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Some of Nick Brandt's subjects are humans, some are animals, but they all are creatures of equal and obvious personhood. The overwhelming sense in the photographer's ongoing global series The Day May Break is that they are all figuring out how to live in a new world. Each has arrived at the shoot at Senda Verde wildlife sanctuary in Bolivia through their own cascade of tragedy. Both extreme droughts and floods have destroyed people's homes and livelihoods. Victims of habitat destruction and wildlife trafficking, the animals are rescues that can never be released to the wild. People and animals were photographed in the same frame and indeed convey a sense of connectedness through a shared fate. Fog is the unifying visual, symbolic of the natural world rapidly fading from view; and an echo of the smoke from wildfires, intensified by climate change, devastating so much of the planet. But in spite of their loss, these people and animals are survivors, pioneers entering the new phase our world has reached. In The Day May Break they share their powerful stories.This set includes the volumes The Day May Break and The Day May Break - Chapter Two.NICK BRANDT (*1964, London) studied painting and film at St. Martin's School of Art, London. In 1992 he moved to California, where he still lives today. Since 2001, he has documented the destructive impact that humankind is having on the natural world and, as a result, on humans themselves. Chapter One of his seminal series The Day May Break featured photographs taken in Zimbabwe and Kenya in late 2020. Chapter Two, shot in Bolivia in 2022, is the first time in his 20 year career that Brandt has made work outside of Africa.

Present on the international contemporary art scene since the early 1980's, Clegg & Guttmann take up a visual rhetoric reminiscent of the bourgeois portraits of the Dutch Golden Age, while at the same time referencing the group images that crystallize the powers of the 20th and 21st centuries. They use the conventions of 17th century Dutch portraiture to place them in a contemporary context. Clegg & Guttmann's portraits, presented in this volume, are rejected commissions which involve a very particular protocol in the Clegg & Guttmann method. Thus, the subjects have commissioned a portrait from the artists, but are free to refuse the result. However, the artists retain the right to show and publish the work, which remains their property, even after the commissioner has refused it. This reverse tactic is also symbolic of the power issues in the particular category of portraiture.MICHAEL CLEGG (*1957, Dublin) and YAIR MARTIN GUTTMANN (*1957, Jerusalem) have been working together as the artist duo Clegg & Guttmann since 1980. The focus of their joint work is on installations and photographic projects. In addition, both artists are also active as university teachers: Clegg is a professor at the Karlsruhe University of Arts and Design and Guttmann is a professor at the Academy of Fine Arts Vienna.

Since 1955, the annual World Press Photo Contest has set the standard in visual journalism. The 2023 Yearbook showcases the most striking press photographs and compelling reports from 2022, carefully selected from thousands of entries by six regional and one global jury of acclaimed independent professionals. Providing a diversity of perspectives from all over the world, the awarded works bear witness to the events that shaped this past year, and document in long-term projects the ongoing issues we face. Recognizing the importance of photojournalism and documentary photography at a time, when the truth is contested, the awarded images share courageous stories and present invaluable insights¿ from warzones, the struggle for civil rights and political empowerment, to the visible impact of the climate crisis, which could be felt in 2022 more acutely than ever.For six decades, the WORLD PRESS PHOTO FOUNDATION has been working from its home in Amsterdam as an independent, non-profit organization. To provide truly global perspectives, the foundation launched a new regional strategy in 2022. From January to March 2023 six regional and one global jury will decide on 24 regional and 4 global winners.

Inspired by dioramas of wild flora and fauna found in natural history museums, Jim Naughten's digital reimaginations of a familiar yet alien world, explore the idea of wildlife becoming a lost fantasy. From orangutans swinging through psychedelic forests, to deer roaming pastel-hued canyons-Naughten's depictions of nature in an artificial color palette convey a distinct sense of dislocation and growing estrangement. His fantastical tableaus question our rose-tinted image of a natural world that is largely fictional. In fact we are entering the Eremozoic-a term coined by biologist and writer E. O. Wilson to describe the current era of mass extinction triggered by human activity. Also referred to as "The Age of Loneliness," the term alludes to the isolation that will follow the destruction of our deeply rooted relationships with other species.JIM NAUGHTEN (*1969, Horsham, Sussex) explores historical and natural history subject matters using photography, stereoscopy, and painting. Trained in both photography and painting, the London-based artist combines these backgrounds in a practice he refers to as "digital painting". Treating photographs like oil paintings on canvas, he uses digital enhancement to alter reality.