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See 11 Winning Images From the Astronomy Photographer of the Year Contest That Showcase the Wonder of Space

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Friday, September 13, 2024

Images of the sky, stars and galaxies have the ability to strike wonder and awe. The Astronomy Photographer of the Year competition captures that awe by showcasing some of the best images in astrophotography as amateur and professional photographers alike vie for a £10,000 ($13,000) grand prize. Now in its 16th year, the contest drew in more than 3,500 entries from photographers representing 58 countries this time around. Hosted by the Royal Observatory Greenwich, it is the largest astrophotography competition in the world—and the observatory released the winners of its 2024 contest in an online ceremony Thursday. This year’s contest featured multiple categories: our sun; our moon; galaxies; auroras; planets, comets and asteroids; people and space; stars and nebulas; and skyscapes. The judges also handed out a few special awards that recognized astrophotography newbies, young photographers and image innovation, which requires merging open source data with space-related images. The overall winner, Ryan Imperio, came from the “our sun” category and depicted Baily’s beads during the 2023 annular solar eclipse. Tom Williams was able to win in two separate categories, securing the top image in both “people and space,” as well as “planets, comets and asteroids.” “An abundance of astonishing works flood to us, and it is a joy to see what the world’s best astrophotographers are producing,” says Ed Bloomer, an astronomer at Royal Observatory Greenwich, in a statement. “It really is true that choosing the winners is a long process, and heavily debated amongst the panel.” An exhibition featuring the winning photographs, alongside a selection of shortlisted images that were announced earlier this year, opened at the National Maritime Museum in the United Kingdom on September 13. Below are the breathtaking winners, capturing in great detail the otherworldly beauty of space. Distorted Shadows of the Moon’s Surface by Ryan Imperio In this contest-winning time-lapse shot, the moon travels across the face of the sun, revealing the progression of Baily’s beads during the 2023 annular solar eclipse. © Ryan Imperio This overall winning image was taken during the 2023 annular solar eclipse that traced a path over the Americas. Astrophotographer Ryan Imperio of the United States put together this sequence of continuously captured images showing the progression of a phenomenon called Baily’s beads. When the moon’s edge aligns with the sun’s during a solar eclipse, its rugged topography of mountains and valleys allows sunlight to shine through unevenly. The resulting beads of light are called Baily’s beads. Here, the Baily’s beads break the ring of sunlight to form the illusion of black streaks. A glowing “Ring of Fire” also appears on the left side of the striking image. Since the moon does not completely cover the sun in an annular eclipse, it results in a ring of light glowing around the moon. Imperio describes how he captured the contest-winning shot: “Representing approximately ten seconds, the stacked sequence was shot at three frames per second and, starting on the left, includes the Ring of Fire at maximum annularity,” or the peak of the eclipse, he says in a catalog of the winners sent to Smithsonian magazine. “As the sequence progresses, a sort of exaggerated projection is created of the moon’s rough topography, allowing the viewer to appreciate the distorted lunar peaks and valleys.” Queenstown Aurora by Larryn Rae The pink hue of the southern lights shines over mountains, as captured in Queensland, New Zealand, in this winning image from the auroras category. © Larryn Rae The Aurora Australis, or southern lights, illuminate the sky over the mountains of Queenstown, New Zealand. Given the popularity of photographing the northern lights, this category winner was just one of two shortlisted aurora photos taken in the Southern Hemisphere. The vivid red colors of this aurora are rarer than green auroras, because these are produced at high altitudes. When charged particles from the sun energize atoms of gas in the Earth’s atmosphere, the excess energy gets released as light in brilliant auroras. The sun launches those particles in a phenomenon known as a coronal mass ejection (CME), when its outer atmosphere ejects magnetic fields and plasma mass into space. Larryn Rae of New Zealand describes how his image was put together: “It is a 19-image panorama capturing all of the fast-moving beams that lit up the sky. … My astro-modified camera caught all the pink hues of the aurora beams.” The composition also came together with a bit of luck. “The aurora came out of nowhere, and I was the only person there to capture the surprise display.” Shadow Peaks of Sinus Iridum by Gábor Balázs A close-up shot of the moon captures a flat plain known as Sinus Iridum, as well as the crater Pythagoras, which is visible because of a wobbling phenomenon called libration. The image won the contest's category for our moon. © Gábor Balázs Captured by Gábor Balázs of Hungary, this image shows a large lunar crater called Sinus Iridum, also known as the ‘Bay of Rainbows,’ which stretches approximately 150 miles in diameter. The surrounding Montes Jura mountain range casts spiky shadows into the crater. This detailed photograph reveals how the bay is surrounded by several smaller craters, showcasing the moon’s rugged terrain. In the top right corner lies the crater Pythagoras, which is noted by astronomers for its depth and complex geological features. Earth-bound viewers can only see one side of the moon, but a phenomenon called “libration,” in which the moon slightly oscillates, allows astronomers to see approximately 59 percent of the satellite’s total surface. This photograph includes glimpses of areas that are typically out of view because libration caused them to wobble toward the Earth. One of the competition’s judges, Yuri Beletsky, an astronomer and award-winning photographer in his own right, stated about this capture: “This image not only highlights the capabilities of modern astrophotography equipment but also offers a vivid illustration of lunar surface features, contributing valuable insights into lunar geology.” Echoes of the Past by Bence Tóth Galaxy NGC 5128, the fifth brightest galaxy as seen from Earth, won the category for galaxies. © Bence Tóth, Péter Feltóti A shot of galaxy NGC 5128, also known as Centaurus A, took home the prize in the galaxies category. At the center is a visualization of a powerful jet of radiation and particles known as a relativistic jet. Moving at close to the speed of light, the jet serves as an indicator of a supermassive black hole. Centaurus A is the closest radio galaxy to Earth, meaning it emits a large amount of radio waves. Centaurus A is the fifth brightest galaxy in the sky and can only be seen in the Southern Hemisphere. Bence Tóth of Hungary describes how he and Péter Feltóti got the shot: “We captured the image data in parallel with two astrophotography setups and processed the final image from all the data.” “This galaxy has quite a violent past due to several galaxy merging events. One of the main goals was to show how these disrupting events shaped the galaxy, as the shockwaves are propagated through the entire disc,” he adds. “The other target was to show the relativistic jet, the tell-tale sign of the supermassive black hole at the center.” High Tech Silhouette by Tom Williams The International Space Station creates a silhouette above the sun's active surface as it speeds around the Earth. This image won the contest's people and space category. © Tom Williams Tom Williams of the United Kingdom captured this moment as the International Space Station transited in front of the surface of the sun. He describes the discipline and accuracy needed to get this detailed image: “Crossing the field of view in just 0.2 seconds, these ISS transits of the sun are particularly rare for any one