Hannes Jung – How is life?

Hannes Jung

How is life?

Death follows life. Always. A fact that unites all and everyone of us. As a young person I expect too die when I’m old, maybe when I’m sick, but definitely not now. So much still lies ahead of me. For the ones who are left behind, suicide always raises the question of life. Why did someone choose death over life?

The suicide rate in Lithuania is nearly three times as high as the average rate in the European Union. It is even among the highest in the world. Looking at the bigger picture, suicides occur more frequently in bigger cities. Whereas in rural areas, less people lose hope in life since social ties are still stronger. In Lithuania, on the contrary, more people commit suicide on the countryside. Especially men between 40 and 50 years of age are at a high risk to commit suicide. Alcoholism, unemployment, no perspective, and many other cases with reasons that are hard to find and even harder to understand.



The reasons for each suicide are different. They are not an expression of personal freedom, but often affected by hopelessness and diseases. Outer, social and environmental factors also play a big role among them. Since World War II and starting with the Soviet occupation the suicide rate for men, at times, grew from ten suicides per 100,000 inhabitants to 90 annually. Experts speak about a collective trauma and loss of identity – influenced among others by forced collectivization of the farms in rural areas through the Soviets. But the reasons for each suicide are always more complex and personal and can not mainly be related to the countries trauma.



My story “How is Life?” is not just about photography. I worked together with the protagonists and asked them to write down their personal story. These statements (see the captions) are an essential part of this project.

I photograph life not death because death cannot be seen. Maybe you can’t take pictures of the wind. But you could try to catch the consequences of the wind, bending trees and rolling waves.


Short Bio

Hannes Jung (b. 1986) is a freelance documentary photographer currently based in Berlin. He studied photography and photojournalism in Munich, Hannover and Valencia and attended the Eddie Adams Workshop. Hannes is represented by Laif photo agency.
His work was recognized with Gold in the categories Documentary and Interpretative eye by the College Photographer of the Year award (CPOY) and he recieved several prizes like the n-ost Reportage prize, Prix Mark Grosset, South Tyrol Media award or Canon Profifoto promotion award. His work was supported with several research grants from n-ost, the Robert-Bosch-Foundation and VG Bildkunst. Hannes work was shown in several exhibitions and festivals around Europe.


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Partha Sengupta – The Bloodiest Border

Partha Sengupta

The Bloodiest Border

I’m a descendent of a refugee family from East Bengal (now Bangladesh) part of Bengal province during British rule, was a vast land of various creeds, cultures and a common language Bangla.

During Partition of India in 1947, an international border drawn Bengal area into East Pakistan (now Bangladesh) and West Bengal (in India). The border changed the social fabric of the vast land with a new nationality with a strong sectarian belief. Since then the border denotes heavily guarded by paramilitary forces; human rights abuse and suspicions.



In the Indian side, BSF (Border Security Force of India) managed the international border. Their attitude towards the border people is with deep suspicion with extra judicial killings, custodial death and torture. Prevalence of cross border smuggling and infiltration in this region is how the security forces justified their atrocities. In 2011 Human Rights Watch termed BSF “Trigger Happy” for their notoriety.

Similarity of look and language of the border people has led to confusion of identity with regards to their nationality. Security forces ignored the history of this region, justified their atrocities is the only option to deal with the border people whose national identity is debatable.



My project is the exploration of borders and its impact on the lives of the border people, where one’s own national identity is debatable. It raises the critical questions about the idea of border is enforced, the complexities of history, lives, culture and nationalists imaginary.

First time in November 2014, I traveled to Bangladesh, as an Indian underwent immigration procedures being a foreigner. Once Bangladesh was the natural place of my parents and family home was there. The partition had changed the equations of my parents who are now foreigners cease the generational old identity. The British Colonial Rule brought a sense of communal identity and animosity with the changes in Hindu-Muslims relations.




Short Bio

Partha Sengupta (b. 1975) is a Kolkata based Indian documentary photographer. He is a late entrant into photography after leaving his banking career in 2012. Partha studied documentary photography mentorship at Counter Foto, Bangladesh. In 2012, he joined in a local newspaper in Kolkata and worked for three years. Since 2015, he started to work independently. His images were exhibited in the Asian Cultural Heritage in Montreal, Canada in 2012. In 2014, he was selected among fourteen young photographers by German Science & Arts for a photography project in India. His work along with other photographers published in the book ‘The India Vision Quest’ by DWIH in 2015. His works had been exhibited in Kolkata, Dhaka, Ahmedabad, Delhi, Montreal, Cologne and forthcoming at Goa in 2018. In 2018, Partha received s grant from Serendipity Arts Foundation on the photography project “Bhumiputra”. He did his post-graduation in Management and Finance. He is versed with several Indian languages.


