In its fifth year, the Environmental Photographer of the Year contest has once again dished up images of Earth that are as stunning as they are challenging.

But while the aim of the competition is to put the focus on the issues facing our planet, and many of these images show confronting weather extremes, the contest is a hopeful one, celebrating innovation and the efforts underway to repair past damage. This year, almost a quarter of the entrants were under 21, and the photographers spanned 159 nationalities.

Maurizio di Pietro/EPOTY23

Photographer Maurizio di Pietrosoldier won the grand prize with his shot of soldier flies (Hermetia illucens). Taken at the University of Turin in Italy, scientists are working on alternative food sources and using swarms of these insects to turn into flour.

Shafiul Islam/EPOTY23

Another winner, Shafiul Islam’s image of buffalo traversing bare grassland in search of food in drought-ridden Bangladesh dramatically captured the struggle faced by all walks of life in such extremes. Islam took out the top prize in the Keeping 1.5 Alive category.

Anirban Dutta/EPOTY23

The winner of the Adapting for the Future category, Anirban Dutta’s gorgeous image captures termites being picked off by a drongo bird in the light of a gasoline pump in West Bengal.

“There was one black drongo near thousands of termites,” said Dutta. “The whole thing last for only 15-20 minutes. After that all termites vanishes and the drongo disappears.”

Aniruddha Pal/EPOTY23

This captivating image snapped by Aniruddha Pal in West Bengal shows how an algae bloom can take over waterways that become stagnant at certain times each year, making it unfit for human consumption. However, its bacteria proves beneficial to many aquatic plants and organisms.

Head to our gallery to see the winners and highlights from the shortlisted images.

Source: EPOTY

Sometimes, photographers like me don’t want to leave the house but still have the desire to get creative, and I think I may have found the perfect way to shoot from home while avoiding the outdoors (and other people) on a typical rainy Sunday. 

I made some purchases this weekend that have taken my at-home photography set up to a new level, with Cyber Monday savings that allowed me to justify these impulse buys. I already own the Sony A7III mirrorless camera, which is one of the best cameras for streaming, but I was missing a plain backdrop, mini tripod, and light source to bring my ideas to life. 

Below I’m going to share with you the photography deals that won me over this Black Friday/Cyber Monday and why I think you might like them too, whether you shoot with one of the best cameras or one of the best camera phones. 

Photography Cyber Monday deals

ArtSpace/Lima and the Johnny Appleseed Metropolitan District announce the opening of the annual Nature Photography Contest Exhibition.

The photographs in the exhibit were juried into four categories, Plants, Animals, Landscapes and Parks Potpourri. The idea is to show the beauty of nature in ‘our back yard’ and all photos are from Allen County.

There are no professional photographers in the exhibit and no photos have been
digitally enhanced.

The work will be displayed Friday, December 1, 2023-January 3, 2024.

A seminar discussing solutions to improve the quality of art photography products was organized late last week.

Photographic Artist Tran Thi Thu Dong, chair of the Vietnam Association of Photographic Artists, emphasized that the photography industry is endeavoring to overcome difficulties to continue to develop sustainably, aiming to build a photography industry and implement the cultural industry development strategy.

Dong said Vietnam’s fine-art photography has gained remarkable results, but there are still few works deserving the strong development of the country, and there are few major influential artists as seen in previous development periods.  

The thing that needs to be done immediately is building a policy on training and re-training photographers to help them optimize their creative abilities, in association with social responsibilities and citizen obligations, according to Dong.

Tran Quoc Dung, a photography critic and researcher, commented that for photographic artists, creating high-quality artworks is always their highest aspiration. But it is not an easy task, because “artists today not only spend time on arts, but they also have to do business to earn money and contribute to the country’s development”.

“In the past, artists composed products based on their passions, interests, and strengths, while now their works must carry responsibility towards society. For example, the works need to reflect industrial and agricultural development, as well as cultural events in daily life and fatherland protection,” Dung said.

