
Milky Way Photographer of the Year 2025: This year's winners
This fiery picture was taken in the central American country of Guatemala.The photographer hiked up Acatenango volcano for the first time, hoping to photot the neighbouring Volcán de Fuego against the Milky Way's backdrop. He managed to capture the volcano erupting, with huge ash plumes rising from it, with the galaxy right above - creating an amazing contrast.
The Milky Way, the galaxy in which we live, gets its name from its milky-looking texture - which inspired a Greek myth that a goddess put milk into the sky.This photo was taken in the Coyote Buttes, which spans across the US states of Arizona and Utah.It shows the famous sandstone waves with their spectacular shapes and colours with a colourful galaxy shining above them.The geological area is protected, and the photographer needed special permit to get access.
Most of the photos are taken at night in places where there's not much light pollution. For example, places far away from cities or where people live, making the starry night sky much easier to see.This shot above was taken in a remote area of the Atacama Cactus Valley, in the South American country of Chile, known for its large amount of cactus plants. The picture shows the Gum Nebula on the right-hand side, which is widely believed to be the expanded remains of a supernova that took place around a million years ago.
It's not just here on Earth where this year's entries were snapped.Nasa astronaut Don Pettit is a keen photographer and is known for taking plenty of pictures while on missions with the US space agency.This photo was taken while he was on board the ISS (International Space Station) and Don explained how special his job is. "There are over eight billion people that call this planet home. There are seven of us that can say the same for Space Station. What a privilege it is to be here," he said.
Over to Austria now, where this picture was taken in the country's Dobratsch mountains. It wasn't an easy task capturing this photo.The photographer embarked on a two-hour hike through the snow with a heavy backpack and sled in order to get to the cabin which is visible in the picture above.They waited for three hours in freezing -12°C weather, waiting for the perfect shot of the Milky Way's core.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


The Guardian
10 hours ago
- The Guardian
The cowboy as a symbol of America: Jim Krantz's best photograph
I'm not a cowboy and I don't ride horses, but I've been around them my whole life. My dad had a furniture store near the stockyards in south Omaha, and I would watch the cattle being moved between pens ready to go to auction. I sensed a freedom in the cowboys that I related to. I've always been an explorer, it's my nature. I'm more comfortable and I feel most alive in situations I'm not familiar with. I am always drawn to this same type – I've photographed test pilots and astronauts – the strong, quiet, self-directed types who seem to be in control of their destiny. This shot of Mark, a friend of mine, was taken in 2014. All my images are productions, I don't just happen to be there. I build a narrative and visit locations – it's more like making a movie, it's very intentional. I scout locations that connect to what I want to represent. This was a rugged area of northern Colorado. The shoot was really about speed and energy, and I wanted open spaces that could allow the cowboys to do what they wanted. I wanted harder surfaces and dramatic skies – although you never really know what you're going to get. I take references from historical paintings and drawings of the American west, and ideas I carry on pieces of paper, so I go with a visual feel of what I want to do. I wanted to separate the colours of the landscape: the colour of the hat, the horse, its saddle blanket, were all selected deliberately. The image is all about power and grace – the gesture of the animal is so forceful, and the cowboy is so in control. When I look at this photograph I want to be that guy. He's super alive and in the moment, there's the feeling of an adrenaline rush – everything about it is energising, masculine, powerful – and it underlines the theme of freedom. It gives you a feeling of life. When I look back, a lot of my work is about the same thing. It's not so much about cowboys, it's about the freedom to express yourself. I hope it makes people feel good – it makes me feel empowered. The cowboy, like the Statue of Liberty or the Hollywood sign, is a symbol of America, it conveys some kind of hope, something aspirational. When Richard Prince appropriated my work in 2007, it was a real catalyst to redefine myself. In the last 10 years, that's given me the freedom to express what I think about the American west in new ways, such as in my paintings. I don't have an agenda, I am always on the move physically and conceptually with my work. It was violating to have my work taken – but it did bring my work to light. It was after the New York Times article that James Danzinger began to represent me. I used to watch my maternal grandfather paint every