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A marine conservation photojournalist’s “magical” picture shining a light on the underwater world of a tadpole species has earned him the title of Wildlife Photographer Of The Year.

Shane Gross, from Canada, captured the western toad tadpoles while snorkelling through lily pads in Cedar Lake on Vancouver Island, British Columbia.

He managed to snap a cloud of the amphibians, which are a near-threatened species due to habitat destruction and predators, while avoiding the visibility-reducing layers of silt and algae covering the bottom.

Titled The Swarm Of Life, the photograph has been crowned the winner of the Natural History Museum’s prestigious Wildlife Photographer Of The Year 2024 competition out of a record-breaking 59,228 entries, from 117 countries and territories.

Kathy Moran, chair of the jury, said they were “captivated by the mix of light, energy and connectivity between the environment and the tadpoles”.

This is the first time the species has been featured in the competition, which is now in its 60th year, she added.

Life Under Dead Wood

Life Under Dead Wood.
Pic: Alexis Tinker-Tsavalas/Wildlife Photographer of the Year

Alexis Tinker-Tsavalas, from Germany, was awarded the title of Young Wildlife Photographer of the Year, for an up-close image featuring slime mould on the right, and a macroscopic animal called a springtail on the left, taken in Berlin.

Tinker-Tsavalas used a technique called focus stacking, combining 36 images with different areas of focus together.

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Judges said it showed great skill and “incredible attention to detail, patience and perseverance”.

To celebrate the 60th anniversary of the competition, impact awards for both adult and young photographers were introduced this year, recognising conservation success.

Recording By Hand

Liwia Pawłowska watches as a relaxed common whitethroat is gently held by abird ringer.Liwia is fascinated by bird ringing, and has been photographing ringing sessionssince she was nine.

The young impact award was given to Liwia Pawłowska, from Poland, for her image of a common whitethroat taken during a bird ringing, a technique that records length, sex, condition and age to help scientists monitor populations and track migration.

Hope For The Ninu

Hope for the Ninu 
Pic: Jannico Kelk/Wildlife Photographer of the Year

In the adult category, Australian photographer Jannico Kelk picked up the prize for a picture of a greater bilby, a small marsupial also referred to as the ninu, which was one near extinction due to predators such as foxes and cats. Fenced reserves, however, have allowed the population to grow.

Here are the other category winners.

Free As A Bird – Alberto Roman Gomez, Spain (10 and under)

Free As A Bird - Alberto Roman Gomez/ Wildlife Photographer Of The Year

Alberto watched from the window of his father’s car at the edge of the Sierra de Grazalema Natural Park, in Cadiz, Andalusia, to take this picture – managing to capture the stonechat bird as it was perched, between trips to gather insects.

An Evening Meal – Parham Pourahmad, USA (11-14)

An Evening Meal.
Pic:Parham Pourahmad/Wildlife Photographer of the Year

Parham visited the Ed R Levin County Park in Milpitas, California, most weekends over a summer to take photographs showing the wildlife living in a busy city park. This picture shows a young Cooper’s hawk eating a squirrel in the last rays of sunset.

Frontier of the Lynx – Igor Metelskiy, Russia

Frontier of the Lynx.
Pic: Igor Metelskiy/Wildlife Photographer of the Year

A lynx stretches in the early evening sunshine in the Lazovsky District in Primorsky Krai, Russia. The remote location and changing weather conditions meant access was tricky, and it took more than six months of waiting for Metelskiy to capture the image of the elusive animal.

On Watch – John E Marriott, Canada

On Watch.
Pic: John E Marriott/Wildlife Photographer of the Year

This image also features a lynx, this one with its fully grown young sheltering from the wind behind it. Marriott had tracked the family group for almost a week through snowy forests in Yukon.

Practice Makes Perfect – Jack Zhi, USA

Practice Makes Perfect 
Pic: Jack Zhi/Wildlife Photographer of the Year

A young falcon practises its hunting skills on a butterfly above its sea-cliff nest. This was taken in an area in Los Angeles, California, visited by Zhi over the past eight years.

A Tranquil Moment – Hikkaduwa Liyanage Prasantha Vinod, Sri Lanka

A Tranquil Moment.
Pic: Hikkaduwa Liyanage Prasantha Vinod/Wildlife Photographer of the Year

This picture shows a young toque macaque sleeping in an adult’s arms, taken after a morning of photographing birds and leopards at the Wilpattu National Park. Vinod spotted a troop of the macaques moving through trees above, and used a telephoto lens to frame this moment as a young monkey slept between feeds.