location on Earth.” The International Space Station is the largest space station ever built, maintaining an orbit with an average altitude of 250 miles. The station makes 16 orbits of the Earth per day, meaning its astronauts experience 16 sunrises and sunsets daily. It travels at a rapid five miles per second, emphasizing the precision needed to get this photo. Williams’ image also showcases the dynamic and active nature of the sun. A large, bright, extruding solar prominence extends out from the star near the station’s transit location, making this shot extra special. “Luckily weather conditions were great, and the sun was very lively at the time,” the photographer adds. “After many days of planning, it was a treat to have it all come to fruition.” On Approach by Tom Williams Venus, seen in three views as it approaches a conjunction with Earth and the sun, won the planets, comets and asteroids category. © Tom Williams The above image shows the phases of Venus as it approaches to pass between the Earth and sun. Whenever a planet sits directly between the sun and Earth, this is referred to as an inferior conjunction. Such an alignment occurs with Venus occurs every 19.5 months. Venus is a breathtaking, unique planet. It spins slowly in the opposite direction from most planets in our solar system. And as the closest planet to Earth, the highly reflective Venus is the third brightest object in the sky, after only the sun and moon. However, the reflectivity of its clouds makes conventional imaging methods difficult. “This makes UV imaging of Venus particularly interesting as the planet is much more dynamic than it would be if viewed in the visible spectrum,” Williams notes. He used ultraviolet and infrared filters to reveal the intricacies of cloud structures within the planet’s upper atmosphere, represented by added colors in the image that resemble the planet’s natural hue. Tasman Gems by Tom Rae Stars, nebulas and galaxies illuminate the night sky over the Tasman Valley in New Zealand. This image won the contest's skyscapes category. © Tom Rae The rugged peaks of New Zealand’s Tasman Valley stretch upward toward an array of celestial features in the Southern Hemisphere’s summer night sky. At the center, the red regions are hydrogen clouds of the Gum Nebula, the largest emission nebula in the sky, spanning the width of 72 full moons. Despite its size, the Gum Nebula was unknown before 1955 due to its faintness. This shot also features other regions in the Milky Way that aren’t photographed very frequently given their low brightness. In the top right side of the frame are the Large and Small Magellanic Clouds, which are two irregular dwarf galaxies that orbit the Milky Way. Additionally, the bright stars Sirius and Canopus can be seen in the center of the image. Sirius, the brightest star in the night sky, lies in the Canis Major constellation. Canopus is part of the constellation Carina and is the second-brightest star seen from the Southern Hemisphere. On the left of the image, you can see the Orion constellation with its characteristic three-star belt. “It’s very challenging to create this sort of composition without tipping the balance in favor of either foreground or background,” says contest judge Bloomer. “As well as being technically impressive, the balance also produces a surreal quality. A slightly dream-like connection between the Earth-bound and the celestial.” SNR G107.5-5.2 Unexpected Discovery (The Nereides Nebula in Cassiopeia) by Marcel Drechsler, Bray Falls, Yann Sainty, Nicolas Martino and Richard Galli In this winning image from the stars and nebulas category, the remnants from a gigantic supernova form wispy rings at the center of the Cassiopeia constellation. © Marcel Drechsler, Bray Falls, Yann Sainty, Nicolas Martino, Richard Galli “A new supernova remnant right at our doorstep!” writes the team of five photographers who captured this image. “One team, 3,559 frames, 260 hours of exposure time, telescopes on three continents and one goal—not only to explore a supernova remnant that has not yet been discovered by science, but also to photograph it in an ambitious joint project.” This gigantic supernova remnant in the resulting image is a lingering structure left over from the explosion of a star, featuring shock waves and filled with ejected materials from the blast. The team of photographers discovered this remnant, which stretches across a wide expanse of the night sky the size of six full moons. It was a surprise find, considering it lies in the center of the famous constellation Cassiopeia, known for its “W” shape formed by five bright stars. “Who knew this fantastic and delicate structure was there all along in one of the best-known constellations in the night sky?” says contest judge Steve Marsh, the art editor for BBC Sky at Night Magazine. The clever coloring specifically wowed judges as it illuminated the structure’s details. Even more impressively, the team that made this miraculous discovery consisted of amateur astronomers, demonstrating the remarkable impact amateurs can have on the field. SH2-308: Dolphin Head Nebula by Xin Feng and Miao Gong The Dolphin Head Nebula appears as a blue bubble in this image that won the Sir Patrick Moore Prize for Best Newcomer. © Xin Feng, Miao Gong Xin Feng and Miao Gong of China took home the award for the best newcomer image, which features the charming SH2-308, commonly known as the Dolphin Head Nebula. The bubble of ionized atomic hydrogen was pushed out from a very luminous Wolf-Rayet star. Wolf-Rayet stars are at an advanced stage in the stellar life cycle and have a high rate of mass loss. Around the Dolphin Head Nebula, stellar winds, or gas ejected from the star’s upper atmosphere, can reach over 3.3 million miles per hour, making the region lively. Feng and Gong note the nebula “is at a low angle and can only be shot for five hours a day. … This image comprises a total of ten days of shooting and post-processing.” NGC 1499, A Dusty California by Daniele Borsari The California Nebula emits ionized gasses to form a long, reddish-pink shape. Captured by a 14-year-old photographer, the image won the young astrophotographer category. © Daniele Borsari Fourteen-year-old Daniele Borsari of Italy captured the above image of the emission nebula NGC 1499, also known as the California Nebula for its resemblance to the elongated shape of the state. An emission nebula is a cloud of ionized gasses that glows, typically in red, due to being heated by nearby stars. This nebula is just about 1,000 light-years from Earth in the constellation Perseus. Borsari captures the nebula’s shape beautifully, demonstrating the promise of young astrophotography talent, per the contest judges. “This incredibly beautiful image… captures a nebula, atmospheric gasses and has extraordinary balance of light, composition and structure,” says judge Neal White, a researcher of contemporary art and science at the University of Westminster in England. “The future of astronomy photography being fearlessly, and openly, taken forward by a new generation.” Anatomy of a Habitable Planet by Sergio Díaz Ruiz This visualization of Earth’s global atmospheric conditions, based on satellite data, won the Annie Maunder Prize for Image Innovation. © Sergio Díaz Ruiz Spanish photographer Sergio Díaz Ruiz creates a shocking depiction of a world plagued by impending global catastrophes, despite having intelligent life forms. What planet is this? Our Earth. Various colors represent data captured by the GOES-18 weather satellite, denoting landmasses, oceans and atmospheric features. Combined with a map of artificial lights at night, the image shows Earth as an alien civilization might view and study it. The image evokes the pressing need for climate action to manage greenhouse gas emissions and other atmospheric risks to humankind. As judge Victoria Lane, senior curator of art and identity at Royal Museums Greenwich, aptly writes, “the image poignantly emphasizes the significant environmental challenges we face and the urgent need to protect and preserve our planet.” Get the latest stories in your inbox every weekday.

