Lounging leopard by Skye Meaker, South Africa
Grand Title Winner 2018, 15-17 Years Old
	
Mathoja was dozing when they finally found her, lying along a low branch of a nyala tree. And she continued to doze all the time they were there, unfazed by the vehicle. ‘She would sleep for a couple of minutes. Then look around briefly. Then fall back to sleep,’ says Skye. Mathoja’s home is Botswana’s Mashatu Game Reserve, which Skye and his family regularly visit, always hoping to see leopards, though they are notoriously elusive. In Bantu language, Mathoja means ‘the one that walks with a limp’. Skye calls her Limpy. She limps because of an injury as a cub, but otherwise she is now a healthy eight-year-old, and she remains the calmest of leopards around vehicles. Though she dozed just metres away from Skye, she blended into the background, the morning light was poor, leaves kept blowing across her face, and her eyes were only ever open briefly, making it hard for Skye to compose the shot he was after. Finally, just as she opened her eyes for a second, the overhead branches moved enough to let in a shaft of light that gave a glint to her eyes, helping him to create his memorable portrait. 

Canon EOS-1D X + 500mm f4 lens; 1/80 sec at f4; ISO 1250.

Cette photo de léopard est l'un des deux Grands prix du concours Wildlife Photographer of the Year 2018.

"Lounging leopard" by Skye Meaker / Wildlife Photographer of the Year 2018

  • Avec plus de 45 000 photos soumises depuis 95 pays, le Museum d'histoire naturelle de Londres avait l'embarras du choix. L'institution britannique a rendu son verdict, le 17 octobre, pour récompenser les meilleurs clichés de son concours Wildlife Photographer of the Year 2018. Elle exposera les lauréats à partir du 18 octobre, avant une exposition itinérante à travers le monde. Et ouvre déjà les candidatures pour la prochaine édition de ce célèbre concours existant depuis 1964.

Wildlife Photographer of the Year 2018

BOTSWANA - Ce léopard attendrissant, au repos sur une branche, est l'une des photos lauréates de l'édition 2018 du concours Wildlife Photographer of the year. Le Museum d'histoire naturelle de Londres, qui l'organise depuis 1964, a dévoilé le 17 octobre les clichés récompensés. Ici, le jeune photographe Skye Meaker (Afrique du Sud) est salué dans la "catégorie 15-17 ans". Il obtient l'un des deux Grands prix du concours grâce à ce félin immortalisé dans la réserve de Mashatu Game.

Lounging leopard by Skye Meaker, South Africa
Grand Title Winner 2018, 15-17 Years Old
	
Mathoja was dozing when they finally found her, lying along a low branch of a nyala tree. And she continued to doze all the time they were there, unfazed by the vehicle. ‘She would sleep for a couple of minutes. Then look around briefly. Then fall back to sleep,’ says Skye. Mathoja’s home is Botswana’s Mashatu Game Reserve, which Skye and his family regularly visit, always hoping to see leopards, though they are notoriously elusive. In Bantu language, Mathoja means ‘the one that walks with a limp’. Skye calls her Limpy. She limps because of an injury as a cub, but otherwise she is now a healthy eight-year-old, and she remains the calmest of leopards around vehicles. Though she dozed just metres away from Skye, she blended into the background, the morning light was poor, leaves kept blowing across her face, and her eyes were only ever open briefly, making it hard for Skye to compose the shot he was after. Finally, just as she opened her eyes for a second, the overhead branches moved enough to let in a shaft of light that gave a glint to her eyes, helping him to create his memorable portrait. 

Canon EOS-1D X + 500mm f4 lens; 1/80 sec at f4; ISO 1250.

Wildlife Photographer of the Year 2018

INDE - Un autre photographe encore plus jeune est mis à l'honneur par le concours de photos animalières dans la catégorie "moins de 10 ans". Arshdeep Singh a surpris ces deux chouettes bien logées dans un tuyau d'égouts abandonnés, dans l'état du Punjab. Déjà doué d'un solide sens de la composition visuelle, l'enfant a patienté pour saisir le meilleur moment de cette rencontre, raconte son père.

