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Alles ist mit einer dicken Schicht aus feinem Staub u¿berzogen. Der Boden brennt, und u¿ber einer riesigen Fla¿che ha¿ngen giftige Gase und Rauch. Mitten in dieser apokalyptischen Landschaft graben Menschen mit bloßen Ha¿nden im Erdreich. U¿berall im indischen Bundesstaat Jharkhand wird Kohle abgebaut. Die Einheimischen nennen sie den »schwarzen Diamanten«. Das Gleichgewicht zwischen Mensch und Natur ist sehr empfindlich. Die Fotos dieser Serie veranschaulichen, wie schwer es fu¿r den Menschen ist, alte Muster zu durchbrechen: Wider besseres Wissen setzen wir den Raubbau an der Erde immer weiter fort.Seit 2008 fotografiert Sebastian Sardi Minen. Mit seinem Projekt Black Diamond portra¿tiert er die Kohlearbeiter aus na¿chster Na¿he und erforscht gleichzeitig die Zwiespa¿ltigkeit der menschlichen Natur.

In the early 1990s Dutch photographer Ad van Denderen travelled to Welkom, a small mining town in South-Africa, to document the last days of apartheid. 25 years later his critically acclaimed photo book Welkom in Suid-Afrika was discovered by Lebohang Tlali, who grew up in Welkom''s neighbouring township Thabong. Welkom Today combines new and historic photographs by Van Denderen, Tlali, as well as images from family albums, newspaper archives, and essays. In a multivocal, non-hierarchical way, the project opens up to multiple histories and perspectives, across generations and backgrounds.

A career started in the beauty industry gave Ann Massal the feeling that Plato''s take on beauty as truth was long dead. She subsequently decided to study photography to try to express her very own view. With similarities to the crazy world of Alice in Wonderland, Massal''s pictures are never expected. Using a vast array of techniques - dripping, bleaching, cutting, rotting - she distorts images to offer us her outlook on beauty: ambiguous, sinful, and always colourful.

In September 2018, North Korea celebrated the seventieth anniversary of its founding. A country, of which we know little more than what is reported to us in the press, presented itself proudly and surprisingly peacefully. North Korea is considered one of the most inaccessible countries in the world. It is said that the key to a country is its people. But since a direct, uncontrolled exchange with locals is practically impossible, the photographer Ulrike Crespo approached the people through her camera, thus providing us with intimate and rare insight into everyday life in North Korea.

As a passionate observer and chronicler of everyday street life in New York, Helen Levitt (1913 2009) spent decades documenting residents of the city''s poorer neighbourhoods such as Lower East Side and Harlem. Levitt''s oeuvre stands out for her sense of dynamics and surrealistic sense of humour, and her employment of colour photography was revolutionary: Levitt numbers among those photographers who pioneered and established colour as a means of artistic expression. The book features around 130 of her iconic works.

This is the first publication to explore the work of Priya Ramrakha (1935-1968), the pioneering Kenyan photojournalist whose archive was recovered after over forty years. Hailing from an activist family of journalists, Ramrakha was one of the rare African photographers to chronicle the anti-colonial and post-independent struggles across Africa and one of the first to be employed by Time/LIFE. His iconic images defied stereotype, censorship and editorial demand, and captured key moments ranging from Mau Mau in the early 1950s to Africa''s independence movements through the 1960s.

Caesura is a collection of photographs about the transitory state of the people who entered Greece after crossing the Aegean Sea - the infamous ''death passage'' - on their way from their homelands in Asia and Africa to the land of promise and hope: Europe. The characters in Caesura take on temporary identities as they pose for the camera in frames of transition and uncertainty. The photographs do not attempt to provide answers or make a historic statement about this mass exodus by simply exposing human agony. Rather, they seek to raise questions about the human condition and identity.

Joachim Hildebrand travelled through the seven states of the American Southwest, in which the Wild West is located both geographically and in our imagination. Today, where the wilderness has been displaced by ''civilization,'' Hildebrand discovers entirely different scenes than those generally associated with the Wild West and the American frontier. Setting his sight on blurred contours, contradictions, borders, and transitions from urbanity to landscape, Hildebrand deconstructs the myths of the Wild West and the ''manifest destiny'', which are so essential for the self-understanding of the USA.

For the Ekonda pygmies, the most important event in the life of a woman is the birth of her first child. The mother is called Wale (primiparous nursing mother). For several years after giving birth, she lives in semi-seclusion, separated from her husband, cared for by other female tribe members and covered daily in red powder made of Ngola wood. When the time comes to re-enter society, she puts on a show for the community, translating lessons learned during seclusion into songs and dances. These celebrations captured the attention of French photographer Patrick Willocq.