From a solar eclipse to a dolphin-like nebula, these otherworldly sights are captured in sharp detail by astrophotographers from around the world

Images of the sky, stars and galaxies have the ability to strike wonder and awe.

The Astronomy Photographer of the Year competition captures that awe by showcasing some of the best images in astrophotography as amateur and professional photographers alike vie for a £10,000 ($13,000) grand prize.

Now in its 16th year, the contest drew in more than 3,500 entries from photographers representing 58 countries this time around. Hosted by the Royal Observatory Greenwich, it is the largest astrophotography competition in the world—and the observatory released the winners of its 2024 contest in an online ceremony Thursday.

This year’s contest featured multiple categories: our sun; our moon; galaxies; auroras; planets, comets and asteroids; people and space; stars and nebulas; and skyscapes. The judges also handed out a few special awards that recognized astrophotography newbies, young photographers and image innovation, which requires merging open source data with space-related images.

The overall winner, Ryan Imperio, came from the “our sun” category and depicted Baily’s beads during the 2023 annular solar eclipse. Tom Williams was able to win in two separate categories, securing the top image in both “people and space,” as well as “planets, comets and asteroids.”

“An abundance of astonishing works flood to us, and it is a joy to see what the world’s best astrophotographers are producing,” says Ed Bloomer, an astronomer at Royal Observatory Greenwich, in a statement. “It really is true that choosing the winners is a long process, and heavily debated amongst the panel.”

An exhibition featuring the winning photographs, alongside a selection of shortlisted images that were announced earlier this year, opened at the National Maritime Museum in the United Kingdom on September 13.

Below are the breathtaking winners, capturing in great detail the otherworldly beauty of space.

Distorted Shadows of the Moon’s Surface by Ryan Imperio

A time-lapsed picture of the moon covering the sun shows thin glowing gold rings emanating out from the dark moon at the left, with dark streaks through them
In this contest-winning time-lapse shot, the moon travels across the face of the sun, revealing the progression of Baily’s beads during the 2023 annular solar eclipse. © Ryan Imperio

This overall winning image was taken during the 2023 annular solar eclipse that traced a path over the Americas. Astrophotographer Ryan Imperio of the United States put together this sequence of continuously captured images showing the progression of a phenomenon called Baily’s beads.

When the moon’s edge aligns with the sun’s during a solar eclipse, its rugged topography of mountains and valleys allows sunlight to shine through unevenly. The resulting beads of light are called Baily’s beads. Here, the Baily’s beads break the ring of sunlight to form the illusion of black streaks.

A glowing “Ring of Fire” also appears on the left side of the striking image. Since the moon does not completely cover the sun in an annular eclipse, it results in a ring of light glowing around the moon.

Imperio describes how he captured the contest-winning shot: “Representing approximately ten seconds, the stacked sequence was shot at three frames per second and, starting on the left, includes the Ring of Fire at maximum annularity,” or the peak of the eclipse, he says in a catalog of the winners sent to Smithsonian magazine. “As the sequence progresses, a sort of exaggerated projection is created of the moon’s rough topography, allowing the viewer to appreciate the distorted lunar peaks and valleys.”

Queenstown Aurora by Larryn Rae

A pink aurora shines over a mountain and water in the night sky, with streaks emanating up from the horizon like fire
The pink hue of the southern lights shines over mountains, as captured in Queensland, New Zealand, in this winning image from the auroras category. © Larryn Rae

The Aurora Australis, or southern lights, illuminate the sky over the mountains of Queenstown, New Zealand. Given the popularity of photographing the northern lights, this category winner was just one of two shortlisted aurora photos taken in the Southern Hemisphere. The vivid red colors of this aurora are rarer than green auroras, because these are produced at high altitudes.

When charged particles from the sun energize atoms of gas in the Earth’s atmosphere, the excess energy gets released as light in brilliant auroras. The sun launches those particles in a phenomenon known as a coronal mass ejection (CME), when its outer atmosphere ejects magnetic fields and plasma mass into space.

Larryn Rae of New Zealand describes how his image was put together: “It is a 19-image panorama capturing all of the fast-moving beams that lit up the sky. … My astro-modified camera caught all the pink hues of the aurora beams.” The composition also came together with a bit of luck. “The aurora came out of nowhere, and I was the only person there to capture the surprise display.”

Shadow Peaks of Sinus Iridum by Gábor Balázs

A shot of the moon highlighting the textured craters, mountains, and dry bays
A close-up shot of the moon captures a flat plain known as Sinus Iridum, as well as the crater Pythagoras, which is visible because of a wobbling phenomenon called libration. The image won the contest's category for our moon. © Gábor Balázs

Captured by Gábor Balázs of Hungary, this image shows a large lunar crater called Sinus Iridum, also known as the ‘Bay of Rainbows,’ which stretches approximately 150 miles in diameter. The surrounding Montes Jura mountain range casts spiky shadows into the crater. This detailed photograph reveals how the bay is surrounded by several smaller craters, showcasing the moon’s rugged terrain. In the top right corner lies the crater Pythagoras, which is noted by astronomers for its depth and complex geological features.