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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Annika Derksen – One Hundred Ninety Nine

Annika Derksen

One Hundred Ninety Nine

Little Penquite
Lostwithiel, Cornwall

The house was bought by Fiona Mackinnon and Martyn Woodfield in 1995.
In the years that followed, Little Penquite has been rebuilt and transformed into their family home.



It’s where Fiona and Martyn raised their four children; Kerry, Bethan, Sarah and Daniel.
Fiona currently lives in Little Penquite on her own, mostly working on one of her numerous projects.
She is the family archivist who collects the family stories and narratives.
Every corner of the house occupies different objects and stories.



“Once you trigger the memories it’s kind of all there, that was so and so and that’s that and that.”

This work was shortlisted in 2018 for EPF/Fujifilm Young Talent Award

Short Bio

Annika Derksen is a Dutch photographer currently based in London producing works in which she employs documentary modes. The starting points of her projects often lie in curiosity towards that what is unknown to her. Using the camera as a tool to comprehend, Annika depicts her personal encounters through photographs.

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The Fujifilm/Young Talent Award is supported by Fujifilm




Muhammad Hidayat – The Sounds Of Dream

Muhammad Hidayat

The Sounds Of Dream



In that dream they came like shadows, voices, songs, light and gasp, they were so close, even closer than the clothes I wore. I felt like I was back to the beginning where I was walking alone in the middle of a crowd and felt cold in the middle of the blazing heat. Those dreams were so real and so clear that it made me constantly think about them.

In those few days a word always came to my mind, the word was “intuition”. I tried to find out more about that word and finally I got that intuition is an ability to understand something without rational or intellectual reasoning, it’s more about an understanding that comes suddenly, out of the awareness. Intuition is also a whisper from the heart that feels like a push to do something that sometimes even out of the ordinary and awareness of our minds.



So in that time I tried to rethink about the dreams that came a few times and appeared clearly. By following the whisper in my heart, I tried actualizing those dreams into photographs because I was pushed by this feeling of thirst to reach pleasure even though pain is unavoidable. Was it just a dream that was impossible to reach or a time to pass through the phases in those dreams themselves?




This might be an emotion, but it was actually about feelings. There were sorrow, loneliness and even the most important one which was the pleasure of love that came from the Creator.

I started to think that photography was the best way to let go all of the things that were buried inside my mind. Fear, sadness, disappointment and the things outside my awareness.



Short Bio

Muhammad Hidayat (b. 1982) lives in Aceh, Indonesia. where he works as a finance section staf for a government sector. He began to pursue photography seriously in 2015 and is currently focused on expressionistic photography. His photographs are very personal, lifting the story from his life experiences. For him, photography is more than just pressing the shutter button, but a means for pouring out one’s feelings and imagination as well.


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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Irina Werning – Dear Long Hair

Irina Werning

Dear Long Hair

I search for them everywhere, I travel to forgotten towns

I put up signs

I organise long hair competitions

Till i find them



And i always ask them: why do you have long hair?

“because i like it, cause my dad looks after it…”

but the true reason is invisible

and passes from generation to generation

its the culture of Latin America,

where our ancestors believed that cutting hair was cutting life, that hair is the physical manifestation of our thoughts and our souls. 



Short Bio

Irina grew up in Buenos Aires. She studied a BA in Economics and an MA in History. She began to travel in Asia and Middle East and ended up in London where she studied an MA in Photojournalism and lived for 7 years. She’s now back in Buenos Aires and focuses on personal long term projects. She loves to build sets and invent stages for her subjects. She can spend hours in a tool shop. 


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Alfonso Fonseca – It Could Have Happened Here

Alfonso Fonseca

It Could Have Happened Here


“It Could Have Happened Here” is a project where I find crimes that have occurred in the Phoenix, Arizona area; Research them, Photograph the places they have occurred at, and then create a narrative with those photos along with archival photos and others I find. This lets me explore time, place, narrative, and the relationship between all three. The crimes I research usually take place before the 1980s, some of the events are well known, while others are crimes that not many know about. The photos depict crime scenes as they are today often with no trace of the crime that was committed and any deviation from the original site will be indicated through handwritten text on the photographs. The photographs will function as signposts for invisible histories. Then the series of photos will be sequenced for a book, each crime being it’s own volume.



The photos are shot in similar ways that forensic and newspaper photos were shot. High contrast black and white photos shot usually with some kind of flash. This creates images similar to Weegee and other newspaper photographers. I then write on the prints in a similar fashion influenced by Jim Goldberg and Bill Burke’s work. I also do this to the archival photos I find online, using the handwritten text as a way to share more information. I then try to create a narrative with all this. I try to create a sequence that makes the viewer feel like they are discovering this information, as if they stumbled upon it. I use the information from my research to create a compelling story about what happened.




