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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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When Scarcity Blurs the Line Between Right and Wrong

Megha Majumdar’s second novel imagines how climate disaster might scramble our sense of morality.

Whenever I read a novel about immigration, I recall a scene from the 2006 Italian film Nuovomondo (released as Golden Door in English). At the turn of the 20th century, a young Sicilian woman who will soon marry a “rich American” presents two postcards, supposedly from the United States, to a village elder. The first depicts a man holding a wheelbarrow that contains a massive onion, so large that it dwarfs both the wheelbarrow and the man. The second postcard displays a tree that is bursting with coins, as if money is sprouting from the branches. Convinced that these images faithfully represent America, a group of villagers sets off for the New World.Many immigrant novels contain similar scenes, in which hapless characters embrace improbable visions of America, only to be chastened upon arrival. These passages reflect how divided the planet once was, how easily myths about the United States could become rooted in other countries. Yet these images also contained a kernel of truth: America once seemed to be a place where hard work inevitably yielded prosperity; where, with time and effort, you could eventually purchase as many onions as you pleased.Immigration tales tend to adopt a hybrid form—part elegy for life in the home country, part hymn to the promise of the new. A Guardian and a Thief is not an immigrant novel in the traditional sense, though its protagonist hopes to leave India for America. (Majumdar’s best-selling debut novel, A Burning, takes place in contemporary India.) Set in the near future, when an environmental crisis has decimated India’s economy and landscape, A Guardian and a Thief unfolds as a mesmerizing morality play that demonstrates how categories like “victim” and “thief” collapse under conditions of scarcity. Yet the novel suffers from what feels like a mismatch between the conditions it depicts and the worldview of the people who populate it. Majumdar’s characters are contending with intractable 21st-century problems while adhering to the stories of an earlier era. In a novel that is so alert to where climate change is leading the world, a narrative frame that illustrates migration as linear and largely redemptive feels anachronistic.[Read: A new kind of immigrant novel]A Guardian and a Thief begins promisingly, offering nuanced portraits of its main characters. On the first page, the reader meets Ma as she fetches eggs and rice from a hidden room in her home. Standing before the stove, she watches a young man whistling as he cycles past her house. Majumdar continues: Thief, thought Ma. Who else but a person who had chanced upon fresh vegetables or fruit would wander the city of Kolkata in this ruined year, the heat a hand clamped upon the mouth, the sun a pistol against one’s head, and recall a song? But the reader soon learns that Ma, who manages a homeless shelter, has for the past year been skimming donations for her own family as food grows scarcer in Kolkata. Soon after, a desperate man named Boomba, who witnessed Ma stealing from the shelter, breaks into her home and swipes her food, her phone, and a purse containing her family’s invaluable travel documents.Throughout the book, Majumdar provides devastating details about Ma’s and Boomba’s lives. Ma cares for her young daughter and elderly father, and has gone months without seeing her husband, who is waiting for her in the U.S. Boomba’s family, in a nearby village, has endured a series of catastrophes, leaving them in dire straits. Ma and Boomba desire the same things—love, food, shelter, security—and they are fearless and unapologetic in pursuing them. Each comes to understand that the rules that prevailed during calmer times no longer hold, that to cling to them is to willingly accept privation and defeat. Majumdar lavishes her characters with careful attention, and so the reader comes to regard their most troubling actions as