This webpage was developed programmatically. To read the article in its primary location, you can follow the link provided below:
https://amateurphotographer.com/latest/photo-news/the-best-photographs-of-2024/
and if you wish to remove this article from our website, please get in touch with us
We are incredibly privileged at AP to have the opportunity to witness thousands of remarkable images every year. Selecting a favorite is challenging, but here are a few that resonated with us throughout 2024, alongside images chosen by photo editors and some of our contributors…
The most significant ongoing documentary photography story of 2024 must be Israel’s relentless assault on the Palestinian people following the attacks of October 7, 2023. Anyone paying attention has likely encountered far too many heartbreaking images of death, devastation, and anguish. This stunningly beautiful photograph by Belal Khaled, captured in Rafah, Gaza, depicts a rare moment of joy and optimism as two children illuminate lanterns for Ramadan, amidst the sea of tents where they are now compelled to reside. They are among the fortunate – over 11,000 other children, much like them, have lost their lives in Gaza within the past year.
The Paris Olympics offered some of the most remarkable sporting images of the year, but the standout photo was not taken in Paris but rather, surprisingly, in Tahiti, where Jerome Brouillet captured Brazilian surfer Gabriel Medina achieving a near-perfect score of 9.9 while seemingly levitating in the process. Many alleged it was digitally altered – particularly due to the shape of the cloud behind him – but millions watched the moment unfold live on TV, and it was documented from various perspectives. This is not only the top sports image of 2024; it is destined to be one of the most legendary sporting photos in history.
While the surfer may represent the finest photograph captured at the Olympics, this is my personal favorite. We closely followed the women’s gymnastics events and witnessed the entire journey. Rebeca Andrade’s narrative of rising from poverty in a Brazilian favela profoundly affected us, particularly her early years when she had to walk miles to her gym sessions alongside her brothers because they could not afford the bus fare.
We eagerly hoped for her to secure a gold medal, yet she faced the misfortune of competing against the legendary Simone Biles (whom we also cheered on, having her own inspiring tale of triumph over adversity). When Andrade eventually received her gold medal, the beautiful, spontaneous display of respect and sisterhood from Biles and Chiles brought tears to my eyes. This act transcended the realm of sports, emerging as one of the biggest cultural moments of the year. Regrettably, the historic significance of this, the first all-black female podium, was short-lived when Chiles was stripped of her bronze medal; nevertheless, this moment will endure indefinitely.
The concept of employing drones not merely to capture subjects from above but to illuminate them is relatively new to me. Liam Man has mastered this technique – so much so that we featured him in our September 3rd issue. While it’s easy to flood a subject with dull, flat lighting, he has skillfully learned to mold the illumination from his aerial lights similarly to how a master portrait photographer operates in a studio. I particularly admire this piece, not solely for the vibrant color contrast but also for the touch of humor he infused by giving the angel a halo.
This photograph particularly captured my attention this year. It is from the Landscape category of our Amateur Photographer of the Year contest, where it achieved fifth place for photographer Andrew Robertson. It’s an extraordinarily evocative image of mist rising from a river on a bright, frosty morning. I am captivated by how everything aligns flawlessly, from lens selection and framing to processing and cropping. The telephoto compression accentuates the repetitive, sinuous shapes of the trees on the left, while the subtle hues convey the warmth of morning light and the chill of the frosty grass. It’s a delightful shot, executed impeccably.
Each year, I remain astounded by the quality of photography submitted to the Sony World Photography Awards. This year was no exception, showcasing absolutely breathtaking shots throughout all categories. However, I am particularly drawn to the ‘Creative’ category, as it reliably provides something distinct, unexpected, and often incites reflection.
Sujata Setia’s powerful and poignant series, A Thousand Cuts, is an ongoing collection of portraits examining the patterns of domestic abuse within the South Asian community. She creates the prints on thin paper and then performs continual cuts to represent the ancient Asian method of torture known as ‘lingchi’ (death by a thousand cuts). The final artwork is photographed in a tight crop, evoking a sense of suffocation.
The outcome is striking, touching, yet also beautiful. They undoubtedly halted me in my tracks upon viewing. I encourage readers to explore sujatasetia.com for more of her significant images, and don’t forget to visit worldphoto.org for further works from the SWPA as well.
This year, the Olympic Games and subsequently the Paralympics were hosted in Paris. Numerous astonishing images emerged from these events, but a few particularly resonated with me.