Wetland Wrestle – Karine Aigner, USA

Wetland Wrestle.
Pic: Karine Aigner/Wildlife Photographer of the Year

Karine Aigner was leading a tour group when she noticed an odd shape in the water along the Transpantaneira Highway, in Mato Grosso, Brazil – binoculars confirmed she was looking at a flash of a yellow anaconda, coiling itself around the snout of a yacare caiman.

The Demolition Squad – Ingo Arndt, Germany

The Demolition Squad.
Pic: Ingo Arndt/Wildlife Photographer of the Year

Arndt’s image shows the dismemberment of a blue ground beetle by red wood ants – carving the dead animal into pieces tiny enough to fit through the entrance to their nest in Hessen, Germany.

The Artful Crow – Jiri Hrebicek, Czech Republic

The Artful Crow
Pic: Jiri Hrebicek/Wildlife Photographer of the Year

This perching carrion crow, pictured in Basel, Switzerland, looks almost like an impressionist painting, judges said. To create the effect, Hrebicek moved his camera in different directions, while using a long shutter speed.

A Diet of Deadly Plastic – Justin Gilligan, Australia

A Diet Of Deadly Plastic - Justin Gilligan

A mosaic created from some 403 pieces of plastic found inside the digestive tract of a dead flesh-footed shearwater, taken on Lord Howe Island, New South Wales. Gilligan took the picture while documenting the work of Adrift Lab, which brings biologists from different countries together to study the impact of plastic pollution on marine ecosystems.

Old Man of the Glen – Fortunato Gatto, Italy

Old Man Of The Glen - Fortunato Gatto/ Wildlife Photographer Of The Year

Gatto captured these pale “old man’s beard’ lichens on a gnarled birch tree in the pinewoods of Glen Affric, in the Scottish Highlands. The lichens indicate it as an area of minimal air pollution – in a forest which has stood for at least 8,300 years, according to pollen analysis.

Under the Waterline – Matthew Smith, UK/Australia

Under the Waterline 
Pic: Matthew Smith/Wildlife Photographer of the Year

Smith used a specially made extension he designed for the front of his underwater camera housing to create this split image of a leopard seal beneath the Antarctic ice in Paradise Harbour. The young seal made several close, curious passes, he said. “When it looked straight into the lens barrel, I knew I had something good.”

Tiger in Town – Robin Darius Conz, Germany

Tiger in Town.
Pic: Robin Darius Conz/Wildlife Photographer of the Year

A tiger sits on a hillside against the backdrop of a town where forests once grew in Nilgiris, Tamil Nadu, India. Conz was following the big cat as part of a documentary team filming the wildlife of the Western Ghats.

Dusting for New Evidence – Britta Jaschinski, Germany/UK

Dusting for New Evidence
Pic: Britta Jaschinski/Wildlife Photographer of the Year

Jaschinski spent time at the Convention on the International Trade in Endangered Species (CITES) border force department, where confiscated animal products are tested. This image shows a crime scene investigator from London’s Met Police dusting for prints on a confiscated tusk at Heathrow Airport.

Dolphins of the Forest – Thomas Peschak, Germany/South Africa

Dolphins of the Forest.
Pic: Thomas Peschak/Wildlife Photographer of the Year

Peschak documents the relationship between endangered Amazon river dolphins, which are also known as botos or pink river dolphins, and the people with whom they share their home in the waters of both Brazil and Colombia.

The Serengeti of the Sea – Sage Ono, USA

A clutch of tubesnout (Aulorhychus flavidus) eggs on display, carefully nestled in the crooks of giant kelp. With the changing seasons of Monterey Bay come all the little signs of new life. The ruby-red eggs and golden kelp in the darkness of the nutrient-rich, summer water take on the appearance of carefully arranged jewelry in a shop window. Looking closer at the ordinary happenings in the environment reveals the meticulous beauty of the natural world. Taken in 2022 in Monterey Bay, USA.

Sage Ono decided to take up underwater photography after being inspired by stories told by his grandfather, a retired marine biologist. This image, taken in the kelp forests in the Monterey Bay National Marine Sanctuary, California, shows tube-snout fish eggs sparkling next to the glowing kelp.