justified, if not inevitable. And because the world she conjures is so similar to our own (her characters complain about economic inequality and have smartphones; among them is a social-media influencer with 600,000 followers), a persistent question pulses beneath the story: What would you do if you were in their shoes?In a recent interview with the Los Angeles Times, Majumdar said that her novel was prompted by asking herself: “Are there good people and monsters or do we contain elements of both?” This idea animates every encounter between Ma and Boomba until the distinction between good and bad, right and wrong, begins to dissolve. Ma imagines herself as a guardian—of her daughter, her father, her fragile home—yet she steals from the shelter she manages. Boomba, young and rootless, takes essential provisions from Ma’s family, yet his act is also one of guardianship, because he does so to secure his own family’s survival. The novel offers no clean resolutions; it shows how scarcity makes every action double-edged.Majumdar’s psychological precision is what makes the novel’s geopolitical weaknesses feel so pronounced. Her depiction of everyday human interaction is rich and persuasive, but the larger world her characters inhabit feels underdeveloped. Ma’s vision of the U.S., for instance, is described in these clichéd terms: She knew plenty about America. Who didn’t, given Hollywood? It was a country of grocery stores as large as aircraft hangars, stocked with waxed fruit and misted vegetables and canned legumes from floor to ceiling. It was a country of breathable air and potable water, and, despite a history of attempts to cultivate a poorly educated electorate, functioning schools and tenacious thinkers. It was a country of encompassing hope, sustained by the people despite the peddlers of fear and pursuers of gain who wore the ill-fitting costumes of political representation. Ma’s assertion that she knows plenty about America “given Hollywood” might have been understandable in an earlier era, before the internet was ubiquitous. But Majumdar has created a world that is recognizably continuous with our own—her characters scan social media and inhabit a culture saturated with real-time information; as a result, this statement feels curiously old-fashioned. Ma’s description of enormous, glistening grocery stores could be explained as the musings of a person who longs for stability and plentitude, or of a naive character who thinks of America as a land of boundless riches. But Ma has been deftly drawn as a canny realist and problem solver—not the kind of person to indulge in daydreams.[Read: No one is prepared for a new era of global migration]Majumdar’s inconsistent world building ultimately undermines the reader’s ability to invest in the story. She reveals that crops have failed and hunger grips India, but the scope and texture of the climate crisis remain unclear. At one point, Ma’s husband does provide a glimpse of how the climate crisis has affected the U.S. (“fields of corn, cucumber, and asparagus withering, rivers depleted, cacti where there had once been broad-leafed trees”). Yet its brevity is telling: This is the sum of Majumdar’s engagement with the international scale of the disaster. The vagueness might be deliberate—an attempt to present the story as a parable about morality under duress. But invoking climate change invites readers to think in global terms. Without that examination, the moral argument becomes unmoored. A novel about planetary collapse retreats into the contours of a fable, one that asks what people will do to survive without fully confronting the systems that endanger them.Majumdar’s most compelling insight—into collapsing social categories during a time of crisis—speaks to a broader global condition, in which the will to survive can obscure the line between right and wrong. Yet the novel also shows that moral imagination cannot thrive in isolation. Majumdar’s characters’ choices would carry greater weight if the conditions constraining them were rendered with equal depth. In the end, A Guardian and a Thief is a story that comprehends hunger more deeply than the world that produces it.