Short Bio

Alfonso Fonseca was born in Palm Springs California and lived in the Coachella Valley for most of his life. As a child of Mexican immigrants he had an understanding of culture and place, as frequent trips to Mexico to see his family helped him to start seeing how one place and its history can be drastically different from another. As an artist he began to be interested in how someone can document with photography, whether it has to do with everyday occurrences or finding interesting sub-culture to investigate. Influenced by photographers like Bruce Davidson, Alec Soth, Jim Goldberg, Alex Webb, and many more he began shooting in a formal documentary style to then investigate the connection and conflicts between past and present. Sometimes a historical or even personal past, either way he documents these through landscapes, portrait, and sometimes even uses archival materials. Alfonso currently studying for his B.F.A in photography with a minor in film at Arizona State University.


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The Fujifilm/Young Talent Award is supported by Fujifilm



Snezhana von Buedingen – Meeting Sofie

Snezhana von Buedingen

Meeting Sofie


In my series “Meeting Sofie,” I depict the life of a 19 year old girl with down syndrome born into a German emigrant family in Denmark. For the last eight years Sofie has been living with her family on a small farm in east Germany but grew up in the care of a successful Antiques dealer.



Since completing school Sofie spends most of her life on the farm. She enjoys being alone as well as with the few people with whom she has built close relationships –– her family, the farm animals, and her boyfriend Andy. The series gives the viewer a glimpse into the life of Sofie and her family. It shows Sofie’s emotional world, which may be akin to ours.



Short Bio

Snezhana von Buedingen, born in 1983 in Perm, Russia, studied Photography at the Fotoakademie Cologne, finishing her Diploma in 2016. Characterized by her international background, Snezhana focuses on documentary and portrait photography.
Snezhana lives and works as an independent photographer in Cologne/Germany.


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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Marius Ionut Scarlat – From East to West

Marius Ionut Scarlat

From East to West


Romania generates the greatest migratory flow of the European Union. After the revolution of ’89 and the death of Ceausescu, the Romanians were anxious for an immediate improvement. However this improvement did not happen and everything was even worse. The opening of the Schengen area and the entry of the country into the European Union, there has been a process of depopulation with serious consequences for the country. Romania has around 20, 000,000 million inhabitants and almost 4 live abroad.



This is a documentary project that talks about the emigration of my parents from Romania to Spain. This project talks about the experience or the new meaning that acquires everything that has been left behind. For me, this series of images means to get closer to that past. And also means to rediscover latent past which is still present in my house, in my family, in the landscape, in those objects that still decorate what it was my home and rediscover, through the camera, all the emotions and memories that, apparently, no longer existed. What was my childhood place, my home, my family… that comfortable and happy place had suddenly become a much more raw reality.



Short Bio

Marius I. Scarlat is a photographer who was born in 1993 in a village in Romania, where he spent his childhood. At the age of 11 he moved to Spain with his family. He studied a degree in Audiovisual Communication at the University of Alcal? and a master’s degree in Art Photography and Narrative Documentaries at the TAI School. His work seeks to reflect on concepts such as the passage of time, the trace and memory.

During this last year he has received several awards: La maquina grant 2018, 1st prize; selected to participate in the Students Canon 2018 program at Visa pour l’image; selected in the open call of exhibition proposals HACER organized by the Community of Madrid to produce and exhibit his project From East to West during the festival PHotoEspa?a; Roberto Villagraz grant 2018, finalist; talent scholarship from the TAI School (2018).


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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Juan Pablo Bellandi – The Tale Nobody Tells

An officer points his finger as a capture signal of another individual during a night patrol in one of the slums in the city of Merida/Venezuela.

Juan Pablo Bellandi

The Tale Nobody Tells


My job as a Photographer of the pólice in Venezuela for more than two years has taught me through crude lessons to see myself as a policeman, with the particularity that I possess a camera.

Venezuela faces an extremely deep crisis; absurd and improbable situations occur. In a collective language we constantly repeat to ourselves and to others: how can one live like this?



But Venezuelan reality has other shores, tales that nobody tells. It is very difficult for the police to maintain public order. The government has diminished to almost zero all the supplies for the proper functioning of the department. There aren’t working tools, protective equipment, basic goods or spare parts for their vehicles. There aren’t any police cars or motorcycles for tracking and surveillance.

In addition, the poor salaries of the police officers worsen the situation, promoting a vicious cycle of corruption. Therefore, extracting money from citizens through non-legal practices becomes more profitable and necessary for police officers to achieve their survival and to provide for their families. This is considering a country where a day of work is not worth a single dollar, when converting to our currency.



After documenting crime on a daily basis, which is one of the main problems of my country I realized that there is a background story to which I have belonged and to which I owe as a photographer. It is the story of the uniformed people who stay behind the conflict, who are often called guilty, who have a life that we do not know and that are a fundamental part of the disaster in which we find ourselves.



