>4<\/td> <\/tr>\n
7983<\/td>3396<\/td>unread<\/td>84<\/td>14339<\/td><\/td>11288<\/td>Henry Peach Robinson<\/td>Margaret F. Harker<\/td>Basil Blackwell<\/td><\/td>1988<\/td><\/td>4<\/td> <\/tr>\n
7984<\/td>3397<\/td>unread<\/td>81<\/td>14340<\/td><\/td>11289<\/td>Bedstefars Bornholm I<\/td>Henrik Vensild<\/td>William Dams boghandel A\/S<\/td><\/td>1983<\/td><\/td>4<\/td> <\/tr>\n
7985<\/td>3398<\/td>unread<\/td>81<\/td>14341<\/td><\/td>11290<\/td>Bedstefars Bornholm V<\/td>Henrik Vensild<\/td>William Dams boghandel A\/S<\/td><\/td>1983<\/td><\/td>4<\/td> <\/tr>\n
7986<\/td>3399<\/td>unread<\/td>81<\/td>14342<\/td><\/td>11291<\/td>Fotografiens historie<\/td>Helmut og Alison Gernsheim<\/td>J. W. Cappelens Forlag<\/td><\/td>1966<\/td><\/td>4<\/td> <\/tr>\n
7987<\/td>3400<\/td>unread<\/td>84<\/td>14343<\/td><\/td>11292<\/td>How to look at photographs<\/td>David Finn<\/td>Harry N. Abrams, Inc.<\/td><\/td>1994<\/td><\/td>4<\/td> <\/tr>\n
7988<\/td>3401<\/td>unread<\/td>83<\/td>14344<\/td><\/td>11293<\/td>Die Geschichte der Fotografie im 20. Jah<\/td>Petr Tausk<\/td><\/td><\/td>1977<\/td><\/td>4<\/td> <\/tr>\n
7989<\/td>3402<\/td>unread<\/td>82<\/td>14345<\/td><\/td>11294<\/td>Fotografisk uppslagsbok<\/td>Ole Pedersen<\/td><\/td><\/td>1972<\/td><\/td>4<\/td> <\/tr>\n
7990<\/td>3403<\/td>unread<\/td>82<\/td>14346<\/td><\/td>11295<\/td><\/td>Norsk fotohistorisk forening<\/td>Universitetsforlaget<\/td><\/td>1984<\/td><\/td>4<\/td> <\/tr>\n
7991<\/td>3404<\/td>unread<\/td>81<\/td>14347<\/td><\/td>11296<\/td><\/td>Poul Pedersen<\/td><\/td><\/td>2001<\/td><\/td>4<\/td> <\/tr>\n
7992<\/td>3405<\/td>unread<\/td>81<\/td>14348<\/td><\/td>11297<\/td>Mexicansk hverdag<\/td>Viggo Rivad\/ Chr. Heilskov Rasmussen<\/td>Mellemfolkeligt Samvirke<\/td><\/td>1978<\/td><\/td>4<\/td> <\/tr>\n
7993<\/td>3406<\/td>unread<\/td>84<\/td>14349<\/td><\/td>11298<\/td>Early Photography<\/td>Patrick Daniels<\/td>Academy Editions<\/td><\/td>1978<\/td><\/td>4<\/td> <\/tr>\n
7994<\/td>3407<\/td>unread<\/td>84<\/td>14350<\/td><\/td>11299<\/td>The american annual of photography and p<\/td>C.W.Canfield<\/td>The Scovill & Adams Company<\/td><\/td><\/td><\/td>6<\/td> <\/tr>\n
7995<\/td>3408<\/td>unread<\/td>81<\/td>14351<\/td><\/td>11300<\/td>Arveprinsesse Caroline Math. foto album<\/td><\/td><\/td><\/td>1982<\/td><\/td>6<\/td> <\/tr>\n
7996<\/td>3409<\/td>unread<\/td>81<\/td>14352<\/td><\/td>11301<\/td>Marokkansk motiv<\/td>Thomas Boberg & Simon Lautrop<\/td>Lindhardt og Ringhof<\/td><\/td>1998<\/td><\/td>6<\/td> <\/tr>\n
7997<\/td>3410<\/td>unread<\/td>81<\/td>14353<\/td><\/td>11302<\/td>Herning- bogen 1991<\/td>Historisk Forening for Herning kommune<\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
7998<\/td>3411<\/td>unread<\/td>81<\/td>14354<\/td><\/td>11303<\/td>Reproduktionsfotografering<\/td>Sven Ahrenkilde<\/td>Arnold Busck<\/td><\/td>1958<\/td><\/td>4<\/td> <\/tr>\n
7999<\/td>3412<\/td>unread<\/td>84<\/td>14355<\/td><\/td>11304<\/td>Photography at work<\/td>Peter J. Hillson<\/td>Aldus Books, London<\/td><\/td>1969<\/td><\/td>4<\/td> <\/tr>\n
8000<\/td>3413<\/td>unread<\/td>81<\/td>14356<\/td><\/td>11305<\/td>Sophienholm<\/td><\/td><\/td><\/td>1978<\/td><\/td>4<\/td> <\/tr>\n
8001<\/td>3414<\/td>unread<\/td>84<\/td>14357<\/td><\/td>11306<\/td>A concise history of Photography<\/td>Helmut Gernsheim<\/td>Thames and Hudson<\/td><\/td>1965<\/td><\/td>4<\/td> <\/tr>\n
8002<\/td>3415<\/td>unread<\/td>81<\/td>14358<\/td><\/td>11307<\/td>Af en bys breve<\/td>Krass Clement<\/td>Gyldendal<\/td><\/td>1993<\/td><\/td>4<\/td> <\/tr>\n
8003<\/td>3416<\/td>unread<\/td>84<\/td>14359<\/td><\/td>11308<\/td>Photography year 1973<\/td>The editors of Time-life books<\/td>Time-life books<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8004<\/td>3417<\/td>unread<\/td>84<\/td>14360<\/td><\/td>11309<\/td>Photography year 1975<\/td>The editors of Time-life books<\/td>Time-life International<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8005<\/td>3418<\/td>unread<\/td>84<\/td>14361<\/td><\/td>11310<\/td>150 years of Photo Journalism volume II<\/td>Amanda Hopkinson<\/td><\/td><\/td>1995<\/td><\/td>1<\/td> <\/tr>\n
8006<\/td>3419<\/td>unread<\/td>84<\/td>14362<\/td><\/td>11311<\/td>150 years of Photo Journalism volume I<\/td>Nick Yapp<\/td><\/td><\/td>1995<\/td><\/td>1<\/td> <\/tr>\n
8007<\/td>3420<\/td>unread<\/td>84<\/td>14363<\/td><\/td>11312<\/td>Picture postcards<\/td>Marian Klamkin<\/td>David & Charles<\/td><\/td>1974<\/td><\/td>4<\/td> <\/tr>\n
8008<\/td>3421<\/td>unread<\/td>84<\/td>14364<\/td><\/td>11313<\/td>Europeans<\/td>Henri Carter - Bresson<\/td>Thames and Hudson<\/td><\/td>1999<\/td><\/td>4<\/td> <\/tr>\n
8009<\/td>3422<\/td>unread<\/td>81<\/td>14365<\/td><\/td>11314<\/td>Albert Schweitzers verden<\/td>Eugene Exman<\/td>Branner og Korch<\/td><\/td>1955<\/td><\/td>4<\/td> <\/tr>\n
8010<\/td>3423<\/td>unread<\/td>84<\/td>14366<\/td><\/td>11315<\/td>American Images: Photography 1945-1980<\/td>Peter Turner<\/td>Penquin books<\/td><\/td>1985<\/td><\/td>4<\/td> <\/tr>\n
8011<\/td>3424<\/td>unread<\/td>83<\/td>14367<\/td><\/td>11316<\/td>Foto Impressionen- Begegnung mit 100 far<\/td>Dr. Walther Heering<\/td>Heering - Verlag<\/td><\/td>1967<\/td><\/td>4<\/td> <\/tr>\n
8012<\/td>3425<\/td>unread<\/td>84<\/td>14368<\/td><\/td>11317<\/td>The great photographers<\/td>Man Ray<\/td>Collins<\/td><\/td>1984<\/td><\/td>4<\/td> <\/tr>\n
8013<\/td>3426<\/td>unread<\/td>84<\/td>14369<\/td><\/td>11318<\/td>Another Russia<\/td>Daniela Mrazkova and Vladimir Reme^s<\/td>Facts on File, Inc.<\/td><\/td>1986<\/td><\/td>4<\/td> <\/tr>\n
8014<\/td>3427<\/td>unread<\/td>84<\/td>14370<\/td><\/td>11319<\/td>Photographer<\/td><\/td>Harry N. Abrams, Inc.<\/td><\/td>1985<\/td><\/td>4<\/td> <\/tr>\n
8015<\/td>3428<\/td>unread<\/td>81<\/td>14371<\/td><\/td>11320<\/td>Joy of timing<\/td><\/td>Borgen<\/td><\/td>1982<\/td><\/td>4<\/td> <\/tr>\n
8016<\/td>3429<\/td>unread<\/td>84<\/td>14372<\/td><\/td>11321<\/td>Photographer<\/td>Andreas Feininger<\/td>Harry N. Abrams, Inc.<\/td><\/td>1986<\/td><\/td>1<\/td> <\/tr>\n
8017<\/td>3430<\/td>unread<\/td>84<\/td>14373<\/td><\/td>11322<\/td>A collective Portrait<\/td>America & Alfred Stieglitz<\/td>Aperture book<\/td><\/td>1979<\/td><\/td>4<\/td> <\/tr>\n
8018<\/td>3431<\/td>unread<\/td>81<\/td>14374<\/td><\/td>11323<\/td>Kvindeliv<\/td><\/td><\/td><\/td>1981<\/td><\/td>4<\/td> <\/tr>\n
8019<\/td>3432<\/td>unread<\/td>81<\/td>14375<\/td><\/td>11324<\/td>Solen i skyggen<\/td>Morten Bo<\/td>Arnold Busck<\/td><\/td>1982<\/td><\/td>4<\/td> <\/tr>\n
8020<\/td>3433<\/td>unread<\/td>84<\/td>14376<\/td><\/td>11325<\/td>The frozen Image<\/td>Martin Friedman<\/td>Abbeville Press<\/td><\/td>1982<\/td><\/td>4<\/td> <\/tr>\n
8021<\/td>3434<\/td>unread<\/td>84<\/td>14377<\/td><\/td>11326<\/td>Bromoil Photography<\/td><\/td>Glaspalast Edition<\/td><\/td>2002<\/td><\/td>4<\/td> <\/tr>\n
8022<\/td>3435<\/td>unread<\/td>84<\/td>14378<\/td><\/td>11327<\/td>Experimental work<\/td>Andreas Feininger<\/td>American Photographic book Publisning co<\/td><\/td>1978<\/td><\/td>4<\/td> <\/tr>\n
8023<\/td>3436<\/td>unread<\/td>81<\/td>14379<\/td><\/td>11328<\/td>Gadebilledet der forsvandt<\/td>Susanne Mertz<\/td>Borgen<\/td><\/td>1991<\/td><\/td>4<\/td> <\/tr>\n
8024<\/td>3437<\/td>unread<\/td>83<\/td>14380<\/td><\/td>11329<\/td>Das Lexikon der Fotografen<\/td>Hans-Michael Koetzle<\/td>Knaur<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8025<\/td>3438<\/td>unread<\/td>84<\/td>14381<\/td><\/td>11330<\/td>An introduction to Photography<\/td>Michael Freeman<\/td>Tiger books international<\/td><\/td>1990<\/td><\/td>4<\/td> <\/tr>\n
8026<\/td>3439<\/td>unread<\/td>84<\/td>14382<\/td><\/td>11331<\/td>The invented eye<\/td>Edward Lucie- Smith<\/td>Paddington Press Ltd.<\/td><\/td>1975<\/td><\/td>4<\/td> <\/tr>\n
8027<\/td>3440<\/td>unread<\/td>84<\/td>14383<\/td><\/td>11332<\/td>Eyemazing<\/td>Issue 7, Summer 2005<\/td><\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8028<\/td>3441<\/td>unread<\/td>81<\/td>14384<\/td><\/td>11333<\/td>Spor<\/td>Morten Bo<\/td>Arnold Busck<\/td><\/td>1993<\/td><\/td>4<\/td> <\/tr>\n
8029<\/td>3442<\/td>unread<\/td>84<\/td>14385<\/td><\/td>11334<\/td>Ansel Adams<\/td>Liliane De Cock<\/td>A Morgan & Morgan Monograph<\/td><\/td>1972<\/td><\/td>4<\/td> <\/tr>\n
8030<\/td>3443<\/td>unread<\/td>81<\/td>14386<\/td><\/td>11335<\/td><\/td><\/td>Politiken<\/td><\/td>1999<\/td><\/td>4<\/td> <\/tr>\n
8031<\/td>3444<\/td>unread<\/td>84<\/td>14387<\/td><\/td>11336<\/td>A Concise history of Photography<\/td>Helmut og Alison Gernsheim<\/td>Thames and Hudson<\/td><\/td>1965<\/td><\/td>4<\/td> <\/tr>\n
8032<\/td>3445<\/td>unread<\/td>83<\/td>14388<\/td><\/td>11337<\/td>Kopenhagen<\/td>Jacques Hartz<\/td>Mohndruck Reinhard Mohn OHG<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8033<\/td>3446<\/td>unread<\/td>84<\/td>14389<\/td><\/td>11338<\/td>Henri Cartier-Bresson portraits<\/td><\/td>Collins<\/td><\/td>1984<\/td><\/td>4<\/td> <\/tr>\n
8034<\/td>3447<\/td>unread<\/td>84<\/td>14390<\/td><\/td>11339<\/td>The picture universe<\/td>Tom Maloney<\/td>M.P.R.Thomas, J.L. Terracciano<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8035<\/td>3448<\/td>unread<\/td>83<\/td>14391<\/td><\/td>11340<\/td>Daguerreotypie in Deutschland<\/td>Fritz Kempe<\/td>Heering-Verlag<\/td><\/td>1979<\/td><\/td>2<\/td> <\/tr>\n
8036<\/td>3449<\/td>unread<\/td>83<\/td>14392<\/td><\/td>11341<\/td>Bibliotheca Photographica<\/td>Ernst Amandus Zuchold<\/td>Ikaros forlag<\/td><\/td>1977<\/td><\/td>6<\/td> <\/tr>\n
8037<\/td>3450<\/td>unread<\/td>81<\/td>14393<\/td><\/td>11342<\/td><\/td><\/td>Strandbergs forlag<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8038<\/td>3451<\/td>unread<\/td>82<\/td>14394<\/td><\/td>11343<\/td><\/td><\/td>Kronobergsboken<\/td><\/td>1977<\/td><\/td>4<\/td> <\/tr>\n
8039<\/td>3452<\/td>unread<\/td>81<\/td>14395<\/td><\/td>11344<\/td><\/td>Benny Boysen<\/td><\/td><\/td>1981<\/td><\/td>4<\/td> <\/tr>\n
8040<\/td>3453<\/td>unread<\/td>84<\/td>14396<\/td><\/td>11345<\/td>Cameras, photographs and Accessories<\/td><\/td>D.B.Thomas B.Sc., Ph.D<\/td><\/td>1966<\/td><\/td>4<\/td> <\/tr>\n
8041<\/td>3454<\/td>unread<\/td>81<\/td>14397<\/td><\/td>11346<\/td>Europas svigerfar,Ftg. fra Chr. IX`s reg<\/td><\/td><\/td><\/td>1985<\/td><\/td>4<\/td> <\/tr>\n
8042<\/td>3455<\/td>unread<\/td>82<\/td>14398<\/td><\/td>11347<\/td>Daguerrotypen<\/td>L.J.M. Daguerre<\/td><\/td><\/td>1839<\/td><\/td>4<\/td> <\/tr>\n
8043<\/td>3456<\/td>unread<\/td>83<\/td>14399<\/td><\/td>11348<\/td>Fotografieren mit Zeiss Ikon S 310<\/td>Heinrich Freytag<\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8044<\/td>3457<\/td>unread<\/td>84<\/td>14400<\/td><\/td>11349<\/td>Effects and Experiments in Photography<\/td>Paul Petzold<\/td>Focal Press<\/td><\/td>1973<\/td><\/td>4<\/td> <\/tr>\n
8045<\/td>3458<\/td>unread<\/td>81<\/td>14401<\/td><\/td>11350<\/td>Med kamera gennem Viborg og omegn<\/td>Carl Johan Zacho<\/td><\/td><\/td>1950<\/td><\/td>4<\/td> <\/tr>\n
8046<\/td>3459<\/td>unread<\/td>81<\/td>14402<\/td><\/td>11351<\/td>Fotobevaring<\/td>Sekretariatet for fotoregistrering<\/td>Universitetsforlaget<\/td><\/td>1983<\/td><\/td>4<\/td> <\/tr>\n
8047<\/td>3460<\/td>unread<\/td>83<\/td>14403<\/td><\/td>11352<\/td>Farbfoto - Handbuch<\/td>Gareis und Scheerer<\/td>I M Heering - Verlag<\/td><\/td>1969<\/td><\/td>4<\/td> <\/tr>\n
8048<\/td>3461<\/td>unread<\/td>83<\/td>14404<\/td><\/td>11353<\/td>Reproduktion und dokumentation<\/td>Prof. Dr. Otto Croy<\/td>I M Heering-Verlag<\/td><\/td>1964<\/td><\/td>4<\/td> <\/tr>\n
8049<\/td>3462<\/td>unread<\/td>82<\/td>14405<\/td><\/td>11354<\/td>Familjen<\/td>Gustav Hansson<\/td>Bonniers<\/td><\/td>1956<\/td><\/td>4<\/td> <\/tr>\n
8050<\/td>3463<\/td>unread<\/td>84<\/td>14406<\/td><\/td>11355<\/td>Manual of Photographic Lighting<\/td>Edward S. Bomback<\/td>Fountain Press Ltd.<\/td><\/td>1971<\/td><\/td>4<\/td> <\/tr>\n
8051<\/td>3464<\/td>unread<\/td>84<\/td>14407<\/td><\/td>11356<\/td>Pictorial effect in Photography<\/td>Henry Peach Robinson<\/td>Helios<\/td><\/td>1971<\/td><\/td>4<\/td> <\/tr>\n
8052<\/td>3465<\/td>unread<\/td>83<\/td>14408<\/td><\/td>11357<\/td>Agfacolor<\/td>Dr. Heinz Berger<\/td>Verlag W. Girardet<\/td><\/td>1968<\/td><\/td>4<\/td> <\/tr>\n
8053<\/td>3466<\/td>unread<\/td>81<\/td>14409<\/td><\/td>11358<\/td>Fotografi og familie<\/td><\/td>Bidrags skriftserie<\/td><\/td>1982<\/td><\/td>4<\/td> <\/tr>\n
8054<\/td>3467<\/td>unread<\/td>81<\/td>14410<\/td><\/td>11359<\/td><\/td>Freddy Boysen<\/td>Dalhus Forlag<\/td><\/td>1993<\/td><\/td>4<\/td> <\/tr>\n
8055<\/td>3468<\/td>unread<\/td>84<\/td>14411<\/td><\/td>11360<\/td>The Nikon System<\/td>Jeremy Haworth<\/td>Henry Greenwood & Company Ltd.<\/td><\/td>1969<\/td><\/td>4<\/td> <\/tr>\n
8056<\/td>3469<\/td>unread<\/td>81<\/td>14412<\/td><\/td>11361<\/td>H.P.Hansen<\/td><\/td>Bogtrykskolen<\/td><\/td>1970<\/td><\/td>4<\/td> <\/tr>\n
8057<\/td>3470<\/td>unread<\/td>84<\/td>14413<\/td><\/td>11362<\/td>Photographic questions and answers<\/td><\/td>Ziff- Davis Publishing Company<\/td><\/td>1941<\/td><\/td>4<\/td> <\/tr>\n
8058<\/td>3471<\/td>unread<\/td>83<\/td>14414<\/td><\/td>11363<\/td><\/td>Dr. Otto Croy<\/td>IM Heering - Verlag<\/td><\/td>1971<\/td><\/td>4<\/td> <\/tr>\n
8059<\/td>3472<\/td>unread<\/td>83<\/td>14415<\/td><\/td>11364<\/td>Kleine Foto- Praxis<\/td>Franz Pangerl<\/td>IM Heering - Verlag<\/td><\/td>1971<\/td><\/td>4<\/td> <\/tr>\n
8060<\/td>3473<\/td>unread<\/td>81<\/td>14416<\/td><\/td>11365<\/td><\/td>Helle Wolstrup<\/td>Chr. Erichsens Erhvervsvejledning<\/td><\/td>1972<\/td><\/td>4<\/td> <\/tr>\n
8061<\/td>3474<\/td>unread<\/td>81<\/td>14417<\/td><\/td>11366<\/td>Foto med spejlrefleks<\/td>H.S.de Kue<\/td><\/td><\/td>1983<\/td><\/td>4<\/td> <\/tr>\n
8062<\/td>3475<\/td>unread<\/td>83<\/td>14418<\/td><\/td>11367<\/td>Novoflex - Taschenbuch<\/td>Friedrich W. Voigt<\/td>IM Heering-Verlag<\/td><\/td>1961<\/td><\/td>4<\/td> <\/tr>\n
8063<\/td>3476<\/td>unread<\/td>81<\/td>14419<\/td><\/td>11368<\/td>Hvor ingen talte<\/td>Krass Clement<\/td>Gyldendal<\/td><\/td>1991<\/td><\/td>4<\/td> <\/tr>\n
8064<\/td>3477<\/td>unread<\/td>84<\/td>14420<\/td><\/td>11369<\/td>The Kodak Museum<\/td><\/td>Kodak Ltd.<\/td><\/td>1947<\/td><\/td>4<\/td> <\/tr>\n
8065<\/td>3478<\/td>unread<\/td>84<\/td>14421<\/td><\/td>11370<\/td>The encyclopedia of practical Photograph<\/td>Michael Freeman<\/td>Tiger books international<\/td><\/td>1987<\/td><\/td>4<\/td> <\/tr>\n
8066<\/td>3479<\/td>unread<\/td>83<\/td>14422<\/td><\/td>11371<\/td>The history of Photography<\/td>Beaumont Newhall<\/td>Secker & Warburg<\/td><\/td>1982<\/td><\/td>4<\/td> <\/tr>\n
8067<\/td>3480<\/td>unread<\/td>84<\/td>14423<\/td><\/td>11372<\/td><\/td>L.D.Witkin, B. London<\/td>New York Graphic Society<\/td><\/td>1979<\/td><\/td>4<\/td> <\/tr>\n
8068<\/td>3481<\/td>unread<\/td>81<\/td>14424<\/td><\/td>11374<\/td>Danmark i glimt<\/td>Per H.Carlsen og Karl Nielsen<\/td>Illustrationsforlaget<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8069<\/td>3482<\/td>unread<\/td>81<\/td>14425<\/td><\/td>11375<\/td>Munch og Fotografiet<\/td>Arne Eggum<\/td>Gyldendal<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8070<\/td>3483<\/td>unread<\/td>84<\/td>14426<\/td><\/td>11376<\/td>Karsh<\/td>Yousuf Karsh<\/td>Bulfinch Press book<\/td><\/td>1983<\/td><\/td>1<\/td> <\/tr>\n
8071<\/td>3484<\/td>unread<\/td>84<\/td>14427<\/td><\/td>11377<\/td>Photograms of the year 1928<\/td>F. J. Mortimer<\/td>Iliffe & sons Limited<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8072<\/td>3485<\/td>unread<\/td>84<\/td>14428<\/td><\/td>11378<\/td>A Concise history of photography<\/td>Helmut Gernsheim<\/td>Dover Publications, Inc.<\/td><\/td>1986<\/td><\/td>3<\/td> <\/tr>\n
8073<\/td>3486<\/td>unread<\/td>84<\/td>14429<\/td><\/td>11379<\/td>A Retrospective<\/td>Philippe Halsman<\/td>A Bulfinch Press Book<\/td><\/td>1999<\/td><\/td>1<\/td> <\/tr>\n
8074<\/td>3487<\/td>unread<\/td>81<\/td>14430<\/td><\/td>11380<\/td>Victor Borge<\/td>Tine Harden<\/td>Aschehoug<\/td><\/td>2000<\/td><\/td>3<\/td> <\/tr>\n
8075<\/td>3488<\/td>unread<\/td>83<\/td>14431<\/td><\/td>11381<\/td>The picture history of photography<\/td>Peter Pollack<\/td>Thames and Hudson<\/td><\/td>1977<\/td><\/td>1<\/td> <\/tr>\n
8076<\/td>3489<\/td>unread<\/td>84<\/td>14432<\/td><\/td>11382<\/td>The book of colour photography<\/td>Adrian Bailey & Adrian Holloway<\/td>Ebury Press<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8077<\/td>3490<\/td>unread<\/td>84<\/td>14433<\/td><\/td>11383<\/td>Collecting Photographica<\/td>George Gilbert<\/td>Hawthorn Books, Inc.<\/td><\/td>1976<\/td><\/td>1<\/td> <\/tr>\n
8078<\/td>3491<\/td>unread<\/td>84<\/td>14434<\/td><\/td>11384<\/td>History of photography<\/td>Camfield and Deirdre Wills<\/td>Hamlyn<\/td><\/td>1980<\/td><\/td>1<\/td> <\/tr>\n
8079<\/td>3492<\/td>unread<\/td>81<\/td>14435<\/td><\/td>11385<\/td>Danskernes billeder<\/td>Ole Thisted<\/td>Aschehoug<\/td><\/td>1996<\/td><\/td>3<\/td> <\/tr>\n
8080<\/td>3493<\/td>unread<\/td>84<\/td>14436<\/td><\/td>11386<\/td>Art History of Photography<\/td>Volker Kahmen<\/td>The Viking Press<\/td><\/td>1974<\/td><\/td>3<\/td> <\/tr>\n
8081<\/td>3494<\/td>unread<\/td>83<\/td>14437<\/td><\/td>11387<\/td>Annie Leibovitz 1970-1990<\/td><\/td>Schirmer\/Mosel<\/td><\/td>1991<\/td><\/td>1<\/td> <\/tr>\n
8082<\/td>3495<\/td>unread<\/td>84<\/td>14438<\/td><\/td>11388<\/td>The Cameron collection<\/td>Colin Ford<\/td>Van Nostrand Reinhold<\/td><\/td>1975<\/td><\/td>1<\/td> <\/tr>\n
8083<\/td>3496<\/td>unread<\/td>84<\/td>14439<\/td><\/td>11389<\/td>Photograms of the year 1929<\/td>F. J. Mortimer<\/td>Iliffe & sons limited<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8084<\/td>3497<\/td>unread<\/td>84<\/td>14440<\/td><\/td>11390<\/td>Photograms of thr year 1931<\/td>F. J. Mortimer<\/td>Iliffe & sons limited<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8085<\/td>3498<\/td>unread<\/td>84<\/td>14441<\/td><\/td>11391<\/td>Photograms of the year 1925<\/td>F. J. Mortimer<\/td>Iliffe & sons limited<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8086<\/td>3499<\/td>unread<\/td>84<\/td>14442<\/td><\/td>11392<\/td>Photograms of the year 1924<\/td>F. J. Mortimer<\/td>Iliffe & sons limited<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8087<\/td>3500<\/td>unread<\/td>84<\/td>14443<\/td><\/td>11393<\/td>Photograms of the year 1919<\/td>F. J. Mortimer<\/td>Iliffe & sons limited<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8088<\/td>3501<\/td>unread<\/td>84<\/td>14444<\/td><\/td>11394<\/td>Photograms of the year 1927<\/td>F. J. Mortimer<\/td>Iliffe & sons limited<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8089<\/td>3502<\/td>unread<\/td>84<\/td>14445<\/td><\/td>11395<\/td>Photograms of the year 1926<\/td>F. J. Mortimer<\/td>Iliffe & sons limited<\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8090<\/td>3503<\/td>unread<\/td>84<\/td>14446<\/td><\/td>11396<\/td>Photography year book 1972<\/td>John Sanders<\/td>Fountain Press<\/td><\/td>1971<\/td><\/td>4<\/td> <\/tr>\n
8091<\/td>3504<\/td>unread<\/td>84<\/td>14447<\/td><\/td>11397<\/td>Photography year book 1975<\/td>John Sanders<\/td>Fountain Press<\/td><\/td>1974<\/td><\/td>4<\/td> <\/tr>\n
8092<\/td>3505<\/td>unread<\/td>84<\/td>14448<\/td><\/td>11398<\/td>Nikkor Annual 1971-72<\/td><\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8093<\/td>3506<\/td>unread<\/td>84<\/td>14449<\/td><\/td>11399<\/td>Photography year book 1976<\/td>John Sanders<\/td>Fountain Press<\/td><\/td>1975<\/td><\/td>4<\/td> <\/tr>\n
8094<\/td>3507<\/td>unread<\/td>84<\/td>14450<\/td><\/td>11400<\/td>Photography year book 1974<\/td>John Sanders<\/td>Fountain Press<\/td><\/td>1973<\/td><\/td>3<\/td> <\/tr>\n
8095<\/td>3508<\/td>unread<\/td>83<\/td>14451<\/td><\/td>11401<\/td>Top fotos<\/td>Walter Berning, Olaf Hansen<\/td>Ehapa Verlag Gmbh<\/td><\/td>1980<\/td><\/td>2<\/td> <\/tr>\n
8096<\/td>3509<\/td>unread<\/td>84<\/td>14452<\/td><\/td>11402<\/td>Camera and art<\/td>T. Kankowszky<\/td>Dr. George Vajna and co., Budapest<\/td><\/td>1946<\/td><\/td>2<\/td> <\/tr>\n
8097<\/td>3510<\/td>unread<\/td>84<\/td>14453<\/td><\/td>11403<\/td>Nikkor 1970\/71 annual<\/td><\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8098<\/td>3511<\/td>unread<\/td>84<\/td>14454<\/td><\/td>11404<\/td>Copying<\/td><\/td>Eastman Kodak Company<\/td><\/td>1971<\/td><\/td>7<\/td> <\/tr>\n
8099<\/td>3512<\/td>unread<\/td>84<\/td>14455<\/td><\/td>11405<\/td>The Kodak book of practical 35 mm photog<\/td><\/td>Eastman Kodak Company<\/td><\/td>1988<\/td><\/td>7<\/td> <\/tr>\n
8100<\/td>3513<\/td>unread<\/td>84<\/td>14456<\/td><\/td>11406<\/td>Color Printing Techniques<\/td><\/td>Eastman Kodak Company<\/td><\/td>1981<\/td><\/td>7<\/td> <\/tr>\n
8101<\/td>3514<\/td>unread<\/td>84<\/td>14457<\/td><\/td>11407<\/td>Copying and duplicating in black and whi<\/td><\/td>Eastman Kodak Company<\/td><\/td>1984<\/td><\/td>7<\/td> <\/tr>\n
8102<\/td>3515<\/td>unread<\/td>84<\/td>14458<\/td><\/td>11408<\/td>Using your automatic\/ autofocus camera<\/td><\/td>Eastman Kodak Company<\/td><\/td>1981<\/td><\/td>7<\/td> <\/tr>\n
8103<\/td>3516<\/td>unread<\/td>84<\/td>14459<\/td><\/td>11409<\/td>Portfolio<\/td>Gloria Chalmers<\/td><\/td><\/td><\/td><\/td>7<\/td> <\/tr>\n
8104<\/td>3517<\/td>unread<\/td>84<\/td>14460<\/td><\/td>11410<\/td>Close-up photography and photomacrograph<\/td>H. Lou Gibson<\/td>Eastman Kodak Company<\/td><\/td>1970<\/td><\/td>7<\/td> <\/tr>\n
8105<\/td>3518<\/td>unread<\/td>84<\/td>14461<\/td><\/td>11411<\/td>Quality Enlarging with Kodak B\/W papers<\/td><\/td>Eastman Kodak Company<\/td><\/td>1982<\/td><\/td>7<\/td> <\/tr>\n
8106<\/td>3519<\/td>unread<\/td>84<\/td>14462<\/td><\/td>11412<\/td>Professional Photographic Illustration<\/td><\/td>Eastman Kodak Company<\/td><\/td>1989<\/td><\/td>7<\/td> <\/tr>\n
8107<\/td>3520<\/td>unread<\/td>81<\/td>14463<\/td><\/td>11413<\/td><\/td>Selskabet for dansk fotografi<\/td><\/td><\/td><\/td><\/td>531<\/td> <\/tr>\n
8108<\/td>3521<\/td>unread<\/td>81<\/td>14464<\/td><\/td>11414<\/td><\/td>Inger Lise Rasmussen<\/td><\/td><\/td>2005<\/td><\/td>7<\/td> <\/tr>\n
8109<\/td>3522<\/td>unread<\/td>84<\/td>14465<\/td><\/td>11415<\/td>Presenting yourself<\/td>Michael Kenny<\/td>Eastman Kodak Company<\/td><\/td>1982<\/td><\/td>7<\/td> <\/tr>\n
8110<\/td>3523<\/td>unread<\/td>84<\/td>14466<\/td><\/td>11416<\/td><\/td><\/td>Eastman Kodak Company<\/td><\/td>1977<\/td><\/td>7<\/td> <\/tr>\n
8111<\/td>3524<\/td>unread<\/td>83<\/td>14467<\/td><\/td>11417<\/td>Farbfotografie<\/td>Gert Koshofer<\/td>Laterna Magica<\/td><\/td>1981<\/td><\/td>3<\/td> <\/tr>\n
8112<\/td>3525<\/td>unread<\/td>81<\/td>14468<\/td><\/td>11418<\/td>Breve uden ord<\/td><\/td>Gyldendal<\/td><\/td>1998<\/td><\/td>1<\/td> <\/tr>\n
8113<\/td>3526<\/td>unread<\/td>81<\/td>14469<\/td><\/td>11419<\/td>Brobyggerne<\/td>Jo Selsing<\/td>Borgen<\/td><\/td>1998<\/td><\/td>1<\/td> <\/tr>\n
8114<\/td>3527<\/td>unread<\/td>81<\/td>14470<\/td><\/td>11420<\/td>Arbejde<\/td><\/td>Forlaget Per Kofod og Sid<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8115<\/td>3528<\/td>unread<\/td>84<\/td>14471<\/td><\/td>11422<\/td>Karsh<\/td>Yousuf Karsh<\/td>University of Toronto Press<\/td><\/td>1983<\/td><\/td>1<\/td> <\/tr>\n
8116<\/td>3529<\/td>unread<\/td>84<\/td>14472<\/td><\/td>11423<\/td>Master Photography<\/td>Michael Buselle<\/td>Mitchell Beazley publishers Limited<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8117<\/td>3530<\/td>unread<\/td>84<\/td>14473<\/td><\/td>11424<\/td>Close to nature<\/td>Lennart Nilsson<\/td>Pantheon<\/td><\/td>1984<\/td><\/td>1<\/td> <\/tr>\n
8118<\/td>3531<\/td>unread<\/td>84<\/td>14474<\/td><\/td>11425<\/td>The Encyclopedia of Photography, v.2 Aq<\/td><\/td>Greystone<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8119<\/td>3532<\/td>unread<\/td>84<\/td>14475<\/td><\/td>11426<\/td>The Encyclopedia of Photography,vol I<\/td><\/td>Greystone<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8120<\/td>3533<\/td>unread<\/td>84<\/td>14476<\/td><\/td>11427<\/td>The Encyclopedia of Photography, vol.4<\/td><\/td>Greystone<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8121<\/td>3534<\/td>unread<\/td>84<\/td>14477<\/td><\/td>11428<\/td>The Encyclopedia of Photography, vol.3<\/td><\/td>Greystone<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8122<\/td>3535<\/td>unread<\/td>81<\/td>14479<\/td><\/td>11429<\/td><\/td>Jens A. Petersen<\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8123<\/td>3536<\/td>unread<\/td>84<\/td>14480<\/td><\/td>11430<\/td><\/td>Kate Rouse<\/td>Chartwell books, Inc.<\/td><\/td>1994<\/td><\/td>1<\/td> <\/tr>\n
8124<\/td>3537<\/td>unread<\/td>81<\/td>14481<\/td><\/td>11431<\/td><\/td>Johann Willsberger<\/td>Lademann<\/td><\/td>1977<\/td><\/td>3<\/td> <\/tr>\n
8125<\/td>3538<\/td>unread<\/td>84<\/td>14482<\/td><\/td>11432<\/td>The frozen Image: Scandinavian photograp<\/td>Martin Friedman<\/td>Abbeville Press<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8126<\/td>3539<\/td>unread<\/td>81<\/td>14483<\/td><\/td>11433<\/td><\/td><\/td><\/td><\/td>1983<\/td><\/td>3<\/td> <\/tr>\n
8127<\/td>3540<\/td>unread<\/td>84<\/td>14484<\/td><\/td>11434<\/td>Photography from 1839 to today<\/td>George Eastman House, Rochester N.Y.<\/td>Taschen<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8128<\/td>3541<\/td>unread<\/td>81<\/td>14485<\/td><\/td>11435<\/td><\/td>Bruce Chatwin<\/td><\/td><\/td>1993<\/td><\/td>1<\/td> <\/tr>\n