How Friends in South Carolina Are Restoring a Wetland and Bringing Their Neighborhood Together

Joel Caldwell and two friends have been working to improve wetlands in Charleston, South Carolina

CHARLESTON, S.C. (AP) — As the October night deepened and her bedtime approached, Joel Caldwell's 4-year-old daughter huddled with her dad, dangling a stick she pretended was a fishing pole over a creek that has become Caldwell's passion project for nearly the entirety of his daughter's life.“I want my children to grow up with a relationship to the natural world,” said Caldwell. “But we live in a neighborhood, so how do you do that?”The answer Caldwell and two of his friends came to was improving the creek that snakes into their section of Charleston — preserving its tidal flow, expanding its reach and rewilding its edges. This wetland is a transition zone where the land meets the bigger river. Their work here is small in scale and local, but it is tangible and has built a community at a time when it has gotten easier to destroy such places.With fewer wetlands there are fewer fish, fewer plants, fewer insects and birds, dirtier water and less protection against floods. That flooding is a special concern in hurricane-prone Charleston. Storm threats are compounded further by sea rise, which is being driven by climate change. The trio's restoration work fits into a growing public appreciation over the last 10 to 15 years for how wetlands help absorb floodwater.“We can be paralyzed by the bad news that we are fed every day, or we can work within our local communities and engage with people and actually do things,” Caldwell said. Amid isolation, restoration project was founded Caldwell has traveled the world as a freelance photographer. Then the COVID-19 virus hit right around the time his wife gave birth to their first daughter. From that stuck-in-place isolation, he and two friends, who were also having their first children at the time, founded The Marsh Appreciation and Restoration Society for Happiness Project, or The MARSH Project. Halsey Creek is mere blocks from Caldwell's house. The tidal salt marsh extends a few thousand feet from the Ashley River, one of three rivers that meet at Charleston, flowing between blocks of single-family homes many squeezed on one-tenth-of-an-acre lots.Neglected and abused in its urban setting, their first project was a community trash pickup on a hot day. They expected maybe a dozen people but ended up with 50, thanks to advertising by cofounder Blake Suárez, a graphic designer. Caldwell said people were clearly hungry to connect with their local environment.Over the years, they’ve pulled tires, radios, televisions, “generations of garbage” and even brought over winches to remove a car engine from the marsh. Wetlands viewed as an impediment to progress “It is going to be even harder to protect those wetlands that are left because the best tool we had to protect those wetlands, the federal Clean Water Act, is really being gutted,” said Mark Sabath, an attorney with the nonprofit Southern Environmental Law Center.The wetlands around Charleston support oyster beds that filter water and cling to long, wooden piers that stretch over shallow water and into the Ashley River. Kingfishers and egrets fly between the cordgrass. It's a humid, sticky place during blazing summers in the South. A vein of the river becomes Halsey Creek, shooting into the Wagner Terrace neighborhood, a suburban area north of Charleston's historic downtown. Waves of communities called it home after World War II: it was predominantly Jewish along with Greek and Italian immigrants in the decades following the war, shifting to African American in the 1960s and 1970s. Today, gentrification has created a mostly white community of more expensive homes.To help protect the wetlands, The MARSH Project's first significant conservation step was buying an acre of land from a local landowner.That acre is not obviously remarkable, running along a sloped strip that hugs the water, a runway of backyard grass on one side and bushes crowding the other. But the purchase ensures it will stay wetlands, not become new houses.“With the state of the world, and maybe my own sort of inclination, I’m not, like, naturally a happy person. So, this is like my form of therapy,” said co-founder Blake Scott, a historian who can recite the marsh’s role in Charleston dating back to when the British staged a nearby siege during the Revolutionary War.“The marsh makes me happy.” 'There is no gesture too small' Private homes abut the creek, so Scott has become its neighborhood salesperson. Out on a recent day, Scott spotted Jill Rowley, who lives near the end of the creek. He pointed to bare soil in the yard, explaining it would be an ideal spot for native plants to cleanse and slow rushing water, offering an expert’s gardening advice and possibly funding.“I never had an interest in the marsh or native (plants),” Rowley said. “And seeing this, and what is going on here, and really feeling like a steward and learning … I’ve just fallen in love with it.”Rowley can see what Scott is describing by looking across the street at one of their demonstration gardens. This is not a place for evenly spaced flowers surrounded by freshly cut grass. It’s a wilder mass of plants, with tall bending golden rod and Elliott’s aster that sprout purple flowers to attract pollinators deep in the fall. Native plants like these helped increase the bugs for the kids’ moth night that brought Caldwell's daughter, Land, to the creek that October night with her dad. The founders see events like this as one way of ensuring the next generation appreciates the importance of the ecosystem.Scott believes wetlands and wildlife could improve the neighborhood. For part of its length, the creek meanders and absorbs the tide, but a bisecting street constrains flow to its back half. Here it struggles to turn and expand. Nearby blocks flood easily into a suburban lake that can rise to a tall man’s waste. He wants to install better drains and a tidal gate to help the marsh absorb millions of additional gallons of that floodwater. The reaction from neighbors has been mostly, but not universally, positive, Scott said – a limited few resists public access near their property or picking up trash.The trio of founders are now starting to look outside of their neighborhood to create a corridor of native plants and trees to connect wildlife across the city’s few remaining creeks. It builds on four years of hosting public lectures, trash pickups, planting pollinator gardens, bringing in students for water quality testing and many other community events.Through them, they’ve found success focusing on an issue, and local actions — not broader politics.“It’s getting as many people as possible to change whatever their little piece of earth is,” Caldwell said. “There is no gesture too small.”The Associated Press receives support from the Walton Family Foundation for coverage of water and environmental policy. The AP is solely responsible for all content. For all of AP’s environmental coverage, visit https://apnews.com/hub/climate-and-environmentCopyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.Photos You Should See – Oct. 2025

