1ST PRIZE: SAM WRIGHT

“This is a very striking image of a family at the fair. The girls make a strong impression of being grounded and confident in an environment that can be seen as rootless and uncertain. The nomadic lifestyle is always fascinating and emphasizes the concept of home being dynamic rather than static, pushing to adapt into a small but very efficient space and being open to the outside rather than kept inside a shell. This very humble portrait, well framed and balanced, is powerful enough give an understanding of the photographer’s whole project.” – JONAS TEBIB

“Through this subtly composed group portrait the photographer has created a strong sense of belonging and character. These girls appear sure of themselves and their surroundings, posing in front of the vardo as if defiant against society and its gaze on their culture. A significant but joyous snapshot of this culture and community through its youngest generation.” – LIFE FRAMER

Photographer statement – Family at the fair. As a generational shift pulls this unique culture in different directions, government policy is giving that pull a push, limiting the ease of and right to the nomadic lifestyle of traditional Travellers. Meanwhile, these communities continue to battle the decades-old prejudices of the UK’s settled population.This work shows a community keeping their way of life, heritage, homes and unique way of living alive. My work holds people and place storytelling at its heart. Travelling to fairs to meet Travellers and Gypsies of all ages first hand, I capture a true portrait of these people – their histories, their futures – as they face a defining time. It’s a visual pursuit that I want to extend beyond Appleby alone.

2ND PRIZE: DIDIER VANDERPERRE

“A very beautiful image, full of life, colors, light and interactions, all taking place in a very difficult environment. Home is finding peace and comfort in any place. Even without a room or roof, this father and daughter seem to have their intimate family space and home.” – JONAS TEBIB

“All the familiar basics of a young, family home are presented to the viewer – clothes, toys, bed, dishes in the sink – and yet this ‘family home’ is positioned without its structural shell, laying open under an urban overpass, exposed to the elements and the associated dangers. The scene doesn’t depict any immediate threat, as the sun shines, people casually congregate in the background, and this father and daughter (we presume) share a quiet moment. The photographer succeeds in showing the everyday humdrum of homelessness, weighted with the reality of these people’s solemn situation – the fragility of a safe and comfortable existence. This photograph is a stark reminder that homelessness can happen to anyone, even when an abstract, distant thought for the majority of us.” – LIFE FRAMER

Photographer statement – Cebu, Philippines 2023.

CLAIRE MAEN

“This scene reads like a still of a staged town from a movie set, appearing like a well manicured facade hiding an emptiness within. However, this is reality and behind these exteriors are individuals, couples and families building a community – oases of lushness and life in these arid surroundings. It’s an interesting documentation of a new suburbia.” – LIFE FRAMER

Photographer statement – From the series Living on the Edge – New Frontiers of the West. The American West is still expanding, but at what cost? In his acclaimed book from 1974, The New West, the photographer Robert Adams documented the anarchic suburban development from Wyoming to New Mexico: “building is monotonous, and life inside is frozen by anonymity and loneliness”. In this series of medium format photos taken with a 1951 and a 1965 Rolleiflex cameras, I photograph the rapid changes occurring at the frontiers of suburban landscapes in the San Francisco Bay Area, California. Skyrocketing housing markets encourage a frenzy of uninteresting architecture. Fields are being eaten by new standardized million-dollar homes, which linger along busy highways.

I use Kodak Portra 400 films to magnify my subject’s natural and smooth colors. I document fields receding to be replaced by charmless but highly profitable gated constructions. Is this what we want to call home? Are these the kinds of landscapes and lives we dream of?

ANDREW ROVENKO

“A home is a place where a child is safe to play make-believe, where they are encouraged to question, wonder and adventure. This retro, architectural setting gives the girl a stage to project her imagination in full scale – although small, her presence generates an immense feeling of hope and curiosity. A superbly constructed image where the dull, muted color palette cannot restrict the illuminated little subject.” – LIFE FRAMER

Photographer statement – Home and Away. The Rocketgirl Chronicles is a personal project that follows the adventures of one little astronaut, with one of the key themes being the exploration of what home is, and our place in this world.

MATTEO ANGELE

“It’s difficult to avoid the emotion and pain that fills this scene. The subject’s face appearing full of pain, grief and regret, as the glass reflection describes how close the outside world is for this woman in a physical sense, while it remains so far away for her emotionally. This image will resonate with anyone who’s suffered with mental health issues such as depression or anxiety , when life seems to move on and leave you behind, trapped in time.” – LIFE FRAMER

Photographer statement – Behind Closed Doors. Series of photographs on the trauma of a woman behind closed doors. Inspired by the story of a mother who struggle to survive since she had a traumatic event happen to her.

