Nearly half a million images were submitted to this year’s Sony World Photography Awards, organized by the World Photography Organisation, marking another highly competitive, awe-inspiring selection of moments captured across the globe. Now in its 18th year, more than 419,000 contributions rolled in from more than 200 countries.
The photos shown here are all entries in the Open competition, which invites amateur image-makers from around the world to submit their best compositions. Additional contest streams, for which many of these images are also considered, highlight the work of professionals, students, specific regions, women, and youth.
Winner, Travel: Matjaž Šimic, Slovenia, “Ask a Shaman.” Shamans play a major role in Native Bolivian traditional culture, La Paz, Bolivia
From dramatic landscapes to cultural customs to one-of-a-kind travel experiences, the winning and shortlisted photos capture beautiful and diverse ecosystems, locations, and traditions. The contest “celebrates the ability of an individual photograph to capture and distill a singular moment, and to evoke a broader narrative,” says a statement.
The overall winner of the Open Photographer of the Year will be announced on April 16 in London, where the 2025 exhibition opens at Somerset House and runs from April 17 to May 5. Explore all of the top shots on the awards’ website.
Shortlist, Travel: Khai Chuin Sim, Malaysia, “Wings of Tradition.” This pair of Kazakh eagle hunters was photographed in the vast and rugged landscape of western Mongolia. Clad in intricately detailed fur garments, they sit atop sturdy horses, with golden eagles perched majestically on their armsShortlist, Travel: Chim Oanh, Vietnam, “Incense Flowers.” Workers dry colorful incense before taking it to sell at the marketShortlist, Landscape: Yoshiaki Kudo, Japan, “Blossoms in a Dreamscape.” Weeping plum trees in full bloomShortlist, Lifestyle: Syed Mahabubul Kader, Bangladesh, “Paddy Straw.” A group of workers unloads paddy straw from a truck. The rice straw is a by-product of farming that is used for a variety of purposes, including as cattle feed and fuelShortlist, Landscape: XiaoYing Shi, China Mainland, “Ground Vein.” Aerial view of Factory Butte, UtahShortlist, Travel: Kunal Gupta, India. “The Colours of the Andes.” Set against the backdrop of Peru’s Rainbow Mountain, two elegantly adorned alpacas stand as symbols of the rich Andean culture and the timeless bond between humans and natureWinner, Lifestyle: Hajime Hirano, Japan, “Akihabara.” The prototype of today’s Akihabara was a gathering of street vendors selling parts for radios. After the late 1950s, during a period of rapid economic growth, Akihabara grew into “Japan’s largest electronics town.” Today, it is famous worldwide for its anime and cosplay cultureShortlist, Landscape: Francisco Negroni, Chile, “The Lord of Volcanoes.” Villarrica is the most dangerous volcano in Chile and one of the most active in America; its last eruption occurred in 2015. In this photograph a strong electrical storm can be seen over the volcano, while the crater is illuminated by the lava pitShortlist, Street Photography: Angela Magalhães, Portugal, “Feast of St. Martin.” The Magusto festival in the city of Braga is celebrated not only by eating chestnuts and drinking ‘água-pé’ (a traditional Portuguese spirit) but also by dancing, singing, and jumping the bonfire where the chestnuts are roastedShortlist, Travel: Arun Saha, India, “Floating Market of Myanmar.” Early in the morning, hundreds of vendors come to sell everyday necessities to both local consumers and tourists at Myanmar’s Inle LakeShortlist, Travel: Akram Menari, Algeria, “Get Ready!” The intricate details of the horse’s hoof emphasize its strength and poise; the hoof appears taut and ready for action, perfectly in sync with the rider preparing to engage in the equestrian sport. The photograph was taken just before a game began
In the Jordanian desert, Syrian families displaced by war huddle atop stacks of boxes like stalwart islands in a dry and unforgiving landscape. Photographer Nick Brandt captures children, siblings, and entire families who stand together and climb skyward like monuments or promontories—what the artist describes as “pedestals for those that in our society are typically unseen and unheard.”