Earth-bound viewers can only see one side of the moon, but a phenomenon called “libration,” in which the moon slightly oscillates, allows astronomers to see approximately 59 percent of the satellite’s total surface. This photograph includes glimpses of areas that are typically out of view because libration caused them to wobble toward the Earth.

One of the competition’s judges, Yuri Beletsky, an astronomer and award-winning photographer in his own right, stated about this capture: “This image not only highlights the capabilities of modern astrophotography equipment but also offers a vivid illustration of lunar surface features, contributing valuable insights into lunar geology.”

Echoes of the Past by Bence Tóth

Centaurus A, a galaxy only visible from the Southern Hemisphere, shines with glowing jets of radiation.
Galaxy NGC 5128, the fifth brightest galaxy as seen from Earth, won the category for galaxies. © Bence Tóth, Péter Feltóti

A shot of galaxy NGC 5128, also known as Centaurus A, took home the prize in the galaxies category. At the center is a visualization of a powerful jet of radiation and particles known as a relativistic jet. Moving at close to the speed of light, the jet serves as an indicator of a supermassive black hole.

Centaurus A is the closest radio galaxy to Earth, meaning it emits a large amount of radio waves. Centaurus A is the fifth brightest galaxy in the sky and can only be seen in the Southern Hemisphere.

Bence Tóth of Hungary describes how he and Péter Feltóti got the shot: “We captured the image data in parallel with two astrophotography setups and processed the final image from all the data.”

“This galaxy has quite a violent past due to several galaxy merging events. One of the main goals was to show how these disrupting events shaped the galaxy, as the shockwaves are propagated through the entire disc,” he adds. “The other target was to show the relativistic jet, the tell-tale sign of the supermassive black hole at the center.”

High Tech Silhouette by Tom Williams

An image of the surface of the sun with the International Space Station traversing in front of it.
The International Space Station creates a silhouette above the sun's active surface as it speeds around the Earth. This image won the contest's people and space category. © Tom Williams

Tom Williams of the United Kingdom captured this moment as the International Space Station transited in front of the surface of the sun. He describes the discipline and accuracy needed to get this detailed image: “Crossing the field of view in just 0.2 seconds, these ISS transits of the sun are particularly rare for any one location on Earth.”

The International Space Station is the largest space station ever built, maintaining an orbit with an average altitude of 250 miles. The station makes 16 orbits of the Earth per day, meaning its astronauts experience 16 sunrises and sunsets daily. It travels at a rapid five miles per second, emphasizing the precision needed to get this photo.

Williams’ image also showcases the dynamic and active nature of the sun. A large, bright, extruding solar prominence extends out from the star near the station’s transit location, making this shot extra special.

“Luckily weather conditions were great, and the sun was very lively at the time,” the photographer adds. “After many days of planning, it was a treat to have it all come to fruition.”

On Approach by Tom Williams

A collection of views of Venus’s blue and orange surface.
Venus, seen in three views as it approaches a conjunction with Earth and the sun, won the planets, comets and asteroids category. © Tom Williams

The above image shows the phases of Venus as it approaches to pass between the Earth and sun. Whenever a planet sits directly between the sun and Earth, this is referred to as an inferior conjunction. Such an alignment occurs with Venus occurs every 19.5 months.

Venus is a breathtaking, unique planet. It spins slowly in the opposite direction from most planets in our solar system. And as the closest planet to Earth, the highly reflective Venus is the third brightest object in the sky, after only the sun and moon. However, the reflectivity of its clouds makes conventional imaging methods difficult.

“This makes UV imaging of Venus particularly interesting as the planet is much more dynamic than it would be if viewed in the visible spectrum,” Williams notes. He used ultraviolet and infrared filters to reveal the intricacies of cloud structures within the planet’s upper atmosphere, represented by added colors in the image that resemble the planet’s natural hue.

Tasman Gems by Tom Rae

Stars, nebulae, and aurora shine in this summer night sky in New Zealand
Stars, nebulas and galaxies illuminate the night sky over the Tasman Valley in New Zealand. This image won the contest's skyscapes category. © Tom Rae

The rugged peaks of New Zealand’s Tasman Valley stretch upward toward an array of celestial features in the Southern Hemisphere’s summer night sky.

At the center, the red regions are hydrogen clouds of the Gum Nebula, the largest emission nebula in the sky, spanning the width of 72 full moons. Despite its size, the Gum Nebula was unknown before 1955 due to its faintness. This shot also features other regions in the Milky Way that aren’t photographed very frequently given their low brightness.

In the top right side of the frame are the Large and Small Magellanic Clouds, which are two irregular dwarf galaxies that orbit the Milky Way. Additionally, the bright stars Sirius and Canopus can be seen in the center of the image. Sirius, the brightest star in the night sky, lies in the Canis Major constellation. Canopus is part of the constellation Carina and is the second-brightest star seen from the Southern Hemisphere. On the left of the image, you can see the Orion constellation with its characteristic three-star belt.

“It’s very challenging to create this sort of composition without tipping the balance in favor of either foreground or background,” says contest judge Bloomer. “As well as being technically impressive, the balance also produces a surreal quality. A slightly dream-like connection between the Earth-bound and the celestial.”

SNR G107.5-5.2 Unexpected Discovery (The Nereides Nebula in Cassiopeia) by Marcel Drechsler, Bray Falls, Yann Sainty, Nicolas Martino and Richard Galli

Bright blue remnants of a gigantic supernova form a wispy ring against red remnants and a red foggy backdrop with stars
In this winning image from the stars and nebulas category, the remnants from a gigantic supernova form wispy rings at the center of the Cassiopeia constellation. © Marcel Drechsler, Bray Falls, Yann Sainty, Nicolas Martino, Richard Galli

“A new supernova remnant right at our doorstep!” writes the team of five photographers who captured this image. “One team, 3,559 frames, 260 hours of exposure time, telescopes on three continents and one goal—not only to explore a supernova remnant that has not yet been discovered by science, but also to photograph it in an ambitious joint project.”

This gigantic supernova remnant in the resulting image is a lingering structure left over from the explosion of a star, featuring shock waves and filled with ejected materials from the blast.

The team of photographers discovered this remnant, which stretches across a wide expanse of the night sky the size of six full moons. It was a surprise find, considering it lies in the center of the famous constellation Cassiopeia, known for its “W” shape formed by five bright stars.