Biofuel Pledge at Climate Summit Highlights India’s Ethanol Blending Debate

Earlier this year, the Indian government announced that it has achieved its target of mixing 20% of ethanol—considered a relatively cleaner fuel—with petrol or gasoline five years ahead of schedule

BENGALURU, India (AP) — India's push to blend ethanol with gasoline shows the benefits and challenges of the sustainable fuel efforts being showcased at global climate talks this week. Earlier this year, the Indian government announced that it achieved its goal of mixing 20% of the plant-based fuel with gasoline five years ahead of schedule. The world's most populous country is joining Brazil, Japan and Italy to promote ethanol and other biofuels as part of the Belem 4x initiative. The initiative, being showcased Friday at the COP30 climate summit, provides political support for expanding biofuels and relatively low-emission hydrogen-based fuels. Brazil, long a biofuel leader, commonly sells a 27% ethanol blend and its government recently announced plans to increase the percentage. India's rapid ethanol shift shows challenges other countries could face. While the Indian government said ethanol usage reduces pollution, some users said it is affecting their mileage and damaging older engines. Most fuel pumps in India now sell the 20% ethanol blend or unblended gasoline that’s nearly twice as expensive. Lower ethanol blends are being phased out. Environment experts also said grain production for ethanol can displace food crops and sometimes generates more planet-warming gases than it saves. Indian car owners say ethanol reduces mileage Ethanol, typically made from corn, sugarcane or rice, is considered cleaner than petroleum-based gasoline. The Indian government said its blending program has already cut carbon emissions by 74 billion kilograms (163 billion pounds)— equivalent to planting 300 million trees — and saved over $12 billion in oil imports in the last decade.“I think it’s good for the environment,” said Vijay Ramakrishnan, a businessman in Chennai. “But I’ve noticed a drop in mileage in my vehicle in recent months. Given how expensive fuel already is this further drop is only adding to my costs.”Ramakrishnan, who commutes over 100 kilometers (62 miles) daily, wants the government to offer more fuel choices.Amit Khare, who runs a popular YouTube channel on automobiles, said many followers complain about a significant drop in mileage from E20. Some owners of older cars have told him that they are having engine trouble.“E5 is the best fuel, E10 is manageable, but E20 has given a lot of trouble,” he said. Ramya Natarajan of the Bengaluru-based Center for Study of Science, Technology and Policy said ethanol can be good for some engines if they are compatible, but agreed that it can reduce mileage. Indian farmers want clarity on crops needed for ethanol Farmers said they need clarity on government procurement plans for ethanol production. Ramandeep Mann, a farmer in India's northern Punjab state, said farmers significantly increased corn acreage last year in hopes of selling it for fuel, but the price dropped after the government allocated large amounts of rice to ethanol makers. The amount of ethanol blended with gasoline in India grew from 8% to 20% in the last five years. Most of the ethanol now comes from grains, as opposed to the sugarcane, its traditional source. Mann said prices for sugarcane have also dropped this year. He said it’s good that the government is tackling climate change, but it should put farmers and their prices ahead of ethanol mandates. Previously, surplus crops not needed for food were the primary source of India's ethanol, but that's beginning to change, according to Natarajan of CSTEP. “With the push for E20 blends or even more, a lot more area has to be cultivated which in turn means it’ll be replacing other crops,” she said. Climate experts said biofuel production can have minimal environmental impact when it’s made from waste or inedible vegetation and processed in facilities that run on clean energy. But when crops are grown explicitly for biofuels, it has a higher carbon footprint because of the fertilizer and fuel involved.India’s ethanol strategy is part of a broader effort to reduce emissions, cut oil imports and boost agriculture, said Purva Jain, an energy specialist at the Institute for Energy Economics and Financial Analysis.But she said a faster transition to infrastructure for electric vehicles might be better. A 2022 study by her organization found that installing solar power for EV charging can be a much more efficient land use than growing crops for biofuel. However, ethanol producers have invested significant sums in manufacturing and need a steady, growing market for their product now, said CK Jain, president of the Grain Ethanol Manufacturers Association. He said India should increase the percentage of ethanol mixed with gas and encourage the sale of compatible vehicles. “We need to have higher blending as soon as possible, otherwise the industry will go into deep financial trouble,” Jain said. Other experts advocated for a middle ground. A 10% blend of ethanol with gasoline, can be a “win-win” solution said Natarajan of CSTEP. She said that would allow for use of existing crops without putting too much pressure on increased cultivation. Khare, the YouTube influencer, said keeping lower blends available would help older vehicles. “The government can bring E20 or even up to E85 programs on top of that, that’s completely fine. But consumers need to be given the option,” he said. The Associated Press’ climate and environmental coverage receives financial support from multiple private foundations. AP is solely responsible for all content. Find AP’s standards for working with philanthropies, a list of supporters and funded coverage areas at AP.org.Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.Photos You Should See – Oct. 2025