8129<\/td>3542<\/td>unread<\/td>84<\/td>14486<\/td><\/td>11436<\/td>Snowdon Stills 1984-1987<\/td>Harold Evans<\/td>Weidenfeld and Nicolson<\/td><\/td>1987<\/td><\/td>3<\/td> <\/tr>\n
8130<\/td>3543<\/td>unread<\/td>81<\/td>14487<\/td><\/td>11437<\/td>Danmarksbilleder<\/td>Gregers Nielsen<\/td>Tiderne skifter<\/td><\/td>1994<\/td><\/td>3<\/td> <\/tr>\n
8131<\/td>3544<\/td>unread<\/td>82<\/td>14488<\/td><\/td>11438<\/td><\/td><\/td>Norske Kunst-og kulturhistoriske museer<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8132<\/td>3545<\/td>unread<\/td>81<\/td>14489<\/td><\/td>11439<\/td>Dansk nutidskunst 19,Krass Clement<\/td>Jacob Wamberg<\/td>Kunstbogklubben<\/td><\/td>1993<\/td><\/td>3<\/td> <\/tr>\n
8133<\/td>3546<\/td>unread<\/td>84<\/td>14490<\/td><\/td>11440<\/td>Snowdon Sittings 1979-1983<\/td>John Mortimer<\/td>Weidenfeld & Nicolson<\/td><\/td>1984<\/td><\/td>3<\/td> <\/tr>\n
8134<\/td>3547<\/td>unread<\/td>81<\/td>14491<\/td><\/td>11441<\/td><\/td>Evald Tang Kristensen,Peter Olsen m.fl.<\/td>Nyt Nordisk Forlag Arnold Busck<\/td><\/td>1981<\/td><\/td>3<\/td> <\/tr>\n
8135<\/td>3548<\/td>unread<\/td>84<\/td>14492<\/td><\/td>11442<\/td><\/td><\/td><\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8136<\/td>3549<\/td>unread<\/td>84<\/td>14493<\/td><\/td>11443<\/td>The best of popular Photography<\/td>Harvey V. Fondiller<\/td>Ziff-Davis Publishing Company<\/td><\/td>1979<\/td><\/td>1<\/td> <\/tr>\n
8137<\/td>3550<\/td>unread<\/td>84<\/td>14494<\/td><\/td>11444<\/td><\/td><\/td>Eastman Kodak Company<\/td><\/td>1971<\/td><\/td>7<\/td> <\/tr>\n
8138<\/td>3551<\/td>unread<\/td>84<\/td>14495<\/td><\/td>11445<\/td>Indoor picture- Taking<\/td><\/td>Eastman Kodak Company<\/td><\/td>1974<\/td><\/td>7<\/td> <\/tr>\n
8139<\/td>3552<\/td>unread<\/td>84<\/td>14496<\/td><\/td>11446<\/td>How to take good pictures<\/td><\/td>Eastman Kodak Company<\/td><\/td>1981<\/td><\/td>7<\/td> <\/tr>\n
8140<\/td>3553<\/td>unread<\/td>84<\/td>14497<\/td><\/td>11447<\/td>How to take & develop black & white phot<\/td>Michael Freeman<\/td>Grange Books<\/td><\/td>1994<\/td><\/td>3<\/td> <\/tr>\n
8141<\/td>3554<\/td>unread<\/td>81<\/td>14498<\/td><\/td>11448<\/td><\/td>Jane Burton<\/td>Carlsen<\/td><\/td>1990<\/td><\/td>3<\/td> <\/tr>\n
8142<\/td>3555<\/td>unread<\/td>83<\/td>14499<\/td><\/td>11449<\/td>Industrie fotografie<\/td>Nikolaus Karpf<\/td>Verlag Grossbild-Technik<\/td><\/td>1966<\/td><\/td>3<\/td> <\/tr>\n
8143<\/td>3556<\/td>unread<\/td>84<\/td>14500<\/td><\/td>11450<\/td>Rodenstock,100 years for better vision<\/td><\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8144<\/td>3557<\/td>unread<\/td>83<\/td>14501<\/td><\/td>11451<\/td>Julia Margaret Cameron<\/td>Helmut Gernsheim<\/td>Gordon Fraser<\/td><\/td>1975<\/td><\/td>3<\/td> <\/tr>\n
8145<\/td>3558<\/td>unread<\/td>81<\/td>14502<\/td><\/td>11452<\/td><\/td><\/td><\/td><\/td>1968<\/td><\/td>7<\/td> <\/tr>\n
8146<\/td>3559<\/td>unread<\/td>84<\/td>14503<\/td><\/td>11453<\/td>Serendipity by Snowdon<\/td>Martini & Rossi<\/td>The royal Pavilion art gallery & museums<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8147<\/td>3560<\/td>unread<\/td>81<\/td>14504<\/td><\/td>11454<\/td>Steder i verden fotografier 1980-90<\/td><\/td>Forlaget Per Kofod<\/td><\/td>1986<\/td><\/td>3<\/td> <\/tr>\n
8148<\/td>3561<\/td>unread<\/td>81<\/td>14505<\/td><\/td>11455<\/td>Danskernes egen historie,hverdagsliv<\/td>Jacob Ludvigsen<\/td>Substanz<\/td><\/td>2005<\/td><\/td>7<\/td> <\/tr>\n
8149<\/td>3562<\/td>unread<\/td>81<\/td>14506<\/td><\/td>11456<\/td>Horsensegnens kirker<\/td>Eigil Holm<\/td>Eigil Holms forlag<\/td><\/td>2002<\/td><\/td>1<\/td> <\/tr>\n
8150<\/td>3563<\/td>unread<\/td>81<\/td>14507<\/td><\/td>11466<\/td>C W Eckersberg<\/td>P. M. Hornung, Kasper Monrad<\/td>Palle Fogtdal<\/td><\/td>2005<\/td><\/td>7<\/td> <\/tr>\n
8151<\/td>3564<\/td>unread<\/td>84<\/td>14508<\/td><\/td>11467<\/td>Aenne Biermann,Photographs 1925-33<\/td>Lain Boyd Whyte<\/td>Folkwang Series Nishen<\/td><\/td>1988<\/td><\/td>3<\/td> <\/tr>\n
8152<\/td>3565<\/td>unread<\/td>81<\/td>14509<\/td><\/td>11468<\/td><\/td>John Hedgecoe<\/td>Komma & Clausen<\/td><\/td>1991<\/td><\/td>3<\/td> <\/tr>\n
8153<\/td>3566<\/td>unread<\/td>81<\/td>14510<\/td><\/td>11469<\/td>Det jyske brunkulseventyr<\/td><\/td>Anna og Michael Jensen<\/td><\/td>1971<\/td><\/td>3<\/td> <\/tr>\n
8154<\/td>3567<\/td>unread<\/td>81<\/td>14511<\/td><\/td>11470<\/td>Image<\/td>Fotografisk Galleri<\/td>Galleri Image<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8155<\/td>3568<\/td>unread<\/td>81<\/td>14512<\/td><\/td>11471<\/td>Skurvogne<\/td><\/td>Forlaget Compagniet<\/td><\/td>1993<\/td><\/td>3<\/td> <\/tr>\n
8156<\/td>3569<\/td>unread<\/td>84<\/td>14513<\/td><\/td>11472<\/td>Talisman<\/td>Arthur Tress<\/td>Livingstone<\/td><\/td>1986<\/td><\/td>3<\/td> <\/tr>\n
8157<\/td>3570<\/td>unread<\/td>84<\/td>14514<\/td><\/td>11473<\/td>Focal book of Practical Photography<\/td>Paul Petzold<\/td>Focal Press<\/td><\/td>1980<\/td><\/td>3<\/td> <\/tr>\n
8158<\/td>3571<\/td>unread<\/td>81<\/td>14515<\/td><\/td>11474<\/td>Den forsvundne landsby<\/td>Peter Olesen<\/td>Borgen<\/td><\/td>1990<\/td><\/td>3<\/td> <\/tr>\n
8159<\/td>3572<\/td>unread<\/td>81<\/td>14516<\/td><\/td>11475<\/td><\/td>Mette Sandbye<\/td><\/td><\/td>2001<\/td><\/td>3<\/td> <\/tr>\n
8160<\/td>3573<\/td>unread<\/td>84<\/td>14517<\/td><\/td>11476<\/td>Victorian Studio Photographs<\/td>Bevis Hillier<\/td>Ash & Grant<\/td><\/td>1975<\/td><\/td>3<\/td> <\/tr>\n
8161<\/td>3574<\/td>unread<\/td>84<\/td>14518<\/td><\/td>11477<\/td>The birth of Photography<\/td>Brian Coe<\/td>Ash & Grant<\/td><\/td>1976<\/td><\/td>3<\/td> <\/tr>\n
8162<\/td>3575<\/td>unread<\/td>81<\/td>14519<\/td><\/td>11478<\/td>Naturfotografering<\/td><\/td>G.E.C. Gad<\/td><\/td>1977<\/td><\/td>3<\/td> <\/tr>\n
8163<\/td>3576<\/td>unread<\/td>83<\/td>14520<\/td><\/td>11479<\/td>Bibliothek der Photographie,band 2<\/td>William H. Fox Talbot<\/td>Verlag C.J.Bucher<\/td><\/td>1972<\/td><\/td>1<\/td> <\/tr>\n
8164<\/td>3577<\/td>unread<\/td>84<\/td>14521<\/td><\/td>11480<\/td>Alfred Stieglitz<\/td><\/td>Ikaros<\/td><\/td>1977<\/td><\/td>3<\/td> <\/tr>\n
8165<\/td>3578<\/td>unread<\/td>83<\/td>14522<\/td><\/td>11481<\/td>Deutscher Foto-Almanach 1954<\/td>Robert Hetz<\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8166<\/td>3579<\/td>unread<\/td>83<\/td>14523<\/td><\/td>11482<\/td>Dresdner Atelier-Fotografie<\/td>Horst Milde<\/td>Verlad der Kunst Dresden<\/td><\/td>1991<\/td><\/td>3<\/td> <\/tr>\n
8167<\/td>3580<\/td>unread<\/td>83<\/td>14524<\/td><\/td>11483<\/td>Das Daguerreotyp und das Diorama 1839<\/td><\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8168<\/td>3581<\/td>unread<\/td>81<\/td>14525<\/td><\/td>11484<\/td>Set, Fotografier 1948-1994<\/td>Viggo Rivad<\/td>Gyldendal<\/td><\/td>1994<\/td><\/td>3<\/td> <\/tr>\n
8169<\/td>3582<\/td>unread<\/td>81<\/td>14526<\/td><\/td>11485<\/td>Anastasias Album<\/td>Hugh Brewster<\/td><\/td><\/td>1996<\/td><\/td>3<\/td> <\/tr>\n
8170<\/td>3583<\/td>unread<\/td>81<\/td>14527<\/td><\/td>11486<\/td><\/td><\/td><\/td><\/td>1995<\/td><\/td>3<\/td> <\/tr>\n
8171<\/td>3584<\/td>unread<\/td>81<\/td>14528<\/td><\/td>11487<\/td><\/td><\/td>Hans Reitzels Forlag<\/td><\/td>1989<\/td><\/td>3<\/td> <\/tr>\n
8172<\/td>3585<\/td>unread<\/td>81<\/td>14529<\/td><\/td>11488<\/td><\/td>Fradley Garner, J. Manley & Finn Thrane<\/td>Rhodos<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8173<\/td>3586<\/td>unread<\/td>83<\/td>14530<\/td><\/td>11489<\/td><\/td>Ars Baltica<\/td>Nieswand Verlag<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8174<\/td>3587<\/td>unread<\/td>81<\/td>14531<\/td><\/td>11490<\/td>Foto grundbogen<\/td>Michael Langford<\/td>Gyldendal<\/td><\/td>1979<\/td><\/td>1<\/td> <\/tr>\n
8175<\/td>3588<\/td>unread<\/td>84<\/td>14532<\/td><\/td>11491<\/td>Edwardian Album<\/td>Nicolas Bentley<\/td>The Viking Press<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8176<\/td>3589<\/td>unread<\/td>81<\/td>14533<\/td><\/td>11493<\/td><\/td><\/td>Multivers Aps.Forlag<\/td><\/td>1998<\/td><\/td>3<\/td> <\/tr>\n
8177<\/td>3590<\/td>unread<\/td>81<\/td>14534<\/td><\/td>11494<\/td>Politikens bog om farvefotografering<\/td>Adrian Bailey og Adrian Holloway<\/td>Politikens Forlag<\/td><\/td>1980<\/td><\/td>1<\/td> <\/tr>\n
8178<\/td>3591<\/td>unread<\/td>84<\/td>14535<\/td><\/td>11495<\/td>150 years of Photo Journalism<\/td>The Hulton Getty Picture Collection<\/td><\/td><\/td>1995<\/td><\/td>1<\/td> <\/tr>\n
8179<\/td>3592<\/td>unread<\/td>83<\/td>14536<\/td><\/td>11496<\/td>L.J.M.Daguerre<\/td>Helmut and Alison Gernsheim<\/td>Secker & Warburg<\/td><\/td>1956<\/td><\/td>3<\/td> <\/tr>\n
8180<\/td>3593<\/td>unread<\/td>86<\/td>14537<\/td><\/td>11497<\/td>Den svenska fotografins historia 1840<\/td><\/td>Bonnier Fakta<\/td><\/td>1983<\/td><\/td>3<\/td> <\/tr>\n
8181<\/td>3594<\/td>unread<\/td>84<\/td>14538<\/td><\/td>11498<\/td>20 th Century Photography<\/td>Icons<\/td>Taschen<\/td><\/td>2001<\/td><\/td>3<\/td> <\/tr>\n
8182<\/td>3595<\/td>unread<\/td>83<\/td>14539<\/td><\/td>11499<\/td>Paul Strand<\/td><\/td><\/td><\/td>1997<\/td><\/td>3<\/td> <\/tr>\n
8183<\/td>3596<\/td>unread<\/td>83<\/td>14540<\/td><\/td>11500<\/td>Filter, Vorsatzlinsen,Weichzeichner<\/td>Alfred Kastl<\/td><\/td><\/td>1955<\/td><\/td>2<\/td> <\/tr>\n
8184<\/td>3597<\/td>unread<\/td>83<\/td>14541<\/td><\/td>11501<\/td>Taschenbuch der Aufnahmetechnik<\/td>Josef Gottschammel<\/td>Die Galerie Josef Gottschammel<\/td><\/td>1947<\/td><\/td>2<\/td> <\/tr>\n
8185<\/td>3598<\/td>unread<\/td>84<\/td>14542<\/td><\/td>11502<\/td>Manual of Optics<\/td>The rev. Samuel Haughton<\/td>Cassell & Company Ltd.<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8186<\/td>3599<\/td>unread<\/td>83<\/td>14543<\/td><\/td>11503<\/td><\/td>Othmar Maudry<\/td><\/td><\/td>1955<\/td><\/td>2<\/td> <\/tr>\n
8187<\/td>3600<\/td>unread<\/td>84<\/td>14544<\/td><\/td>11504<\/td>Thoughts from the Pattya Orphanage<\/td>Paul Knights and Patrick Mc Geown<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8188<\/td>3601<\/td>unread<\/td>81<\/td>14545<\/td><\/td>11505<\/td><\/td><\/td>Historisk forening for Herning Kommune<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8189<\/td>3602<\/td>unread<\/td>81<\/td>14546<\/td><\/td>11506<\/td><\/td>Kolorittens lokalhistorie,gruppe 2004<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8190<\/td>3603<\/td>unread<\/td>83<\/td>14547<\/td><\/td>11507<\/td>Neue Wege der Blitzlicht Technik<\/td><\/td>IM Heering Verlag<\/td><\/td>1956<\/td><\/td>2<\/td> <\/tr>\n
8191<\/td>3604<\/td>unread<\/td>81<\/td>14548<\/td><\/td>11508<\/td>Hele Danmarks bryllup<\/td><\/td>Ajour<\/td><\/td>2004<\/td><\/td>2<\/td> <\/tr>\n
8192<\/td>3605<\/td>unread<\/td>83<\/td>14549<\/td><\/td>11509<\/td>Bibliotheca Photographica<\/td>Ernst Amandus Zuchold<\/td>Ikaros<\/td><\/td>1977<\/td><\/td>2<\/td> <\/tr>\n
8193<\/td>3606<\/td>unread<\/td>83<\/td>14550<\/td><\/td>11510<\/td>Schmalfilmen mit Bolex 8<\/td>Heinrich Freytag<\/td><\/td><\/td>1962<\/td><\/td>2<\/td> <\/tr>\n
8194<\/td>3607<\/td>unread<\/td>83<\/td>14551<\/td><\/td>11511<\/td>Retina-tips<\/td><\/td>IM Heering Verlag<\/td><\/td>1955<\/td><\/td>2<\/td> <\/tr>\n
8195<\/td>3608<\/td>unread<\/td>83<\/td>14552<\/td><\/td>11512<\/td>Drei Kurzlektionen<\/td><\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8196<\/td>3609<\/td>unread<\/td>84<\/td>14553<\/td><\/td>11513<\/td>The history and practice of Daguerreotyp<\/td>A. Bisbee<\/td>Arno Press<\/td><\/td>1973<\/td><\/td>2<\/td> <\/tr>\n
8197<\/td>3610<\/td>unread<\/td>83<\/td>14554<\/td><\/td>11514<\/td><\/td>Fritz Loescher<\/td>Berlin Verlag von Gustav Schmidt<\/td><\/td>1905<\/td><\/td>2<\/td> <\/tr>\n
8198<\/td>3611<\/td>unread<\/td>81<\/td>14555<\/td><\/td>11515<\/td>Park<\/td>Finn Larsen<\/td>Linde Tryk Aps.<\/td><\/td>2002<\/td><\/td>2<\/td> <\/tr>\n
8199<\/td>3612<\/td>unread<\/td>81<\/td>14556<\/td><\/td>11516<\/td><\/td>Herman Bente<\/td>H. Hirschprungs forlag<\/td><\/td>1938<\/td><\/td>2<\/td> <\/tr>\n
8200<\/td>3613<\/td>unread<\/td>83<\/td>14557<\/td><\/td>11517<\/td>Filmtricks und trickfilme<\/td><\/td>Wilhelm Knapp Verlag<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8201<\/td>3614<\/td>unread<\/td>84<\/td>14558<\/td><\/td>11518<\/td>The magic & Imagery & special effects<\/td>Jack Curtis<\/td>Harbor Company<\/td><\/td>1977<\/td><\/td>2<\/td> <\/tr>\n
8202<\/td>3615<\/td>unread<\/td>83<\/td>14559<\/td><\/td>11519<\/td>Yashica Samurai<\/td>Gunther Lothert<\/td>Laterna Magica<\/td><\/td>1989<\/td><\/td>2<\/td> <\/tr>\n
8203<\/td>3616<\/td>unread<\/td>81<\/td>14560<\/td><\/td>11520<\/td>\"Digitalt\"<\/td><\/td><\/td><\/td>1999<\/td><\/td>2<\/td> <\/tr>\n
8204<\/td>3617<\/td>unread<\/td>81<\/td>14561<\/td><\/td>11521<\/td>1 st. Silkeborg classic Monocrome salon<\/td>Reproff Grafisk<\/td><\/td><\/td>2002<\/td><\/td>2<\/td> <\/tr>\n
8205<\/td>3618<\/td>unread<\/td>83<\/td>14562<\/td><\/td>11522<\/td>Taschenbuch der photographie<\/td>Dr. E. Vogel<\/td>Gustav Schmidt Verlag<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8206<\/td>3619<\/td>unread<\/td>81<\/td>14563<\/td><\/td>11523<\/td><\/td>Joseph M. Lloyd<\/td>J.Fr.Clausens forlag<\/td><\/td>1969<\/td><\/td>2<\/td> <\/tr>\n
8207<\/td>3620<\/td>unread<\/td>81<\/td>14564<\/td><\/td>11524<\/td>Stereo<\/td>Kjell Stenson & Tore Lindholm<\/td>J.Fr.Clausens Forlag<\/td><\/td>1969<\/td><\/td>2<\/td> <\/tr>\n
8208<\/td>3621<\/td>unread<\/td>81<\/td>14565<\/td><\/td>11525<\/td>Hi-fi<\/td><\/td>J.Fr.Clausens Forlag<\/td><\/td>1969<\/td><\/td>2<\/td> <\/tr>\n
8209<\/td>3622<\/td>unread<\/td>81<\/td>14566<\/td><\/td>11526<\/td><\/td>Henrik Ibsen<\/td>Ernst Bojesens Kunstforlag<\/td><\/td>1880<\/td><\/td>2<\/td> <\/tr>\n
8210<\/td>3623<\/td>unread<\/td>84<\/td>14567<\/td><\/td>11527<\/td>Nude 1925<\/td>Morgan and Morgan<\/td>Dobbs Ferry<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8211<\/td>3624<\/td>unread<\/td>81<\/td>14568<\/td><\/td>11528<\/td><\/td>Tommy Frenning<\/td>Politikens forlag<\/td><\/td>1975<\/td><\/td>2<\/td> <\/tr>\n
8212<\/td>3625<\/td>unread<\/td>83<\/td>14569<\/td><\/td>11529<\/td>Novoflex Taschenbuch<\/td>Friedrich-W.Voigt<\/td>IM Heering Verlag<\/td><\/td>1961<\/td><\/td>2<\/td> <\/tr>\n
8213<\/td>3626<\/td>unread<\/td>83<\/td>14570<\/td><\/td>11530<\/td>Farbenfilm mit deiner Kamera<\/td><\/td>Wilhelm Knapp Verlag<\/td><\/td>1940<\/td><\/td>2<\/td> <\/tr>\n
8214<\/td>3627<\/td>unread<\/td>83<\/td>14571<\/td><\/td>11531<\/td>Contaxphotographie<\/td><\/td>Zeiss Ikon AG, Dresden<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8215<\/td>3628<\/td>unread<\/td>81<\/td>14572<\/td><\/td>11532<\/td><\/td>Helge Jacobsen<\/td>J.Fr.Clausens Forlag<\/td><\/td>1972<\/td><\/td>2<\/td> <\/tr>\n
8216<\/td>3629<\/td>unread<\/td>84<\/td>14573<\/td><\/td>11533<\/td>Eros- in the silver looking glass<\/td>Uwe Scheid- collection<\/td>R.O.M.Studios Gmbh.<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8217<\/td>3630<\/td>unread<\/td>81<\/td>14574<\/td><\/td>11534<\/td>Fotografiet i kongehuset<\/td>Gerda Petri & Peter Wessel Hansen<\/td><\/td><\/td>2005<\/td><\/td>2<\/td> <\/tr>\n
8218<\/td>3631<\/td>unread<\/td>85<\/td>14575<\/td><\/td>11535<\/td><\/td>V. Cordier<\/td>Gauthier-Villars, Imprimeur-Libraire<\/td><\/td>1880<\/td><\/td>2<\/td> <\/tr>\n
8219<\/td>3632<\/td>unread<\/td>84<\/td>14576<\/td><\/td>11536<\/td>The family friend<\/td><\/td><\/td><\/td>1852<\/td><\/td>2<\/td> <\/tr>\n
8220<\/td>3633<\/td>unread<\/td>82<\/td>14577<\/td><\/td>11537<\/td>Fotografi, Kvinnelige fotografer i Norde<\/td><\/td><\/td><\/td>1988<\/td><\/td>2<\/td> <\/tr>\n
8221<\/td>3634<\/td>unread<\/td>83<\/td>14578<\/td><\/td>11538<\/td>Die Bromsilber-Gelatine<\/td>Dr. Paul E. Liesegang<\/td>Ed. Liesegangs Verlag<\/td><\/td>1889<\/td><\/td>2<\/td> <\/tr>\n
8222<\/td>3635<\/td>unread<\/td>83<\/td>14579<\/td><\/td>11539<\/td>Wir zeigen Ihnen.........<\/td>I.G. Farbenindustrie Aktiengesellschaft<\/td>AGFA<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8223<\/td>3636<\/td>unread<\/td>81<\/td>14580<\/td><\/td>11540<\/td>Vejledning i Fotografering<\/td>Kongsbak & Cohn<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8224<\/td>3637<\/td>unread<\/td>83<\/td>14581<\/td><\/td>11541<\/td>Satrap-Handbuch<\/td><\/td>Selbst-Verlag<\/td><\/td>1916<\/td><\/td>2<\/td> <\/tr>\n
8225<\/td>3638<\/td>unread<\/td>81<\/td>14582<\/td><\/td>11542<\/td><\/td>Harald Paetz<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8226<\/td>3639<\/td>unread<\/td>84<\/td>14583<\/td><\/td>11543<\/td>The ABC of modern Photography<\/td><\/td>The London Stereoscopie and Photographic<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8227<\/td>3640<\/td>unread<\/td>81<\/td>14584<\/td><\/td>11544<\/td>I Danmark er jeg<\/td>Piotr Topperzer<\/td><\/td><\/td>1993<\/td><\/td>1<\/td> <\/tr>\n
8228<\/td>3641<\/td>unread<\/td>81<\/td>14585<\/td><\/td>11545<\/td>Det rette udseende<\/td>Henrik G. Poulsen<\/td>Hans Reitzels Forlag<\/td><\/td>1996<\/td><\/td>1<\/td> <\/tr>\n
8229<\/td>3642<\/td>unread<\/td>83<\/td>14586<\/td><\/td>11546<\/td><\/td>Dr. Paul E. Liesegang<\/td>Ed. Liesegangs Verlag<\/td><\/td>1884<\/td><\/td>2<\/td> <\/tr>\n
8230<\/td>3643<\/td>unread<\/td>84<\/td>14587<\/td><\/td>11547<\/td>Camera Lenses<\/td>Arthur Lockett<\/td>Sir Isaac Pitman & sons Limited<\/td><\/td>1944<\/td><\/td>2<\/td> <\/tr>\n
8231<\/td>3644<\/td>unread<\/td>81<\/td>14588<\/td><\/td>11548<\/td>Scala<\/td><\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8232<\/td>3645<\/td>unread<\/td>84<\/td>14589<\/td><\/td>11549<\/td>John Herschel and the Invention of Photo<\/td>National Centre of Photography<\/td><\/td><\/td>1981<\/td><\/td>2<\/td> <\/tr>\n
8233<\/td>3646<\/td>unread<\/td>81<\/td>14590<\/td><\/td>11550<\/td><\/td>Finn Nesgaard og Svend E. Pedersen<\/td>Forlaget Nye Medier<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8234<\/td>3647<\/td>unread<\/td>81<\/td>14591<\/td><\/td>11551<\/td><\/td>Marie-Louise Berner<\/td><\/td><\/td>1998<\/td><\/td>2<\/td> <\/tr>\n
8235<\/td>3648<\/td>unread<\/td>81<\/td>14592<\/td><\/td>11552<\/td><\/td>Marie-Louise Berner<\/td><\/td><\/td>2001<\/td><\/td>2<\/td> <\/tr>\n
8236<\/td>3649<\/td>unread<\/td>84<\/td>14593<\/td><\/td>11553<\/td><\/td>The Art Museum of the university of Tex.<\/td>Twenty-third & San Jacinto<\/td><\/td>1968<\/td><\/td>2<\/td> <\/tr>\n
8237<\/td>3650<\/td>unread<\/td>81<\/td>14594<\/td><\/td>11554<\/td>Kirsten Klein<\/td>Galerie Birthe Laursen<\/td>Jelling Bogtrykkeri A-S<\/td><\/td>2000<\/td><\/td>2<\/td> <\/tr>\n
8238<\/td>3651<\/td>unread<\/td>81<\/td>14595<\/td><\/td>11555<\/td><\/td><\/td>Gyldendalske Boghandel<\/td><\/td>1896<\/td><\/td>2<\/td> <\/tr>\n
8239<\/td>3652<\/td>unread<\/td>81<\/td>14596<\/td><\/td>11556<\/td>De bedste billeder taget af danske fotoj<\/td><\/td>Forlaget Ajour<\/td><\/td>2002<\/td><\/td>2<\/td> <\/tr>\n
8240<\/td>3653<\/td>unread<\/td>83<\/td>14597<\/td><\/td>11557<\/td><\/td>Joachim Giebelhausen<\/td>VWI Verlag<\/td><\/td>1981<\/td><\/td>2<\/td> <\/tr>\n
8241<\/td>3654<\/td>unread<\/td>84<\/td>14598<\/td><\/td>11558<\/td>Modern Photography<\/td>C.G.Holme<\/td>The studio Limited<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8242<\/td>3655<\/td>unread<\/td>85<\/td>14599<\/td><\/td>11559<\/td>La Photographie du Nu<\/td>C. Klary<\/td><\/td><\/td>1902<\/td><\/td>2<\/td> <\/tr>\n
8243<\/td>3656<\/td>unread<\/td>84<\/td>14600<\/td><\/td>11560<\/td>Ei8ht Photojournalism<\/td>Reuters<\/td><\/td><\/td>2004<\/td><\/td>2<\/td> <\/tr>\n
8244<\/td>3657<\/td>unread<\/td>81<\/td>14601<\/td><\/td>11561<\/td>Revolver<\/td>Revolver Magazine<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8245<\/td>3658<\/td>unread<\/td>83<\/td>14602<\/td><\/td>11562<\/td>Internationales Jahrbuch der Fotografie<\/td>Norman Hall und Basil Burton<\/td>Photography Magazine<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8246<\/td>3659<\/td>unread<\/td>81<\/td>14603<\/td><\/td>11563<\/td>24 - En sejr i Le Mans<\/td>Stephan Bach<\/td>Forlaget November<\/td><\/td>2004<\/td><\/td>2<\/td> <\/tr>\n
8247<\/td>3660<\/td>unread<\/td>84<\/td>14604<\/td><\/td>11564<\/td>Scandinavian fame portrait exhibition<\/td><\/td><\/td><\/td>1984<\/td><\/td>7<\/td> <\/tr>\n
8248<\/td>3661<\/td>unread<\/td>81<\/td>14605<\/td><\/td>11565<\/td>Strejftog i Hernings historie<\/td>Ove Pedersen<\/td>Historisk fore. for Herning Kommune<\/td><\/td>2005<\/td><\/td>7<\/td> <\/tr>\n
8249<\/td>3662<\/td>unread<\/td>82<\/td>14606<\/td><\/td>11566<\/td><\/td><\/td>Historiska Media<\/td><\/td>2005<\/td><\/td>7<\/td> <\/tr>\n
8250<\/td>3663<\/td>unread<\/td>84<\/td>14607<\/td><\/td>11567<\/td>Next Level<\/td><\/td>Art\/Photography\/Issues<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8251<\/td>3664<\/td>unread<\/td>84<\/td>14608<\/td><\/td>11568<\/td><\/td>Lee D. Witkin,Barbara London<\/td>Little, Brown and Company<\/td><\/td>1979<\/td><\/td>1<\/td> <\/tr>\n
8252<\/td>3665<\/td>unread<\/td>84<\/td>14609<\/td><\/td>11569<\/td>The Japanese Photo Industry<\/td>Dr. Takeshi Mitarai<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8253<\/td>3666<\/td>unread<\/td>83<\/td>14610<\/td><\/td>11570<\/td>Leica im Spiegel der Erinnerungen<\/td>Emil G. Keller<\/td>Lindemanns Verlag<\/td><\/td>1990<\/td><\/td>1<\/td> <\/tr>\n
8254<\/td>3667<\/td>unread<\/td>84<\/td>14611<\/td><\/td>11571<\/td>The Japanese Camera<\/td>John Baird<\/td>Historical Camera Publications<\/td><\/td>1990<\/td><\/td>1<\/td> <\/tr>\n
8255<\/td>3668<\/td>unread<\/td>84<\/td>14612<\/td><\/td>11572<\/td>The best of popular Photography<\/td>Harvey V. Fondiller<\/td>Ziff-Davis publishing Company<\/td><\/td>1979<\/td><\/td>1<\/td> <\/tr>\n
8256<\/td>3669<\/td>unread<\/td>81<\/td>14613<\/td><\/td>11573<\/td><\/td><\/td><\/td><\/td>2000<\/td><\/td>1<\/td> <\/tr>\n
8257<\/td>3670<\/td>unread<\/td>81<\/td>14614<\/td><\/td>11574<\/td>Nikkor Annual\/ 1980-81<\/td><\/td>Japansk forlag<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8258<\/td>3671<\/td>unread<\/td>84<\/td>14615<\/td><\/td>11575<\/td>Portraits<\/td>Tony Stone Images<\/td><\/td><\/td>1997<\/td><\/td>1<\/td> <\/tr>\n
8259<\/td>3672<\/td>unread<\/td>81<\/td>14616<\/td><\/td>11576<\/td>Fotografi i Diamanten<\/td>Ingrid Fischer Jonge<\/td>Det Nationale Fotomuseum<\/td><\/td><\/td><\/td>7<\/td> <\/tr>\n
8260<\/td>3673<\/td>unread<\/td>83<\/td>14617<\/td><\/td>11577<\/td>Photographie als Photographie<\/td>Berlinische Galerie<\/td><\/td><\/td>1989<\/td><\/td>7<\/td> <\/tr>\n
8261<\/td>3674<\/td>unread<\/td>81<\/td>14618<\/td><\/td>11578<\/td>Analog dialog<\/td>Mogens S. Koch<\/td><\/td><\/td><\/td><\/td>7<\/td> <\/tr>\n
8262<\/td>3675<\/td>unread<\/td>81<\/td>14619<\/td><\/td>11579<\/td><\/td>Herning Museum<\/td><\/td><\/td>2005<\/td><\/td>7<\/td> <\/tr>\n
8263<\/td>3676<\/td>unread<\/td>81<\/td>14620<\/td><\/td>11580<\/td>Italien, udvalgte byer<\/td>Mikkel Seeberg<\/td>Forlaget 191<\/td><\/td>2005<\/td><\/td>7<\/td> <\/tr>\n
8264<\/td>3677<\/td>unread<\/td>81<\/td>14621<\/td><\/td>11581<\/td>Nikkor Annual 1977-78<\/td><\/td>Japansk forlag<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8265<\/td>3678<\/td>unread<\/td>81<\/td>14622<\/td><\/td>11582<\/td>Nikkor Annual 1981-82<\/td><\/td>Japansk forlag<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8266<\/td>3679<\/td>unread<\/td>81<\/td>14623<\/td><\/td>11583<\/td>Nikkor Annual 1978-79<\/td><\/td>Japansk forlag<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8267<\/td>3680<\/td>unread<\/td>81<\/td>14624<\/td><\/td>11584<\/td>Nikkor 1984-85 Annual<\/td><\/td>Japansk forlag<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8268<\/td>3681<\/td>unread<\/td>81<\/td>14625<\/td><\/td>11585<\/td>Nikkor Annual 1979-80<\/td><\/td>Japansk forlag<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8269<\/td>3682<\/td>unread<\/td>84<\/td>14626<\/td><\/td>11586<\/td><\/td>VIII Biennal Internacional de Fotografia<\/td>Cultures delmon<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8270<\/td>3683<\/td>unread<\/td>81<\/td>14627<\/td><\/td>11587<\/td>I Danmark er jeg<\/td>Piotr Topperzer<\/td><\/td><\/td>1993<\/td><\/td>1<\/td> <\/tr>\n
8271<\/td>3684<\/td>unread<\/td>82<\/td>14628<\/td><\/td>11588<\/td>Med kameran som reskamrat<\/td>Full hand<\/td>Expo bok<\/td><\/td>1967<\/td><\/td>2<\/td> <\/tr>\n
8272<\/td>3685<\/td>unread<\/td>81<\/td>14629<\/td><\/td>11589<\/td><\/td><\/td><\/td><\/td>1982<\/td><\/td>7<\/td> <\/tr>\n
8273<\/td>3686<\/td>unread<\/td>81<\/td>14630<\/td><\/td>11590<\/td><\/td><\/td>Fotografisk Landsforbund<\/td><\/td>1985<\/td><\/td>7<\/td> <\/tr>\n
8274<\/td>3687<\/td>unread<\/td>84<\/td>14631<\/td><\/td>11591<\/td>A glossary for photography<\/td>Frank Fenner<\/td>Ziff- Davis publishing<\/td><\/td>1939<\/td><\/td>7<\/td> <\/tr>\n
8275<\/td>3688<\/td>unread<\/td>83<\/td>14632<\/td><\/td>11592<\/td><\/td>Erich Kronthaler<\/td>Verlag Adalbert Pechan<\/td><\/td>1955<\/td><\/td>7<\/td> <\/tr>\n
8276<\/td>3689<\/td>unread<\/td>84<\/td>14633<\/td><\/td>11593<\/td>Taking pictures at night<\/td>Robert W. Brown<\/td>Ziff-Davis publishing<\/td><\/td>1941<\/td><\/td>7<\/td> <\/tr>\n
8277<\/td>3690<\/td>unread<\/td>84<\/td>14634<\/td><\/td>11594<\/td>Indoor photography<\/td>Hillary G. Bailey<\/td>Ziff-Davis publishing<\/td><\/td>1940<\/td><\/td>7<\/td> <\/tr>\n
8278<\/td>3691<\/td>unread<\/td>82<\/td>14635<\/td><\/td>11595<\/td><\/td>Heinrich Freytag<\/td>Forum<\/td><\/td>1955<\/td><\/td>7<\/td> <\/tr>\n
