Awarded by Jacque Jackson, Lafayette Hicks and Sarah Jane Rabideau
Category: Judges Choice Awards
We are proud to share with the Judges Choice Awards from our 8th international competition celebrating the very best in documentary family photography.
Preliminary round judges Jacque Jackson (United States), Lafayette Hicks (United States) and Sarah Jane Rabideau (Canada) were asked to choose three photographs and one series that they personly believe deserve recognition.
The pandemic took a serious effect on the everyday life of my family. As a father of four the closing of schools and daycares, home education and generally the long closeness was a great challenge, while my job and the main income of my family was in danger. The lockdown of the borders made my situation even more complicated: getting to my workplace in Austria from Hungary got very unsure. Besides all negative effects, the lockdown caused also a lot of positive outcomes. Since I started working 20 years ago, I never had the chance to spend so much time together with my family, which is in hindsight quite a scary recognition. We have spent a lot of time learning, playing, reading, watching movies, cleaning, gardening, resting, all the everyday things… together! It was an eye-opening experience that we should take with us, as life gets back to the new “normality”. I wanted to ease the contradiction between financial insecurity, claustrophobia and the never before experienced amount of quality time spent together with my family. I took my camera and documented these 6 weeks of our family lockdown. The photographs are analogue, self-developed and scanned at home.
Mask: a protective covering This photo series is in honor of my ancestors who smiled when they were not happy, laughed when nothing was funny, and cried when they were not sad so that I could be here today.
“Would you like to play being a serpent or a bird, a long voyage on a ship or on the train, all the good things, a Christmas and dreams and a happy lover, too, who only seems to cry, who only pretends feeling blue? To live inside a play which has become fully true, how’d you like living like that forever and ever? And here is a scene: between flowers you lie on the ground… Would you like to play that we die?” (Translated by Tamás Kalebdó)
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