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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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These Are the 66 Global Organizations the Trump Administration Is Leaving

The Trump administration says it’s going to depart 66 international organizations, nearly half them affiliated with the United Nations

Many focus on climate, labor, migration and other issues the Trump administration has categorized as catering to diversity and “woke” initiatives.Here is a list of all the agencies that the U.S. is exiting, according to the White House:— 24/7 Carbon-Free Energy Compact— Commission for Environmental Cooperation— European Centre of Excellence for Countering Hybrid Threats— Forum of European National Highway Research Laboratories— Freedom Online Coalition— Global Community Engagement and Resilience Fund— Global Counterterrorism Forum— Global Forum on Cyber Expertise— Global Forum on Migration and Development— Inter-American Institute for Global Change Research— Intergovernmental Forum on Mining, Minerals, Metals, and Sustainable Development— Intergovernmental Panel on Climate Change— Intergovernmental Science-Policy Platform on Biodiversity and Ecosystem Services— International Centre for the Study of the Preservation and Restoration of Cultural Property— International Cotton Advisory Committee— International Development Law Organization— International Energy Forum— International Federation of Arts Councils and Culture Agencies— International Institute for Democracy and Electoral Assistance— International Institute for Justice and the Rule of Law— International Lead and Zinc Study Group— International Renewable Energy Agency— International Solar Alliance— International Tropical Timber Organization— International Union for Conservation of Nature— Pan American Institute of Geography and History— Partnership for Atlantic Cooperation— Regional Cooperation Agreement on Combating Piracy and Armed Robbery against Ships in Asia— Regional Cooperation Council— Renewable Energy Policy Network for the 21st Century— Science and Technology Center in Ukraine— Secretariat of the Pacific Regional Environment Programme— Venice Commission of the Council of Europe United Nations organizations — Department of Economic and Social Affairs— U.N. Economic and Social Council, or ECOSOC — Economic Commission for Africa— ECOSOC — Economic Commission for Latin America and the Caribbean— ECOSOC — Economic and Social Commission for Asia and the Pacific— ECOSOC — Economic and Social Commission for Western Asia— International Law Commission— International Residual Mechanism for Criminal Tribunals— International Trade Centre— Office of the Special Adviser on Africa— Office of the Special Representative of the secretary-general for Children in Armed Conflict— Office of the Special Representative of the Secretary-General on Sexual Violence in Conflict— Office of the Special Representative of the Secretary-General on Violence Against Children— Peacebuilding Commission— Permanent Forum on People of African Descent— U.N. Alliance of Civilizations— U.N. Collaborative Programme on Reducing Emissions from Deforestation and Forest Degradation in Developing Countries— U.N. Conference on Trade and Development— U.N. Entity for Gender Equality and the Empowerment of Women— U.N. Framework Convention on Climate Change— U.N. Human Settlements Programme— U.N. Institute for Training and Research— U.N. Register of Conventional Arms— U.N. System Chief Executives Board for Coordination— U.N. System Staff CollegeCopyright 2026 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.Photos You Should See – December 2025

Trump’s Offshore Wind Project Freeze Draws Lawsuits From States and Developers

Offshore wind developers and states are suing the Trump administration over its order to suspend work on five large-scale projects under construction off the East Coast for at least 90 days

