EDITORS’ PICK
A Cast of Billions
HUMANS OF THE WORLD
Humans of the World Editors’ Pick
Following Amanda Hajjar’s selection of winning images for our recent Humans of the World competition, this compilation of 20 images represents some of the other talented photographers whose work struck us and left a mark. Each a stunning image worthy of exposure and attention…
When selecting for editor’s picks we’re always searching for those striking photographs that make for an unforgettable single image, whether from a broader series or not. We enjoy the accompanying text some photographers submit with their images, and while not always necessary it can be relevant when understanding the work in full context.
These are intended to be a conversation starter… so feel free to join the discussion on our social networks.
BANNER IMAGE: NATALIE MEREDITH
Life Framer comment – A scene of complete sporting elation is awash with emotion – the arms raised to the sunlight flooding in, and the spray from the (assumed) champagne adding another layer of joy to this electric atmosphere. Photographing moments like this can be such an enjoyable experience, the spirit of the subjects pouring out of every angle. Opting for natural light over flash really elevates this image and allows it to take on an artistic quality.
Photographer statement – “5pm golden glow beaming through the changing room window. Absolute jubilation for these Rugby Union Premiers. Woollahra Colleagues Rugby Club, Sydney, Australia. September 2022.”
SEISHU ZAKIMI
Life Framer comment – An absorbing street scene with many opposing elements. The artificial light falls perfectly across the people in this busy city snapshot with an underlining emphasis on the dark, soft tones. There is no doubt this photographer is skilled, however more expansion of their definition of the term ‘weirdo’ would be useful when relating their statement to the image. As things stand, it doesn’t really seem to relate to the shot.
Photographer statement – “New York, 2022. There are as many forms of weirdness as humans in the world. So I’m just another weirdo but with a camera.”
RUNDE YANG
Life Framer comment – The pandemic, and its many lockdowns, was not a similar experience for everyone, however wandering and getting lost in our local areas seems to have been a common past-time for many of us. This portrait accentuates the connection between the natural world and the human-made one, and how we occupied it during the lockdowns. And it’s ripe with symbology, as if the rundown, fallen pillars resemble a broken society and the bright green growth reflects a new beginning. I think the photographer could dig deeper into their theme and question what newly discovered (or re-discovered) elements of humanity we are bringing with us as we progress post-Covid.
Photographer statement – “From my series When Shall We Get Going Again? The collection is dedicated to the effects of the pandemic and how our lives have continued in the post Covid world. We have wandered and got lost, we are facing a constantly changing world and confusion about what the future might hold…”
SURESH NAGANATHAN
Life Framer comment – An engaging scene, not too dissimilar to one from a Wes Anderson movie, full of pattern and character. But it’s also a troubling one – highlighting the precarious structures many in the world call home. That the buildings are the true subjects of this scene, not the passing moped riders, is interesting. And the idea of a 24 hour project is a becoming increasingly common, and a fantastic way to get out there and shoot without overthinking.
Photographer statement – “3:14PM “Tetris”, as part of the #24hourproject to support Climate Action.”
LESLIE FRATKIN
Life Framer comment – These teenage expressions are full of awe and suspense, making this an amusing scene to study. By turning their back to the performer the photographer allows the audience to become the point of focus, apparently unbeknownst to them, enabling a less posed and more authentic portrait. It’s an entertaining image, subtly captured by this photographer with a clear sense of care for their subjects.
Photographer statement – “Untitled (Audience at Concert), Washington, D.C., USA. An underlying impulse to connect with people has persisted throughout my work. I seek out those who are not performing or posing, and their lack of self-consciousness informs my photos. I like the challenge of not being able to control all the variables, and seeing what an element of chance brings to the final image. I do not consider myself to be the only author of my photographs. My process itself is embedded in collaboration with my subjects. In the words of the inimitable Edward Steichen “A portrait is not made in the camera but on either side of it”.”
