Wildlife photography is one of the most demanding genres of the medium. It not only requires one to gather knowledge about animal behaviour, but also to work with some of the most advanced equipment to get the shot you desire. However, the latter was proven wrong recently by the winners of the British Wildlife Photography Awards. Here’s a look at how it all played out and why Canon won this edition.
The lead image is by Paul Hobson. All images are courtesy of the British Wildlife Photography Awards.
The British Wildlife Photography Awards received more than 12,000 entries, both from professionals and amateurs, all competing for a grand prize of 3,500 pounds. Moreover, there were 11 different categories this time, along with video awards and 3 additional categories in the youth competition. Before we get into the winners, here is a look at the gear used by the winners:
- Canon EOS 5D Mark III
- Nikon Z9
- Canon EOS R3
- Canon EOS R5
- OM System OM‑1
- Canon EOS R6 Mark II
- Canon EOS 1200D
- OM System E‑M1 Mark III
- Canon EOS 7D Mark II
- OM System E‑M1 Mark II
- Canon EOS 1D X
- Sony A7 IV
- Sony A7R V
- Canon EOS R10
- OM System OM‑1 Mark II
- Nikon D500
- EF 16‑35mm f2.8L USM
- Nikon Z 600mm f4 TC VR S
- RF 600mm f4 L IS USM
- EF 300mm f2.8L IS USM
- RF 28‑70mm f2L USM
- OM System M.Zuiko 90mm f3.5 Macro IS PRO
- RF 100‑500mm f4.5‑7.1L IS USM
- EF 28‑90mm f4‑5.6 USM
- Panasonic Lumix G Fisheye 8mm f3.5
- OM System 12‑40mm f2.8 PRO
- EF 100‑400mm f4.5‑5.6L IS II USM
- Laowa 24mm f14 Probe
- OM System 60mm f2.8 Macro
- EF 24‑70mm f2.8L II USM
- EF 50mm f1.8 II
- Sony 200‑600mm f5.6‑6.3 G OSS
- Tamron 50‑400mm f4.5‑6.3 Di III VC VXD
- RF 100‑400mm f5.6‑8 IS USM
- Nikon AF‑S 200‑500mm f5.6E ED VR
From this list, it is pretty clear that Canon dominated the market with 8 cameras, followed by OM System with 4, and Sony and Nikon with 2 each.
Like Canon, there were 11 mirrorless cameras, but DSLRs weren’t far behind, with 5 making the winners’ list. Similarly, full-frame cameras dominated the results, but APS-C and Micro Four Thirds aren’t far behind. They each had four cameras in the latter categories, meaning the list was almost evenly split between big- and small-sensor cameras. This shows how small sensors remain important for genres like wildlife, as they offer a wider range of lenses.
Overall Winner of the British Wildlife Photographer of the Year
Paul Hobson
Paul said he is lucky to have a pond close to his house that has relatively clear water, especially in late winter and early spring, before the algae starts to grow. Toads use this pond to breed in, and he decided he wanted to try to capture an image looking up from the bottom of the pond. To try to do this, he built a glass box to house the camera and keep it dry. Paul had to add ballast to make sure it would sink and used old tripod legs glued to its sides to keep the box level. He worked out the depth the box would be and set the focus so that it would capture a toad, if one swam across the surface. Paul also triggered the camera using an adapted long cable release. He then had to wait quite a long time until a toad swam across the surface – most of them would usually swim below it and rest on the glass.
This image is also the winner of the Black & White category.
5D Mark III with EF 16-35mm f2.8L USM lens. 22mm; 1/1,000s; f/16; ISO 1,600.
Overall Winner of the Young British Wildlife Photographer of the Year
Ben Lucas
This was such an adorable moment to witness. A whole family of mute swans swam up to me as Ben was quietly sitting on the bank of a beautiful lake. They all lay down for a rest right beside him. The five newly hatched cygnets curled up together in a fluffy grey bundle, and Ben captured this photo as one lay its little head on the back of its sibling. Nature can often be so cruel, but tender moments like this warm his heart.
Canon EOS R10 with Canon RF 100-400mm f5.6-8 IS USM lens. 359mm; 1/500s; f/8; ISO 250.