8279<\/td>3692<\/td>unread<\/td>82<\/td>14636<\/td><\/td>11596<\/td>Lampa och blixt<\/td>Walter Kross<\/td>Forum<\/td><\/td>1955<\/td><\/td>7<\/td> <\/tr>\n
8280<\/td>3693<\/td>unread<\/td>81<\/td>14637<\/td><\/td>11597<\/td>Breve uden ord<\/td><\/td>Gyldendal<\/td><\/td>1998<\/td><\/td>3<\/td> <\/tr>\n
8281<\/td>3694<\/td>unread<\/td>83<\/td>14638<\/td><\/td>11598<\/td>Die Welt des OM- systems<\/td>Franz Pangerl<\/td>Edition Olympus<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8282<\/td>3695<\/td>unread<\/td>84<\/td>14639<\/td><\/td>11599<\/td>Encyclopedia of Photography volume II<\/td><\/td>EXA-ZOO<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8283<\/td>3696<\/td>unread<\/td>81<\/td>14640<\/td><\/td>11600<\/td>Fotografering<\/td>H.R.Schatter<\/td><\/td><\/td>1976<\/td><\/td>3<\/td> <\/tr>\n
8284<\/td>3697<\/td>unread<\/td>84<\/td>14641<\/td><\/td>11601<\/td>Grundbergs Goof-Proof photography Guide<\/td>Andy Grundberg<\/td>Simon & Schuster Inc.<\/td><\/td>1989<\/td><\/td>3<\/td> <\/tr>\n
8285<\/td>3698<\/td>unread<\/td>84<\/td>14642<\/td><\/td>11602<\/td>Minolta SR manual<\/td>Joseph D. Cooper<\/td>Universal Photo Books<\/td><\/td>1965<\/td><\/td>3<\/td> <\/tr>\n
8286<\/td>3699<\/td>unread<\/td>81<\/td>14643<\/td><\/td>11603<\/td><\/td>John Berger<\/td>Gyldendals Bogklub<\/td><\/td>1984<\/td><\/td>3<\/td> <\/tr>\n
8287<\/td>3700<\/td>unread<\/td>81<\/td>14644<\/td><\/td>11604<\/td>Foto og film<\/td>Egon Schmidt<\/td>Gyldendal<\/td><\/td>1974<\/td><\/td>3<\/td> <\/tr>\n
8288<\/td>3701<\/td>unread<\/td>82<\/td>14645<\/td><\/td>11605<\/td>Foto som hobby<\/td><\/td><\/td><\/td>1963<\/td><\/td>3<\/td> <\/tr>\n
8289<\/td>3702<\/td>unread<\/td>81<\/td>14646<\/td><\/td>11606<\/td>Fotografi og familie<\/td><\/td>Bidrags skriftserie<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8290<\/td>3703<\/td>unread<\/td>81<\/td>14647<\/td><\/td>11607<\/td>Tresserbilleder<\/td>Asger Liebst<\/td>Borgen<\/td><\/td>1982<\/td><\/td>3<\/td> <\/tr>\n
8291<\/td>3704<\/td>unread<\/td>84<\/td>14648<\/td><\/td>11608<\/td>Best friends<\/td>Tove Kurtzweil<\/td>Rhodos<\/td><\/td>2000<\/td><\/td>1<\/td> <\/tr>\n
8292<\/td>3705<\/td>unread<\/td>83<\/td>14649<\/td><\/td>11609<\/td>Man Ray<\/td><\/td><\/td><\/td>1997<\/td><\/td>3<\/td> <\/tr>\n
8293<\/td>3706<\/td>unread<\/td>84<\/td>14650<\/td><\/td>11610<\/td>November girl<\/td>Sam Haskins<\/td>Corgi books<\/td><\/td>1967<\/td><\/td>3<\/td> <\/tr>\n
8294<\/td>3707<\/td>unread<\/td>81<\/td>14651<\/td><\/td>11611<\/td>Paris 50-56, 128 Snap shots<\/td>Boye Willumsen<\/td>Fandens forlag<\/td><\/td>2005<\/td><\/td>3<\/td> <\/tr>\n
8295<\/td>3708<\/td>unread<\/td>84<\/td>14652<\/td><\/td>11612<\/td>Fashion now<\/td>Terry Jones & Avril Mair<\/td>Taschen<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8296<\/td>3709<\/td>unread<\/td>83<\/td>14653<\/td><\/td>11613<\/td><\/td>Dr. Josef Maria Eder<\/td>Wilhelm Knapp<\/td><\/td>1892<\/td><\/td>3<\/td> <\/tr>\n
8297<\/td>3710<\/td>unread<\/td>83<\/td>14654<\/td><\/td>11614<\/td>Das grosse hobby Fotobuch II<\/td>Manfred Bauer<\/td>Ehapa Verlag<\/td><\/td>1972<\/td><\/td>3<\/td> <\/tr>\n
8298<\/td>3711<\/td>unread<\/td>84<\/td>14655<\/td><\/td>11615<\/td>Photographic Pleasures<\/td>Cuthbert Bede, B. A.<\/td>Reynell and Weight<\/td><\/td>1855<\/td><\/td>3<\/td> <\/tr>\n
8299<\/td>3712<\/td>unread<\/td>83<\/td>14656<\/td><\/td>11616<\/td><\/td>F.Paul Liesegang<\/td>Ed. Liesegang<\/td><\/td>1911<\/td><\/td>3<\/td> <\/tr>\n
8300<\/td>3713<\/td>unread<\/td>83<\/td>14657<\/td><\/td>11617<\/td>Photographische Physik<\/td>R.Ed.Liesegang<\/td>Ed. Liesegangs Verlag<\/td><\/td>1899<\/td><\/td>3<\/td> <\/tr>\n
8301<\/td>3714<\/td>unread<\/td>84<\/td>14658<\/td><\/td>11618<\/td>Mechanics Magazine, vol. XXXI<\/td><\/td><\/td><\/td>1839<\/td><\/td>3<\/td> <\/tr>\n
8302<\/td>3715<\/td>unread<\/td>84<\/td>14659<\/td><\/td>11619<\/td>The book of Photography<\/td>Paul N. Hasluck<\/td>Cassell and Company Limited<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8303<\/td>3716<\/td>unread<\/td>83<\/td>14660<\/td><\/td>11620<\/td>Photographisches Archiv<\/td>Paul E. Liesegang<\/td>Theobald Grieben<\/td><\/td>1871<\/td><\/td>3<\/td> <\/tr>\n
8304<\/td>3717<\/td>unread<\/td>84<\/td>14661<\/td><\/td>11621<\/td>Jerry Yulsman tells how to take Glamour<\/td>Adolphe Barreaux<\/td>A Whitestone Book<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8305<\/td>3718<\/td>unread<\/td>83<\/td>14662<\/td><\/td>11622<\/td>Photographisches Archiv<\/td>Paul E. Liesegang<\/td>Theobald Griehen<\/td><\/td>1870<\/td><\/td>3<\/td> <\/tr>\n
8306<\/td>3719<\/td>unread<\/td>84<\/td>14663<\/td><\/td>11623<\/td>Five Practical and Instructive Articles<\/td>W. A. Fletcher<\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8307<\/td>3720<\/td>unread<\/td>81<\/td>14664<\/td><\/td>11624<\/td><\/td>L.G.Kleffel<\/td>T. C. Knudsens forlag<\/td><\/td>1883<\/td><\/td>3<\/td> <\/tr>\n
8308<\/td>3721<\/td>unread<\/td>84<\/td>14665<\/td><\/td>11625<\/td>Wonders of the Stereoscope<\/td>John Jones<\/td>Jonathan Cape<\/td><\/td>1976<\/td><\/td>3<\/td> <\/tr>\n
8309<\/td>3722<\/td>unread<\/td>84<\/td>14666<\/td><\/td>11626<\/td>Copying Technique<\/td>Frank Fraprie & Robert Morris<\/td>American Photographic Publishing Co.<\/td><\/td>1946<\/td><\/td>3<\/td> <\/tr>\n
8310<\/td>3723<\/td>unread<\/td>83<\/td>14667<\/td><\/td>11627<\/td><\/td>Dr. Walter Kross<\/td>Verlag von Wilhelm Knapp\/Halle<\/td><\/td>1943<\/td><\/td>3<\/td> <\/tr>\n
8311<\/td>3724<\/td>unread<\/td>83<\/td>14668<\/td><\/td>11628<\/td>Handbuch der practischen Photographie<\/td>L.G.Kleffel<\/td>Verlag von H. Neuhoff & co.<\/td><\/td>1861<\/td><\/td>3<\/td> <\/tr>\n
8312<\/td>3725<\/td>unread<\/td>84<\/td>14669<\/td><\/td>11629<\/td>A History and handbuch of Photography<\/td>J. Thomson<\/td>Sampson Low, Marston,Low & Searle<\/td><\/td>1876<\/td><\/td>3<\/td> <\/tr>\n
8313<\/td>3726<\/td>unread<\/td>83<\/td>14670<\/td><\/td>11630<\/td>Die Photographie mit Bromsilber-Gelatine<\/td>Josef Maria Eder<\/td>Verlag von Wilhelm Knapp<\/td><\/td>1886<\/td><\/td>3<\/td> <\/tr>\n
8314<\/td>3727<\/td>unread<\/td>83<\/td>14671<\/td><\/td>11631<\/td><\/td>Josef Maria Eder<\/td>Druck und Verlag von Wilhelm Knapp<\/td><\/td>1895<\/td><\/td>3<\/td> <\/tr>\n
8315<\/td>3728<\/td>unread<\/td>83<\/td>14672<\/td><\/td>11632<\/td><\/td>Josef Maria Eder<\/td>Verlag von Wilhelm Knapp<\/td><\/td>1928<\/td><\/td>3<\/td> <\/tr>\n
8316<\/td>3729<\/td>unread<\/td>83<\/td>14673<\/td><\/td>11633<\/td><\/td>Josef Maria Eder<\/td>Lindemanns Verlag<\/td><\/td>1926<\/td><\/td>3<\/td> <\/tr>\n
8317<\/td>3730<\/td>unread<\/td>83<\/td>14674<\/td><\/td>11634<\/td>Das Rolleiflex- Buch<\/td>Dr. Walther Heering<\/td>IM Dr. Walther Heering Verlag<\/td><\/td>1936<\/td><\/td>2<\/td> <\/tr>\n
8318<\/td>3731<\/td>unread<\/td>85<\/td>14675<\/td><\/td>11635<\/td>Premis - Reus<\/td><\/td><\/td><\/td>2003<\/td><\/td>1<\/td> <\/tr>\n
8319<\/td>3732<\/td>unread<\/td>84<\/td>14676<\/td><\/td>11636<\/td>Would you let your daughter?<\/td>Norman Parkinson<\/td>Weidenfeld & Nicolson ltd.<\/td><\/td>1985<\/td><\/td>1<\/td> <\/tr>\n
8320<\/td>3733<\/td>unread<\/td>84<\/td>14677<\/td><\/td>11637<\/td>The year-book of facts 1843<\/td>Thomas Ewbank<\/td>Wilson and Ogilby<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8321<\/td>3734<\/td>unread<\/td>84<\/td>14678<\/td><\/td>11638<\/td>The year-book of facts 1852<\/td>John Timbs<\/td>David Bogue<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8322<\/td>3735<\/td>unread<\/td>84<\/td>14679<\/td><\/td>11639<\/td>The year-book of facts 1849<\/td>John Timbs<\/td>David Bogue<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8323<\/td>3736<\/td>unread<\/td>84<\/td>14680<\/td><\/td>11640<\/td>The year-book of facts 1845<\/td><\/td>David Bogue<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8324<\/td>3737<\/td>unread<\/td>84<\/td>14681<\/td><\/td>11641<\/td>The year-book of facts 1853<\/td>John Timbs<\/td>David Bogue<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8325<\/td>3738<\/td>unread<\/td>84<\/td>14682<\/td><\/td>11642<\/td>The year-book of facts 1844<\/td>Thomas Ewbank<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8326<\/td>3739<\/td>unread<\/td>84<\/td>14683<\/td><\/td>11643<\/td>The year-book of facts 1847<\/td>John Timbs<\/td>David Bogue<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8327<\/td>3740<\/td>unread<\/td>84<\/td>14684<\/td><\/td>11644<\/td>The year-book of facts 1846<\/td><\/td>David Bogue<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8328<\/td>3741<\/td>unread<\/td>84<\/td>14685<\/td><\/td>11645<\/td>The year-book of facts 1848<\/td>John Timbs<\/td>David Bogue<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8329<\/td>3742<\/td>unread<\/td>84<\/td>14686<\/td><\/td>11646<\/td>The year-book of facts 1851<\/td>John Timbs<\/td>D. Bogue<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8330<\/td>3743<\/td>unread<\/td>83<\/td>14687<\/td><\/td>11647<\/td>Mikroskopieren mit einfachen Hilfsmittel<\/td>Max Loosli<\/td>Verlag Hallwag Bern<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8331<\/td>3744<\/td>unread<\/td>81<\/td>14688<\/td><\/td>11648<\/td>Fotografiet fra Golgatha<\/td>Wermund Bendtsen<\/td>Foto Studio<\/td><\/td>1959<\/td><\/td>2<\/td> <\/tr>\n
8332<\/td>3745<\/td>unread<\/td>81<\/td>14689<\/td><\/td>11649<\/td><\/td><\/td>C.A.Reitzels Forlag<\/td><\/td>1867<\/td><\/td>2<\/td> <\/tr>\n
8333<\/td>3746<\/td>unread<\/td>84<\/td>14690<\/td><\/td>11650<\/td>A Glossary for Photography<\/td>Frank Fenner JR. A.R.P.S.<\/td>Ziff-Davis publishing company<\/td><\/td>1939<\/td><\/td>2<\/td> <\/tr>\n
8334<\/td>3747<\/td>unread<\/td>83<\/td>14691<\/td><\/td>11678<\/td>Die Retouche photographischer Negative<\/td><\/td><\/td><\/td>1888<\/td><\/td>2<\/td> <\/tr>\n
8335<\/td>3748<\/td>unread<\/td>81<\/td>14692<\/td><\/td>11679<\/td>Mit album, skildringer fra det virkelige<\/td>Robert Watt<\/td><\/td><\/td>1869<\/td><\/td>2<\/td> <\/tr>\n
8336<\/td>3749<\/td>unread<\/td>83<\/td>14693<\/td><\/td>11680<\/td>Die Mikroskopie<\/td>Dr. Walter Effenberger<\/td><\/td><\/td>1929<\/td><\/td>2<\/td> <\/tr>\n
8337<\/td>3750<\/td>unread<\/td>83<\/td>14694<\/td><\/td>11681<\/td>Mikroskopische Technik<\/td>Heinz Graupner<\/td>Akademische Verlagsgesellschaft M.B.H.<\/td><\/td>1934<\/td><\/td>2<\/td> <\/tr>\n
8338<\/td>3751<\/td>unread<\/td>84<\/td>14695<\/td><\/td>11682<\/td>Instruction in Photography<\/td>Sir W. De W. Abney<\/td>Sampson Low & co.<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8339<\/td>3752<\/td>unread<\/td>83<\/td>14696<\/td><\/td>11683<\/td>Kompositionskurs der Fotografie<\/td>Andreas Feininger<\/td>Wilhelm Heyne Verlag<\/td><\/td>1973<\/td><\/td>2<\/td> <\/tr>\n
8340<\/td>3753<\/td>unread<\/td>83<\/td>14697<\/td><\/td>11684<\/td>Lexikon der Fotografen<\/td><\/td>Fischer Taschenbuch Verlag<\/td><\/td>1981<\/td><\/td>2<\/td> <\/tr>\n
8341<\/td>3754<\/td>unread<\/td>83<\/td>14698<\/td><\/td>11685<\/td><\/td>Benno Wundshammer<\/td>Knaur<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8342<\/td>3755<\/td>unread<\/td>83<\/td>14699<\/td><\/td>11686<\/td>Richtig sehen- besser fotografieren<\/td>Andreas Feininger<\/td>Wilhelm Heyne Verlag<\/td><\/td>1979<\/td><\/td>2<\/td> <\/tr>\n
8343<\/td>3756<\/td>unread<\/td>84<\/td>14700<\/td><\/td>11704<\/td>Telephoto Work<\/td>G.H.Deller<\/td>Dawbarn & Ward, Ltd.<\/td><\/td>1904<\/td><\/td>2<\/td> <\/tr>\n
8344<\/td>3757<\/td>unread<\/td>83<\/td>14701<\/td><\/td>11705<\/td>Die Foto-Reihe 4,Das Bildnis-lebendig<\/td><\/td>Karl Knapp Verlag<\/td><\/td>1951<\/td><\/td>2<\/td> <\/tr>\n
8345<\/td>3758<\/td>unread<\/td>83<\/td>14702<\/td><\/td>11706<\/td>Mikroskopische Methoden in der Mikrochem<\/td>Dr. Phil. Ludwig Kofler<\/td>Emil Haim & co.<\/td><\/td>1936<\/td><\/td>2<\/td> <\/tr>\n
8346<\/td>3759<\/td>unread<\/td>83<\/td>14703<\/td><\/td>11707<\/td>Das Polarisationsmikroskop<\/td>Hermann Ambronn und Albert Frey<\/td>Akademische Verlagsgesellschaft<\/td><\/td>1926<\/td><\/td>2<\/td> <\/tr>\n
8347<\/td>3760<\/td>unread<\/td>84<\/td>14704<\/td><\/td>11708<\/td>The Photogram<\/td>H.Snowden Ward, C.Weed Ward<\/td>Dawbarn & Ward Ltd.<\/td><\/td>1896<\/td><\/td>2<\/td> <\/tr>\n
8348<\/td>3761<\/td>unread<\/td>81<\/td>14705<\/td><\/td>11709<\/td>Hvor havet ender<\/td>Martin Rheinheimer<\/td><\/td><\/td>2002<\/td><\/td>2<\/td> <\/tr>\n
8349<\/td>3762<\/td>unread<\/td>83<\/td>14706<\/td><\/td>11710<\/td><\/td>Kurt L. Hoff<\/td>Fotografische Gesellschaft<\/td><\/td>1990<\/td><\/td>2<\/td> <\/tr>\n
8350<\/td>3763<\/td>unread<\/td>83<\/td>14707<\/td><\/td>11711<\/td>Sowjetunion<\/td>Sergei Novikow<\/td>Fotografische Gesellschaft<\/td><\/td>1991<\/td><\/td>2<\/td> <\/tr>\n
8351<\/td>3764<\/td>unread<\/td>83<\/td>14708<\/td><\/td>11712<\/td>Impuls 95<\/td><\/td>Fotografische Gesellschaft<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8352<\/td>3765<\/td>unread<\/td>83<\/td>14709<\/td><\/td>11713<\/td>Unsere Heimat-Ober-Schwaben<\/td><\/td>Fotografische Gesellschaft<\/td><\/td>1990<\/td><\/td>2<\/td> <\/tr>\n
8353<\/td>3766<\/td>unread<\/td>83<\/td>14710<\/td><\/td>11714<\/td><\/td>Jusef Neumayr<\/td>Fotografische Gesellschaft<\/td><\/td>1992<\/td><\/td>2<\/td> <\/tr>\n
8354<\/td>3767<\/td>unread<\/td>83<\/td>14711<\/td><\/td>11715<\/td><\/td><\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8355<\/td>3768<\/td>unread<\/td>83<\/td>14712<\/td><\/td>11716<\/td>Licht-Blicke<\/td><\/td>Fotografische Gesellschaft<\/td><\/td>1992<\/td><\/td>2<\/td> <\/tr>\n
8356<\/td>3769<\/td>unread<\/td>83<\/td>14713<\/td><\/td>11717<\/td>Meister der Kamera<\/td><\/td>Landesverlag Druckservice<\/td><\/td>1997<\/td><\/td>2<\/td> <\/tr>\n
8357<\/td>3770<\/td>unread<\/td>83<\/td>14714<\/td><\/td>11718<\/td>Das Daguerrothy und das Diorama<\/td><\/td>J.B.?<\/td><\/td>1839<\/td><\/td>2<\/td> <\/tr>\n
8358<\/td>3771<\/td>unread<\/td>83<\/td>14715<\/td><\/td>11719<\/td>Photographic Filtres<\/td>Leslie Stroebel<\/td>Morgan & Morgan Inc.<\/td><\/td>1974<\/td><\/td>2<\/td> <\/tr>\n
8359<\/td>3772<\/td>unread<\/td>83<\/td>14716<\/td><\/td>11720<\/td>Photographische Apparat<\/td>Dr. Paul E. Liesegang<\/td>Ed. Liesegang Verlag<\/td><\/td>1884<\/td><\/td>2<\/td> <\/tr>\n
8360<\/td>3773<\/td>unread<\/td>82<\/td>14717<\/td><\/td>11721<\/td>Daguerreotypen & Diorama<\/td><\/td>Norsk Fotohistorisk Journal<\/td><\/td>1976<\/td><\/td>2<\/td> <\/tr>\n
8361<\/td>3774<\/td>unread<\/td>84<\/td>14718<\/td><\/td>11722<\/td>Olympus OM-2 spot\/program<\/td>Michael Huber<\/td>Purnell Book Production Limited<\/td><\/td>1986<\/td><\/td>2<\/td> <\/tr>\n
8362<\/td>3775<\/td>unread<\/td>83<\/td>14719<\/td><\/td>11723<\/td>Farbmotive am Wasser<\/td><\/td>Verlag Wilhelm Knapp<\/td><\/td>1941<\/td><\/td>2<\/td> <\/tr>\n
8363<\/td>3776<\/td>unread<\/td>83<\/td>14720<\/td><\/td>11724<\/td>Landschafts Fotos-farbig<\/td><\/td>Verlag Wilhelm Knapp<\/td><\/td>1942<\/td><\/td>2<\/td> <\/tr>\n
8364<\/td>3777<\/td>unread<\/td>83<\/td>14721<\/td><\/td>11725<\/td>Farbenfilm in deiner Kamera<\/td>H.C. Opfermann<\/td>Verlag Wilhelm Knapp<\/td><\/td>1941<\/td><\/td>2<\/td> <\/tr>\n
8365<\/td>3778<\/td>unread<\/td>83<\/td>14722<\/td><\/td>11726<\/td>Farbig mit kunstlicht<\/td>Dr.Gerhard Isert<\/td>Im Isert-Verlag In Halle<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8366<\/td>3779<\/td>unread<\/td>81<\/td>14723<\/td><\/td>11727<\/td><\/td>Peter Blumensaadt<\/td>Forlaget Hikuin<\/td><\/td>2003<\/td><\/td>2<\/td> <\/tr>\n
8367<\/td>3780<\/td>unread<\/td>81<\/td>14724<\/td><\/td>11728<\/td><\/td><\/td>Forlaget Ajour<\/td><\/td>2001<\/td><\/td>2<\/td> <\/tr>\n
8368<\/td>3781<\/td>unread<\/td>86<\/td>14725<\/td><\/td>11729<\/td>I volanti<\/td><\/td><\/td><\/td>2003<\/td><\/td>2<\/td> <\/tr>\n
8369<\/td>3782<\/td>unread<\/td>81<\/td>14726<\/td><\/td>11730<\/td>Fremstilling<\/td><\/td>Space poetry<\/td><\/td>2003<\/td><\/td>2<\/td> <\/tr>\n
8370<\/td>3783<\/td>unread<\/td>81<\/td>14727<\/td><\/td>11731<\/td>Exlibris I fotografik<\/td>Thomas Pedersen<\/td>Poul Kristensen<\/td><\/td>1971<\/td><\/td>2<\/td> <\/tr>\n
8371<\/td>3784<\/td>unread<\/td>81<\/td>14728<\/td><\/td>11732<\/td>Jeg fotografere<\/td><\/td>Koba-forlag<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8372<\/td>3785<\/td>unread<\/td>84<\/td>14729<\/td><\/td>11733<\/td>Remarks concerning certain photographs<\/td>M.P.W.Boulton<\/td>Bradbury & Evans<\/td><\/td>1864<\/td><\/td>2<\/td> <\/tr>\n
8373<\/td>3786<\/td>unread<\/td>84<\/td>14730<\/td><\/td>11734<\/td>Portfolio<\/td>Werner Bokelberg<\/td>Imagebank<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8374<\/td>3787<\/td>unread<\/td>81<\/td>14731<\/td><\/td>11735<\/td>Om at se film<\/td>Jens Pedersen<\/td>Gjellerup<\/td><\/td>1972<\/td><\/td>2<\/td> <\/tr>\n
8375<\/td>3788<\/td>unread<\/td>81<\/td>14732<\/td><\/td>11736<\/td>Kontrast- og Tonekontrol i det sort\/hvid<\/td><\/td><\/td><\/td>1992<\/td><\/td>2<\/td> <\/tr>\n
8376<\/td>3789<\/td>unread<\/td>84<\/td>14733<\/td><\/td>11737<\/td>35 mm Handbook<\/td>Michael Langford<\/td>Ebury Press<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8377<\/td>3790<\/td>unread<\/td>81<\/td>14734<\/td><\/td>11738<\/td>Det lyse kammer<\/td>Roland Barthes<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8378<\/td>3791<\/td>unread<\/td>81<\/td>14735<\/td><\/td>11739<\/td><\/td><\/td>Fotografisk Landsforbund<\/td><\/td>1985<\/td><\/td>2<\/td> <\/tr>\n
8379<\/td>3792<\/td>unread<\/td>84<\/td>14736<\/td><\/td>11740<\/td>The new zone system manual<\/td>White, Zakia, Lorenz<\/td>Morgan Press Incorporated<\/td><\/td>1976<\/td><\/td>2<\/td> <\/tr>\n
8380<\/td>3793<\/td>unread<\/td>81<\/td>14737<\/td><\/td>11741<\/td>Ego<\/td><\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8381<\/td>3794<\/td>unread<\/td>81<\/td>14738<\/td><\/td>11742<\/td>Foto-teknik-grundbog<\/td>Axel Hansen<\/td><\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8382<\/td>3795<\/td>unread<\/td>81<\/td>14739<\/td><\/td>11743<\/td>920 Millibar<\/td><\/td><\/td><\/td>1995<\/td><\/td>2<\/td> <\/tr>\n
8383<\/td>3796<\/td>unread<\/td>81<\/td>14740<\/td><\/td>11744<\/td>Louisiana Magasin nr. 12 jan. 2004<\/td><\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8384<\/td>3797<\/td>unread<\/td>81<\/td>14741<\/td><\/td>11745<\/td>A\/S Alfred Benzon 1849-1949<\/td><\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8385<\/td>3798<\/td>unread<\/td>83<\/td>14742<\/td><\/td>11746<\/td>Menschen in Farben<\/td>Dr. Gerhard Isert<\/td>Im Isert-Verlag in Halle<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8386<\/td>3799<\/td>unread<\/td>83<\/td>14743<\/td><\/td>11747<\/td>In die bunte Welt<\/td>Dr. Gerhard Isert<\/td>Im Isert-Verlag in Halle<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8387<\/td>3800<\/td>unread<\/td>81<\/td>14744<\/td><\/td>11748<\/td>Mennesket<\/td>Poul Pedersen<\/td>Dagbladet Demokraten A\/S<\/td><\/td>1973<\/td><\/td>2<\/td> <\/tr>\n
8388<\/td>3801<\/td>unread<\/td>83<\/td>14745<\/td><\/td>11749<\/td><\/td>R.Ed. Liesegang<\/td>Ed. Liesegangs Verlag<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8389<\/td>3802<\/td>unread<\/td>84<\/td>14746<\/td><\/td>11750<\/td>The complete Kinemanager<\/td>J.H.Hutchison<\/td>Kinematograph Publications Ltd.<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8390<\/td>3803<\/td>unread<\/td>84<\/td>14747<\/td><\/td>11751<\/td>Improve your Holiday photography<\/td>David & Shirley Kilpatrick<\/td>Hove- Fountain Books<\/td><\/td>1988<\/td><\/td>2<\/td> <\/tr>\n
8391<\/td>3804<\/td>unread<\/td>83<\/td>14748<\/td><\/td>11752<\/td>Motive im Gegenlicht<\/td><\/td>Fotografische Verlagsgesellschaft<\/td><\/td>1951<\/td><\/td>2<\/td> <\/tr>\n
8392<\/td>3805<\/td>unread<\/td>83<\/td>14749<\/td><\/td>11753<\/td>Handbuch der Photographie auf Collodion<\/td>Paul E. Liesegang<\/td>Verlag von Theobald Grieben<\/td><\/td>1861<\/td><\/td>2<\/td> <\/tr>\n
8393<\/td>3806<\/td>unread<\/td>84<\/td>14750<\/td><\/td>11754<\/td>Los Alamos<\/td>William Eggleston<\/td>Scalo<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8394<\/td>3807<\/td>unread<\/td>84<\/td>14751<\/td><\/td>11755<\/td>Advertising Photography in Japan 3<\/td><\/td>Kodanska International Ltd.<\/td><\/td>1986<\/td><\/td>1<\/td> <\/tr>\n
8395<\/td>3808<\/td>unread<\/td>84<\/td>14752<\/td><\/td>11756<\/td>Sandi Fellmann-open secret<\/td>Diane Ackermann & Jerry A. Flieger<\/td>Edition Stemmle<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
8396<\/td>3809<\/td>unread<\/td>86<\/td>14753<\/td><\/td>11757<\/td>Len Kamen a drevo<\/td>Rusland<\/td>Pallas<\/td><\/td>1977<\/td><\/td>1<\/td> <\/tr>\n
8397<\/td>3810<\/td>unread<\/td>81<\/td>14754<\/td><\/td>11758<\/td>Jorden-set fra himlen<\/td>Yann Arthus Bertrand<\/td>Forlaget Jorden<\/td><\/td>2002<\/td><\/td>1<\/td> <\/tr>\n
8398<\/td>3811<\/td>unread<\/td>83<\/td>14755<\/td><\/td>11759<\/td>Mit der Isolette......aber richtig !<\/td><\/td><\/td><\/td>1950<\/td><\/td>2<\/td> <\/tr>\n
8399<\/td>3812<\/td>unread<\/td>83<\/td>14756<\/td><\/td>11760<\/td>Besser bei Kunstlicht<\/td><\/td>Karl Knapp Verlag<\/td><\/td>1950<\/td><\/td>2<\/td> <\/tr>\n
8400<\/td>3813<\/td>unread<\/td>83<\/td>14757<\/td><\/td>11761<\/td>Akt-Photographie zu Hause<\/td><\/td>Reichelt-Verlag<\/td><\/td>1960<\/td><\/td>2<\/td> <\/tr>\n
8401<\/td>3814<\/td>unread<\/td>83<\/td>14758<\/td><\/td>11762<\/td>Camping und Landschaft<\/td>Hans Kammerer<\/td><\/td><\/td>1952<\/td><\/td>2<\/td> <\/tr>\n
8402<\/td>3815<\/td>unread<\/td>83<\/td>14759<\/td><\/td>11763<\/td>Unter heisser Sonne<\/td>Fr. Willy Frerk<\/td><\/td><\/td>1956<\/td><\/td>2<\/td> <\/tr>\n
8403<\/td>3816<\/td>unread<\/td>84<\/td>14760<\/td><\/td>11764<\/td>The complete Projectionist<\/td>R.Howard Cricks<\/td>Kinematograph Publications Ltd.<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8404<\/td>3817<\/td>unread<\/td>83<\/td>14761<\/td><\/td>12048<\/td>Das Edixa - Reflex - Buch<\/td>Friedrich-W. Voigt<\/td>Im Heering - Verlag<\/td><\/td>1959<\/td><\/td>0<\/td> <\/tr>\n
8405<\/td>3818<\/td>unread<\/td>85<\/td>14762<\/td><\/td>11782<\/td>L'Univers de la photogtraphie - Bien Ch-<\/td><\/td>Christophe Columb<\/td><\/td>1984<\/td><\/td>0<\/td> <\/tr>\n
8406<\/td>3819<\/td>unread<\/td>85<\/td>14763<\/td><\/td>12049<\/td>L'Univers de la Photographie - La Phot-<\/td><\/td>Christophe Colomb<\/td><\/td>1984<\/td><\/td>0<\/td> <\/tr>\n
8407<\/td>3820<\/td>unread<\/td>85<\/td>14764<\/td><\/td>12050<\/td>L'Univers de la Photographie - Le Natu-<\/td><\/td>Christophe Colomb<\/td><\/td>1984<\/td><\/td>0<\/td> <\/tr>\n
8408<\/td>3821<\/td>unread<\/td>85<\/td>14765<\/td><\/td>12051<\/td>L'Univers de la Photographie - Vos Souv-<\/td><\/td>Christophe Colomb<\/td><\/td>1985<\/td><\/td>0<\/td> <\/tr>\n
8409<\/td>3822<\/td>unread<\/td>85<\/td>14766<\/td><\/td>12053<\/td>L'Univers de la Photographie - Les Obje-<\/td><\/td>Christophe Columb<\/td><\/td>1986<\/td><\/td>0<\/td> <\/tr>\n
8410<\/td>3823<\/td>unread<\/td>85<\/td>14767<\/td><\/td>12054<\/td>L'Univers de la Photographie - Imprimer-<\/td><\/td>Christophe Columb<\/td><\/td>1986<\/td><\/td>0<\/td> <\/tr>\n
8411<\/td>3824<\/td>unread<\/td>84<\/td>14768<\/td><\/td>12055<\/td>Photographic Exposure in Practice<\/td>Leonard Gaunt<\/td>David & Charles Inc.<\/td><\/td>1987<\/td><\/td>0<\/td> <\/tr>\n
8412<\/td>3825<\/td>unread<\/td>84<\/td>14769<\/td><\/td>12056<\/td><\/td>Alain Sayag & Annick Lionel-Marie<\/td>Thames & Hudson<\/td><\/td>2000<\/td><\/td>0<\/td> <\/tr>\n
8413<\/td>3826<\/td>unread<\/td>83<\/td>14770<\/td><\/td>12057<\/td><\/td>Beaumont Newhall<\/td>Heering - Verlag<\/td><\/td>1978<\/td><\/td>0<\/td> <\/tr>\n
8414<\/td>3827<\/td>unread<\/td>84<\/td>14771<\/td><\/td>12058<\/td>The Nikon Way<\/td>Herbert Keppler<\/td>Focal Press<\/td><\/td>1982<\/td><\/td>0<\/td> <\/tr>\n
8415<\/td>3828<\/td>unread<\/td>84<\/td>14772<\/td><\/td>12059<\/td>Exakta Manual<\/td>Werner Wurst<\/td>Fountain Press<\/td><\/td>1960<\/td><\/td>0<\/td> <\/tr>\n
8416<\/td>3829<\/td>unread<\/td>84<\/td>14773<\/td><\/td>12060<\/td>Hints, Tips & Gadgets<\/td><\/td>The Fountain Press<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8417<\/td>3830<\/td>unread<\/td>86<\/td>14774<\/td><\/td>12061<\/td>Smalfilmaren 1945-46<\/td>Arna Lundh, Berndt Hollsten<\/td><\/td>Stockholm<\/td><\/td><\/td>0<\/td> <\/tr>\n
8418<\/td>3831<\/td>unread<\/td>84<\/td>14775<\/td><\/td>12062<\/td>Outdoor Photography<\/td>Samuel Grierson<\/td>Ziff-Davis Publishing Co.<\/td><\/td>1940<\/td><\/td>0<\/td> <\/tr>\n
8419<\/td>3832<\/td>unread<\/td>81<\/td>14776<\/td><\/td>12063<\/td>Dansk fotografi i egen samling<\/td>Lars Schwander<\/td><\/td><\/td>2005<\/td><\/td>0<\/td> <\/tr>\n
8420<\/td>3833<\/td>unread<\/td>84<\/td>14777<\/td><\/td>12064<\/td>Glemte bilder<\/td>Bente Geving<\/td>Preus Museum<\/td><\/td>2005<\/td><\/td>0<\/td> <\/tr>\n
8421<\/td>3834<\/td>unread<\/td>84<\/td>14778<\/td><\/td>12065<\/td>Home Portraiture and Make Up<\/td>Seymor and Simons<\/td>Ziff-Davis Publishing Co.<\/td><\/td>1939<\/td><\/td>0<\/td> <\/tr>\n
8422<\/td>3835<\/td>unread<\/td>81<\/td>14779<\/td><\/td>12066<\/td><\/td><\/td>Gerhard Isert<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8423<\/td>3836<\/td>unread<\/td>83<\/td>14780<\/td><\/td>12067<\/td>Leica Handbuch<\/td>Fritz Vith<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8424<\/td>3837<\/td>unread<\/td>83<\/td>14781<\/td><\/td>12068<\/td>Retina - Tips<\/td><\/td>Heering Verlag<\/td><\/td>1951<\/td><\/td>0<\/td> <\/tr>\n