If Trump’s EPA abandons climate policy, could California take over on greenhouse gases?

Legal experts, including a former federal official and UCLA professor, say California could go it alone if the federal government stops regulating greenhouse gases. One reason to try is to protect the state’s clean-car economy.

In summary Legal experts, including a former federal official and UCLA professor, say California could go it alone if the federal government stops regulating greenhouse gases. One reason to try is to protect the state’s clean-car economy. California has long cast itself as the nation’s climate conscience — and its policy lab. Now, as the Environmental Protection Agency moves to revoke the backbone of federal climate rules — the scientific finding that greenhouse gases threaten human health — one of the state’s top climate officials is weighing a provocative idea put forward by environmental law experts: If Washington retreats, California could lead on carbon-controlling regulation.   Absent what’s known as the endangerment finding, the EPA may soon consider abandoning the legal authority under the Clean Air Act to regulate greenhouse gases from vehicles, power plants and other sources, furthering the Trump Administration’s stated aim to dismantle U.S. climate policy.  While decrying the prospect of such a move, climate advocates say a repeal would yield a silver lining: California and other states could in theory set their own greenhouse gas rules for cars and trucks, regulations previously superseded by federal authority. Cars and trucks represent more than a third of California’s greenhouse gas emissions. A long shot regulatory gambit could clean some of the nation’s dirtiest air – and keep the state’s clean-car transition alive. “All options are currently on the table,” Lauren Sanchez, chair of the California Air Resources Board, told CalMatters in an interview. Authority states have never had before A former federal official and expert on the Clean Air Act – who is also a law professor at UCLA – first floated this idea.  Ann Carlson wrote in the law journal Environmental Forum that an aggressive federal action against climate policy “could, ironically, provide states with authority they’ve never had before.” The Trump administration now argues that greenhouse gases do not endanger health and that regulation is more harmful — a claim widely rejected by scientists, businesses and environmental groups, as well as states, including California. The Phillips 66 refinery in Wilmington, on Sept. 30, 2025. Photo by Stella Kalinina for CalMatters “If greenhouse gases aren’t covered by the Clean Air Act,” Carlson told CalMatters, “then California could presumably regulate them — and so could every other state.” Carlson, who ran the National Highway Traffic Safety Administration until last year and has written extensively about the landmark law, argues that the act only preempts state rules for pollutants it actually covers. States “have a pretty strong legal argument” to regulate greenhouse gases, she said. The EPA, for its part, argues that states would still be barred from setting their own standards, arguing that its broad authority over air pollution covers even emissions the agency chooses not to regulate. That’s a view shared by the Alliance for Automotive Innovation, a trade association and lobbying group, which supported overturning California’s phaseout of new, gas-powered cars, as well as the American Trucking Associations, which has opposed some of California’s rules on trucks. Carlson said that argument doesn’t hold up. In her Environmental Forum article, she wrote: “If Congress didn’t intend the act to cover greenhouse gases, as the administration argues, then it’s hard to believe Congress intended to preempt states and localities from regulating them.” In other words, she says, preemption has its limits.  Other experts agreed the idea is worth considering.  Ethan Elkind, who directs the climate program at UC Berkeley’s Center for Law, Energy and the Environment, said that states are free to “do whatever they want,” as long as the federal government hasn’t preempted them.  Not a slam dunk for California to step in For the better part of a century, California has worked to curb air pollution at the state and local level. The state’s vanguard status positions it well to test Trump’s move to curb federal climate regulation, say experts.  “I personally would be advocating that they move ahead,” said Mary Nichols, a former air board chair. “And if I were there, I would be looking to gain support for doing it.” California holds a unique status under federal law. It can set tougher tailpipe-emission standards than the rest of the country — a recognition of its early leadership in fighting smog. Since 1968, the state has obtained more than 100 federal waivers for its vehicle rules, and other states can adopt California’s standards under certain conditions. UC Berkeley law professor Daniel Farber said the state could even take a dual-track approach. “We don’t really think we need a waiver,” he would argue after EPA abandons the field, “but just in case we do: yes, give us one.” California’s latest clash with Washington stems from a decades-long dance over who sets the nation’s toughest clean-car rules. The state’s strict vehicle rules have helped spur innovations from catalytic converters to cleaner fuel to electric cars. The regulatory push began in Los Angeles after skies grew so smog-choked they stung peoples’ eyes. In 1966, California adopted the nation’s first tailpipe standards. When Congress passed the 1970 Clean Air Act, it gave the state rare authority to set tougher rules — making California both a laboratory and a trailblazer, so long as it secured a federal waiver. In 2002, California passed the nation’s first law regulating greenhouse gas emissions from vehicles. The Supreme Court’s 2007 Massachusetts v. EPA ruling confirmed those gases are pollutants under federal law, leading to the Obama administration’s 