She came into contact with photography through her husband Coco Ronkholz, who was responsible for producing a catalogue for Bernd Becher.

After completing her studies, she stopped taking photographs for economic reasons and worked in a Cologne photo agency from 1985 to 1995 for living.

When Struth had to interrupt her photographic work in 1980, Ronkholz devoted herself solely to the interiors of the harbor.

Similar to the drinking halls that were built later, she created a photographic archive of industrial buildings.

Ronkholz found her motifs in Düsseldorf, Bochum and Cologne, as well as in other places of the Ruhr area.

She emphasized: "I was not interested in a social aspect or in the design, but felt attracted to everyday life.