8425<\/td>3838<\/td>unread<\/td>86<\/td>14782<\/td><\/td>12069<\/td><\/td><\/td><\/td><\/td>1974<\/td><\/td>0<\/td> <\/tr>\n
8426<\/td>3839<\/td>unread<\/td>83<\/td>14783<\/td><\/td>12070<\/td>Rationelle Mikro-fotografie<\/td>S. Oehlinger<\/td>Gerhard Isert Verlag<\/td><\/td>1937<\/td><\/td>0<\/td> <\/tr>\n
8427<\/td>3840<\/td>unread<\/td>84<\/td>14784<\/td><\/td>12071<\/td>Photographing People<\/td>Hugo van Wadenoyen<\/td>The Focal Press<\/td><\/td>1945<\/td><\/td>0<\/td> <\/tr>\n
8428<\/td>3841<\/td>unread<\/td>86<\/td>14785<\/td><\/td>12072<\/td>Utomhus Fotografering<\/td>Rolf Mortensen<\/td>Nordisk Rotogravyr<\/td><\/td>1953<\/td><\/td>0<\/td> <\/tr>\n
8429<\/td>3842<\/td>unread<\/td>83<\/td>14786<\/td><\/td>12073<\/td>Menchen vor der Kamera<\/td>Andreas Feininger<\/td>Dr. Walther Heering Verlag<\/td><\/td>1934<\/td><\/td>0<\/td> <\/tr>\n
8430<\/td>3843<\/td>unread<\/td>84<\/td>14787<\/td><\/td>12074<\/td>Hundred Thousand Exposures<\/td><\/td>The Focal Press<\/td><\/td>1946<\/td><\/td>0<\/td> <\/tr>\n
8431<\/td>3844<\/td>unread<\/td>84<\/td>14788<\/td><\/td>12075<\/td>The Figure From U.S. Camera<\/td><\/td>U.S. Camera Publishing Co.<\/td><\/td>1952<\/td><\/td>0<\/td> <\/tr>\n
8432<\/td>3845<\/td>unread<\/td>81<\/td>14789<\/td><\/td>12076<\/td>Fotografiens historie<\/td><\/td>Poul Petri's Bogtrykkeri<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8433<\/td>3846<\/td>unread<\/td>83<\/td>14790<\/td><\/td>12077<\/td>Internationales Jahrbuch der fotog- 1957<\/td>Norman Hall und Basil Burton<\/td>\"Photography\" Magazine<\/td><\/td>1956<\/td><\/td>0<\/td> <\/tr>\n
8434<\/td>3847<\/td>unread<\/td>84<\/td>14791<\/td><\/td>12078<\/td>Photography is a Language<\/td>John R. Whiting<\/td>Ziff-Davis Publishing Co.<\/td><\/td>1946<\/td><\/td>0<\/td> <\/tr>\n
8435<\/td>3848<\/td>unread<\/td>83<\/td>14792<\/td><\/td>12079<\/td>Foto in Farben<\/td>Dr. Hans A. Kluge<\/td><\/td>Zwickau<\/td>1938<\/td><\/td>0<\/td> <\/tr>\n
8436<\/td>3849<\/td>unread<\/td>84<\/td>14793<\/td><\/td>12080<\/td>Fawcett Book<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8437<\/td>3850<\/td>unread<\/td>84<\/td>14794<\/td><\/td>12081<\/td>Fawcett Book<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8438<\/td>3851<\/td>unread<\/td>84<\/td>14795<\/td><\/td>12082<\/td>A Fawcett How-To Book 412<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8439<\/td>3852<\/td>unread<\/td>84<\/td>14796<\/td><\/td>12083<\/td>Amateur Photographer 1946-47-48<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8440<\/td>3853<\/td>unread<\/td>84<\/td>14797<\/td><\/td>12084<\/td>Glamour Guide<\/td>Eugene Hanson<\/td>Jones Press<\/td><\/td>1951<\/td><\/td>0<\/td> <\/tr>\n
8441<\/td>3854<\/td>unread<\/td>83<\/td>14798<\/td><\/td>12085<\/td>Internationales Jahrbuch der Fotog- 1958<\/td>Norman Hall und Basil Burton<\/td>\"Photography\" Magazine Ldt.<\/td><\/td>1957<\/td><\/td>0<\/td> <\/tr>\n
8442<\/td>3855<\/td>unread<\/td>84<\/td>14799<\/td><\/td>12086<\/td>Fritz Henle's Rollei<\/td>Fritz Henle<\/td>Hastings House Publishers<\/td><\/td>1950<\/td><\/td>0<\/td> <\/tr>\n
8443<\/td>3856<\/td>unread<\/td>84<\/td>14800<\/td><\/td>12087<\/td>Modern Photography 1935-1936<\/td>C. G. Holme<\/td>Studio<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8444<\/td>3857<\/td>unread<\/td>84<\/td>14801<\/td><\/td>12088<\/td>Photography To-Day 1947-48<\/td>Harold Lewis<\/td>The Press Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8445<\/td>3858<\/td>unread<\/td>81<\/td>14802<\/td><\/td>12089<\/td>En dag i Danmark<\/td><\/td>Forlaget Palle Fogtdal<\/td><\/td>2006<\/td><\/td>0<\/td> <\/tr>\n
8446<\/td>3859<\/td>unread<\/td>84<\/td>14803<\/td><\/td>12118<\/td>Techniques of Photographing Women<\/td>Peter Barry<\/td>Exeter Books<\/td>N. Y.<\/td><\/td><\/td>0<\/td> <\/tr>\n
8447<\/td>3860<\/td>unread<\/td>84<\/td>14804<\/td><\/td>12119<\/td>Professional Lighting Technique<\/td>Jost J. Marchesi<\/td>Verlag Photographie<\/td><\/td>1996<\/td><\/td>0<\/td> <\/tr>\n
8448<\/td>3861<\/td>unread<\/td>84<\/td>14805<\/td><\/td>12120<\/td>Boudoir Studio<\/td>Roxanne Becker-Wortham and Robert Worth-<\/td>Amphoto<\/td><\/td>1989<\/td><\/td>0<\/td> <\/tr>\n
8449<\/td>3862<\/td>unread<\/td>84<\/td>14806<\/td><\/td>12121<\/td>Conceptual People Photography<\/td><\/td>New York Gold, Inc.<\/td>N.Y.<\/td><\/td><\/td>0<\/td> <\/tr>\n
8450<\/td>3863<\/td>unread<\/td>84<\/td>14807<\/td><\/td>12122<\/td>How to Photograph Women Beautifully<\/td>J. Barry O'Rourke<\/td>Amphoto<\/td><\/td>1988<\/td><\/td>0<\/td> <\/tr>\n
8451<\/td>3864<\/td>unread<\/td>81<\/td>14808<\/td><\/td>12123<\/td><\/td><\/td>Forlaget Grafisk Litteratur<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8452<\/td>3865<\/td>unread<\/td>84<\/td>14809<\/td><\/td>12124<\/td>National Geographic, Image Collection<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8453<\/td>3866<\/td>unread<\/td>84<\/td>14810<\/td><\/td>12125<\/td>Art Directors' Index to Photographers 6<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8454<\/td>3867<\/td>unread<\/td>84<\/td>14811<\/td><\/td>12126<\/td><\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8455<\/td>3868<\/td>unread<\/td>86<\/td>14812<\/td><\/td>12127<\/td>Fotografisk Bild<\/td>Stefan Ohlsson<\/td>Bonniers Utbildning<\/td><\/td>1997<\/td><\/td>0<\/td> <\/tr>\n
8456<\/td>3869<\/td>unread<\/td>82<\/td>14813<\/td><\/td>12128<\/td>Fotografi 360, Fotograf, hva er det du-<\/td>Leif Preus<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8457<\/td>3870<\/td>unread<\/td>81<\/td>14814<\/td><\/td>12129<\/td>Arbejdsbog<\/td><\/td>Billedhuset<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8458<\/td>3871<\/td>unread<\/td>81<\/td>14815<\/td><\/td>12130<\/td>Arbejdsbog<\/td><\/td>Billedhuset<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8459<\/td>3872<\/td>unread<\/td>83<\/td>14816<\/td><\/td>12131<\/td>Reportagephotographie in Deutschland<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8460<\/td>3873<\/td>unread<\/td>84<\/td>14817<\/td><\/td>12132<\/td>Index to Scandinavian Photography, illu-<\/td><\/td>Rotovision<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8461<\/td>3874<\/td>unread<\/td>84<\/td>14818<\/td><\/td>12133<\/td>Photographing People for Advertising<\/td>Nancy Brown<\/td>Amphoto<\/td>N.Y.<\/td>1986<\/td><\/td>0<\/td> <\/tr>\n
8462<\/td>3875<\/td>unread<\/td>84<\/td>14819<\/td><\/td>12134<\/td>The Fashion Photographer<\/td>Robert Farber<\/td>Amphoto<\/td>N.Y.<\/td>1984<\/td><\/td>0<\/td> <\/tr>\n
8463<\/td>3876<\/td>unread<\/td>84<\/td>14820<\/td><\/td>12135<\/td>Professional Fashion Photographer<\/td>Robert Farber<\/td>Amphoto<\/td>N.Y.<\/td>1978<\/td><\/td>0<\/td> <\/tr>\n
8464<\/td>3877<\/td>unread<\/td>84<\/td>14821<\/td><\/td>12136<\/td>Great Shots, Red Image<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8465<\/td>3878<\/td>unread<\/td>84<\/td>14822<\/td><\/td>12137<\/td>Great Shots, National Geographic 2<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8466<\/td>3879<\/td>unread<\/td>84<\/td>14823<\/td><\/td>12138<\/td>Pro- Lighting, Product Shots<\/td>Roger Hicks and Frances Schultz<\/td>Rotovision S.A.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8467<\/td>3880<\/td>unread<\/td>84<\/td>14824<\/td><\/td>12139<\/td>Pro-Lighting, Glamour Shots<\/td>Roger Hicks and Frances Schultz<\/td>Rotovision S.A.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8468<\/td>3881<\/td>unread<\/td>83<\/td>14825<\/td><\/td>12140<\/td>Finelight, The Ultimate Commercial Phot-<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8469<\/td>3882<\/td>unread<\/td>84<\/td>14826<\/td><\/td>12141<\/td>Art Directors' Index to Photographers 6<\/td><\/td>Rotovision S.A.<\/td><\/td>1979<\/td><\/td>0<\/td> <\/tr>\n
8470<\/td>3883<\/td>unread<\/td>84<\/td>14827<\/td><\/td>12142<\/td>Professional Photographer, march 2002<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8471<\/td>3884<\/td>unread<\/td>84<\/td>14828<\/td><\/td>12143<\/td>Professional Portrait Techniques<\/td><\/td>Easrman Kodak Company<\/td><\/td>1973<\/td><\/td>0<\/td> <\/tr>\n
8472<\/td>3885<\/td>unread<\/td>84<\/td>14829<\/td><\/td>12144<\/td>Art Director's Index to Photographers 7<\/td><\/td>Rotovision S.A.<\/td><\/td>1980<\/td><\/td>0<\/td> <\/tr>\n
8473<\/td>3886<\/td>unread<\/td>84<\/td>14830<\/td><\/td>12145<\/td>Art Directors' Index 11, Scandinavian --<\/td><\/td>Rotovision S.A.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8474<\/td>3887<\/td>unread<\/td>84<\/td>14831<\/td><\/td>12146<\/td>Art Directors' Index 9+4, Scandinavian -<\/td><\/td>Rotovision S.A.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8475<\/td>3888<\/td>unread<\/td>84<\/td>14832<\/td><\/td>12147<\/td>The Index 1990, Scandinavian Sectio-<\/td><\/td>Rotovision S.A.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8476<\/td>3889<\/td>unread<\/td>81<\/td>14833<\/td><\/td>12148<\/td>Kamerakunstens Elementer<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8477<\/td>3890<\/td>unread<\/td>86<\/td>14834<\/td><\/td>12149<\/td>Finska Bilder<\/td><\/td>Helsingin Sanomat och Lehtikuva Oy<\/td><\/td>1992<\/td><\/td>0<\/td> <\/tr>\n
8478<\/td>3891<\/td>unread<\/td>81<\/td>14835<\/td><\/td>12150<\/td>Danske Reklamefotografer 1985<\/td>Lars Mjaaland<\/td>Dansk Cerebration<\/td><\/td>1985<\/td><\/td>0<\/td> <\/tr>\n
8479<\/td>3892<\/td>unread<\/td>81<\/td>14836<\/td><\/td>12151<\/td>Danske Reklamefotografer 1984<\/td>Lars Mjaaland<\/td>Dansk Cerebration<\/td><\/td>1984<\/td><\/td>0<\/td> <\/tr>\n
8480<\/td>3893<\/td>unread<\/td>81<\/td>14837<\/td><\/td>12152<\/td>Danske Reklamefotografer 1982<\/td>Jars Mjaaland<\/td>P. T. Marketing<\/td><\/td>1982<\/td><\/td>0<\/td> <\/tr>\n
8481<\/td>3894<\/td>unread<\/td>86<\/td>14838<\/td><\/td>12153<\/td>Triangel Index 4, Swedish Photographers<\/td><\/td>AB Index AB<\/td><\/td>1992<\/td><\/td>0<\/td> <\/tr>\n
8482<\/td>3895<\/td>unread<\/td>84<\/td>14839<\/td><\/td>12154<\/td>Special Effects Photography<\/td>Kathryn E. Livingston<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8483<\/td>3896<\/td>unread<\/td>84<\/td>14840<\/td><\/td>12155<\/td>American Showgase of Photography, illus-<\/td><\/td>American Showcase Inc.<\/td>N.Y.<\/td>1979<\/td><\/td>0<\/td> <\/tr>\n
8484<\/td>3897<\/td>unread<\/td>84<\/td>14841<\/td><\/td>12156<\/td>Photodisc...On Disc<\/td><\/td>Photodisc<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8485<\/td>3898<\/td>unread<\/td>86<\/td>14842<\/td><\/td>12157<\/td>Photodisc On Line<\/td><\/td>Photodisc Inc.<\/td><\/td>1999<\/td><\/td>0<\/td> <\/tr>\n
8486<\/td>3899<\/td>unread<\/td>84<\/td>14843<\/td><\/td>12158<\/td>Select 35 (San Francisco)<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8487<\/td>3900<\/td>unread<\/td>84<\/td>14844<\/td><\/td>12159<\/td>Select 33 (Berlin)<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8488<\/td>3901<\/td>unread<\/td>84<\/td>14845<\/td><\/td>12160<\/td>Select 29 (Amsterdam)<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8489<\/td>3902<\/td>unread<\/td>84<\/td>14846<\/td><\/td>12161<\/td>Select 28 (Mockba)<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8490<\/td>3903<\/td>unread<\/td>84<\/td>14847<\/td><\/td>12162<\/td>Select 27 (Barbados)<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8491<\/td>3904<\/td>unread<\/td>84<\/td>14848<\/td><\/td>12163<\/td>Select 26 (London)<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8492<\/td>3905<\/td>unread<\/td>83<\/td>14849<\/td><\/td>12164<\/td>Magazin, Die Bildagentur 2<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8493<\/td>3906<\/td>unread<\/td>81<\/td>14850<\/td><\/td>12165<\/td>Bogen om Make-Up<\/td>Sarah Collins<\/td>Lademann<\/td><\/td>1985<\/td><\/td>0<\/td> <\/tr>\n
8494<\/td>3907<\/td>unread<\/td>84<\/td>14851<\/td><\/td>12166<\/td>Illustration Photography<\/td>Jack Reznicki<\/td>Amphoto<\/td><\/td>1987<\/td><\/td>0<\/td> <\/tr>\n
8495<\/td>3908<\/td>unread<\/td>81<\/td>14852<\/td><\/td>12167<\/td>Danish Illustration<\/td><\/td>Dansk Cerebration<\/td><\/td>1987<\/td><\/td>0<\/td> <\/tr>\n
8496<\/td>3909<\/td>unread<\/td>86<\/td>14853<\/td><\/td>12168<\/td>Mainisvalokuvaajien 30-vuotiskirja<\/td><\/td>Suomen Maino Svalo Kuvaajat Ry<\/td><\/td>1990<\/td><\/td>0<\/td> <\/tr>\n
8497<\/td>3910<\/td>unread<\/td>86<\/td>14854<\/td><\/td>12169<\/td><\/td>Hans Doverholm<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8498<\/td>3911<\/td>unread<\/td>83<\/td>14855<\/td><\/td>12170<\/td>Deutsche Bauzeitung, april 1999<\/td><\/td>Deutsche-Verlag-Anstalt<\/td><\/td>1999<\/td><\/td>0<\/td> <\/tr>\n
8499<\/td>3912<\/td>unread<\/td>83<\/td>14856<\/td><\/td>12171<\/td>Deutsche Bauzeitung, mai 1997<\/td><\/td>Deutsche-Verlag-Anstalt<\/td><\/td>1997<\/td><\/td>0<\/td> <\/tr>\n
8500<\/td>3913<\/td>unread<\/td>83<\/td>14857<\/td><\/td>12172<\/td>Deutsche Bauzeitung, juli 1995<\/td><\/td>Deutsche-Verlag-Anstalt<\/td><\/td>1995<\/td><\/td>0<\/td> <\/tr>\n
8501<\/td>3914<\/td>unread<\/td>84<\/td>14858<\/td><\/td>12173<\/td>Nordfoto, Professional Quality<\/td><\/td>The Telegraph Colour Library<\/td><\/td>1993<\/td><\/td>0<\/td> <\/tr>\n
8502<\/td>3915<\/td>unread<\/td>84<\/td>14859<\/td><\/td>12174<\/td>Professional Photographic Illustration--<\/td><\/td>Eastman Kodak Company<\/td><\/td>1978<\/td><\/td>0<\/td> <\/tr>\n
8503<\/td>3916<\/td>unread<\/td>84<\/td>14860<\/td><\/td>12175<\/td>Advertising Photography<\/td>Allyn Salomon<\/td>Amphoto Books<\/td><\/td>1982<\/td><\/td>0<\/td> <\/tr>\n
8504<\/td>3917<\/td>unread<\/td>84<\/td>14861<\/td><\/td>12176<\/td>Art Director's Index to Photographers 7<\/td><\/td>RotoVision S. A.<\/td><\/td>1980<\/td><\/td>0<\/td> <\/tr>\n
8505<\/td>3918<\/td>unread<\/td>84<\/td>14862<\/td><\/td>12177<\/td>Art Directors' Index to Photographers 15<\/td><\/td>RotoVision S. A.<\/td><\/td>1990<\/td><\/td>0<\/td> <\/tr>\n
8506<\/td>3919<\/td>unread<\/td>84<\/td>14863<\/td><\/td>12178<\/td>Better Picture Guide to Flower & Garden<\/td>Michael Busselle<\/td>RotoVision S. A.<\/td><\/td>1998<\/td><\/td>0<\/td> <\/tr>\n
8507<\/td>3920<\/td>unread<\/td>84<\/td>14864<\/td><\/td>12179<\/td>Creative Large Format 1<\/td>Urs Tillmanns<\/td>SinarEdition<\/td><\/td>1992<\/td><\/td>0<\/td> <\/tr>\n
8508<\/td>3921<\/td>unread<\/td>84<\/td>14865<\/td><\/td>12180<\/td>Creative Large Fortmat 2<\/td>Urs Tillmanns<\/td>SinarEdition<\/td><\/td>1993<\/td><\/td>0<\/td> <\/tr>\n
8509<\/td>3922<\/td>unread<\/td>84<\/td>14866<\/td><\/td>12181<\/td>Creative Large Format 3<\/td>Urs Tillmanns<\/td>SinarEdition<\/td><\/td>1994<\/td><\/td>0<\/td> <\/tr>\n
8510<\/td>3923<\/td>unread<\/td>84<\/td>14867<\/td><\/td>12182<\/td>Creative Large Format 4<\/td>Urs Tillmanns<\/td>SinarEdition<\/td><\/td>1995<\/td><\/td>0<\/td> <\/tr>\n
8511<\/td>3924<\/td>unread<\/td>81<\/td>14868<\/td><\/td>12183<\/td>Danish Illustration 1994<\/td><\/td>Dansk Cerebration Aps.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8512<\/td>3925<\/td>unread<\/td>84<\/td>14869<\/td><\/td>12184<\/td>Epica Book, Europe's Best Advertising<\/td><\/td>RotoVision S. A.<\/td><\/td>1989<\/td><\/td>0<\/td> <\/tr>\n
8513<\/td>3926<\/td>unread<\/td>84<\/td>14870<\/td><\/td>12185<\/td>Lighting for Glamour Photography<\/td>David Kimber<\/td>Amohoto<\/td><\/td>1994<\/td><\/td>0<\/td> <\/tr>\n
8514<\/td>3927<\/td>unread<\/td>84<\/td>14871<\/td><\/td>12186<\/td>PPA Loan Collection 1997<\/td><\/td>Pro Guide Publishing<\/td><\/td>1997<\/td><\/td>0<\/td> <\/tr>\n
8515<\/td>3928<\/td>unread<\/td>84<\/td>14872<\/td><\/td>12187<\/td>Pro-Lighting, Lingerie Shots<\/td>Roger Hicks and Frances Schultz<\/td>RotoVision<\/td><\/td>1995<\/td><\/td>0<\/td> <\/tr>\n
8516<\/td>3929<\/td>unread<\/td>86<\/td>14873<\/td><\/td>12188<\/td><\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8517<\/td>3930<\/td>unread<\/td>84<\/td>14874<\/td><\/td>12189<\/td>Secrets of Studio Still Life Photography<\/td>Gary Perweiler<\/td>Amphoto<\/td><\/td>1984<\/td><\/td>0<\/td> <\/tr>\n
8518<\/td>3931<\/td>unread<\/td>84<\/td>14875<\/td><\/td>12190<\/td>Select 36<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8519<\/td>3932<\/td>unread<\/td>84<\/td>14876<\/td><\/td>12191<\/td>Techniques of Photographing, The Nude<\/td>Peter Barry and Chris Thomson<\/td>Exeter Books<\/td><\/td>1983<\/td><\/td>0<\/td> <\/tr>\n
8520<\/td>3933<\/td>unread<\/td>84<\/td>14877<\/td><\/td>12192<\/td>The Kodak Gold Awards 1981-1991<\/td><\/td>Kodak<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8521<\/td>3934<\/td>unread<\/td>84<\/td>14878<\/td><\/td>12211<\/td>Pentax Photo Annual 1985-1986<\/td><\/td>Pentax Family Secretariat<\/td><\/td>1985<\/td><\/td>0<\/td> <\/tr>\n
8522<\/td>3935<\/td>unread<\/td>84<\/td>14879<\/td><\/td>12212<\/td>British Journal of Photography 1982 Annu<\/td><\/td>Henry Greenwood & Co, Ltd.<\/td><\/td>1981<\/td><\/td>0<\/td> <\/tr>\n
8523<\/td>3936<\/td>unread<\/td>84<\/td>14880<\/td><\/td>12213<\/td>Pentax Photo Annual 1986 - 1987<\/td><\/td>Pentax Family Secretariat<\/td><\/td>1986<\/td><\/td>0<\/td> <\/tr>\n
8524<\/td>3937<\/td>unread<\/td>84<\/td>14881<\/td><\/td>12214<\/td>Photograms of the Year 1960<\/td><\/td>Iliffe & Sons Limited<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8525<\/td>3938<\/td>unread<\/td>84<\/td>14882<\/td><\/td>12215<\/td>Photography Annual 1953<\/td><\/td>Ziff-Davis Publishing Co.<\/td><\/td>1952<\/td><\/td>0<\/td> <\/tr>\n
8526<\/td>3939<\/td>unread<\/td>84<\/td>14883<\/td><\/td>12216<\/td>New Photograms 1961<\/td><\/td>Iliffe & Sons ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8527<\/td>3940<\/td>unread<\/td>84<\/td>14884<\/td><\/td>12217<\/td>The Metaphorical Eye<\/td>Gloria Stevens<\/td>Amphoto<\/td><\/td>1976<\/td><\/td>0<\/td> <\/tr>\n
8528<\/td>3941<\/td>unread<\/td>83<\/td>14885<\/td><\/td>12218<\/td><\/td>Erich Salomon<\/td>Verlag Ullstein GmbH<\/td><\/td>1963<\/td><\/td>0<\/td> <\/tr>\n
8529<\/td>3942<\/td>unread<\/td>83<\/td>14886<\/td><\/td>12219<\/td>Das Ist Fotografie, Der Mensch<\/td><\/td>Verlag Laterna Magica<\/td><\/td>1973<\/td><\/td>0<\/td> <\/tr>\n
8530<\/td>3943<\/td>unread<\/td>83<\/td>14887<\/td><\/td>12220<\/td>Photographische Nachrichten *se noter<\/td>Dr. F. Stolze<\/td>Verlag der Photographischen Nachrichten<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8531<\/td>3944<\/td>unread<\/td>83<\/td>14888<\/td><\/td>12221<\/td>Photographische Mittheilungen *se noter<\/td>Prof. Dr. Herman Vogel<\/td>Verlag Robert Oppenheim<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8532<\/td>3945<\/td>unread<\/td>83<\/td>14889<\/td><\/td>12222<\/td>Photographisches Wochenblatt 1884+1886<\/td>Dr. F. Stolze<\/td>F.U. Benekendorff<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8533<\/td>3946<\/td>unread<\/td>83<\/td>14890<\/td><\/td>12223<\/td>Photographische Wochenblatt 1890-1892<\/td>Dr. A. Miethe<\/td>F. U. Benekendorff<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8534<\/td>3947<\/td>unread<\/td>86<\/td>14891<\/td><\/td>12224<\/td>Fotografisk Tidsskrift *se noter<\/td>Albin Roosval<\/td>Fotografisk Tidsskrifts Forlag<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8535<\/td>3948<\/td>unread<\/td>84<\/td>14892<\/td><\/td>12225<\/td>The International Annual of A..*se noter<\/td><\/td>E. H. T. Anthony & Co. Publishers<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8536<\/td>3949<\/td>unread<\/td>84<\/td>14893<\/td><\/td>12226<\/td>All About Photography<\/td>Percy R. Salmon<\/td>Ward, Lock & Co. Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8537<\/td>3950<\/td>unread<\/td>84<\/td>14894<\/td><\/td>12227<\/td>Photography in Colours<\/td>George Lindsay Johnson<\/td>George Lindsay Johnson<\/td><\/td>1914<\/td><\/td>0<\/td> <\/tr>\n
8538<\/td>3951<\/td>unread<\/td>84<\/td>14895<\/td><\/td>12228<\/td>Complete Photographer<\/td>S. C. Johnson<\/td>W. Foulsham & Co. Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8539<\/td>3952<\/td>unread<\/td>84<\/td>14896<\/td><\/td>12229<\/td>Manual of Photography<\/td>C. H. Bothamley<\/td>The Britania Works Co. Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8540<\/td>3953<\/td>unread<\/td>84<\/td>14897<\/td><\/td>12230<\/td>Manual of Photography<\/td>C. H. Bothamley<\/td>Ilford Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8541<\/td>3954<\/td>unread<\/td>83<\/td>14898<\/td><\/td>12231<\/td><\/td>Erna Lendvai-Dircksen<\/td>Gauverlag Bayreuth GmbH<\/td><\/td>1943<\/td><\/td>0<\/td> <\/tr>\n
8542<\/td>3955<\/td>unread<\/td>84<\/td>14899<\/td><\/td>12232<\/td>Photograms of the Year 1943<\/td>F. J. Mortimer<\/td>Ilffe & Sons Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8543<\/td>3956<\/td>unread<\/td>84<\/td>14900<\/td><\/td>12233<\/td>Modern Photography 1934 - 5<\/td>C. Geoffrey Holme<\/td>Studio Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8544<\/td>3957<\/td>unread<\/td>84<\/td>14901<\/td><\/td>12234<\/td>The World Best Fotographs, Third Series<\/td><\/td>Odhams Press Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8545<\/td>3958<\/td>unread<\/td>84<\/td>14902<\/td><\/td>12235<\/td>The Perception of the Visual World<\/td>James J. Gibson<\/td>George Allen & Unwin Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8546<\/td>3959<\/td>unread<\/td>83<\/td>14903<\/td><\/td>12236<\/td>Physik und Technik des Tonfilms<\/td>H. Lichte und A. Narath<\/td>S Hirsel<\/td><\/td>1945<\/td><\/td>0<\/td> <\/tr>\n
8547<\/td>3960<\/td>unread<\/td>83<\/td>14904<\/td><\/td>12237<\/td>Photographisches Unterhaltungs Buch<\/td><\/td>Union Deutsche Verlagsgesellschaft<\/td><\/td>1920<\/td><\/td>0<\/td> <\/tr>\n
8548<\/td>3961<\/td>unread<\/td>84<\/td>14905<\/td><\/td>12238<\/td>The American Annual of Photography<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8549<\/td>3962<\/td>unread<\/td>85<\/td>14906<\/td><\/td>12239<\/td><\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8550<\/td>3963<\/td>unread<\/td>84<\/td>14907<\/td><\/td>12240<\/td>Universal Photo Almanac 1947<\/td><\/td>Falk Publishing Company<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8551<\/td>3964<\/td>unread<\/td>84<\/td>14908<\/td><\/td>12241<\/td>The Art of Projektion and Complete Magic<\/td><\/td>E. A. Beckett<\/td><\/td>1893<\/td><\/td>0<\/td> <\/tr>\n
8552<\/td>3965<\/td>unread<\/td>84<\/td>14909<\/td><\/td>12242<\/td>Photography<\/td>C. E. K. Mees<\/td>G. Bell and Sons Ltd.<\/td><\/td>1937<\/td><\/td>0<\/td> <\/tr>\n
8553<\/td>3966<\/td>unread<\/td>84<\/td>14910<\/td><\/td>12243<\/td>With Nature and a Camera<\/td>Richard Kearton<\/td>Cassell and Company Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8554<\/td>3967<\/td>unread<\/td>84<\/td>14911<\/td><\/td>12244<\/td>Progressive Photography<\/td>W. L. F. Wastell<\/td>Houghtons Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8555<\/td>3968<\/td>unread<\/td>83<\/td>14912<\/td><\/td>12245<\/td>Das Celoidinpapier<\/td>Paul Hanneke<\/td>Verlag von Gustav Schmidt<\/td><\/td>1897<\/td><\/td>0<\/td> <\/tr>\n
8556<\/td>3969<\/td>unread<\/td>84<\/td>14913<\/td><\/td>12246<\/td>The Junior Photographer 1895<\/td>Matthew Surface<\/td>Percy Lund & Co.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8557<\/td>3970<\/td>unread<\/td>84<\/td>14914<\/td><\/td>12247<\/td>A Dictionary of Photography<\/td>E. J. Wall<\/td>Hazell, Watson & Viney Ltd<\/td><\/td>1890<\/td><\/td>0<\/td> <\/tr>\n
8558<\/td>3971<\/td>unread<\/td>86<\/td>14915<\/td><\/td>12248<\/td>Kodakery 1923<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8559<\/td>3972<\/td>unread<\/td>86<\/td>14916<\/td><\/td>12249<\/td>Kodakery 1927<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8560<\/td>3973<\/td>unread<\/td>84<\/td>14917<\/td><\/td>12250<\/td>First Steps in Photography<\/td>J. C. H. Wallsgrove<\/td>George Toutledge and Sons Ltd<\/td><\/td>1912<\/td><\/td>0<\/td> <\/tr>\n
8561<\/td>3974<\/td>unread<\/td>81<\/td>14918<\/td><\/td>12251<\/td>Box Billeder<\/td><\/td>Gevaerts Foto-Bibliotek<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8562<\/td>3975<\/td>unread<\/td>84<\/td>14919<\/td><\/td>12252<\/td>Practical Pictorial Photography, Part 1<\/td>A. Hornsley Hinton<\/td><\/td>Hazell, Watson & Viney Ltd.<\/td><\/td><\/td>0<\/td> <\/tr>\n
8563<\/td>3976<\/td>unread<\/td>84<\/td>14920<\/td><\/td>12253<\/td>The Camera in the Fields<\/td>F. C. Snell<\/td>T. Fisher Unwin<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8564<\/td>3977<\/td>unread<\/td>84<\/td>14921<\/td><\/td>12254<\/td>Taking and Processing Amateur Colour Neg<\/td>Conrad Frost<\/td>Fountain Press<\/td><\/td>1963<\/td><\/td>0<\/td> <\/tr>\n
8565<\/td>3978<\/td>unread<\/td>83<\/td>14922<\/td><\/td>12255<\/td><\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8566<\/td>3979<\/td>unread<\/td>84<\/td>14923<\/td><\/td>12256<\/td><\/td>Bernard E. Jones<\/td>The Waverley Book Company<\/td><\/td>1911<\/td><\/td>0<\/td> <\/tr>\n
8567<\/td>3980<\/td>unread<\/td>83<\/td>14924<\/td><\/td>12257<\/td><\/td>Josef Maria Eder<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8568<\/td>3981<\/td>unread<\/td>84<\/td>14925<\/td><\/td>12258<\/td>The British Journal Photographic Almanac<\/td><\/td>Henry Greenwood & Co. Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8569<\/td>3982<\/td>unread<\/td>84<\/td>14926<\/td><\/td>12259<\/td>The British Journal of Photography<\/td><\/td>Henry Greenwood & Co. Ltd.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8570<\/td>3983<\/td>unread<\/td>84<\/td>14927<\/td><\/td>12260<\/td>The Fundamentals of Photography<\/td>C. E. K. Mees<\/td>Kodak Limited<\/td><\/td>1921<\/td><\/td>0<\/td> <\/tr>\n