2009 “endangerment finding” that they harm public health. Such a move would fit California’s pattern of pushing first and asking permission later. In 2005, the state adopted its greenhouse-gas standards for vehicles and sought a waiver before it was even clear whether carbon qualified as pollution under federal law. The EPA initially denied that request in 2008 but reversed course a year later, granting the waiver in 2009. “So this wouldn’t necessarily be a slam dunk approach for the state to take, but I think the legal avenue is now there,” said Elkin, of UC Berkeley. Targeting cars with new regulation If California tried to regulate greenhouse gases on its own, it would have both experience and infrastructure to rely on. The process would look a lot like how the state has written past clean-car rules — except this time, the target would be carbon itself. California’s clean-car rules have operated within the permission-seeking framework set up by the Clean Air Act — until this year, when Trump and Congress moved to block the state’s plans to phase out gas cars and tighten diesel-truck standards. Trump’s EPA then went further by proposing to repeal the 2009 endangerment finding, framing it as a win for “consumer choice.” Most of the state’s climate programs already run under authority of California’s own groundbreaking state laws: clean-energy mandates for utilities, a carbon-trading program for businesses, even standards to cut the carbon in fuels. Cars are different. They’re sold into a national market, and tailpipe emissions have long been federally preempted — one reason California has needed Washington’s permission to go its own way. If the state decides to test those limits, regulators would need to draft new rules and open them to public review — a process that could take years. California has already started down the path of new rules for clean cars and trucks. Last month, the Air Resources Board began the process of crafting clean car rules in response to the Trump administration’s rollback of the state’s new gas-car ban — a revocation the state is also fighting in court. In December, the board plans to begin the process of writing new emissions rules for trucks. The automobile association declined to comment on the new rulemaking effort.  Patrick Kelly, vice president of energy and environmental affairs for American Trucking Associations, said the group would work with its state affiliate to “respond to specific proposals. “ “More broadly, (our group) supports achievable national standards and opposes a patchwork of state and local standards that Congress sought to avoid,” Kelly wrote in an email. Gov. Gavin Newsom swears in incoming California Air Resources Board Chair Lauren Sanchez on Oct. 1, 2025. Photo courtesy of Office of the Governor Asked by CalMatters whether the new rulemakings could become the vehicle for California to go its own way under Trump, Sanchez, the air board chair, said it’s an option staff is studying. “It’s something that staff is looking into, and I look forward to digging into myself,” Sanchez said. No downside to trying, and some upsides Even if legal experts like the idea in theory, UC Berkeley’s Dan Farber says California going forward alone is a longshot in practice.  “There’s a chance you would win,” Farber said, of the argument that the state could directly regulate greenhouse gas emissions from cars. “You’re buying a lawsuit, but other than litigation expenses, I don’t think there’s much downside in trying to do it.” Farber and others point out that the Trump administration and car and truck manufacturers would almost certainly sue to block state-level efforts to regulate greenhouse gases.  The Alliance for Automotive Innovation warned, in comments to the EPA, that if states were not preempted, any unregulated emission “would then become fair game,” creating conflicting standards across the country. Automakers have long argued that letting states write their own climate rules would create a costly patchwork of standards, raising prices for consumers and complicating production for a national market. California is in somewhat of a legal quandary. The Clean Air Act requires California to meet national pollution standards, and the state still has some of the most air-polluted regions in the country. The state’s solutions rely heavily on clean-car and truck rules to meet those requirements. If California falls short, it could lose federal highway funding, a situation that Sanchez called a “no-win, Catch 22.”  After decades of regulation and incentives, California has built a reputation as a leader in electric cars, and experts said if the state pushes further on policy, that could help keep California’s clean-car transition alive and its electric-vehicle goals within reach.  Nick Nigro, founder of Atlas Public Policy, said California could also risk getting ahead of consumers if it goes it alone. Electric cars proved less popular than policymakers expected when it originally passed its goal to do away with sales of new gas-powered cars.  “What is clear is that the program was not overwhelmingly popular amongst the public, even in California, right?” Nigro said. “That’s usually a flag for policymakers.” Craig Segall, an independent consultant and former state air board deputy, said there’s another factor to consider: by preserving demand and infrastructure for EVs, the state could maintain a beachhead for innovation that a future president might build on. With no coherent federal policy to compete in the global EV market, California could again use its regulatory and investment muscle — just as it once did in helping spawn electric car maker Tesla — to push the market forward. “What the feds are basically signaling here is that the field is open for anyone who’s serious about being a competitive car or truck company in five years,” Segall said. “One of those paths is: the world’s fourth largest economy figures out ways to take its manufacturing economic capacity and just plow ahead.”