These included Naomi Baker’s photograph of a rhythmic gymnast with a ball, Gabriel Bouys’s image of the gymnastics podium, and Carmen Mandato’s series of portraits documenting the fans’ return to these Olympics. However, I found myself frequently revisiting and studying Hector Vivas’s Olympic digital composite images, which illustrate multiple moments captured in a single photograph during a game or competitive day.
This picture stood out to me because these Games marked the debut of Breakdancing in the Olympics.
Although the composition seems relatively straightforward, with the stage positioned centrally in the frame, the aerial perspective is captivating as it reveals spectators, photographers, and judges surrounding the circular stage upon which the athletes (including Raygun) perform.
Photojournalism is often intended to be as straightforward as possible, but there remains room for creativity.
crafted visuals like this that are both enlightening and visually appealing.
Earlier in the year, it was proclaimed that British amateur photographer Nima Sarikhani had won the 59th Wildlife Photographer of the Year’s People’s Choice Award with his piece, ‘Ice Bed’.
Nima was partaking in an expedition within the northern territory of Norway’s Svalbard archipelago. After three days of fervently searching for polar bears through dense mist, the vessel altered its trajectory, heading southeast.
Just prior to midnight, a young male polar bear ascended a small iceberg and scrabbled at it to shape a sleeping place for himself before gently drifting off to slumber.
In the AP 9 April issue, I penned an article concerning ‘Ice Bed’ for a Photo Insight feature. The narrative and arrangement of this photograph instantly captivated me, and I understand its widespread appeal when I showcased it on our social media platforms. While the soft hues are exquisite, and the tranquil pose of the polar bear imparts an aura of serenity, this image serves as a poignant reminder of the hurdles these creatures encounter related to habitat reduction and survival.
The 60th Wildlife Photographer of the Year competition is currently exhibited at the Natural History Museum and will remain until 29 June 2025. Voting for the 60th People’s Choice award will close on 29 January 2025, with the outcome unveiled in February. For more details, visit www.nhm.ac.uk/wpy/peoples-choice
What captured my attention in this breathtaking landscape was the human factor. Clearly, this location is magnificent for any landscape photographer, but the visual strength of the image comes from the positioning of the person traversing the vast, desolate beach towards the Vestrahorn mountain in Iceland.
Utilizing a DJI Air 2S, the photographer has successfully elevated their perspective, centering the focus right on the lower third line of the frame, crafting a beautifully balanced composition. I am enamored by how the individual’s shadow and footprints generate natural leading lines angled into the scene, effectively guiding the viewer’s gaze. Perhaps these elements wouldn’t have been as pronounced, nor would they have worked so effectively, had the photographer operated from a tripod at ground level. The stunning morning light coalesces it all, granting the image a sense of tranquility.
This entry won Thailand’s award in this year’s Sony World Photography Awards National Awards. This distinctive accolade was established to highlight the finest talent within a country or region. To explore the other winning submissions in the National Awards, visit worldphoto.org
I discovered the remarkable work of freelance Palestinian photojournalist Samar Abu Elouf following her recent triumph in an RPS award, and her visuals depicting the ongoing warfare in Gaza are impossible to ‘unsee’. It’s challenging to select just one image from her exceptional portfolio this year, but this particular piece profoundly illustrates the devastating effects of the conflict on the civilian populace. All these young girls wish to do is engage in football, not evade bombs and missiles raining down from above. Regardless of one’s views on the conflict’s causes and conduct, no rationale justifies bombing innocent children and wrecking their homes.
Furthermore, there is a compelling personal aspect to Samar’s work, as she was compelled to abandon her home in Gaza City after it sustained partial destruction. Unlike a nurtured staff member from a news agency or national broadcaster, she utilized a cooking pot with ‘TV’ inscribed on it as her protective headgear.
‘The camera has empowered me as a strong woman, and I will persist in working and capturing photos until my final breath,’ she expressed. Samar Abu Elouf embodies courage, and you can view more of her work at bit.ly/rpssamar
This photograph is remarkable, resembling something one might encounter while browsing a series of AI-generated visuals – yet, the intriguing element here is that it is a macro shot of amino acid crystals B-alanine, L-glutamine, and glycine, which produce these stunning hues and textures. The image is both striking and vibrant, while also being packed with intricate elements. It’s a picture that truly halts me in my tracks as I spend time examining the details and becoming engrossed in the visual.
We frequently discuss photography’s influence as if it is some divine force for benevolence and truth that possesses the ability to free people worldwide. It certainly can, but that’s only a part of the narrative. Photography can be utilized to unveil truths and highlight issues, as much as it can be employed to persuade us of falsehoods – or at the very least, of things not quite as they appear.