Pipe owls by Arshdeep Singh, India
Winner 2018, 10 Years and Under

Huddled together at the opening of an old waste-pipe, two spotted owlets look straight into Arshdeep’s lens. He and his father had been driving out of Kapurthala, a city in the Indian state of Punjab, going on a birding trip, when he saw one of them dive into the pipe. His father didn’t believe what he’d seen but stopped the car and backed up. It wasn’t long before one of the owlets popped its head out. Guessing this might be a nest site and keen to photograph such an unusual setting, Arshdeep begged to borrow his father’s camera and telephoto lens. Using skills accrued from photographing birds since he was six years old, Arshdeep rested the lens on the car’s open window and waited. He wasn’t at eye level, though. Realizing that if the window was half open, he could place the lens at the right height, he knelt on the seat and waited. It wasn’t long before the curious owlet – less than 20 centimetres (8 inches) high – put its head out again, closely followed by the larger female. Framing the pair off-centre, and using a shallow depth of field to isolate them from the building behind, he created a characterful portrait of a species that has adapted to urban life.

Nikon D500 + 500mm f4 lens; 1/1600 sec at f4 (-0.7 e/v); ISO 450.

Wildlife Photographer of the Year 2018

CHINE - C'est le second Grand prix décerné par le concours. Ces deux singes appartiennent à une espèce menacée, le Rhinopithèque de Roxellane, qui n'existe que dans ce pays. Leur attention portée à un combat de congénères, au loin, est capturée par le photographe néerlandais Marsel van Oosten. Un léger flash permet de sublimer le pelage doré de ce mâle, assis devant une femelle.

The golden couple by Marsel van Oosten, The Netherlands
Grand Title Winner 2018, Animal Portraits

A male Qinling golden snub-nosed monkey rests briefly on a stone seat. He has been joined by a female from his small group. Both are watching intently as an altercation takes place down the valley between the lead males of two other groups in the 50-strong troop. It’s spring in the temperate forest of China’s Qinling Mountains, the only place where these endangered monkeys live. They spend most of the day foraging in the trees, eating a mix of leaves, buds, seeds, bark and lichen, depending on the season. Though they are accustomed to researchers observing them, they are also constantly on the move, and as Marsel couldn’t swing through the trees, the steep slopes and mountain gorges proved challenging. Whenever he did catch up and if the monkeys were on the ground, the light was seldom right. Also, the only way to show both a male’s beautiful pelage and his striking blue face was to shoot at an angle from the back. That became Marsel’s goal. It took many days to understand the group’s dynamics and predict what might happen next, but finally his perseverance paid off with this gift of a perfect situation, with a perfect forest backdrop and perfect light filtering through the canopy. A low flash brought out the glow of the male’s golden locks to complete the perfect portrait.
Nikon D810 + Tamron 24–70mm f2.8 lens at 24mm; 1/320 sec at f8; ISO 1600; Nikon SB-910 flash.

Wildlife Photographer of the Year 2018

OUGANDA - Cette nouvelle récompense concerne également un primate, mais raconte une histoire triste. Le photographe espagnol Ricardo Núñez Montero suivait cette jeune femelle au sein d'un groupe plus large, pensant qu'elle jouait avec des racines. Il s'agit en réalité du corps de son bébé-gorille, mort vraisemblablement peu après sa venue au monde. Il lui a fallu plusieurs semaines de faux-semblants et d'interactions sans vie, avant d'abandonner et d'en faire son deuil.

