Glimpses from the Wildlife Photographer of the Year Selection
In an age filled with scepticism about climate change, expansion of the roaring metropolitan, and the consequent disruption caused to natural bodies, there is an increasing need to acknowledge our co-inhabitants in a meaningful and noninvasive way. The highly commendable entries for the Wildlife Photographer of the Year 2022 contest have been released at a key time and the images look more familiar than we’d expect.
Gone are the years when wildlife photography sought to capture animals naturally interacting with their own kind. Now, we see traces of human presence even in photos that only feature animals; artificial lighting, animals posing like humans, and the use of camera traps and drones leave behind an eerie impression of human manipulation and surveillance of wildlife.
Underwater Wonderland, by Tiina Törmänen (Finland)
If not for the fishes staring back at us, the light pink algae might at first be mistaken for clouds in a portrait of the sky. However, behind the colourful, dreamlike scene looms a threat of excessive algae growth which “can cause problems for aquatic wildlife as it uses up oxygen and blocks out sunlight.” Törmänen shows us that even images cannot accurately portray reality, but they can hint at it.
Just one day’s catch, by Srikanth Mannepuri (India)
Mannepuri warns us of the scale of the fishing industry with this aerial shot, canvassing lines and bundles of neatly organised fish. The expansive and orderly display of caught fish invokes an alarming, industrial quality; the scattered humans reminding us of who is behind overexploiting this resource. The use of a drone to get a bird’s-eye view of the market symbolises our predatory nature… It is an unsettling feeling.
Life and death in fur farming, by Jo-Anne McArthur (Canada)
McArthur makes no attempt at hiding the ugliness endured by mink stock. The composition is cluttered and grey, the light dimmed, and the photo’s subjects are twisted and partially obstructed by thick bundles of filth. Underlying this photo as well as Underwater Wonderland is an appeal for reform. However, the stark aesthetic contrast between the photos begs the question: do we need to make things uglier for them to be taken seriously?
Polar Frame, by Dmitry Kokh (Russia)
Kokh’s photograph is my favourite from the selection because it portrays the silver lining in this climate crisis: animal life can thrive even in areas previously occupied by human activity. It is a testament to the intelligence and resilience of wildlife. The polar bear’s stance is like a person staring right at us — perhaps it is signalling that it is time for us to step up like them?
If any of these photographs caught your eye and you’d like to see the rest, the Natural History Museum has an exhibit on from October 14th. Although it isn’t free, there are discount options for students. Otherwise, head over to the Guardian for an overview of all the images. The result came out on October 11th in an awards ceremony hosted by Chris Packham, a wildlife TV presenter and conservationist. So, which photo is your favourite?