8571<\/td>3984<\/td>unread<\/td>84<\/td>14928<\/td><\/td>12601<\/td>American Cinematographer, Hand book and.<\/td>Jackson J. Rose<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8572<\/td>3985<\/td>unread<\/td>84<\/td>14929<\/td><\/td>12602<\/td>Yashica Twin Lens Reflex Guide<\/td>W. D. Emanuel<\/td>The Focal Press<\/td>London , New York<\/td>1967<\/td><\/td>0<\/td> <\/tr>\n
8573<\/td>3986<\/td>unread<\/td>86<\/td>14930<\/td><\/td>12603<\/td><\/td>Karl Sandels<\/td>Nordisk Rotogravyr<\/td>Stockholm<\/td>1958<\/td><\/td>0<\/td> <\/tr>\n
8574<\/td>3987<\/td>unread<\/td>84<\/td>14931<\/td><\/td>12604<\/td>Posing Patterns<\/td>L. E. Broome<\/td>The Focal Press<\/td>London , New York<\/td>1958<\/td><\/td>0<\/td> <\/tr>\n
8575<\/td>3988<\/td>unread<\/td>81<\/td>14932<\/td><\/td>12605<\/td>Fandens<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8576<\/td>3989<\/td>unread<\/td>84<\/td>14933<\/td><\/td>12606<\/td>Magnum Concert<\/td><\/td>Fribourg<\/td><\/td>1985<\/td><\/td>0<\/td> <\/tr>\n
8577<\/td>3990<\/td>unread<\/td>84<\/td>14934<\/td><\/td>12607<\/td>Zone System Manual<\/td>Minor White<\/td>Morgan & Morgan, inc.<\/td>New York<\/td>1968<\/td><\/td>0<\/td> <\/tr>\n
8578<\/td>3991<\/td>unread<\/td>84<\/td>14935<\/td><\/td>12608<\/td>Zone VI Workshop<\/td>Fred Picker<\/td>Amphoto<\/td>New York<\/td>1979<\/td><\/td>0<\/td> <\/tr>\n
8579<\/td>3992<\/td>unread<\/td>84<\/td>14936<\/td><\/td>12609<\/td>Zone Systemizer<\/td>John J. Dowdell III and Richard D. Zakia<\/td>Morgan & Morgan, inc.<\/td>New York<\/td><\/td><\/td>0<\/td> <\/tr>\n
8580<\/td>3993<\/td>unread<\/td>84<\/td>14937<\/td><\/td>12610<\/td>The Year's Photography 1930-1931<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8581<\/td>3994<\/td>unread<\/td>84<\/td>14938<\/td><\/td>12611<\/td>Modern Photography 1934 - 5<\/td>C. Geoffrey Holme<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8582<\/td>3995<\/td>unread<\/td>84<\/td>14939<\/td><\/td>12612<\/td>Modern Photography 1937 - 8<\/td>C. G. Holme<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8583<\/td>3996<\/td>unread<\/td>83<\/td>14940<\/td><\/td>12613<\/td>Wolfsburg<\/td><\/td>F. Bruckmann<\/td><\/td>1963<\/td><\/td>0<\/td> <\/tr>\n
8584<\/td>3997<\/td>unread<\/td>84<\/td>14941<\/td><\/td>12614<\/td>The Photo Illustration<\/td>Bert Stern<\/td>Thames and Hudson<\/td>London<\/td>1974<\/td><\/td>0<\/td> <\/tr>\n
8585<\/td>3998<\/td>unread<\/td>84<\/td>14942<\/td><\/td>12615<\/td>Nikon Photo Contest International 1969<\/td><\/td>Nippon Kogaku K.K.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8586<\/td>3999<\/td>unread<\/td>86<\/td>14943<\/td><\/td>12616<\/td>Nikon Salon Books - 2<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8587<\/td>4000<\/td>unread<\/td>84<\/td>14944<\/td><\/td>12617<\/td>Besant, Surface Noise + Wave Data<\/td><\/td>DNA, Deutche Nouveau Arts<\/td><\/td>2006<\/td><\/td>0<\/td> <\/tr>\n
8588<\/td>4001<\/td>unread<\/td>81<\/td>14945<\/td><\/td>12745<\/td>Norsk Fotohistorisk Journal, Nr. 4, 1976<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8589<\/td>4002<\/td>unread<\/td>86<\/td>14946<\/td><\/td>12746<\/td>Amleto Lorenzini<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8590<\/td>4003<\/td>unread<\/td>86<\/td>14947<\/td><\/td>12747<\/td>Antonio Martinelli<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8591<\/td>4004<\/td>unread<\/td>86<\/td>14948<\/td><\/td>12748<\/td>Arturo Ghergo<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8592<\/td>4005<\/td>unread<\/td>86<\/td>14949<\/td><\/td>12749<\/td>Bill Owens<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8593<\/td>4006<\/td>unread<\/td>86<\/td>14950<\/td><\/td>12750<\/td>Daniele Tinelli<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8594<\/td>4007<\/td>unread<\/td>86<\/td>14951<\/td><\/td>12751<\/td>Felice Antonio Beato<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8595<\/td>4008<\/td>unread<\/td>86<\/td>14952<\/td><\/td>12752<\/td>Franco Grignani<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8596<\/td>4009<\/td>unread<\/td>86<\/td>14953<\/td><\/td>12753<\/td>Gabriele Basilico<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8597<\/td>4010<\/td>unread<\/td>86<\/td>14954<\/td><\/td>12754<\/td>Henry Fox Talbot<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8598<\/td>4011<\/td>unread<\/td>86<\/td>14955<\/td><\/td>12755<\/td><\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8599<\/td>4012<\/td>unread<\/td>86<\/td>14956<\/td><\/td>12756<\/td>Lorenzo Antonio Predali<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8600<\/td>4013<\/td>unread<\/td>86<\/td>14957<\/td><\/td>12757<\/td>Mario Cresci<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8601<\/td>4014<\/td>unread<\/td>86<\/td>14958<\/td><\/td>12758<\/td>Paolo Gioli<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8602<\/td>4015<\/td>unread<\/td>86<\/td>14959<\/td><\/td>12759<\/td>Roberto Schezen<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8603<\/td>4016<\/td>unread<\/td>86<\/td>14960<\/td><\/td>12760<\/td>Luigi Veronesi<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8604<\/td>4017<\/td>unread<\/td>81<\/td>14961<\/td><\/td>12761<\/td>Dansk Fotografi (1943)<\/td><\/td>Danske kamera-Pictorialister<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8605<\/td>4018<\/td>unread<\/td>81<\/td>14962<\/td><\/td>12762<\/td>Hverdage i Herning, Herning bogen 2006<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8606<\/td>4019<\/td>unread<\/td>86<\/td>14963<\/td><\/td>12763<\/td>Nikkor Annual 1969\/70<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8607<\/td>4020<\/td>unread<\/td>84<\/td>14964<\/td><\/td>12764<\/td>Photography Year 1975\/76<\/td><\/td>Time Life International (NL)<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8608<\/td>4021<\/td>unread<\/td>81<\/td>14965<\/td><\/td>12765<\/td>En verden i lyd og billeder<\/td>Ahm, Leif<\/td>Lademann 1972<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8609<\/td>4022<\/td>unread<\/td>84<\/td>14966<\/td><\/td>13031<\/td>The Kodak Museum<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8610<\/td>4023<\/td>unread<\/td>84<\/td>14967<\/td><\/td>13032<\/td>Faults In Negatives<\/td><\/td>The Imperial Dry Plate Co. Ltd. London<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8611<\/td>4024<\/td>unread<\/td>83<\/td>14968<\/td><\/td>13033<\/td><\/td><\/td>Mono-Werk<\/td>Magdeburg<\/td><\/td><\/td>0<\/td> <\/tr>\n
8612<\/td>4025<\/td>unread<\/td>84<\/td>14969<\/td><\/td>13034<\/td>How To Make Good Pictures<\/td><\/td>Easrman Lodak Company<\/td>N.Y.<\/td><\/td><\/td>0<\/td> <\/tr>\n
8613<\/td>4026<\/td>unread<\/td>84<\/td>14970<\/td><\/td>13035<\/td>Mehr Vom Leben<\/td><\/td>Der Photo-Porst<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8614<\/td>4027<\/td>unread<\/td>84<\/td>14971<\/td><\/td>13036<\/td>The Photography of Colored Objects<\/td><\/td>Eastman Kodak Company<\/td>N.Y.<\/td>1923<\/td><\/td>0<\/td> <\/tr>\n
8615<\/td>4028<\/td>unread<\/td>84<\/td>14972<\/td><\/td>13037<\/td>The Photo -Miniature No. 12<\/td><\/td>Tennant and Ward<\/td>N.Y.<\/td><\/td><\/td>0<\/td> <\/tr>\n
8616<\/td>4029<\/td>unread<\/td>83<\/td>14973<\/td><\/td>13038<\/td>20 Jahre Photographische Industrie<\/td><\/td>Leonar-Werke<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8617<\/td>4030<\/td>unread<\/td>84<\/td>14974<\/td><\/td>13039<\/td>The Photo-Miniature No. 81<\/td><\/td>Tennant and Ward<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8618<\/td>4031<\/td>unread<\/td>84<\/td>14975<\/td><\/td>13040<\/td>The Photo-Miniature No.68<\/td><\/td>Tennant and Ward<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8619<\/td>4032<\/td>unread<\/td>84<\/td>14976<\/td><\/td>13041<\/td>The Photo-Miniature No. 42<\/td><\/td>Tennant and Ward<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8620<\/td>4033<\/td>unread<\/td>84<\/td>14977<\/td><\/td>13042<\/td>The Photo-Miniature No. 37<\/td><\/td>Tennant and Ward<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8621<\/td>4034<\/td>unread<\/td>84<\/td>14978<\/td><\/td>13043<\/td>The Photo-Miniature No.24<\/td><\/td>Tennant and Ward<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8622<\/td>4035<\/td>unread<\/td>84<\/td>14979<\/td><\/td>13044<\/td>The Photo-Miniature No.8<\/td><\/td>Tennant and Ward<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8623<\/td>4036<\/td>unread<\/td>83<\/td>14980<\/td><\/td>13045<\/td>ATO Berater (liste nr. 89)<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8624<\/td>4037<\/td>unread<\/td>81<\/td>14981<\/td><\/td>13046<\/td>Stjerneskud<\/td><\/td>Louisiana Museum<\/td><\/td>2006<\/td><\/td>0<\/td> <\/tr>\n
8625<\/td>4038<\/td>unread<\/td>81<\/td>14982<\/td><\/td>13047<\/td>Dansk Fotografihistorie<\/td><\/td>Gyldendal<\/td><\/td>2004<\/td><\/td>0<\/td> <\/tr>\n
8626<\/td>4039<\/td>unread<\/td>86<\/td>14983<\/td><\/td>13048<\/td>Premis Reus 2005<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8627<\/td>4040<\/td>unread<\/td>81<\/td>14984<\/td><\/td>13049<\/td><\/td><\/td>Selskabet for Dansk Fotografi<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8628<\/td>4041<\/td>unread<\/td>83<\/td>14985<\/td><\/td>13050<\/td>Fotosport 2006<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8629<\/td>4042<\/td>unread<\/td>84<\/td>14986<\/td><\/td>13051<\/td>The Photography Book<\/td><\/td>Phaidon Press Limited<\/td>London<\/td><\/td><\/td>0<\/td> <\/tr>\n
8630<\/td>4043<\/td>unread<\/td>86<\/td>14987<\/td><\/td>13052<\/td>Nikkor Annual 1983-1984<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8631<\/td>4044<\/td>unread<\/td>84<\/td>14988<\/td><\/td>13053<\/td>Commercial Photography (4.edition)<\/td><\/td>Henry Greenwood & Co.<\/td>London<\/td>1922<\/td><\/td>0<\/td> <\/tr>\n
8632<\/td>4045<\/td>unread<\/td>81<\/td>14989<\/td><\/td>13054<\/td>Fagfotografens Formular-Bog<\/td><\/td>Kodak Aktieselskab<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8633<\/td>4046<\/td>unread<\/td>84<\/td>14990<\/td><\/td>13055<\/td>The Kodak Museum<\/td><\/td>Kodak Limited,Wealdstone,Harrow<\/td>Middlesex<\/td>1947<\/td><\/td>0<\/td> <\/tr>\n
8634<\/td>4047<\/td>unread<\/td>83<\/td>14991<\/td><\/td>13056<\/td>Deutscher Foto-Almanach 1956<\/td><\/td>Klinger Verlag<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8635<\/td>4048<\/td>unread<\/td>83<\/td>14992<\/td><\/td>13057<\/td>Mitteilungen der Leitz-Werke nr. 30-48<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8636<\/td>4049<\/td>unread<\/td>84<\/td>14993<\/td><\/td>13058<\/td>The Year's Photography 1939-1940<\/td><\/td>Royal Photographic Society Publication<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8637<\/td>4050<\/td>unread<\/td>84<\/td>14994<\/td><\/td>13059<\/td>The Year's Photography 1940-1941<\/td><\/td>Royal Photographic Society Publication<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8638<\/td>4051<\/td>unread<\/td>84<\/td>14995<\/td><\/td>13060<\/td>The Year's Photography 1942-1943<\/td><\/td>Royal Photographic Society Publication<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8639<\/td>4052<\/td>unread<\/td>84<\/td>14996<\/td><\/td>13061<\/td>The Year's Photography 1943-1944<\/td><\/td>Royal Photographic Society Publication<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8640<\/td>4053<\/td>unread<\/td>84<\/td>14997<\/td><\/td>13062<\/td>The Year's Photography 1945-1946<\/td><\/td>Royal Photographic Society Publication<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8641<\/td>4054<\/td>unread<\/td>83<\/td>14998<\/td><\/td>13063<\/td>Als Photographieren Noch ein Abenteuer W<\/td>Uwe Scheid<\/td>Harenberg<\/td><\/td>1983<\/td><\/td>0<\/td> <\/tr>\n
8642<\/td>4055<\/td>unread<\/td>83<\/td>14999<\/td><\/td>13064<\/td><\/td>Otto Croy<\/td>Im Heering Verlag<\/td><\/td>1956<\/td><\/td>0<\/td> <\/tr>\n
8643<\/td>4056<\/td>unread<\/td>83<\/td>15000<\/td><\/td>13065<\/td>Blitztechnik mit Syncro-Compur<\/td>Gebele von Eisenstein<\/td>Im Heering Verlag<\/td><\/td>1951<\/td><\/td>0<\/td> <\/tr>\n
8644<\/td>4057<\/td>unread<\/td>83<\/td>15001<\/td><\/td>13066<\/td>Kleine Farbenlehre<\/td>H. E. Trieb<\/td>Wilhelm Knapp<\/td>Halle<\/td>1943<\/td><\/td>0<\/td> <\/tr>\n
8645<\/td>4058<\/td>unread<\/td>83<\/td>15002<\/td><\/td>13067<\/td>Rezepte Tabellen<\/td>J. M. Eder<\/td>Wilhelm Knapp<\/td>Halle<\/td>1948<\/td><\/td>0<\/td> <\/tr>\n
8646<\/td>4059<\/td>unread<\/td>84<\/td>15003<\/td><\/td>13068<\/td>Guide to Photographic Printing<\/td>Thomas Illingworth<\/td>Thomas Illingworth & Co. Ltd.<\/td>London<\/td><\/td><\/td>0<\/td> <\/tr>\n
8647<\/td>4060<\/td>unread<\/td>83<\/td>15004<\/td><\/td>13069<\/td>Handbuch<\/td>J. Hauff & Co.<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8648<\/td>4061<\/td>unread<\/td>84<\/td>15005<\/td><\/td>13070<\/td>Amateur's First Handbook<\/td>J. H. T. Ellerbech<\/td>D. H. Cussons & Co.<\/td>Liverpool<\/td>1883<\/td><\/td>0<\/td> <\/tr>\n
8649<\/td>4062<\/td>unread<\/td>84<\/td>15006<\/td><\/td>13071<\/td>All About Pretty Girls<\/td>Eugine M. Hanson<\/td>The Focal Press<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8650<\/td>4063<\/td>unread<\/td>84<\/td>15007<\/td><\/td>13072<\/td>The First Principles of Photography<\/td>Clement J. Leaper<\/td>Iliffe & Sons<\/td>London<\/td>1892<\/td><\/td>0<\/td> <\/tr>\n
8651<\/td>4064<\/td>unread<\/td>83<\/td>15008<\/td><\/td>13073<\/td>Die Photographie als Liebhaberkunst<\/td>Max Engler<\/td>Hugo Peter<\/td><\/td>1901<\/td><\/td>0<\/td> <\/tr>\n
8652<\/td>4065<\/td>unread<\/td>84<\/td>15009<\/td><\/td>13074<\/td>First Aid to the Amateur Photographer<\/td>Will R. Rose<\/td>Minshull & Meeson<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8653<\/td>4066<\/td>unread<\/td>84<\/td>15010<\/td><\/td>13075<\/td>A Treatise on Photography<\/td>W. de W. Abney<\/td>Longmans, Green and Co.<\/td><\/td>1878<\/td><\/td>0<\/td> <\/tr>\n
8654<\/td>4067<\/td>unread<\/td>84<\/td>15011<\/td><\/td>13076<\/td>The History of Photography<\/td>Beaumont Newhall<\/td>The Museum of Modern Art<\/td>N.Y.<\/td>1949<\/td><\/td>0<\/td> <\/tr>\n
8655<\/td>4068<\/td>unread<\/td>84<\/td>15012<\/td><\/td>13077<\/td>The Fundamentals of Pkotography<\/td>C. E. K. Mees<\/td>Kodak Limited<\/td>London<\/td>1920<\/td><\/td>0<\/td> <\/tr>\n
8656<\/td>4069<\/td>unread<\/td>84<\/td>15013<\/td><\/td>13078<\/td>The Theory of Development<\/td>A. H. Nietz<\/td>Eastman Kodak Company<\/td>N.Y.<\/td>1922<\/td><\/td>0<\/td> <\/tr>\n
8657<\/td>4070<\/td>unread<\/td>84<\/td>15014<\/td><\/td>13079<\/td>Perfect Negatives<\/td>B. T. J. Glover<\/td>The New Photographer Limited<\/td>Liverpool<\/td><\/td><\/td>0<\/td> <\/tr>\n
8658<\/td>4071<\/td>unread<\/td>84<\/td>15015<\/td><\/td>13080<\/td>Perfection in the Pigment Processes<\/td>Chris J. Symes<\/td>The New Photographer Ltd.<\/td>Liverpool<\/td><\/td><\/td>0<\/td> <\/tr>\n
8659<\/td>4072<\/td>unread<\/td>84<\/td>15016<\/td><\/td>13081<\/td>Flashlight<\/td>John J. Curtis<\/td>British Periodicals Ltd.<\/td>London<\/td><\/td><\/td>0<\/td> <\/tr>\n
8660<\/td>4073<\/td>unread<\/td>84<\/td>15017<\/td><\/td>13082<\/td>Photographic Lense, A Simple Treatise (7<\/td>Conrad Beck & Herbert Andrews<\/td>R. & j. Beck Ltd.<\/td>London<\/td><\/td><\/td>0<\/td> <\/tr>\n
8661<\/td>4074<\/td>unread<\/td>84<\/td>15018<\/td><\/td>13083<\/td>Photographic Lenses, A Simple Treatise(2<\/td>Conrad Beck & Herbert Andrews<\/td>R. & J. Beck Ltd.<\/td>London<\/td><\/td><\/td>0<\/td> <\/tr>\n
8662<\/td>4075<\/td>unread<\/td>83<\/td>15019<\/td><\/td>13084<\/td>Leica Technik<\/td>Curt Emmermann<\/td>Wilhelm Knapp<\/td>Halle<\/td>1937<\/td><\/td>0<\/td> <\/tr>\n
8663<\/td>4076<\/td>unread<\/td>84<\/td>15020<\/td><\/td>13085<\/td>Leica Manual (9.udg.)<\/td>Willard D. Morgan & Henry M. Lester<\/td>Morgan & Lester<\/td>N.Y.<\/td>1943<\/td><\/td>0<\/td> <\/tr>\n
8664<\/td>4077<\/td>unread<\/td>84<\/td>15021<\/td><\/td>13086<\/td>Leica Manual (12. udg.)<\/td>Willard D. Morgan & Henry M. Lester<\/td>Morgan & Lester<\/td>N.Y.<\/td>1951<\/td><\/td>0<\/td> <\/tr>\n
8665<\/td>4078<\/td>unread<\/td>83<\/td>15022<\/td><\/td>13087<\/td>Gevaert Handbuch<\/td>Carl Hackl<\/td>Aktiengasellschaft L. Gevaert & Cie<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8666<\/td>4079<\/td>unread<\/td>83<\/td>15023<\/td><\/td>13088<\/td>Farben-Fotorat 5, Landschaftsfotos-Farbi<\/td><\/td>Wilhelm Knapp<\/td>Halle<\/td><\/td><\/td>0<\/td> <\/tr>\n
8667<\/td>4080<\/td>unread<\/td>83<\/td>15024<\/td><\/td>13089<\/td>Farben-Fotorat 8, Bessere Farbenfotos<\/td>Friedrich Bohne<\/td>Wilhelm Knapp<\/td>Halle<\/td><\/td><\/td>0<\/td> <\/tr>\n
8668<\/td>4081<\/td>unread<\/td>84<\/td>15025<\/td><\/td>13090<\/td>Photographic Enlarging<\/td>R. Child Bayley<\/td>Iliffe & Sons Ltd.<\/td>London<\/td><\/td><\/td>0<\/td> <\/tr>\n
8669<\/td>4082<\/td>unread<\/td>83<\/td>15026<\/td><\/td>13091<\/td>Fotomontage<\/td>Otto Croy<\/td>Wilhelm Knapp<\/td>Halle<\/td>1950<\/td><\/td>0<\/td> <\/tr>\n
8670<\/td>4083<\/td>unread<\/td>84<\/td>15027<\/td><\/td>13092<\/td>Perfect Negatives<\/td>B. T. J. Glover & G. L. Wakefield<\/td>Fountain Press<\/td>London<\/td><\/td><\/td>0<\/td> <\/tr>\n
8671<\/td>4084<\/td>unread<\/td>83<\/td>15028<\/td><\/td>13093<\/td><\/td>Hans Windischt<\/td>Im Heering-Verlag<\/td><\/td>1937<\/td><\/td>0<\/td> <\/tr>\n
8672<\/td>4085<\/td>unread<\/td>84<\/td>15029<\/td><\/td>13094<\/td>The Art of Retouching Negatives...<\/td>Robert Johnson<\/td>Marion and Co.<\/td>London<\/td>1898<\/td><\/td>0<\/td> <\/tr>\n
8673<\/td>4086<\/td>unread<\/td>83<\/td>15030<\/td><\/td>13095<\/td>So Macht Man Bessere Fotos<\/td>M. L. Taylor<\/td>Falken Verlag<\/td><\/td>1982<\/td><\/td>0<\/td> <\/tr>\n
8674<\/td>4087<\/td>unread<\/td>81<\/td>15031<\/td><\/td>13096<\/td>Dansk Stumfilm II<\/td>Marguerite Engberg<\/td>Rhodos<\/td>Kbh.<\/td>1977<\/td><\/td>0<\/td> <\/tr>\n
8675<\/td>4088<\/td>unread<\/td>81<\/td>15032<\/td><\/td>13097<\/td>Dansk Stumfilm I<\/td>Marguerite Engberg<\/td>Rhodos<\/td>Kbh.<\/td>1977<\/td><\/td>0<\/td> <\/tr>\n
8676<\/td>4089<\/td>unread<\/td>81<\/td>15033<\/td><\/td>13098<\/td>Fotografiske Dialekter<\/td>Jannie Uhre Mogensen<\/td>NSU Press<\/td><\/td>2006<\/td><\/td>0<\/td> <\/tr>\n
8677<\/td>4090<\/td>unread<\/td>83<\/td>15034<\/td><\/td>13099<\/td>Ich Jagte das Weisse Nashorn<\/td>Wilhelm Schack<\/td>Umschau Verlag<\/td>Frankfurt<\/td>1958<\/td><\/td>0<\/td> <\/tr>\n
8678<\/td>4091<\/td>unread<\/td>86<\/td>15035<\/td><\/td>13100<\/td>Counter Parts \/ Vastin Parit<\/td>Jari Arffman<\/td>Karjaani \/ Taidemuseo<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8679<\/td>4092<\/td>unread<\/td>85<\/td>15036<\/td><\/td>13101<\/td>Bayard<\/td>Hippolyte Bayard<\/td>Prisma<\/td>Paris<\/td>1943<\/td><\/td>0<\/td> <\/tr>\n
8680<\/td>4093<\/td>unread<\/td>84<\/td>15037<\/td><\/td>13102<\/td>Colour Photography<\/td>Charles Holme<\/td>The Studio<\/td>London<\/td>1908<\/td><\/td>0<\/td> <\/tr>\n
8681<\/td>4094<\/td>unread<\/td>84<\/td>15038<\/td><\/td>13103<\/td>Photograms of the Year 1912<\/td>F. J. Mortimer<\/td>Hazell, Watson & Viney<\/td>London<\/td><\/td><\/td>0<\/td> <\/tr>\n
8682<\/td>4095<\/td>unread<\/td>86<\/td>15039<\/td><\/td>13104<\/td>Duel<\/td>Massimiliano Camellini<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8683<\/td>4096<\/td>unread<\/td>81<\/td>15040<\/td><\/td>13105<\/td>Hugo Matthiessens Skanderborg (1918)<\/td>Helle Reinholt<\/td>Skanderborg Museum<\/td><\/td>2007<\/td><\/td>0<\/td> <\/tr>\n
8684<\/td>4097<\/td>unread<\/td>81<\/td>15041<\/td><\/td>13106<\/td>Sagnsten<\/td>Dorte & Poul Pedersen<\/td>Poul Kristensens Forlag<\/td><\/td>1993<\/td><\/td>0<\/td> <\/tr>\n
8685<\/td>4098<\/td>unread<\/td>84<\/td>15042<\/td><\/td>13107<\/td>Extreme Photography<\/td>Terry Hope<\/td>Rotovision<\/td><\/td>2004<\/td><\/td>0<\/td> <\/tr>\n
8686<\/td>4099<\/td>unread<\/td>81<\/td>15043<\/td><\/td>13108<\/td>Marinus<\/td>Gunner Byskov<\/td>Aarhus Universitetsforlag<\/td><\/td>2007<\/td><\/td>0<\/td> <\/tr>\n
8687<\/td>4100<\/td>unread<\/td>84<\/td>15044<\/td><\/td>13109<\/td>Through Wet Mirror<\/td>Ibrahim Demirel<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8688<\/td>4101<\/td>unread<\/td>84<\/td>15045<\/td><\/td>13110<\/td>Flammarion - Jeu de Paume<\/td>Cindy Sherman<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8689<\/td>4102<\/td>unread<\/td>84<\/td>15046<\/td><\/td>13111<\/td>Ilford, Manual of Photography<\/td>James Mitchell<\/td>Ilford Ltd.<\/td>London<\/td><\/td><\/td>0<\/td> <\/tr>\n
8690<\/td>4103<\/td>unread<\/td>84<\/td>15047<\/td><\/td>13112<\/td>Optics, the Technique of Definition<\/td>Arthur Cox<\/td>The Focal Press<\/td>London, N.Y.<\/td><\/td><\/td>0<\/td> <\/tr>\n
8691<\/td>4104<\/td>unread<\/td>84<\/td>15048<\/td><\/td>13113<\/td>Photographic Optics and Colour Photograp<\/td>G. Lindsay Johnson<\/td>Ward & Co.<\/td>London<\/td>1909<\/td><\/td>0<\/td> <\/tr>\n
8692<\/td>4105<\/td>unread<\/td>84<\/td>15049<\/td><\/td>13114<\/td>A History and Handbook of Photography<\/td>J. Thomson<\/td>Sampson Low<\/td>London<\/td>1876<\/td><\/td>0<\/td> <\/tr>\n
8693<\/td>4106<\/td>unread<\/td>83<\/td>15050<\/td><\/td>13115<\/td>Ein Betrag zur Bildnis-Photographie<\/td>Max Dienstbach<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8694<\/td>4107<\/td>unread<\/td>81<\/td>15051<\/td><\/td>13116<\/td>Jeg Fotograferer<\/td>\"Kameramanden\"<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8695<\/td>4108<\/td>unread<\/td>84<\/td>15052<\/td><\/td>13117<\/td>The Alliance Year Book 1950-1951<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8696<\/td>4109<\/td>unread<\/td>84<\/td>15053<\/td><\/td>13118<\/td>The British Journal of Photography XI<\/td><\/td>Henry Greenwood<\/td>Liverpool<\/td>1864<\/td><\/td>0<\/td> <\/tr>\n
8697<\/td>4110<\/td>unread<\/td>84<\/td>15054<\/td><\/td>13119<\/td>The British Journal of Photography XIV<\/td><\/td>Henry Greenwood<\/td>London<\/td>1867<\/td><\/td>0<\/td> <\/tr>\n
8698<\/td>4111<\/td>unread<\/td>84<\/td>15055<\/td><\/td>13120<\/td>Photogenic Manipulation<\/td>Robert J. Bingham<\/td>George Knight and Sons<\/td><\/td>1852<\/td><\/td>0<\/td> <\/tr>\n
8699<\/td>4112<\/td>unread<\/td>84<\/td>15056<\/td><\/td>13121<\/td>Everyone's Guide to Photography (later E<\/td>J. T. Wall<\/td>Henry J. Drane<\/td>London<\/td><\/td><\/td>0<\/td> <\/tr>\n
8700<\/td>4113<\/td>unread<\/td>84<\/td>15057<\/td><\/td>13122<\/td>Everyone's Guide to Photography (4.th Ed<\/td>E. J. Wall<\/td>Henry J. Drane<\/td>London<\/td><\/td><\/td>0<\/td> <\/tr>\n
8701<\/td>4114<\/td>unread<\/td>83<\/td>15058<\/td><\/td>13123<\/td>Die Photographischen Apparate<\/td><\/td>Ed. Liesegangs Verlag<\/td><\/td>1904<\/td><\/td>0<\/td> <\/tr>\n
8702<\/td>4115<\/td>unread<\/td>84<\/td>15059<\/td><\/td>13124<\/td>Indoor Photography<\/td>Bertha M. Lothrop<\/td>Percy Lund & Co. Ltd.<\/td>London<\/td><\/td><\/td>0<\/td> <\/tr>\n
8703<\/td>4116<\/td>unread<\/td>83<\/td>15060<\/td><\/td>13387<\/td>Laterna Magica vol. 1<\/td>Deac Rossell<\/td><\/td><\/td>2008<\/td><\/td>0<\/td> <\/tr>\n
8704<\/td>4117<\/td>unread<\/td>83<\/td>15061<\/td><\/td>13388<\/td>Afghanistan Zero<\/td>Simon Norfolk<\/td>Edition Braus, Wachter Verlag<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8705<\/td>4118<\/td>unread<\/td>81<\/td>15062<\/td><\/td>13389<\/td>Fra Billedhilsen Til Postkort<\/td><\/td>Bruun Rasmussen Publishing<\/td><\/td>2007<\/td><\/td>0<\/td> <\/tr>\n
8706<\/td>4119<\/td>unread<\/td>86<\/td>15063<\/td><\/td>13390<\/td>Textures and Rhytms<\/td>Ibrahim Demirel<\/td>Sanatyapim<\/td><\/td>2008<\/td><\/td>0<\/td> <\/tr>\n
8707<\/td>4120<\/td>unread<\/td>84<\/td>15064<\/td><\/td>13391<\/td>English Beauties<\/td>Ed Alexander<\/td>Whitestone Publications Inc.<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8708<\/td>4121<\/td>unread<\/td>84<\/td>15065<\/td><\/td>13392<\/td>Salon Photography<\/td>A Fawcett Book 391<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8709<\/td>4122<\/td>unread<\/td>84<\/td>15066<\/td><\/td>13393<\/td>Good Photography<\/td>A Fawcett Book 151<\/td>Fawcett Publications Inc.<\/td><\/td>1952<\/td><\/td>0<\/td> <\/tr>\n
8710<\/td>4123<\/td>unread<\/td>84<\/td>15067<\/td><\/td>13394<\/td>Canned Candies<\/td>Jean Clemmer<\/td>Charles Skilton Ltd.<\/td><\/td>1969<\/td><\/td>0<\/td> <\/tr>\n
8711<\/td>4124<\/td>unread<\/td>84<\/td>15068<\/td><\/td>13395<\/td>Self Portrait<\/td>Pat Booth<\/td>Quartet Books Ltd.<\/td><\/td>1983<\/td><\/td>0<\/td> <\/tr>\n
8712<\/td>4125<\/td>unread<\/td>86<\/td>15069<\/td><\/td>13396<\/td>Gianni Versace (n. 22)<\/td>Irving Penn<\/td><\/td><\/td>1992<\/td><\/td>0<\/td> <\/tr>\n
8713<\/td>4126<\/td>unread<\/td>84<\/td>15070<\/td><\/td>13397<\/td>Photographs 1946-2004<\/td>Richard Avedon<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8714<\/td>4127<\/td>unread<\/td>81<\/td>15071<\/td><\/td>13398<\/td>Photographs 1941-1995<\/td>Keld Helmer-Petersen<\/td>Christen Ejlers Publishers<\/td><\/td>2007<\/td><\/td>0<\/td> <\/tr>\n
8715<\/td>4128<\/td>unread<\/td>81<\/td>15072<\/td><\/td>13399<\/td>Det Evige Nu<\/td>Kirsten Klein<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8716<\/td>4129<\/td>unread<\/td>81<\/td>15073<\/td><\/td>13400<\/td>Fotografernes H. C. A ndersen<\/td>Tove Thage<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8717<\/td>4130<\/td>unread<\/td>81<\/td>15074<\/td><\/td>13401<\/td>Out Of The Blue<\/td><\/td>Scanpix\/Nordfoto<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8718<\/td>4131<\/td>unread<\/td>81<\/td>15075<\/td><\/td>13402<\/td>Hernings Erhvervshistorie 1950-2006<\/td>Sven Illeris<\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8719<\/td>4132<\/td>unread<\/td>81<\/td>15076<\/td><\/td>13403<\/td>Krigen 1864 i Stereobilleder<\/td>Leif Hammelev m. fl.<\/td>Studieafdelingen osv.<\/td>Flensburg<\/td>2007<\/td><\/td>0<\/td> <\/tr>\n
