1ST PRIZE: SANHITA BANERJEE

“This image of a shepherdess feels both biblical and like a story from literature. Of course, this is a contemporary image of a woman earning a living and this brings us back to her reality. The photographer has captured a beautifully composed scene built on impactful color and movement.” – AMANDA HAJJAR

“Almost like a painting from the impressionism era, this image is awash with earthy tones punctuated with a figure of bright colours, partially engulfed in a cloud of dust. The life of a shepherd or shepherdess seems to share similar aspects regardless of geography – a predominantly solitary occupation full of knowledge of the surrounding landscape and its native wildlife. This image seems like a true celebration of this ancient vocation.” – LIFE FRAMER

Photographer statement – Shepherdess in Red. Domesticated livestock form the backbone of the livelihood of many in rural Vietnam.

2ND PRIZE: JOHN TERJE PEDERSEN

“This photographer has immortalized the journey of an acid attack survivor. The use of light and pose of the survivor shows strength, hope, humanity and nostalgic emotion for what was lost.” – AMANDA HAJJAR

This poignant portrait set within a seemingly safe and calm environment, stirs up a storm of emotions for any viewer – the physical and psychological pain of this woman, Gloria, is unbearable to comprehend. The photographer has taken great care to choose an ambient and gentle backdrop, the use of natural light leaking through the curtains bringing a sense of softness to resonate with the subject matter and Gloria’s statement “… today I am calm. Filled with peace. It’s best for my own part not to be angry or bitter…”. A well considered photograph that captures an astounding personal resilience, enabling the full story to be told within a single image.” – LIFE FRAMER

Photographer statement – I’m Not a Victim, I’m a Survivor. Acid violence against women in Uganda. On May 21, 2009 Gloria Kankunda (38) was subjected to an acid attack from an unknown ‘hitman’ outside her home in Kampala. After initial emergency treatment in her home country, she was flown to Cape Town, South Africa for further treatment. She stayed there for almost two years, before returning back to Kampala.

Acid is a very effective and affordable way to inflict great harm and suffering on people. It is easily accessible and costs no more than 1 USD. 90 percent of the victims are women, and the attacks usually happen because a woman has either rejected a man, or wants out of the relationship. In cases where men are affected, it is almost always business-related. Those who survive attacks often have major injuries, both physically and mentally. Gloria herself fought hard not to fall into a deep depression, and to be able to return to society.

“Accepting the injuries and my new appearance has been a long process, but today I am calm. Filled with peace. It’s best for my own part not to be angry or bitter. The scars have become a part of me” says Gloria.

CARL DE SOUZA

“As humans it seems our similarities are greater than our differences, however our experiences are not as easily compared. This image is full of juxtaposition, possibly a familiar sight for some viewers and a scene of utter unfamiliarity for others. We’re led into the image by the two central figures, a father and daughter, seemingly unphased by the abandoned, burnt out tanks that frame them and more focused on the playground ahead, enveloped in the sun with children at play and people going about their day. It feels as if the photographer has left it entirely up to the viewer to decide whether the abandoned vehicles of war or sunny swings dominate the scene. Regardless, it’s a stark scenario, reminding us all that plenty of people have to accept these surroundings, and the emotional and physical burden they wreak, as part of their daily lives.” – LIFE FRAMER

Photographer statement – A young girl is led by her father into a playground past destroyed tanks in Tripoli, Libya.

SHINYA ITAHANA

“A compelling single image, the atmosphere of the impending storm enhanced by the black and white tonal range. Tibetan Buddhist Nuns aren’t so commonly documented, and so this photograph feels like a hidden window into a world rarely seen at a time when these figures are fully immersed in their faith and praise. This scene is full of excitement and anticipation while also exuding a sense of serenity. It’s a strong photograph leaving the viewer wanting more.” – LIFE FRAMER

Photographer statement – Nuns worshiping. Tibetan Buddhist nuns worship (prostration) single-mindedly at the golden statue of Guru Rinpoche in Eastern Tibet amidst a looming storm.

SUDEEP LAL

“What a joy to come across this candid scene full of complimenting colours and layered with light. It truly feels as if the photographer has uncovered a magical moment and was quick to frame it with these beautiful murals of Indian women in traditional garments. Immense as they are, they are not intimidating to the viewer or distracting from the smaller subjects nestled at the heart of the image. The photographer, it would appear, has a great understanding of how to carefully capture and highlight the organic scenes they witness.” – LIFE FRAMER

Photographer statement – Tender moment – This photo was made during my travel to the city of Jodhpur, Rajasthan. I was exploring the old ‘Blue City’ when I came across this scene of a girl holding a baby in her arms. It was a beautifully tender moment, and I immediately composed and made the picture.