“No matter how talented there are, they cannot create high-quality products with social topics if they cannot get support from agencies and organizations, and if they cannot have favorable conditions to approach events,” he explained. “The quality of artistic works can only be improved with the support from the society.”

Artist Nguyen Duc Toan believes that in order to direct the creation of photographic works with high artistic value and positive impact on society, creators and appraisers must change their concept of art and follow the same direction.

Innovation in artistic perspective and in thinking is needed. 

Artists should not repeat the styles created in the past. Creators should also spend more time paying attention to the results of many photo competitions, watch more photo exhibitions to know and remember previously created camera angles, to avoid accidentally repeating the same angles and styles used by predecessors.

It is always difficult to innovate and have these innovations recognized in the arts world. Therefore, creators need to be patient in the process when meeting obstacles on their paths.

“Be creative with the belief in good things. Believe that works with real value will be recognized today or tomorrow,” Toan commented.

Tran Manh Thuong, a critic, said artists need to pursue a specific style of their own which cannot be mistaken for others’ styles.

“During the process of creativity, artists need to learn from predecessors, but they must not imitate the predecessors’ styles. You must not be the ‘shadow’ of anyone,” he said, adding that he recently has noted that many photographers imitate each other’s styles.

“It happens that after an artist win a prize at a competition, photographers rush to take a series of photos with the same motif and with small differences in time and landscapes.”

For example, if photographers visit the northwest region, all of them take pictures of terraced fields, either in Hoang Su Phi, Xin Man and Ha Giang, or Mu Cang Chai, Yen Bai and Lao Cai.

“If the problem cannot be solved, Vietnamese photography will end up with poor themes, lack of vivid content, lack of ideological depth, and similar styles,” he concluded.

Tinh Le

“I was born a communist,” said photographer Larry Fink in an interview to Blind in 2021. The self-described “Marxist from Long Island” first rose to critical acclaim with Social Graces, a series of images that contrasted life in Martins Creek, Pennsylvania, where the artist has lived since the 1970s, with scenes of New York’s upper crust that same decade. Exhibited at the Museum of Modern Art in 1979 and first published as a monograph by Aperture in 1984, the work catapulted Fink to the forefront of the photo world, despite the fact that he eschewed career ambitions in favor using photography to achieve political goals. 

“My mother was a communist. She was an organizer, and she had no fear. She was a bourgeois also. She loved mink stoles. My father was a kind, patient man with a stamp collection. My folks had some money so they used to drive around in a Stutz Bearcat, go to Florida, and hang out. They liked leisure, parties and jazz music so my upbringing was a contradictory one,” Fink remembered.

“My sister Liz and I were brought up believing there was the beginning of a new world at the end of the old world, that all of the old cruelties [of capitalism] would dissipate in time. They wanted to get rid of class and thought everything would purify. They were wrong but that’s beside the point. They were right in thinking that they could.” 

In the early 1960s, Fink moved to New York and got an apartment at the top of a brownstone overlooking Tompkins Square Park in the East Village for $35 a month and rented a storefront on East 11th Street next to a Mafioso’s garage for $22 a month. “For $57 a month, I had an empire,” Fink fondly recalled.

“I wasn’t photographing for a career — I was photographing for the revolution. Everything I did out on the streets was not about whether or not I would get a story idea I could sell to Look magazine, it wasn’t my ilk. Success wasn’t an interesting factor in my mind. It was victory, revolution, and the transformation of human emotional culture so that this would be a more magnificent place. Of course the revolution didn’t quite get there so I was left with a career.”

Portrait of the Artist as a Young Man

With the opening of the 2021 exhibition entitled “Larry Fink: Retrospective at Galerie Bene Taschen” in Cologne, Germany, Fink revisited some of his most seminal works from The Vanities, Social Graces, The Beats, Somewhere There’s Music, and Boxing Images. Like a great musician, Fink knew the audience yearns to commune with his greatest hits, but as an artist he was always seeking, searching, and challenging himself to break new ground.