8720<\/td>4133<\/td>unread<\/td>81<\/td>15077<\/td><\/td>13404<\/td>Filmmaskinen<\/td><\/td>Swing<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8721<\/td>4134<\/td>unread<\/td>83<\/td>15078<\/td><\/td>13405<\/td><\/td>Georg Hauberrisser<\/td>Ed. Liesegang's Verlag M. Eger<\/td><\/td>1918<\/td><\/td>0<\/td> <\/tr>\n
8722<\/td>4135<\/td>unread<\/td>81<\/td>15079<\/td><\/td>13406<\/td>Lyddias<\/td>Steffen Holm m.fl.<\/td>Specialbladsforlaget<\/td><\/td>1992<\/td><\/td>0<\/td> <\/tr>\n
8723<\/td>4136<\/td>unread<\/td>81<\/td>15080<\/td><\/td>13407<\/td><\/td><\/td>Forlaget Atuagkat<\/td><\/td>2007<\/td><\/td>0<\/td> <\/tr>\n
8724<\/td>4137<\/td>unread<\/td>81<\/td>15081<\/td><\/td>13408<\/td>Rejse-Farvefilm<\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8725<\/td>4138<\/td>unread<\/td>85<\/td>15082<\/td><\/td>13409<\/td><\/td><\/td>CNA<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8726<\/td>4139<\/td>unread<\/td>81<\/td>15083<\/td><\/td>13410<\/td>Film & Video 1992-1993<\/td><\/td>Statens Filmcentral<\/td><\/td>1992-1993<\/td><\/td>0<\/td> <\/tr>\n
8727<\/td>4140<\/td>unread<\/td>81<\/td>15084<\/td><\/td>13411<\/td><\/td><\/td>Gyldendal<\/td><\/td>1981<\/td><\/td>0<\/td> <\/tr>\n
8728<\/td>4141<\/td>unread<\/td>83<\/td>15085<\/td><\/td>13412<\/td>Profi-Ratgeber Foto<\/td><\/td>Stiftung Warentest<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8729<\/td>4142<\/td>unread<\/td>81<\/td>15086<\/td><\/td>13413<\/td><\/td><\/td>Jyllands-Postens Forlag<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8730<\/td>4143<\/td>unread<\/td>81<\/td>15087<\/td><\/td>13414<\/td><\/td><\/td>Jyllands-Postens Forlag<\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
8731<\/td>4144<\/td>unread<\/td>85<\/td>15088<\/td><\/td>13664<\/td>Annuaire Generel et International 1897<\/td><\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8732<\/td>4145<\/td>unread<\/td>84<\/td>15089<\/td><\/td>13666<\/td>Stereo Views (2nd Edition)<\/td>John Waldsmith<\/td>Krause Publications<\/td>USA<\/td>2002<\/td><\/td>4<\/td> <\/tr>\n
8733<\/td>4146<\/td>unread<\/td>84<\/td>15090<\/td><\/td>13665<\/td>Advanced Adope Photoshop<\/td><\/td><\/td>USA<\/td>1994<\/td><\/td>4<\/td> <\/tr>\n
8734<\/td>4147<\/td>unread<\/td>86<\/td>15091<\/td><\/td>13667<\/td>Sanatta 40.yil 1968-2008<\/td>Ibrahim Demirel<\/td>Sanatyapim<\/td>Ankara<\/td>2008<\/td><\/td>4<\/td> <\/tr>\n
8735<\/td>4148<\/td>unread<\/td>86<\/td>15092<\/td><\/td>13668<\/td>Ibrahim Demirel<\/td>Ibrahin Demirel<\/td>Sanatyapim<\/td>Ankara<\/td>2008<\/td><\/td>4<\/td> <\/tr>\n
8736<\/td>4149<\/td>unread<\/td>84<\/td>15093<\/td><\/td>13669<\/td>Pavel Wolberg<\/td>Pavel Wolberg<\/td>Dvir Gallery<\/td>Tel Aviv<\/td>2008<\/td><\/td>4<\/td> <\/tr>\n
8737<\/td>4150<\/td>unread<\/td>81<\/td>15094<\/td><\/td>13670<\/td><\/td>Thomas Pedersen<\/td>Borgens Forlag<\/td><\/td>1962<\/td><\/td>4<\/td> <\/tr>\n
8738<\/td>4151<\/td>unread<\/td>86<\/td>15095<\/td><\/td>13671<\/td>Niviarsiaq<\/td>Kristian Mainz<\/td>Forlaget Atuagkat<\/td><\/td>2008<\/td><\/td>4<\/td> <\/tr>\n
8739<\/td>4152<\/td>unread<\/td>81<\/td>15096<\/td><\/td>13672<\/td>Da Vi Gik Til Rejsefilm<\/td><\/td><\/td><\/td>2008<\/td><\/td>4<\/td> <\/tr>\n
8740<\/td>4153<\/td>unread<\/td>83<\/td>15097<\/td><\/td>13673<\/td>The Ultimate Commercial... Vol2 Fineligh<\/td><\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8741<\/td>4154<\/td>unread<\/td>81<\/td>15098<\/td><\/td>13674<\/td>Stereoskopklubben 1908-2008<\/td><\/td><\/td><\/td>2008<\/td><\/td>4<\/td> <\/tr>\n
8742<\/td>4155<\/td>unread<\/td>81<\/td>15099<\/td><\/td>13675<\/td><\/td>Anne-Grete Steckhahn<\/td>Nyt Nordisk Forlag Arnold Busck<\/td>Kbh.<\/td>2008<\/td><\/td>4<\/td> <\/tr>\n
8743<\/td>4156<\/td>unread<\/td>84<\/td>15100<\/td><\/td>13676<\/td>The World of Streographs<\/td>William C. Darrah<\/td>W.C. Darrah<\/td>USA<\/td>1977<\/td><\/td>4<\/td> <\/tr>\n
8744<\/td>4157<\/td>unread<\/td>86<\/td>15101<\/td><\/td>13677<\/td>International Glossary of Photographic T<\/td><\/td>Eastman Kodak Co.<\/td>N.Y.<\/td>1973<\/td><\/td>4<\/td> <\/tr>\n
8745<\/td>4158<\/td>unread<\/td>83<\/td>15102<\/td><\/td>13678<\/td>Meisterwerke.....<\/td><\/td>Prestel Verlag<\/td>Tyskland<\/td>1999<\/td><\/td>4<\/td> <\/tr>\n
8746<\/td>4159<\/td>unread<\/td>84<\/td>15103<\/td><\/td>13679<\/td>Beyond the Lens<\/td><\/td>The Association of Photographers Ltd.<\/td><\/td>1996<\/td><\/td>4<\/td> <\/tr>\n
8747<\/td>4160<\/td>unread<\/td>81<\/td>15104<\/td><\/td>13680<\/td><\/td><\/td><\/td><\/td>2008<\/td><\/td>4<\/td> <\/tr>\n
8748<\/td>4161<\/td>unread<\/td>86<\/td>15105<\/td><\/td>13681<\/td>Stereo Akte-Nudes-Nus 1850 - 1930<\/td>Serge Nazarieff<\/td>Benedikt Taschen Verlag<\/td><\/td>1993<\/td><\/td>4<\/td> <\/tr>\n
8749<\/td>4162<\/td>unread<\/td>85<\/td>15106<\/td><\/td>13682<\/td>Paris en 3D<\/td><\/td>Booth-Clibborn Editions<\/td><\/td>2000<\/td><\/td>4<\/td> <\/tr>\n
8750<\/td>4163<\/td>unread<\/td>83<\/td>15107<\/td><\/td>13683<\/td><\/td><\/td><\/td><\/td>1996<\/td><\/td>4<\/td> <\/tr>\n
8751<\/td>4164<\/td>unread<\/td>81<\/td>15108<\/td><\/td>13687<\/td>Surface<\/td>Kennet Havgaard<\/td>Schultz Forlag<\/td>Albertslund<\/td>2007<\/td><\/td>4<\/td> <\/tr>\n
8752<\/td>4165<\/td>unread<\/td>84<\/td>15109<\/td><\/td>13688<\/td>Poster Girls<\/td>T. N. Trikilis<\/td>Pocket Books<\/td>N. Y.<\/td>1980<\/td><\/td>4<\/td> <\/tr>\n
8753<\/td>4166<\/td>unread<\/td>88<\/td>15110<\/td><\/td>13689<\/td>Billed Album<\/td>Billed Album<\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8754<\/td>4167<\/td>unread<\/td>83<\/td>15111<\/td><\/td>13690<\/td>Mademoiselle 1+1<\/td>Macel Veronese & Jean-Claude Peres<\/td>Verlag der Eupaischen Bucherei<\/td>Bonn<\/td>1968<\/td><\/td>4<\/td> <\/tr>\n
8755<\/td>4168<\/td>unread<\/td>84<\/td>15112<\/td><\/td>13691<\/td>Birds of Britain<\/td>John d Green<\/td>The Bodley Head Ltd.<\/td>London<\/td>1967<\/td><\/td>4<\/td> <\/tr>\n
8756<\/td>4169<\/td>unread<\/td>142<\/td>15113<\/td>Video<\/td>13693<\/td>Finelight Video, Wedding sales (10)<\/td>Monte Zucker<\/td><\/td><\/td><\/td><\/td>80<\/td> <\/tr>\n
8757<\/td>4170<\/td>unread<\/td>83<\/td>15114<\/td><\/td>13694<\/td><\/td><\/td><\/td><\/td>2007<\/td><\/td>3<\/td> <\/tr>\n
8758<\/td>4171<\/td>unread<\/td>81<\/td>15115<\/td><\/td>13695<\/td>En rejse i sandets verden<\/td>Rita Buch-Hansen<\/td><\/td><\/td>2007<\/td><\/td>3<\/td> <\/tr>\n
8759<\/td>4172<\/td>unread<\/td>81<\/td>15116<\/td><\/td>13696<\/td><\/td>Kirsten Klein<\/td><\/td><\/td>2007<\/td><\/td>3<\/td> <\/tr>\n
8760<\/td>4173<\/td>unread<\/td>81<\/td>15117<\/td><\/td>13697<\/td>Jeg fotograferer ved Kameramanden<\/td>Jeg fotograferer ved Kameramanden<\/td>KOBA-forlag<\/td>Kbh.<\/td><\/td><\/td>3<\/td> <\/tr>\n
8761<\/td>4174<\/td>unread<\/td>84<\/td>15118<\/td><\/td>13698<\/td>Stereogram<\/td><\/td>Cadence Books<\/td>San Francisco<\/td>1994<\/td><\/td>3<\/td> <\/tr>\n
8762<\/td>4175<\/td>unread<\/td>81<\/td>15119<\/td><\/td>13699<\/td>Hugo Matthiessens Thisted<\/td><\/td>Forlaget Hikuin<\/td><\/td>2008<\/td><\/td>3<\/td> <\/tr>\n
8763<\/td>4176<\/td>unread<\/td>81<\/td>15120<\/td><\/td>13700<\/td><\/td><\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8764<\/td>4177<\/td>unread<\/td>83<\/td>15121<\/td><\/td>13701<\/td><\/td>Fritz Loescher<\/td>Union Deutsche Verlagsgesellschaft<\/td>Berlin<\/td>1918<\/td><\/td>3<\/td> <\/tr>\n
8765<\/td>4178<\/td>unread<\/td>81<\/td>15122<\/td><\/td>13702<\/td>Herning Bogen 2008<\/td><\/td><\/td><\/td>2008<\/td><\/td>3<\/td> <\/tr>\n
8766<\/td>4179<\/td>unread<\/td>84<\/td>15123<\/td><\/td>13703<\/td>The Bolex Movie Guide<\/td>Kennth S. Tydings<\/td>Geenberg<\/td>N. Y.<\/td>1953<\/td><\/td>3<\/td> <\/tr>\n
8767<\/td>4180<\/td>unread<\/td>84<\/td>15124<\/td><\/td>13704<\/td>Light and Vision<\/td>Conrad Mueller<\/td><\/td><\/td>1969<\/td><\/td>3<\/td> <\/tr>\n
8768<\/td>4181<\/td>unread<\/td>84<\/td>15125<\/td><\/td>13705<\/td>How to Take Better Sports Films<\/td>Raymond Ziesse<\/td>Paillard Produks, Inc.<\/td>USA<\/td><\/td><\/td>3<\/td> <\/tr>\n
8769<\/td>4182<\/td>unread<\/td>81<\/td>15126<\/td><\/td>13706<\/td>Pikante og romantiske postkort 1880-1920<\/td>Karsten Kjer Michaelsen<\/td>Forlaget Palle Fogtdal<\/td><\/td>2008<\/td><\/td>3<\/td> <\/tr>\n
8770<\/td>4183<\/td>unread<\/td>81<\/td>15127<\/td><\/td>13707<\/td>Flygtninge og indvandrere 1850-1980<\/td>Henrik Lund<\/td>Forlaget Palle Fogtdal<\/td><\/td>2008<\/td><\/td>3<\/td> <\/tr>\n
8771<\/td>4184<\/td>unread<\/td>81<\/td>15128<\/td><\/td>13708<\/td><\/td>Palle Fogtdal<\/td>Forlaget Palle Fogtdal<\/td><\/td>2008<\/td><\/td>3<\/td> <\/tr>\n
8772<\/td>4185<\/td>unread<\/td>81<\/td>15129<\/td><\/td>13709<\/td>Forbrydersker.................1863-1919<\/td>Anne Cornelius<\/td>Forlaget Palle Fogtdal<\/td><\/td>2008<\/td><\/td>3<\/td> <\/tr>\n
8773<\/td>4186<\/td>unread<\/td>83<\/td>15130<\/td><\/td>13710<\/td>Die Reproduktions-Photographie<\/td>J. Husnik<\/td>A. Hartleben's Verlag<\/td>Tyskland<\/td>1895<\/td><\/td>3<\/td> <\/tr>\n
8774<\/td>4187<\/td>unread<\/td>83<\/td>15131<\/td><\/td>13711<\/td>Das Photographiren<\/td>J. F. Schmid<\/td>A. Hartleben's Verlag<\/td>Tyskland<\/td>1889<\/td><\/td>3<\/td> <\/tr>\n
8775<\/td>4188<\/td>unread<\/td>85<\/td>15132<\/td><\/td>13712<\/td>Je Photographie<\/td><\/td><\/td><\/td>1960<\/td><\/td>3<\/td> <\/tr>\n
8776<\/td>4189<\/td>unread<\/td>84<\/td>15133<\/td><\/td>13713<\/td>The Sketchbook<\/td>Dean Collins<\/td><\/td><\/td>1989<\/td><\/td>3<\/td> <\/tr>\n
8777<\/td>4190<\/td>unread<\/td>83<\/td>15134<\/td><\/td>13714<\/td>Leica M6<\/td><\/td>Verlag Laterna Magica<\/td><\/td>1990<\/td><\/td>3<\/td> <\/tr>\n
8778<\/td>4191<\/td>unread<\/td>83<\/td>15135<\/td><\/td>13715<\/td>Das Mikrofoto<\/td>Hermann Schoepf<\/td>Wilhelm Knapp Verlag<\/td><\/td>1957<\/td><\/td>3<\/td> <\/tr>\n
8779<\/td>4192<\/td>unread<\/td>83<\/td>15136<\/td><\/td>13716<\/td><\/td>Dr. Otto Croy<\/td>Heering Verlag<\/td>Seebruck<\/td>1953<\/td><\/td>3<\/td> <\/tr>\n
8780<\/td>4193<\/td>unread<\/td>83<\/td>15137<\/td><\/td>13717<\/td>Diapositiv-Technik<\/td><\/td>Wilhelm Knapp Verlag<\/td><\/td>1956<\/td><\/td>3<\/td> <\/tr>\n
8781<\/td>4194<\/td>unread<\/td>83<\/td>15138<\/td><\/td>13718<\/td>Mit der Kamera Auf Du<\/td>Alexander Spoerl<\/td>R. Piper &co Verlag<\/td><\/td>1957<\/td><\/td>3<\/td> <\/tr>\n
8782<\/td>4195<\/td>unread<\/td>84<\/td>15139<\/td><\/td>13719<\/td>Photoshop in Black and White<\/td>Jim Rich and Sandy Bozek<\/td>Peachpit Press<\/td>Californien<\/td><\/td><\/td>3<\/td> <\/tr>\n
8783<\/td>4196<\/td>unread<\/td>84<\/td>15140<\/td><\/td>13720<\/td>Stereo Realist Manual<\/td>Willard D. Morgan, Henry M. Lester<\/td>Morgan & Lester<\/td>N. Y.<\/td>1954<\/td><\/td>3<\/td> <\/tr>\n
8784<\/td>4197<\/td>unread<\/td>81<\/td>15141<\/td><\/td>13721<\/td><\/td>Poul Henrik Trampe<\/td>Lademan<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8785<\/td>4198<\/td>unread<\/td>81<\/td>15142<\/td><\/td>13722<\/td>Fotografen Viggo Rivad<\/td>Carlo Pedersen<\/td>Forlaget BIOS<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8786<\/td>4199<\/td>unread<\/td>84<\/td>15143<\/td><\/td>13723<\/td>Paralels & Contrasts<\/td><\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8787<\/td>4200<\/td>unread<\/td>83<\/td>15144<\/td><\/td>13724<\/td>Geschichte der Dresdner Fotoindustrie<\/td>Herbert Blumtritt<\/td>Lindemanns Verlag<\/td>Stuttgart<\/td>2001<\/td><\/td>3<\/td> <\/tr>\n
8788<\/td>4201<\/td>unread<\/td>85<\/td>15145<\/td><\/td>13725<\/td>Dictionare Pratique de Chimie Photograph<\/td>M. H. Fourtier<\/td><\/td><\/td>1892<\/td><\/td>3<\/td> <\/tr>\n
8789<\/td>4202<\/td>unread<\/td>81<\/td>15146<\/td><\/td>13726<\/td>Aspekter af dansk Fotografi<\/td><\/td>Montana<\/td><\/td>2008<\/td><\/td>3<\/td> <\/tr>\n
8790<\/td>4203<\/td>unread<\/td>86<\/td>15147<\/td><\/td>13727<\/td>Fotografin och Lund<\/td><\/td><\/td><\/td>2002<\/td><\/td>3<\/td> <\/tr>\n
8791<\/td>4204<\/td>unread<\/td>86<\/td>15148<\/td><\/td>13728<\/td>Negatives are to be Stored<\/td>Stefania Gurdowa<\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8792<\/td>4205<\/td>unread<\/td>84<\/td>15149<\/td><\/td>13820<\/td>Famous Photographers Course 17-24<\/td><\/td><\/td>USA<\/td><\/td><\/td>3<\/td> <\/tr>\n
8793<\/td>4206<\/td>unread<\/td>84<\/td>15150<\/td><\/td>13821<\/td>The New History of Photography<\/td>Michel Frizot<\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8794<\/td>4207<\/td>unread<\/td>81<\/td>15151<\/td><\/td>13822<\/td>Jacob A. Riis<\/td>Dag Petersson<\/td>Det Kongelige Bibliotek<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8795<\/td>4208<\/td>unread<\/td>82<\/td>15152<\/td><\/td>13823<\/td>Positions in Nordic Photography I<\/td><\/td>Preus Museum<\/td>Norge<\/td><\/td><\/td>3<\/td> <\/tr>\n
8796<\/td>4209<\/td>unread<\/td>82<\/td>15153<\/td><\/td>13824<\/td>Positions in Nordic Photography II<\/td><\/td>Preus Museum<\/td>Norge<\/td><\/td><\/td>3<\/td> <\/tr>\n
8797<\/td>4210<\/td>unread<\/td>82<\/td>15154<\/td><\/td>13825<\/td><\/td><\/td>Preus Museum<\/td>Norge<\/td><\/td><\/td>3<\/td> <\/tr>\n
8798<\/td>4211<\/td>unread<\/td>82<\/td>15155<\/td><\/td>13826<\/td>Leif Preus - Fotograf<\/td><\/td>Preus Museum<\/td>Norge<\/td><\/td><\/td>3<\/td> <\/tr>\n
8799<\/td>4212<\/td>unread<\/td>82<\/td>15156<\/td><\/td>13827<\/td>Bakgrunn \/ Background<\/td><\/td>Preus Museum<\/td>Norge<\/td><\/td><\/td>3<\/td> <\/tr>\n
8800<\/td>4213<\/td>unread<\/td>82<\/td>15157<\/td><\/td>13828<\/td>Inn i landskabet \/ Into the Landscape<\/td><\/td>Preus Museum<\/td>Norge<\/td><\/td><\/td>3<\/td> <\/tr>\n
8801<\/td>4214<\/td>unread<\/td>81<\/td>15158<\/td><\/td>13829<\/td>Den ideelle Amerikaner<\/td>Tom Buk-Swienty<\/td>Gyldendal<\/td>Danmark<\/td>2005<\/td><\/td>3<\/td> <\/tr>\n
8802<\/td>4215<\/td>unread<\/td>81<\/td>15159<\/td><\/td>13830<\/td>Kort tid<\/td>Morten Grunwald<\/td>Gyldendal<\/td>Danmark<\/td>2005<\/td><\/td>3<\/td> <\/tr>\n
8803<\/td>4216<\/td>unread<\/td>86<\/td>15160<\/td><\/td>13831<\/td>Rzeczy, Things<\/td>Andrzej Kramarz<\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8804<\/td>4217<\/td>unread<\/td>81<\/td>15161<\/td><\/td>13833<\/td>Husker du vor skoletid<\/td><\/td>Forlaget Ny Havn<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8805<\/td>4218<\/td>unread<\/td>86<\/td>15162<\/td><\/td>13834<\/td>Fotosport<\/td><\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8806<\/td>4219<\/td>unread<\/td>83<\/td>15163<\/td><\/td>14334<\/td>Olympus OM-4<\/td>Gunter Lothert<\/td>Laterna Magica<\/td><\/td>1985<\/td><\/td>4<\/td> <\/tr>\n
8807<\/td>4220<\/td>unread<\/td>84<\/td>15164<\/td><\/td>14335<\/td>Photography Year Book 1979<\/td><\/td>Fountain Press<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8808<\/td>4221<\/td>unread<\/td>83<\/td>15165<\/td><\/td>14336<\/td>Fotogeschichte 1. 1981<\/td><\/td>Timm Starl<\/td><\/td>1981<\/td><\/td>3<\/td> <\/tr>\n
8809<\/td>4222<\/td>unread<\/td>84<\/td>15166<\/td><\/td>14337<\/td>People in Camera 1839-1914<\/td>Colin Ford<\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8810<\/td>4223<\/td>unread<\/td>84<\/td>15167<\/td><\/td>14338<\/td>Photographic Advertising in England 1890<\/td>James E. Cornwall<\/td>H. Gahmig<\/td>V. Tyskland<\/td><\/td><\/td>3<\/td> <\/tr>\n
8811<\/td>4224<\/td>unread<\/td>83<\/td>15168<\/td><\/td>14339<\/td>Lichtbilder<\/td><\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8812<\/td>4225<\/td>unread<\/td>86<\/td>15169<\/td><\/td>14829<\/td>Foto som hobby<\/td><\/td>Forum<\/td>Stockholm<\/td>1968<\/td><\/td>2<\/td> <\/tr>\n
8813<\/td>4226<\/td>unread<\/td>83<\/td>15170<\/td><\/td>14830<\/td>Die Photographie<\/td>Otto Preilinger<\/td>B. G. Leubner<\/td>Leipzig<\/td>1919<\/td><\/td>2<\/td> <\/tr>\n
8814<\/td>4227<\/td>unread<\/td>84<\/td>15171<\/td><\/td>14831<\/td>Flash Photography<\/td>Rus Arnold<\/td>Zife Davis<\/td>Chicago<\/td>1940<\/td><\/td>2<\/td> <\/tr>\n
8815<\/td>4228<\/td>unread<\/td>88<\/td>15172<\/td><\/td>14832<\/td>Joana Deltuvaite<\/td><\/td><\/td><\/td>2004<\/td><\/td>2<\/td> <\/tr>\n
8816<\/td>4229<\/td>unread<\/td>83<\/td>15173<\/td><\/td>14834<\/td>Bolex-fibel<\/td>Robert Grosjean<\/td>Paillard<\/td>Sainte-Croix, Schweiz<\/td>1957<\/td><\/td>2<\/td> <\/tr>\n
8817<\/td>4230<\/td>unread<\/td>81<\/td>15174<\/td><\/td>14833<\/td>Hvordan fotografer man med Agfacolor<\/td>Dr.Kross<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8818<\/td>4231<\/td>unread<\/td>83<\/td>15175<\/td><\/td>14835<\/td>Die Lichbilts-Arbeits Gemeinschaft<\/td>Agfa<\/td>Agfa<\/td>Berlin<\/td>1929<\/td><\/td>2<\/td> <\/tr>\n
8819<\/td>4232<\/td>unread<\/td>83<\/td>15176<\/td><\/td>14836<\/td><\/td>Dr.-Franz Wenzel<\/td>Agfa<\/td><\/td>1954<\/td><\/td>0<\/td> <\/tr>\n
8820<\/td>4233<\/td>unread<\/td>84<\/td>15177<\/td><\/td>14837<\/td>Medcal Photography<\/td>Ta Longmore<\/td>The Focal press<\/td>London<\/td>1939-42<\/td><\/td>2<\/td> <\/tr>\n
8821<\/td>4234<\/td>unread<\/td>81<\/td>15178<\/td><\/td>14838<\/td>Farvefilmsteknik<\/td>Olle Nordmar<\/td>Statens Filmcentral<\/td><\/td>1947<\/td><\/td>2<\/td> <\/tr>\n
8822<\/td>4235<\/td>unread<\/td>84<\/td>15179<\/td><\/td>14839<\/td>Photography today<\/td>D.A.Spencer<\/td>Oxford University Press<\/td>London Edinburg<\/td>1936<\/td><\/td>2<\/td> <\/tr>\n
8823<\/td>4236<\/td>unread<\/td>83<\/td>15180<\/td><\/td>14840<\/td>Werbung im Photohandel<\/td>Bernd Rich Wulfert<\/td>Agfa<\/td><\/td>1955<\/td><\/td>2<\/td> <\/tr>\n
8824<\/td>4237<\/td>unread<\/td>83<\/td>15182<\/td><\/td>14841<\/td>Diapositiv-praxis<\/td>Dr. Heinz Naumann<\/td>Mohrendruck<\/td>Hambueg<\/td><\/td><\/td>2<\/td> <\/tr>\n
8825<\/td>4238<\/td>unread<\/td>83<\/td>15183<\/td><\/td>14842<\/td>Photographische Bibliothek bind 11<\/td>Dr.E.Holm<\/td><\/td>Berlin<\/td>1913<\/td><\/td>2<\/td> <\/tr>\n
8826<\/td>4239<\/td>unread<\/td>83<\/td>15184<\/td><\/td>14843<\/td>STERIOFOTOGRAFIE<\/td>Fritz G. Waack Afiap<\/td><\/td>Berlin<\/td>1979<\/td><\/td>2<\/td> <\/tr>\n
8827<\/td>4240<\/td>unread<\/td>83<\/td>15185<\/td><\/td>14844<\/td>Pentaconsix Praxis<\/td>W. Gerhaed Heyde<\/td>Veb Fotokinoverlag<\/td>Leipzig<\/td>1980<\/td><\/td>2<\/td> <\/tr>\n
8828<\/td>4241<\/td>unread<\/td>83<\/td>15186<\/td><\/td>14845<\/td>Das Auge Kamera<\/td>Dr. H. Naumann<\/td>Wilhelm Knapp<\/td><\/td>1954<\/td><\/td>2<\/td> <\/tr>\n
8829<\/td>4242<\/td>unread<\/td>84<\/td>15187<\/td><\/td>14847<\/td>hASSELBLAD PHOTOGRAPHY<\/td>Les Berry<\/td><\/td><\/td>1959<\/td><\/td>2<\/td> <\/tr>\n
8830<\/td>4243<\/td>unread<\/td>84<\/td>15188<\/td><\/td>14848<\/td>Understaanding Photography<\/td>George Sullivan<\/td>Cornstone library<\/td>New York<\/td>1977<\/td><\/td>2<\/td> <\/tr>\n
8831<\/td>4244<\/td>unread<\/td>83<\/td>15189<\/td><\/td>14849<\/td>Photo-Fachbegriffe-abc<\/td><\/td><\/td>Tyskland<\/td>1949<\/td><\/td>2<\/td> <\/tr>\n
8832<\/td>4245<\/td>unread<\/td>88<\/td>15190<\/td><\/td>14850<\/td>Dansk Fotografi 1990<\/td>Selskabet for dansk fotografi<\/td>Selskabet for dansk fotografi<\/td><\/td>1990<\/td><\/td>2<\/td> <\/tr>\n
8833<\/td>4246<\/td>unread<\/td>84<\/td>15191<\/td><\/td>14851<\/td>35mm. Photography With an Exakta<\/td><\/td>Fountain press<\/td>London<\/td>1952<\/td><\/td>2<\/td> <\/tr>\n
8834<\/td>4247<\/td>unread<\/td>83<\/td>15192<\/td><\/td>14852<\/td>Das Goldene Buch<\/td>Joachim Richter<\/td>Laterna magcia<\/td>Starnerberger<\/td>1971<\/td><\/td>2<\/td> <\/tr>\n
8835<\/td>4248<\/td>unread<\/td>83<\/td>15193<\/td><\/td>14853<\/td>Die Sehendekamera<\/td>Dr.Walter Kross<\/td>Wilhelm Knapp<\/td>Tyskland<\/td>1934<\/td><\/td>2<\/td> <\/tr>\n
8836<\/td>4249<\/td>unread<\/td>84<\/td>15194<\/td><\/td>14854<\/td>Nikon<\/td>John Wolf<\/td>Amphoto<\/td>New york<\/td><\/td><\/td>2<\/td> <\/tr>\n
8837<\/td>4250<\/td>unread<\/td>84<\/td>15195<\/td><\/td>14855<\/td>The Photography Catalog<\/td>Norman Snyder<\/td><\/td>USA<\/td>1976<\/td><\/td>2<\/td> <\/tr>\n
8838<\/td>4251<\/td>unread<\/td>88<\/td>15196<\/td><\/td>14856<\/td>Godbye baby & amen<\/td>David bailey & Peter Evens<\/td>gorgi books<\/td>London<\/td>1969<\/td><\/td>2<\/td> <\/tr>\n
8839<\/td>4252<\/td>unread<\/td>88<\/td>15197<\/td><\/td>14857<\/td>Made in Japan<\/td>Max Mohl<\/td>Econ<\/td>Wien<\/td>1970<\/td><\/td>2<\/td> <\/tr>\n
8840<\/td>4253<\/td>unread<\/td>88<\/td>15198<\/td><\/td>14858<\/td>The Female Figure in Movement<\/td>Thomas Jennings<\/td>Watson-gupublication<\/td>London<\/td>1971<\/td><\/td>2<\/td> <\/tr>\n
8841<\/td>4254<\/td>unread<\/td>88<\/td>15199<\/td><\/td>14859<\/td>2.Welt ausstellung der photo graphia<\/td><\/td>gmph&co<\/td>Berlin<\/td>1968<\/td><\/td>2<\/td> <\/tr>\n
8842<\/td>4255<\/td>unread<\/td>88<\/td>15200<\/td><\/td>14860<\/td>Moments of Wonder<\/td>Silkeborg Dukketeater<\/td>Silkeborg Bibliotek<\/td><\/td>2009<\/td><\/td>2<\/td> <\/tr>\n
8843<\/td>4256<\/td>unread<\/td>88<\/td>15201<\/td><\/td>14861<\/td><\/td>Fotograf Ole Haupt<\/td>Acro<\/td><\/td>2010<\/td><\/td>2<\/td> <\/tr>\n
8844<\/td>4257<\/td>unread<\/td>88<\/td>15202<\/td><\/td>14862<\/td>Sacred Legacy<\/td>Edwared S,Curtis and North American Indi<\/td>Verve<\/td><\/td>2005<\/td><\/td>2<\/td> <\/tr>\n
8845<\/td>4258<\/td>unread<\/td>103<\/td>15203<\/td>Filmlitteratur<\/td>14863<\/td><\/td>Poul Arndal<\/td><\/td>Danmark<\/td>2006<\/td><\/td>2<\/td> <\/tr>\n
8846<\/td>4259<\/td>unread<\/td>88<\/td>15204<\/td><\/td>14864<\/td>Nikon Annual<\/td>Nikon<\/td>Nikon<\/td><\/td>1972-73<\/td><\/td>2<\/td> <\/tr>\n
8847<\/td>4260<\/td>unread<\/td>84<\/td>15205<\/td><\/td>14866<\/td>Photographers Poket Reference Book<\/td>Newens<\/td>Georgs Newns limited<\/td>London<\/td>1955<\/td><\/td>2<\/td> <\/tr>\n
8848<\/td>4261<\/td>unread<\/td>84<\/td>15206<\/td><\/td>14867<\/td>Teach Yorself Photography<\/td>Stanley W. Bowler<\/td>Hodder and Stoughton Limited<\/td>England<\/td>1945<\/td><\/td>2<\/td> <\/tr>\n
8849<\/td>4262<\/td>unread<\/td>84<\/td>15207<\/td><\/td>14868<\/td>Photography Principles and pratice<\/td>C.B. Neblltte<\/td>D.van Nostrand Company<\/td>New York<\/td>1946<\/td><\/td>2<\/td> <\/tr>\n
8850<\/td>4263<\/td>unread<\/td>84<\/td>15208<\/td><\/td>14869<\/td>The Rollei Way<\/td>La Mannheim<\/td><\/td>England<\/td>1974<\/td><\/td>2<\/td> <\/tr>\n
8851<\/td>4264<\/td>unread<\/td>83<\/td>15209<\/td><\/td>14870<\/td>Rolleiflex Praxis Ssl66<\/td>Dr B. Heydemann<\/td>Laterna Magica<\/td><\/td>1970<\/td><\/td>2<\/td> <\/tr>\n
8852<\/td>4265<\/td>unread<\/td>84<\/td>15210<\/td><\/td>14871<\/td>Night & Low-Light Photography<\/td>bob Gibbons&Peter Wilson<\/td>Blandford Press<\/td>New York<\/td><\/td><\/td>2<\/td> <\/tr>\n
8853<\/td>4266<\/td>unread<\/td>84<\/td>15211<\/td><\/td>14872<\/td>The First negatives<\/td>D.B.Thomas<\/td><\/td>London<\/td>1970<\/td><\/td>2<\/td> <\/tr>\n
8854<\/td>4267<\/td>unread<\/td>83<\/td>15212<\/td><\/td>14873<\/td>Grossformat Sinar<\/td>Joachim F. Richter<\/td>Laterna magica<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8855<\/td>4268<\/td>unread<\/td>84<\/td>15213<\/td><\/td>14874<\/td>Telephotography<\/td>Cyril, F. Land-Davis<\/td>George Routledge<\/td>London<\/td>1924<\/td><\/td>2<\/td> <\/tr>\n
8856<\/td>4269<\/td>unread<\/td>83<\/td>15214<\/td><\/td>14875<\/td>Spiegelfernrohr<\/td>L.Neuroth<\/td>Otto Maier Verlag<\/td>Ravensburg<\/td><\/td><\/td>2<\/td> <\/tr>\n
8857<\/td>4270<\/td>unread<\/td>88<\/td>15215<\/td><\/td>14876<\/td>Licht ins Dunkel<\/td>Pedro Louis Raota und Anglika Vogel<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8858<\/td>4271<\/td>unread<\/td>84<\/td>15216<\/td><\/td>14877<\/td>The Leica Way<\/td>Andrew Matheson<\/td>Focal press London<\/td>London-New-york<\/td>1955<\/td><\/td>2<\/td> <\/tr>\n
8859<\/td>4272<\/td>unread<\/td>81<\/td>15217<\/td><\/td>14878<\/td>Optiske Laboratorieapparater<\/td>M-Tvede<\/td>Teknologisk Laborantskole<\/td><\/td>1963<\/td><\/td>2<\/td> <\/tr>\n
8860<\/td>4273<\/td>unread<\/td>83<\/td>15218<\/td><\/td>14879<\/td>Foto<\/td><\/td>Verbraucher-publzistik<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8861<\/td>4274<\/td>unread<\/td>84<\/td>15219<\/td><\/td>14880<\/td>How to use the Microscope<\/td>Charles A. Hall<\/td>A&C. Black<\/td>London<\/td>1933<\/td><\/td>2<\/td> <\/tr>\n
8862<\/td>4275<\/td>unread<\/td>81<\/td>15221<\/td><\/td>14881<\/td>Vejledning i mikroskopi for begynder<\/td><\/td>Familie journalen<\/td><\/td>1959<\/td><\/td>2<\/td> <\/tr>\n
8863<\/td>4276<\/td>unread<\/td>83<\/td>15222<\/td><\/td>14882<\/td>Zeiss-Mikroskope<\/td><\/td><\/td><\/td>1939<\/td><\/td>2<\/td> <\/tr>\n
8864<\/td>4277<\/td>unread<\/td>88<\/td>15223<\/td><\/td>14883<\/td>Clich<\/td>Russel Miller<\/td>Arco<\/td>New York<\/td>1974<\/td><\/td>2<\/td> <\/tr>\n
8865<\/td>4278<\/td>unread<\/td>84<\/td>15224<\/td><\/td>14884<\/td>Film Collins Photography Worksh0p<\/td>Michael Freeman<\/td>William Collins sons<\/td><\/td>1988<\/td><\/td>2<\/td> <\/tr>\n
8866<\/td>4279<\/td>unread<\/td>81<\/td>15225<\/td><\/td>14885<\/td>Optik<\/td>Adam Paulsen<\/td>P-G.Philipsens forlag<\/td><\/td>1894<\/td><\/td>2<\/td> <\/tr>\n
8867<\/td>4280<\/td>unread<\/td>84<\/td>15226<\/td><\/td>14886<\/td>The practical Photographer<\/td>Ernst A, Weber<\/td>Fountainpress<\/td><\/td>1973<\/td><\/td>2<\/td> <\/tr>\n
8868<\/td>4281<\/td>unread<\/td>84<\/td>15227<\/td><\/td>14887<\/td>Cameras: The Facts<\/td>W.D.Emanuel and Andrew Matheson<\/td>The Focal Press<\/td>London<\/td>1963<\/td><\/td>2<\/td> <\/tr>\n