“Who knew this fantastic and delicate structure was there all along in one of the best-known constellations in the night sky?” says contest judge Steve Marsh, the art editor for BBC Sky at Night Magazine.

The clever coloring specifically wowed judges as it illuminated the structure’s details. Even more impressively, the team that made this miraculous discovery consisted of amateur astronomers, demonstrating the remarkable impact amateurs can have on the field.

SH2-308: Dolphin Head Nebula by Xin Feng and Miao Gong

A blue nebula is looks like a dolphin's head with its nose pointing to the top left against a colored blue and red sky
The Dolphin Head Nebula appears as a blue bubble in this image that won the Sir Patrick Moore Prize for Best Newcomer. © Xin Feng, Miao Gong

Xin Feng and Miao Gong of China took home the award for the best newcomer image, which features the charming SH2-308, commonly known as the Dolphin Head Nebula.

The bubble of ionized atomic hydrogen was pushed out from a very luminous Wolf-Rayet star. Wolf-Rayet stars are at an advanced stage in the stellar life cycle and have a high rate of mass loss. Around the Dolphin Head Nebula, stellar winds, or gas ejected from the star’s upper atmosphere, can reach over 3.3 million miles per hour, making the region lively.

Feng and Gong note the nebula “is at a low angle and can only be shot for five hours a day. … This image comprises a total of ten days of shooting and post-processing.”

NGC 1499, A Dusty California by Daniele Borsari

A reddish-pink emission nebula in the vague shape of the state of California
The California Nebula emits ionized gasses to form a long, reddish-pink shape. Captured by a 14-year-old photographer, the image won the young astrophotographer category. © Daniele Borsari

Fourteen-year-old Daniele Borsari of Italy captured the above image of the emission nebula NGC 1499, also known as the California Nebula for its resemblance to the elongated shape of the state. An emission nebula is a cloud of ionized gasses that glows, typically in red, due to being heated by nearby stars.

This nebula is just about 1,000 light-years from Earth in the constellation Perseus. Borsari captures the nebula’s shape beautifully, demonstrating the promise of young astrophotography talent, per the contest judges.

“This incredibly beautiful image… captures a nebula, atmospheric gasses and has extraordinary balance of light, composition and structure,” says judge Neal White, a researcher of contemporary art and science at the University of Westminster in England. “The future of astronomy photography being fearlessly, and openly, taken forward by a new generation.”

Anatomy of a Habitable Planet by Sergio Díaz Ruiz

A depiction of Earth’s atmosphere features shown with green, red, and blue visualizations from a full view of the spherical planet from space
This visualization of Earth’s global atmospheric conditions, based on satellite data, won the Annie Maunder Prize for Image Innovation. © Sergio Díaz Ruiz

Spanish photographer Sergio Díaz Ruiz creates a shocking depiction of a world plagued by impending global catastrophes, despite having intelligent life forms. What planet is this? Our Earth.

Various colors represent data captured by the GOES-18 weather satellite, denoting landmasses, oceans and atmospheric features. Combined with a map of artificial lights at night, the image shows Earth as an alien civilization might view and study it. The image evokes the pressing need for climate action to manage greenhouse gas emissions and other atmospheric risks to humankind.

As judge Victoria Lane, senior curator of art and identity at Royal Museums Greenwich, aptly writes, “the image poignantly emphasizes the significant environmental challenges we face and the urgent need to protect and preserve our planet.”

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For plants, urban heat islands don’t mimic global warming

Scientists have found that trees in cities respond to higher temperatures differently than those in forests, potentially masking climate impacts.

It’s tricky to predict precisely what the impacts of climate change will be, given the many variables involved. To predict the impacts of a warmer world on plant life, some researchers look at urban “heat islands,” where, because of the effects of urban structures, temperatures consistently run a few degrees higher than those of the surrounding rural areas. This enables side-by-side comparisons of plant responses.But a new study by researchers at MIT and Harvard University has found that, at least for forests, urban heat islands are a poor proxy for global warming, and this may have led researchers to underestimate the impacts of warming in some cases. The discrepancy, they found, has a lot to do with the limited genetic diversity of urban tree species.The findings appear in the journal PNAS, in a paper by MIT postdoc Meghan Blumstein, professor of civil and environmental engineering David Des Marais, and four others.“The appeal of these urban temperature gradients is, well, it’s already there,” says Des Marais. “We can’t look into the future, so why don’t we look across space, comparing rural and urban areas?” Because such data is easily obtainable, methods comparing the growth of plants in cities with similar plants outside them have been widely used, he says, and have been quite useful. Researchers did recognize some shortcomings to this approach, including significant differences in availability of some nutrients such as nitrogen. Still, “a lot of ecologists recognized that they weren’t perfect, but it was what we had,” he says.Most of the research by Des Marais’ group is lab-based, under conditions tightly controlled for temperature, humidity, and carbon dioxide concentration. While there are a handful of experimental sites where conditions are modified out in the field, for example using heaters around one or a few trees, “those are super small-scale,” he says. “When you’re looking at these longer-term trends that are occurring over space that’s quite a bit larger than you could reasonably manipulate, an important question is, how do you control the variables?”Temperature gradients have offered one approach to this problem, but Des Marais and his students have also been focusing on the genetics of the tree species involved, comparing those sampled in cities to the same species sampled in a natural forest nearby. And it turned out there were differences, even between trees that appeared similar.“So, lo and behold, you think you’re only letting one variable change in your model, which is the temperature difference from an urban to a rural setting,” he says, “but in fact, it looks like there was also a genotypic diversity that was not being accounted for.”The genetic differences meant that the plants being studied were not representative of those in the natural environment, and the researchers found that the difference was actually masking the impact of warming. The urban trees, they found, were less affected than their natural counterparts in terms of when the plants’ leaves grew and unfurled, or “leafed out,” in the spring.The project began during the pandemic lockdown, when Blumstein was a graduate student. She had a grant to study red oak genotypes across New England, but was unable to travel because of lockdowns. So, she concentrated on trees that were within reach in Cambridge, Massachusetts. She then collaborated with people doing research at the Harvard Forest, a research forest in rural central Massachusetts. They collected three years of data from both locations, including the temperature profiles, the leafing-out timing, and the genetic profiles of the trees. Though the study was looking at red oaks specifically, the researchers say the findings are likely to apply to trees broadly.At the time, researchers had just sequenced the oak tree genome, and that allowed Blumstein and her colleagues to look for subtle differences among the red oaks in the two locations. The differences they found showed that the urban trees were more resistant to the effects of warmer temperatures than were those in the natural environment.“Initially, we saw these results and we were sort of like, oh, this is a bad thing,” Des Marais says. “Ecologists are getting this heat island effect wrong, which is true.” Fortunately, this can be easily corrected by factoring in genomic data. “It’s not that much more work, because sequencing genomes is so cheap and so straightforward. Now, if someone wants to look at an urban-rural gradient and make these kinds of predictions, well, that’s fine. You just have to add some information about the genomes.”It's not surprising that this genetic variation exists, he says, since growers have learned by trial and error over the decades which varieties of trees tend to thrive in the difficult urban environment, with typically poor soil, poor drainage, and pollution. “As a result, there’s just not much genetic diversity in our trees within cities.”The implications could be significant, Des Marais says. When the Intergovernmental Panel on Climate Change (IPCC) releases its regular reports on the status of the climate, “one of the tools the IPCC has to predict future responses to climate change with respect to temperature are these urban-to-rural gradients.” He hopes that these new findings will be incorporated into their next report, which is just being drafted. “If these results are generally true beyond red oaks, this suggests that the urban heat island approach to studying plant response to temperature is underpredicting how strong that response is.”The research team included Sophie Webster, Robin Hopkins, and David Basler from Harvard University and Jie Yun from MIT. The work was supported by the National Science Foundation, the Bullard Fellowship at the Harvard Forest, and MIT.