Animal Behaviour
Mark Parker | Winner
Because the sparrowhawk had never gone to ground before on previous visits to the garden, and not knowing how long it would stay, Mark just wanted to get an image to record the event before concentrating on my settings. The story he thinks the image portrays is evident in the eye contact between the two subjects and the vice-like grip they have on each other; however, the eye contact and grip of the juvenile starling is out of pure fear, whilst that of its nemesis is one of dominance and relief in finally catching a much-needed meal.
Nikon Z 9 with Nikon Z 600mm f4 TC VR S lens. 600mm; 1/2,500s; f/4; ISO 400.
Sarah Darnell | Runner-up
It was an exciting start to my early morning when Sarah was able to witness the agility and effort of a pair of hares boxing. They were so close that she could hear the puffs and pants as they performed in front of me. As the activity became more intense, fur was lost, and Sarah loved how it stayed on top of the hare’s head throughout this frenetic time. So intent were they to win the battle of wills, they ignored my presence lying on the ground in plain sight.
EOS R3 with RF 600mm f4 L IS USM lens and 1.4x teleconverter. 840mm; 1/1,000s; f/5.6; ISO 12,800.
Animal Portraits
Alastair Marsh | Winner
Alastair has been visiting Ardnamurchan in Scotland for 10 years now, and it keeps me coming back. He visits every year in the hope of seeing pine martens. In the summer of 2024, he had one of my best visits up north with plenty of sightings, tempted by a small amount of peanuts Alastair left out each evening. Every so often, this young male would stand up to get a better view above the heather in front of him.
EOS R3 with EF 300mm f2.8L IS USM lens. 300mm; 1/800s; f/2.8; ISO 1,600.
Felix Belloin | Runner Up
In summer 2024, Felix had an unexpected visit from a neighbourhood fox who decided to come by my garden. Probably attracted by the commotion around the bird feeder, she sat on the lawn and allowed me to get close. He grabbed a medium telephoto lens with a very wide aperture and took her portrait through a gap in the lavender. Later in June, after multiple visits and considering the prevalence of mange in my area, Felix decided to get a mange deterrent from the National Fox Welfare Society, which he administered to her in a small portion of cat food!
EOS R5 with RF 28-70mm f2L USM lens. 70mm; 1/640s; f/2; ISO 100.
Botanical Britain
Barry Webb | Winner
These 1mm-tall Lamproderma scintillans were found on a tiny fragment of wood, on a very wet woodchip pile. When the water droplet evaporated on the two fruiting bodies on the right, they dried out and reverted to their original blue colour. It is thought that the iridescent surface of these fruiting bodies may act as a water repellent in order to protect the spores within the sporocarp. A total of 87 shots were focus-bracketed and then focus-stacked to create the final image.
OM System OM-1 with M.Zuiko 90mm f3.5 Macro lens and 2x teleconverter. 180mm; 0.6s; f/14; ISO 200.
David Higgins | Runner-Up
David left his 42-month contract in the Falkland Islands for a short contract working as a Tern Warden for the RSPB on The Skerries off Anglesey. The kind of job he’d dreamed of since he was eight years old, now over fifty and with one hip replaced, his chances of living the dream were finally becoming a reality. He and his friend lived in the lighthouse and spent more time with birds than with other humans. Every day, Arctic and common terns would attack us, mess on our clothes, and display a distinct seabird rage. They also brought in a huge mass of marine nutrients, deposited across the island in the form of faeces, which spattered our clothes for the season. The nutrients also created briny soups of nourishment in the pools and puddles, where algae bloomed. This pool was on the flight path of a favourite route the terns take when spooked and dread out to sea as a choreographed flock. It’s an incredible experience being so close to nature and seeing these interconnections and nutrient transfers. This is a look-down view of one of the algae masses as it created its own ‘universe’ or ‘synapse’ of connections. It’s the only time David has seen algae form these patterns. He was mesmerised by the connected network of the community created.
EOS R6 Mark II with RF 100-500mm f4.5-7.1L IS USM lens. 100mm; 1/100s; f/8; ISO 640.
