Next #02 by World Press Photo

next world press photo

world press photo

World Press Photo exists to inspire understanding of the world through quality photojournalism.

The organization strives to generate a wide appreciation for the work of photographers and for the free exchange of information. Activities include an annual contest, exhibitions, and the stimulation of photojournalism through educational programs.

next #02

World Press Photo Academy helps nurture the talent and passion of photojournalists who tell remarkable stories — stories that can open our eyes and stimulate a greater understanding of the world around us.

World Press Photo is run as an independent, nonprofit organization with its office in Amsterdam, the Netherlands, where World Press Photo was founded in 1955.

Next#02 brings you a glimpse of the future of photography. Twelve of the next generation of leading photojournalists and documentary photographers showcase work on the theme of Trust. The talent and passion of these exciting newcomers was brought into focus as part of the 2012 Joop Swart Masterclass, held annually by World Press Photo.

www.worldpressphoto.org www.schiltpublishing.com

World Press Photo believes in top-quality photojournalism that can inform us, open our eyes to new perspectives, and inspire understanding of the world around us. Next embodies this in the fresh outlook shown by these young photographers.

#02

Cemil Batur Gökçeer Maja Daniels Bieke Depoorter Ilkin Huseynov Tatiana Ilina Jia Dai Teng Fei Hajime Kimura Sofie Amalie Klougart Dhruv Malhotra Muhammed Muheisen Ilvy Njiokiktjien Anastasia Rudenko

next

#02

Anastasia Rudenko / Tatiana Ilina / Hajime Kimura / Jia Dai Teng Fei / llvy Njiokiktjien / Bieke Depoorter / Cemil Batur Gรถkรงeer / Sofie Amalie Klougart / Dhruv Malhotra / Ilkin Huseynov / Muhammed Muheisen / Maja Daniels Participants in the 2012 Joop Swart Masterclass held by World Press Photo

next

#02

Anastasia Rudenko / Tatiana Ilina / Hajime Kimura / Jia Dai Teng Fei / llvy Njiokiktjien / Bieke Depoorter / Cemil Batur Gรถkรงeer / Sofie Amalie Klougart / Dhruv Malhotra / Ilkin Huseynov / Muhammed Muheisen / Maja Daniels Participants in the 2012 Joop Swart Masterclass held by World Press Photo

Trust

Each story is potent with images offering the viewer

with anticipation, and a sense of confidence comes

Denmark comprises delicate and muted scenarios

penetrating visions of communities, people, spaces,

from the direct gaze of the couples.

of carnal passion. By virtue of the photographs’ visual subtlety, Sofie underscores the subjects’

and motivations. The photographers channel raw

need for extravagant escapes.

By telling stories with images, the photographer

emotion to bring us to both struggling and liberated

Ilvy Njiokiktjien looks inside a community of

participates in an act of trust. Photography is a

places, where fragility is protected and emotional

Afrikaners in South Africa, who believe that together

process that always remains unfinished, a

truths are revealed and shared.

they can ensure their survival. Among Suidlanders,

Bieke Depoorter’s pictures of families living in

fear engenders trust, as they mentally and

Egypt during a period of enormous transition, is

works makes a powerful image indelible. Photo-

The photographers in Next#02 show us that

physically prepare for a future struggle. Moments

evocative of, and sensitive to, place and home.

graphs do not end stories. They open them. They

documentary vision deserves trust because it

of resolve in the images are agitated by discernible

The images show quiet interiors, often shrouded

are moments to engage and absorb, which allow us

honors the subjects and situations it encounters.

apprehension and anxiety. Muhammed Muheisen

in shadows but inhabited by a range of family

to begin and continue a meaningful discourse with,

A remarkable range of subjects appear here, made

portrays the broken bodies of people damaged by

members who work to establish a loving balance

and understanding of, the world.

by an immensely thoughtful and creative group of

violence in Pakistan. Crossing thresholds of

and purpose in the spaces they inhabit. Maja

photographers. Twelve distinct stories. Twelve

personal intimacy, he finds deep wells of faith in

Daniels’ photographs look at the desire to preserve

distinct presentations of trust.