It’s a practice that began in his youth, when he first picked up a camera at 13 years old. He remembered, “It was just a hobby but I was not the school photographer that Dickie Lipton was; he photographed the teams and I was always out renegading against anything that was systematic so I would photograph the woodlands.”

Brought up in the arts, Fink was introduced to the works of social realists who had an aversion to abstract expressionism, which had set the New York art world aflame. “I love expressionism in any form because it is life force,” Finks said to Blind. “That’s what I evolved as a thinker. It wasn’t about what kind of politics you had; it was about we are never satisfied because energy is always mysterious. It’s energy we live with, for, and by.”

In his formative years, Fink studied with legendary photographer Lisette Model, who he described as “an energist in the sense to receive energy in a profound way.” Model spoke to Fink about judgment advising, “Larry you never can judge, you never know who you will become. That old woman who you think is a puffy old disdainful thing, you might just someday be her because we all we’re just human organism. We evolve as we do and it’s lucky for some and not so for others. You have to understand the deepest energy is one of empathy and compassion.”

With the understanding that empathy isn’t sentimental, Fink recognized a non-judgmental position could allow him to reveal some of the more challenging and complex aspects of the human condition. “If you have evil within you, and I did from my mother, who had a good dollop of evil, then you understood evil as well as you understood goodness. I had the intrinsic capacity to be all of those things.”

From the Farm to Park Avenue, and Back Again

After moving to Martins Creek, Fink met the Sabatine family, the subject of his works, while purchasing a lawnmower. “I didn’t get into photographing them as a project, it was a life force. I photograph where I am and that’s my life,” he said.

As it so happened his first wife, the painter Joan Snyder, was making waves in the art world but she preferred the down home spirit of the countryside. “Sometimes she didn’t even want to go to the parties and I would go for her and bring back the evidence if you will,” Fink said. 

“I was teaching at Parson’s School of Design and one of my students, an uptown girl, introduced me to the English Speaking Union and the Russian Ball, all of these various debutante scenarios. I went in there with a political idea that I was photographing much like Eugène Atget was photographing in Paris, that this particular class of people would become obscure then dissipate into time. That was not the case, obviously.”

But what remained were the photographs Fink made that showed two worlds that would never otherwise collide. In his photographs we see what Americans would describe as the “haves” and the “have-nots”, though that only applies to status and wealth; beneath the surface trappings of luxury, there is another truth. 

“The one thing I was trained in being was non-hierarchical. I don’t have an internal class system. Who you are is who is in front of me and who I am in the same, and that’s how we have to relate to each other,” Fink said.

To Blind, Fink described a typical night on the town, which required him to drive his 1957 Willys truck, a four-wheel drive with a plow from Martins Creek to Manhattan at 45 miles an hour — four hours each way. “I would drive to Park Avenue and park it. It wouldn’t lock but no one wanted to steal it. I would get out, head for the party, and be pretty anxious about it all, thinking about myself as an infiltrator in the secret world of your own intentions. Then I would immediately head to the bar and down five gin and tonics in a row. Only then could I normalize myself to get friendly and go to work,” he recalled. “I worked through the night and after midnight when things started to close down I would go into the bathroom, smoke a joint, then get back in the truck and drive four hours back to Martin Creeks, to the darkroom and develop the film that fucking morning! That’s a lot of energy that boy had. Then the next day or week I would be down at Sabatine’s mower shop, hanging around and it was a life, and still is.”

During the Covid pandemic, driven by an insatiable appetite to document the world, its evolution and people’s struggles, Larry Fink told Blind: “I wonder whether or not Blind has the disposition of giving assignments on topics of concerns. If so, let me line up at the door. As an antique, meaning I am 81 years old, I’d like to think that I could still be working.”

More information on Larry Fink on his website.