TOMAS DERNER

“This image is full of detail, a compelling composition with an intriguing angle for a portrait. It immediately brings many questions to mind around the photographer’s intention when taking and showing this image. It’s very difficult to understand an entire city of people through one image, and just as difficult to understand a person’s life, but as the photographer states they aim to get first hand experience of Bangladesh and showcase both the good and bad. Highlighting humanitarian issues is an honorable purpose but what responsibility does a photographer have when documenting scenes like this? Seeing the work within a wider view of the series might give this arresting image more context.” – LIFE FRAMER

Photographer statement – At the beginning of 2022, I had the privilege to join my friend on a trip around Bangladesh. This trip was one of the most influential experiences in my life. Bangladesh is a South Asian country marked by lush greenery and many waterways. It has almost three times higher population density compared to India. It’s really hard to imagine how dense it is and it takes a bit of time to get used to. This brings a number of serious humanitarian problems the country is battling with. My mission was to get a first-hand experience and to document the good and bad this unique country can offer.

DEBBY MOSSEVELD

“However visually appealing the curves, colors and patterns of this photograph are, the contrasting subject matter illustrates a scene of exploitation, and to ensure there is no misunderstanding of this, the photographer states the symbolism of the shadows and assures you there is no room for theorizing – these people are working in extremely hard conditions for extremely low pay. Ashamedly, understanding a society of people beyond cultural visual tropes can still prove difficult for some, hence giving a voice to those documented is just as crucial as the images captured and the facts gathered. Seeing this image within a full series would help understand how the photographer continues to weave the true experiences of these people within their striking photographic style.” – LIFE FRAMER

Photographer statement – Sand porters in Dhaka, Bangladesh. At the riverside, vessels are being unloaded manually. The workers only earn 2 USD/EUR a day. To emphasize their hard work, they are being mirrored by their shadows in the sand. I visited Bangladesh in November 2022 to photograph daily life and to give face to the friendly local people that are living a hard life.

SANDRA MORANTE

“It feels as if the road has delivered this little girl right to the camera with perfect timing, bringing with her a welcomed sense of curiosity and mischief. The perspectives are pulled into the shot with skill and playfulness, enabling the landscape to be enhanced by the presence of the child rather than disrupted by them in any way. The isolation insinuated doesn’t feel like it’s intended as a threat, and seems more an accepted understanding of mountain living, a perception of freedom underpinning this charming composition.” – LIFE FRAMER

Photographer statement – Girl in the solitude of a mountain scenic view in Zanskar, India.

DANICA BLAJDA

“This image of basic human connection brings an immediate sense of calm to the viewer. It’s easy to wonder who all the hands belong to – father, mother, sibling, grandparent, or even strangers staged for a particular purpose – expressing their love, hopes and well wishes simply through touch. But perhaps it’s less about understanding who these people are, and instead visualizing our interconnectedness, and the many ways in which we touch on each other’s lives. The beauty of pregnancy can be very easily overlooked due to society’s stereotyping, but this intimate moment – with the right level of ambiguity to feel universal – has been sensitively captured and cleverly cropped.” – LIFE FRAMER

CATHERINE FALLS

“An aesthetically pleasing portrait of angles, reflection and natural light, with the natural wood frame echoing the skin tone of the subject, and their red lipstick subtly stealing the scene. Documenting a person’s transition from one character or gender to another is always a fascinating series of scenes – slowly revealing one side as the other is simultaneously concealed. A lovely, well-composed portrait that speaks to ideas of identity and expression.” – LIFE FRAMER

Photographer statement – Becoming Clapmutt.

JOÃO GOMES

“An image that has a sense of reflection and autobiographical qualities framed within it. The strong use of shadow to surround the subject encourages the viewer to really hold the gaze of the one eye staring back, inviting them to really see and think about the face they are consuming. It’s a classical approach to a portrait but with enough mystery to generate a sense of mirroring.” – LIFE FRAMER

Photographer statement – Through the eyes of a photographer you can imagine what he is seeing. There’s a whole world of possibilities to construct, to discover, to frame. This is my friend Pedro, a concert photographer and in this situation I leave a question: which concert is he imagining in is mind? December 2022.

RICHARD MARTINEZ

“In recent times there have been few color combinations more iconic than yellow and blue. The Ukrainian flag has grown beyond being a representation of a certain country, and into a symbol of strength, hope and resilience. The photograph on a basic visual level is full of clever pattern positioning, but on a deeper subject level it is one of empathy, sympathy, loss, pain and patience. I would love to see more of the series and learn about the participants’ stories.” – LIFE FRAMER

Photographer statement – Yegor and Kirill, young Ukrainian refugees. From my series L’attente infinie (The Endless Waiting) about Ukrainian Refugees Families in Geneva, with a constant background of colors that provide a reminder to their country’s flag.

TOMMASO CARRARA

“This photograph, taken overlooking Fez, Morocco, is of course a cityscape but reads more like a portrait, one full of human curiosity. It’s not difficult to identify with this solitary figure – face turned away from the camera, gazing out from the hilltop over the city in the low sun. We’ve all been there, taking a break mid-walk, hike or commute, to look out over sprawling dwellings and developments, letting our imagination takeover and speculate the stories unfolding beneath us. However, as the viewer of this image, you’re more focused on the figure themselves: “What are they pondering? What are they seeing?’ Why are they on their own? Do they know we’re watching them?…”. An enjoyable composition that speaks to one of the many, many lives in our vast urban landscapes.” – LIFE FRAMER

