The Emerging Photographer Fund 2019

The Emerging Photographer Fund 2019


Azadeh Besharati

Shima & Shiva

EPF 2019 WINNER – $10,000

Shima & Shiva speaks about two twins who suffer from a genetic disorder and are fighting for a happy life in Iran.






The Fujifilm Young Talent Award 2019


Paul Guilmoth & Dylan Hausthor

Sleep Creek


Sleep Creek manipulates a landscape that is simultaneously autobiographical, documentary, and fictional. As described by the artists, it “is an obsession between the subject and the photographer—a compulsion to reveal its shrouded nature.”





The Emerging Photographer Fund 2019 –  Shortlist


Ute Behrend

Azadeh Besharati (winner)

Pieter Bas Bouwman

Andrés Cardona

Turjoy Chowdhury

Matt Eich

Robin Friend

Jaakko Kahilaniemi

Janne Korkko

Daniel Kovalovszky

Eva O’Leary

Lavinia Parlamenti and Manfredi Pantanella

Sathish Kumar

Jansen van Staden


The full essays of all winners and shortlisted entries will be published here on BURN magazine.





The Fujifilm Young Talent Award 2019 –  Shortlist


Chris Donovan

Lila Engelbrecht

Mariia Ermolenko

Lyu Geer

Paul Guilmoth & Dylan Hausthor (winners)

Anniina Joensalo

Eleana Niki & Konstantellos André

Jimmy Lee

Ingmar Björn Nolting

Andrea Orejarena & Caleb Stein

Mafalda Rakoš

Ana Zibelnik


Their full essays will be published on BURN magazine.



Emerging Photographer Fund 2018 – Judges:

(in alphabetical order)


Alfredo De Stéfano | Director of the photography festival Luz del Norte

NayanTara Kakshapati | Curator, co-founder of the Nepal Picture Library and the photography festival Photo Kathmandu

Kosuke Ohara | Photographer

Kathy Ryan | Director of Photography for The New York Times Magazine

Kevin Wy Lee | Photographer, founder of Invisible Photographer Asia (IPA)





Previous EPF Winners


The 2008 Emerging Photographer Fund grant was awarded to
Sean Gallagher for his essay on the environmental Desertification of China.

The 2009 Emerging Photographer Fund grant was awarded to
Alejandro Chaskielberg for his 8×10 format essay on the Parana River Delta ‘The High Tide’.

The 2010 Emerging Photographer Fund grant was awarded to
Davide Monteleone for his essay ‘Northern Caucasus’.

The 2011 Emerging Photographer Fund grant was awarded to
Irina Werning for her essay ‘Back to the Future’.

In 2012 three Emerging Photographer Fund grants were awarded:
one major to Matt Lutton for his essay ‘Only Unity’ and
two minors to Giovanni Cocco for his essay ‘Monia’ and to Simona Ghizzoni for her essay ‘Afterdark’.

In 2013 four Emerging Photographer Fund grants were awarded:
one major to Diana Markosian for her essay ‘My Father The Stranger’ and
three minors to Iveta Vaivode for her essay ‘Somewhere on Disappearing Path’,
Oksana Yushko for her essay ‘Balklava: The Lost History’ and
Maciej Pisuk for his essay ‘Under The Skin; Photographs From Brzeska Street’.

In 2014 two Emerging Photographer Fund grants were awarded:
one major to Alessandro Penso for his essay ‘Lost Generation’ and
one minor to Birte Kaufmann for her essay ‘The Travelers’.

In 2015 the Emerging Photographer Fund was awarded to Danila Tkachenko for ‘Restricted Areas’, and
the Fujifilm Young Talent Award to Sofia Valiente for ‘Miracle Village’.

In 2016 the Emerging Photographer Fund was awarded to Annie Flanagan for ‘Deafening Sound’, and
the Fujifilm Young Talent Award to Aleksander Raczynski for ‘Views’

In 2017 the Emerging Photographer Fund was awarded to Antoine Bruy for ‘Outback Mythologies’, and
the Fujifilm Young Talent Award to Aleksey Kondratyev for ‘Ice Fishers’

In 2018 the Emerging Photographer Fund was awarded to Shadman Shahid for ‘No Quarter’, and
the Fujifilm Young Talent Award to Tabitha Barnard for ‘Cult of Womanhood’





Editor’s note:


I cannot express my thanks enough to MaryAnne, Sohrab, Fiona, Azu and Adam. They worked together to finely tune their choices, looked at the finalists from every angle and awarded the EPF grants to the photographers they felt most deserving. Of course, once it got down to the finalists, choices became extremely difficult, but that is a given… and they did an admirable job. Thank you.
A heartfelt thank you also to Fujifilm for making it possible for the EPF to keep the focus on the future generations, the young ones, the ones with a vision already making a mark now… and just might make another jump soon.