Offshore wind developers and states are suing the Trump administration over its order to suspend work for at least 90 days on five large-scale projects under construction off the East Coast.The Norwegian company Equinor and the Danish energy company Orsted are the latest to challenge the suspension order, with the limited liability companies for their projects filing civil suits late Tuesday in the U.S. District Court for the District of Columbia. Connecticut and Rhode Island filed their own request at that federal court on Monday seeking a preliminary injunction. The administration announced Dec. 22 it was suspending leases for five offshore wind projects because of national security concerns. Its announcement did not reveal specifics about those concerns. Interior Department spokesperson Matt Middleton said Wednesday that Trump has directed the agency to manage public lands and waters for multiple uses, energy development, conservation and national defense. Middleton said the pause on large-scale offshore wind construction is a “decisive step to protect America’s security, prevent conflicts with military readiness and maritime operations and ensure responsible stewardship of our oceans.”“We will not sacrifice national security or economic stability for projects that make no sense for America’s future,” Middleton said in a statement. Equinor owns the Empire Wind project and Orsted owns Sunrise Wind, major offshore wind farms in New York. Empire Wind LLC requested expedited consideration by the court, saying the project faces “likely termination” if construction can’t resume by Jan. 16. It said the order is disrupting a tightly choreographed construction schedule dependent on vessels with constrained availability, resulting in delay costs and causing an existential threat to the project financing.Orsted is also asking a judge to vacate and set aside the order. The company says it has spent billions of dollars on Sunrise Wind, relying on validly issued permits from the federal government. It said in the filing that its team met weekly with the Coast Guard throughout 2025, and this week, with representatives from other agencies frequently attending, and no one raised national security concerns. The administration's order paused the leases for these two projects, as well as for the Vineyard Wind project under construction in Massachusetts, Revolution Wind in Rhode Island and Connecticut, and Coastal Virginia Offshore Wind in Virginia.Dominion Energy Virginia, which is developing Coastal Virginia Offshore Wind, was the first to sue. It's asking a judge to block the order, calling it “arbitrary and capricious” and unconstitutional.Orsted is building Revolution Wind with its joint venture partner Skyborn Renewables. They have filed a complaint over the order on behalf of the venture. The filing by Connecticut and Rhode Island seeks to allow work on Revolution Wind to continue. “Every day this project is stalled costs us hundreds of thousands of dollars in inflated energy bills when families are in dire need of relief,” Connecticut Attorney General William Tong said in a statement. “Revolution Wind was vetted and approved, and the Trump administration has yet to disclose a shred of evidence to counter that thorough and careful process.”Avangrid is a joint owner along with Copenhagen Infrastructure Partners of the Vineyard Wind project. They have not indicated publicly whether they plan to join the rest of the developers in challenging the administration.Work on the nearly completed Revolution Wind project was paused on Aug. 22 for what the Bureau of Ocean Energy Management said were national security concerns. A month later, a federal judge ruled the project could resume, citing the irreparable harm to the developers and the demonstrated likelihood of success on the merits of their claim.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 2026 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.Photos You Should See – December 2025

Can Venice's Iconic Crab Dish Survive Climate Change?

For more than 300 years, Italians have fried soft-shell green crabs, called moeche. But the culinary tradition is under threat