DIEGO FABRO

“The attraction to document our own existence – journaling, photographing, collecting, etc. – and building a personal archive is compelling on many levels, simultaneously tapping into nostalgia, sentiment, nurture and sometimes even ego. Here it feels like an attempt to solve a difficult and sensitive issue as this beautifully staged scene pulls the viewer directly into the photographer’s paternal relationship, its warmth and closeness as well as its challenges. The photographer has purposely positioned the ‘subjects’ to highlight the division caused by the uncertainty of the future, and the surrounding natural setting is carefully used as a reminder of their bond and identity. A very well crafted scene from a thoughtful project.” – LIFE FRAMER

Photographer statement – My series Breeze & Ashes engages with the complexities of inheritance, belonging, and selfhood. After nearly two decades of living abroad, I have found myself estranged from the rural countryside of my childhood in Brazil, including the once-inseparable natural surroundings. This detachment is brought into sharp relief through my relationship with my father, who has devoted his life to working the land and embodies its values, traditions, and sense of community. As I visit the farm primarily as a nostalgic escape, the prospect of the land’s future and its preservation of my father’s legacy weigh heavily on us both.

To preserve this bond with my father and the land, I have embarked on a photographic project that captures our yearly visits to the farmhouse. Through collaborative image-making, we explore the local customs and their connection to the land, as well as our divergent perceptions of its significance. The resulting photographs serve as a tangible reminder of our shared history, even as the future remains uncertain.

KELLY-ANN BOBB

“The subject cuts a striking yet relaxed pose, confident in their environment and dominant amongst the colorful surroundings. A vibrant scene of expression and identity, the photographer celebrates the cultural fundamentals that influenced the painter and carries on these characteristics through this photographic series. A commanding image with wonderful sentiment.” – LIFE FRAMER

Photographer statement – From my series entitled Musing of Boscoe, influenced by the paintings of the contemporary Trinidadian painter Boscoe Holder. The black Imagination and utilizing fashion as a vehicle to highlight our culture and to reference ourselves led to this collaboration of artists and designers.

HELIN BEREKET

“The photographer states they have made use of a soft colour palette to balance out the harsh desert landscape, and it’s an effective approach – enabling the viewer to objectively take in the subject and landscape. The accompanying text brings us directly into the moment the image was created with a wealth of detail – from the current state of the area to its complex history, from the hot and arid climate to the sense of isolation. Images like this remind us of the huge breadth of circumstances people live in and places they call home, even in a western culture we think we know well like that of the US. It would be great to see more from this series as a photo essay, again accompanied by the text of the photographer’s first-hand experience.” – LIFE FRAMER

Photographer statement – When I went to take photos in the Wonder Valley in California, I knew little about the place with small homesteads. I was drawn to it by the sheer aesthetic of abandonment and isolation, of alienation and wreckage, of uncanniness and history unknown. Schack-leftovers stick out from the backdrop where sandy desert blends with the sun. I think of taming this contrast by harmonizing the colour palette and keep wondering about the human traces in what seems to be a reckless wilderness.

Without a plan, I begin to drive around, my eyes scanning for the so-called “Jackrabbit homesteads”, as the cabins east of Twentynine Palms are commonly known. They are the last witness of the 1938 Small Tract Act enabling Americans to obtain five sandy acres of land, deemed unusable by the state. As the condition for owning the land was building a small shackle on the plot, prefabricated or handmade structures sprawled in the Mojave Desert especially in the 50s and the 60s. Among the thousands of dwellers were veterans with lung problems seeking cure in the hot desert air.

An eerie atmosphere. Shacks in decay, some people and dogs in the distance. I realise that not all houses are abandoned. People have their eyes on me, dogs are barking upset by the car engine. I am undecided whether it is more spooky being alone in an unfamiliar desert or being observed by strangers. Luckily I have a telephoto zoom lens. When uncomfortable, I take photos from the car inside and drive fast further.

The unoccupied rotten shacks are now subject to grass-roots efforts to demolition for cleaning the bleak landscape. And what nature did not turn into ramshackle structure with time, the real estate market is transforming into lucrative opportunity, as the prices of the cabins are suddenly skyrocketing. I realise that unintentionally, simply attracted by the utopic-dystopic visual identity of this place, I have captured a moment of an impressive cultural heritage in transition.

HOÀNG LÊ GIANG

“The photographer uses the fitting phrase ‘home is wherever they roam’ to define the way of life for this nomadic family. This image is just like any other family group photo, with children posing, some people smiling, others more serious, someone looking away – perhaps uncomfortable in front of the camera. The usual, amusing familial quirks. However, as about 30% of the country’s population still leads a nomadic lifestyle, this is more than a family portrait and becomes a necessary artefact, encapsulating this culture of adaptability and survival.” – LIFE FRAMER

Photographer statement – Home on wheels: Now their “home” is packed on the truck, here is the photo of the whole 3 generations of Erzhan family.