The series marks the fourth chapter in an ongoing series called The Day May Break, which has taken Brandt around the world in search of visual stories illuminating the effects of the climate crisis.
Brandt began the series in 2020, reflecting on myriad experiences of “limbo,” both in the midst of the pandemic and relating to the tenuous ecological balance of our planet. In an essay accompanying Chapter One of The Day May Break, Brandt writes:
Nearly twenty years ago, I started photographing the wild animals of Africa as an elegy to a disappearing world. After some (too many) years seeing the escalating environmental destruction, I felt an urgent need to move away from that kind of work and address the destruction in a much more direct way.
Brandt began the series in Zimbabwe and Kenya, focusing the first chapter on portrayals of both people and animals that have been impacted by environmental degradation and destruction. Every person he documented was deeply affected by the changing climate. “Some were displaced by cyclones that destroyed their homes,” Brandt says. “For some, like Kuda in Zimbabwe, or Robert and Nyaguthii in Kenya, it was more tragic: both of them lost two young children, swept away by the floods.”
For Chapter Two, Brandt traveled to the Senda Verde Animal Sanctuary in Bolivia, where wildlife affected by trafficking and habitat destruction are cared for. And for Chapter Three, subtitled SINK/RISE, he took his camera into the ocean off the coast of Fiji, focusing on individuals whose livelihoods have been impacted by rising sea levels. Plunging decrepit furniture onto the sea floor, individuals and families interact with one another entirely underwater.
For the series’ newest addition, Chapter Four, subtitled The Echo of Our Voices, Brandt traveled to arid Jordan, one of the most water-scarce countries in the world. The dramatic black-and-white photos feature refugee families who fled the war in Syria. Perched on stacks of cubes, they transform into living monoliths, symbolic of resilience, surrounded by the rugged, sandy expanse.
The photographer says, “Living lives of continuous displacement largely due to climate change, they are forced to move their homes up to several times a year, moving to where there is available agricultural work—to wherever there has been sufficient rainfall to enable crops to grow.” Parents stand alongside their children; siblings embrace; and families are shown alternately gazing into the distance, turning to one another for comfort, or taking time to rest.
“This chapter is different from the first three chapters, both visually and emotionally: a show of connection and strength in the face of adversity; that when all else is lost, you still have each other,” Brandt says. Explore much more work on his website.
From the glowing Milky Way above a Montana lake to firework-like flowers in the Brazilian savannah at sunset, the winners of the 2025 World Nature Photography Awards highlight the endless wonders of our planet. In categories running the gamut of animal portraits, landscapes, urban wildlife, and more, photographers around the globe captured incredible views of creature behaviors, terrestrial vistas, and astronomical phenomena.
“The World Nature Photography Awards were founded in the belief that we can all make small efforts to shape the future of our planet in a positive way,” says a statement, “and that photography can influence people to see the world from a different perspective and change their own habits for the good of the planet.”
Bronze in the Bird Behavior category: Mohammad Murad, “A sword in the chest.” White-cheeked terns, Kubbar Island, Kuwait
The 2025 edition of the contest saw thousands of entries submitted from 48 countries. The grand prize went to Maruša Puhek’s bold image of two deer leaping through a vineyard.
Many of the winning photos highlight the vulnerability of the earth’s inhabitants and juxtapositions between nature and the human-built environment. In Daniel Flormann’s “Lenuk Tasi,” for example, a baby sea turtle glides just beneath the surface of the boundless sea, and in Ael Kermarec’s “Reclaim,” a lava flow from an Icelandic volcano completely engulfs a road.
Some of our other favorites include Marcio Esteves Cabral’s vista full of rare Paepalanthus flowers illuminated by the sun in the Veadeiros Tablelands, Brazil, and Mohammad Murad’s capture of two backlit White-cheeked terns battling over territory on Kubbar Island, Kuwait.