My opinion of Donald Trump is irrelevant to my admiration for this remarkable photograph captured by Associated Press chief photographer Evan Vucci. Visually rich, it conveys a distinct narrative in a highly convincing manner. It resembles a country ballad addressing heroism, patriotism, survival, injustice, triumph, inner strength, and revival. It might, in a peculiar way, remind us of the Black Power movement, raising the flag on Iwo Jima/the Reichstag – or any number of cinematic moments where the hero narrowly eludes demise only to re-emerge with renewed vigor.
From a photographic standpoint, the composition is exceptional, and the colors are so vibrant, bold, and attention-grabbing that any photo editor would consider it a treasure. I relish viewing it, appreciating the instant and the manner in which Evan immortalized it. I can also genuinely acknowledge the visual attributes of Leni Riefenstahl’s films for the Nazi Party in the mid-to-late 1930s. I ponder how many Americans observed this photograph and thought, ‘Yep, he’s the candidate for me’. It could very well be the image that swayed an election.
On 22 May, my BBC app announced: ‘PM is going to declare the date of the General Election.’ At that moment, I was savoring my bacon bap and double espresso in an M&S café (AP contributors know how to enjoy life!) with my laptop beside me. Consequently, I switched to BBC Live, and witnessed Rishi Sunak departing from Number 10 toward the podium, which for once did not bear the phrase STOP THE BOATS.
I observed a few wet patches on his pricey suit; then those spots began to merge.
will be the 4th of July’, it became clear that a tropical downpour was pouring down on Downing Street. My initial thought was: How could he keep proceeding without a raincoat? And why didn’t his office recommend that this could occur indoors considering the bleak weather outlook? Yet, simultaneously, I was pondering: This serves as the ideal metaphor for the Truss poison chalice era he was grappling with.
My Labour Party acquaintances believed that it was undoubtedly a fitting metaphor for the prior 14 years, while my Tory companions merely hoped the ground would open up and swallow them. I retrieved my phone camera, captured an image of the screen, and shared it on Facebook with the caption: WET WET WET. What I overlooked was to make a screenshot of this moment that immortalized Henry Nicholls’ picture into the historical and unforgettable category. I usually disliked being in the press pack outside Number 10, but this was one instance I fervently wished I had been present…
2024 has been an exceptional year for SheClicks and ‘Challenge Accepted: A SheClicks Collection’, our exhibition and charity print sale (supporting The Disabled Photographers’ Society) at the Fujifilm House of Photography in London was a memorable highlight. The exhibition consisted of images from the initial seven months of our 2024 monthly photography challenges.
Each month, I selected 25 images from the challenges to be showcased in the SheClicks online gallery (www.sheclicks.net/gallery). From those 175 photographs, outdoor photographer Emily Endean and wedding photographer Emily Renier picked 35 images for the exhibition. The final outcome was a splendid exhibition, exquisitely printed and framed by Rivera and Coast.
From these images, the guest judges and I needed to choose a principal image that would embody SheClicks and the exhibition, and be utilized on all the promotional materials. The choice was unanimous: ‘Blue Motion’ by Alison McCondichie, an exquisitely inventive and contemplative self-portrait. Until she arrived at our exhibition, I had never met Alison, and I wouldn’t generally consider placing a portrait of a stranger on my wall, but I immediately recognized that her image would be included in my print order list. Alison captured her image on her Olympus OM1 Mark II using an exposure of just over 3 seconds, allowing herself time to move while the shutter was open. The outcome is a delicate layering effect that produces an ethereal quality, as if capturing multiple dimensions of the subject in a single frame.
I have chosen the image ‘Within Sight 4’ from the exhibition Within Sight. This exhibition holds a double significance of positivity for me. Firstly, it is a substantial exhibition featuring one of my favorite artists, Helen Sear, a mixed media artist specialized in photography. Secondly, the work was presented in the breathtaking Italian town of Reggio Emilia at one of the premier European photography festivals – Fotografia Europea.
The exhibition displayed in one of the town’s oldest structures, Saint Pietro and Prospero Cloisters, where visitors navigate through ancient columns, cavernous rooms of timeworn beauty, and fading frescos. The Within Sight exhibition united interconnected works by Sear that propose alternative perspectives, demonstrating various ways to view the natural world. Inherent within its title is the notion that photographic images are not merely imitations of reality but rather expressive interpretations of it.
The diverse forms, shapes, and designs of the images of the land diverge from the fixed viewpoint traditionally tied to photography, and consequently, the exhibition offers a journey to delve into situations in nature through the metaphor of trees. Engaging with the landscape and surroundings in this manner, the exhibition, and this particular image invites viewers to contemplate their own closeness and interconnection with the environment.