Burn Magazine revolves around the EPF. Our most important curatorial contribution to the oftentimes chaotic landscape of photography today. By choosing a jury whose lifetimes have been spent in looking at photographs and making photographs, we try to give our Burn readers a distilled version of the best work of all that flows before their eyes every day.


Most importantly our mission is to give recognition to the finest emerging authors out there and to provide some funding to at least a few to keep going and to continue making a mark. Our previous winners prove this is not in vain.


Many thanks especially to my EPF team Anton Kusters, Diego Orlando, and Mallory Bracken. First off, they must deal with me!! Never easy. In all seriousness, they all show amazing dedication to the spirit of doing something which just feels good. To provide a platform for the up and coming.

Special thanks to Susan Meiselas of the Magnum Foundation. Nobody on the planet is more dedicated to allowing new talent to develop.
Special thanks also to Michael Loyd Young, EPF funder and BURN Magazine board member.



The Emerging Photographer Fund was created and is directed by David Alan Harvey,
curated and produced
 by Anton Kusters & Diego Orlando.


Oskar Alvarado – Where Fireflies Unfold

Oskar Alvarado

Where Fireflies Unfold

The majority of those born in the cities resulting from rural emigration in the 60s and 70s have a common place that unites us: our parents’ village. Deleitosa is my village.It is located in the province of Cáceres, in the region of Extremadura in Spain. Here my parents, grandparents, great grandparents and other ancestors were, going back through centuries of family genealogy. Deleitosa was the village that Eugene Smith chose to realize his photographic essay “Spanish Village” that was published in the American magazine Life on April 9, 1951.



Far from showing the perceptible appearance of Deleitosa or some of the visual references linked to what was a photographic icon of the social and economic backwardness in Spanish rural society, my gaze has some subjective nuances linked to a series of experiences, places and memories. Reminiscences that have endured as apparitions in my memory. Images that intermingle episodes that float in the collective imagination with the new realities that coexist in the village.



There is an emotional need to reflect on the territory of which we are part. To explore our identity in the echo of the places that still speak to us, or in the absence-presence of the people and beings that inhabit them. To form a visual interpretation that evokes the mystery that manifests itself in everyday rhythms, in the poetic condition that underlies the strange.



Short Bio

Born in Vitoria-Gasteiz, Spain, Alvarado currently resides in Barcelona where he combines his work as a Photography teacher with the production of personal works. He holds a Bachelor ́s Degree in Fine Arts of the Basque Country University, from which he received a grant to develop the photographic project Conexiones in an artist residence in Arteleku Art Center in San Sebastián. Later he moved to Barcelona to study photography and a MA on Curatorial and Cultural Practices in Art and New at Media Center d’Art i Disseny MECAD, ESDI. He was one of the winners of the Helsinki Photo Festival 2018 (Finland) and his work has been selected in different international festivals such as the Voies Off Awards in Arles (France), Solar Foto Festival in Fortaleza (Brazil) and the Addis Foto Fest in Addis Abeba (Ethiopia).


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Federico Arcangeli – Pleasure Island

Frederico Arcangeli

Pleasure Island

A well-known tourist destination, in the summer period Rimini wakes up from its sluggishness of a small city lazily overlooking the sea, capable of attracting millions of people, becoming the capital of the clubs and nightlife of the Italian east coast.