Coastal Cities of Europe A Smithsonian magazine special report Can Venice’s Iconic Crab Dish Survive Climate Change? For more than 300 years, Italians have fried soft-shell green crabs, called moeche. But the culinary tradition is under threat Crabs not yet at the molting stage are thrown back into the Venice lagoon. Simone Padovani/Awakening/Getty Images Domenico Rossi, a fisherman from Torcello, an island near Venice, was 6 years old when he first went fishing with his dad. “I loved everything about it,” he says. “The long days out on the water, the variety of fish, even the rough winds that would sometimes capsize our boat.” Rossi vividly remembers picking up nets full of eels, cuttlefish, prawns, crabs, gobies and soles. But that rich biodiversity is now a distant memory. In the past 30 years, the population of many species native to Venice’s lagoon, a fragile ecosystem of brackish waters and sandy inlets, has shrunk. “At least 80 percent of species have gone,” Rossi says. Domenico Rossi is one of the last fishermen trained to catch local soft-shell crabs. Vittoria Traverso The 55-year-old fishermen is one of the last trained to catch local soft-shell crabs. Scientifically named Carcinus aestuarii, the green crab is the key ingredient of a beloved local dish called moeche (pronounced “moh-eh-keh”), a word that means “soft” in Venetian dialect. Dipped in eggs, dredged with flour and fried, these crabs are usually served with a splash of lemon and paired with a glass of local white wine. The origin of this dish goes back to at least the 18th century—it was mentioned in the 1792 volume on Adriatic fauna by Italian abbot and naturalist Giuseppe Olivi. As Olivi described, moeche are only found twice per year, during spring and fall, when changes in water temperatures trigger crabs to molt. Until ten years ago, it was common to find fried moeche in osterias and bacari, or informal wine bars, across Venice’s lagoon, from Chioggia in the south to Burano in the north. Recently though, it has been increasingly hard to find them. Fishermen report a 50 percent decline in catch just in the past three years. As climate change, pollution and invasive species put pressure on local species, fishermen, chefs and locals may need to rethink their centuries-old food traditions. Dipped in eggs, dredged with flour and deep-fried, the crabs are often served with polenta and lemon. Simone Padovani/Awakening/Getty Images A fragile ecosystem Spanning 212 square miles, from the River Sile in the north to the River Brenta in the south, Venice’s lagoon is the largest wetland in the Mediterranean. Only 8 percent of the lagoon is made up of islands, including Venice, while the remaining surface is a mosaic of salt marshes, seagrass wetlands, mudflats and eutrophic lakes. These diverse habitats, characterized by various degrees of salinity and acidity, have historically been home to a rich variety of species. But in the past three decades, the impact of pollution from nearby industries, erosion due to motorboat traffic and warming waters have put pressure on the lagoon’s fragile ecosystem. This period coincided with the installation of MOSE, a system of movable floodgates designed to temporarily seal the lagoon from the Adriatic Sea to protect inhabited areas from sea-level rise. While essential to Venice’s survival, MOSE now prevents high-tide waters from reaching the innermost parts of the lagoon, preventing the influx of oxygen and nutrients that come with seawater and halting the formation of sandbars and salt marshes. As a result of these changes, many habitats have degraded and some native species have been hard hit. Spanning 212 square miles, from the River Sile in the north to the River Brenta in the south, Venice’s lagoon is the largest wetland in the Mediterranean. Vittoria Traverso The green crab is found in many parts of the Mediterranean, including Italy, France, Spain and Tunisia. But it is only in Venice’s lagoon, in places like Chioggia, Burano or Torcello, that fishermen have developed a special technique to capture this crustacean during its molting phase. Like all crustaceans, green crabs molt while growing. During molting, they shed their