Commending species that are frequently overlooked or undervalued, Theo Bosboom crafts images that showcase both his skill as a photographer and his commitment to safeguarding and preserving the natural world. ‘Strength in Numbers’ depicts mussels fused together to prevent being swept away by the tide. The photograph was Highly Commended in the Animals in their Environment category of Wildlife Photographer of the Year 60.
One factor that renders the photograph so captivating is the wide-angle effect produced by a Laowa 24mm Periprobe lens. This lens can focus as closely as 20mm with 2x magnification, making it highly favored among wildlife and macro photographers. Theo has accomplished extensive depth of field by amalgamating a series of nine images and utilizing an aperture of f/32.
What might have been a disordered scene has been elegantly simplified attributable to Theo’s comprehension of lead-in lines and how they navigate a viewer’s eye across the frame. Initiating at the bottom with the mussels most in focus, we traverse left, then right, and finally up the triangular rock in the distance. The equilibrium is flawless. The exposure and blend of cool and warm colors also render this photograph a standout in my perspective.
Wildlife Photographer of the Year is on display at the Natural History Museum in London until 29 June 2025. To find out more, visit www.nhm.ac.uk/wpy.
The civil conflict in Sudan that erupted in April 2023 has largely been overlooked by the global community. The New York Times sought access to the nation since the war’s inception, and our chief Africa correspondent Declan Walsh along with freelance photographer Ivor Prickett finally obtained access a year later. They spent three weeks in the country this past April. They were among the first Western journalists to undertake such a visit. We published a front-page article about their journey at the beginning of June, which was introduced online by this image of a lightly equipped soldier on a modest motorbike surveying the heavily ravaged streets of the historic, expansive Al-Shaabi market in Omdurman, Sudan, a city across the Nile from the capital Khartoum.
The photograph is not a loud war image, yet it is haunting in its depiction of the aftermath and the way the solitary soldier is reflecting on it all, feeling somehow emblematic of how the conflict has been starved of attention. Ivor Prickett has reported on several wars for the publication, but this image feels distinct from the frontline images he captured for us in Mosul during the skirmish against the Islamic State or the otherwise more immediate photographs he has taken of the war in Ukraine. The Omdurman scene – which bears echoes of A Wanderer above the Sea of Fog by Caspar David Friedrich – is significantly more nuanced than numerous war images, yet that very quality compels one to linger over it and contemplate. Like all exceptional photographs, it raises more questions than it answers.
The men’s 100m sprint final represents one of the premier showcases of the Summer Olympic Games, with numerous images documented in an extremely brief period. The most remarkable images are those that set themselves apart from the rest. This stunning composite shot from Hector Vivas taken during the 100m final in Paris is part of a photo series by Getty Images photographers titled Layers of the Games – a collection of digital composites illustrating the various layers of each moment throughout an event.
This image is from a narrative I commissioned for 1843 The Economist. The feature discusses the Khalistan Movement which advocates for an independent Sikh state, deemed a threat to national security by the Indian government.
Over the years, India has intensified measures against Sikh dissenters, even beyond its borders. I tasked photographer Amber Bracken with capturing the Sikh community in Surrey, British Columbia, focusing particularly on Moninder Singh, a pro-Khalistani Sikh activist, and his sorrowful recollection of the murder of his dear friend Hardeep Singh Nijjar. The narrative chronicles the local Sikh population and their anxiety following the assassination of their leader Hardeep.
The photograph portrays a Sikh woman at the local gurdwara Sahib Dasmesh Darbar in Surrey, British Columbia. The prevailing atmosphere of the image conveys sadness and contemplation. The woman’s lowered head and grave expression, in conjunction with her white attire and politically laden tattoo, forge a powerful visual depiction of the emotional toll of the Khalistan movement and recent occurrences impacting the Sikh community in Surrey, British Columbia.
This image adeptly encapsulates the personal and emotional facets of political movements and tragic incidents such as the killing of Hardeep Singh Nijjar. It humanizes broader political challenges by showcasing their effects on individuals on a profoundly personal scale.
At Channel 4, when the time comes, the Paralympics signifies everything, necessitating every department’s collaboration in covering the games. This encompasses the Pictures team, and this year, the games were held in Paris. As a collective, we ensured that Channel 4’s streaming remained current and visually appealing with our daily image selections of the action from the games.