his characters. Set against black backgrounds, his

the Elfdalian language and culture, in Älvdalen,

images bear testimony to human perseverance

central Sweden. There is a tangible sense of quiet

and tenacity.

turmoil in the images. Against bucolic backgrounds,

never-ending enquiry, and something that when it

There is distinct tenderness and vulnerability in the images in Next #02, extraordinary visual moments that reflect a shared presence, experience, and

Anastasia Rudenko looks at the mentally disabled

even tension between the photographers and their

in Elatma, Russia. Among the orphaned and

subjects. For all the differences in style and place,

abandoned, she chronicles the interior worlds of

Cemil Batur Gökçeer’s work examines the profound

culture as they tangle with their decisions and

all twelve photographers document forms of

troubled minds set against vast spaces of lush

sense of place inspired by caves. In infinitely patient

commitment to the future.

trust—among people, in landscapes, and in

color. A strong sense of isolation vibrates in her

ways, these empty spaces trace time and meaning.

scenarios where a contemplative distance can

images. Hajime Kimura’s images are bridges to his

Cemil speaks to a silent, indefatigable state in

Versions of trust are constantly challenged.

throw light on how trust in life may be uncertain,

complicated and unfinished relationship with his

which the mystery of enclosure and the emotions

Conflict erupts over interpretation, schisms are

or evolving.

father, at the end of his life in Japan. Loneliness

engendered expand the spirit. Dhruv Malhotra

created, worlds are shattered, and passions

permeates a series of haunting tableaux on age

portrays the private lives of people living in high-

unleashed. Yet the same problems that are

Trust is central to human dialogue. It has a

and loss. The images speak to the patience and

rise apartment complexes in India. Dhruv’s work

intensified by insistence and rigid definitions, can

profound relationship to priority, honor, compas-

devotion that carry through in Hajime’s life well

takes on issues of urban migration and the

also be the very issues we resolve by our innate

sion, faith, and purpose. It is a basic and intrinsic

after his father’s death.

dissolution of traditional, rural cultural patterns.

need to empathize and trust. A more essential,

Despite the initial resistance many of his subjects

provocative, and paradoxically damning concept

emotional urge that energizes behavior and action

Maja captures young people remaining in the

among people. It is also mercurial and often

Tatiana Ilina befriends Daniel in Paris. Despite his

had to being photographed, Dhruv manages to

does not exist. It is at the very foundation of order

delicate. Trust can be exclusionary and dogmatic,

ravaged face, Daniel possesses and bestows

create distinct visual portraits about vulnerability,

and rectitude, providing a crucial sense of place

calcified by human weakness and fear. Many

energy, creativity, and inspiration to all those in his

alienation, and innocence.

and purpose. Without trust, worlds crumble and

worlds remain impenetrable and shuttered.

presence. Tatiana’s work displays a wonder and a

dissipate. Darkness envelops reason. Humanity becomes unmoored.

confidence in the moment that is infectious and

Ilkin Huseynov’s story about refugees from the

This fact makes the following projects extraordin-

insistent, but also quiet and confidential. Jia Dai

Nagorno-Karabakh conflict, speaks to the fatigue

ary in their realization. All of the stories reflect

Teng Fei sets his wedding portraits against the

of displacement. Photographed in black and white,

James Wellford

deep consideration, perseverance, and resourceful-

backgrounds of factories where the couples work

the images evoke disoriented feelings of an

Brooklyn, September 2012

ness, as well as care on the part of the photog-

in China. Dai Teng Fei beautifully addresses the

arrested but unsettled and transitional existence.

raphers to involve themselves with their subjects.

ideal of hope in the future. His work resonates

Sofie Amalie Klougart’s series on swingers in

4

5

Trust

Each story is potent with images offering the viewer

with anticipation, and a sense of confidence comes

Denmark comprises delicate and muted scenarios

penetrating visions of communities, people, spaces,

from the direct gaze of the couples.

of carnal passion. By virtue of the photographs’ visual subtlety, Sofie underscores the subjects’

and motivations. The photographers channel raw

need for extravagant escapes.