How thousands of fossil fuel lobbyists got access to UN climate talks – and then kept drilling

Exclusive: Research shows oil, gas and coal firms’ unprecedented access to Cop26-29, blocking urgent climate actionMore than 5,000 fossil fuel lobbyists were given access to the UN climate summits over the past four years, a period marked by a rise in catastrophic extreme weather, inadequate climate action and record oil and gas expansion, new research reveals.Lobbyists representing the interests of the oil, gas and coal industries – which are mostly responsible for climate breakdown – have been allowed to participate in the annual climate negotiations where states are meant to come in good faith and commit to ambitious policies to reduce greenhouse gas emissions. Continue reading...

More than 5,000 fossil fuel lobbyists were given access to the UN climate summits over the past four years, a period marked by a rise in catastrophic extreme weather, inadequate climate action and record oil and gas expansion, new research reveals.Lobbyists representing the interests of the oil, gas and coal industries – which are mostly responsible for climate breakdown – have been allowed to participate in the annual climate negotiations where states are meant to come in good faith and commit to ambitious policies to reduce greenhouse gas emissions.The roughly 5,350 lobbyists mingling with world leaders and climate negotiators in recent years worked for at least 859 fossil fuel organizations including trade groups, foundations and 180 oil, gas and coal companies involved in every part of the supply chain from exploration and production to distribution and equipment, research shared exclusively with the Guardian has found.Just 90 of the fossil fuel corporations that sent lobbyists to climate talks between 2021 and 2024 accounted for more than half (57%) of all the oil and gas produced last year, according to the analysis by Kick Big Polluters Out (KBPO), a coalition of 450 organizations campaigning to stop the fossil fuel industry blocking and delaying global climate action.These corporations, which include many of the world’s most profitable private and publicly owned oil and gas majors, accounted for the production of 33,699m barrels of oil equivalent in 2024 – enough to cover more than the entire area of Spain with a 1cm blanket of oil.The same 90 firms also account for almost two-thirds (63%) of all short-term upstream fossil fuel expansion projects which are gearing up for exploration and production, according to the newly released Global Oil and Gas Exit List – a dataset which includes more than 1,700 companies covering more than 90% of global oil and gas activity.If executed, these expansion projects will produce enough oil – 2.623m km² at 1cm thickness – to coat the entire landmass of seven European countries (France, Spain, Germany, Denmark, Sweden, Finland and Norway) combined.The findings have renewed calls for fossil fuel companies and other big polluters to be banned from the annual climate negotiations amid mounting scientific evidence that the world has failed to limit the rise in global temperatures to 1.5C above preindustrial levels,.“This information clearly exposes corporate capture of the global climate process … the space that should be about science and the people has been transformed into a large carbon business hall,” said Adilson Vieira, spokesperson for the Amazonian Work Group. “While forest communities fight for survival, the same companies that cause climate collapse buy credentials and political influence to continue expanding their fossil empires.”