For more than a dozen years, I have been documenting the aftermath of the disasters at the Chornobyl and Fukushima nuclear power plants, the progress of the cleanup, and the decontamination and revitalization of the contaminated areas. During this time, I made many visits to the Chornobyl plant. Finally, it was time to visit the Fukushima plant.

I began my attempts to obtain permission to visit and photograph the Japanese nuclear power plant several years ago. Unfortunately, just when everything seemed to have been sorted out, the pandemic hit and prevented me from going to Japan. It was only recently that the borders were reopened after a three-year hiatus, but I had to start the process all over again.

Given my critical attitude towards nuclear power, as demonstrated by my published album about the tragic consequences of the two disasters as well as my photographs and films that have been shown around the world, obtaining permission was not easy or straightforward. However, after several months of trying and dozens of emails and phone calls, I finally managed to get approval.

Interestingly, I was told no photographer before me had ever had such an extensive itinerary for a visit. Despite this, I hope that my two-day visit will not be the last. The decommissioning of the power plant is a process that will take several decades, so I hope there will be more than one opportunity to return.

Safety First

The Japanese are masters at following safety protocols, and that’s not limited to the recent COVID pandemic, masks, or other, similar situations. Driving around Fukushima demonstrated this to me time and again – nowhere else in the world have I seen so many workers guarding the exits of underground garages, building sites and intersections, or thousands of flashing bollards shaped like frogs, mice, and other animals. Sometimes, I felt like there was some kind of holiday going on.

It’s no different at the nuclear power plant. Given the nature of this place and the events that occurred here, this isn’t surprising. That’s why neither the sign stating how much time has passed since the last accident, nor the drawing of a Pokemon with the warning “Games such as Pokemon Go are prohibited on the premises,” make much of an impression on me.

All areas in the power plant are marked with three different colors indicating the level of contamination. Areas where workers can wear regular clothing and dust masks are marked as green. Yellow means areas where protective clothing and full or half-face masks are required. The most contaminated areas are those marked in red, where workers must wear protective clothing and full-face masks.

For security reasons, taking pictures of many places is prohibited. So much so that even before my arrival I received detailed instructions with illustrations on how to take photos. I realize how important it is to follow these rules at the very beginning of the visit when we go to the viewing point where we can see all of the power plant’s units.

It turns out that I can’t photograph any of the damaged buildings in their entirety. There’s always a door, fence, or security camera in the way, and none of these can be photographed. Additionally, a plant employee is constantly checking for proper framing and inspects every photo I take. He also has a folder with sample photographs with red lines indicating prohibited areas. Being unaccustomed to such a situation during my visits to Chernobyl, I have to use quite a bit of ingenuity to take photographs that meet the approval of my selector.

It’s the same with filming, so I quickly learn that it’s best to avoid long takes. After all, if there is anything forbidden on them, I risk losing the entire clip. After a while, my minder waves his hand and stops checking the photos. At first, I think it’s due to the warning beeps and the rapidly rising readings on my dosimeter. 200 µSv/h is, after all, about 1000 times higher than the norm. After a while, however, it turns out that it’s not because of the high radiation, but the fact that before leaving the plant all of my photos and video clips will be checked again by a security guard and those that do not meet the requirements will be deleted.

Similarities or Differences

Only when I’m standing in front of the damaged units do I grasp the scale of the tragedy and destruction. The first unit has no roof, as it was destroyed by a hydrogen explosion. Only the jagged remnants of the steel skeleton now protrude from it. There is less external damage to the second unit, but inside the meltdown of the reactor core produced a similar effect. When I look at the exposed roof of the first reactor building, comparisons to Chornobyl automatically come to mind.

Units 3 and 4 have already been covered with new structures that are intended to strengthen their substructures and enable the removal of the spent fuel inside. Probably to avoid comparisons with Chornobyl, these are not called sarcophagi, but they serve an identical purpose – they reinforce the damaged buildings, prevent radioactive substances from escaping, and serve or will be used to extract the fuel inside. At Chornobyl, one reactor was damaged, while at Fukushima it was as many as three.