8869<\/td>4282<\/td>unread<\/td>83<\/td>15228<\/td><\/td>14888<\/td>Die Bildnis-Photographie<\/td>Fritz Loescher<\/td>Union deutche verlagsgesllshaft<\/td>Berlin<\/td>1920<\/td><\/td>2<\/td> <\/tr>\n
8870<\/td>4283<\/td>unread<\/td>83<\/td>15229<\/td><\/td>14889<\/td>Lehrbuch der optik<\/td><\/td>Verlag von S. Hirzel in Leipzig<\/td><\/td>1928<\/td><\/td>2<\/td> <\/tr>\n
8871<\/td>4284<\/td>unread<\/td>84<\/td>15230<\/td><\/td>14890<\/td>Real Photography Foundations<\/td>John Holden<\/td>The Cfowood press<\/td><\/td>1986<\/td><\/td>2<\/td> <\/tr>\n
8872<\/td>4285<\/td>unread<\/td>83<\/td>15231<\/td><\/td>14891<\/td>Leica und Leicaflex<\/td>Theo M. Scheerer<\/td>Umschau Verlag<\/td>Frankfurt am main<\/td>1968<\/td><\/td>2<\/td> <\/tr>\n
8873<\/td>4286<\/td>unread<\/td>83<\/td>15232<\/td><\/td>14892<\/td>Foto Know How<\/td>Carl Koch<\/td>Photographi<\/td><\/td>1982<\/td><\/td>2<\/td> <\/tr>\n
8874<\/td>4287<\/td>unread<\/td>83<\/td>15233<\/td><\/td>14893<\/td>Zeiss 75 jahre<\/td>Herbert Gottschalk<\/td>Zeiss<\/td><\/td>1968<\/td><\/td>2<\/td> <\/tr>\n
8875<\/td>4288<\/td>unread<\/td>97<\/td>15234<\/td>Fototidsskrifter (dansk)<\/td>14894<\/td>Med hjerte og Jernvilje<\/td>Palle Fogdal<\/td>Fogdal<\/td><\/td>2010<\/td><\/td>2<\/td> <\/tr>\n
8876<\/td>4289<\/td>unread<\/td>88<\/td>15235<\/td><\/td>14895<\/td>Billedhuset<\/td>Allan Knoblauch<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8877<\/td>4290<\/td>unread<\/td>83<\/td>15236<\/td><\/td>14896<\/td><\/td>Franz Fiedler<\/td>Photokino<\/td>Berlin<\/td>1934<\/td><\/td>2<\/td> <\/tr>\n
8878<\/td>4291<\/td>unread<\/td>84<\/td>15237<\/td><\/td>14897<\/td><\/td>Bernard e. jones<\/td>Bishopgate press<\/td><\/td>1961<\/td><\/td>2<\/td> <\/tr>\n
8879<\/td>4292<\/td>unread<\/td>83<\/td>15238<\/td><\/td>14898<\/td>Meine Erfahrungen<\/td>Dr. Paul Wolff<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8880<\/td>4293<\/td>unread<\/td>88<\/td>15239<\/td><\/td>14899<\/td>Ralph Eugene Meatyard<\/td>James Baker Hall<\/td>Anapeture monograph<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8881<\/td>4294<\/td>unread<\/td>81<\/td>15240<\/td><\/td>14900<\/td><\/td>Bent Sehested<\/td>Tuse tryk<\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8882<\/td>4295<\/td>unread<\/td>81<\/td>15241<\/td><\/td>14901<\/td><\/td>Bent Sehested<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8883<\/td>4296<\/td>unread<\/td>81<\/td>15242<\/td><\/td>14902<\/td><\/td>Bent Sehested<\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
8884<\/td>4297<\/td>unread<\/td>81<\/td>15243<\/td><\/td>14903<\/td><\/td>Lars Kiel Bertelsen<\/td>Politisk Revy<\/td><\/td>2000<\/td><\/td>2<\/td> <\/tr>\n
8885<\/td>4298<\/td>unread<\/td>84<\/td>15244<\/td><\/td>14904<\/td>The Craft of Photography<\/td>David Veststal<\/td>Harper & Row<\/td>London<\/td>1974<\/td><\/td>2<\/td> <\/tr>\n
8886<\/td>4299<\/td>unread<\/td>88<\/td>15245<\/td><\/td>14905<\/td>Naked Hollywood<\/td>Mel Harris<\/td><\/td><\/td>1953<\/td><\/td>2<\/td> <\/tr>\n
8887<\/td>4300<\/td>unread<\/td>88<\/td>15246<\/td><\/td>14906<\/td>Lumiere<\/td>Paul Genard et Andrre Barret<\/td><\/td>1994<\/td><\/td><\/td>2<\/td> <\/tr>\n
8888<\/td>4301<\/td>unread<\/td>94<\/td>15247<\/td><\/td>14907<\/td>Pentax Photo Annuaal 1990-1991<\/td>Pentax<\/td><\/td><\/td>1990<\/td><\/td>2<\/td> <\/tr>\n
8889<\/td>4302<\/td>unread<\/td>88<\/td>15248<\/td><\/td>14908<\/td>Cowboy Kate<\/td>Sam Haskins<\/td>Samu8eld Haskins<\/td><\/td>1965<\/td><\/td>2<\/td> <\/tr>\n
8890<\/td>4303<\/td>unread<\/td>88<\/td>15249<\/td><\/td>14909<\/td>Nude<\/td>Arthur Goldsmith<\/td>Octpusbooks<\/td>London<\/td>1976<\/td><\/td>2<\/td> <\/tr>\n
8891<\/td>4304<\/td>unread<\/td>88<\/td>15250<\/td><\/td>14910<\/td>Photodiscovery<\/td>Bruce Bernhard<\/td>Thames and Hudson<\/td>London<\/td>1980<\/td><\/td>2<\/td> <\/tr>\n
8892<\/td>4305<\/td>unread<\/td>88<\/td>15251<\/td><\/td>14911<\/td><\/td>Lennart Nilsson<\/td>Albert Bonniers<\/td>Stockholm<\/td>1979<\/td><\/td>2<\/td> <\/tr>\n
8893<\/td>4306<\/td>unread<\/td>94<\/td>15252<\/td><\/td>14912<\/td>Nikor1989-1990<\/td>Nikor Club<\/td><\/td><\/td>1989<\/td><\/td>2<\/td> <\/tr>\n
8894<\/td>4307<\/td>unread<\/td>88<\/td>15253<\/td><\/td>14913<\/td>Minolta Mirpor<\/td><\/td><\/td><\/td>1992<\/td><\/td>2<\/td> <\/tr>\n
8895<\/td>4308<\/td>unread<\/td>88<\/td>15254<\/td><\/td>14914<\/td>Minolta Mirpor<\/td>Minolta<\/td><\/td><\/td>1991<\/td><\/td>2<\/td> <\/tr>\n
8896<\/td>4309<\/td>unread<\/td>88<\/td>15255<\/td><\/td>14915<\/td>Minolta Mirpor<\/td><\/td><\/td><\/td>1990<\/td><\/td>2<\/td> <\/tr>\n
8897<\/td>4310<\/td>unread<\/td>88<\/td>15256<\/td><\/td>14916<\/td>Minolta Mirpor<\/td><\/td><\/td><\/td>1985<\/td><\/td>2<\/td> <\/tr>\n
8898<\/td>4311<\/td>unread<\/td>94<\/td>15257<\/td><\/td>14917<\/td>Photography Yars Book 1977<\/td><\/td>Fountain press<\/td>Watford England<\/td>1977<\/td><\/td>2<\/td> <\/tr>\n
8899<\/td>4312<\/td>unread<\/td>88<\/td>15258<\/td><\/td>14918<\/td>Fotografie 1922-1982<\/td>Photokina<\/td>Photokina<\/td><\/td>1982<\/td><\/td>2<\/td> <\/tr>\n
8900<\/td>4313<\/td>unread<\/td>102<\/td>15259<\/td>Fototidsskrifter (andre)<\/td>14919<\/td>1066 Tidsskift for hisyorie nr. 2<\/td><\/td><\/td><\/td>2010<\/td><\/td>2<\/td> <\/tr>\n
8901<\/td>4314<\/td>unread<\/td>88<\/td>15260<\/td><\/td>14920<\/td>Hasselblad Masters<\/td><\/td>Haselblad<\/td><\/td>2010<\/td><\/td>2<\/td> <\/tr>\n
8902<\/td>4315<\/td>unread<\/td>88<\/td>15261<\/td><\/td>14921<\/td><\/td>Robert Storm Petersen<\/td>Carit Andersens Forlag<\/td><\/td>1962<\/td><\/td>2<\/td> <\/tr>\n
8903<\/td>4316<\/td>unread<\/td>88<\/td>15262<\/td><\/td>14922<\/td>A life fragment<\/td>Leonid and Pamela Juhl<\/td>The embassy of state of Isral<\/td>Danmark<\/td>2011<\/td><\/td>5<\/td> <\/tr>\n
8904<\/td>4317<\/td>unread<\/td>88<\/td>15263<\/td><\/td>14923<\/td>Lietvos Fotografija<\/td><\/td><\/td>Vilinijus<\/td>2007<\/td><\/td>5<\/td> <\/tr>\n
8905<\/td>4318<\/td>unread<\/td>88<\/td>15264<\/td><\/td>14924<\/td>Steder Dabmark under firvandling<\/td>Museet for Fotokunst<\/td><\/td>Hart Herning<\/td>2010<\/td><\/td>5<\/td> <\/tr>\n
8906<\/td>4319<\/td>unread<\/td>88<\/td>15266<\/td><\/td>14925<\/td>Erich Dapunt Intrrplay<\/td>Erich dapunt<\/td>Casa Editrice spa,bolzano<\/td><\/td>2011<\/td><\/td>5<\/td> <\/tr>\n
8907<\/td>4320<\/td>unread<\/td>88<\/td>15268<\/td><\/td>14926<\/td>XXIBiennl Internacional Fotografia<\/td><\/td>Club natacio reusploms<\/td><\/td>2010<\/td><\/td>5<\/td> <\/tr>\n
8908<\/td>4321<\/td>unread<\/td>88<\/td>15269<\/td><\/td>14927<\/td>je chsnterai toujours la musique orienta<\/td>Frans Jacobi<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8909<\/td>4322<\/td>unread<\/td>88<\/td>15270<\/td><\/td>14928<\/td>Lithuanian Photograpy; yesterday and tod<\/td><\/td><\/td><\/td>2005<\/td><\/td>5<\/td> <\/tr>\n
8910<\/td>4323<\/td>unread<\/td>88<\/td>15271<\/td><\/td>14929<\/td>Lithuanian Photography yesterday and tod<\/td><\/td><\/td><\/td>2006<\/td><\/td>5<\/td> <\/tr>\n
8911<\/td>4324<\/td>unread<\/td>88<\/td>15272<\/td><\/td>14930<\/td>China Diary<\/td><\/td><\/td>Hamburg<\/td>2007<\/td><\/td>5<\/td> <\/tr>\n
8912<\/td>4325<\/td>unread<\/td>88<\/td>15273<\/td><\/td>14931<\/td>Bornholm september 1922<\/td>Hugo Mathiessens<\/td>Hilkuin<\/td>Bornholms historiske samfund<\/td>2010<\/td><\/td>5<\/td> <\/tr>\n
8913<\/td>4326<\/td>unread<\/td>88<\/td>15274<\/td><\/td>14932<\/td>Fotografen Louise Thomsen<\/td>Jesper Godvin Hansen<\/td><\/td><\/td>2010<\/td><\/td>5<\/td> <\/tr>\n
8914<\/td>4327<\/td>unread<\/td>88<\/td>15275<\/td><\/td>14933<\/td>Herrning Bogen 2010<\/td>Historisk forening Herning<\/td><\/td><\/td>2010<\/td><\/td>5<\/td> <\/tr>\n
8915<\/td>4328<\/td>unread<\/td>88<\/td>15276<\/td><\/td>14934<\/td>Den gamle by 2010<\/td><\/td><\/td><\/td>2010<\/td><\/td>5<\/td> <\/tr>\n
8916<\/td>4329<\/td>unread<\/td>88<\/td>15277<\/td><\/td>14935<\/td>Erfahrung einer alten welt<\/td>Yvonne v. Schwinitz<\/td>Kunst in der Handelskammer<\/td><\/td>2010<\/td><\/td>5<\/td> <\/tr>\n
8917<\/td>4330<\/td>unread<\/td>83<\/td>15278<\/td><\/td>14956<\/td>Edition Olympus 6, Produkt Lexicon '86<\/td><\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8918<\/td>4331<\/td>unread<\/td>83<\/td>15279<\/td><\/td>14957<\/td>Edition Olympus 5, Blitz Fotographie Ohn<\/td>Franz Pangerl<\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8919<\/td>4332<\/td>unread<\/td>83<\/td>15280<\/td><\/td>14958<\/td>Edition Olympus 4, Die Welt Des OM-syste<\/td>Franz Pangerl<\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8920<\/td>4333<\/td>unread<\/td>83<\/td>15281<\/td><\/td>14959<\/td>Edition Olympus 3, Faszination der Nahau<\/td>Franz Pangerl<\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8921<\/td>4334<\/td>unread<\/td>83<\/td>15282<\/td><\/td>14960<\/td><\/td>Franz Pangerl<\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8922<\/td>4335<\/td>unread<\/td>86<\/td>15283<\/td><\/td>14961<\/td>Filmen<\/td>Dagmar Waldner<\/td>Aktiebolaget Chelius & Co.<\/td>Stockholm<\/td><\/td><\/td>4<\/td> <\/tr>\n
8923<\/td>4336<\/td>unread<\/td>81<\/td>15284<\/td><\/td>14962<\/td><\/td><\/td><\/td><\/td><\/td><\/td>4<\/td> <\/tr>\n
8924<\/td>4337<\/td>unread<\/td>84<\/td>15285<\/td><\/td>14963<\/td>Souvenirs<\/td>David Hamilton<\/td>Collins<\/td>St. James's Place, London<\/td>1978<\/td><\/td>3<\/td> <\/tr>\n
8925<\/td>4338<\/td>unread<\/td>83<\/td>15286<\/td><\/td>14964<\/td>Kinotechnik<\/td>Karl Hurich<\/td>Franz Deuticke<\/td>Wien<\/td>1949<\/td><\/td>3<\/td> <\/tr>\n
8926<\/td>4339<\/td>unread<\/td>84<\/td>15287<\/td><\/td>14965<\/td>Pentax Story Calendar 1983<\/td><\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8927<\/td>4340<\/td>unread<\/td>86<\/td>15288<\/td><\/td>14966<\/td>Hippolyte Bayard<\/td>Andr'e Jammes<\/td>Bucher<\/td><\/td>1975<\/td><\/td>3<\/td> <\/tr>\n
8928<\/td>4341<\/td>unread<\/td>86<\/td>15289<\/td><\/td>14967<\/td>Pentax Photo Annual 1980-1981<\/td><\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8929<\/td>4342<\/td>unread<\/td>86<\/td>15290<\/td><\/td>14968<\/td>Pentax Photo Annual 1983-1984<\/td><\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8930<\/td>4343<\/td>unread<\/td>84<\/td>15291<\/td><\/td>14969<\/td>Masters of Photography<\/td>Francis Frith<\/td>MacDonald & Co.<\/td><\/td>1985<\/td><\/td>3<\/td> <\/tr>\n
8931<\/td>4344<\/td>unread<\/td>86<\/td>15292<\/td><\/td>14970<\/td><\/td><\/td>Wilhelm Heyne Verlag<\/td><\/td>1974<\/td><\/td>3<\/td> <\/tr>\n
8932<\/td>4345<\/td>unread<\/td>84<\/td>15293<\/td><\/td>14971<\/td>Feininger on Photography<\/td>Andreas Feininger<\/td>Crow Publishers, inc.<\/td>N.Y.<\/td>1953<\/td><\/td>3<\/td> <\/tr>\n
8933<\/td>4346<\/td>unread<\/td>84<\/td>15294<\/td><\/td>14972<\/td>Photographic 1949<\/td><\/td>McGraw-Hill Book Co.<\/td><\/td>1948<\/td><\/td>3<\/td> <\/tr>\n
8934<\/td>4347<\/td>unread<\/td>84<\/td>15295<\/td><\/td>14973<\/td>Sisters Under The Skin<\/td>Norman Parkinson<\/td>Quartet Books<\/td><\/td>1978<\/td><\/td>3<\/td> <\/tr>\n
8935<\/td>4348<\/td>unread<\/td>84<\/td>15296<\/td><\/td>14974<\/td>Dye Retouching And Print Finishing<\/td>George L. Wakefield<\/td>Fountain Press Pub.<\/td><\/td>1945<\/td><\/td>3<\/td> <\/tr>\n
8936<\/td>4349<\/td>unread<\/td>81<\/td>15297<\/td><\/td>14975<\/td>Om Magnium Lynlys<\/td>Dr. M. Andresen<\/td>Beyer & Boehme<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
8937<\/td>4350<\/td>unread<\/td>91<\/td>15298<\/td><\/td>15050<\/td><\/td>Selskabet for dansk fotografi<\/td>Selskabet for dansk fotografi<\/td>Fredericia<\/td>2010<\/td><\/td>5<\/td> <\/tr>\n
8938<\/td>4351<\/td>unread<\/td>91<\/td>15299<\/td><\/td>15051<\/td><\/td>Selskabet for Dansk fotografi<\/td>Selskabet for dansk fotografi<\/td>Frederitcia<\/td>2011<\/td><\/td>5<\/td> <\/tr>\n
8939<\/td>4352<\/td>unread<\/td>103<\/td>15300<\/td>Filmlitteratur<\/td>15052<\/td><\/td>Christian Isak Thorsen<\/td>Nordisk film<\/td><\/td>2009<\/td><\/td>5<\/td> <\/tr>\n
8940<\/td>4353<\/td>unread<\/td>88<\/td>15301<\/td><\/td>15053<\/td>Manfred Mauksch<\/td>Manfred Mauksch<\/td>Manfred Mauksch<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8941<\/td>4354<\/td>unread<\/td>88<\/td>15302<\/td><\/td>15054<\/td>Humor belyst af 100 fotografer<\/td>Brandts Odense<\/td>Brandts museum<\/td>Odense<\/td>2007<\/td><\/td>5<\/td> <\/tr>\n
8942<\/td>4355<\/td>unread<\/td>88<\/td>15303<\/td><\/td>15055<\/td>Collectors guide to the art of americas<\/td>Clifford and Michele Kranik<\/td><\/td><\/td>1988<\/td><\/td>5<\/td> <\/tr>\n
8943<\/td>4356<\/td>unread<\/td>88<\/td>15304<\/td><\/td>15056<\/td>Das lebende Herz des Werkes<\/td>Carl Zeiss Jena<\/td>Carl Zeis<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8944<\/td>4357<\/td>unread<\/td>81<\/td>15305<\/td><\/td>15057<\/td>Kortfattet vejledning<\/td>j.l.Nerlien<\/td>Nerlin<\/td>Bergen Tronhjem<\/td><\/td><\/td>5<\/td> <\/tr>\n
8945<\/td>4358<\/td>unread<\/td>83<\/td>15306<\/td><\/td>15058<\/td>Pressefotografie<\/td>Niels Reuter<\/td>Frankfurt am main<\/td><\/td>1958<\/td><\/td>5<\/td> <\/tr>\n
8946<\/td>4359<\/td>unread<\/td>88<\/td>15307<\/td><\/td>15059<\/td><\/td>Jens Jessen<\/td>GT forlag<\/td>Skanderborg<\/td>2009<\/td><\/td>5<\/td> <\/tr>\n
8947<\/td>4360<\/td>unread<\/td>88<\/td>15308<\/td><\/td>15060<\/td>Naturen i fokus<\/td>Naturfotografer i Danmark<\/td><\/td><\/td>2006<\/td><\/td>5<\/td> <\/tr>\n
8948<\/td>4361<\/td>unread<\/td>88<\/td>15309<\/td><\/td>15061<\/td>Rencontres<\/td>Erling Mandelmann<\/td><\/td><\/td>2000<\/td><\/td>5<\/td> <\/tr>\n
8949<\/td>4362<\/td>unread<\/td>88<\/td>15310<\/td><\/td>15062<\/td>Augenblickbilder<\/td>Danmarks fotomuseum<\/td><\/td>Herning<\/td>1984<\/td><\/td>5<\/td> <\/tr>\n
8950<\/td>4363<\/td>unread<\/td>83<\/td>15311<\/td><\/td>15063<\/td><\/td>Dr. otto Croy<\/td>Hering verlag<\/td><\/td>1957<\/td><\/td>5<\/td> <\/tr>\n
8951<\/td>4364<\/td>unread<\/td>83<\/td>15312<\/td><\/td>15064<\/td>Das photo objektiv<\/td>Hans Martin Brandt<\/td>Friderweg & sohn<\/td><\/td>1956<\/td><\/td>5<\/td> <\/tr>\n
8952<\/td>4365<\/td>unread<\/td>88<\/td>15313<\/td><\/td>15065<\/td>Landskaber med ukrudt<\/td>Jeanette Landshou<\/td>Spacpotry<\/td><\/td>2010<\/td><\/td>5<\/td> <\/tr>\n
8953<\/td>4366<\/td>unread<\/td>88<\/td>15314<\/td><\/td>15066<\/td>Midt i historiene, kultur og kunst i reg<\/td><\/td>Region midtjylland<\/td><\/td>2010<\/td><\/td>5<\/td> <\/tr>\n
8954<\/td>4367<\/td>unread<\/td>88<\/td>15315<\/td><\/td>15067<\/td>Tidens mode<\/td>Anne Grete Steckhahn<\/td>Nordisk forlag<\/td><\/td>2011<\/td><\/td>5<\/td> <\/tr>\n
8955<\/td>4368<\/td>unread<\/td>88<\/td>15316<\/td><\/td>15068<\/td>Lithuanian Photograpy:yesterday and toda<\/td><\/td><\/td><\/td>1977<\/td><\/td>5<\/td> <\/tr>\n
8956<\/td>4369<\/td>unread<\/td>88<\/td>15317<\/td><\/td>15069<\/td>Remigijus Treijus<\/td><\/td><\/td><\/td>2005<\/td><\/td>5<\/td> <\/tr>\n
8957<\/td>4370<\/td>unread<\/td>88<\/td>15318<\/td><\/td>15070<\/td>Young <lithauanian photographers<\/td><\/td><\/td>vilinius<\/td>2003<\/td><\/td>5<\/td> <\/tr>\n
8958<\/td>4371<\/td>unread<\/td>88<\/td>15319<\/td><\/td>15072<\/td>lITHUANIAN PRESS PHOTO<\/td><\/td><\/td><\/td>2009<\/td><\/td>5<\/td> <\/tr>\n
8959<\/td>4372<\/td>unread<\/td>88<\/td>15320<\/td><\/td>15073<\/td>mama visa kita<\/td><\/td><\/td><\/td>2002<\/td><\/td>5<\/td> <\/tr>\n
8960<\/td>4373<\/td>unread<\/td>88<\/td>15321<\/td><\/td>15074<\/td>How are you<\/td>Litavus<\/td><\/td><\/td>2001<\/td><\/td>5<\/td> <\/tr>\n
8961<\/td>4374<\/td>unread<\/td>88<\/td>15322<\/td><\/td>15075<\/td>Yester day and today<\/td><\/td><\/td><\/td>2004<\/td><\/td>5<\/td> <\/tr>\n
8962<\/td>4375<\/td>unread<\/td>88<\/td>15323<\/td><\/td>15076<\/td>Photography life<\/td><\/td><\/td><\/td>2008<\/td><\/td>5<\/td> <\/tr>\n
8963<\/td>4376<\/td>unread<\/td>88<\/td>15324<\/td><\/td>15077<\/td>Retrospective<\/td>Antanas Sutkus<\/td><\/td><\/td>2009<\/td><\/td>5<\/td> <\/tr>\n
8964<\/td>4377<\/td>unread<\/td>88<\/td>15325<\/td><\/td>15078<\/td>Farwell to xxcentury<\/td><\/td><\/td>2000<\/td><\/td><\/td>5<\/td> <\/tr>\n
8965<\/td>4378<\/td>unread<\/td>88<\/td>15326<\/td><\/td>15079<\/td>Lithuanian Landscapes<\/td><\/td><\/td><\/td>2004<\/td><\/td>0<\/td> <\/tr>\n
8966<\/td>4379<\/td>unread<\/td>88<\/td>15327<\/td><\/td>15080<\/td>jaunuyu fotografu konkursas<\/td><\/td><\/td><\/td>2007<\/td><\/td>5<\/td> <\/tr>\n
8967<\/td>4380<\/td>unread<\/td>88<\/td>15328<\/td><\/td>15081<\/td>Vilnus Photo Circle<\/td><\/td><\/td><\/td>2009<\/td><\/td>5<\/td> <\/tr>\n
8968<\/td>4381<\/td>unread<\/td>88<\/td>15329<\/td><\/td>15082<\/td>Viksraitis<\/td><\/td><\/td><\/td>2006<\/td><\/td>5<\/td> <\/tr>\n
8969<\/td>4382<\/td>unread<\/td>88<\/td>15330<\/td><\/td>15083<\/td>Budvytis<\/td><\/td><\/td><\/td>2006<\/td><\/td>5<\/td> <\/tr>\n
8970<\/td>4383<\/td>unread<\/td>88<\/td>15331<\/td><\/td>15084<\/td>Grimace of the wery<\/td>village<\/td><\/td><\/td>2001<\/td><\/td>5<\/td> <\/tr>\n
8971<\/td>4384<\/td>unread<\/td>88<\/td>15332<\/td><\/td>15085<\/td>Ofclassical creation<\/td><\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8972<\/td>4385<\/td>unread<\/td>88<\/td>15333<\/td><\/td>15086<\/td>Daily life archives<\/td>Antanas Sutkus<\/td><\/td><\/td>2003<\/td><\/td>5<\/td> <\/tr>\n
8973<\/td>4386<\/td>unread<\/td>88<\/td>15334<\/td><\/td>15087<\/td>Vidas Biveinis<\/td><\/td><\/td><\/td>2007<\/td><\/td>5<\/td> <\/tr>\n
8974<\/td>4387<\/td>unread<\/td>88<\/td>15335<\/td><\/td>15088<\/td>Ugnius Gelguda<\/td><\/td><\/td><\/td>2007<\/td><\/td>5<\/td> <\/tr>\n
8975<\/td>4388<\/td>unread<\/td>88<\/td>15336<\/td><\/td>15089<\/td>Paulius Raciunas<\/td><\/td><\/td><\/td>2008<\/td><\/td>5<\/td> <\/tr>\n
8976<\/td>4389<\/td>unread<\/td>88<\/td>15337<\/td><\/td>15090<\/td>Akvile Anglickaite<\/td><\/td><\/td><\/td>2008<\/td><\/td>5<\/td> <\/tr>\n
8977<\/td>4390<\/td>unread<\/td>85<\/td>15338<\/td><\/td>15091<\/td>Du photo-Flash<\/td>J.Benezeth<\/td><\/td>Paris<\/td>1955<\/td><\/td>5<\/td> <\/tr>\n
8978<\/td>4391<\/td>unread<\/td>85<\/td>15339<\/td><\/td>15092<\/td>Commenton devient un as photographie<\/td><\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8979<\/td>4392<\/td>unread<\/td>85<\/td>15340<\/td><\/td>15093<\/td>Les petits objets<\/td><\/td><\/td>Paeis<\/td>1950<\/td><\/td>5<\/td> <\/tr>\n
8980<\/td>4393<\/td>unread<\/td>85<\/td>15341<\/td><\/td>15094<\/td>La photographie Simplifiee<\/td><\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8981<\/td>4394<\/td>unread<\/td>84<\/td>15342<\/td><\/td>15122<\/td><\/td>Albert Moldvay<\/td>national geograpiety<\/td><\/td>1988<\/td><\/td>5<\/td> <\/tr>\n
8982<\/td>4395<\/td>unread<\/td>88<\/td>15343<\/td><\/td>15123<\/td>Genblitz<\/td>Mads Gamdrup<\/td><\/td><\/td>2007<\/td><\/td>5<\/td> <\/tr>\n
8983<\/td>4396<\/td>unread<\/td>83<\/td>15344<\/td><\/td>15124<\/td>Zeiss-Mikroskope<\/td><\/td>Zeisswerke jena<\/td><\/td>1934<\/td><\/td>5<\/td> <\/tr>\n
8984<\/td>4397<\/td>unread<\/td>88<\/td>15345<\/td><\/td>15125<\/td>Mikkel Mcalinden<\/td>Norsk museum for fotografi<\/td><\/td><\/td>2001<\/td><\/td>5<\/td> <\/tr>\n
8985<\/td>4398<\/td>unread<\/td>88<\/td>15346<\/td><\/td>15126<\/td>Carlofei Blacklight<\/td><\/td><\/td>Italien<\/td>2009<\/td><\/td>5<\/td> <\/tr>\n
8986<\/td>4399<\/td>unread<\/td>88<\/td>15347<\/td><\/td>15127<\/td><\/td>Hugo Mathiasen<\/td>Hikuin Arkiverne<\/td><\/td>2011<\/td><\/td>5<\/td> <\/tr>\n
8987<\/td>4400<\/td>unread<\/td>84<\/td>15348<\/td><\/td>15128<\/td>The lens in action<\/td>Sidneye F. Ray<\/td>Medie Manuals<\/td><\/td>1976<\/td><\/td>5<\/td> <\/tr>\n
8988<\/td>4401<\/td>unread<\/td>83<\/td>15349<\/td><\/td>15129<\/td>Scule der moderne fotografie<\/td>Hans Bortsch<\/td>grobild technik<\/td>Munchen<\/td>1977<\/td><\/td>5<\/td> <\/tr>\n
8989<\/td>4402<\/td>unread<\/td>83<\/td>15350<\/td><\/td>15130<\/td>Schule der moderne Fotografie band 2<\/td>Hans Bortshen<\/td>Grosbild teknik<\/td>Munchen<\/td>1978<\/td><\/td>5<\/td> <\/tr>\n
8990<\/td>4403<\/td>unread<\/td>84<\/td>15351<\/td><\/td>15131<\/td>your camera and how it works<\/td>Charles A Savage<\/td>Ziff-davis publishing<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8991<\/td>4404<\/td>unread<\/td>81<\/td>15352<\/td><\/td>15132<\/td><\/td>F.Barmwater<\/td>Nordisk forlag<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8992<\/td>4405<\/td>unread<\/td>81<\/td>15353<\/td><\/td>15133<\/td>Kursus i fotografi kursus1<\/td><\/td>Teknisk kursus<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8993<\/td>4406<\/td>unread<\/td>81<\/td>15354<\/td><\/td>15134<\/td>kursus i fotografi lektion2<\/td><\/td>Teknisl kursus<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8994<\/td>4407<\/td>unread<\/td>81<\/td>15355<\/td><\/td>15135<\/td>kursus i fotografi lektion 3<\/td><\/td>Teknisk kursus<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8995<\/td>4408<\/td>unread<\/td>81<\/td>15356<\/td><\/td>15136<\/td>Kursus i fotografi lektion4<\/td><\/td>Teknisk kursus<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8996<\/td>4409<\/td>unread<\/td>81<\/td>15357<\/td><\/td>15137<\/td>Kursus i fotografi lektion 5<\/td><\/td>Teknisk kursus<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8997<\/td>4410<\/td>unread<\/td>81<\/td>15358<\/td><\/td>15138<\/td>Kursus i fotografi lektion6<\/td><\/td>Teknisk kursus<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
8998<\/td>4411<\/td>unread<\/td>84<\/td>15359<\/td><\/td>15139<\/td>Photogams of the year<\/td>Fj Mortimer<\/td>The Anual review of the Worlds<\/td>London<\/td>1934<\/td><\/td>5<\/td> <\/tr>\n
8999<\/td>4412<\/td>unread<\/td>88<\/td>15360<\/td><\/td>15140<\/td>Jena<\/td>Paul Wolff<\/td><\/td><\/td>1925<\/td><\/td>5<\/td> <\/tr>\n
9000<\/td>4413<\/td>unread<\/td>83<\/td>15361<\/td><\/td>15141<\/td>Felix Auerbach Das Zeisswerk<\/td><\/td>Jena<\/td><\/td>1907<\/td><\/td>5<\/td> <\/tr>\n
9001<\/td>4414<\/td>unread<\/td>88<\/td>15362<\/td><\/td>15142<\/td>Nachtliches paris<\/td>Poul Morand<\/td><\/td><\/td>1979<\/td><\/td>5<\/td> <\/tr>\n
9002<\/td>4415<\/td>unread<\/td>84<\/td>15363<\/td><\/td>15143<\/td>The manual of photography<\/td>Ralphe Jacobson<\/td><\/td>London<\/td>1958<\/td><\/td>5<\/td> <\/tr>\n
9003<\/td>4416<\/td>unread<\/td>91<\/td>15364<\/td><\/td>15236<\/td>Herning-Bogen<\/td><\/td>Historisk forening Herning kommune<\/td>Herning<\/td>2011<\/td><\/td>5<\/td> <\/tr>\n
9004<\/td>4417<\/td>unread<\/td>88<\/td>15365<\/td><\/td>15237<\/td>Cortinabeer Hall<\/td>Kochanaskis<\/td><\/td>Charlstone USA<\/td>2011<\/td><\/td>5<\/td> <\/tr>\n
9005<\/td>4418<\/td>unread<\/td>84<\/td>15366<\/td><\/td>15238<\/td>Leica M6-TTL<\/td><\/td>Hovebooks<\/td><\/td>2000<\/td><\/td>5<\/td> <\/tr>\n
9006<\/td>4419<\/td>unread<\/td>88<\/td>15367<\/td><\/td>15239<\/td>Usedom momente<\/td>T0m m<\/td><\/td>Berlin<\/td>2010<\/td><\/td>5<\/td> <\/tr>\n
9007<\/td>4420<\/td>unread<\/td>83<\/td>15368<\/td><\/td>15240<\/td>Das Exakta 6x6 Buch<\/td><\/td>Halle<\/td><\/td>1941<\/td><\/td>5<\/td> <\/tr>\n
9008<\/td>4421<\/td>unread<\/td>83<\/td>15369<\/td><\/td>15241<\/td>Die Stereoskopie<\/td>Dr. J. Rheden<\/td>Wilhelm Knapp<\/td><\/td>1922<\/td><\/td>5<\/td> <\/tr>\n
9009<\/td>4422<\/td>unread<\/td>83<\/td>15370<\/td><\/td>15242<\/td>dIE ACTINOMETRIE<\/td>G.PIZZIGHELLI<\/td><\/td><\/td>1884<\/td><\/td>5<\/td> <\/tr>\n
9010<\/td>4423<\/td>unread<\/td>83<\/td>15371<\/td><\/td>15243<\/td><\/td>Alexander Spoerl<\/td><\/td><\/td>1968<\/td><\/td>5<\/td> <\/tr>\n
9011<\/td>4424<\/td>unread<\/td>88<\/td>15372<\/td><\/td>15244<\/td>Camerart Photo Trade Directory 1964<\/td><\/td><\/td><\/td>1964<\/td><\/td>5<\/td> <\/tr>\n
9012<\/td>4425<\/td>unread<\/td>88<\/td>15373<\/td><\/td>15245<\/td>Black Woman<\/td>Tony Currin<\/td>Camera Graphic press<\/td>Newyork<\/td><\/td><\/td>5<\/td> <\/tr>\n
9013<\/td>4426<\/td>unread<\/td>88<\/td>15374<\/td><\/td>15246<\/td>Sisters<\/td>David Hamilton<\/td>Willam Morrov and compagny<\/td>New york<\/td>1973<\/td><\/td>5<\/td> <\/tr>\n
9014<\/td>4427<\/td>unread<\/td>88<\/td>15376<\/td><\/td>15247<\/td>Paaic<\/td>Will Mc Bride<\/td>Wilhelm Heyne Verlag<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9015<\/td>4428<\/td>unread<\/td>88<\/td>15378<\/td><\/td>15248<\/td>The snapshot Photograph<\/td>Brian Coe and Poul Gates<\/td><\/td><\/td>1977<\/td><\/td>5<\/td> <\/tr>\n
9016<\/td>4429<\/td>unread<\/td>88<\/td>15379<\/td><\/td>15249<\/td>Dyrehaven<\/td>Sigvart Werner<\/td>J.H.Schultz Forlag<\/td><\/td>1946<\/td><\/td>5<\/td> <\/tr>\n
9017<\/td>4430<\/td>unread<\/td>88<\/td>15380<\/td><\/td>15250<\/td>Baletten i dag<\/td>Svend Kragh Jacobsen<\/td>Thorkild Becks Forlag<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9018<\/td>4431<\/td>unread<\/td>88<\/td>15381<\/td><\/td>15251<\/td>The female figure in movment<\/td>Thomas Jennings<\/td><\/td>London<\/td><\/td><\/td>5<\/td> <\/tr>\n
9019<\/td>4432<\/td>unread<\/td>83<\/td>15382<\/td><\/td>15252<\/td>Photofreund Jahrebuch<\/td>R. Ottwil Maurer<\/td><\/td>Berlin<\/td>1941<\/td><\/td>5<\/td> <\/tr>\n
9020<\/td>4433<\/td>unread<\/td>88<\/td>15383<\/td><\/td>15253<\/td>Rmantic Paris<\/td>Michael Marrinan<\/td>stanford univiersity press<\/td><\/td>2009<\/td><\/td>5<\/td> <\/tr>\n
9021<\/td>4434<\/td>unread<\/td>83<\/td>15384<\/td><\/td>15254<\/td><\/td>Professor G.H. Emmerich<\/td>A.Hartlebens Verlag<\/td>Leipsig<\/td>1910<\/td><\/td>5<\/td> <\/tr>\n
9022<\/td>4435<\/td>unread<\/td>83<\/td>15385<\/td><\/td>15255<\/td><\/td><\/td>Agfacolor<\/td>Fotokino<\/td>1958<\/td><\/td>5<\/td> <\/tr>\n
9023<\/td>4436<\/td>unread<\/td>84<\/td>15386<\/td><\/td>15256<\/td>Pictorial Photography<\/td>Robert H Goodsall<\/td>The Fauntain Press<\/td>New York<\/td><\/td><\/td>5<\/td> <\/tr>\n