Black & White
Chris Wardell | Runner-Up
Chris set up a single flash, hoping to photograph a local fox with the pavement tiles visible. After a few hours, he was lucky enough that all the ingredients came together, and the fox walked across the path of the flash. Chris used a tiny piece of chicken as bait for the rough area. He had to time it right to use the fox’s body to block the flash so as not to blow out my photo. He has followed this urban fox family for some time, and they are relaxed with his use of lighting.
EOS 1200D with EF 28-90mm f4-5.6 USM lens. 28mm; 1/640s; f/4; ISO 200.
Coast & Marine
James Lynott | Winner
A spiny squat lobster captured fluorescing during a night dive in Loch Fyne, in November 2024. Image taken using two Sea&Sea YS01-Solis strobes with Nightsea excitation filters. A FireDiveGear gel barrier filter was used behind the 8mm fisheye lens.
OM System E-M1 Mark III with Panasonic Lumix G Fisheye 8mm f3.5 lens. 8mm; 1/20s; f/4.5; ISO 800.
Julian Terreros-Martin | Runner-Up
On Skomer Island in Wales, puffins are often the star attraction, drawing visitors from around the world who come to photograph these iconic seabirds. After several visits, Julain aimed to capture more unique and creative photos of these birds, challenging himself technically to stand out from the crowd. During the middle of the day, when the light is much harsher, he decided to experiment with manual focus. He discovered a unique effect when focusing between a puffin and the sun reflecting off the sea in the background. This created shimmering reflections on the water. By positioning himself just right, Julian aligned the puffin’s silhouette with the water, but the result was a scattered effect, with the image appearing as multiple puffins reflected at various angles. By making the image monotone, he was able to take advantage of the harsh daylight, using the contrast between the subject and the bright, reflecting sun on the water to create a striking visual.
EOS R3 with EF 300mm f2.8L IS USM lens. 300mm; 1/8,000s; f/2.8; ISO 100.
Habitat
Marc Humphrey | Winner
Dippers are creatures of habit, and after spending numerous days observing these entertaining birds, Marc discovered many of their favoured rocks. Marc wanted to capture something different, encapsulating the stunning woodland and rushing white water that these birds are so at home in. For this photo, he utilised a wide-angle lens. To limit disturbance, he waded into the water, framed up my shot using a tripod, manually focused on the rock, and used a remote shutter whilst sitting on the riverbank. To capture the painterly effect in the water, he used a shutter speed of 1/15s.
OM System OM-1 with OM System 12-40mm f2.8 lens. 32mm; 1/10s; f/8; ISO 250.
Mario Suarez | Runner-up
A mountain hare photographed in the Cairngorms National Park, the UK’s largest National Park. Taken just in the middle of winter after climbing a steep slope on one of the hills, Mario was lucky enough to come across a solitary fox who seemed very curious when she saw me appear. He quickly threw myself to the ground and was very careful with my movements so as not to scare her. Mario over exposed 2 steps to melt this beauty with the snowy hill of that morning.
EOS 7D Mark II with EF 100-400mm f4.5-5.6L IS II USM lens. 400mm; 1/800s; f/8; ISO 640.
Hidden Britain
Julian Terreros-Martin | Winner
In 2020, many of us around the world were isolating at home due to various lockdowns imposed by the COVID-19 pandemic. Julian and his father decided to build a reflection pool in our back garden to continue photographing the wildlife around our house, which mainly consisted of birds and hedgehogs at night. Fast forward four years, and the reflection pool remains unused and unloved, at least by us. Over this time, however, it seems that various frogs have taken a liking to our pool, so much so that they have spawned in it. Using the Laowa 24mm Probe lens, Julian partially submerged the lens in the pool and photographed what was happening underwater. The lights at the end of the probe illuminated the scene, allowing him to capture a close-up macro image of a single egg still attached to the rest but hanging on the edge of the spawn ball. Seeing the details of the developing embryo was an incredibly unique and special moment for him, both as a photographer and as a biologist. This experience also serves as a reminder that, given the chance, nature can bounce back. Even in our own gardens, we can find incredible wildlife moments.
EOS R3 with Laowa 24mm f14 Probe lens. 14mm; 1/400s; f/14; ISO 5,000.
