The winners of the 2024 European Wildlife Photographer of the Year awards have been announced. Launched in 2001, this competition is one of the most prestigious in modern nature photography. This time, it drew submissions from photographers across 38 countries, with a total of 18,000 images entered.
The 2024 Overall Winner—and thus the European Wildlife Photographer of the Year 2024—is Spanish photographerJaime Rojo, with his breathtaking image titled “In the Forest of the Monarchs.”Bored Pandahad the privilege of speaking with the grand prize winner, as well as another finalist,Kjell Vikestad, a Norwegian photographer whose humorous image of a great tit captured the hearts of our community.
Be sure to scroll down to explore the incredible selection of images from the finalists of the contest and to learn more about the participants and their winning photographs.
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We reached out toJaime Rojo, whose captivating photograph earned him a winning spot in the GDT’s prestigious awards. Our conversation centered on the awe-inspiring natural phenomenon of monarch butterfly migration, and the photographer graciously agreed to answer our questions.To start, Rojo shared his observations from the time he spent in the forest, watching the butterflies: “I’ve been working with monarchs for 20 years, but each visit teaches me something new.” The photographer continued: “On one of my recent trips for this assignment, I witnessed firsthand the different strategies birds use to prey on monarchs during hibernation—something that is rare to see and even harder to photograph. Monarchs are toxic because, as caterpillars, they feed on milkweed and store the plant’s toxins as their first line of defense. These toxins are stored in the scales that cover their wings and bodies. However, some birds have learned to cope with the effects of the toxins. Grosbeaks are gluttonous and eat the abdomen whole, including the toxic scales, but after feeding for a while, they must stop because they start feeling sick. Tanagers and orioles, on the other hand, are like surgeons—they use precise incisions in the abdomen to extract the nutritious fat while avoiding the toxic scales, allowing them to feed for longer periods.”
We reached out toJaime Rojo, whose captivating photograph earned him a winning spot in the GDT’s prestigious awards. Our conversation centered on the awe-inspiring natural phenomenon of monarch butterfly migration, and the photographer graciously agreed to answer our questions.
To start, Rojo shared his observations from the time he spent in the forest, watching the butterflies: “I’ve been working with monarchs for 20 years, but each visit teaches me something new.” The photographer continued: “On one of my recent trips for this assignment, I witnessed firsthand the different strategies birds use to prey on monarchs during hibernation—something that is rare to see and even harder to photograph. Monarchs are toxic because, as caterpillars, they feed on milkweed and store the plant’s toxins as their first line of defense. These toxins are stored in the scales that cover their wings and bodies. However, some birds have learned to cope with the effects of the toxins. Grosbeaks are gluttonous and eat the abdomen whole, including the toxic scales, but after feeding for a while, they must stop because they start feeling sick. Tanagers and orioles, on the other hand, are like surgeons—they use precise incisions in the abdomen to extract the nutritious fat while avoiding the toxic scales, allowing them to feed for longer periods.”
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When asked about the biggest challenges he faced while shooting in the forest—especially given the delicate ecosystem and the vulnerability of the butterflies' habitat—Jaime responded: “Working in such a sensitive environment requires great care and respect for both the habitat and the butterflies. The oyamel fir ecosystem is fragile, and monarchs are highly sensitive to changes in temperature, light, and human presence. The local communities play a crucial role in regulating visitor access to the sanctuaries, ensuring the protection of this unique space. For this project, I had to obtain several special permits, which made me even more aware of the privilege it is to work in these sanctuaries. I always prioritize minimizing my impact, often working under challenging conditions to ensure the environment remains undisturbed. I am deeply grateful for the support I’ve received from the keepers of the land and the managers of the protected area, who have made this work possible.”