outer shell, leaving behind an edible internal soft-shell. Fishermen in Venice’s lagoon have learned how to identify and catch molting crabs. “You need to learn to spot the signs on crabs’ shells to know if they are about to molt,” Rossi explains. “It takes years of just watching how your elders do it, and eventually you learn.” Crabs are typically caught 20 days before the start of the molting process. Once caught, crabs are placed in cube-shaped nets along the shores of canals. Fishermen, or moecanti as they are called locally, check them up to twice a day to spot signs of impending molting. About two days before their shell-shedding process, they are placed in another container. “Once there, you have to check them more frequently to pick them up right when they shed their shell and they are soft,” Rossi says. As crabs get closer to molting, they become weaker, and they can fall prey to younger, stronger crabs. A key part of a moecanti’s job is to constantly check the catch to prevent this sort of cannibalism, Rossi explains. “You have to pick out the weak ones and separate them from the rest,” he says. “It takes decades just to be able to tell where crabs are in their maturation process.” After molting, soft-shell crabs are usually sold and cooked within two days. When Rossi was a child, soft-shell crabs were abundant and considered part of Venice’s affordable rural foods known as cucina povera. But today’s scarcity has turned what was once an inexpensive fishermen’s food into a highly sought-after delicacy. Just six years ago, moeche sold for €60 per kilogram. The price of one kilogram of moeche can now reach €150, Rossi explains. Once caught, soon-to-be-molting crabs are placed in cube-shaped nets along the shores of canals. Vittoria Traverso Green crab goes out, blue crab comes in It’s hard to find accurate data on the green crab population of Venice’s lagoon. Scientists mostly rely on data from fishermen. “Based on fishermen’s catch, we can say that there has been an overall decrease of green crab in the past 50 years,” says Alberto Barausse, an ecologist at the University of Padua who has studied the impact of heatwaves on green crabs in the Venice lagoon using data from fishermen’s catch since 1945. Reasons for the decrease of green crabs are complex, Barausse explains. As detailed in his 2013 study, heatwaves can stress green crabs during their early embryo stage, making them less resilient to future threats. Changing rain patterns, with less constant rain but more frequent extreme precipitation, are changing the lagoon’s salinity levels, with a cascade of effects on its ecosystem. For example, higher salinity and warmer temperatures have incentivized the arrival of Mnemiopsis leidyi, a gelatinous marine invertebrate that eats mostly zooplankton, including the larvae of the green crab. Warmer waters have also contributed to the arrival of another highly invasive species, the blue crab. Did you know? Invasives in Oregon In April 2025, a commercial fisherman caught a Chinese mitten crab in the lower Columbia River, which serves as the border between Oregon and Washington, putting biologists on high alert. A native species of the Atlantic Ocean, the blue crab was first spotted in Venice’s lagoon around 1950. It is only in recent years that it found conditions suitable to fully expand its presence there. “Up until a few years back, water temperatures during winter were too cold for blue crabs,” says Fabio Pranovi, an ecologist at Ca’ Foscari University in Venice. “But thanks to warming waters, blue crabs now live and reproduce in the lagoon throughout the winter.” Since 2023, the blue crab population in Venice lagoon has exploded. From an ecological standpoint, blue crabs are considered an invasive species, Pranovi explains, because they compete with native species like the green crab for shelter and food. They don’t yet have a significant predator, so they are growing at a much faster rate than native species. As explained by Filippo Piccardi, a postdoctoral student in marine biology at the University of Padua who wrote a thesis on the impact of the species in Venice’s lagoon, blue crabs are omnivorous predators who have