“Mehr Licht” — more light — were Goethe’s famous last words. That deathbed declaration was also the title of Fred Stein’s only book, featuring images taken along Fifth Avenue, which was published posthumously. What could be more fitting?

Close to 75,000 refugees are still living in a state of limbo between the Balkans and Greece, unable to enter the EU due to reinforced border control. Their living conditions are often deplorable, their prospects bleak. “Around 1000 on these refugees are sleeping rough in abandoned warehouses, train wagons and shacks in the central station of Belgrade, the capital of Serbia” reveal Danish photographers Ulrik Hasemann and Mathias Svold, discussing the focus of their project The Lost Boys of Belgrade.

As a young photographer growing up in Brownsville, Brooklyn, Laylah Amatullah Barrayn was deeply influenced by Jeanne Moutoussamy-Ashe’s book “Viewfinders: Black Women Photographers.” The 1986 book took a historical look at female photographers from the 1800s to the present day and left her eager to see more.

North England as presented by Manx photographer and Harvard professor Chris Killip is bleak not only for the lack of colour, but for the immediacy at which it hits the viewer that the subjects reside in a world where there are no prospects. Work, for those who work hard, is often intrinsically entangled with one’s identity. When an industry ceases to exist, for its former workers it’s literally like being lost in the fog that so often hangs like a weight behind the protagonists of Chris’ photographs.