ANDRES GALLEGO BELLIDO
Life Framer comment – This staged scene mixes media in a very subtle way. We slowly become aware of the painted scene outside the window, suddenly making the viewer question what is photographed and what is painted. This constructed image is deeply layered in metaphors and meaning, leaving the viewer with more questions than answers. The subject – representing Hopper’s wife Jo – appears soft but strong, possibly depicting her role in the painter’s career as a vital pillar of support, inspiration and drive for him. An interesting concept and merging of visual art.
Photographer statement – “Morning Sun. In 1992, American photographers paid homage to Hopper in an exhibition linking photography and painting. At the event, Joel Meyerowitz emphasised the fundamental difference between the nature of photography as a momentary event and the nature of painting as a process, but what happens when we unite both languages in the same work?
This project is made up of a series of photographs represented around Hopper’s work, where the views of the windows are created by the artist himself with acrylic paint on canvas, as well as the scenography made on a real scale. We see his wife, just as Hopper depicted Jo. We can think of it as a portrait of her or, as the painter did, we can think of it as a portrait of any of us, a place where we can take shelter. Decide for yourselves what is through the window.”
GAVIN LIBOTTE
Life Framer comment – A perfectly timed street portrait, the black and white finish accentuating the charm of this classic street shot. It’s an amusing image capturing a unique moment, and cleverly and unexpectedly, the composition is reversed as the people frame the scene and the architectural backdrop becomes a point of focus. The photographer isn’t afraid to get up close.
Photographer statement – “In Your Face.”
CAMILLE ROBIOU DU PONT
Life Framer comment – The photographer has taken great care to represent the reality of these people’s lives, ensuring the viewer is aware of their dire living conditions, while also portraying their resilient attitudes. A busy scene can be distracting but this image is the opposite, every element seems to share the truth of these people’s harrowing experiences. It’s estimated that there are more environmental refugees than political refugees fleeing from wars and other conflicts, and continuing to share these dramatic events is vital in reminding us all that we need to face up to the reality of this crisis.
Photographer statement – “From the series Portraits of Climate Refugees. December 16th, Siargao Island, Philippines 2022, super typhoon Odette hits the land in the center of the island, destroying everything in its way. Approximately 15,000 families in Siargao have lost their homes and jobs. The island has been left without electricity and water for months, without any hospital and medications. This photo series is a testimony just two days after the typhoon, highlighting how resilient and positive these people are, despite the devastation. Kids playing on the main road surrounded by dead palm trees, a father cooking in what is left of his kitchen, neighbours helping each other to start cleaning their spaces, a grandmother surrounded by broken fishermen’s boats…”
ALEŠ JUNGMANN
Life Framer comment – This image was taken during a crucial time in the history of the Czech Republic, as the country navigated a new identity. The casual familiarity of the subjects and these guns, and the exaggerated yawn of the man occupying the booth, is potentially a nod to the overexposure of weapons from a long history of conflict. This transition from ‘old-to-new’ seems reflected in the image as the style blurs between decades, simultaneously evoking a 1970’s and 1990’s aesthetic. The joy of archive photography is that it can bring historic stories back to the present day for the viewer to experience instantaneously.
Photographer statement – “From the IDET international arms fair in Brno, Czech Republic, sometime in 1994.”
FÉLIX MÉNARD
Life Framer comment – The photographer states that this is an “impossibly lucky capture”, assuring us that it is an un-staged, candidly shot image. But it also underplays the skill this person has to perfectly capture this intriguing scenario – it’s not all luck! Their experience and intention to take photographs and understand people and places better is clear in their style of photography. A vibrant photograph, full of knowing and purpose.
Photographer statement – “People of Zanzibar come from diverse backgrounds and bring with them a wealth of stories, traditions, and culture. The narrow streets of Stone Town are always bustling with life and surprises. In this impossibly lucky capture, the gaze of those three men testify of the tense relation we may sometimes entertain toward outsiders. The composition outlines the similarity between the three men, but upon further inspection their distinctions become stark.