ALAR KIVILO

“It’s always interesting to view a portrait without a face on display – often they can feel just as relatable, as this one comfortably does. The soft tonal range and attention to detail of shape and texture act to radiate a perception of care and warmth, even though the subject’s posture may seem weary and downbeat. A genuine, thoughtful image – with a well considered style – which many people will be able to relate to. Additional text on the relationship between photographer and the subject, their mother we’re told by the title, would be welcomed.” – LIFE FRAMER

ANNIE TONG

“There’s an immediate sense of pride and responsibility as soon as you set eyes on the subjects within this scene – it almost feels as if the photographer has captured the exact moment that these boys become young adults. It provides an interesting snapshot of inherited traditional roles – the colors and tones of the image really lending themselves to the atmosphere, as if visually representing the noises of the neighborhood.” – LIFE FRAMER

Photographer statement – Young Men and Goats. These young men and boys have been put in charge of looking after the family goats, at least for the next few days. This photograph was taken a few days before the August 1, 2020 Festival of Sacrifice in Bangladesh when these goats will be sacrificed in the ceremonial offering to Allah. Dhaka, Bangladesh.

EDDY VERLOES

“What might initially appear to be a non-eventful scene suddenly becomes an arresting image, born out of initial confusion as to the subjects’ positions on the sand and the meaning of the empty wheelchair. Warmth and kindness radiates from both the people involved in the image but also from the photographer’s approach, highlighting the wonderful significance of a simple scene. They achieve this through their minimalist use of colors and tones, with a natural, empty backdrop complimenting the subjects without distracting the viewer.” – LIFE FRAMER

Photographer statement – I confront the viewer not only with the insignificance – sometimes even pathos – of man in nature, where he is only a spot in the great whole, but, at the same time, I set my sights on that same spot and my photos raise a gentle or even broad smile on our faces. What, in fact, are we doing here? How do we fritter away our time on this planet? We race past ourselves all year round only to make up the “lost time” in one paradise or another. In some of my photos I expose the person both literally and figuratively, not to hold them up to ridicule directly, but rather to show how they essentially are. Perhaps nature is the point of light and/or repose in the search for man himself.

PATRIZIA CALÍ

“A stunningly composed portrait, sensitively balancing subject and environment. The photographer’s understanding of natural light and how it falls through the forest scape is perfectly implemented. It feels as if the subject is comfortable in taking this pose as if they chose it, with little direction from the artist. It would be interesting to see how the series is documented in full, how the photographer develops their style and stated aim “to capture their strength, resilience and effort, smiles and pride”. Do we hear from the porters first-hand about their experience and how this way of living impacts them and their families? That would make for a strong piece of documentary storytelling, beyond this one fantastic image.” – LIFE FRAMER

Photographer statement – From my series Porters of Kilimanjaro, Tanzania 2022. Porters travel up and down the Kilimanjaro everyday, enabling thousands of top-geared tourists to reach their summit dream. Balancing impossible weights on their heads and shoulders, often with inadequate equipment and with hands in their pockets, they will pass you with a smile and a loud “JAMBO JAMBO!” (partly a greeting, partly a way to make you aware that they are overtaking at faster pace). To me, as fascinating and beautiful as the views of the mountain are, I wanted to capture their strength, resilience and effort, smiles and pride.

MICHAEL SCHNABL

“A satisfying color palette welcomes your eye to this marriage of portrait and street shot. The three subjects greet the camera with quiet confidence, their expressions worn comfortably, without revealing if this moment was created or discovered. Regardless, the three men seem comfortable in their setting full of detail and personality. The photographer appears to have a graceful and detail orientated approach to their work, and the title ‘Harbour Kings’ captures their character with dignity.” – LIFE FRAMER

Photographer statement – Harbour Kings – Three men at the Dubai Creek sitting on a sofa.

DAVID M. M. TAFFET

“The elements within the image are as contrasting as they are complimentary – the striking figure in her full-length emerald gown with thick black boots, the warm, glowing colors of sunset boldly interrupted by the lackluster tarmac, the doves perching proudly within their confined compartment – all no doubt intentional aspects considered by the photographer. This is a strong standalone photograph, but is perfectly placed as it ties the narrative of a wider story together with both humor and sensitivity.” – LIFE FRAMER

Photographer statement – Two Turtle Doves. For years, the Community Harvest Church, which is located in rural Ohio, has staged outside a live nativity that attracts thousands. As part of the live depiction, the church congregants corral animals and dress in period costume. Although the congregants attempt to recreate as best they can their conception of Christianity, following Jesus’s trajectory from birth through his resurrection, the realities of country life married to cultural appropriation lends an air of humor and irony evident in striking juxtapositions and poignant poses.

VLADIMIR KARAMAZOV

“Although an exceptionally lit and composed image, bleakness encompasses every inch of this scene. The photographer’s accompanying text simply stating ‘The End’, enforces the overbearing sense of hopelessness and misery. The photograph conjures immediate feelings of sympathy and regret for the woman, alone in a dark, dilapidated room, her surroundings desired by very few. It would be great if the photographer could expand on the text and help the viewer understand if the initial statement is one of fact or projection. A beautiful but sorrowful portrait.” – LIFE FRAMER