Saturday. He was an abstract expressionist and his use of colour was very unusual. After he had a stroke, Saturdays with him ended but he gave me my first camera and instructed me to use it. One day he told me he had been reading about someone he thought I should study with – Ansel Adams. I looked him up in the phone book and called – and that was the start of me studying and working with Adams in California. Nowadays, people don't look that much at what's around them. It's a very angst-ridden environment, it's hard to separate ourselves from the emotional rollercoaster. I don't bury my head in the sand but my work is a way for me to escape. It's the only way I can get away from all this shit that's going on on a daily basis, and make something beautiful that inspires me. If you keep your eyes open, there's just so much out there. Born: Omaha, Nebraska, 1955Trained: 'I am still in training, and plan to continue.'Influences: 'The natural world and my maternal grandfather.'High point: 'Mt Wilson, near Telluride at 13,800ft – photographing for the US army. The high points in a career often get the most attention, but it's the low points that have taught me the most. Those are the moments when feelings run deepest, when you're most aware, and when growth truly begins. It's from those uncertain places that you rebuild – and that's where the real expansion and improvement happen. But I don't tend to emphasise either high or low too heavily, because a creative life is made of constant ebb and flow. That movement, that rhythm, is what keeps the work alive and evolving.'Low point: 'Cancún, Mexico 34ft below sea level – diving. The title Frontier holds deep meaning for me. It speaks to the space between the known and the unknown – the edge where the familiar falls away and something new begins. That's the place I'm drawn to most. When I'm a bit lost, a bit unsure … that's where the real work begins. Some might call it a low point. For me, it's where I feel most alive.'Top tip: 'Free yourself from self judgment – just work.' Frontier by Jim Krantz is published by GOST Books


The Sun
a day ago
- The Sun
Biggest black hole merger EVER detected has created terrifying ‘monster' that's 225 times as massive as our Sun
SCIENTISTS have discovered the biggest black hole merger ever recorded, as two massive spacetime ripples spiral into each other. The monstrous collision occurred on the outskirts of our Milky Way galaxy, and produced a black hole roughly 225 times more massive than the sun. 3 Before now, the most massive black hole merger had a total mass of 140 suns. The new collision event, dubbed GW231123, was found by the LIGO-Virgo-KAGRA (LVK) Collaboration - a group of four detectors that identify cataclysmic cosmic events. Each black hole was roughly 100 to 140 times the mass of our Sun before they combined. "This is the most massive black hole binary we've observed through gravitational waves, and it presents a real challenge to our understanding of black hole formation," Mark Hannam, of Cardiff University and a member of the LVK Collaboration, said in a statement. "Black holes this massive are forbidden through standard stellar evolution models. "One possibility is that the two black holes in this binary formed through earlier mergers of smaller black holes." Evidence of the GW231123 event was discovered in late 2023, when two slight distortions in spacetime were spotted by laser detectors in Louisiana and Washington. 3 The signal that arrived at the detectors was coming from two high-mass black holes that were spinning rapidly - meaning they were hard to analyse. Charlie Hoy, of the University of Portsmouth and also a member of the LVK, explained: "The black holes appear to be spinning very rapidly - near the limit allowed by Einstein's theory of general relativity. "That makes the signal difficult to model and interpret. "It's an excellent case study for pushing forward the development of our theoretical tools." Horrifying black hole simulation shows what 'spaghettification' looks like when objects fall into 'extreme slurp' Researchers say they need to observe more similar, high-spin mergers to better calculate just how massive this most recent black hole merger is. Gregorio Carullo, of the University of Birmingham and a member of the LVK, noted: "It will take years for the community to fully unravel this intricate signal pattern and all its implications. "Despite the most likely explanation remaining a black hole merger, more complex scenarios could be the key to deciphering its unexpected features." The researchers are set to present their findings at the 24th International Conference on General Relativity and Gravitation (GR24) and the 16th Edoardo Amaldi Conference on Gravitational Waves in Glasgow, Scotland this week. Black holes are formed through the collapse of massive stars or through the merging of smaller black holes. Known black holes currently fall into just two categories: stellar-mass black holes, which range from a few to a few dozen times the Sun's mass; and supermassive black holes, which can be anywhere from about 100,000 to 50 billion times as massive as the Sun. Intermediate-mass black holes fall into the gap of these two mass ranges and are physically unable to form from direct star collapse and are incredibly rare. Astrophysicists reckon these rare types of black holes grow from merging with others that are similar in size - like our most recent collision event. 