On the one hand, in Chornobyl, the areas around the nuclear power plant are still closed 37 years later. The damaged reactor has already been covered by a second sarcophagus and the removal of the fuel inside of it is still a subject of debate. On the other hand, in Japan, after 12 years most of the areas around the plant have already been cleaned and returned to their residents.

The process of removing the fuel from the damaged reactors is expected to begin in 2024. This very complex and dangerous task will be divided into two separate phases. The first involves removing the melted fuel from the damaged reactors, while the second consists of removing the spent fuel stored in the spent fuel pools. Fuel remains in the first two units as debris is still being cleaned up and other obstacles blocking access to the interior are being removed. The next two units are in much better condition: the spent fuel has already been removed from the pools, and only one of them has had a nuclear core meltdown.

After a while, we drive up to the reactor buildings themselves. Standing next to the vertical walls of the structure, I realize their magnitude. For obvious reasons, I can’t go inside any of them. It’s a red zone, where the damage is greatest, and the radiation levels are deadly high.

Inside of Primary Containment Vessel

I also visit Units 5 and 6, which sustained less damage. They were shut down when the earthquake and tsunami hit, although there was still nuclear fuel in the reactors and spent fuel pools the entire time. Due to the power outages and the cessation of the cooling processes, they did not operate properly and had to be monitored constantly. After the damage was repaired and cooling restored, the remaining fuel in the reactors was moved to a spent fuel pool several floors above. Besides having the chance to take photos, visiting these units is an excellent opportunity for me to better understand how the disaster unfolded and the work to clean up the resulting damage, particularly the melted fuel from inside the reactors.

In Unit 5, I enter the safety enclosure known as the PCV (Primary Containment Vessel) that houses the reactor. This is already a yellow – more radioactive – zone, so once again I must change my clothes. The safety enclosure is shaped like a huge steel pear, more than 30 meters high. Inside it is the reactor, which is surrounded by hundreds of pipes, valves, and pumps. I squeeze between them and come to a small opening in the wall. This leads to a tiny room where the control rod drive hydraulic system is located.

The room is cramped and not even a meter high – definitely not a place for people who have claustrophobia. The reactor is just a few meters above me. It is identical to the ones whose cores melted down due to the power outages and lack of cooling. Under the extreme heat, their uranium fuel rods melted like candle wax and dripped to the bottom of the reactor casing. The hot mass then burned through the steel walls and seeped into the bottom of the containment enclosure, exactly where I stand now.

Because of these similarities, Unit 5 is currently being used to test various methods of removing fuel from damaged reactors. The first tests, during which remotely operated underwater robots were launched into the containment structure, were unsuccessful. More often than not, they got stuck while maneuvering underwater amid piles of debris, cables, and rusted structures. The extremely high levels of radiation (650 Sv/h) would destroy the vehicles’ electronic circuits in minutes. A person would die in seconds in such conditions.

Recently, one of the robots managed to reach the heart of the destroyed power plant, examine the places where the melted fuel is located, and assess the possibility of its extraction. It also was able to check the condition of the reactor’s foundations, as there are concerns that the structure, weakened by the high temperatures of the melted fuel, would not be able to withstand another earthquake. Removing the melted fuel from the reactor will not only begin the process of decommissioning the plant but will also help us understand what actually happened inside the reactor and help prevent similar events in the future.

Spent Fuel Pool

The melted fuel that escaped from the reactor was not the only or even the most dangerous problem that had to be dealt with in the first months after the disaster. There was another serious danger at the time, namely that the fuel stored in the spent fuel pools would catch fire.

According to a report by the Japanese Atomic Energy Commission – not disclosed to the public for fear of causing panic – in the event that the situation went completely out of control and the direction of the wind changed, there would have been so much contamination that it would have necessitated the evacuation of the 50 million people living within a 250 km radius of the plant, an area that includes Tokyo. Thus, the fact that the worst-case scenario was avoided is not only due to the superhuman efforts of hundreds of power plant workers, firefighters, and other emergency responders, but also to chance or, if you prefer, luck.