found their ideal prey among many of the lagoon’s keystone species, such as clams and mussels. In 2024, the impact of blue crabs on local clams was so acute that local authorities declared a state of emergency. For fishermen, these blue invaders are an enemy to battle with daily. “I can’t count the times I had to replace my nets in the past two years,” Rossi says. Traditional moeche fishermen like Rossi still make their fishing nets by hand. Each family has its own way of doing it, almost like a secret recipe, he explains. Because these handmade nets are used to catch green crabs, which measure around 4 inches across, they are close-knit with small holes. Blue crabs, which measure up to 9 inches, have much larger claws than green crabs, so they easily break net threads. Blue crabs have much larger claws than green grabs so they easily break the threads of handmade nets. Vittoria Traverso “They are wickedly smart,” say Eros Grego, a moeche fisherman from Chioggia. “They come, break our nets and just wait there to feast on whatever was in the net.” Damage from blue crab has been so significant that Rossi is considering replacing his nylon nets with iron cages. “It costs me about €20 to make a kilo of net,” he says. “If I have to replace them every season, it’s going to cost me a fortune.” Blue crabs also eat green crabs, Pranovi says, and, according to Rossi, they have been feasting on their smaller local cousins with gusto thanks to their size and speed. “When you see them underwater, it’s just striking,” Rossi says. “Local crabs are so much smaller and can only move on the seabed, while these crabs are twice their size and can swim really fast across the water.” In 2025, Rossi has not caught any green crabs that would be suitable for moeche. “It’s the first year that I find zero moeche,” he says. “All I find in my nets is blue crabs and some date mussels.” Grego, who works in the deeper southern lagoon, is having a similar experience. “We were already dealing with shrinking catch due to heatwaves and extreme rainfall,” he says, adding that changes in climate patterns had made the traditional molting season less predictable. The blue crab is the straw that broke the camel’s back.” Changing traditions? The arrival of blue crabs in Venice lagoon and the simultaneous decrease of the native green crabs are pushing some chefs to rethink traditional cuisine. Venissa, a one-Michelin-starred and green-Michelin-starred restaurant on the island of Mazzorbo, in the north of the lagoon near Torcello, has decided to no longer serve green crab. “Our philosophy is to cook dishes that don’t undermine the lagoon’s ecosystem,” says chef Francesco Brutto, who has been running Venissa with his partner, Chiara Pavan, since 2015. The couple embraced this style of low-impact cooking after noticing how Venice’s lagoon changed during the Covid-19 pandemic, when pressure from human activities like tourism was eased. “We spotted species we had not seen in years, like turtles and dolphins,” Brutto says. “So we decided to have as little impact as possible.” Venissa has decided to no longer serve green crab. Vittoria Traverso For that reason, Venissa mostly serves plant protein, Brutto explains. Animal protein is used only from species that are not threatened. That means invasive species like veined rapa whelk and blue crab are now fixtures of Venissa’s menu. “Right now, eating green crab is the equivalent of eating an endangered dolphin,” Brutto explains. Venissa still offers moeche, the chef clarifies, but they make it with blue crab. “Moeche of blue crab taste better in my opinion. There is more pulp compared with green crab,” he says. But not everyone is ready to give up traditional moeche. Ristorante Garibaldi, a traditional fish restaurant in Chioggia, has been serving moeche since it opened in the 1980s. “Our clients come here specifically to eat moeche,” says chef Nelson Nemedello. This year, Nemedello could only find about 800 grams of moeche from a local fisherman. “Prices are becoming insane. I paid them €170 per kilo,” he says. But demand is there, despite the price, so Nemedello and his wife keep serving green crabs. “It’s considered a food unique to