Brisbane 2032 is no longer legally bound to be ‘climate positive’. Will it still leave a green legacy?

Brisbane 2032 was supposed to be the first ‘climate-positive’ Olympic Games. But a quiet change to the host contract puts the commitment in doubt.

When Brisbane was awarded the 2032 Olympic and Paralympic Games, it came with a widely publicised landmark promise: the world’s first “climate-positive” games. The International Olympic Committee had already announced all games would be climate-positive from 2030. It said this meant the games would be required to “go beyond” the previous obligation of reducing carbon emissions directly related to their operations and offsetting or otherwise “compensating” for the rest. In other words, achieving net-zero was no longer sufficient. Now each organising committee would be legally required to remove more carbon from the atmosphere than the games emit. This is in keeping with the most widely cited definition of climate-positive. Both Paris 2024 and Los Angeles 2028 made voluntary pledges. But Brisbane 2032 was the first contractually required to be climate-positive. This was enshrined in the original 2021 Olympic Host Contract, an agreement between the IOC, the State of Queensland, Brisbane City Council and the Australian Olympic Committee. But the host contract has quietly changed since. All references to “climate-positive” have been replaced with weaker terminology. The move was not publicly announced. This fits a broader pattern of Olympic Games promising big on sustainability before weakening or abandoning commitments over time. A quiet retreat from climate positive Research by my team has shown the climate-positive announcement sparked great hope for the future of Brisbane as a regenerative city. We saw Brisbane 2032 as a once-in-a-lifetime opportunity to radically shift away from the ongoing systemic issues underlying urban development. This vision to embrace genuinely sustainable city design centred on fostering circular economies and net positive development. It would have aligned urban development with ecological stewardship. Beyond just mitigating environmental harm, the games could have set a new standard for sustainability by becoming a catalyst to actively regenerate the natural environment. Yet, on December 7 2023, the International Olympic Committee (IOC) initiated an addendum to the host contract. It effectively downgraded the games’ sustainability obligations. It was signed by Brisbane City Council, the State of Queensland, the Australian Olympic Committee and the IOC between April and May 2024. The commitment for the 2032 Brisbane Games to be climate positive has been removed from the Olympic Host Contract. International Olympic Committee Asked about these amendments, the IOC replied it “took the decision to no longer use the term ‘climate-positive’ when referring to its climate commitments”. But the IOC maintains that: “The requirements underpinning this term, however, and our ambition to address the climate crisis, have not changed”. It said the terminology was changed to ensure that communications “are transparent and easily understood; that they focus on the actions implemented to reduce carbon emissions; and that they are aligned with best practice and current regulations, as well as the principle of continual improvement”. Similarly, a Brisbane 2032 spokesperson told The Conversation the language was changed: to ensure we are communicating in a transparent and easily understood manner, following advice from the International Olympic Committee and recommendations of the United Nations and European Union Green Claims Directive, made in 2023. Brisbane 2032 will continue to plan, as we always have, to deliver a Games that focus on specific measures to deliver a more sustainable Games. But the new wording commits Brisbane 2032 to merely “aiming at removing more carbon from the atmosphere than what the Games project emits”. Crucially, this is no longer binding. The new language makes carbon removal an optional goal rather than a contractual requirement. A stadium in Victoria Park violates the 2032 Olympic Host Contract location requirements. Save Victoria Park, CC BY Aiming high, yet falling short Olympic Games have adopted increasingly ambitious sustainability rhetoric. Yet, action in the real world typically falls short. In our ongoing research with the Politecnico di Torino, Italy, we analysed sustainability commitments since the 2006 Winter Olympics in Turin. We found they often change over time. Initial promises are either watered down or abandoned altogether due to political, financial, and logistical pressures. Construction activities for the Winter Olympic Games 2014 in Sochi, Russia, irreversibly damaged the Western Caucasus – a UNESCO World Heritage Site. Rio 2016 failed to clean up Guanabara Bay, despite its original pledge to reduce pollutants by 80%. Rio also caused large-scale deforestation and wetland destruction. Ancient forests were cleared for PyeongChang 2018 ski slopes. Our research found a persistent gap between sustainability rhetoric and reality. Brisbane 2032 fits this pattern as the original promise of hosting climate-positive games is at risk of reverting to business as usual. Victoria Park controversy In 2021, a KPMG report for the Queensland government analysed the potential economic, social and environmental benefits of the Brisbane 2032 games. It said the government was proposing to deliver the climate-positive commitment required to host the 2032 games through a range of initiatives. This included “repurposing and upgrading existing infrastructure with enhanced green star credentials”. But plans for the Olympic stadium have changed a great deal since then. Plans to upgrade the Brisbane Cricket Ground, commonly known as the Gabba, have been replaced by a new stadium to be built in Victoria Park. Victoria Park is Brisbane’s largest remaining inner-city green space. It is known to Indigenous peoples as Barrambin (the windy place). It is listed on the Queensland Heritage Register due to its great cultural significance. Page 90 of the Olympic Host Contract prohibits permanent construction “in statutory nature areas, cultural protected areas and World Heritage sites”. Local community groups and environmental advocates have vowed to fight plans for a Victoria Park stadium. This may include a legal challenge. The area of Victoria Park (64 hectares) compared with Central Park (341h), Regent’s Park (160h), Bois de Vicennes (995h). Save Victoria Park What next? The climate-positive commitment has been downgraded to an unenforceable aspiration. A new Olympic stadium has been announced in direct violation of the host contract. Will Brisbane 2032 still leave a green legacy? Greater transparency and public accountability are needed. Otherwise, the original plan may fall short of the positive legacy it aspired to, before the Olympics even begin. Marcus Foth receives funding from the Australian Research Council. He is a Senior Associate with Outside Opinion, a team of experienced academic and research consultants. He is chair of the Principal Body Corporate for the Kelvin Grove Urban Village, chair of Brisbane Flight Path Community Alliance, and a member of the Queensland Greens.