By telling stories with images, the photographer

emotion to bring us to both struggling and liberated

Ilvy Njiokiktjien looks inside a community of

participates in an act of trust. Photography is a

places, where fragility is protected and emotional

Afrikaners in South Africa, who believe that together

process that always remains unfinished, a

truths are revealed and shared.

they can ensure their survival. Among Suidlanders,

Bieke Depoorter’s pictures of families living in

fear engenders trust, as they mentally and

Egypt during a period of enormous transition, is

works makes a powerful image indelible. Photo-

The photographers in Next#02 show us that

physically prepare for a future struggle. Moments

evocative of, and sensitive to, place and home.

graphs do not end stories. They open them. They

documentary vision deserves trust because it

of resolve in the images are agitated by discernible

The images show quiet interiors, often shrouded

are moments to engage and absorb, which allow us

honors the subjects and situations it encounters.

apprehension and anxiety. Muhammed Muheisen

in shadows but inhabited by a range of family

to begin and continue a meaningful discourse with,

A remarkable range of subjects appear here, made

portrays the broken bodies of people damaged by

members who work to establish a loving balance

and understanding of, the world.

by an immensely thoughtful and creative group of

violence in Pakistan. Crossing thresholds of

and purpose in the spaces they inhabit. Maja

photographers. Twelve distinct stories. Twelve

personal intimacy, he finds deep wells of faith in

Daniels’ photographs look at the desire to preserve

distinct presentations of trust.

his characters. Set against black backgrounds, his

the Elfdalian language and culture, in Älvdalen,

images bear testimony to human perseverance

central Sweden. There is a tangible sense of quiet

and tenacity.

turmoil in the images. Against bucolic backgrounds,

never-ending enquiry, and something that when it

There is distinct tenderness and vulnerability in the images in Next #02, extraordinary visual moments that reflect a shared presence, experience, and

Anastasia Rudenko looks at the mentally disabled

even tension between the photographers and their

in Elatma, Russia. Among the orphaned and

subjects. For all the differences in style and place,

abandoned, she chronicles the interior worlds of

Cemil Batur Gökçeer’s work examines the profound

culture as they tangle with their decisions and

all twelve photographers document forms of

troubled minds set against vast spaces of lush

sense of place inspired by caves. In infinitely patient

commitment to the future.

trust—among people, in landscapes, and in

color. A strong sense of isolation vibrates in her

ways, these empty spaces trace time and meaning.

scenarios where a contemplative distance can

images. Hajime Kimura’s images are bridges to his

Cemil speaks to a silent, indefatigable state in

Versions of trust are constantly challenged.

throw light on how trust in life may be uncertain,

complicated and unfinished relationship with his

which the mystery of enclosure and the emotions

Conflict erupts over interpretation, schisms are

or evolving.

father, at the end of his life in Japan. Loneliness

engendered expand the spirit. Dhruv Malhotra

created, worlds are shattered, and passions

permeates a series of haunting tableaux on age

portrays the private lives of people living in high-

unleashed. Yet the same problems that are

Trust is central to human dialogue. It has a

and loss. The images speak to the patience and

rise apartment complexes in India. Dhruv’s work

intensified by insistence and rigid definitions, can

profound relationship to priority, honor, compas-

devotion that carry through in Hajime’s life well

takes on issues of urban migration and the

also be the very issues we resolve by our innate

sion, faith, and purpose. It is a basic and intrinsic

after his father’s death.

dissolution of traditional, rural cultural patterns.

