From the Bulgarian mountains to the Antarctic penguins that accompany hikers, from Bolivia’s salt marshes to German breweries, the winners of Life Framer’s World Travellers photo contest are incredible.
The 2022 contest was judged by famed photographer Steve McCurry, a member of Magnum Photos, a four-time World Press Photo winner and author of many of the most iconic photographs of our time.
The guideline is simple: there is a world to explore. Open your eyes to its landscapes, its people, its cultures, at your door or 10,000 kilometers away. Broaden our horizons with perspectives from all corners of the world.
The winners and the pre-selection of 20 photographs come with street photography, landscapes, portraits, documentaries and conceptual works. It occupies in our vast global and the sense of accomplishment to explore beyond.
The Life Framer Photography Awards feature artistic photographs by amateur and professional artists. Each annual festival is overseen by a world-renowned photographer or industry professional and the winners are showcased in galleries around the world.
Members of the French Navy’s bagpipe organization “Bagad Lann Bihoue” stopped at the Sphinx in October 2020, their first and only covid exit. practically empty of tourists, making it a very surreal scene to stumble upon.
Steve McCurry commented, “It can be tricky to create a non-public attitude at prominent sites. This symbol looks original and tells a story.
Cradling a lamb in its embrace opposite the backdrop of unforgiving terrain, the symbol provides a concept of the mixture of hardness and softness required for such a life.
Looking beyond the frame, the theme gets lost in the idea as it walks through its landscape, and we are invited to its global for a moment. With lovely lighting, the bright colors of its homemade canopy and an ideal pose, it is a symbol. which celebrates that it denigrates such a way of life that it would possibly seem so far removed from ours.
For many, travel is synonymous with rest and this water-blue pool offers a cozy escape as a pocket of tranquility among the chaos of apartment buildings, cranes, yachts, power lines and umbrellas.
A well-balanced scene that appeals to the fashionable concepts of leisure, tourism, wealth and prestige – few options are more closely related to words like Monaco.
This symbol of a surfer in Busua, Ghana, appears in an ongoing assignment called “The Dreams We Had” that the photographer is performing in Ghana and Sierra Leone.
“I try to capture the lives of children and teenagers in other cities,” said Reina de los Angeles, explos angelesined. “The goal is to find out how different it is to grow up in other parts of the world and how some of those young people are dreams and aspirations. “
The symbol is a wonderfully evocative and low-key portrait of this Ghanaian girl, far from the symbol of a surfer that most of us will have in mind. Taking a step back, De La Reina takes root in this beautiful landscape and reminds us of the global rich that exists beyond the stereotypes and barriers we have.
Taken at dusk when the light begins to fade, fading the colors of the day, the photographer creates an atmospheric scene that resembles an oil painting.
The powerful baobabs dominate this exclusive car that makes its way through the landscape, achieving with its exclusive forms a vast and empty sky. It is a magical moment full of adventures, one of those privileged and unforeseen glimpses of good looks to which we are entitled when to a new place.
Shot in soft, faded, contrasting tones against a backdrop of lush hills, Kin Chan’s portrait of those Tibetan artisans is dreamy and evocative.
There is something theatrical about the arrangement of other people and lanterns, and it is a symbol that persists thanks to it.
It was taken from Bolivia’s Salar de Uyuni, the world’s largest salt desert, a legacy of a prehistoric lake that dried up, leaving a landscape of nearly 11,000 square kilometers of bright white salt, rock formations, and islands dotted with cacti.
“During the rainy season, the salar total is a huge mirror and you can’t tell the difference between the ground and the sky,” says the photographer.
This staircase to nowhere, sculptural work of the artist Gastón Ugalde, made purely in salt, aims to constitute “the passage to heaven”.
The trips will be offering us the opportunity to see impressive architecture, works of art and monuments. Travel photographers will need to be aware of a certain truth: the symbol of something impressive is not an impressive symbol. This photo elevates the stairs beyond an indisputable tourist snapshot.
Taken from an augmented point of view through a drone opposite a setting sun, it maximizes the feeling of scale and texture marked through the tires of the salt flats. With the shadows drawn and the solitary silhouette, it is hypnotic, at first glance as if the staircase was advancing above the low clouds.
Oktoberfest, an annual 16- to 18-day folk festival that takes place from mid-September to the first Sunday in October in Munich, Germany, is the world’s largest festival, with a beer festival and traveling amusement park attracting more than six million and domestic visitors.
