(CNN)As a well-traveled photographer, Pieter ten Hoopen is no stranger to refugee camps. But he never experienced any like the Mayo camp, which is outside the Sudanese capital of Khartoum. Ten Hoopen was at the camp to photograph a new medical clinic for Emergency, a humanitarian group from Italy. He also hoped to document what life was like for refugees there. His hopes were dashed, however, when he was told he couldn't photograph outside the hospital compound. "I had very, very hard restrictions from the Sudanese government. ... They are very well-skilled in keeping the media at bay," ten Hoopen said. With no freedom of movement, much like the refugees themselves, ten Hoopen resorted to an old trick he had used before while traveling in Africa. With the help of refugee hospital workers, he built a makeshift photo studio using hospital bed sheets and other materials available. The studio quickly became a sensation. Once hospital employees volunteered to have their photo taken, lines of refugees began snaking around the hospital grounds waiting to have their portraits taken. One by one, these people sat solemnly to be photographed. It was their time to be acknowledged. There was gravity, earnestness to the way they posed. This was the moment their story would be registered. "This was one of the reasons why I built the studio: to get more material and more narratives from the people," ten Hoopen said. The project quickly became a catalog of the history and identity of the refugees. The photos span several generations -- some of the subjects were born at the refugee camp, some have been there for decades. Women wearing the traditional Sudanese tobe spell out their class and origin by the way it is wrapped. From the Muslim north, women are fully covered -- a contrast to women from the Christian south, who we also see represented in these photos. Whether from Sudan, South Sudan or Eritrea, the faces become, individually and collectively, a portrait of the endless wars that have shaped the Horn of Africa. Social media. Follow @CNNPhotos on Twitter to join the conversation about photography. The word refugee often conjures up images of faceless crowds fleeing conflict, their existence only registered in terms of statistics and graphs. Ten Hoopen wanted to give his subjects the ability to express themselves freely. "They got very serious, they sat down upright. ... I tried to say as little as possible," he said. "I do believe in their own expressions, their own narrative ... and their unique perspective." The studio had a comforting effect. It was a haven from the hustling and bustling of the camp hospital. It gave the photographer an opportunity to meet his subject matter eye to eye, giving each person their deserved attention. Aesthetically, it created an aura around each person, beaming light on his or her personal narrative. It had some uplifting effects as well. "I always try to put some extra thought to (projects). So I build classic photo studios like they have in any small towns in the African continent or in Europe ... just to give people a little bit of the feeling they are special for a short time and that someone really photographs them in an official way," ten Hoopen said. He said some patients at the hospital "had being laying there for months in their room. ... Then you take them out, it's a little treat to get them out of their own misery. ... That's why you see the line growing, because they see people laughing when they come out of the studio." Ten-month-old Buseiwa was not laughing when she entered the studio. Having just had a blood test for malaria, she clearly looked uneasy. Gazing to someone who is holding her hand, her eyes connect with this parental figure as a source of strength. Hawa Haranan, 40, came from the war-torn Darfur region before getting a job as a cleaner at the hospital. As she wears a simple tobe, one can almost see the emotions behind her leonine stare. Her life and struggle, as with the other individuals photographed, is accounted for with the testimony of a camera. Ten Hoopen used tilt-shift lenses, which are normally used with the large-format cameras used in classic photography. "I really can appreciate old portraiture ... when people got their portrait taken in a way that was loaded, I think, with respect and it was a very serious moment," he said. "It's a slow way of working where you have to put all your focus into one person sitting in front of you." How did ten Hoopen gain the trust of so many uneasy refugees, some severely traumatized and living in fear? "It wasn't hard," he said. "I just told them to relax and have fun. "Kids sometimes got nervous, and I don't blame them. I am a tall, white, bald European guy. ... I am not only funny to look at, but it is hot in that country so I am usually very red when I am photographing. ... I have tattoos everywhere. ... They thought I was a quite interesting creature." Pieter ten Hoopen is a photographer based in Stockholm, Sweden. You can follow him on Facebook, Twitter and Instagram.

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Pieter ten Hoopen took portraits of refugees at the Mayo camp in Khartoum, Sudan.
He set up a makeshift studio near a hospital, and it quickly became a sensation.