Every year in autumn when the water cools down to around five degrees Celsius, giant Pacific octopuses (Enteroctopus dofleini) migrate to shallow waters. During a morning dive near the Russian town of Rudnaya (Sea of Japan), I came across this imposing individual. Although the octopus fled immediately, I did manage to get a few shots against the backdrop of bright green tufts of seagrass (Zostera marina).Nikon D800, 3.5-4.5/8-15mm, ISO 500, Sea&Sea UW housing, 2 Sea&Sea UW flashes with diffuser
The GDT’s winner also shared with us which particular moments stood out to him while photographing the monarchs and the forest: “One unforgettable moment was the exact time I captured The Forest of the Monarch, the photo that went on to win the European Wildlife Photographer of the Year award.” Jaime then continued: “That afternoon, I noticed something different about the quality of the light and knew there was an incredible opportunity for a photo. I had requested a special permit to stay after hours in the sanctuary, and as the light turned golden, I suddenly heard a loud cracking noise in the forest. My local guide went to investigate and discovered that a branch, loaded with millions of monarchs, had broken and fallen—a sight I had never seen before. At that moment, I was torn. I had a rare chance to capture the stunning sunset in the forest of the monarchs, but I also wanted to document the fallen branch. I managed to grab a few frames of the sunset before running downhill to find the branch. It was an incredible and surreal experience.”
This photograph shows an ermine (Mustela erminea) in its winter coat shortly after catching a mouse. As so often, I was out and about near my home town of Wörschach in search of photo motifs. Near a small stream, I came across an ermine hunting. I immediately unpacked my photographic gear (included a camouflage net) and lay down flat on the ground to wait. After two hours, the ermine came straight towards me, prey in mouth, and I was able to capture this exciting moment.Nikon Z9, 6.3/800mm, ISO 1000
I took this picture on Great Saltee, Republic of Ireland. I had visited the Saltee Islands many times in the past, but it had been quite a number of years since my last trip. In May 2023, I arrived just as the gannets (Morus bassanus) were beginning to collect their nesting material. With beaks chock-full of vegetation, these seabirds - always somewhat clumsy-looking on land - were simply hilarious.Canon 1Dx MKIII, 4.0/500mm, 1.4x converter, ISO 640
I have been using camera traps and flashes to photograph lynx (Lynx lynx) in southern Sweden for over six years. After many attempts with classic image composition, I tried to rethink my approach. My aim was to photograph a backlit lynx on a tree trunk at night as a silhouette with a “golden edge”. A softened main flash, whose light was bundled through a narrow tube about 40 cm long was intended to simply reflect the animal’s eyes. The gentle rain that night was a welcome bonus.Canon EOS 700D, 4.0/70-200mm, ISO 400, 3 flashes
As mentioned earlier, we reached out toKjell Vikestad, the photographer behind the “Angry Bird” shot, which was the Runner-Up in the Birds category of the 2024 European Wildlife Photographer of the Year contest. The Norwegian photographer shared with us that although his work is not specifically focused on wildlife, he enjoys capturing photos of birds as part of his broader interest in nature. He explained: “I mostly take landscape and nature photos, and have always appreciated hiking in nature. My interest in animal photography has grown in the past years. Some days I have my own little safari in our garden taking photos of insects with a macro lens.”
This picture was taken in Wapusk National Park on the coast of Hudson Bay, Canada during a heavy snowstorm in November 2022. With a single vigorous movement, the polar bear (Ursus maritimus) shakes off the powdery snow that has accumulated during the storm. A gust of wind picks up the snow and forms a decorative veil around the animal. It is truly amazing that these animals seem perfectly comfortable in such inhospitable conditions.Canon EOS R3, 4.0/600mm, 1.4x converter, ISO 2000
The “Angry Bird” photo conveys a lot of personality in the captured great tit. We were curious if this was the photographer’s intention or simply a happy accident. Vikestad responded: “I’m used to seeing birds begging for food when I’m waiting for the ferry at Hella. On this particular day, the birds were very wet and hungry. I noticed that this made them less afraid, allowing me to take several close-up photos. However, it was a bit of luck that one of the birds ended up in this particular pose.”Lastly, we were curious about how Kjell sees the role of humor in photography as part of storytelling. He told us: “Humor is an important part of being a human. Humorous photos of animals will perhaps make more people relate to wild animals.”
The “Angry Bird” photo conveys a lot of personality in the captured great tit. We were curious if this was the photographer’s intention or simply a happy accident. Vikestad responded: “I’m used to seeing birds begging for food when I’m waiting for the ferry at Hella. On this particular day, the birds were very wet and hungry. I noticed that this made them less afraid, allowing me to take several close-up photos. However, it was a bit of luck that one of the birds ended up in this particular pose.”
Lastly, we were curious about how Kjell sees the role of humor in photography as part of storytelling. He told us: “Humor is an important part of being a human. Humorous photos of animals will perhaps make more people relate to wild animals.”
