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Oh this is ridiculous! How can one pick from 100?

Okay, I need to contribute; I like this image for many reasons:

Linda Butler's Marionettes, Carlo Colla e Figli, Milan, Issue #24.

(Thank goodness for the CD collection.)

Andy Garcia

Is there a link where all the covers can be seen (without having to click on each back issue's preview). I've only been a subscriber to LWE for the last three years and don't have them all.


Try this page. It has thumbnails of all the covers plus links that will take you to previews of each issue with a larger image.



Chuck Kimmerle

I'd pick my own, buy you haven't yet seen fit to grace me with that honor :)

So, I'd have to say it's hands down issue #34 with Ryuijie's photo of a door. It's a strong, yet simple, image with an unbalanced composition that is really compelling. It's not a photo on the cover, it IS the cover.

Mark Bridgers

Nick Brandt's elephant on #61. Personality and power.

Deanna Foran

# 33 Don Kirby, Wheat Country

Mark Matheny

A very hard decision; #80, #82, & #88 are my top 3 favorites, with #80 being my favorite of all.

Alan Berkson

I am the proud owner of all issues since #20, many of them bought during one or another LensWork sale offerings. Others I have purchased on eBay, and only once have I come across a LensWork image from the special editions that you produced in gelatin silver. It happens to be my favorite cover - #47 - Richard Murai's double Buddha from Ankor Wat. In fact, it probably is my favorite issue, with eclectic images from Tatinia Palnitska and Fred Stein's street images from New York and Paris [where I have often taken my own street images]. A close, and nearly tied issue is #91 - Brigitte Carnochan and her Floating World, an absolutely breathtaking image. As always, thanks so much for your connoisseurship.

Ivan Petrovic

#58 - Chavez Ravine


I have been a reader for a little over 4 years only, so not many to choose from. I think #92 is my favorite. Very moody, shot on the foggy day, which also allowed to simply the composition to the dramatic branches of trees, without any other, unnecessary element.

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