See many more winning photos and purchase prints—including top picks from previous years’ competitions—in the WNPA store.
Gold in the Plants and Fungi category: Marcio Esteves Cabral, “Fireworks.” Paepalanthus, Veadeiros Tablelands, BrazilBronze in the Mammal Behavior category: Donna Feledichuk, “Might as well jump.” Baby fox, Lac La Biche, Alberta, CanadaGold in the Landscapes and Environments category: Jake Mosher, “Hyalite Twilight.” The Milky Way over Hyalite Lake, Montana, U.S.Gold in the Nature Photojournalism category: Ael Kermarec, “Reclaim.” Volcanic eruption, Svartsengi, Reykjanes, IcelandSilver in the Urban Wildlife category: Elizabeth Yicheng Shen, “Critical moment.” Great grey owl, California, U.S.Bronze in the Animal Portrait category: Ngar Shun Victor Wong, “The safari beauty.” Guinea fowl, TanzaniaGold in the Amphibians and Reptiles category: Georgina Steytler, “Mudskipping.” Blue-spotted mudskipper (Boleophthalmus caeruleomaculatus), Roebuck Bay, Broome, Western Australia
Entering its 60th year, the Underwater Photographer of the Year Contest continues to be one of the most noteworthy international photography competitions. Surpassing last year’s numbers, the 2025 edition received more than 6,750 entries with winners from around 30 different countries.
From the depths of the Red Sea to the swamps of the Everglades, the notable images take viewers on a journey across the world, highlighting the diversity of ocean wildlife and emphasizing the importance of conservation. Diver and photographer Alvaro Herrero, a.k.a. Mekan, snagged the top honor this cycle with “Radiant Bond.” Off the coast of Mo’orea, a young whale still learning to breathe travels to the surface with its mother.
Among the other winning snapshots are scenes of two Asian sheepshead wrasse fighting in Japan, teeming coral reefs in Indonesia, a distorted portrait of camels hydrating in Kuwait, and a Florida gar circling its swampy habitat.
Read the context behind each photo and see more on UPY’s website.
On daily walks around New York City, Eric Kogan has a knack for finding unexpected moments of humor and happenstance. His playful photographs (previously) capture visual coincidences and interactions between his urban surroundings and nature.
From clouds seemingly cradled by electrical wires to the moon balanced precariously on the corner of a building, Kogan’s scenes highlight how perspective, light, and excellent timing can capture a lighthearted, even mischievous view of the city. Find more on his website and Instagram.
Since the 1970s, Charles Gaines (previously) has been charting the sprawling, unpredictable forms of trees onto numbered grids. He began with walnut trees in 1975, which he photographed while barren and then plotted onto hand-drawn graph paper.
A leader in the Conceptual Art movement, Gaines’ works ask viewers to explore the relationships between what something appears to be and what it means as it shifts from one context to the next. He also argues for a greater divide between subjectivity and aesthetics, instead emphasizing culture’s immense role in shaping our experiences.
Detail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #4, Maasai” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen
In his ongoing Numbers and Trees series, Gaines continues to chart differences. During a 2023 visit to Tanzania, the artist photographed majestic baobabs, which form the basis for a collection of triptychs that entwine the magnificent specimens with colorfully numbered grids. Gnarled trunks and spindly offshoots both layer atop and are masked by Gaines’ sequences, all viewed through sheets of plexiglass.
The baobab is known as “the tree of life” for its longevity, myriad roles in preserving the savanna ecosystem, and ability to host entire habitats within its canopies. The specimens are often associated with folklore and myth and in the era of climate disaster, are some of the casualties of unrelenting drought. Depending on location, epoch, and community, the trees can serve a wide array of purposes and hold a multitude of symbolism.
Icons of the African continent, baobabs also connect to histories of colonialism and slavery. In this context, they’re distorted and mediated by both Gaines’ organizing principles and the acrylic panes. “What you bring to the image, adds to the image,” the artist says.
