"I think when you combine these different elements ¨C photography, audio and video ¨C they can all make each other stronger," she says. "When you hear audio while looking at pictures, it gives you more depth and knowledge. You can actually hear the person you're seeing in the picture, but it's different from video because the still photograph gives you the chance to really zoom in and look at certain aspects of the picture while listening to the audio."

Multimedia and VR photojournalism

The project was published online by Dutch newspaper NRC as an interactive article that also included stills and video. "It was quite a new thing to do in the Netherlands at that point and I noticed many people didn't really know what to do with it, which is one of the big downfalls of new journalism," she continues. "You always have to ask yourself, who are you making it for? Are you just doing it to show off to your colleagues? I make stories because I want to tell as many people as possible about a certain subject, and unfortunately a lot of people didn't really know how to use VR. I think some of the technology is now a bit ahead of its users and I'm waiting for things to catch up."

Since she won the World Press Photo awards, Ilvy has been courted by newspapers and NGOs for projects all over the world. Her office desk in Utrecht, Netherlands, is full of hard drives and she is quick to mention that the thought of losing her work fills her with anxiety.

It's not an irrational fear. Around 10 years ago, soon after Ilvy had started out as a photojournalist, she was robbed of most of the pictures that were supposed to make up her first big project. Having just completed an internship in South Africa, she and her boyfriend had bought an old four-wheel drive car and driven all the way from South Africa to the Netherlands, often covering 100-200 kilometres per day. On the way, they lent local people a camera and asked them to take pictures of their daily lives. They had envisioned and named this grand project Picture Your Life. But one night in Budapest as they were sleeping, thieves injected gas into their tent and stole all their valuables, including their cameras and most of their pictures.

"We were almost home and they stole everything, even a Canon camera. We had backups of about half the photos but the other half were gone, including the ones of the now-destroyed souk of Aleppo," Ilvy remembers. In an attempt to secure the safe return of her photos, she contacted TV stations and offered rewards ¨C but to no avail.

Although Ilvy's first project ended on a disappointing note, it didn't take long before her hard work paid off in another way. She soon won an award and the prize was a Canon camera. On her way home, she discovered a picture she had taken in Mozambique with her Canon EOS 20D during the trip had earned her the Canon Prize for Young Talent. The reward was a trip to Cape Town, and with that Ilvy was back on the road and even more determined to keep going. "I've always thought, 'I'm going to push harder, I'm going to try harder, and I'm going to get there, and I don't care how,'" she says.

Chasing a variety of revenue streams

The same fighting spirit presents itself when Ilvy discusses the financial aspect of doing long-term projects. Unlike more pessimistic photojournalists, Ilvy denies the notion that photojournalism is dead. "What changed in the industry is that the assignments became different," she says. "It's now very rare to get a year-long assignment. I think what's more common is that people work on long-term projects themselves, then sell their projects to magazines and newspapers that want to publish them. That's how I do it at least."

Ilvy has successfully used crowdfunding as a way to finance projects, but she's not convinced this tactic will work forever. "Proper photojournalism costs a lot of money, and I think we have to find new ways to do it," she says. "I've done two crowdfunding campaigns and made about €60,000 but the people who pitched in money the second time were the same ones who gave money the first time. It makes me wonder if they're going to turn around and say, 'Yeah, right!' next time."

Instead, Ilvy is hoping that closer collaboration with other photojournalists will prove beneficial, and she has recently joined the VII Photo Agency. "I've noticed that being part of VII helps because you're actually sharing assignments and making group exhibitions that can generate money. I think being part of a group is one of the things that could increase your chances of survival as a photojournalist," she says.

Ilvy has recently acquired a Canon °ÄÃÅÏÖ½ðÍø_É격ÐÅÓÃÍø-¹ÙÍø, and her most recent trip was her first chance to use it. "The images are so sharp, and the camera is way lighter than my previous body," she says excitedly. "I shot video as well, and I was just amazed by the quality." Ilvy's most frequently-used lens is the new Canon EF 24-70mm f/2.8L II USM. "When I got the new version of the lens, my other two lenses stayed in my bag. For a long time, I didn't get them out at all. It's so easy to just use the Canon EF 24-70mm f/2.8L II USM because it's very sharp and it combines all the other lenses into one." However, she adds: "I think photography is about daring to get close, so I'd like to use my Canon EF 50mm f/1.2L USM and Canon EF 35mm f/1.4L II USM lenses a bit more."

As with multimedia platforms, Ilvy maintains the gear in her bag is a means to an end. She believes it needs to be durable and to work flawlessly, but ultimately needs to be used by a good storyteller. "Being a photographer is about being smart, connecting to people and being empathic towards your subjects," she says. "It's about working together, not just going somewhere to steal a story by grabbing images and leaving again. You need to really put your heart into this job."