(CNN)Som en välbesökt fotograf är Pieter ten Hoopen inte främmande för flyktingläger. Men han upplevde aldrig något som Mayolägret, som ligger utanför den sudanesiska huvudstaden Khartoum. Tio Hoopen var på lägret för att fotografera en ny medicinsk klinik för akutfall, en humanitär grupp från Italien. Han hoppades också kunna dokumentera hur livet var för flyktingar där. Hans förhoppningar grusades dock, när han fick höra att han inte kunde fotografera utanför sjukhusets anläggning. "Jag hade mycket, mycket hårda restriktioner från den sudanesiska regeringen. ... De är mycket välutbildade i att hålla medierna på avstånd, säger tio Hoopen. Utan någon rörelsefrihet, ungefär som flyktingarna själva, tillgrep tio Hoopen ett gammalt trick som han hade använt tidigare under resor i Afrika. Med hjälp av flyktingsjukhusarbetare byggde han en tillfällig fotostudio med hjälp av sjukhuslakan och annat material som fanns tillgängligt. Studion blev snabbt en sensation. När de anställda på sjukhuset frivilligt lät fotografera dem, började de ta sina porträtt runt sjukhusområdet. En efter en satt dessa människor högtidligt för att fotograferas. Det var deras tid att erkännas. Det fanns allvar och allvar i hur de poserade. Detta var ögonblicket då deras historia skulle registreras. "Detta var en av anledningarna till att jag byggde studion: för att få mer material och fler berättelser från folket", sa tio Hoopen. Projektet blev snabbt en katalog över flyktingarnas historia och identitet. Bilderna sträcker sig över flera generationer -- några av ämnena föddes på flyktinglägret, några har funnits där i årtionden. Kvinnor som bär traditionella sudanesiska ska beskriva sin klass och sitt ursprung på samma sätt som de lindas in. Från den muslimska norden är kvinnor helt täckta -- en kontrast till kvinnor från den kristna södern, som vi också ser representerade i dessa bilder. Vare sig det är från Sudan, Sydsudan eller Eritrea blir ansiktena, individuellt och kollektivt, ett porträtt av de ändlösa krig som har format Afrikas horn. Sociala medier. Följ @CNNPhotos på Twitter för att delta i samtalet om fotografi. Ordet flykting frammanar ofta bilder av ansiktslösa folkmassor som flyr från konflikter, deras existens endast registrerad i form av statistik och grafer. Tio Hoopen ville ge sina undersåtar förmågan att uttrycka sig fritt. "De blev mycket allvarliga, de satte sig upprätt. ... Jag försökte säga så litet som möjligt», sade han. "Jag tror på deras egna uttryck, deras egen berättelse... och deras unika perspektiv." Studion hade en tröstande effekt. Det var en have från lägersjukhusets hustling och livlighet. Det gav fotografen en möjlighet att träffa sin sak öga mot öga och ge varje person deras förtjänta uppmärksamhet. Estetiskt skapade den en aura runt varje person, som strålade ljus över hans eller hennes personliga berättelse. Det hade också en del upplyftande effekter. "Jag försöker alltid lägga lite extra tankar på (projekt). Så jag bygger klassiska fotostudior som de har i alla små städer i den afrikanska kontinenten eller i Europa... bara för att ge människor lite av känslan av att de är speciella för en kort tid och att någon verkligen fotograferar dem på ett officiellt sätt," tio Hoopen sade. Han sa att några patienter på sjukhuset hade legat där i månader på sitt rum. Sen tar du ut dem, det är lite kul att få ut dem ur sitt eget elände. ... Det är därför du ser linjen växa, eftersom de ser folk skratta när de kommer ut ur studion." Tio månader gamla Buseiwa skrattade inte när hon gick in i studion. Efter ett blodprov för malaria såg hon orolig ut. När hon tittar på någon som håller hennes hand, får hon kontakt med den här föräldragestalten som en källa till styrka. Hawa Haranan, 40 år, kom från den krigshärjade Darfurregionen innan han fick jobb som städare på sjukhuset. När hon bär en enkel tobe, kan man nästan se känslorna bakom hennes leoninska blick. Hennes liv och kamp, liksom med de andra individerna fotograferade, redovisas med vittnesmål av en kamera. Tio Hoopen använde tilt-shift-objektiv, som normalt används med de storformatskameror som används vid klassisk fotografering. "Jag kan verkligen uppskatta gamla porträtt ... när folk fick sitt porträtt taget på ett sätt som var laddat, tror jag, med respekt och det var ett mycket allvarligt ögonblick," sade han. "Det är ett långsamt sätt att arbeta där man måste lägga allt fokus på en person som sitter framför en." Hur fick tio Hoopen förtroende från så många oroliga flyktingar, några svårt traumatiserade och levde i fruktan? »Det var inte svårt», sade han. "Jag sa bara åt dem att slappna av och ha kul. "Barn blev ibland nervösa, och jag klandrar dem inte. Jag är en lång, vit, skallig europeisk kille. ... Jag är inte bara rolig att titta på, men det är varmt i det landet så jag är oftast mycket röd när jag fotograferar. ... Jag har tatueringar överallt. ... De tyckte, att jag var en ganska intressant varelse.» Pieter ten Hoopen är fotograf med säte i Stockholm, Sverige. Du kan följa honom på Facebook, Twitter och Instagram. Skriv höjdpunkter för den här artikeln.