What does it mean to be a policeman in a country as Venezuela? A country with a comatose economy, a destroyed health system and a sunken education system. Bluntly a country living a humanitarian crisis. Families, pressures, obligations, acting evilly, stealing, saving or not saving their own lives.


Short Bio

Juan Pablo Bellandi born in Mérida, Venezuela in 1990. Studying photography at the Escuela Argentina de Fotografía in Buenos Aires, majored in photojournalism. The political situation in his homeland is the theme of his long-term projects: ‘En la Intimidad con el Levantamiento’ (Intimate with the Uprising) documents the demonstrations of Venezuelans against their government. The serie was short-listed for the 2015 Ian Parry Scholarship, and was exhibited in London. In 2016 Juan Pablo was one of the 12 photographers as a finalist in the Leica Oskar Barnack Award with his work Chasing HAMPA. Also he won the mentorship grant of the first masterclass organized by MeMo Agency. In 2017 have been a nominee for the Joop Swart Masterclass of World Press Photo,his work have been published by The Sunday Times Magazine, Photonews Germany, Lensculture, LFI, Doc!Photomagazine, Sueddeutsche Zeitung among others..


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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

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Ignacio Colo – At the Same Time

Ignacio Colo

At the Same Time


Eduardo and Miguel Portnoy are two 50-year-old twins from Buenos Aires, Argentina. They live together, they have never been apart since they were born, and today they are all alone in this world. Their family passed away with time: their parents, their only brother, also their uncles. They don’t have any close friends. They do everything alone. But they are never alone, because they have each other. The only support they have, their last safety net, is the Jewish community, that gives them employment, helping them materially but also, to a certain extent, emotionally. But, all in all, their main support is the love they have for each other and that symbiosis so typical of twins. The two of them are their only shelter, built upon love, loneliness and vulnerability.



Short Bio

Ignacio Coló is a photographer and photo editor born in Buenos Aires, Argentina, in 1980.

He lived in Paris, where he specialized in Photography History at the Sorbonne University. Back in Buenos Aires, he completed photography studies at the Escuela Argentina de Fotografía (EAF) and studied Cinematography at SICA, the union of filmmaking professionals.

He currently works at the Sunday Magazine of La Nacion, a major Argentinian newspaper, as a photographer and photo editor. His photographs are regularly published in media such as Financial Times (UK), Le Monde (France), L´Equipe Magazine (France), France Football (France), Society (France), El Mundo (Spain), Papel (Spain), de Volkskrant (Netherlands), Art Magazine (Germany), among others.

His photographs have been exhibited in individual and collective shows.


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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Massimo Nicolaci – I Carusi

Massimo Nicolaci

I Carusi

Sicily, for its past history and for its multiple influences and contaminations, is a place that preserves and sends forward a long tradition of faith, linked to Christianity, which has a large pagan and theatrical part connected to the populations that live there.

The man, the Sicilian, needs a hold on something extra terrain. He needs something that goes beyond everyday life. This manifests the theatricality of a people, shows its traditions and highlights its popular culture.

It is a physical manifestation, a staging, made of flesh and sweat, of cyclical rituals and appointments. Where the individual, together with his own community, detaches from the everyday, leaves his social situation and becomes something else, where he comes close to something higher, even for just a moment.

It is a great excuse to seek one’s own redemption on earth.

From 3rd to 5th of February, Catania dedicates a great celebration to the Saint, a mixture of faith and folklore. According to the tradition, when the news of the return of the Saint’s relics arrived in 1126, the bishop went out in procession through the city with bare feet and a night robe, followed by the clergy, nobles and the people. The origin of the traditional dress that devotees wear in the days of the festivities is controversial, the Sacco agatino: white coats and gloves with a black skullcap on their head. A deep-rooted popular legend is related to the fact that the citizens of Catania, awakened in the middle of the night by the sound of the bells when the relics were returned to the city, poured into the streets in a nightgown.

Other typical elements of the feast are the silver reliquary where the relics of the Saint are placed in turn on a chariot or Vara, also this one in silver.

Tied to the vehicle are two cordons of over 100 meters to which hundreds of “Devoti” cling, who untiringly pull the cart until the 6th of February. The reliquary is carried in procession preceded by the twelve candelore or “cannalori” each belonging to the corporations of the city craftsmen.

Everything happens between the wings of a crowd waving white handkerchiefs and shouting “Cittadini, cittadini, semu tutti devoti tutti”. It is considered one of the three most influential Catholic festivals worldwide.

Since many years out to Sicily, I was back in Catania, in the city where I was born, to take pictures at the sant’Agata festival.

There are many legends around this festivity, which are the “Candelore”,  the votive candles that precede the Saint in the procession.