The Wildlife Photographer Of The Year 2024 exhibition opens at the Natural History Museum, London, on Friday 11 October

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Springsteen: Deliver Me from Nowhere – a raw portrayal of the young rock star on the cusp of huge success

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Springsteen: Deliver Me from Nowhere - a raw portrayal of the young rock star on the cusp of huge success

“It’s a cliché,” says Bruce Springsteen, “but he is a rock star – and you can’t fake that.”

The Boss is talking about Jeremy Allen White, star of The Bear, who is now playing him in the upcoming film Deliver Me From Nowhere.

It comes after a flurry of biopics on musical greats in recent years, from Bohemian Rhapsody and Elvis to A Complete Unknown and Back To Black, but rather than an all-encompassing look at his epic career, this one focuses on a very specific period of its subject’s life; a raw portrayal of the young Springsteen, on the cusp of even greater success following the release of The River album, but struggling with inner demons and childhood trauma while writing the stark follow-up Nebraska, released in 1982.

Bruce Springsteen on stage in LA in 1985. Pic: AP/ Lennox McLendon
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Bruce Springsteen on stage in LA in 1985. Pic: AP/ Lennox McLendon

Speaking at a Q&A held at Spotify’s London headquarters ahead of the film’s release, Springsteen, 76, said he had watched The Bear and “knew that was the kind of actor” needed – someone who could convey his inner turmoil, as well as play a convincing rock star.

“You either got that or you don’t have it, and he just had the swagger.”

Directed and co-written by Scott Cooper, the film is based on the book of the same name by Warren Zanes, and is the first time Springsteen’s life has been depicted on the big screen.

The star was on board straight away. “I figured, I’m 76 years old, I don’t really care what the f*** I do anymore. As you get older, certainly at my age, you take more risks in your work and in life in general.”

Jeremy Allen White stars as Bruce Springsteen in Deliver Me From Nowhere. Pic: Disney/ 20th Century Studios
Image:
Jeremy Allen White stars as Bruce Springsteen in Deliver Me From Nowhere. Pic: Disney/ 20th Century Studios

He and White first met at one of his gigs at Wembley Stadium, where Springsteen prepared himself for lots of questions. “I figured this guy is going to be tremendously interested in me.” But White had done his homework, arriving “so prepared that he really asked me very few questions”.

Springsteen was on set regularly, “which I always apologise to [White] for because… it’s gotta be really weird playing the guy with the guy’s stupid ass sitting there.”

Learning five Bruce songs

And White also had to take on the music. When told he would need to sing and play guitar, his jokey response was: “I don’t do those things. Are you sure?” He had about six months and learned on a 1955 Gibson J-200, sent to him by Springsteen, as the closest model to his Nebraska guitar.

“I was getting together with [teacher JD Simo] on Zoom, four or five, six times a week to prepare. And the first time we hopped on, I said, ‘hey, I’m so excited to learn how to play guitar with you’. And he said, ‘we don’t have time to learn how to play the guitar, we have time to learn these five Bruce songs’. So I learned the guitar in a very strange way.”

Springsteen says it “took me a moment” to get used to seeing his story being dramatised, to White playing him. But he was happy.

“I always go, damn, when did I get that good looking?” he jokes. But he says White’s performance was impressive, that he was able to sing songs “that are hard for me to sing, some of them”.

Keeping the sweat going

Mastering the big hits, Born To Run, Born In The USA, was tough, says White. Thinking he would need to keep his heart rate high for his performance scenes, White says he took a weighted rope on set, to skip and “keep my sweat going”. Turns out, it wasn’t necessary. “When you perform Born To Run or Born In The USA, that sweat comes naturally… I did not need to use that rope.”

Part of the film goes back to Springsteen’s childhood, to the house he grew up in. “They did a very, very good job of putting that house back together,” he says. It is the home he visits “in my dreams to this day, at least a couple of times year… so being able to physically walk into what felt like that living space, my grandmother’s house, my grandfather’s house with my parents, we all lived there together. It was quite a miracle and quite wonderful”.

Springsteen with White and Stephen Graham at the Deliver Me From Nowhere London Film Festival premiere. Pic: Scott A Garfitt/Invision/AP
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Springsteen with White and Stephen Graham at the Deliver Me From Nowhere London Film Festival premiere. Pic: Scott A Garfitt/Invision/AP

British actor and recent Emmy winner Stephen Graham plays Springsteen’s late father, and the drama delves into their difficult relationship.