Kuhirwa mourns her baby by Ricardo Núñez Montero, Spain
Winner 2018, Behaviour: Mammals

Kuhirwa, a young female member of the Nkuringo mountain gorilla family in Uganda’s Bwindi Impenetrable Forest, would not give up on her dead baby. What Ricardo first thought to be a bundle of roots turned out to be the tiny corpse. Forced by the low light to work with a wide aperture and a very narrow depth of field, he chose to focus on the body rather than Kuhirwa’s face. Guides told him that she had given birth during bad weather and that the baby probably died of cold. At first Kuhirwa had cuddled and groomed the body, moving its legs and arms up and down and carrying it piggyback like the other mothers. Weeks later, she started to eat what was left of the corpse, behaviour that the guide had only ever seen once before. Kuhirwa’s initial reactions to her bereavement echo responses to death seen in other species. From elephants stroking the bones of dead family members to dolphins who try to keep dead companions afloat, there is an abundance of credible evidence that many animals – ranging from primates and cetaceans to cats, dogs, rabbits, horses and some birds – behave in ways that visibly express grief, though individual reactions vary. Kuhirwa’s behaviour can be understood as mourning, without the need to speculate about her thoughts. 

Nikon D610 + 70–300mm f4.5–5.6 lens at 185mm; 1/750 sec at f5; ISO 2200.

Wildlife Photographer of the Year 2018

ETATS-UNIS - La beauté des images lauréates de ce concours contraste ainsi souvent avec la brutalité qui régit le monde animal. Comme cette salamandre-alligator, la plus grande du continent nord-américain (jusqu'à 75 cm), aux prises avec un serpent d'eau. La photo a été prise par l'Américain David Herasimtschuk au fond de la rivière Tellico, dans le Tennesse. Il explique que la salamandre finira par lâcher prise, sa proie blessée s'évadant.

Hellbent by David Herasimtschuk, USA
Winner 2018, Behaviour: Amphibians and Reptiles

It was not looking good for the northern water snake, clamped tightly in the jaws of a hungry hellbender, but it was a remarkable find for David. Drifting downstream in Tennessee’s Tellico River, in search of freshwater life (as he had done for countless hours over the past seven years), he was thrilled to spot the mighty amphibian with its struggling prey. North America’s largest aquatic salamander – up to 75 centimetres (29 inches) long – the hellbender has declined significantly because of habitat loss and degradation of the habitat that remains. Breathing primarily through its skin and seeking shelter and nest sites under loose rocks, it favours cool, flowing water in clear rocky creeks and rivers. Its presence indicates a healthy freshwater ecosystem. ‘It looked as though the hellbender had a firm grip and the snake was tiring,’ says David, ‘but then the snake squeezed its powerful body against the hellbender’s head.’ When the attacker tried to reposition its bite, wrinkly folds of skin rippling, the snake pushed free from its jaws and escaped. The intense drama was over in just a few minutes, but with quick reactions, David captured this rarely seen behaviour, portraying the ‘diabolic charisma’ of the giant hidden just beneath the surface.
Sony a7R II + 28mm f2 lens + Nauticam WWL-1 lens; 1/60 sec at f13; ISO 1250; Nauticam housing; Inon Z-240 strobe.

Wildlife Photographer of the Year 2018

ILES GALAPAGOS - Sur l'île Wolf équatorienne, le géospize à bec pointu se transforme en vampire quand la nourriture vient à manquer. Il s'en prend à des cousins bien plus grands, à l'instar de ce "fou de Grant", pour littéralement piquer et boire leur sang. La victime se laisse faire alors qu'elle protège ses oeufs. Un fait surprenant et pourtant assez commun, d'après le témoignage du photographe allemand Thomas Peschak.

Blood thirsty by Thomas P Peschak, Germany/South Africa
Winner 2018, Behaviour: Birds