It is said that there is a use of money from the mafia around this celebration, that the bearers use drugs to support the effort and that there are clandestine bets around that.

I had the possibility to be put, in natural way, near the butchers candelora (à cannelora ri chianchieri) arround 2011.

My intention is to narrate the human world, i Carusi (the guys), that keep moving around this big candle. Is a material ritual, bodies, fisicitys, a men’s world, that have eyes only for one woman, the lovely, Agata.

This project represents the reconnection to my origin and to the culture that I left, to then return to Sicily and try to understand some parts of me.

I found myself in everyone of them, in every single Caruso.

Short Bio

Massimo Nicolaci (Catania, 1989), since 2006 attended several workshops by Obiettivo Granieri: Lorenzo Castore (2006/2007), Michael Ackerman (2007/2008), Morten Andersen (2011). In 2008 he moved to Rome from Sicily. On 22 June 2009, one of the young photographers chosen to participate in the “First Impression” portfolio reading organized by Magnum Photos in collaboration with the Photography Gallery in London. In March of 2010 he moved to New York. At that time, built a small photographic project called NYCIt prefers the work of wide-ranging, including: Catania (since 2006), Rome (since 2008), Paris (2015 / 2017), Berlin (since 2009), New York (2010). In 2013 he photographed the Conclave with Christopher Morris (VII agency) for Time Magazine in Rome. In 2015 he is still photographer in the new film by Alessandro Comodin, “Happy time will come soon”. Since 2008 collaborates closely with Lorenzo Castore.Since 2010 collaborates with Michael Ackerman (Camera Obscura Gallery – Paris). In July 2017, he released his first book LA CERVA BIANCA – La Biche Blanche published by LUCE and Shellac Sud. Now he lives in Berlin.

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massimo nicolaci

Nicholas Constant (Untitled)

Nicholas Constant



My Grandmother’s father and brother were both beheaded by the Japanese during the occupation of Malaysia from 1941 to 1945 during WWII for being Chinese. This meant she had to flee the country with her mother at the age of 3. With this leaving of the country, all ties to her heritage were severed. In 2016 I went out to Malaysia to explore how atrocities have many indirect effects, including myself not feeling as having ties to Chinese or Eastern culture. From this trip I managed to find long lost family through a common ancestor and was able to fill in their family tree for them as well as add to my own. Through these connections I tried to find out as much as I could about my Grandmothers father and brother, where they would have lived and worked. Also exploring the myth that my Grandmother believes her brother is still alive. While exploring my family history I also look at the locations of atrocities and the inspection centres which led to these atrocities to contemplate wether my family would have been subject to these locations. I also look at Singapore as an important amount of the Japanese occupation was carried out there. An interesting aspect about this work is that prior to the Japanese, the British had occupied Malaysia so for me to come as a British citizen to make work here draws up interesting parallels which I am yet to explore further.



This project explores indirect effects of war on a personal scale which is something that I have not yet encountered. With my previous work I have looked at indirect effects from war and tried to keep an objective outlook on the happenings that I made work on. This work combines my examination of war with the question of identity as I have such a diverse heritage, it seems that war, like millions of others, has shaped my life without it being evident at all to me bringing me to question myself as well as the development of civilisation.


Short Bio

With an interest in the spectacle of modern warfare, I explore spaces in which conflict occur particularly interested in the indirect effects on war; how they surface in the everyday and how these issues are dealt with in absence of mainstream media. Using a simple, unintrusive approach to many of the projects, I attempt to make invisible subjects visible through the use of landscape and context. Photographing in a slow and quiet manor, I try to force the viewer to study the image to extract the most information they can to then be reinforced by their own contextual knowledge and personal views. Consciously realising my place as a western spectator of modern conflict issues, I try to make work which aims to resonate with the western viewer in a non-confrontational way, believing empathy is most effective when the viewer pieces the puzzle together for themselves.


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The Fujifilm/Young Talent Award is supported by Fujifilm



Mathias Depardon – Gold Rivers

Mathias Depardon

Gold Rivers


The history of the Mesopotamian rivers and their presence in our own cultural history may be one of the oldest continuously inhabited settlements in the world, spanning some, 10,000 years of world heritage. In the 4th millennium BCE, the first literate societies emerged in Southern Mesopotamia, often referred to as the Cradle of Civilization. What was once considered to be the Garden of Eden is now in danger of disappearing.

The Euphrates and Tigris rivers occupy a central place in the daily life, ecology, and history of millions of people living around them. The Euphrates is the longest and one of the most historically important rivers of the Middle East flowing over 1,700 miles from eastern Turkey through Syria and Iraq.