Over the last 6 years, I’ve had the great privilege to travel the world extensively. Armed with plenty of time to wander the streets, my camera acted as a kind of licence to look. I take candid photographs to document the simple beauty of these spontaneous encounters and fleeting moments. And I share them in the hope they may these photos inspire others to roam, look more, or see differently.”
DAVIDE CERNUSCHI
Life Framer comment – This unorthodox perspective of a huddle of Maasai people throws the viewer right into the heart of the meeting. We usually associate this culture with its bright red dress and so the choice of black and white is an interesting one – here acting to simplify the scene and accentuate the figures and their gesture against the overexposed sky. It’s an engaging, absorbing scene.
ATTILA ISTVAN NAGY
Life Framer comment – Captured in a beautiful, soft light, there’s something lovely about subtle slices of life like this one. It may not depict a dramatic moment or a particularly unique subject matter, but rather it affords the viewer to slow down for a moment and absorb one of the simpler, contented moments of family life – one of those that we cherish when all is said and done. It’s also an image that rewards closer inspect – full of little cultural clues that tell us about this family and their dynamic.
Photographer statement – “Dartmoor, UK, 2017.”
PATRICK DE ROO
Life Framer comment – A postcard comes to mind on first glance of this populated seaside-scape. Although a bit overexposed, there’s a dreamy sense attached to the gradient of light that veils the scene. A familiar sense of ‘anywhere’ is embodied, leaving it open to the viewer to place their own memories within the image. Nicely done.
FLORIAN FATTON
Life Framer comment – A timeless portrait of a traditional geisha, full of dramatic colors and dulcet tones – dating the image only by camera technology rather than any element within the frame. Is the photographer documenting this woman to celebrate her role in Japanese culture or simply highlighting it against the backdrop of a modern society? What place does this ancient form of female entertainment have in today’s culture? It’s a beautiful image that poses interesting questions.
Photographer statement – “Geisha in Kyoto, Japan.”
MAURO PESCE
Life Framer comment – Nothing denotes the passage of time quite like death. Viewing this cemetery bathed in sunshine and busy with visitors coming and going can soften the significance of such a substantial setting. The photographer is not unaware of this, purposely choosing this image to represent their series of life evolving around a monumental natural landmark. A vivid photograph, and one part of considered series that, from the sound of the accompanying statement, educates the viewer on many levels.
Photographer statement – “All Saints’ Day in the municipal cemetery of the city of Villarrica. Villarrica volcano has an active lava lake and is one of the few in the world frequently emitting incandescent particles. Located in the south of Chile, in the Araucanía Region, its surroundings were for centuries inhabited by native nations organized into small autonomous groups. When the Chilean state occupied the territory in 1883, the area entered an accelerated transformation process.
If at first it was logging and the border crossing route to Argentina that raised people’s interest, later it was its natural beauty and the associated tourism that stimulated the economic development of the area. Today, the Villarrica volcano overlooks a diverse human geography, with peasants, conservationists, athletes, businessmen, real estate investors, service providers, natives and tourists. The sharp increase in population, along with the damage caused by industrial activity such as salmon farming and forestry, have caused serious problems: water pollution and biodiversity loss.
36 Views of Villarrica Volcano is a series of landscape photographs that portray everyday scenes in which Villarrica volcano can be seen. The project is inspired by the famous series of woodcut prints 36 Views of Mount Fuji, created by the Japanese Katsushika Hokusai between 1830 and 1832. His engravings capture fleeting moments that passed before Mount Fuji, forming a memory of simple events where the person’s relationship with time – the transitory condition of life – is the main subject.
The diversity of inhabitants of the Villarrica territory manifests itself in the different paradigms that model the people’s approach to the landscape. The paradigm of economic growth undoubtedly prevails, but there is an ongoing confrontation between them, which results in a lack of the dialogue, public policies, and personal habits necessary to address the current environmental problems. 36 Views of Villarrica Volcano represents a multitude of perspectives that, even as they oppose each other, all converge on the also called Quitralpillan: the “spirit of fire”.”