When rations run short on Wolf Island, in the remote northern Galápagos, the sharp-beaked ground finches become vampires. Their sitting targets are Nazca boobies and other large birds on the plateau. Boobies thrive here, nesting among dense cactus thickets and fishing in the surrounding ocean, but the finches have a tougher time. The island has no permanent water and little rainfall. The finches – among the species that inspired Darwin’s theory of evolution – rely on a scant diet of seeds and insects, which regularly dries up. Pecking away at the base of booby flight feathers with their sharp beaks – a trait that may have evolved from feeding on the birds’ parasites – they drink blood to survive. ‘I’ve seen more than half a dozen finches drinking from a single Nazca booby,’ says Tom. Rather than leave and expose their eggs and chicks to the sun, the boobies appear to tolerate the vampires, and the blood loss doesn’t seem to cause permanent harm. Working on a climate-change story (the Galapagos may offer an early warning of the effects on biodiversity of global changes), Tom had secured a rare permit to land on the island. He made it up the steep cliffs, scrambling over loose rocks to reach the plateau. For maximum impact, he shot the bloody scene at bird’s eye level to capture the one female feeding and another waiting just behind. 

Nikon D5 + 16–35mm f4 lens; 1/200 sec at f20; ISO 160; Profoto B1X 500 AirTTL flash.

Wildlife Photographer of the Year 2018

INDONESIE - Un Français est l'auteur de cette photo saluée par une mention spéciale. Greg Lecoeur a vu ce poisson-grenouille nager au milieu de divers détritus humains plutôt que les bancs d'algues qu'il affectionne normalement. Son image illustre en particulier un problème de plus en plus inquiétant, celui de la crise de la pollution au plastique des océans.

Life among litter © Greg Lecoeur
Mention spéciale 2018
Catégorie : Prix du Photojournaliste Animalier : Image isolée

Wildlife Photographer of the Year 2018

AUSTRALIE - D'autres photographies distinguées par l'institution britannique suscitent l'émerveillement, à l'exemple de ces guêpes maçonnes. Les insectes en question tirent leur nom commun de ce comportement précis : ils creusent la boue près d'un trou d'eau, qu'ils roulent et transportent pour en faire des chambres de ponte. L'instant est capté par l'Australienne Georgina Steyler.

Mud-rolling mud-dauber by Georgina Steytler, Australia
Winner 2018, Behaviour: Invertebrates

It was a hot summer day, and the waterhole at Walyormouring Nature Reserve, Western Australia, was buzzing. Georgina had got there early to photograph birds, but her attention was stolen by the industrious slender mud-dauber wasps, distinctive with their stalk-like first abdominal segments. They were females, busy digging in the soft mud at the water’s edge, and then rolling the mud into balls to create egg chambers to add to their nearby nests. A female builds her external nest completely out of mud, cylindrical chamber by chamber, which cement together into one mass as the mud hardens. She provisions each of the dozen or more cocoon-like chambers with the paralyzed bodies of orb‑weaving spiders, laying one egg on the first spider in each chamber – usually a soft-bodied species, which is easy for a newly hatched larva to eat. To get a good angle on the industrious mud‑daubers, Georgina lay in the mud, pre‑focused on a likely flight path and began shooting whenever a wasp entered the frame. It took hundreds of attempts to achieve her ideal shot, of two slender mud-dauber wasps, each displaying an aspect of their quintessential mud-handling skills. 
Canon EOS-1D X + 600mm f4 lens + 1.4x extender; 1/4000 sec at f8; ISO 1000.

Wildlife Photographer of the Year 2018

EQUATEUR - A la petite échelle des insectes, ces membracides - vivant de sève volée aux arbres - exhibent ici un comportement intéressant. Une femelle protège sa portée de petits, pompant ce liquide nutritif. La scène se joue au coeur de la réserve naturelle d'El Jardín de los Sueños, où Javier Aznar González de Rueda a déclenché son appareil.

