The Little People of America 1971 Buffalo, New York: 1972. First edition. 24 photographic prints (5 x 5 3/4 in. [12.7 x 14.6cm] each) and folded text by A.D. Coleman printed on orange paper, together in a box (approximately 6 x 5 1/2 in. [15.2 x 14cm]) with photographic label mounted to lid, corners splitting. Krims photographed members of "The Little People of America," a national organization founded by actor Billy Barty. The Deerslayers Buffalo, New York: 1972. First edition. 22 of 24 photographic prints (5 x 5 3/4 in. [12.7 x 14.6cm] each) and folded text by Alex J. Sweetman printed on orange paper, together in a box (approximately 6 x 5 1/2 in. [15.2 x 14cm]) with photographic label mounted to lid, slightly concave. Krims photographed deer hunters at "deer check stations" where New York State conservationists examine the health of the deer. The Incredible Case of the Stack O'Wheats Murders Buffalo, New York: 1972. 10 photographic prints (5 x 5 3/4 in. [12.7 x 14.6cm] each) and folded text by Robert A. Sobieszek printed on orange paper, signed by Krims on second leaf of same, together in a box (approximately 6 x 5 1/2 in. [15.2 x 14cm]) with photographic label mounted to lid, corner split and bottom tray slightly concave. Ten parodies of crime scene photography by Krims, in which a stack of pancakes are placed next to each victim (modeled by friends and family), with Hershey's syrup used to mimic blood. Making Chicken Soup (Rochester, New York: Humpy Press/Light Impressions, 1972). First edition. 12mo. 28 plates, plus 12 unnumbered pp. of text. Perfect-bound with stiff photographic wrappers; previous owner's signature on title-page. Photographs of Krims's topless mother making chicken soup, accompanied by captions and recipes. Fictcryptokrimsographs (Buffalo, New York: Humpy Press Inc., 1975). First edition. 12mo. 40 plates, 12 pp. of text. Introduction by Hollis Frampton. Perfect-bound stiff photographic wrappers, pp. 35-40 disbound; previous owner's signature on title-page. Contains images of Krims's erotic but humorous Polaroid SX-70 prints, which he manipulated by drawing into the emulsion before they dried.