3 What is a black hole? The key facts Here's what you need to know... A black hole is a region of space where absolutely nothing can escape That's because they have extremely strong gravitational effects, which means once something goes into a black hole, it can't come back out They get their name because even light can't escape once it's been sucked in – which is why a black hole is completely dark What is an event horizon? There has to be a point at which you're so close to a black hole you can't escape Otherwise, literally everything in the universe would have been sucked into one The point at which you can no longer escape from a black hole's gravitational pull is called the event horizon The event horizon varies between different black holes, depending on their mass and size What is a singularity? The gravitational singularity is the very centre of a black hole It's a one-dimensional point that contains an incredibly large mass in an infinitely small space At the singularity, space-time curves infinitely, and the gravitational pull is infinitely strong Conventional laws of physics stop applying at this point How are black holes created? Most black holes are made when a supergiant star dies This happens when stars run out of fuel – like hydrogen – to burn, causing the star to collapse When this happens, gravity pulls the centre of the star inwards quickly and collapses into a tiny ball It expands and contracts until one final collapse, causing part of the star to collapse inwards thanks to gravity, and the rest of the star to explode outwards The remaining central ball is extremely dense, and if it's especially dense, you get a black hole


The Guardian
2 days ago
- The Guardian
‘A rarefied world of privilege': lives of the New England upper class
In the late 1970s, Tina Barney began a decades-long exploration of the (often hidden) life of the New England upper class, to which she and her family belonged. Photographing close relatives and friends, she became an astute observer of the rituals common to the intergenerational summer gatherings held in picturesque homes along the US east coast Developing her portraiture further in the 1980s, she began directing her subjects, giving an intimate scale to large-format photographs Tina Barney: 'This was a very early photo and I had just begun working with a 4x5 view camera. I used the available tungsten lighting so the exposure was long, and therefore my mother had to hold still for a couple of seconds. The table setting was typical for her to create since she was an interior decorator and she enjoyed the process' 'There's so much action going on at this moment since the setting was my sister's wedding reception. I had a flash on top of my Toyo 4x5 camera and it caught so many terrific details. The flowers going through my sister's head, her hands that mimic the little angel behind her dressed in gold, the angel's halo looking like my sister's hat, and on and on …' These personal, often surreal, scenes present a secret world of the haute bourgeoisie – a landscape of hidden tension found in micro-expressions and in what Barney calls the subtle gestures of 'disruption' that belie the dreamlike worlds of patrician tableaux Tina Barney says: 'This photograph was very different for me. I usually didn't make such minimalistic compositions plus I rarely made verticals. At this time I was influenced by Thomas Ruff's giant vertical heads. Having two heads however was more difficult to photograph since I had to struggle with the focus and I was using an 8x10 camera which is not an easy task' Family Ties collects 60 large-format portraits from the three decades that defined Barney's career The images highlight the artist's approach to large-format photography, her ongoing interest in the rituals of families, and her own ideas of composition, colour and the complex relationship between photography and painting Tina Barney: 'The gaze is the most powerful detail in this photograph. That gaze defines the entire spirit of a human being, exits through the eyes and is perceived by the viewer therefore holding our attention. The grace and composure of this young girl is hard to find as a photographer' Tina Barney: 'I was photographing a family in Barcelona when I realised one of the family members was downstairs having their bust sculpted in clay. What is curious is that the white lamp in that space interested me more than anything else. Its graphic white form stood out against the green leather door' 'The more stuff in a space or a room for me, the easier it is. The more minimalistic a space is, the more difficult, because then you have to work harder. You've got to think about that figure and what to do with it' Tina Barney did not idealise. Her subjects appear to us in the complete banality of their daily lives