Mother defender by Javier Aznar González de Rueda, Spain
Winner 2018, Wildlife Photographer Portfolio Award 
From a winning portfolio of six images. Contact wildpress@nhm.ac.uk if you’re interested in running a feature on the full photo story. 
A large Alchisme treehopper guards her family as the nymphs feed on the stem of a nightshade plant in El Jardín de los Sueños reserve in Ecuador. Unlike many treehoppers, which enlist the help of other insects (mostly ants), this species is guarded by the mother alone. She lays her eggs on the underside of a nightshade leaf, covers them with a thin secretion and then shields the clutch with her tiny frame. Once the eggs hatch, they develop through five nymphal stages, differing in size, colour and ornamentation – the black stripes and little green spines indicate that these are late-stage nymphs, soon to moult into adult form. The devoted mother watches over them for the duration, twisting her body to wield the spines on her back at any attackers that she senses or is alerted to by her nymphs’ vibrations or pheromones (chemicals acting like hormones). She occasionally accepts help from another treehopper, and may even leave it in charge for a while, but she stays with her family until they transform into adults. 
Nikon D810 + 60mm f2.8 lens; 1/5 sec at f32; ISO 500; Quadralite Reporter flash; 
Sirui tripod + Uniqball head.

Wildlife Photographer of the Year 2018

NAMIBIE - A une échelle bien plus grande, c'est la géographie qui fascine, à l'image de ces dunes du désert sculptées par le vent au bord de l'océan Atlantique. La dissonance se retrouve entre le soleil chauffant le sable et la brume de mer en arrière-plan. Un choc des élements naturels devant l'objectif de l'Espagnol Orlando Fernandez Miranda.

Windsweep by Orlando Fernandez Miranda, Spain
Winner 2018, Earth’s Environments

Standing at the top of a high dune on Namibia’s desert coastline, where mounds of wind-sculpted sand merge with crashing Atlantic waves, Orlando faced a trio of weather elements: a fierce northeasterly wind, warm rays of afternoon sunshine and a dense ocean fog obscuring his view along the remote and desolate Skeleton Coast. Such eclectic weather is not unusual in this coastal wilderness. It is the result of cool winds from the Benguela Current, which flows northwards from the Cape of Good Hope, mixing with the heat rising from the arid Namib Desert to give rise to thick fog that regularly envelopes the coast. As it spills inland, the moisture from this fog is the life-blood for plants and insects in the dry dunes. Orlando framed his shot using as a focal point the sharp ridge of sand snaking out in front, ensuring that the sweep of wind-patterned dunes to his right remained in focus, and kept the distant fog‑shrouded coast as a mysterious horizon.
Canon EOS 5D Mark III + 70–200mm f2.8 lens at 110mm; 1/500 sec at f11; ISO 100.

Wildlife Photographer of the Year 2018

ANTARCTIQUE - La distance avec le sujet permet aussi un recul et un cadre d'image sensé. Ce radeau naturel, un fragment de glace de mer, est débordé par un groupe de phoques crabiers. Pour cette espèce, il offre un environnement naturel très sensible au réchauffement climatique. Pour obtenir ce point de vue vertical, presque comme un satellite, l'Espagnol Cristobal Serrano a utilisé un drone.

Bed of seals by Cristobal Serrano, Spain
Winner 2018, Animals in their environment

A small ice floe in the Errera Channel at the tip of the Antarctic Peninsula provides barely enough room for a group of crabeater seals to rest, and the cracks are starting to show. It’s the end of summer in the Antarctic, and so sea ice here is in short supply. Crabeater seals are widespread in Antarctica and possibly the most abundant of all seals anywhere. But they are also dependent on sea ice, for resting, breeding, avoiding predators such as killer whales and leopard seals, and accessing feeding areas. Despite their name, crabeaters are adapted to feed almost exclusively on Antarctic krill, using their  interlocking, finely lobed teeth to sieve krill from the water. The krill itself is also dependent on sea ice, which provides winter shelter and food (algae). So any decline in sea ice will have a knock-on effect on such specialist krill predators, as will overfishing of krill. For the moment, there is no evidence of any decline in crabeaters, though in the vastness of their pack-ice habitat, it is very difficult to estimate their numbers. Positioned in a rubber dinghy in the channel beside the floe, Cristobal waited until the sea was relatively calm before launching his drone. The batteries would not last long in the cold, so he flew the drone ‘high and smoothly … using low-noise propellers to avoid disturbing the seals’. The picture portrays the group, dozing, with a spattering of krill-coloured seal excrement symbolizing their dependence on Antarctica’s keystone species.
DJI Phantom 4 Pro Plus + 8.8–24mm f2.8–11 lens; 1/200 sec at f5.6; ISO 100.