“Not only are Indigenous peoples on the frontlines of their extractive sites suffering human rights violations, but we also face the brunt of climate chaos on our lands with worsening floods, wildfires, and extreme heat waves. We need to take down the ‘for sale’ sign on Mother Earth and bar entry to Cop for oil and gas lobbyists,” said Brenna Yellowthunder, lead coordinator for the Indigenous Environmental Network, a member of KBPO.The 30th UN climate summit (Cop30) opens on Monday in Belem, a city in the Brazilian Amazon – the world’s largest rainforest, which is being destroyed by ever-expanding fossil fuel exploitation, industrial agriculture, and mining, among other extractive industries.The annual meetings are where every country in the world negotiates on how best to tackle the climate crisis. The decisions should be driven by the legally binding United Nations Framework Convention on Climate Change (UNFCCC) treaty, and the 2015 Paris agreement to curtail global heating to under 1.5C.The research analyses the fossil fuel lobbyists known to have attended the negotiations in Glasgow (Cop26), Sharm el-Sheikh (Cop27), Dubai (Cop28) and Baku (Cop29). Until then, information about lobbyists was not collated by the UNFCCC.Growing anger at the lack of meaningful action by the world’s wealthiest, most polluting countries has been compounded by revelations that the fossil fuel industry appears to be granted greater access to the climate talks than most countries.Last year, 1,773 registered fossil fuel lobbyists attended the summit in Azerbaijan – 70% more than the total number of delegates from the 10 most climate-vulnerable nations combined (1,033).But the true reach of fossil fuel tentacles is undoubtedly deeper as the lobbyists data excludes executives and other company representatives on official country delegations participating directly in the confidential negotiations, and those attending as guests of governments, known as overflow delegates.The largest number of known lobbyists in recent years were representing state-owned companies from the United Arab Emirates, Russia and Azerbaijan.Many of the world’s most profitable fossil fuel corporations have also been present at recent Cop summits, at a time when governments faced huge public pressure – but failed – to agree to phase out fossil fuels despite deadly climate impacts affecting every corner of the planet.Between 2021 and 2024, Shell sent a combined total of 37 lobbyists, BP sent 36, ExxonMobil 32 and Chevron 20.In the past five years, the four oil majors made more than $420bn in combined profits.On Friday the Exxon CEO Darren Woods will headline a Cop30 launch event in Brasilia hosted by the US chamber of commerce called Pragmatic Business Solutions for Carbon Accounting and Emission Reductions. The US, which like every state is legally obliged under international law to tackle the climate crisis, has withdrawn from the Paris agreement and is not sending a country delegation to the summit.Petrobas, the majority state owned Brazilian multinational which sent at least 28 lobbyists to the past four climate summits, was recently grant ed a licence to conduct exploratory oil drilling in the sea off the Amazon, which is home to multiple Indigenous communities and about 10% of the planet’s known species.A spokesperson said: “Petrobras will be present at COP30, as it has been at previous talks, because it recognizes the opportunity to discuss sustainable models… The company’s participation in COP30 reinforces its commitment to follow and contribute to international debates on climate and energy.”Shell, BP, ExxonMobil and Chevron did not respond to requests for comment.After years of campaigning by civil society groups, Cop delegates this year are being asked to publicly disclose who is funding their participation – and confirm that their objectives are in alignment with the UNFCCC. But the new transparency requirement excludes anyone in official government delegations or overflows, and calls for stricter conflict of interest protections to cut industry influence have not been adequately heeded, advocates say.“The new rules are a welcome start, but they come decades too late … and transparency without exclusion is performative. You cannot claim to fix a process already captured by the very corporations burning the planet and fueling wars,” said Mohammed Usrof, executive director of the Palestinian Institute for Climate Strategy. “The UNFCCC must move from disclosure to disqualification… without reform this process will not save the world, and instead, will just help bury it.”UNFCCC has been contacted for comment.

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