Has the UK's most loathed protest group really stopped throwing soup?

Just Stop Oil says it will disband but does this mark an end to the chaos caused by its climate protests?

Has the UK's most loathed protest group really stopped throwing soup?Justin RowlattBBC News Climate EditorJSO HandoutThe climate action group Just Stop Oil has announced it is to disband at the end of April. Its activists have been derided as attention-seeking zealots and vandals and it is loathed by many for its disruptive direct action tactics. It says it has won because its demand that there should be no new oil and gas licences is now government policy. So, did they really win and does this mark an end to the chaos caused by its climate protests?Hayley Walsh's heart was racing as she sat in the audience at the Theatre Royal Drury Lane on 27 January this year. The 42 year-old lecturer and mother of three tried to calm her breathing. Hollywood star Sigourney Weaver was onstage in her West End debut production of Shakespeare's The Tempest. But Hayley, a Just Stop Oil activist, had her own drama planned.As Weaver's Prospero declaimed "Come forth, I say," Hayley sprang from her seat and rushed the stage with Richard Weir, a 60-year-old mechanical engineer from Tyneside. They launched a confetti cannon and unfurled a banner that read "Over 1.5 Degrees is a Global Shipwreck" - a reference to the news that 2024 was the first year to pass the symbolic 1.5C threshold in global average temperature rise, and a nod to the shipwreck theme in the play. It was a classic Just Stop Oil (JSO) action. The target was high profile and would guarantee publicity. The message was simple and presented in the group's signature fluorescent orange.The reaction of those affected was also a classic response to JSO. Amid the boos and whistles you can hear a shout of "idiots". "Drag them off the stage", one audience member can be heard shouting, "I hope you [expletive] get arrested," another says.JSO is a UK-based environmental activist group that aims to end fossil fuel extraction and uses direct action to draw attention to its cause. It has been called a "criminal cult" and its activists branded "eco-loons" by the Sun. The Daily Mail has described it as "deranged" and says its members have "unleashed misery on thousands of ordinary people though their selfish antics".JSO HandoutIt is the group's road protests that have probably caused the most disruption – and public anger.The group has thrown soup at a Van Gogh in the National Gallery, exploded a chalk dust bomb during the World Snooker Championship in Sheffield, smashed a cabinet containing a copy of the Magna Carta at the British Library, sprayed temporary paint on the stones of Stonehenge and even defaced Charles Darwin's grave.But it is the group's road protests that have probably caused the most disruption – and public anger. In November 2022, 45 JSO members climbed gantries around the M25 severely disrupting traffic for over four days. People missed flights, medical appointments and exams as thousands of drivers were delayed for hours. The cost to the Metropolitan Police was put at £1.1 million.Just Stop Oil was born out of Extinction Rebellion (XR). XR – founded in 2018 - brought thousands of people onto the streets in what were dubbed "festivals of resistance". They came to a peak in April 2019, when protestors brought parts of the capital to a halt for more than a week and plonked a large pink boat in the middle of Oxford Circus.The spectacle and disruption XR caused generated massive media attention, but the police were furious. Hundreds of officers were diverted from frontline duties and by the end of 2019 the bill for policing the protests had reached £37m.And behind the scenes XR was riven by furious debates about tactics. Many inside the movement said it should be less confrontational and disruptive but a hard core of activists argued it would be more effective to double down on direct action.It became clear that there was room for what Sarah Lunnon, one of the co-founders of Just Stop Oil, calls "a more radical flank". They decided a new, more focused operation was needed, modelled on earlier civil disobedience movements like the Suffragettes, Gandhi's civil disobedience campaigns and the civil rights movement in the US.The group was formally launched on Valentine's Day, 2022. It was a very different animal to XR. Instead of thousands of people taking part in street carnivals, JSO's actions involved a few committed activists. A small strategy group oversaw the campaign and meticulously planned its activities. A mobilisation team worked to recruit new members, and another team focused on supporting activists after they were arrested.Getty ImagesJust Stop Oil protesters invading a Rugby matchThe dozens of actions the group has carried out generated lots of publicity, but also massive public opposition. There were confrontations between members of the public and protestors and an outcry from politicians across all the main political parties.The police said they needed more powers to deal with this new form of protest and they got them. New offences were created including interfering with national infrastructure, "locking on" – chaining or gluing yourself to something – and tunnelling underground. Causing a public nuisance also became a potential crime – providing the police with a powerful new tool to use against protestors who block roads.In the four years since it was formed dozens of the group's supporters have been jailed. Five activists were handed multi-year sentences for their role in the M25 actions in 2022. Those were reduced on appeal earlier this month but are still the longest jail terms for non-violent civil disobedience ever issued.Senior JSO members deny the crackdown had anything to do with the group's decision to "hang up the hi-vis" – as its statement this week announcing the end of campaign put it.JSO's public position is that it has won its battle. "Just Stop Oil's initial demand to end new oil and gas is now government policy, making us one of the most successful civil resistance campaigns in recent history," the group claimed.The government has said it does not plan to issue any new licences for oil and gas production but strongly denies its policies have a link to JSO. Furthermore, the Prime Minister's official spokesperson told journalists: "We have been very clear when it comes to oil and gas that it has a future for decades to come in our energy mix."And the group's wider goal – to end the production of oil and gas – has manifestly not been achieved. The members of the group I spoke to for this article all agree the climate crisis has deepened.AFPA protest at the Aston Martin showroom in central LondonIn the face of stiffer sentences, some climate campaigners have said they will turn to more clandestine activities. One new group says it plans a campaign of sabotage against key infrastructure. In a manifesto published online it says it plans to "kickstart a new phase of the climate activist movement, aiming to shut down key actors of the fossil fuel economy."That's not a direction the JSO members I spoke to said they wanted to go. Sarah Lunnon said a key principle of JSO and the civil disobedience movement generally was that activists would take responsibility for their actions. One of the first questions new joiners were asked is whether they would be willing to be locked up."As corporations and billionaires corrupt political systems across the world, we need a different approach. "We are creating a new strategy, to face this reality and to carry our responsibilities at this time," the group says, suggesting they may be planning to form a new movement.JSO's most high-profile figure, Roger Hallam, is one of the five activists convicted for their role in the M25 protests. In a message from his prison cell he acknowledged that JSO has only had a "marginal impact". That is "not due to lack of trying," he said. The failure lay with the UK's "elites and our leaders" who had walked away from their responsibility to tackle the climate crisis, Hallam claimed. A hint perhaps that the group's new focus might be on the political system itself.JSO has said its last protest – to be held at the end of April – will mark "the end of soup on Van Goghs, cornstarch on Stonehenge and slow marching in the streets". But don't believe it. When pressed, the JSO members I spoke to said they may well turn back to disruptive tactics but under a new name and with a new and as yet unspecified objective.