The town of Hasankeyf in southeast Turkey is the only place in the world that has met nine out of ten criteria for Unesco’s world heritage sites. However, the Turkish government has made no effort to bid for its inclusion in the coveted world heritage list, or to promote tourism in the ancient town located along the Tigris River. Any effort to do so would harm the development of the Ilisu dam — a state project that is supposed to entirely flood Hasankeyf, along with 52 other villages and 15 nearby towns, by 2019.

Already, a number of towns and villages located on the Euphrates River have been flooded as part of Turkey’s controversial Guneydogu Anadolu Projesi — or Southeastern Anatolia Project. GAP, as it is known, is currently Ankara’s most significant territory planning project, involving eight provinces, and will irrigate 1.7 million dry hectares of earth from 22 different dams all fed by water from the Tigris and the Euphrates rivers.




Both residents of southeastern Turkey and international observers continue to question the Ilisu dam, which will destroy a unique historical site, where Assyrians, Roman, and Ottoman monuments exist in close proximity. Yet the Turkish government maintains that the project will aid the impoverished region, allowing the creation of 10,000 jobs and the development of local farming and agriculture.

Along with environmental and social risks, the geopolitical impact of the dam cannot be ignored either. The development of Ilisu has been severely criticized by neighboring Iraq and Syria, who accuse Turkey of appropriating waters of two rivers that connect to their territories, which are already hit by arid conditions and drought.


Short Bio

b. 1980 France. Mathias Depardon was raised between France, Belgium and the USA. After studying communication and journalism in Brussels, Mathias briefly joined the Belgian national newspaper Le Soir before devoting himself to reportage and feature work. His immersive process and slower approach to journalism allow for comprehensive bodies of work that reveal and frame important social, economic and political issues in territories under tension such as Turkey and Iraq where he question the idea of border and territory. Through series of portraits and landscapes, Mathias Depardon probe a Turkey torn between modernization and the reminiscence of the ottoman values evoking the notion of Pan-Turkism in the neighboring countries. In 2018 he is the finalist of the Grand Prix de la Photographie Documentaire in Sète and laureate of the Grant for Contemporary Documentary Photography (Centre National des Arts Plastiques). Exhibitions have included the Musée des Archives nationales and Arles.


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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

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Sébastien Van Malleghem – Nordic Noir

Sébastien Van Malleghem

Nordic Noir

An artistic residence in Norway (Halsnoy Cloister, 2013) ignites a passion with the North. Iceland, then Scandinavia further fuels the flame, revealing a personal confrontation with an endless space, a passionate and brutal encounter.

Captivated by the Scandinavian lands from a residence in Norway, Sébastien Van Malleghem has since advanced his travels from Denmark to Iceland, passing through Finland and Sweden. Nordic Noir is the visual recital of this contrasting trek. With breath-taking and timeless landscapes, scenes of life and harsh portraits, the series is closer to a constellation than a linear path. In the explosion of emotions that is the series, the photographer finds the right balance between the sublime and the banal, between the grandiose and the intimate. Leaning towards reverie in this work, Sébastien Van Malleghem’s eye remains sharp and keen; just as well when the scenery lends itself to pure contemplation, to the exhilaration of large spaces, to the experience of solitude where he captures a carefree and unbridled youthfulness that lays itself unreservedly open in front of the lens.


Sébastien, i know for you this has been a deep personal project, a sort of “personal long love story” as you described it, so i want to know more what keeps you close to this work and how you see it after years. The way you are looking at it has changed?

No, not at all. Nordic Noir, made me look deeper. That work I started in 2012 gave me the guts to do what I love to do and to believe in it. So far, making these photographs made me extremely happy and more confident. I didn’t change my way to look at the world, that work didn’t change it either, at the opposite: it confirmed it.

And are the pictures telling new things to you after years? I mean are they showing some secondary layer you didn’t see at the time?

I don’t think so, everything became clear when I looked at the book and when we made it.  If my photographs would mean something new, it would just be my mind going in different mood looking at them, but I know their origin and what surrounds them – when I made them, why I made them, and how I presented them. Nordic Noir is a big part of my life and what’s going on in my mind when I’m looking at reality. It is presented with exactitude in the photography book « Nordic Noir » published at the end of 2017. 

Do you miss the way you were looking at world at that time?

That questions sounds like you can have a way to look at the world and then change it. As it is a style or a filter. That is totally not the case for me. Nordic Noir is exactly how I feel and sense the world that surrounds me. Yes, I love black in my photographs, yes most of my reports are about the people in the margins, yes these are important reports that deserves attention; and Nordic Noir is my own wild run. 