this place, so people are willing to pay more for it.” According to Fabio Parasecoli, author of Gastronativism: Food, Identity, Politics, sticking with traditional foods can be a way to cling to local identity during times of rapid and economic change. Traditional foods have always been intertwined with people’s sense of identity, he says, but in the past 20 years there has been a stronger identification with food in many parts of Italy, partly as a backlash against globalization. “It’s a little bit like saying this food is who we are,” he says. “If you take this away from us, then who are we?” In the case of a place like Venice, tourists’ expectations of a specific type of local gastronomic identity also play a role. “If tourists come to Venice expecting to eat traditional food like moeche, then restaurants may feel like they have to offer that,” Parasecoli explains. Plus, as Pranovi notes, it takes time for people to adjust to new flavors. “Some people find moeche made of blue crabs too big while others say the taste is not as subtle,” he says. “It is going to take time for people to change their expectations around how moeche should taste.” Blue crab is now a fixture of Venissa’s menu. Venissa Changes in species distribution have always shaped food traditions. Parasecoli cites the example of potatoes, a species native to the Americas that became a widespread ingredient in European cuisine after its arrival from the New World in the 16th century. But in Venice, the pace of change feels fast to many locals. “I grew up in the lagoon, and it’s always been slightly changing. But in the past seven to eight years, I hardly can recognize it,” Rossi says. “It feels like being on the moon.” This pace of change is leaving fishermen and local authorities to play catch-up. Since the blue crab invasion started in 2023, authorities have ordered the capturing and killing of blue crabs. But Piccardi, who studied the impact of the blue crab for his thesis, says trying to erase a fast-growing population that has found optimal environmental conditions is unrealistic. “Our advice is to focus on catching female crabs specifically in order to slow down reproduction,” he says. “And, ultimately, to learn to coexist with this new species.” Fishermen like Rossi and Grego are adapting. “In the past three years, I have mostly caught blue crab,” Rossi explains. “I might as well shift the focus of my fishing.” While open to the idea of catching blue crab, Rossi doubts that this shift can guarantee a living. “There isn’t really a market for blue crab. They sell for less than €10 per kilo.” Tunisia, which is also dealing with massive uptakes in blue crabs, has developed a blue crab industry and established canning factories, Rossi notes. “If we did the same here, perhaps there would be some more opportunities.” Future prospects While fishermen are skeptical that their centuries-old livelihood can bounce back—Rossi nudged his son to find another career—scientists are careful to make any definitive predictions. “Things are still evolving,” Pranovi says. “When new species arrive, it takes time for ecosystems to adjust.” Green crabs may learn to cope with pressure from heatwaves thanks to oxygen released by salt marshes, Barausse says. But rising water temperatures, extreme weather events and the more frequent use of MOSE are all likely to destabilize local species, according to Pranovi. With such dynamics at play, the only way for Venice’s iconic crab dish to survive may be to change its core ingredient. This may become a familiar tale in other parts of the world. “As climate change keeps undermining the habitats of traditional species, the tension between preserving tradition and adapting with new foods will become more and more common,” Parasecoli says. Ironically, the very places where the blue crabs came from—such as the Atlantic coast of North America—now deal with an invasion of their own: European green crabs. What’s the solution? Eat them. Planning Your Next Trip? Explore great travel deals A Note to our Readers Smithsonian magazine participates in affiliate link advertising programs. If you purchase an item through these links, we receive a commission.