(CNN)As a well-attended photographer, Pieter ten Hoopen is not foreign to refugee camps. But he never experienced anything like the Mayo camp, which is located outside the Sudanese capital Khartoum. Ten Hoopen was at the camp to photograph a new medical clinic for emergencies, a humanitarian group from Italy. He also hoped to document what life was like for refugees there. However, his hopes were dashed, when he was told that he could not photograph outside the hospital facility. "I had very, very harsh restrictions from the Sudanese government. ... They are very well trained to keep the media at a distance, says ten Hoopen. With no freedom of movement, much like the refugees themselves, ten Hoopen resorted to an old trick that he had used earlier during trips in Africa. With the help of refugee hospital workers, he built a temporary photo studio using hospital sheets and other material available. The studio quickly became a sensation. When the hospital employees volunteered to photograph them, they began taking their portraits around the hospital area. One by one, these people sat solemnly to be photographed. It was their time to be recognized. There was seriousness and seriousness in how they posed. This was the moment when their history was to be recorded. "This was one of the reasons I built the studio: to get more material and more stories from the people," said ten Hoopen. The project quickly became a catalogue of the history and identity of the refugees. The images span several generations -- some of the subjects were born at the refugee camp, some have been there for decades. Women wearing traditional Sudanese should describe their class and origin in the same way as they are wrapped in. From the Muslim North, women are completely covered -- a contrast to women from the Christian South, which we also see represented in these images. Whether from Sudan, South Sudan or Eritrea, the faces, individually and collectively, become a portrait of the endless wars that have shaped the Horn of Africa. Social media. Follow @CNNPhotos on Twitter to participate in the photo call. The word refugee often evokes images of faceless crowds fleeing conflicts, their existence only recorded in the form of statistics and graphs. Ten Hoopens wanted to give their subjects the ability to express themselves freely. "They became very serious, they sat upright. ... I tried to say as little as possible," he said. "I believe in their own expressions, their own story... and their unique perspective." The studio had a comforting effect. It was a haven from the camp hospital's housework and livelyness. It gave the photographer an opportunity to meet his case face to face and give each person their deserved attention. Aesthetically, it created an aura around each person, beaming light on his or her personal story. It also had some uplifting effects. "I always try to put some extra thought into (projects). So I build classic photo studios that they have in all the small cities of the African continent or in Europe...just to give people a little bit of the feeling that they are special for a short time and that someone is really photographing them in an official way," ten Hoopen said. He said some patients at the hospital had been there for months in their room. Then you take them out, it's a little fun getting them out of their own misery. ... That's why you see the line grow, because they see people laughing when they come out of the studio." Ten-month-old Buseiwa did not laugh when she entered the studio. After a blood test for malaria, she looked worried. When she looks at someone holding her hand, she makes contact with this parental figure as a source of strength. Hawa Haranan, 40, came from the war-torn Darfur region before getting a job as a cleaner at the hospital. When she wears a simple tobe, you can almost see the feelings behind her leonine gaze. Her life and struggle, as with the other individuals photographed, are reported with testimony by a camera. Ten Hoopen used tilt-shift lenses, which are normally used with the large format cameras used in classical photography. "I can really appreciate old portraits...when people got their portrait taken in a way that was loaded, I think, with respect and it was a very serious moment," he said. "It's a slow way to work where you have to put all the focus on a person sitting in front of you." How did ten Hoopen gain confidence from so many troubled refugees, some severely traumatized and lived in fear? "It wasn't hard," he said. "I just told them to relax and have fun. "Children sometimes got nervous, and I don't blame them. I'm a tall, white, bald European guy. ... I'm not just fun to watch, but it's hot in that country so I'm usually very red when I photograph. ... I have tattoos everywhere. ... They thought I was a rather interesting being." Pieter ten Hoopen is a photographer based in Stockholm, Sweden. You can follow him on Facebook, Twitter and Instagram. Write highlights for this article.
Pieter ten Hoopen tog porträtt av flyktingar vid Mayolägret i Khartoum i Sudan. Han inrättade en tillfällig ateljé nära ett sjukhus, och det blev snabbt en sensation.
Pieter ten Hoopen took portraits of refugees at the Mayo camp in Khartoum, Sudan. He set up a temporary studio near a hospital, and it quickly became a sensation.