I can’t « miss » this way to look at the world, because it is inside my DNA. Going to the extremes, with Nordic Noir was deep honesty towards love, photography, and the main themes that I’m questioning. I can’t miss my way to look at it cause I’m still shooting there. I still need it, it became a necessary part of my life: a balance. I’ll be back in Iceland in few month, and later on in winter 2019 I have been invited to an Artist Residency in North Norway: Vesteralen. I never stopped being up there, even after the book was published I was making photographs in Norway… 

I explain my question in a different way.. sometime when a project is finished we close that chapter inside us and we start exploring different directions opening deeper level of our perceptions. Yet, after a while, sometime after years, the immediate and first way of looking and capturing moments that we had on our first big project is something that we miss because we realize we cannot replicate. 

The key is that Nordic Noir isn’t my first big project. Nordic Noir was made in parallel of my work of reporter. So when I was documenting the Mexican Morgues, or the Heroine crisis in North of France, and other reportages in EU I needed to breathe. Therefore I would head up to Scandinavia and just photograph what I was personally interested by, and confront myself to quiet places. That is why that work is personal and spread over 5 years. Because it’s not a first, and after 11 years of being a photographer I know how to close a reportage, but personal works are limitless. It just depends of your mood and feeling to continue it or end it, but in anyway it sticks to your soul.
Now I’m working on this new personal project and reportage in the USA, I evolved from Nordic Noir, and I can  do the distinction with the new project and the one still running. 
It’s a personal choice to continue something with will and desire or to start something new. 

Short Bio

His long-term projects focus on the idea of justice in contemporary Europe. For four years he followed the daily job of police officers and their interaction with the public, then he decided to enter inside Belgian prisons for more than three years from 2011 until 2014. Sébastien went in Libya in 2012 to work on the ruins of the power after the death of Kaddafi. He covered the daily life of the people living in the streets of Berlin during five months in 2013. Van Malleghem focused on the Mexican Morgues in 2017, Heroine addicts in North of France in 2018 and went back to Belgium to photograph asylums in Flanders. Next to his European reportages, Sébastien started another long-term project in 2012 focused on Scandinavia, which has been published in 2018 under the name of Nordic Noir and selected has one of the most captivating photo-book of the year by the independant magazine Mother Jones (USA)


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Andrew Sullivan – Endangered Species

Andrew Sullivan

Endangered Species


Mexico’s murder rate went up 16% in the first half of 2018, a grim statistic that suggested this year would be the bloodiest in the country’s history. Time magazine approximated that someone was killed every 15 minutes in May. Where I live in Mexico has the reputation of being a safe haven. In travel around the country, I have seldom been in danger, yet I worry about personal safety. Reconciling my daily life with the headlines I see in the “prensa amarilla” leads to thoughts that I’m living in a fantastical bubble while a war rages closer than I want to believe.



While I recognize that I am not a target of the violence between rival criminal cartels, that sense of unease provided the idea for this project. I thought of looking over my shoulder on a quiet street in a strange town, and noticed Mexicans doing the same as I would pass in the street. I sensed a certain vigilance, and started to photograph scenes that seemed to signify something other than what was depicted. I didn’t want to photograph blatant violence. I wanted the photos themselves, and the relationships between pictures, to suggest that something was awry, that something lay beneath the surface. Mexico blends beauty with the sinister, joy with despair, and mystery with the mundane. It’s those contradictions that interest me- and make me uncomfortable.




Short Bio

Andrew Sullivan has worked as a photographer in Kenya, Latin America, the Caribbean, and the United States. His work has been published by the Massachusetts Institute of Technology, the United States Olympic Committee, and many publications around the world. He has exhibited at Universidad Veracruzana, and other galleries in Mexico, Italy, and the United States. Based in San Miguel de Allende, Mexico, he uses photography as a tool for trying to understand daily life. He believes that photography can investigate truths in a way no other medium can. 


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Yorgos Yatromanolakis – The Splitting of the Chrysalis & the Slow Unfolding of the Wings

Yorgos Yatromanolakis

The Splitting of the Chrysalis & the Slow Unfolding of the Wings


‘The Splitting of the Chrysalis & the Slow Unfolding of the Wings’ arose from my unforeseen return to my homeland and my residence there for four years. Isolated in the countryside of the island, I was constantly confronted with my traumatic past, my memories and myself.



Gradually, through wandering in nature, a conceivable field of action was created within me, an intermediate space full of transformative dynamics, a place of becoming. I surrendered to the fluidity of this space, to a paradoxical and cosmogenic ceremony. I was faced with the most enigmatic aspects of myself; I was searching for a new reality in which I would be able to exist. These photographs are part of a notebook, constructed through this experience, attempting to capture the cycle of an internal process of metamorphosis.




Short Bio

Yorgos Yatromanolakis lives and works between Athens and Crete. He works on long-term photography projects and turns them into books, experimenting with storytelling, materials and design. He has published three books, ‘Roadblock to Normality’ (2016), ‘Not provided’ (2016) and ‘The Splitting of the Chrysalis & the Slow Unfolding of the Wings’ (2018). He is co-founder of artist- run space ‘Zoetrope’, in Athens.


