In addition to the monthly themed competitions we’ve shaped an annual series award for photographers who would like to submit a body of work… Any topic, any genre, any format.



The winner will receive their own exhibition at Fisheye Gallery in Arles – a renowned photography gallery with locations in both Paris and Arles. It acts as a global hub for photographic practice, hosting an international program of exhibitions, talks and events, as well as representing exciting emerging artists in the photographic sphere. The gallery is part of the Fisheye group, whose magazine of the same name is devoted to current events in photography and the role of this art in our society from an economic, cultural and sociological point of view.

The grand winner of the Series Award will be selected by Jehan de Bujadoux, art historian and director of Fisheye Gallery.


Our guest critic team gives structured and detailed feedback on every Series Award submission, with the aim of helping each photographer develop their practice. Feedback is designed to give a fresh perspective and professional insight into aspects such as photographic technique, statement writing, sequencing and editing, and story-telling.



> Open call for entries

Enter a photographic project on any topic, of any genre, and in any format.  We’re interested in the execution, the originality and the meaning of your art. There are no categories or themes so just enjoy the freedom and submit your main body of work.

> How to enter

The Series Award is only open to members of Life Framer, and entries are open until the end of the current edition of the Life Framer Award – 31 October 2020. Each series submission should be comprised of  5 to 20 photos. Membership cost is 100 USD, after which the Series Award is free. Members submit via their ‘my LF’ page.

> Upon submission

Following your entry you’ll also be able to enter the subsequent 12 monthly themes of the Life Framer Award (including across Editions). You’ll be granted access to ‘my LF’ with access to exclusive membership features.



Anabela Pinto was announced as the winner of our Edition V (2018/19) Series Award with her series Precious Things, judged by Yan Di Meglio of Galerie Intervalle in Paris. He chose Anabela’s work for “her ability to free herself from the inner reality of photographs with this intimate and common subject matter, delivering a photographic work that is both delicate and powerful”. Anabela’s work was exhibited at Galerie Intervalle from 17 January to 11 July 2020.

“Precious Things is an ongoing series that reflects on the contours of materialistic desire and its relationship with the pursuit of happiness. Even when less visible, the presence of technologies as well as our interactions with consumer objects is a constant that transforms our living environment, creating new visual landscapes and specific aesthetics that tinge and shape our everyday rituals. Steeped in nostalgia, home electronics become the main subjects in open ended narratives that incite the imagination of the viewer, while speaking of closeness, dependence, frustration, and happiness, that inherently relate with objects of desire – our precious things.”– Anabela Pinto

Anabela Pinto, like Marcel Duchamp a century ago, does not just reproduce reality with her defined vision of what we would call the “everyday life”, but she also questions along the way the relationships that we have with these everyday consumer items. The staged photographs place the viewer at the center of the work, and all the more so since these scenes speak to everyone. As with Duchamp’s Ready-Made, her work is inhabited by a strange familiarity, however this impression of “déjà vu” is a pure illusion that she magically orchestrates.

Yan Di Meglio


Dillon Marsh was announced as the winner of our Edition IV (2017/18) Series Award, with his series For What It’s Worth. Judged by Gerardo Montiel Klint, Ana Casa Broda and Gabriela González Reyes of Hydra + Fotografía Gallery in Mexico City, they chose Dillon’s work for his seamless and inventive combination of photography and computer-generated imagery in exploring a timely and important environmental issue. Dillon’s work was exhibited at Hydra + Fotografía from 6 December 2018 to 15 January 2019.

“Whether they are active or long dormant, mines speak of a combination of sacrifice and gain. Their features are crude, unsightly scars on the landscape – unlikely feats of hard labour and specialised engineering, constructed to extract value from the earth but also exacting a price.

These images combine photography and computer generated elements in an effort to visualise the output of a mine. The CGI spheres represent a scale model of the total amount of metals extracted from the ground. By doing so, the intention is to create a kind of visualisation of the merits and shortfalls of mining in South Africa, an industry that has shaped the history and economy of the country so radically.” – Dillon Marsh

This project is interesting from many different angles: It makes a reflection on society, the economy, politics, capitalism and ecology. And at the same time it addresses the boundaries and crossover between the mediums of photography and of computer-generated imagery in a seamless way that relates to our everyday experiences in cinema, TV and transmedia, where reality and fiction are not easy to distinguish.

The presiding jury


The winner for 2017, selected by acclaimed fine-art photographer Mona Kuhn, was Frederik Buyckx with his series ‘WOLF’. His series was presented at a solo exhibition at Matèria Gallery in Rome from 8 June to 4 July 2017, curated by Mona, Life Framer and Matèria Gallery owner Niccolò Fano.

Looking through the images of Frederik Buyckx, words such as magical, ethereal, and enigmatic spring to mind. Perhaps it is the way the Belgian photographer deftly renders the scenes before him in black and white, his touch subtle and light; or maybe it is the intrinsic beauty of the landscapes and the compositions he makes in and of these places. Surely it is all of these things, yet a second glance confirms what we already know: these images are ultimately indefinable, they exist in a realm of their own, and no matter how hard we try it is impossible to put a finger on what makes them so captivating.

But that is precisely the joy of such a body of work – one that delights in its mysteriousness. Motivated by a desire to immerse himself in nature and experience both its beauty and fearsome spirit first-hand, Buyckx journeyed across Europe, crossing paths with people and animals who live off the land. Allowing himself to be at one with the landscapes he encountered, in the way a wolf might, Buyckx embraced the inevitable loneliness that came his way, deliberately entering into uncomfortable situations so he could photograph what he was seeing and experiencing in the most real way possible.