9024<\/td>4437<\/td>unread<\/td>84<\/td>15387<\/td><\/td>15257<\/td>Image Management<\/td>Nicolas Haz<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9025<\/td>4438<\/td>unread<\/td>84<\/td>15388<\/td><\/td>15258<\/td>Nikon manul<\/td>George Wright<\/td>Universal books<\/td>New York<\/td>1958<\/td><\/td>5<\/td> <\/tr>\n
9026<\/td>4439<\/td>unread<\/td>83<\/td>15389<\/td><\/td>15259<\/td><\/td>Prof.dr.Erich Stenger<\/td>Union deutche Verlagsellshaft<\/td>Berlin<\/td>1978<\/td><\/td>5<\/td> <\/tr>\n
9027<\/td>4440<\/td>unread<\/td>83<\/td>15390<\/td><\/td>15260<\/td>Kine-Exakta-praxis<\/td>Gerhard Isert<\/td>Gerhard Isert Verlag<\/td>Magenburg<\/td><\/td><\/td>5<\/td> <\/tr>\n
9028<\/td>4441<\/td>unread<\/td>83<\/td>15391<\/td><\/td>15261<\/td>Photographiske Bibliothek bind 22<\/td>P Hanneke<\/td>Gustav Schmidt<\/td>Berlin<\/td>2005<\/td><\/td>5<\/td> <\/tr>\n
9029<\/td>4442<\/td>unread<\/td>83<\/td>15392<\/td><\/td>15262<\/td>Blitzlicht-photographie<\/td>Dr Heinr Beck<\/td>Edliesgangs verlag<\/td>Lipsi<\/td>1912<\/td><\/td>5<\/td> <\/tr>\n
9030<\/td>4443<\/td>unread<\/td>83<\/td>15393<\/td><\/td>15263<\/td>Auf der Geschnik der Photoechnik<\/td>Hans Kleffe<\/td>Veb Fotokinoverlag<\/td>Leipzig<\/td>1988<\/td><\/td>5<\/td> <\/tr>\n
9031<\/td>4444<\/td>unread<\/td>83<\/td>15394<\/td><\/td>15264<\/td>Einstellen Belichten<\/td>W kross<\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9032<\/td>4445<\/td>unread<\/td>83<\/td>15395<\/td><\/td>15265<\/td>Der Fotorat deine box kann mehr<\/td><\/td>Wilhelm Knapp<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9033<\/td>4446<\/td>unread<\/td>83<\/td>15397<\/td><\/td>15266<\/td>Verax-handbuch<\/td>unger Hofmann<\/td><\/td>Dresten<\/td><\/td><\/td>5<\/td> <\/tr>\n
9034<\/td>4447<\/td>unread<\/td>83<\/td>15398<\/td><\/td>15267<\/td>Leica Taschenbuch<\/td>Horst Bredow<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9035<\/td>4448<\/td>unread<\/td>88<\/td>15399<\/td><\/td>15268<\/td>Con una piccola<\/td>Rondini<\/td>Ferania<\/td>Milano<\/td>1951<\/td><\/td>5<\/td> <\/tr>\n
9036<\/td>4449<\/td>unread<\/td>88<\/td>15400<\/td><\/td>15269<\/td>Photography in america 1888-1900<\/td>William Welling<\/td>Thomas Crowell company<\/td>New york<\/td><\/td><\/td>5<\/td> <\/tr>\n
9037<\/td>4450<\/td>unread<\/td>88<\/td>15401<\/td><\/td>15270<\/td>Pentax photoannual 1966-89<\/td>pemtax<\/td>pentax<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9038<\/td>4451<\/td>unread<\/td>88<\/td>15402<\/td><\/td>15271<\/td>The history of nude in photography<\/td>Peter Lacey<\/td>A Division of transworld publisher<\/td>London<\/td>1969<\/td><\/td>5<\/td> <\/tr>\n
9039<\/td>4452<\/td>unread<\/td>84<\/td>15403<\/td><\/td>15272<\/td>Color Photography 1840-1940<\/td>Brian Coe<\/td>kodak museum<\/td>england<\/td>1978<\/td><\/td>5<\/td> <\/tr>\n
9040<\/td>4453<\/td>unread<\/td>88<\/td>15404<\/td><\/td>15273<\/td>Werner Bischof<\/td><\/td>American Photographic book publishing<\/td>new york<\/td>1973<\/td><\/td>5<\/td> <\/tr>\n
9041<\/td>4454<\/td>unread<\/td>88<\/td>15405<\/td><\/td>15274<\/td>Graphic design whith Polaroid<\/td><\/td>Polaroid<\/td><\/td>1971<\/td><\/td>5<\/td> <\/tr>\n
9042<\/td>4455<\/td>unread<\/td>84<\/td>15406<\/td><\/td>15275<\/td>Large format Photography of the Sinar Sy<\/td>Carl Koch<\/td>Henry Greenwood<\/td>London<\/td>1971<\/td><\/td>5<\/td> <\/tr>\n
9043<\/td>4456<\/td>unread<\/td>84<\/td>15407<\/td><\/td>15276<\/td>Prakticmat guide<\/td>D.Manuell<\/td>The Fokal press<\/td>1970<\/td><\/td><\/td>5<\/td> <\/tr>\n
9044<\/td>4457<\/td>unread<\/td>84<\/td>15408<\/td><\/td>15277<\/td>Photographic blue book<\/td>Wallace Heaton<\/td>Wallace Heaton<\/td>London<\/td>1952<\/td><\/td>0<\/td> <\/tr>\n
9045<\/td>4458<\/td>unread<\/td>84<\/td>15409<\/td><\/td>15278<\/td>Motion Pictiurs<\/td>Harold B Abbott<\/td>Iliffe & Sons<\/td>London<\/td>1929<\/td><\/td>5<\/td> <\/tr>\n
9046<\/td>4459<\/td>unread<\/td>84<\/td>15410<\/td><\/td>15279<\/td>Vincentes Photographos<\/td>Luis Sousa Melo<\/td>Funchal<\/td>Madrid<\/td><\/td><\/td>5<\/td> <\/tr>\n
9047<\/td>4460<\/td>unread<\/td>84<\/td>15411<\/td><\/td>15280<\/td>Minolta guide<\/td>W,D. Emanuel<\/td>The local press<\/td>New York<\/td>1976<\/td><\/td>5<\/td> <\/tr>\n
9048<\/td>4461<\/td>unread<\/td>84<\/td>15412<\/td><\/td>15281<\/td>Leas Register of 35mm SLR Cameras<\/td>Rudolphe lea<\/td>Author<\/td><\/td>1981<\/td><\/td>5<\/td> <\/tr>\n
9049<\/td>4462<\/td>unread<\/td>84<\/td>15413<\/td><\/td>15282<\/td>Negativ Retouching<\/td>Ernest Draper<\/td><\/td><\/td>1941<\/td><\/td>5<\/td> <\/tr>\n
9050<\/td>4463<\/td>unread<\/td>84<\/td>15414<\/td><\/td>15283<\/td>Selling Your pictures<\/td>Kurt S Safranaji<\/td>Siff Davis Publication<\/td>usa<\/td>1940<\/td><\/td>5<\/td> <\/tr>\n
9051<\/td>4464<\/td>unread<\/td>84<\/td>15415<\/td><\/td>15284<\/td>Commercials Photography<\/td>Victor Keppler<\/td>Ziff Davis Publising<\/td><\/td>1947<\/td><\/td>5<\/td> <\/tr>\n
9052<\/td>4465<\/td>unread<\/td>84<\/td>15416<\/td><\/td>15285<\/td>Levis Carrol Photographes<\/td>Helmut Gernsheim<\/td>Max Parrish & co<\/td><\/td>1949<\/td><\/td>5<\/td> <\/tr>\n
9053<\/td>4466<\/td>unread<\/td>84<\/td>15417<\/td><\/td>15286<\/td>American Cinematographer Hand Book<\/td>Jackons Rose<\/td><\/td><\/td>1956<\/td><\/td>5<\/td> <\/tr>\n
9054<\/td>4467<\/td>unread<\/td>84<\/td>15418<\/td><\/td>15287<\/td>pRESS pHOTOGRAPHY<\/td>Kip Ross<\/td>Ziff Davis Publisheing<\/td><\/td>1949<\/td><\/td>5<\/td> <\/tr>\n
9055<\/td>4468<\/td>unread<\/td>88<\/td>15419<\/td><\/td>15288<\/td>The American Annual 1947<\/td>Frank R. Franklin I Jordan<\/td>Chapmann and Hall<\/td><\/td>1646<\/td><\/td>5<\/td> <\/tr>\n
9056<\/td>4469<\/td>unread<\/td>81<\/td>15420<\/td><\/td>15289<\/td>Bestyrelsesprotekol FKAK 1895-1932<\/td><\/td><\/td><\/td><\/td><\/td>2<\/td> <\/tr>\n
9057<\/td>4470<\/td>unread<\/td>81<\/td>15425<\/td><\/td>15291<\/td>Uorganisk kemi<\/td>Chr. Christensen<\/td>August Banks forlag<\/td><\/td>1911<\/td><\/td>2<\/td> <\/tr>\n
9058<\/td>4471<\/td>unread<\/td>81<\/td>15427<\/td><\/td>15292<\/td><\/td>Danmarks fotomuseum<\/td>Danmarks Fotomuseum<\/td>Herning<\/td>2009<\/td><\/td>2<\/td> <\/tr>\n
9059<\/td>4472<\/td>unread<\/td>81<\/td>15428<\/td><\/td>15295<\/td><\/td>Minette Walters<\/td>Gyldendals Bogklub<\/td><\/td>1997<\/td><\/td>2<\/td> <\/tr>\n
9060<\/td>4473<\/td>unread<\/td>91<\/td>15430<\/td><\/td>15297<\/td>Den gamle by 2009<\/td><\/td><\/td><\/td>2009<\/td><\/td>2<\/td> <\/tr>\n
9061<\/td>4474<\/td>unread<\/td>91<\/td>15431<\/td><\/td>15298<\/td>Herning udenfor Herning 2009<\/td>Herning Bogen<\/td>Historisk forening Herning<\/td>Herning<\/td>2009<\/td><\/td>2<\/td> <\/tr>\n
9062<\/td>4475<\/td>unread<\/td>88<\/td>15432<\/td><\/td>15299<\/td>Landskab<\/td>Fototrieale 2009<\/td><\/td><\/td>2009<\/td><\/td>2<\/td> <\/tr>\n
9063<\/td>4476<\/td>unread<\/td>91<\/td>15433<\/td><\/td>15479<\/td><\/td>Selskabet for dansk fotografi<\/td><\/td><\/td>2012<\/td><\/td>3<\/td> <\/tr>\n
9064<\/td>4477<\/td>unread<\/td>88<\/td>15434<\/td><\/td>15480<\/td>Kirsten Klein<\/td><\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
9065<\/td>4478<\/td>unread<\/td>81<\/td>15436<\/td><\/td>15481<\/td><\/td><\/td>teknologisk Institut<\/td><\/td>1929<\/td><\/td>3<\/td> <\/tr>\n
9066<\/td>4479<\/td>unread<\/td>88<\/td>15437<\/td><\/td>15482<\/td><\/td>Lenart Weber<\/td><\/td><\/td>2012<\/td><\/td>3<\/td> <\/tr>\n
9067<\/td>4480<\/td>unread<\/td>88<\/td>15438<\/td><\/td>15483<\/td>Peter Elfelt<\/td>Lenaet Weber<\/td>Lenart Weber<\/td><\/td>2012<\/td><\/td>3<\/td> <\/tr>\n
9068<\/td>4481<\/td>unread<\/td>88<\/td>15439<\/td><\/td>15484<\/td>Naturen i fokus<\/td><\/td>Tun forlag<\/td><\/td>2007<\/td><\/td>3<\/td> <\/tr>\n
9069<\/td>4482<\/td>unread<\/td>81<\/td>15440<\/td><\/td>15485<\/td>At smallfilme<\/td>Stanley Bowler<\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
9070<\/td>4483<\/td>unread<\/td>81<\/td>15441<\/td><\/td>15486<\/td>filmkundskab<\/td>Erik s. saxtorph<\/td>statens filmcentral<\/td><\/td>1961<\/td><\/td>3<\/td> <\/tr>\n
9071<\/td>4484<\/td>unread<\/td>81<\/td>15442<\/td><\/td>15487<\/td>Vejledning i fotografi<\/td>Victor Christensen<\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
9072<\/td>4485<\/td>unread<\/td>81<\/td>15443<\/td><\/td>15488<\/td>Akustik<\/td><\/td>Hjorth Tryk<\/td><\/td>1935<\/td><\/td>3<\/td> <\/tr>\n
9073<\/td>4486<\/td>unread<\/td>83<\/td>15444<\/td><\/td>15489<\/td>Holographie-fiebel<\/td>Peter Heib<\/td><\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
9074<\/td>4487<\/td>unread<\/td>81<\/td>15445<\/td><\/td>15490<\/td>16 mm filmgengiver<\/td>Dines Hansen<\/td>statenns filmcentral<\/td><\/td><\/td><\/td>3<\/td> <\/tr>\n
9075<\/td>4488<\/td>unread<\/td>84<\/td>15446<\/td><\/td>15491<\/td>All about Composition<\/td>A Kra Krausz<\/td>the focal press<\/td>London<\/td><\/td><\/td>3<\/td> <\/tr>\n
9076<\/td>4489<\/td>unread<\/td>81<\/td>15447<\/td><\/td>15493<\/td>Politikens fotobog<\/td>Thomas Nykrog<\/td>Politiken<\/td>2000<\/td>2000<\/td><\/td>3<\/td> <\/tr>\n
9077<\/td>4490<\/td>unread<\/td>91<\/td>15448<\/td><\/td>15538<\/td>Herning Bogen 2012<\/td>Historisk forening<\/td><\/td>Herning<\/td>2012<\/td><\/td>3<\/td> <\/tr>\n
9078<\/td>4491<\/td>unread<\/td>91<\/td>15449<\/td><\/td>15539<\/td>En by vokser til<\/td>Allan Leth Frandsen<\/td>Historisk forening Herning<\/td>Herning<\/td>2003<\/td><\/td>3<\/td> <\/tr>\n
9079<\/td>4492<\/td>unread<\/td>94<\/td>15450<\/td><\/td>15540<\/td>Cameras into the wild<\/td>Palle B Peterson<\/td>Mc ferland<\/td>London<\/td>2011<\/td><\/td>3<\/td> <\/tr>\n
9080<\/td>4493<\/td>unread<\/td>83<\/td>15451<\/td><\/td>15541<\/td>ir fotografieren<\/td>Agfa Gevart<\/td>agfa<\/td>Leverkusen<\/td>1978<\/td><\/td>0<\/td> <\/tr>\n
9081<\/td>4494<\/td>unread<\/td>83<\/td>15452<\/td><\/td>15542<\/td>esser fotografiert<\/td>Toni Angermayer<\/td>Agfa Gevart<\/td>1976<\/td>1976<\/td><\/td>3<\/td> <\/tr>\n
9082<\/td>4495<\/td>unread<\/td>88<\/td>15453<\/td><\/td>15543<\/td>Feeling for Aalborg<\/td>Helene Mogensen Monleon<\/td><\/td><\/td>2011<\/td><\/td>1<\/td> <\/tr>\n
9083<\/td>4496<\/td>unread<\/td>91<\/td>15454<\/td><\/td>15544<\/td>Fotosport 2012<\/td><\/td><\/td><\/td>2012<\/td><\/td>0<\/td> <\/tr>\n
9084<\/td>4497<\/td>unread<\/td>88<\/td>15455<\/td><\/td>15545<\/td>Limfjorden<\/td><\/td>Gyldendal<\/td><\/td>2014<\/td><\/td>5<\/td> <\/tr>\n
9085<\/td>4498<\/td>unread<\/td>88<\/td>15456<\/td><\/td>15546<\/td><\/td><\/td>Ajour<\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9086<\/td>4499<\/td>unread<\/td>88<\/td>15457<\/td><\/td>15548<\/td>Fotograf at skrive med lys<\/td>L Ron Hubbert<\/td><\/td><\/td>1999<\/td><\/td>5<\/td> <\/tr>\n
9087<\/td>4500<\/td>unread<\/td>88<\/td>15458<\/td><\/td>15549<\/td>the Miracles of Mikaliskes Village<\/td>Algis Griskevius<\/td><\/td><\/td>2009<\/td><\/td>5<\/td> <\/tr>\n
9088<\/td>4501<\/td>unread<\/td>88<\/td>15459<\/td><\/td>15550<\/td>Atila Fund<\/td>Skive Kunstmuseum<\/td><\/td>Slive<\/td>2012<\/td><\/td>5<\/td> <\/tr>\n
9089<\/td>4502<\/td>unread<\/td>88<\/td>15460<\/td><\/td>15551<\/td>Dagens Billeder<\/td>Axel Bolvig<\/td>Skole TV<\/td><\/td>1975<\/td><\/td>5<\/td> <\/tr>\n
9090<\/td>4503<\/td>unread<\/td>88<\/td>15461<\/td><\/td>15552<\/td>Hverdagsbilleder<\/td>Skole TV<\/td>DR<\/td><\/td>1980<\/td><\/td>5<\/td> <\/tr>\n
9091<\/td>4504<\/td>unread<\/td>91<\/td>15462<\/td><\/td>15553<\/td>Berlingske foto 78<\/td><\/td>Berlingske Foto<\/td><\/td>1978<\/td><\/td>5<\/td> <\/tr>\n
9092<\/td>4505<\/td>unread<\/td>91<\/td>15463<\/td><\/td>15554<\/td><\/td><\/td><\/td><\/td>1980<\/td><\/td>5<\/td> <\/tr>\n
9093<\/td>4506<\/td>unread<\/td>81<\/td>15464<\/td><\/td>15555<\/td>Victorias lyd og billedbog<\/td>Victoria<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9094<\/td>4507<\/td>unread<\/td>88<\/td>15465<\/td><\/td>15556<\/td>Nick Ut Visit Dabmark Januar 2012<\/td><\/td><\/td><\/td>2012<\/td><\/td>5<\/td> <\/tr>\n
9095<\/td>4508<\/td>unread<\/td>88<\/td>15466<\/td><\/td>15598<\/td>odyssey<\/td>the art of photographyat art<\/td>national geographic<\/td>whasingtond.c<\/td>1988<\/td><\/td>5<\/td> <\/tr>\n
9096<\/td>4509<\/td>unread<\/td>88<\/td>15467<\/td><\/td>15599<\/td>a day in the life of ireland<\/td>kodak<\/td>kodak<\/td><\/td>1991<\/td><\/td>5<\/td> <\/tr>\n
9097<\/td>4510<\/td>unread<\/td>88<\/td>15468<\/td><\/td>15600<\/td>a day in the llifeof sovietunion<\/td>wiliams ccollins<\/td>collins publishers<\/td><\/td>1987<\/td><\/td>5<\/td> <\/tr>\n
9098<\/td>4511<\/td>unread<\/td>88<\/td>15469<\/td><\/td>15601<\/td>A day of the life of Japan<\/td>Collins<\/td>collins publicher<\/td><\/td>1985<\/td><\/td>5<\/td> <\/tr>\n
9099<\/td>4512<\/td>unread<\/td>88<\/td>15470<\/td><\/td>15602<\/td>Sveden land of the north<\/td><\/td>Tjernquist<\/td><\/td>1984<\/td><\/td>5<\/td> <\/tr>\n
9100<\/td>4513<\/td>unread<\/td>88<\/td>15471<\/td><\/td>15603<\/td>Panorama of Island<\/td>Pall stefanson<\/td><\/td><\/td>1991<\/td><\/td>5<\/td> <\/tr>\n
9101<\/td>4514<\/td>unread<\/td>88<\/td>15472<\/td><\/td>15604<\/td>Ilustration photography<\/td>Jack renzniki<\/td><\/td><\/td>1987<\/td><\/td>5<\/td> <\/tr>\n
9102<\/td>4515<\/td>unread<\/td>88<\/td>15473<\/td><\/td>15605<\/td>An africa trip<\/td>chronicles<\/td>georgestman<\/td><\/td>1927<\/td><\/td>5<\/td> <\/tr>\n
9103<\/td>4516<\/td>unread<\/td>88<\/td>15474<\/td><\/td>15606<\/td>Klaus Lindvalds billeder<\/td>Lars Scwander<\/td>Det kongelige bibvliotek<\/td><\/td>1972<\/td><\/td>5<\/td> <\/tr>\n
9104<\/td>4517<\/td>unread<\/td>88<\/td>15475<\/td><\/td>15607<\/td>Sekunders ensimhed<\/td><\/td><\/td><\/td>1991<\/td><\/td>5<\/td> <\/tr>\n
9105<\/td>4518<\/td>unread<\/td>88<\/td>15476<\/td><\/td>15608<\/td>Sangen om savnet<\/td>Thomas Nydal & Carsten Hill<\/td>vinrosen<\/td><\/td>1988<\/td><\/td>5<\/td> <\/tr>\n
9106<\/td>4519<\/td>unread<\/td>88<\/td>15477<\/td><\/td>15609<\/td>Langelandske billeder<\/td><\/td><\/td><\/td>1983<\/td><\/td>5<\/td> <\/tr>\n
9107<\/td>4520<\/td>unread<\/td>88<\/td>15478<\/td><\/td>15610<\/td>Lort nok<\/td><\/td>eks-skolens forlag<\/td><\/td>1982<\/td><\/td>5<\/td> <\/tr>\n
9108<\/td>4521<\/td>unread<\/td>88<\/td>15479<\/td><\/td>15611<\/td>Ellipses<\/td>Arnaud Claass<\/td><\/td><\/td>1976<\/td><\/td>5<\/td> <\/tr>\n
9109<\/td>4522<\/td>unread<\/td>88<\/td>15480<\/td><\/td>15612<\/td>Bill Brandt photographs<\/td><\/td><\/td><\/td>1990<\/td><\/td>5<\/td> <\/tr>\n
9110<\/td>4523<\/td>unread<\/td>88<\/td>15481<\/td><\/td>15613<\/td>Vin Rude<\/td>David Thorpe<\/td><\/td>london<\/td>1980<\/td><\/td>5<\/td> <\/tr>\n
9111<\/td>4524<\/td>unread<\/td>88<\/td>15482<\/td><\/td>15614<\/td>Fie Johansen<\/td>Tove Hage<\/td><\/td><\/td>1997<\/td><\/td>5<\/td> <\/tr>\n
9112<\/td>4525<\/td>unread<\/td>88<\/td>15483<\/td><\/td>15615<\/td>mrs david bailey<\/td>David Bailey<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9113<\/td>4526<\/td>unread<\/td>88<\/td>15484<\/td><\/td>15616<\/td>New York<\/td>Christofer Regild<\/td><\/td><\/td>1968<\/td><\/td>5<\/td> <\/tr>\n
9114<\/td>4527<\/td>unread<\/td>88<\/td>15485<\/td><\/td>15617<\/td>Beths bog<\/td>Kent klich<\/td>tiderne skifter<\/td>1988<\/td><\/td><\/td>5<\/td> <\/tr>\n
9115<\/td>4528<\/td>unread<\/td>88<\/td>15486<\/td><\/td>15618<\/td>Photokollegium2<\/td>Jostj. marchesi<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9116<\/td>4529<\/td>unread<\/td>83<\/td>15488<\/td><\/td>15620<\/td>Photokollegium3<\/td>tysk<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9117<\/td>4530<\/td>unread<\/td>83<\/td>15489<\/td><\/td>15621<\/td>Photokollegium4<\/td>jostj.Marchesi<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9118<\/td>4531<\/td>unread<\/td>83<\/td>15490<\/td><\/td>15622<\/td>Photokolligum5<\/td>Jostj.Marchensi<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9119<\/td>4532<\/td>unread<\/td>83<\/td>15491<\/td><\/td>15623<\/td>Photokollegium6<\/td>Jostj,Marchensi<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9120<\/td>4533<\/td>unread<\/td>88<\/td>15492<\/td><\/td>15624<\/td>Photedition1<\/td>Jostwildbolz<\/td><\/td><\/td>1979<\/td><\/td>5<\/td> <\/tr>\n
9121<\/td>4534<\/td>unread<\/td>88<\/td>15493<\/td><\/td>15625<\/td>Photoedition2<\/td>Uveomer<\/td><\/td><\/td><\/td>1<\/td>5<\/td> <\/tr>\n
9122<\/td>4535<\/td>unread<\/td>88<\/td>15494<\/td><\/td>15626<\/td>Photoedition3<\/td>Francfotana<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9123<\/td>4536<\/td>unread<\/td>88<\/td>15495<\/td><\/td>15627<\/td>Ebhdgames<\/td>Photedition4<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9124<\/td>4537<\/td>unread<\/td>88<\/td>15496<\/td><\/td>15628<\/td>Photoedition5<\/td>Christianvogt<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9125<\/td>4538<\/td>unread<\/td>88<\/td>15497<\/td><\/td>15629<\/td>Photoeedition6<\/td>Jaquesumacheer<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9126<\/td>4539<\/td>unread<\/td>88<\/td>15498<\/td><\/td>15630<\/td>Photoedition7<\/td>Jochimwyrel<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9127<\/td>4540<\/td>unread<\/td>88<\/td>15499<\/td><\/td>15631<\/td>Photoedition9<\/td>Angel vogel<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9128<\/td>4541<\/td>unread<\/td>88<\/td>15500<\/td><\/td>15632<\/td>Photoedition10<\/td>Haraldmaite<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9129<\/td>4542<\/td>unread<\/td>88<\/td>15502<\/td><\/td>15634<\/td>Photoedtion12<\/td>rezakhatir<\/td><\/td><\/td><\/td><\/td>5<\/td> <\/tr>\n
9130<\/td>4543<\/td>unread<\/td>88<\/td>15503<\/td><\/td>15635<\/td>Instant the story of polaroid<\/td>ChristoferBoanos<\/td><\/td><\/td>2012<\/td><\/td>1<\/td> <\/tr>\n
9131<\/td>4544<\/td>unread<\/td>84<\/td>15504<\/td><\/td>15636<\/td>A first book of the lens<\/td>C Welborne Piper<\/td><\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
9132<\/td>4545<\/td>unread<\/td>84<\/td>15505<\/td><\/td>15637<\/td>The photographic negativ<\/td>Herbert c Mckay<\/td><\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
9133<\/td>4546<\/td>unread<\/td>83<\/td>15506<\/td><\/td>15638<\/td>photgraphisches archiv<\/td>Paul Liesegang<\/td>elbefelt<\/td><\/td>1860<\/td><\/td>1<\/td> <\/tr>\n
9134<\/td>4547<\/td>unread<\/td>88<\/td>15507<\/td><\/td>15639<\/td>Photographys mysteriels<\/td>charles r Gibson<\/td><\/td><\/td>1906<\/td><\/td>1<\/td> <\/tr>\n
9135<\/td>4548<\/td>unread<\/td>84<\/td>15508<\/td><\/td>15640<\/td><<<<<<<photograpthy for yonger people<\/td>Tudur jenkes<\/td>A stoukers<\/td><\/td>1908<\/td><\/td>1<\/td> <\/tr>\n
9136<\/td>4549<\/td>unread<\/td>84<\/td>15509<\/td><\/td>15641<\/td>Faces before my camera<\/td>Adolf Morath<\/td>George newens limited<\/td>london<\/td><\/td><\/td>1<\/td> <\/tr>\n
9137<\/td>4550<\/td>unread<\/td>88<\/td>15510<\/td><\/td>15642<\/td>Castillos<\/td>Reinhart Wolf<\/td><\/td>mosel<\/td>1987<\/td><\/td>1<\/td> <\/tr>\n
9138<\/td>4551<\/td>unread<\/td>86<\/td>15511<\/td><\/td>15643<\/td>Clasiccamerras<\/td>Kate Rouse<\/td><\/td>london<\/td>1994<\/td><\/td>1<\/td> <\/tr>\n
9139<\/td>4552<\/td>unread<\/td>88<\/td>15512<\/td><\/td>15644<\/td>Celebeaton<\/td>Igrandi<\/td><\/td><\/td>1969<\/td><\/td>1<\/td> <\/tr>\n
9140<\/td>4553<\/td>unread<\/td>88<\/td>15513<\/td><\/td>15645<\/td>Igrandi<\/td>David Hamilton<\/td><\/td><\/td>1983<\/td><\/td>1<\/td> <\/tr>\n
9141<\/td>4554<\/td>unread<\/td>88<\/td>15514<\/td><\/td>15646<\/td>Graphisphoto88<\/td>Martin Pedersen<\/td>kodak<\/td><\/td>1988<\/td><\/td>1<\/td> <\/tr>\n
9142<\/td>4555<\/td>unread<\/td>88<\/td>15515<\/td><\/td>15647<\/td>Photographis 84<\/td><\/td><\/td><\/td>1984<\/td><\/td>1<\/td> <\/tr>\n
9143<\/td>4556<\/td>unread<\/td>88<\/td>15517<\/td><\/td>15648<\/td>Photogeaphis87<\/td>Martin Pedersen<\/td><\/td><\/td>1987<\/td><\/td>1<\/td> <\/tr>\n
9144<\/td>4557<\/td>unread<\/td>88<\/td>15518<\/td><\/td>15649<\/td>Photographis85<\/td>Walter Herdeg<\/td><\/td><\/td>1985<\/td><\/td>1<\/td> <\/tr>\n
9145<\/td>4558<\/td>unread<\/td>84<\/td>15520<\/td><\/td>15650<\/td>barnet of photography<\/td><\/td>Ellott & barnet<\/td>London<\/td>1898<\/td><\/td>1<\/td> <\/tr>\n
9146<\/td>4559<\/td>unread<\/td>86<\/td>15521<\/td><\/td>15651<\/td>Fotografien i Sverig<\/td><\/td><\/td><\/td>1938<\/td><\/td>1<\/td> <\/tr>\n
9147<\/td>4560<\/td>unread<\/td>88<\/td>15522<\/td><\/td>15652<\/td>Francotana Paesagi 1970-1995<\/td><\/td><\/td><\/td>1981<\/td><\/td>1<\/td> <\/tr>\n
9148<\/td>4561<\/td>unread<\/td>81<\/td>15523<\/td><\/td>15653<\/td>Steriobild<\/td>Harold zetersten<\/td>nordisk<\/td><\/td>1964<\/td><\/td>1<\/td> <\/tr>\n
9149<\/td>4562<\/td>unread<\/td>88<\/td>15524<\/td><\/td>15654<\/td>Enigma<\/td>Erik rondepirre<\/td><\/td>2013<\/td><\/td><\/td>1<\/td> <\/tr>\n
9150<\/td>4563<\/td>unread<\/td>83<\/td>15527<\/td><\/td>15656<\/td>Detgummidruck<\/td>A Meyer<\/td><\/td><\/td>1921<\/td><\/td>1<\/td> <\/tr>\n
9151<\/td>4564<\/td>unread<\/td>83<\/td>15528<\/td><\/td>15658<\/td>Cameras aus gutm Hause<\/td>Drecoll Thurner<\/td><\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
9152<\/td>4565<\/td>unread<\/td>84<\/td>15529<\/td><\/td>15659<\/td>The Photographic negative2<\/td>Hebert c mc,kay<\/td>Ziff DavisPublishing company<\/td><\/td>1942<\/td><\/td>1<\/td> <\/tr>\n
9153<\/td>4566<\/td>unread<\/td>84<\/td>15530<\/td><\/td>15660<\/td>The Photographic negativ 3<\/td>Herbert mc kay<\/td><\/td><\/td>1942<\/td><\/td>1<\/td> <\/tr>\n
9154<\/td>4567<\/td>unread<\/td>84<\/td>15531<\/td><\/td>15661<\/td>The photographic negative<\/td>Herbert mc. kay<\/td><\/td><\/td>1942<\/td><\/td>1<\/td> <\/tr>\n
9155<\/td>4568<\/td>unread<\/td>83<\/td>15532<\/td><\/td>15662<\/td>Dagurrescher lichbilder<\/td><\/td><\/td><\/td>1839<\/td><\/td>1<\/td> <\/tr>\n
9156<\/td>4569<\/td>unread<\/td>83<\/td>15533<\/td><\/td>15663<\/td>Alte Cameras<\/td>Johan Wilberger<\/td><\/td>Dortmund<\/td>1979<\/td><\/td>1<\/td> <\/tr>\n
9157<\/td>4570<\/td>unread<\/td>84<\/td>15534<\/td><\/td>15665<\/td>Canon EOS650<\/td>claus Tiedge<\/td><\/td>1988<\/td><\/td>1988<\/td>1<\/td> <\/tr>\n
9158<\/td>4571<\/td>unread<\/td>84<\/td>15535<\/td><\/td>15666<\/td>Nikon FF401s and F401s<\/td>michael huber<\/td><\/td><\/td>1990<\/td><\/td>1<\/td> <\/tr>\n
9159<\/td>4572<\/td>unread<\/td>84<\/td>15536<\/td><\/td>15667<\/td>Nikon 301<\/td>Michael Huber<\/td><\/td><\/td>1986<\/td><\/td>1<\/td> <\/tr>\n
9160<\/td>4573<\/td>unread<\/td>84<\/td>15537<\/td><\/td>15668<\/td>Minolta<\/td>heine Henninges<\/td>Hove-fountainbooks<\/td><\/td>1990<\/td><\/td>1<\/td> <\/tr>\n
9161<\/td>4574<\/td>unread<\/td>84<\/td>15538<\/td><\/td>15669<\/td>Minolta 8000J<\/td>Heine Henninges<\/td><\/td><\/td>1990<\/td><\/td>1<\/td> <\/tr>\n
9162<\/td>4575<\/td>unread<\/td>121<\/td>20975<\/td>Reklameartikler<\/td>15721<\/td>Nikon<\/td>Nikon Coolpix 775<\/td>Ukendt<\/td><\/td><\/td><\/td>12<\/td> <\/tr>\n
9163<\/td>4576<\/td>unread<\/td>121<\/td>20976<\/td>Reklameartikler<\/td>15722<\/td>Kuglepen m. kameratop<\/td>Kuglepen m. kameratop<\/td>Ukendt<\/td><\/td><\/td><\/td>12<\/td> <\/tr>\n
9164<\/td>4577<\/td>unread<\/td>121<\/td>20977<\/td>Reklameartikler<\/td>15723<\/td><\/td><\/td>Ukendt<\/td><\/td><\/td><\/td>12<\/td> <\/tr>\n
9165<\/td>4578<\/td>unread<\/td>121<\/td>20978<\/td>Reklameartikler<\/td>15724<\/td><\/td><\/td>Ukendt<\/td><\/td><\/td><\/td>12<\/td> <\/tr>\n
9166<\/td>4579<\/td>unread<\/td>121<\/td>20979<\/td>Reklameartikler<\/td>15725<\/td><\/td><\/td>Ukendt<\/td><\/td><\/td><\/td>12<\/td> <\/tr>\n
9167<\/td>4580<\/td>unread<\/td>84<\/td>25226<\/td><\/td>15655<\/td>Amateur Photography<\/td>Benson<\/td>Thomas nelson & son<\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
9168<\/td>4581<\/td>unread<\/td>88<\/td>25457<\/td><\/td>15547<\/td><\/td><\/td><\/td><\/td><\/td><\/td>0<\/td> <\/tr>\n
9169<\/td>4582<\/td>unread<\/td>88<\/td>25458<\/td><\/td>15735<\/td><\/td>Selskabet for dansk fotografi<\/td>selskabet for Dansk fotografi<\/td><\/td>2013<\/td><\/td>0<\/td> <\/tr>\n
9170<\/td>4583<\/td>unread<\/td>88<\/td>25459<\/td><\/td>15736<\/td>Tialod<\/td>Jesper Just<\/td>Hart<\/td>Herning<\/td>2013<\/td><\/td>0<\/td> <\/tr>\n
9171<\/td>4584<\/td>unread<\/td>88<\/td>25460<\/td><\/td>15737<\/td><\/td>Svenn Hugo<\/td><\/td><\/td><\/td><\/td>1<\/td> <\/tr>\n
9172<\/td>4585<\/td>unread<\/td>88<\/td>25461<\/td><\/td>15738<\/td>Feling for industri<\/td>Helene og Mogens Molneon<\/td><\/td>danmark<\/td>2013<\/td><\/td>1<\/td> <\/tr>\n
9173<\/td>4586<\/td>unread<\/td>88<\/td>25462<\/td><\/td>15739<\/td>Rafe Selsanzlobato<\/td><\/td><\/td><\/td>2008<\/td><\/td>1<\/td> <\/tr>\n
9174<\/td>4587<\/td>read<\/td>88<\/td>25463<\/td><\/td>15740<\/td>Herningbogen<\/td>Historiskforening<\/td>poul Kristensen<\/td>Herning<\/td>2013<\/td><\/td>1<\/td> <\/tr>\n <\/tbody>\n <\/table>\n \n \n \n<\/div>\n<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-11","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/bog.fotomuseum.dk\/index.php\/wp-json\/wp\/v2\/pages\/11","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bog.fotomuseum.dk\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bog.fotomuseum.dk\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bog.fotomuseum.dk\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bog.fotomuseum.dk\/index.php\/wp-json\/wp\/v2\/comments?post=11"}],"version-history":[{"count":16,"href":"https:\/\/bog.fotomuseum.dk\/index.php\/wp-json\/wp\/v2\/pages\/11\/revisions"}],"predecessor-version":[{"id":35,"href":"https:\/\/bog.fotomuseum.dk\/index.php\/wp-json\/wp\/v2\/pages\/11\/revisions\/35"}],"wp:attachment":[{"href":"https:\/\/bog.fotomuseum.dk\/index.php\/wp-json\/wp\/v2\/media?parent=11"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}