OLIVIER LAVENAC
Life Framer comment – There is a serene feeling throughout this portrait, the muted colour palette partly mimicking a renaissance style painting. The soft focus brings a dreamlike quality to this precious moment of youth, reflection and adoration. The photographer has a unique quality to their work, with a wonderful ability to cherish a memory.
Photographer statement – “A portrait of Sarah on a boat, during a cruise on the Saône in Lyon, in France, where I’m living.”
MERT BERDILEK
Life Framer comment – .An environmental portrait full of life and character, we’re transplanted into this street scene where the pigeons fight for crumbs and this shopkeeper watches the world pass by. His frown is brings a wry touch to the shot – willing to pose for the photographer, but not entirely happy about it. It provides a lovely insight to the sorts of characters that are part of the furniture of our city backstreets.
Photographer statement – “The Diwali Pigeons, Little India. My favourite corner in Little India, Singapore, where the buzzing cafés, shopkeepers, back alley commotion and pigeons are a constant. Pentax 67, Kodak Porta 400 120mm.”
ENZA DI LECCE
Life Framer comment – From this angle we see the main subject breaking out of society’s stereotype, their arms raised, at home amongst the other revellers within this festival scene. It’s an image full of color, bliss and utter enjoyment breaking away from the usual perspective of aging and interests of those from an older demographic. Mainstream media serves as a powerful vehicle for how we see old age and its accompanying attributes, however with the influx of social media and self-publishing platforms for photographers and creatives, we now get to see a mix of how people really live their lives true to themselves without falling victim to a label.
Photographer statement – “Never stop dancing, Amsterdam, Netherlands.”
LAURA COHEN
Life Framer comment – The sadness held in this distinct portrait is apparent without even reading the accompanying text. The photographer gets close, as if wanting the viewer to absorb the sorrow directly from the subject. While some of us live privileged lives of choice, others like Pita have to sacrifice their own happiness and comfort just to survive in a capitalist society. It’s a poignant picture of a young person’s wellbeing and identity being robbed, the composition and shallow depth of field pulling the focus directly onto the subject, emphasising the importance of their often-overlooked experience.
Photographer statement – “This is Pita Sakayo, 23 years old Maasai who left his cows and family to go to Zanzibar to sell his mother’s jewelry and makes a little bit of money that he can send back home. Before he came to Zanzibar he didn’t know anything about the types of other life we can live. He just bought a phone for the first time and kept looking at photos of his cows all the time and told me with the little English he learned on the beach and so much sadness in his eyes: “I miss my cows so much and my family, I don’t want to be here. I don’t know nothing about life here, I don’t even know how to dance.” He was in a new world and had no keys to understand it.
So I took him to dance at night.”
KATHERINE SAVELLE
Life Framer comment – A tragic portrait of utter despair but unfortunately not an unfamiliar one. The alarming effects of the opioid crisis are well and truly alive in the US, and how these drugs have infiltrated and destroyed people’s lives is abhorrent on many levels – tearing apart people’s lives, families and communities. Since 2000, more than a million people in the United States have died of drug overdoses, the majority of which were due to opioids. A snapshot of the emotional destruction it has caused is physically represented here in this scene of abandonment and neglect – both of a neighbourhood and of a human being.
Photographer statement – “This is X. I met him in November of 2022. X is homeless. His sign reads “Sometimes a smile is all it takes. God bless.” Sometimes people stop their cars to give money or other things. X says the best times are when there are long lines of cars. He needs to make at least $30 a day to support himself, but that’s without eating. This image shows a gutted house where he goes to use his medicine. There is no electricity or running water. X’s medicine is fentanyl. He initially used it with the goal of committing suicide, but now he gets sick without it. There is no real end to this story. X is still out there, even today on Christmas Eve. Trying to survive this world.”