Remembering the family struggles

Reliving those experiences was “powerful”, the star says. He watched an early screening with his younger sister, who held his hand throughout. “And at the end she says, isn’t it wonderful that we have this… it honours our family, it honours the memory of the struggles that we went through… To have it on film in the way that it was portrayed, meant a great deal to my sister and myself.”

Springsteen says he hopes people will connect with the film, with this part of his story, the same as the crowds in front of him do every time he walks on stage.

“The E Street Band will be good every night because that’s what we do,” he says. “But how great we’re going to be is up to you… Hopefully there’s an element of transcendence… and hopefully it stays with [the audience] for as long as they need.”

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Are Donald Trump’s film tariff threats making investors ‘dither’ in UK?

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Are Donald Trump's film tariff threats making investors 'dither' in UK?

At West London Film Studios – where major productions from Bridget Jones’s Baby to Killing Eve have all filmed – while Apple TV+’s Ted Lasso is currently being shot in one of their 10 sound stages (across two sites), it pains owner Frank Khalid that one of his biggest stages is empty.

But he has a theory as to why – Donald Trump’s social media posts threatening tariffs on films made outside the US.

“Prior to [Trump] posting that we had quite some big major features come to us looking for space,” he says, “and it’s just gone very quiet since he posted… maybe it’s a coincidence, I don’t know, but I believe it has affected us.”

Frank Khalid, owner of West London Film Studios
Image:
Frank Khalid, owner of West London Film Studios

In September, on his social media platform Truth Social, Trump wrote that America’s “movie making business has been stolen….by other countries…like…’candy from a baby’.”

Repeating a threat he’d first made last May, he claimed he’d authorised his government departments to put a “100% tariff on any and all movies that are made outside of the United States”.

For bigger studios, like Pinewood and Elstree, block-booked years in advance by the major movie producers, his words haven’t had any immediate effect.

But, at smaller studios, like Khalid’s, he certainly feels like there’s been a ripple effect.

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“We had a letter from one major big American production saying [the tariff] is not possible, [Trump] legally can’t do it… but at the end of the day, he doesn’t have to do it, the damage is done, isn’t it? By him just posting that… the confidence in the market goes down.”

As Jon Wardle, director of the National Film and Television School, explains, the industry has “always been a bit feast or famine, and we’re in a slight lull… it’s not quite the boom of what it was in 2022 after COVID, but probably at that point we were making a few too many projects.”

Jon Wardle says the UK 'needs to be more committed to homegrown talent'
Image:
Jon Wardle says the UK ‘needs to be more committed to homegrown talent’

Wardle says, Trump’s threatened tariffs are certainly likely to make film companies “slightly more nervous” and “dither a bit more” when it comes to signing off on projects a few years down the line.

But he says it’s important to remember that US studios have “invested hugely” in the UK.

“Disney has a 10-year lease at Pinewood, Amazon has a 10-year lease at Shepperton, the investment for those companies is massive. And the other part of this is that it’s not going to be cheaper to make those films in America. In fact, it’ll be more expensive.”

West London Studios has 194,000 square feet of production space and is one of the UK’s leading independent studios
Image:
West London Studios has 194,000 square feet of production space and is one of the UK’s leading independent studios

While the UK industry appears to be finding its feet after the knock-on effects of COVID shutdowns and the US writer’s strike, some smaller studios say Trump’s tariff threats are certainly on their radar.

Farnborough International Studios told us that while it has “recently hosted major TV series for companies such as Paramount and Amazon”, it has “seen film bookings and enquiries slowing down since the first sign of imposed tariffs”.

While West Yorkshire’s Production Park said they’d “not seen any slowdown”, a spokesperson for their studios said they are “tracking wider policy changes that could affect us”.

Mr Wardle says: “I think is it’s a good warning to the UK industry. I think the UK needs to take more seriously the commitment to its own homegrown talent. How do you make projects that aren’t funded and paid for by Americans or another nation?”

This year's London Film Festival
Image:
This year’s London Film Festival


With little detail for now, few working within the industry can fathom how a tariff would deliver the happy ending of shoots returning to Hollywood that Donald Trump might desire without driving up costs and stifling investment.

“There’s a huge number of questions about how you actually make tariffs work,” Mr Wardle explains. “It seems like a silly example, but production accountants: we train production accountants and nowhere else in the world does… we planted those seeds 20 years ago and we’re now reaping the rewards.

“It’s not going to be cheaper to make those films in America… so they’ll just make less.”