When most people think of home, they visualize a fixed location, a place where they have roots, and where they feel safe and secure. Home is where the heart is, and for the nomadic family in Western Mongolia, home is wherever they roam. These photos taken in Autumn and Winter of the same family shows the beauty and simplicity of their way of life, as they move across the vast landscapes of the region with their yurts, livestock, and belongings.

In this series, we see that home is not just a physical structure but a way of life. The nomadic family in Mongolia has found joy and contentment in their simple existence, and their connection to each other and the land is what truly makes their home sweet home. It’s a reminder that their home is not just a fixed structure, but a way of life that’s connected to the land and the animals they care for. The photos also show the challenges that nomadic families face in modern times. You see them braving the elements, dealing with harsh weather conditions, and adapting to changes in the environment. But despite these challenges, you see a sense of resilience and adaptability in the family’s way of life.

LORENZO PALOMBINI

“A solitary subject draws the viewer’s attention into the scene where a sense of dejection and defeat hangs over the image and overpowers the surrounding physical destruction. The photographer’s visual representation of their subject matter is carefully constructed with symbolism and exactness, their interpretation of the theme clear and crucial. It’s an intriguing image layered with history and poignancy, that speaks eloquently and creatively to an aspect of the human condition.” – LIFE FRAMER

Photographer statement – There are revolutions that happen quickly, so quickly that change the concept of everyday life so radically that sometimes we don’t even realize it. Others arrive at a definitive maturation slowly, passing through phases of stagnation, sometimes waiting for favorable conditions for a restart. In my work, I have focused especially on a non-simple issue, women’s emancipation, and it often seemed to me that it belonged to the second category of revolution. Observing society, I wondered how it is possible that for many the role of women should be of so little importance and weight. In my work, the protagonist is blocked to what society has imposed to her for a long time, the house, with no chance of an alternative. For many women today this is still the only possibility. Why doesn’t she flee, what keeps her tied to that rubble? The impossibility of being able to choose. The situation I have presented is paradoxical as are the mechanisms on which “modern” and “civilized” society is regulated, which still today admits discrimination in this sense.

ALEXIS HOWARD

“The photographer creates a homely and spirited scene as they explore familiar spaces in an alternative way, understanding where the light falls and how the boundaries of a home are not just the physical structures. Warmth radiates from the image – a combination of sunlight, soft textures and simple tones that subtly communicate the idea of home as a feeling as much as a place.” – LIFE FRAMER

Photographer statement – I’m finding warmth within by chasing the light around my home and the homes of those dear to me.

ANTOINE BUTTAFOGHI

“A stunning scene of symbolism, elevated through shape, color and negative space. The home in this image appears inaccessible, as if the photographer has discovered a magical mirage in a desert snowscape. As the scene takes shape, the ornate cross structures emerge like reminders of our own mortality, the home becoming a final destination and the snow a space of limbo in between. A thought-provoking photograph that ruminates unexpectedly on the theme.” – LIFE FRAMER

Photographer statement – Quelques métres de l’éternité? Greenland, Aasiaat.

ANNA MOLLER

“An abstract portrait, but one of complete comfort and relaxed familiarity – a feeling usually found in your own home. The subject stares back at the camera, the viewer locked into her gaze as she occupies this ordinary space in an unusual way. The patterns – couch, pyjamas, laundry basket – dominate the image, clashing and creating a wonderful canvas for this girl to express her true self.” – LIFE FRAMER

Photographer statement – “Laundry”. My daughter, Alex in our apartment in Stockholm.

COLLEEN STEPANIAN

“There is plenty of character in this scene of rural life, however the two smiling people tucked into the corner of the farm landscape, although small, give this image its charm. As idyllic and attractive as it appears, it can also be a modest existence, immersed in agricultural tasks, wholly dependent on the land, at the mercy of nature. It’s clear the photographer has approached this image with familiarity and warmth, celebrating roots and tradition.” – LIFE FRAMER

Photographer statement – Home in the mountains of Dzoragyugh village, Armenia.