“Even if the world is full of beautiful stuff, full of countries that like most of the village, as soon as the sun falls and comes in the evening, sitting in a chair who knows where, slowly inside your head, this place becomes the most beautiful place of the world. But how will you do…But how will you stay away from the village?” (from the movie Amarcord) 



Muse and inspiration of great artists that described it though their eyes, such as native-born photographer Marco Pesaresi with his black and white shots, or great director Federico Fellini, thanks to whom, in the 70’s, Rimini became famous in the whole world after his film Amarcord. A movie telling the life the inhabitants of an oneiric Rimini, perpetually suspended between childhood dreams and teenage turmoil. During the 80’s clubs and discos lived their golden age, with a large number of visitors, VIP’s and a display  of extreme luxury which led to the 90’s, where luxury and strict selection at the entrance of clubs made way for experimentation, afterhours parties and music research. Despite the fact that times have changed and several historic clubs are now shut down for good, Rimini can still charm night people who long for transgression so much.



This project by Federico Arcangeli came alive a bit by chance. Born at first more as a photo-diary of nights out going clubbing with friends, it then becomes the slice of an era, not far from its bygone splendour. Through his lens and his images he carries us to those clubs, drenched in that dreamy atmosphere that only the “Riviera” (Romagna coast) can create. Thanks to his shots we meet again those Felliniesque characters in fun and grotesque situations. We find couples dancing and holding each other, following love rituals which last a nighttime and disappear at sunrise; we find eternal youngsters who never get old, as if in Neverland. What comes out is the portrait of a sultry, sexy, charming  town which resembles a playground, where one can let oneself be tempted.

Aldo Bonomi, (Sondrio, 1950). Sociologist, teacher and founder of AASTER. Observer of the territorial forms of contemporary capitalism.


Short Bio

Federico Arcangeli was born in Rimini in 1983, small city on Italy’s east coast, where he currently lives and works as a nurse.

In 2014 He discovered his passion for photography, especially for analog photography. In May 2014, he founded the blog “People_Are_Strangers” where he publishes his shots.

He takes part in some competitions with excellent results and becomes a selected photographer of World Street Photography community.

In 2015 He becomes a member of the collective Romagna Street Photography. In september 2015 He is finalist for the Marco Pesaresi award with his project, about Rimini’s beach, “Summer Attitude”.

His photos and works have been exhibited in England, California, Florida, Germany, Spain, Ireland and Italy and they have been published on magazines and national and international art platforms.


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Margeaux Walter – Believe Me

Margeaux Walter

Believe Me

As I navigate a world of surveillance cameras, drones, social media, “smart” phones, and facial recognition software, I find myself in a constant struggle with both visibility and invisibility. Anonymity is becoming harder, yet so is being seen. “Believe Me,” a title inspired by Trump’s most frequently used two-word phrase, is a series of photographs resembling surveillance images that one might find in Google Earth.



Mimicking augmented realities, I am staging site-specific temporary installations in the environment that challenge our current post-fact world influenced by scripted and hyperbolic reality television, fake news, sensational journalism and virtual experiences. Using a drone (and camera with a wide-angle lens) for a surveillance point-of-view, I survey myself, twisting the indexicality of the photograph to depict this blurring of what is real and constructed in our contemporary political and social environment. Thinking about military camouflage, the anonymizing nature of the aerial view, and satellite imagery, I play with my own visibility as I allow myself to be seen and surveilled. The nature of this new type of extreme aerial imagery and how it’s used (for Google Maps, drone strikes, breaking news and policing), creates a certainty for the viewer and a validation of authenticity. A God’s-eye view that is taken at face value.



I have been shooting this project over the past year and a half, and hope to travel to site-specific locations to create new images. Ultimately it will exist as a larger series that is created in various historical, geographical and unseen locations around the country. My portfolio shows the beginning stages of this project, with images created in various locations over the past year, ranging from ideas of commerce, emoji culture, virtual reality, fake news, and climate change.




Short Bio

Margeaux Walter received her MFA from Hunter College in 2014 and BFA from NYU Tisch School of the Arts in 2006. She has received multiple honors from the Magenta Foundation, Photolucida, Prix de la Photographie Paris, International Photography Awards, and other organizations. She has been awarded artist-in-residence programs at Red Gate Gallery (2011), Montalvo Arts Center (2012), Marble House Project (2015), MacDowell Colony (2017), and Yaddo (2018). In 2016, she was selected for the New York Times Portfolio Review. She has participated in dozens of exhibitions at institutions such as MOCA, Hunterdon Art Museum, the Center for Photography at Woodstock, Montalvo Arts Center, Sonoma County Museum, Tacoma Art Museum, the Griffin Museum of Photography and the Butler Institute of American Art. She has been featured in publications including The New York Times, New York Post, Seattle Times, Boston Globe, and Blouin Art Info.