Locally it is called d’Wiesn and is a component of Bavarian culture, having taken a position since 1810. Other cities around the world also have Oktoberfest celebrations that are animated through the original Munich event.
Large quantities of Oktoberfest beer are fed at the celebration. The record was set in 2014 with 7. 7 million liters served.
This animated aerial shot in pastel tones in a crowded brasserie is a visual feast, allowing a glimpse of the curious tactics with which we celebrate culture and spend our free time. it provides an engaging observation about the genuine and the artificial, the network and capitalism, while also providing fun fun that explores all the other people and the main points the photographer captures with sharp focus.
This symbol of boys playing football in the damp streets of Havana’s Malecon is almost imperishable, the remedy in black and white and the silhouettes that separate it from a position in time.
When we think of Cuba, we think of the blue sky, colorful buildings, and busy streets. It is refreshing to see this perspective, brilliantly composed to allow the viewer to be impregnated with each and every figure and each and every detail. They say bad weather makes photography smart, and in this case it’s true.
Only the maximum and minimum declarations of symbols are provided next to this piece of loose life across the sea. So you wonder who these young people are. Or do you take a look to pick up tourists next to the food stall to ride horses on the beach?
Either way, it’s an exceptional composition, with one and both frame pixels full of interest and the photographer’s squatting point of view locating a sense of order, with details that have their own space. It’s a deceptively difficult thing to achieve: creating a satisfying visual arrangement that anchors the viewer in the moment in such an immersive way.
A migrant from Haiti stands near the Tijuana Border Wall, a symbol of separation, supremacy and racism.
Travel can be driven by interest and preference for fun, but also by need. In a world where we create synthetic borders and where discussions about immigration can reduce other people to numbers, this symbol of the border wall between Mexico and the United States makes the idea of huguy action real: a single man facing the sea and the text of a handwritten letter on the wall that acts as a poignant reminder that everything is motivated by cases and hope. to find something better on the other side of the journey.
The moon in front of us is possibly a small ray of hope, suggesting that compassion and unity may overshadow worry and otherness.
Route 66, the highway that divides the United States from Los Angeles to Chicago, is a cultural touchstone, synonymous with American road travel.
It is so ingrained in our popular consciousness that its visual language —endless direct roads, remote fuel stations, motels, and old neon signs— has become a cliché, overly photographed, and perversely uninteresting.
However, it is a long road that covers an almost infinite variety of terrain, and this symbol gives something else from those hackneyed perspectives. The signage could be easily recognizable, but the lonely tree sprouting from an undeniable home is opposed to a thick one, The Misty Sky creates a scene immersed in a ness, a “nowhere” of being indifferent to an express location.
Road trips are about adventures, about delving into the unknown in search of new experiences, and this attractive symbol channels those emotions effectively.
Partially hiding this scene by filming in the fog and golden morning light, the photographer creates a scene that, while capturing a tourist side of Myanmar at this puppet stand, also feels original and charming.
One can believe oneself instead, explore the streets and soak up the surroundings while the busy day wakes up in a beautiful shot that makes glorious use of light and shadow.
In Kyrgyzstan, many earn their living as shepherds. They rarely own their own sheep, but they get a small source of income from managing them for others.
Comfort is minimal, but still sought: a cigarette when possible, a mountain to get the most productive cell phone reception, share a YouTube video with a friend, eventually go home, and repeat the procedure the next day.
One can idealize this way of life as more in tune with the world of herbs, but the truth is much more complicated.
“I spent only 10 days in the diversity of At-Bashi Mountain with Kyrgyz shepherds and their families, in small villages and a local school, following and observing their routines,” Kramer said. “They spend all day, each and every day, with this reality. Intentionally stepping out of our convenience for adventure is a disappointment in itself, yet the spectacle and the true good looks of nature bring wisdom and wonder. Living there constantly comes at a cost.
Kramer offers an engaging attitude about the nature of travel and tourism, about the sensitive facet of voyeurism inherent in experiencing the thrill of a life harder than your own.
Its setting captures something of this ordeal: the icy bloodshed that emanates from the scene in a superbly aesthetic way; the sheep and the mountainous valley cutting strong diagonal lines; and the soft bright veil that makes the scene almost black and white. It is immersive and tactile.