Numbers and Trees, The Tanzania Baobabs is on view from February 19 to May 24 at Hauser & Wirth West Hollywood.
“Numbers and Trees: Tanzania Series 1, Baobab, Tree #7, Makonde” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Keith LubowDetail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #7, Makonde” (2024), 95 x 132 1/4 x 5 3/4 inches. Photo by Keith Lubow“Numbers and Trees: Tanzania Series 1, Baobab, Tree #3, Tongwe” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik NilsenDetail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #3, Tongwe” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen“Numbers and Trees: Tanzania Series 1, Baobab, Tree #2, Zanaki” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Keith LubowDetail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #2, Zanaki” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Keith Lubow“Numbers and Trees: Tanzania Series 1, Baobab, Tree #5, Rangi” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik NilsenDetail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #5, Rangi” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen
In the dreamy installations of Lachlan Turczan, natural and perceptual phenomena combine in otherworldly installations merging technology with aquatic landscapes. Water is central to the Los Angeles-based artist’s work and helps shape an ongoing series of immersive projects incorporating light and sonic phenomena.
Turczan is influenced by the Light and Space movement, which originated in Southern California in the 1960s and is characterized by the work of John McLaughlin, Robert Irwin, James Turrell, Lita Albuquerque, and more. The movement focused on perception, employing materials like glass, neon, resin, acrylic, and fluorescent lights to emphasize light, volume, and scale.
“Constellation Grid” (2024), water, light, and fog. A swamp in Upstate New York
Many Light and Space artists created installations and immersive spaces conditioned by naturally occurring elements like Turrell’s ever-changing glimpse of the sky through a ceiling aperture for “Space that Sees.” Not only does the view change as clouds roll by or the weather shifts, but the light continuously transforms the entire room.
“While my work shares this lineage,” Turczan tells Colossal, “it diverges in several key ways: rather than exploring the ‘nature of experience,’ I create experiences of nature that challenge our understanding of light, water, and space.” He describes his approach as “complicating” these elements, emphasizing the ever-changing fluidity of the environment.
In Turczan’s ongoing Veil series, light installations unfold organically in locations ranging from Death Valley’s Badwater Basin to a flooded park near the Rhine River. Lasers and beams of light are projected and submerged, capturing the movement of wind, mist, and the water’s surface.
Additional pieces also merge light and water, like “Aldwa Alsael,” which translates to “liquid light,” and was commissioned for the 2024 Noor Riyadh Light Art Festival.
“Veil I” (2024), light, water, and salt. Death Valley, California
“For the most part, these installations unfold organically,” Turczan says. “I may discover a location in nature that seems perfect for a new Veil sculpture, but when I return, the conditions have inevitably changed.” Evolving circumstances require the artist to proceed with an openness to chance encounters that strike a balance between preparation and intuition.
“Death Valley Veil” (2024), water, light, and haze. Lake Manly, a temporary lake that formed in Death Valley’s Badwater Basin after Hurricane Hillary“Veil II” (2024), light, water, and steam. Mojave Desert, California“Aldwa Alsael” (2024), water, light, and steel tower, 25 x 25 x 50 feet“Veil V” (2024), water and light, 15 x 15 x 3 feet“Aldwa Alsael”
In a 1906 essay, psychiatrist Ernst Jentsch coined the term “uncanny,” or unheimlich, meaning “unhomely” or “not home-like” in German. He defined the psychological phenomenon as the experience of something new or unknown that might initially be interpreted negatively.
Austrian neurologist and founder of psychoanalysis Sigmund Freud popularized the word with the publication of his book The Uncanny in 1919, which elaborated on the idea as not just the sensation of the unknown but also something capable of bringing out hidden or repressed elements, going so far as to describe the uncanny as frightening.