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

Magnum Foundation

Hubert Barre – Le Quartier St. Antoine

Hubert Barre

Le Quartier St. Antoine

Ah matočka, they are really poor! And what a mess! But it is hardly surprising: the whole family lives in a single room, divided by small screens, for their decency.

                                                                               Fëdor Dostoevskij

Jacques, Paul, Guy, Jacquot, Serge, Marie, Hamidi… only an evanescent shadow of them has remained, spat out from the memory in the form of names. Fragments of memories, which goes back to three decades ago. They all lived in Aubenas, in the Saint-Antoine quarter, the poorest in the city. Thirty years ago. Today they are no longer there and it is not hard to imagine that they are no longer even on this earth. 



To remember them today is only the memory of a few and the portraits that represent them in a daily life made of tangible poverty, of daily hardship and precariousness, of difficulty and miserable belongings. A situation testified by images that, in the absence of diachronic references, rarely offer footholds to hazard a reliable dating. The faces of Jacques, Paul, Guy, Jacquot, Serge, Marie, Hamidi, often crushed by the brutality of the flash, are timeless. Even the environments and objects around them are not of great help in most cases and could even distort the reading by a number of decades.



Of course, when one runs into an image in which a Mercedes appears in the background, today we should by now say an old Mercedes… we then realise that the counting of the decades stops at three. We are at the end of the eighties, although of many of the pictures we would be tempted to say are at least from the fifties, if not before. The atmosphere emanated by the prints is difficult to define. On the one hand the dark tones lead us to a denseness that seems to adhere to the conditions of the subjects, on the other there is energy sometimes subterranean sometimes explicit that agitates between the shades between black and white. 

If we were to frame these photographs within a theoretical grid of image reading, speaking about the contents we could not fail to notice the recurring presence of the thematic factor of the relationship. Many of these images refer to the relationships that are between the subjects, strong relationships, born from sharing little, of the mutual support in the hardship. Relationships that emanate a force, probably necessary, possibly desperate, certainly powerful. And perhaps this is the energy that is felt flowing under the surface of the paper, leafing through images that tell us about a quarter that today is no longer as thirty years ago.



The houses have disappeared. Jacques, Paul, Guy, Jacquot, Serge, Marie, Hamidi are not there. Times have changed one might say abusing without necessity of a common bourgeois place. And this cannot help us to reflect on the role of the medium of photography. If it is true that for thousands of years the human being has continued to evolve without which his image being mechanically declined as an analogon referent, it is also true that the iconic memory offered by photography represents a possible object of stimulus to the self-consciousness. The risk, however, is that in the superabundance and ease of production of the images these become… invisible to the eyes of most. In the face of images that are self-replicating in the reproduction of pre-established clichés, photographs that remind us of where we come from are important, probably because they allow us not to recognize ourselves as we see, fighting the homologation. 

And in a Western society that in spite of its globalised crises is still able to live well beyond its needs, joining with the vital energy flowing in the portraits of the inhabitants of Saint-Antoine of thirty years ago can be a valid counterpoint to our daily dissatisfaction. 


Short Bio

Born in FRIBOURG (RFA) in 1962, he attended the Lycée Technique Astier in Aubenas, to then enrol afterwards at the INSA (Institut Nationale des Sciences Appliquées) in Lyon.
Between 1985 and 1986, he worked for the press service of the French armed forces in Berlin as a photographer. In 1987 he dedicated himself to the story of the Saint-Antoine quarter in Aubenas en Ardèche, the work, which we are now presenting in these pages. Two years later, in 1989, he exhibited the portraits taken in Saint-Antoine and won first prize in the photography competition organised by the magazine Le généraliste. Numerous are the exhibitions that have taken place over the years until December 2014, when he exhibited, in collaboration with the Voies Off in Arles, at the Theatre Commedia d’Aubagne, and again in the following July at the Musée de la Légion Étrangère. On the occasion of the 2016 edition of Voies Off, he exhibited within the Arlesian event his work Clôture monastique, devoted to the life in the cloistered monasteries. Always at the Voies Off 2016 he presented us with his work at the portfolio reading and hence this article was born.


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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.


Related Links




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.


Related Links




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

Magnum Foundation

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

Magnum Foundation

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.