Senate Climate Hawks Aren't Ready To Stop Talking About It

“We need to talk about it in ways that connect directly to voters’ lives right now,” Sen. Martin Heinrich (D-N.M.), a top environmentalist, said of global warming.

WASHINGTON — Top environmental advocates in the Senate aren’t ready to stop talking about the threat of climate change, even as they acknowledge the environmental movement needs to pivot its messaging to better connect to pocketbook concerns amid skyrocketing electricity bills and the Trump administration’s crackdown on renewable energy projects across the country.The pivot comes as centrists in the party push to downplay an issue that has been at the center of Democratic messaging for years, arguing it’s unnecessarily polarizing and has hurt the party’s brand in key states.“You have to live in the moment that you’re in,” Sen. Martin Heinrich (D-N.M.) said in an interview with HuffPost. “Climate is still a giant problem for most states – I’ve had friends whose fire insurance has been canceled because the insurance companies can’t afford it anymore. So it’s not going away, but we need to talk about it in ways that connect directly to voters’ lives right now.”“If you shut down clean energy projects, you’re raising people’s electric rates,” Heinrich added. “I’m not stepping back [from talking about climate] at all, but I am connecting the dots in a way that I think people really respond to.”“I don’t think there’s any doubt that climate is a driving priority,” Sen. Brian Schatz (D-Hawaii), another leading climate hawk in the Senate, told HuffPost. “I just think how we talk about it and whether or not we emphasize it in our ads is sort of a different question.”After years of advocating for urgent action to confront the threat of climate change, some Democrats are leaning into economic issues instead and avoiding mentioning climate change on the campaign trail. Tom Steyer, the billionaire environmentalist who once focused almost exclusively on climate change, for example, launched his campaign for governor in California with an ad focused on affordability issues and taking on big corporations. California Gov. Gavin Newsom (D), another top climate advocate, has taken a softer approach to Big Oil after years of cracking down on the industry.“There’s not a poll or a pundit that suggests that Democrats should be talking about this,” Newsom told Politico about climate change recently. “I’m not naive to that either, but I think it’s the way we talk about it that’s the bigger issue, and I think all of us, including myself, need to improve on that, and that’s what I aim to do.”Other potential 2028 Democratic presidential candidates have also focused on rising energy costs when they talk about climate. Sen. Ruben Gallego (D-Ariz.), for example, unveiled his own plan last month aimed at boosting clean energy and lowering emissions that was all about affordability. Americans deserve an “energy system that is safe, clean, and affordable for working families – we do not have to choose just one of the above,” his plan stated. Moderate Democrats, however, argue the party has become too closely associated with a cause that simply isn’t at the top of Americans’ priority lists and can be actively harmful for candidates in states where the oil and gas industries employ large numbers of people. The Searchlight Institute, a new centrist think tank founded by a former aide for Sen. John Fetterman (D-Pa.) and the late Sen. Harry Reid (D-Nev.), has urged Democrats to stop mentioning “climate change” entirely in favor of “affordability,” the word Trump seems to think is a “hoax” made up by the left. “In our research, Republicans and Democrats both agree that affordability should be a national priority, and they’re mostly aligned on the importance of lowering energy costs,” the group wrote in a September memo. “That said, mentioning ‘climate change’ opens up a 50-point gap in support between Republicans and Democrats not present on other issues—much larger than the gap in support for developing new energy sources (10 points) or reducing pollution (36 points).”Even if the issue doesn’t move votes, worries about climate change remain widespread: A record-high 48% of U.S. adults said in a Gallup survey earlier this year that global warming will, at some point, pose a serious threat to themselves or their way of life. And not every Democrat agrees with those urging the party to stop talking about climate change. Rhode Island Sen. Sheldon Whitehouse, who has delivered hundreds of speeches on the Senate floor calling on Americans to “wake up” to the threat of fossil fuels and climate change, told HuffPost that moving away from advocating for the environment is “stupid” and “ill-informed.” He recently introduced a resolution to get senators on the record about where they stand on climate change.Vermont Sen. Bernie Sanders, an independent who caucuses with Democrats, said that “you can’t back away from a reality which is going to impact everybody in the United States and people throughout the world.” He added that Democrats must have “the courage to take on the fossil fuel industry and do what many other countries are doing, moving to energy efficiency and sustainable energies like solar.”Democrats this year have hammered Trump’s administration for shutting down the construction of new renewable energy sources, including, most recently, five large-scale offshore wind projects under construction along the East Coast. Trump’s Interior Department cited “emerging national security risks” to explain why it had paused work on the offshore wind farms, without elaborating. “Trump’s obsession with killing offshore wind projects is unhinged, irrational, and unjustified,” Senate Minority Leader Chuck Schumer (D-N.Y.) said in a statement on Monday. “At a time of soaring energy costs, this latest decision from DOI is a backwards step that will drive energy bills even higher. It will kill good union jobs, spike energy costs, and put our grid at risk; and it makes absolutely no business sense.”Trump has complained about wind power since offshore turbines were built off the coast of his Scottish golf course in 2011, and has continued the assault in office, calling turbines “disgusting looking,” “noisy,” deadly to birds, and even “bad for people’s health.”Trump’s administration and GOP allies on Capitol Hill have also rolled back or terminated many of the green energy provisions included in President Joe Biden’s signature climate and health law, the Inflation Reduction Act. When it passed in 2022, it was hailed as the most significant federal investment in U.S. history aimed at fighting climate change. But Trump’s Big Beautiful Bill Act wound down much of its tax credits, ended electric vehicle incentives and relaxed emissions rules in a major shift from the previous administration.“As Trump dismantles the wind and solar and battery storage and all electric vehicle job creation revolution in our country, he simultaneously is accelerating the increase in electricity prices for all Americans, which is going to come back to politically haunt the Trump administration,” Sen. Ed Markey (D-Mass.) told HuffPost. “So rather than shying away, we should be leaning into the climate issue, because it’s central as well to the affordability issue that people are confronting at their kitchen table.”