While Number 10 awaits full details of the latest US tariffs and their potential impact on the UK, a government spokesperson said: “Our film industry employs millions of people, generates billions for our economy and showcases British culture globally. We are absolutely committed to ensuring it continues to thrive and create good jobs right across the country.”

Listen below to Trump100 from May where we discuss Trump’s tariff threat:

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The madness of trying to second-guess what the president might mean becomes all too apparent at an event like this year’s London Film Festival.

Mr Wardle explains: “There are films in this festival that were made in Britain and in the US, made physically in terms of the shoot in London, post-produced in Canada, with VFX done in India…. how do you apply tariffs? At what point do you do that?”

Read more:
Hollywood is dying – but insiders fear Trump’s tariff threat may hasten demise
Trump plan for tariff on non-US movies could deal knock-out blow, union says

On the red carpet, actor Charles Dance – who stars in Guillermo del Toro’s Frankenstein – questioned Trump’s knowledge of filmmaking.

“I don’t think he is generally known for his own understanding of culture,” he said, “this is a man who wants to concrete over the Rose Garden.”

Rian Johnson, director of the Knives Out franchise, said it was “dark times right now in the States, for a lot of reasons”.

“All we can do is keep making movies we believe in, that matter, that say things to audiences… I think we need more of that so we’ll keep forging ahead as long as we’re able,” he said.

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BBC Gaza documentary breached broadcasting code, Ofcom finds

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BBC Gaza documentary breached broadcasting code, Ofcom finds

A BBC Gaza documentary breached the broadcasting code, an Ofcom investigation has found.

The regulator said the failure to disclose that the 13-year-old boy narrating the programme was the son of a deputy minister in the Hamas-run government broke the rules and that it was “materially misleading” not to mention it.

In July, the BBC said it breached its own editorial guidelines by failing to disclose the full identity of the child narrator’s father in the Gaza: How To Survive A Warzone documentary.

The documentary was made by independent production company Hoyo Films, and features 13-year-old Abdullah Alyazouri, who speaks about life in Gaza during the war between Israel and Hamas.

It was pulled from BBC iPlayer in February after it emerged that the boy was the son of Ayman Alyazouri, who has worked as Hamas’s deputy minister of agriculture.

A report into the controversial programme said three members of the independent production company knew about the role of the boy’s father – but no one within the BBC was aware.

Ofcom’s investigation into the documentary, which followed 20 complaints, found that the audience was deprived of “critical information” which could have been “highly relevant” to their assessment of the narrator and the information he provided.

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The report said the failed to disclose a narrator’s links to Hamas “had the potential to erode the significantly high levels of trust that audiences would have placed in a BBC factual programme about the Israel-Gaza war”.

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Crises within the BBC

Following an internal review into the programme, followed by a full fact-finding review the BBC’s director of Editorial Complaints and Reviews, Peter Johnston, the corporation’s director general, Tim Davie, and Hoyo Films apologised.

Hoyo films said it was “working closely with the BBC” to see if it could find a way to bring back parts of the documentary to iPlayer, adding: “Our team in Gaza risked their lives to document the devastating impact of war on children.

“Gaza: How To Survive A Warzone remains a vital account, and our contributors – who have no say in the conflict – deserve to have their voices heard.”

Israel does not allow international news organisations into Gaza to report independently.

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Describing it as “a serious breach of our rules,” Ofcom said they were directing the BBC to broadcast a statement of their findings against it on BBC2 at 9pm, with a date yet to be confirmed.

Responding to the findings of Ofcom’s investigation, a BBC spokesperson said: “The Ofcom ruling is in line with the findings of Peter Johnston’s review, that there was a significant failing in the documentary in relation to the BBC’s editorial guidelines on accuracy, which reflects Rule 2.2 of Ofcom’s Broadcasting Code.

“We have apologised for this and we accept Ofcom’s decision in full.

“We will comply with the sanction as soon as the date and wording are finalised.”

The BBC has faced numerous controversies in recent months, and just last week, former MasterChef presenter Gregg Wallace filed a High Court claim, suing the broadcaster and its subsidiary BBC Studios Distribution Limited for “distress and harassment” after he was sacked from the cooking show in July.

The 61-year-old ex-greengrocer was dismissed after an investigation into historical allegations of misconduct upheld multiple accusations against him.

The BBC has said Wallace is not “entitled to any damages,” and denies he “suffered any distress or harassment as a result of the responses of the BBC”.

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