LUCY PINNELL

“Our homes are the epitome of a comfort zone – venturing away from their consistent security can be either a challenge or an adventure, depending on the individual. The photographer offers us an alternative view to this lifestyle, often depicted through social media as a constantly exciting, polished and almost luxurious experience. The low natural light and surrounding woodland almost camouflages the subject’s mundane act of grooming. It’s worthy of any travel publication looking for an authentic experience of life on the road.” – LIFE FRAMER

Photographer statement – Over the winter of ’22’/23 I embarked on a self-documentary project to capture my and my partner’s lifestyle during our overland journey from the UK to the Caucasus mountains. Living in a van, ‘home’ for me is everywhere, and it is nowhere. It is outdoors as much as it is in. With no roots put down, home has become a feeling, as opposed to a static place. It is an ever-changing landscape with one constant; us, and our van. Wherever we park becomes our home for the night.

I wanted to capture all elements of the journey, documenting the challenges of living in constant motion, travelling in a rusty 20 year old van and the hardships presented by the harsh winter elements. I also set out to capture the dull moments, the everyday duties we must perform with a lack of mod cons available to us. Our lack of routine on a journey eventually becomes routine in itself. With this series I wanted to offer a raw and unflinching look at our lives on the road, stripped back of the romanticism and charade that is often presented on social media, inspired by the images and stories of the new age travellers of 1980’s Britain.

GIANLUCA MUSCAS

” At first glance this appears to be the quintessential picture of ‘Home Sweet Home’, where the viewer can allow their thoughts to drift off into this quiet haven. However, after further contemplation a sense of isolation creeps in, and the ‘picket fence’ appears as surrounding security bars, as any feelings of welcomeness fades. An image of two sides, perfectly balanced image in shape, tone and interpretation.” – LIFE FRAMER

RIO LIHAN HELMI

“An unexpected scene greets the viewer, where the subject’s relaxed and casual demeanour is possibly the most surprising aspect of the image. Is this the driver of the truck, resting between jobs in an unconventional and even hazardous position? Or someone taking an opportunity to grab some shade from the midday sun, unperplexed by the unusualness of the perching place they’ve borrowed? Framed within the image a subtle colorway of yellow, red and green weaves its way throughout the photograph, the photographer catching a moment that is routine for some while alien to others.” – LIFE FRAMER

Photographer statement – My Hammock, My Home.

YANG WANG

“The photographer celebrates the many personalities of our ‘lockdown’ selves in an image full of energy, insight and personality. They welcome the viewer to harness their inner ‘nosey neighbour’ and survey each inch of detail within this person’s living space – from record collection to beauty regime, creative process to interior style. The ‘theater of life’ as they aptly put it. It’s an absorbing retrospective of the subject’s relationship with their home and perception of themselves.” – LIFE FRAMER

Photographer statement – Nothing better than a global lockdown for us to analyse our relationship with home. Physically isolated from the rest of the world, with deep introspection, we rediscover every aspect of the house. Theater of life. Through successive lockdowns, using modern photography techniques, I was able to put together the run of a day at home. Nesting, feeling good, feeling bad… home was a companion we learned to value.

EVY COHEN

“As the viewer absorbs this scene of destitution, it’s difficult to consider the phrase ‘Home Sweet Home’ , even in a cynical sense. No person would choose or hope to call this place a home, however due to circumstances, societal pressures and unforeseen personal events it becomes the only option for some. The photographer’s words are heavy and heartfelt, and they carefully, respectfully choose not to document a person in this situation, but rather their absence felt in modest belongings and sleeping space. It’s a haunting depiction of the reality of homelessness.” – LIFE FRAMER

Photographer statement – From the series Survivance taken in 2015 in Paris. I took this series of images in August 2015, on the abandoned circular belt railway delimiting Paris : “La Petite Ceinture” which had been in operation between 1854 and 1934. The areas are out of bounds and fenced off. Over the years it has become a playground for taggers. However I didn’t expect to discover that individuals, destitute of everything, had laid “spaces” of survival in the immense long tunnels that dot the abandoned line. I was shaken by deep sense of human dignity which emanated from these “homeless habitats”.

RICHARD TINDILLER

“Nothing can adequately prepare a person for losing their home – and when it’s due to a force of nature, it has another level of difficulty as there is ‘no one’ to blame. However, as the world gets more familiar with the term ‘climate refugee’ it becomes increasingly difficult for us all not to hold ourselves accountable for these climate crisis disasters. This image reads like a typical journalistic style photograph – the devastation and the person suffering from the devastation. The viewer is left to ponder the subjects’ fate, her t-shirt is like a little window into a quiet sense of commitment to the place she calls home.” – LIFE FRAMER

Photographer statement – Temani Kata stands amidst the wreckage of her lounge in Talafo’ou, Tonga, after it was destroyed by Category 5 Cyclone Gita in 2018. The photograph serves as a reminder of the power of natural disasters and the resilience of the Tongan people. However, it also highlights the growing concern regarding the impact of climate change on small island nations like Tonga.