Wildlife Photographer of the Year 2018

BELGIQUE - Rester à distance des animaux a également permis au Belge Michel d'Oultremont de saisir ce combat de cerfs dans la forêt des Ardennes. Entremêlés au-dessus de leur crâne, leurs bois s'entrechoquent dans un bruit sec, lors de joutes entre mâles pour déterminer celui qui dominera un groupe.

Dream duel by Michel d’Oultremont, Belgium
Winner 2018, Rising Star Portfolio Award
From a winning portfolio of six images. Contact wildpress@nhm.ac.uk if you’re interested in running a feature on the full photo story. 
As storm clouds gathered over the Ardennes forest in Belgium, Michel hid behind a tree under a camouflage net. It was the best spot for viewing any action on the ridge – a place he knew well – but he needed luck for all the elements to come together. The thrilling sound of two red deer stags, roaring in competition over females, echoed through the trees, but infuriatingly the action was taking place further down the slope. Well matched, neither challenger was giving way, and the contest escalated into a noisy clash of antlers. For years, Michel had wanted to picture this highlight of the rut in the dramatic light of dusk, but the stags were never in quite the right place at the right time. At last, the stags appeared on the ridge, antlers locked, silhouetted. Michel had time to capture the clash – through branches of the tree to create the atmosphere – before the light faded and he had to leave the fighters, still locked in battle.
Canon EOS 5D Mark IV + 400mm f2.8 lens + 2x extender; 1/400 sec at f8; ISO 400; Gitzo tripod + Uniqball head.

Wildlife Photographer of the Year 2018

BHUTAN - D'autres techniques de photographie animalière sont à l'honneur. Ainsi, celle-ci d'Emmanuel Rondeau, saluée par une mention spéciale. Le Français a utilisé huit caméras avec détecteurs. Aidé par des guides locaux, il a installé le tout dans une zone fréquentée par des tigres du Bengale. De quoi confirmer leur retour dans ce petit pays d'Asie du Sud.

Tigerland © Emmanuel Rondeau
Mention spéciale 2018
Catégorie : Les animaux dans leur milieu

Wildlife Photographer of the Year 2018

ETATS-UNIS - Au large de la Floride, Michael Patrick O'Neill a, lui, surtout fait preuve de patience. Sa photo décomposant le décollage d'un poisson volant de la surface de l'Atlantique, en pleine nuit, reflète à peine les faibles lumières de l'Américain. C'est le résultat d'une lente approche pour ne pas effrayer l'animal de 13 cm de long. Un travail également récompensé dans l'une des 19 catégories du concours.

Night flight by Michael Patrick O’Neill, USA
Winner 2018, Under Water

On a night dive over deep water – in the Atlantic, far off Florida’s Palm Beach – Michael achieved a long-held goal, to photograph a flying fish so as to convey the speed, motion and beauty of this ‘fantastic creature’. By day, these fish are almost impossible to approach. Living at the surface, they are potential prey for a great many animals, including tuna, marlin and mackerel. But they have the ability to sprint away from danger, rapidly beating their unevenly forked tails (the lower lobe is longer than the upper one) to build enough speed to soar up and out of the water. Spreading their long, pointed pectoral fins like wings, flying fish can glide for several hundred metres (more than 650 feet). At night, they are more approachable, moving slowly as they feed on planktonic animals close to the surface. In a calm ocean, Michael was able to get closer and closer to this individual, which became relaxed in his presence. In the pitch black, he tried various camera and light settings, all the while keeping track of both his subject – a mere 13 centimetres (5 inches) long – and his dive boat. The result is his ‘innerspace’ vision of a flying fish.

Nikon D4 + 60mm f2.8 lens; 1/8 sec at f16; ISO 500; Aquatica housing; two Inon Z-220 strobes.
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