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M.H. Frøslev – Unsettled City

M.H. Frøslev

Unsettled City


Unsettled City is a journey of a human in a metropolis. It portrays despair and love in a place where life at times can be very uncertain.


The book is a personal depiction of a claustrophobic environment with the cityscape as framework, captured in the cities of Saint Petersburg and Moscow over the last ten years. Through ninety-five photographs in contrast monochromes and dusty colours the book unfolds the night as a motif. Here we meet bulldogs, street fights and abandoned roads alongside loving glances, intimate moments and faded buildings, all quietly standing still, waiting for the night to die down and the light to rise again. Through disquieting atmospheres and raw sensitivity Unsettled City shows us how the people of the night alternately love and fear both the city and each other. With this book M.H. Frøslev portrays feelings of alienation, inequality and pain on a par with love, intimacy and fascination.



“As a narrator, I am looking for a place I can relate to and that moves me. These photographs are based on my own life and relations. The book is my encounter with the metropolis, but it is also a rediscovery of myself, and an examination of the feelings and relations that are associated with being connected to another person, a time and a place. I photograph my longing, my presence, my love and my fears. I photograph because it helps me understand my feelings. For me Unsettled City is about people finding love in the dark streets of a metropolis, where the night will either save or destroy you.” – M.H. Frøslev




Short Bio

Born 1988 in Copenhagen, Denmark. M.H. Frøslev worked in 2008 as photographic assistant for Danish Magnum photographer Jacob Aue Sobol in Copenhagen but moved initially in 2010 to Moscow and later to Saint Petersburg where he started the project Unsettled City. His infatuation with making pictures is what led M.H. Frøslev to explore the silent and haunting experience of walking after dark in the streets of Saint Petersburg and Moscow. Here he developed his photographic sense and his intimate relationship with the Russian cities.


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Yiota Tsokou – The Distance

Yiota Tsokou

The Distance

I don’t need you – please stay.

I keep at arm’s length, as though I were a ghost stuck between two worlds. I linger in this moment and time is frozen. I have overanalyzed reality – cut it into little pieces – and now everything lies shattered; deformed.



The Distance story deals with that very state; how one’s experience of the human condition leaves its mark. It is a story which explores both closeness and togetherness, leaving plenty of room for definitions.




Short Bio

Yiota Tsokou is a Greece-based self-taught photographer. Her interest in photography sparked in 2014, when she started experimenting with analog photography. Her work has been published in a number of publications such as Agitate (Australia, October 2015), Photoklassik (Germany, September 2016), Adore Noir Magazine (Canada, October 2017), Click Magazine (Italy, December 2017), Photographize (USA, February 2018).


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the distance – video 




The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Jake Borden – In Ruins – Displaced Georgians in Tbilisi

Jake Borden

In Ruins – Displaced Georgians in Tbilisi


On the outskirts of Georgia’s capital, Tblisi, an abandoned military hospital from the bygone Soviet era serves as a refuge to some one hundred and fifty families unable to find jobs and affordable housing. Tweny-five years after the fall of the Soviet Unions, the occupants represent a fraction of the nearly quarter million internally displaced people inside Georgia, who in 1993 were forced from their homes during government clashes with Russian backed separatists in Abkhazia and South Ossetia.



Local government pays little attention to the building, and when they do it’s to cut off electricity and water which residents have diverted through a jerry-rigged lattice of wires and pipes. Two decades after the conflict, many hold out hope that they will one day be able to return to their homeland and reunite with long lost family members.




Short Bio

Jake Borden is an American photojournalist based in Beirut, Lebanon. In 2015, Borden began assisting VII founder and National Geographic photographer John Stanmeyer, managing his extensive archive in the Berkshires and assisting him while abroad. Inspired by Stanmeyer, Borden set out to tell stories of that had the possibility for social impact at home and abroad. He is currently working on a longterm project in Lebanon exploring the lasting social impacts of conflict through the VII Masterclass program, and has had work published by international news outlets such as the BBC and Vice News.


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The Fujifilm/Young Talent Award is supported by Fujifilm



Anneke Paterson – Growing Pains

Anneke Paterson

Growing Pains


These are the things I wish to keep, though I know I can’t. My generation is saying goodbye to its favorite places, even entire neighborhoods with cultural significance; the remnants of our childhoods are an Austin that seems too far gone. Some say that these changes which are overtaking our city, though they harm some, will benefit many. We’re not so sure: the changes are certainly capturing us all, though not equally. This trajectory is comparable to my own precipice of adulthood, which just as unsettled and dubious, unrelentingly pushes me onward. The boom is stretching us thin and wedging and an even deeper divide in a city whose infrastructures are deeply rooted in segregation; the city itself was designed for those who wished for it to be divided: us apart from them.