Amid Trump Cuts, Climate Researchers Wait for the Ax to Fall

Climate experts whose research is funded by federal grants hide, whisper and wait for their jobs to disappear

Climate Researchers Wait for the Ax to FallClimate experts whose research is funded by federal grants hide, whisper and wait for their jobs to disappearBy Ariel Wittenberg, Chelsea Harvey & E&E News The Trump administration has slashed jobs and funding at the National Institutes of Health. Mark Wilson/Newsmakers/Getty ImagesCLIMATEWIRE | The National Institutes of Health has canceled grants for research on diversity, Covid-19 and vaccines. Climate scientists are hoping their work won’t be next — but fear it could be.“We are holding our breaths because we know we are on their list of targets,” said Marsha Wills-Karp, chair of the Johns Hopkins University Department of Environmental Health and Engineering. “It feels like it’s been slash and burn. We are hopeful they won’t get to climate, but we know it’s not likely.”Researchers in her department have received NIH grants to study the effects of wildfire air pollution on preterm birth rates and how hotter weather is affecting the health of babies at birth, measured by their weight and potential complications. They’re also studying how climate change is affecting nutrition.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.At the University of Washington, Kristie Ebi is fearful that NIH could cut grants that fund studies about which populations are more vulnerable to extreme heat — a project that the team is planning to expand to include the dangers of wildfire smoke.“We’re working to provide information that departments of health, communities and individuals can use,” Ebi said. “The more you know, the more of those lives you can save.”None of those programs haven’t been cut yet. But there’s reason to think they could be, and soon.Earlier this week, ProPublica reported on an internal NIH memo that outlined how the agency will no longer fund research on the health effects of climate change. It followed a story in Mother Jones showing that NIH had ended three climate-related programs, including the Climate Change and Health Initiative. The program was created in 2022 and has had annual congressional appropriations of $40 million, according to a December NIH report that was taken offline by the agency earlier this year.“HHS is taking action to terminate research funding that is not aligned with NIH and HHS priorities,” said Emily Hilliard, a department spokesperson.“As we begin to Make America Healthy Again, it’s important to prioritize research that directly affects the health of Americans,” she added. “We will leave no stone unturned in identifying the root cause of the chronic disease epidemic as part of our mission to Make America Healthy Again.”She did not respond to questions about whether HHS believes that research into the health effects of heat and other types of extreme weather are aligned with agency priorities or whether HHS believes that heat waves affect the health of Americans. NIH did not respond to a request for comment.Heat is the No. 1 weather-related killer in the U.S., according to the Centers for Disease Control and Prevention, an agency within HHS. Heat caused or contributed to at least 2,300 deaths in 2023, CDC records show.In addition to turbocharging temperatures, climate change can affect people's health by increasing the prevalence of vector-borne diseases and the number of wildfires, whose smoke has been shown to increase asthma and cause cardiovascular problems.Those connections have long been studied with funding from the National Institutes of Environmental Health Sciences. Then in 2022, NIH broadened the scope of federal funding for climate health research, directing each of the agency’s 26 centers and institutes to study the dangers of climate change. At the time, the agency said “a mounting number of assessments and reports provide undeniable evidence that climate change is resulting in … direct and indirect consequences for human health and well-being.”Most of the climate researchers contacted by POLITICO's E&E News declined to talk publicly about their funding, citing concerns about their grants being rescinded if they spoke to the media.One researcher who was awarded federal funding said some experts in the climate and health field are pausing work related to their grants, like hiring.Others have turned down speaking requests because they're concerned about attracting attention from the Trump administration. Their work often focuses on how extreme weather has disproportional effects on the health of communities of color, according to several researchers who were granted anonymity for fear of retribution. One said that they declined a speaking invitation to avoid “accidentally us[ing] language we are not supposed to and then be told our language is not compliant with various executive orders” on diversity and equality.“We’ve been told we need to comply with those executive orders as federal grantees, but it’s hard to do if you are funded for something that the name is something you are not allowed to say,” the researcher said. “No one wants to do a social media post or a webinar or an event that might get them in trouble.”An annual conference hosted by NIH, Boston University and the Harvard School of Public Health was postponed earlier this month.Linda Birnbaum, who led the National Institutes of Environmental Health Sciences until 2017, said that during the first Trump administration, researchers were able to circumvent directives by wording grant applications as “climate and health” rather than “climate change.”“It worked then. I don’t think that will work anymore,” she said.Reprinted from E&E News with permission from POLITICO, LLC. Copyright 2025. E&E News provides essential news for energy and environment professionals.

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