Despite her limited renown today, Evelyn Hofer is among the most significant women photographers of the postwar period. With her timeless, meticulously planned work in black-and-white and colour she resisted the snapshot aesthetic that was popular in the 1970s and 1980s. Her photographs captivate with their well-thought-out compositions and an inherent balance, and in the 1950s and 1960s they drew the particular interest of authors such as Mary McCarthy and Victor S. Pritchett. The result were architectural and portrait photographs, but also interiors and landscapes for literary city portraits such as The Stones of Florence (1959) and London Perceived (1962).