During the 20th century, the Surrealists often turned to the concept to build a sense of mystery or tension in their works. Meret Oppenheim, for instance, famously created a teacup lined with fur, simply titled “Object” (1936), widely regarded as an iconic example of the movement.
Oppenheim is one of more than two dozen artists whose work will appear in the National Museum of Women in the Arts’ forthcoming exhibition, Uncanny, featuring recent acquisitions and rarely shown pieces in NMWA’s collection, plus special loans.
More than 60 works by renowned figures of modern art history like Louise Bourgeois, Remedios Varo, and Leonora Carrington will be shown alongside the likes of contemporary artists like Shahzia Sikander, Laurie Simmons, and Gillian Wearing. The large-scale presentation is the first to approach the concept through a feminist lens and is organized around themes of safety and surreal imaginings.
The show also plumbs the phenomenon of the “uncanny valley,” a term coined by robotics engineer Masahiro Mori in 1970 to describe the apprehension or discomfort one feels when confronted with something that is almost human but not quite, like video game characters that appear realistic yet still somehow seem “off.”
In Laurie Simmons’ “The Music of Regret IV” (1994), a female ventriloquist dummy sits in the center of a circle of six male dummy dolls, whose gazes are trained on her as she looked out into the distance. Tapping into a medium that has been used in the horror genre to instill a sense of creepiness or dread, Simmons’ central character is dramatically spotlit, her smile belying the reality that she is unsettlingly hemmed in.
Along the theme of safety, or specifically unsafe spaces, Fabiola Jean-Louis’s elaborately staged photographs tell two stories at once. The artist portrays “seemingly innocuous portraits of close acquaintances wearing elaborate period costumes typical of upper-class European women, while disturbing images of racial and sexual violence are hidden within the background or details of a dress, reminding the viewer of the lineage of violence,” says an exhibition statement.
Many works in the show address physical trauma or the body’s relationship to the unknown. Frida Orupabo’s photographic collages, for example, portray Black figures that evoke colonial histories, critiquing historical violence and injustices through a process of fragmenting, distorting, and multiplying body parts.
Orupabo’s compositions echo the surrealist collaborative practice of cadavre exquis, or exquisite corpse, in which participants add to elements others have drawn without being able to see their work, producing intuitive and peculiar drawings.
“The enigmatic, darkly humorous and psychologically tense artworks in Uncanny give form to women artists’ powerful expressions of existential unease,” said NMWA Associate Curator Orin Zahra, who organized the exhibition. She continues:
Rather than comfort and soothe, these ghostly and fantastical figures haunt the unconscious. Instead of picturesque images, artists offer disquieting spaces that unsettle the viewer. In focusing on the ambiguity between reality and fiction, artists explore increasingly blurred lines between the artificial and eerily human.
Uncanny opens February 28 and continues through August 10 in Washington, D.C., highlighting painting, sculpture, photography, works on paper, and video made between 1954 and 2022. Learn more and plan your visit on the museum’s website.
In nature, flowers serve as an essential component of the reproduction process. But for humans, scented blooms are ripe with myriad meanings and symbolism that transcend their biological functions.
During Victorian times, offering a bouquet to someone with your right hand indicated a non-verbal “yes,” while a yellow carnation would reject an admirer. Similarly in art history, wilting flowers rendered as a momento mori remind us of death’s inevitability, and for van Gogh, sunflowers were the perfect stand-in for gratitude.
A massive exhibition opening next month at Saatchi Gallery cultivates a vast repertoire of works that explores how blooms have become an omnipresent entity in human life and creativity. Flowers: Flora in Contemporary Art and Culture brings together more than 500 photographs, installations, sculptures, archival pieces, and other objects to create a rich landscape spanning millennia.
Anchoring the exhibition is an expansive and immersive work of 100,000-plus dried flowers by Rebecca Louise Law. Smaller pieces include Xuebing Du’s ethereal photos of flowers in natural light, VOYDER’s streaky steam-laden compositions, and lush, vibrant gardens by Faye Bridgewater.
