This is Garamond.

http://edition.cnn.com/2014/03/27/living/student-money-saving-typeface-garamond-schools/index.html?iref=allsearch

Garamond uses the least amount of ink when printing.

Adobe Garamond Pro https://typekit.com/fonts/adobe-garamond-pro Garamond characteristics:

http://graphicdesign.spokanefalls.edu/tutorials/process/type_basics/type_families.htm
The preeminent French Old Style design exhibits subtle refinements to the Venetian designs with its graceful serifs and delicate weight changes. * Counters are generous, with the exception of the lowercase ‘a’ and ‘e’, which are small. a e * Lowercase top serifs are extended, diagonal, and curve to join the main strokes. l k j * The Uppercase ‘T’ is unique, with the top left serif slanted and the top right serif straight. T Garamond remains one of the most popular text faces today. It is highly readable, lends a graceful quality to text, and its long ascenders give it a light, airy quality.

http://barneycarroll.com/garamond.htm

https://cei.org/blog/adobe-garamond-harry-potter-books-not-character-font
That point was brought home in Harry Potter and the Deathly Hallows, which included a colophon celebrating the typeface used for that book as well as the typesetter (also for the two previous books). Here's what it says:
This book was art directed by David Saylor. The art for both the jacket and the interior was created using pastels on toned printmaking paper. The text was set in 12-point Adobe Garamond, a typeface based on the sixteenth-century type designs of Claude Garamond, redrawn by Robert Slimbach in 1989. The book was typeset by Brad Walrod and was printed and bound by Quebecor World Fairfield in Fairfield, Pennsylvania. The Managing Editor was Karyn Browne; the Continuity Editor was Cheryl Klein; and the Manufacturing Director was Angela Biola. (American printed version)

http://www.abercrombie.co.uk/shop/uk

This is Didot

http://www.linotype.com/171/linotype-didot.html
The font Didot is particularly good for text and headlines in: books / text, magazines, correspondence, posters, advertisements.

The font Didot combines well with: sans serif fonts with Modern Face proportions, like Helvetica®, Univers®.
American grotesque fonts like Vectora®, Trade Gothic®.
Script and brush fonts like Kuenstler Script®, Park Avenue Script®.
Black letters like Linotype Sangue™, Luthersche Fraktur™.
Fun fonts like F2F OCRAlexczyk™, F2F Al Retto™.

http://ilovetypography.com/2008/05/30/a-brief-history-of-type-part-4/
Characteristics
1. High and abrupt contrast between thick and thin strokes;
2. Abrupt (unbracketed) hairline (thin) serifs
3. Vertical axis
4. Horizontal stress
5. Small aperture

http://www.eyemagazine.com/feature/article/through-thick-and-think-fashion-and-type

Bazaar Magazine

Harper’s Bizarre from the 1950s. Art Director: Alexey Brodovitch, Jack Dunbar and Adrian Condon.
Fashion x-rays
The late eighteenth- and early nineteenth-century typefaces of the Frenchman Firmin Didot and the Italian Giambattista Bodoni are classified as modern because they introduced an extreme contrast between thick and thin elements, achieving a radical consistency among letter shapes by subjecting the variety of the alphabet to a thick / thin autocracy. [2] The result is a abstraction and precision, echoing their Enlightenment origins. Bodoni and Didot exaggerated the height and verticality of the ascenders and descenders of the letterforms, lending the characters an architectural grandeur.

In 1962, as Yves Saint Laurent was preparing his first collection under his own label, Pierre Boulat photographed the anxious young designer holding two cards: both feature his name set in Didot, one with white type against a black field, the other with black type against white.

Univers

http://www.rightreading.com/typehead/univers.htm
Characteristics
* more stroke modulation than Helvetica * squaring of round strokes * two-storied a is the most distinctive letter, with a straight back, no baseline curl, and perpendicular connection at top of bowl * G lacks Helvetica spur diagonal strokes of k meet at stem

Think of it as a Swiss design with a French heart. As its weight increases, this personality becomes more apparent. The slight (but clearly visible) contrast in stroke weight, subtle angularity, and just the smallest hint of calligraphic brush stroke make Univers a typeface with a twinkle in its eye." — Allan Haley

http://www.prepressure.com/fonts/interesting/univers
Trivia
In the 60’s and 70s, you could get Univers for the IBM Selectric typewriters. Until 2007, Apple used Univers for the keycaps on many of its keyboards.