The camera was Andreas Züst's faithful companion. Whether on his walks through landscapes or the nocturnal city, his Pentax with black-and-white film was usually with him, recording his life like a diary. He entered fragmentary notes on the photographed events into his almanacs. The first almanac, spanning 1978 to 1983, provides the frame for Menschen Tiere Abenteuer (People Animals Adventures). His observations of visual phenomena, social connections and contemporary history are shown in the order of their making, outlining his simultaneous gaze on the most disparate phenomena — Zürich's Bahnhofstrasse, ice structures, the artist Anton Bruhin, nocturnal street scenes, his family. This chronological view opens an access to this slightly melancholy artist that perhaps comes closest to him, while his interest in the medium itself shows clearly — in capturing the act of photographing, in double exposures, in his eye for photography in everyday life.