Although the danger was averted, fuel remains in the spent fuel pools in Units 1 and 2 (the most damaged ones) as well as in Units 5 and 6. I was allowed to enter the last of these. It stores over 1,600 fuel assemblies.

Treated or Radioactive Water

Those who have been following the ongoing decommissioning of the plant or are concerned about the adverse effects of the disaster on the environment and humankind know that the process of releasing the treated water used to cool the damaged reactors into the ocean began a few months ago. For many years, it has been stored in thousands of huge tanks at the power plant, which is slowly running out of space to accommodate them. Before the water enters the ocean, however, it is filtered through a series of sophisticated devices that remove all radioactive elements from it. The only exception to this is tritium, as its removal is not possible for technological reasons.

For this reason, the next place I visit is the laboratory where the chemical composition of seawater, groundwater, and treated water are analyzed. Its tasks are chiefly to monitor and confirm that the water is safe before and after its discharge as well as to disseminate its findings to the public.

The lab is very high-tech; all work is computerized and automated. Upon entering, I immediately notice that there are more than a dozen gamma spectrometers and other equipment used to identify and measure radiation. There are also devices much further in the room measuring tritium and other radioactive materials that emit beta radiation. From a lab employee, I learn that about 100 samples of seawater are analyzed here daily for the presence of 69 nuclides.

One of the analysts shows me the process of analyzing the treated water. She wears special smart glasses that allow her to see every stage of her work and follow the procedures displayed on a tiny screen. Holding a container of treated water, she reads aloud from a label on the container the date and time of collection while the camera attached to her smart glasses reads the QR code attached to it. When the analyst’s voice matches the entered data, the information is registered in the system and the actual analysis begins. The lab technician adds the reagents one by one, mixes vigorously, heats the bottle with the liquid, and then inserts it into a special device. With her mechanical movements and impersonal voicing of the commands, she reminds me more of a robot than a human, but thanks to this the risk of errors is kept to a minimum.

Training Center

The next day, I visit the center where the power plant operators were trained. Abandoned for more than 10 years, the complex has already become completely overgrown. Covered by dried grass over a meter high, it is barely visible from the road. As I pass through them, I notice the entrance to one of the buildings. It’s guarded by a menacing Doberman that is looking straight at me. Fortunately, it’s just a plaster statue, but behind the glass door, it looks like a real one. Meanwhile, a model of a reactor standing in the entrance hall of the next building reveals that I’m in the right place.

The main reception area is a terrible mess. There are overturned chairs and hundreds of documents scattered on the floors – evidence of the earthquake and the hasty evacuation of the complex’s employees. In several other rooms, wall-mounted monitors and whiteboards with diagrams of various devices, as well as rows of chairs, indicate that training courses were held in them. The next room has no windows, so it’s pitch-black inside. It’s so big that my flashlight can’t illuminate the entire space. The first things to appear in its glow are telephone handsets scattered on the floor and panels that have fallen from the ceiling. After a while, I see bright green desktops with dozens of buttons, switches, and lights. I know immediately that I’m in the control room. All of the devices look identical to those in the damaged units.

I approach the main panel in the middle of the room. It has rows of buttons arranged in the shape of a reactor to operate the control rods. Mounted just above them are buttons and switches used for emergency shutdowns of the reactor. I carefully press one of them, as if in fear of accidentally triggering something. Nothing happens, but with the prevailing silence, darkness, and abandoned objects surrounding me, I feel as though I were really standing in the control room of one of the damaged units right after the accident. It’s an amazing, exciting feeling but, at the same time, depressing.

About the author: Arkadiusz Podniesiński is a Polish photographer and filmmaker, a technical diver, and a graduate of Oxford Brookes University in Great Britain. The opinions expressed in this article are solely those of the author. You can find more of his work on his website. This photo essay was also published here.