A common octopus (Octopus vulgaris) crawls across the seabed at night in search of prey. Thanks to a sophisticated combination of tactile abilities and nocturnal vision, octopuses are among the most effective nocturnal hunters in the sea. Everything about how octopuses perceive the world is beyond our imagination. In addition to their unique eyes, octopus skin contains special light-sensitive proteins called opsins that allow the entire body to perceive light. Given this, it is not surprising that these animals use more than two-thirds of their brain for visual processing. Although colour-blind, octopuses use polarised vision to improve contrasts and detect enemies, conspecifics and even camouflaged prey. Last but not least, the position of the eyes on an octopus' head and its horizontal pupils mean that the animals have 360° vision with no “blind spots”. Who can beat that?Nikon D800, Tokina 3.5-4.5/10-17mm, ISO 80, Anthis Nexus UW housing, 2 Retra UW flashes
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During a visit to the Lossiny Ostrov National Park (Russia), I found several parasol mushrooms (Macrolepiota procera). The pronounced lamellae under the cap of one of the mushrooms immediately caught my attention. With the help of a torch, I wanted to emphasise their elegant structures. I deliberately underexposed the shot slightly to emphasise the beautiful curves of the lamellae. The result reminds me of the front curtain in a theatre.Sony Alpha ILCE-7M4, 2.8/90mm Macro, ISO 1600
In a pond in Parco Nazionale delle Foreste Casentinesi (Italy), common frogs (Rana temporaria) congregate once a year for the sacred ritual of reproduction. In the chill of early spring, the dance of nature unfolds, a testimony to the enduring spirit of life and renewal.Nikon D7200, 3.5-4.5/10-17mm, ISO 320, Isotta UW housing, 2 Nikon UW flashes
I photographed this colony of mussels (Mytilus edulis) in the intertidal zone of Praia da Ursa, a spectacular beach on Portugual’s west coast. Although the mussels were firmly attached to the rocks, they remind me of a marching army with the shells looking like soldiers' shields. With a little imagination, they look like a scene from Lord of the Rings or Game of Thrones. I took the photograph with a probe lens from Laowa. This long, thin, wide-angle macro lens was carefully positioned to capture the mussels large and up close from above and also include the spectacular backdrop of Praia da Ursa. I extended the depth of field with the help of focus stacking.Canon EOS R5, Laowa 24mm probe lens, ISO 200, tripod, 10 images in focus stack
This photograph shows one of the numerous European bisons (Bison bonasus) reintroduced to Poland’s Bialowieza National Park near the border with Belarus. In 1927, the last free-living bison in the Caucasus was shot and the species was considered extinct in the wild in Europe. With the help of a small group of animals from zoological gardens and private owners, the European bison was saved from extinction. As of 2023, around 7,200 individuals exist in Europe. However, habitat fragmentation and low genetic diversity continue to pose challenges to the survival of this species.Nikon D810, 2.8/400mm, 2x converter, ISO 800
During my visit to Svalbard, I was able to observe numerous Svalbard reindeer (Rangifer tarandus platyrhynchus), a small subspecies of the reindeer common in northern Europe. During the summer months, these animals lose their thick winter coat. On a hike, I watched as a strong gust of wind blew off a large part of this reindeer’s winter coat. Even the reindeer looks a little surprised.Canon EOS 5D Mark IV, 4.0/500mm, 1.4x converter, ISO 1000
On the day this photo was taken, my father picked me up after school and we drove to an agricultural area on the edge of the Sierra de Grazalema Nature Park. We were able to take some nice pictures, and, on the way home in the car, I saw a young stonechat sitting on a fence and repeatedly flying to the ground to prey on small insects. One time, it returned to perch on the fence right next to a lock - as if to stand guard.Olympus M1 MARK III, 5.6-6.3/100-400mm, ISO 500, bean bag
A huge stream of lava flows from an eruptive fissure into the deserted Valle del Bove in the south-eastern crater of Mount Etna (Italy). Sulphurous vapours colour the surrounding rocks bright yellow. Positioned at a distance away from the intense heat, I extended my tripod with the camera already mounted, held it up as far as I could above the glowing lava lake, and then took this shot with a remote shutter release.Canon EOS R5, 4.0/16-35mm, ISO 100, tripod
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