need to empathize and trust. A more essential,

Despite the initial resistance many of his subjects

provocative, and paradoxically damning concept

emotional urge that energizes behavior and action

Maja captures young people remaining in the

among people. It is also mercurial and often

Tatiana Ilina befriends Daniel in Paris. Despite his

had to being photographed, Dhruv manages to

does not exist. It is at the very foundation of order

delicate. Trust can be exclusionary and dogmatic,

ravaged face, Daniel possesses and bestows

create distinct visual portraits about vulnerability,

and rectitude, providing a crucial sense of place

calcified by human weakness and fear. Many

energy, creativity, and inspiration to all those in his

alienation, and innocence.

and purpose. Without trust, worlds crumble and

worlds remain impenetrable and shuttered.

presence. Tatiana’s work displays a wonder and a

dissipate. Darkness envelops reason. Humanity becomes unmoored.

confidence in the moment that is infectious and

Ilkin Huseynov’s story about refugees from the

This fact makes the following projects extraordin-

insistent, but also quiet and confidential. Jia Dai

Nagorno-Karabakh conflict, speaks to the fatigue

ary in their realization. All of the stories reflect

Teng Fei sets his wedding portraits against the

of displacement. Photographed in black and white,

James Wellford

deep consideration, perseverance, and resourceful-

backgrounds of factories where the couples work

the images evoke disoriented feelings of an

Brooklyn, September 2012

ness, as well as care on the part of the photog-

in China. Dai Teng Fei beautifully addresses the

arrested but unsettled and transitional existence.

raphers to involve themselves with their subjects.

ideal of hope in the future. His work resonates

Sofie Amalie Klougart’s series on swingers in

4

5

Elatma Anastasia Rudenko

The small town of Elatma, on the river Oka, some 300 kilometers east of Moscow, is home to six institutions for the mentally disabled. The clinics date back to World War II, when they were established as orphanages for children who had lost their parents during the war. Over time, the institutions came instead to shelter children with mental disabilities, whose parents had abandoned them at birth, or those taken into care from the homes of alcoholics or drug addicts. Most residents have spent all their lives in this institutionalized setting, but they do sometimes go beyond the walls, out among the other citizens of Elatma.

While on holiday in Elatma in the early summer, I came across a man in the street who seemed to me strongly to resemble the painter Vincent van Gogh. We got talking. His name was Volodia. He invited me to visit his home, and it turned out he was living in one of the institutions for people with mental disabilities.

The idea of looking more deeply into life in the Elatma clinics seemed appropriate to the theme of Trust. I wanted to portray the everyday lives of the mentally disabled people there, and to explore the degree of trust I could build up with them. Getting access was difficult, and in the end I was permitted to work in only two of the institutions. The staff gave me very little help at all, and I felt rather like a spy. But I found the residents very open to me. Sometimes all it needed was a laugh or a smile. That for me was the first step of trust.

Trust is a risk, but the way to new experiences.

6

7

Elatma Anastasia Rudenko

The small town of Elatma, on the river Oka, some 300 kilometers east of Moscow, is home to six institutions for the mentally disabled. The clinics date back to World War II, when they were established as orphanages for children who had lost their parents during the war. Over time, the institutions came instead to shelter children with mental disabilities, whose parents had abandoned them at birth, or those taken into care from the homes of alcoholics or drug addicts. Most residents have spent all their lives in this institutionalized setting, but they do sometimes go beyond the walls, out among the other citizens of Elatma.

While on holiday in Elatma in the early summer, I came across a man in the street who seemed to me strongly to resemble the painter Vincent van Gogh. We got talking. His name was Volodia. He invited me to visit his home, and it turned out he was living in one of the institutions for people with mental disabilities.

The idea of looking more deeply into life in the Elatma clinics seemed appropriate to the theme of Trust. I wanted to portray the everyday lives of the mentally disabled people there, and to explore the degree of trust I could build up with them. Getting access was difficult, and in the end I was permitted to work in only two of the institutions. The staff gave me very little help at all, and I felt rather like a spy. But I found the residents very open to me. Sometimes all it needed was a laugh or a smile. That for me was the first step of trust.

Trust is a risk, but the way to new experiences.

6

7

9

9

12

13

12

13

15

15