Adam Ferry | Runner-Up
Adam often thinks of house spiders as among the most imposing spiders in the UK; however, this photo shows that even these large creatures can be food. Surprisingly, to this unsuspecting spider, the cellar spider is a master of taking down large prey, thanks in part to its extremely long legs.
OM System E-M1 II with OM System 60mm f2.8 Macro lens. 60mm; 1/50s; f/5.6; ISO 200. Urban
Urban Wildlife
Simon Withyman | Winner
After discovering a family of foxes living on a trading estate, Simon initially used my car as a hide. Over several weeks, he gradually introduced himself and my camera equipment, allowing time for this young mother to become familiar with Simon’s presence and learn that he posed no threat. Simon often saw her resting in some unusual spots, but none more so than on this cushioned seat of an old vehicle. It was clearly a much more comfortable place to sleep compared to her hard, concrete surroundings.
EOS R5 with EF 24-70mm f2.8L II USM lens. 67mm; 1/640s; f/4.5; ISO 400.
Kyle Moore | Runner-Up
While working on a project photographing foxes in the urban environment, Kyle was drawn to this particular security hut for its neon lighting. The fox was accustomed to receiving handouts from the night security workers and would frequently approach the windows, waiting for an easy meal. He set up my camera and used a wireless remote to avoid disturbing the fox. A subtle flashgun was used to illuminate the ghostly shape as the fox approached some litter left by the main door.
EOS 1D X with EF 50mm f1.8 II lens. 50mm; 1/200s; f/18; ISO 2,000.
Wild Woods
Mark Richardson | Winner
This photograph was taken at dawn on a frosty winter’s morning in South East England, just as the sunlight broke through the canopy of the woodlands. Using a telephoto lens, Mark framed the scene with a close crop to give the emerging, dramatic light a sense of energy and atmosphere, and to emphasise the golden halo around the tree in the centre of the image.
Sony A7 IV with Sony 200-600mm f5.6-6.3 G OSS lens. 200mm; 1/2,000s; f/8; ISO 640.
Duncan Wood | Runner-Up
This photograph was taken in Glen Affric during a week immersed in the autumn landscape. By the end of my stay, the obvious compositions were done, and Duncan turned his attention to something more intimate. He approached this birch as if he were making a portrait of a character, focusing on the textured bark, moss, lichens, and delicate leaves. The soft, diffused overcast light allowed subtle tones to emerge, stripping away distraction. By narrowing the frame, he sought to reveal a quiet intimacy where the colours and fine details speak of stillness and the understated beauty of the season.
Sony A7R V with Tamron 50-400mm f4.5-6.3 lens. 186mm; 1/60s; f/9; ISO 320.
11 and Under
Jamie Smart
Jamie adores bees and has spent a lot of time this year studying them and learning what he can do to help the wild bees in our garden thrive. He designed and made a bee hotel using clay and has watched it flourish. One day, as Jamie was walking past it, he spotted this leaf-cutter bee poking her head out of one of the clay holes and thought it would make a lovely photo, so he ran back inside to grab my camera and hoped that she would still be there when Jamie returned – luckily, she was! Using my macro setup – the OM-1 Mark II with a speedlight and a Cygnustech diffuser – he captured this image of her looking at me from inside the clay hole. It was quite tricky to get the light to penetrate into the hole, as she had gone a little deeper inside by the time he had returned, and Jamie didn’t want to disturb her too much by going too close, so he cropped in and adjusted the highlights and shadows in the editing phase to create this image.
OM System OM-1 Mark II with OM System 90mm f3.5 lens. 90mm; 1/125s; f/11; ISO 200.
12-14 Years
Jack Crockford
This is the Eurasian hobby, a small yet remarkably agile bird of prey. They combine their speed with this agility for a unique trait: catching insects mid-air. The size of their prey doesn’t affect them, as it can vary from the smallest of flies to small birds. First, they lock on to their target. Next, they reach out with their super-sharp talons and snatch their prey. In this moment, a mayfly was unlucky as it became the hobby’s next snack.
Nikon D500 with Nikon 200-500mm f5.6 lens. 440mm; 1/6,400s; f/8; ISO 800.
The next edition of the awards is also now accepting entries. For more information, head to their website.