2025 was a big year for climate in the US courts - these were the wins and losses

Americans are increasingly turning to courts to hold big oil accountable. Here are major trends that emerged last yearAs the Trump administration boosts fossil fuels, Americans are increasingly turning to courts to hold big oil accountable for alleged climate deception. That wave of litigation swelled in 2025, with groundbreaking cases filed and wins notched.But the year also brought setbacks, as Trump attacked the cases and big oil worked to have them thrown out. The industry also worked to secure a shield from current and future climate lawsuits. Continue reading...

1. Big oil suits progressed but faced challengesIn recent years, 70-plus US states, cities, and other subnational governments have sued big oil for alleged climate deception. This year, courts repeatedly rejected fossil fuel interests’ attempts to thwart those cases. The supreme court denied a plea to kill a Honolulu lawsuit, and turned down an unusual bid by red states to block the cases. Throughout the year, state courts also shot down attempts to dismiss cases or remand them to federal courts which are seen as more favorable to oil interests.But challenges against big oil also encountered stumbling blocks. In May, Puerto Rico voluntarily dismissed its 2024 lawsuit under pressure. Charleston, South Carolina also declined to appeal its case after it was dismissed.In the coming weeks, the supreme court is expected to decide if it will review a climate lawsuit filed by Boulder, Colorado, against two major oil companies. Their decision could embolden or hinder climate accountability litigation.“So far, the oil companies have had a losing record trying to get these cases thrown out,” said Richard Wiles, president of the Center for Climate Integrity, which backs the litigation against the industry. “The question is, does Boulder change that?”After Colorado’s supreme court refused to dismiss the lawsuit, the energy companies filed a petition with the supreme court asking them to kill the case on the grounds that it is pre-empted by federal laws. If the high court declines to weigh in on the petition – or takes it up and rules in favor of the plaintiffs – that could be boon for climate accountability cases. But if the justices agrees with the oil companies, it could void the Boulder case – and more than a dozen others which make similar claims.That would be a “major challenge”, said Wiles, “but it wouldn’t be game over for the wave of litigation”.“It would not mean the end of big oil being held accountable in the court,” he said.The American Petroleum Institute, the nation’s largest oil lobby group, did not respond to a request to comment.2. New and novel litigationClimate accountability litigation broke new ground in 2025, with Americans taking up novel legal strategies to sue big oil. In May, a Washington woman brought the first-ever wrongful-death lawsuit against big oil alleging the industry’s climate negligence contributed to her mother’s death during a deadly heat wave. And in November, Washington residents brought a class action lawsuit claiming fossil fuel sector deception drove a climate-fueled spike in homeowners’ insurance costs.“These novel cases reflect the lived realities of climate harm and push the legal system to grapple with the full scope of responsibility,” said Merner.Hawaii this year also became the 10th state to sue big oil over alleged climate deception, filing its case just hours after the Department of Justice took the unusual step of suing Hawaii and Michigan over their plans to file litigation. It was a “clear-eyed and powerful pushback” to Trump’s intimidation, Merner said.3. Accountability shieldBig oil ramped up its efforts to evade accountability for its past actions this year, said Wiles. They were aided by allies like Trump, who in April signed an executive order instructing the Justice Department to halt climate accountability litigation and similar policies.In July, members of Congress also tried to cut off Washington DC’s access to funding to enforce its consumer protection laws “against oil and gas companies for environmental claims” by inserting language into a proposed House appropriations bill. A committee passed that version of the text, but the full House never voted on it.2025 also brought mounting evidence that big oil is pushing for a federal liability shield, which could resemble a 2005 law that has largely insulated the firearms industry from lawsuits. In June, 16 Republican state attorneys general asked the Justice Department to help create a “liability shield” for fossil fuel companies against climate lawsuits, the New York Times reported. Lobbying disclosures further show the nation’s largest oil trade group, as well as energy giant ConocoPhillips, lobbying Congress about draft legislation on the topic, according to Inside Climate News.Such a waiver could potentially exempt the industry from virtually all climate litigation. The battle is expected to heat up next year.“We expect they could sneak language to grant them immunity, into some must-pass bill,” said Wiles. “That’s how we think they’ll play it, so we’ve been talking to every person on the Democratic side so that they keep a lookout for this language.”4. What to watch in 2026: plastics and extreme weather casesDespite the challenges ahead, 2026 will almost definitely bring more climate accountability lawsuits against not only big oil but also other kinds of emitting companies. This year, New York’s attorney general notched a major win by securing a $1.1m settlement from the world’s biggest meat company, JBS, over alleged greenwashing. The victory could inspire more cases, said Merner, who noted that many such lawsuits have been filed abroad.Wiles expects more cases to accuse oil companies of deception about plastic pollution, like the one California filed last year. He also expects more lawsuits which focus on harms caused by specific extreme weather events, made possible by advances in attribution science – which links particular disasters to global warming. Researchers and law firms are also developing new theories to target the industry, with groundbreaking cases likely to be filed in 2026.“Companies have engaged in decades of awful behavior that creates liability on so many fronts,” he said. “We haven’t even really scratched the surface of the numerous ways they could be held legally accountable for their behavior.”

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