In a reality where alarming news surrounds us daily, the Paralympics offers immense positivity, joy, and shines a spotlight on exceptional athletes on the global stage. We were fortunate with the quality of images submitted, but this particular image struck me significantly. It is very cinematic and provides a remarkable perspective on how the venues integrated into the landscape of Paris. The bold contrasting colors and tones allow the image to remain prominent even when used in a smaller cropped format, while the framing and composition also enable it to be showcased in a larger prominent space if necessary.
It has a very ‘Parisian’ feel and appears to be the most compelling shot that encapsulates this year’s games in a single image.
This year, we received numerous exceptional and distressing photographs from across the globe, particularly from Gaza, taken by fearless photojournalists in the field. There was also AP photographer Evan Vucci’s election-defining and impeccably composed image of Donald Trump following his assassination attempt, fist raised high. Yet, I have selected this image by Finbarr O’Reilly, a member of VII Photo, as my image of the year.
The photograph was taken in August when O’Reilly spent two weeks in eastern Chad capturing the plight of Sudanese refugees who had escaped Sudan’s western Darfur region amid a recent escalation in ethnic cleansing and sexual violence. The ongoing crisis there has received minimal media attention and a lack of international political resolve to halt the conflict, despite it having created the world’s largest refugee crisis with over 13 million individuals fleeing their homes – and notwithstanding the presence and perseverance of talented photojournalists like Finbarr O’Reilly.
Campaign photography, even at its most genuine and surprising, requires some level of performance and staging. Donald Trump’s rally on July 13 in Butler, PA, commenced like any other significant campaign gathering, adorned with stars-and-stripes decor under an enormous American flag hung between two cranes. For the few photographers near the stage, alongside a larger group on a platform amid the audience, the challenge was to navigate this meticulously choreographed and staged setting and unearth the revealing and unexpected moments. Then a barrage of gunfire brought an unanticipated outbreak of violence. Secret Service agents swarmed Trump, escorting him to the stage, yet not before a bullet grazed his ear, leaving a wound.
Getty Images photographer Anna Moneymaker was among four photographers stationed in the buffer zone around the lectern that day, acutely conscious of the historical significance unfolding before them. Trump, too, appeared to sense the engravings of history and the iconic potential of the moment. Bloodied and standing against the massive flag, his instinct was to engage with the audience, pump his fist, and shout “Fight! Fight! Fight!” That scene, both for Trump’s supporters and adversaries, may be the most recalled and arguably the most iconic image of the day. Yet, like much political imagery, it was a performance. The most candid image, I would contend, is the one taken by Anna, depicting Trump on the floor, shielded by Secret Service, still in shock. Like the finest political photography, it transcended the theatrics of the moment to reveal a powerful individual at his most vulnerable.
I usually glance past images that appear to demand attention and seek immediate reactions. I prefer to engage with imagery that gradually captivates me.
This photograph by Christian Sinibaldi serves as an exemplary illustration of monochrome color, or close to it, at least. Captured at 8:50 am on a Saturday in February, one can appreciate the advantages of smooth, even morning light, free from harsh shadows. Even the triangle of sky appears to reflect the subdued colors of the buildings.
Selected from Sinibaldi’s series Passion for Cheers, where the photographer traveled worldwide capturing cheerleaders — eye-catching and tranquil portraits — including one featured in this year’s Taylor Wessing Photo Portrait Prize, this image initially attracted me due to its oblique lines. Instead of opting for the straightforward approach of photographing the group in front of the row of buildings with straight horizontal lines, Sinibaldi seemed to challenge himself by shooting diagonally down the street, resulting in a much more dynamic capture.
The outcome features numerous intriguing elements such as the black bollards on the left that help frame the composition (with the black door on the right) as they align with the height of the guys’ legs; the girls’ feet are nearly level with the first floor; and notably, the group entering from stage left whose attire contrasts with the cheerleaders’ costumes yet remains coordinated in their bundled-up clothing, illustrating the winter season.
Ultimately, I am left pondering a subject I know little about. Why are certain supports for one female arranged in pairs while others have a singular base? Are some of the guys more seasoned, fitter, or did Sinibaldi, who by this time was undoubtedly becoming well acquainted with the sport, play a role in choreographing this shot?
Related reading:
Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.
This page was generated programmatically. To view the article in its original context, please visit the link below:
https://amateurphotographer.com/latest/photo-news/the-best-photographs-of-2024/
And if you wish to remove this article from our site, please contact us
This webpage was generated automatically; to view the article in its initial site, you may…
This page was generated programmatically. To view the piece in its original site, you can…
This webpage was generated automatically, to view the article in its initial site you can…
This page was generated automatically; to view the article in its original setting, you can…
This page was generated programmatically; to view the article in its original setting, you may…
This page was generated automatically. To view the article in its original location, you may…