Opening in time to usher in spring in London, Flowers runs from February 12 to May 5.
VOYDER, “In Love with the Idea of You” (2024). Image courtesy of the artistMiriam Tolke, “Flowers of Yesterday.” Image courtesy of the artistSandra Kantanen, “Still Life (Flowers I).” Image courtesy the artist and Purdy Hicks GalleryXuebing Du, “Mother of Pearl” (2018). Image courtesy of the artistCarmen Mitrotta, “Geometric Leaves.” Image courtesy the artistFaye Bridgwater, “En Masse” (2025). Image courtesy of the artistAnn von Freyburg, “Floral Arrangement 1 (After Jan van Huysum, Still Life).” Image courtesy of the artist
A striking silhouette of two fighting stag beetles takes the top prize in the 6th annual Close-Up Photographer of the Year contest (previously), capping a group of category winners and finalists that showcase an array of natural phenomena in astonishing detail.
A jury of 25 experts, comprising scientists, editors, naturalists, journalists, and photographers, narrowed down 100 images from more than 11,000 entries. Photographers in 61 countries submitted photos of a wide range of animals and environments, capturing dramatic behaviors and fascinating habitats.
1st place in the Butterflies & Dragonflies category: Yong Miao, “Damselfly by the Waterfall.” A damselfly (Archineura incarnata) rests on a rock amidst a flowing waterfall in Tianmushan Nature Reserve, Zhejiang Province, China
Among many favorites, Yong Miao’s beautiful shot of a damselfly perched on a stone near a waterfall won the Insects category, Barry Webb’s capture of an ear-pick fungus topped the Fungi & Slime Moulds category, and Gabriel Jensen’s portrait of a fish in the toothy mouth of a predator took the top spot in the Underwater category.
The competition highlights not only incredible images but also the fascinating science and stories behind them. “Summer brings calm seas to South Florida where a dedicated community of shore diving photographers head out nearly every day to survey the world’s third largest coral reef for interesting wildlife,” Jensen says.
Her friends spotted a lizard fish (Synodus foetens) grappling with a large doctorfish. She adds, “After a few minutes of struggle, the doctorfish managed to escape. This image now sits on my desk at work, serving as a reminder that even on tough days, “Everything’s going to be A-OK.”
CUPOTY co-founder Tracy Calder says, “Close-up photography is a celebration of curiosity,” also sharing that the winning entries are “a true testament to the artistry of everyone involved, as well as an invitation to look, marvel at, and honour the world around us.” See all the top photos in the competition’s online gallery.
Winner of Underwater category: Gabriel Jensen, “Everything’s A-OK.” A doctorfish struggles in the jaws of a lizardfish, Kona, Hawaii1st place in Fungi & Slime Moulds category: Barry Webb, “Ear-Pick Fungus” (2023). A 15mm tall ear-pick fungus growing on a pine cone, New Forest, U.K.1st place in Insects category and overall winner of CUPOTY 6: Svetlana Ivanenko, “Clash of the Titans.” Two stag beetles (Lucanus cervus) battle for dominance in the Voronezh region of Russia2nd place in Underwater category: Jenny Stock, “Search for the Dragon” (2020). A leafy seadragon (Phycodurus eques) swims with a school of rough bullseye fish (Pempheris klunzingeri), Rapid Bay, South Australia2nd place in Young category: Alexis Tinker-Tsavalas, “Afternoon Snack” (2024). A robber fly (Asilidae sp.) feeds on a flesh fly (Sarcophagidae sp.), Brandenburg, Germany3rd place in Fungi & Slime Moulds category: Jamie Spensley, “Sandy Mushroom” (2024). A mushroom covered in sand on Holywell Bay Beach, Cornwall2nd place in Invertebrate Portrait category: José Manuel Lois Rial, “Stauropus Fagi” (2023). A lobster moth caterpillar (Stauropus fagi) on a tree branch in the photographer’s garden, Spain
