This image captures climate change, focusing on melting glaciers. Glaciers in Switzerland are covered to protect them from melting. The textures of the fabrics meld with the rawness of ice, showing the last attempt to stop the glacier from becoming water again. Switzerland’s glaciers have lost one-third of their volume  during the last decade and 10% in the last two years. It's natural for the water of glaciers to become fluid again. And it's natural for our world to change. But we are responsible now for this rapid change.

This image captures climate change, focusing on melting glaciers. Glaciers in Switzerland are covered to protect them from melting. The textures of the fabrics meld with the rawness of ice, showing the last attempt to stop the glacier from becoming water again. Switzerland’s glaciers have lost one-third of their volume  during the last decade and 10% in the last two years. It's natural for the water of glaciers to become fluid again. And it's natural for our world to change. But we are responsible now for this rapid change.

This image captures climate change, focusing on melting glaciers. Glaciers in Switzerland are covered to protect them from melting. The textures of the fabrics meld with the rawness of ice, showing the last attempt to stop the glacier from becoming water again. Switzerland’s glaciers have lost one-third of their volume  during the last decade and 10% in the last two years. It's natural for the water of glaciers to become fluid again. And it's natural for our world to change. But we are responsible now for this rapid change.

This image captures climate change, focusing on melting glaciers. Glaciers in Switzerland are covered to protect them from melting. The textures of the fabrics meld with the rawness of ice, showing the last attempt to stop the glacier from becoming water again. Switzerland’s glaciers have lost one-third of their volume  during the last decade and 10% in the last two years. It's natural for the water of glaciers to become fluid again. And it's natural for our world to change. But we are responsible now for this rapid change.

The Ivory Gull glides in front of the glacier wall, searching for something edible. This occurs when the glacier calves and big ice rocks fall into the sea, stirring up sea plankton. Over the past few decades, the Arctic sea ice has been melting rapidly, and so have the glaciers. According to the latest climate models, the Arctic could be virtually ice-free during summer as soon as 2030.

The Ivory Gull glides in front of the glacier wall, searching for something edible. This occurs when the glacier calves and big ice rocks fall into the sea, stirring up sea plankton. Over the past few decades, the Arctic sea ice has been melting rapidly, and so have the glaciers. According to the latest climate models, the Arctic could be virtually ice-free during summer as soon as 2030.

The Ivory Gull glides in front of the glacier wall, searching for something edible. This occurs when the glacier calves and big ice rocks fall into the sea, stirring up sea plankton. Over the past few decades, the Arctic sea ice has been melting rapidly, and so have the glaciers. According to the latest climate models, the Arctic could be virtually ice-free during summer as soon as 2030.

The Ivory Gull glides in front of the glacier wall, searching for something edible. This occurs when the glacier calves and big ice rocks fall into the sea, stirring up sea plankton. Over the past few decades, the Arctic sea ice has been melting rapidly, and so have the glaciers. According to the latest climate models, the Arctic could be virtually ice-free during summer as soon as 2030.

Green Packing is among a series of works depicting conditions and realities facing packing factories like this one in Aztecavo. Working shifts 24 hours per day throughout the year, producing in Michoacán in 2021 around 1.8 million tons of avocados annually, 80% of exports reaching the USA. The rise in avocado production has led to mass deforestation through illegally burning forests and over use of pesticides contaminating groundwater. CONAFOR (National Forestry Commission) indicated that out of the 180 thousand hectares identified, 140 thousand are located in the state, Michoacan. Rapid demand for the product has been placed on this state, over 300,00 jobs directly or indirectly depend on the industry which generates revenues of $2.5 billion annually. The farming of the green fruit has enticed the drug cartels and incited violence with rise of cartel presence and protection rackets, causing disruption to what was until recently Mexico’s only state export licence; in 2022 exports to the US, the largest consumer of the fruit, halted due to escalating violence. US consumers' concerns were focussed on the shortage in supply of guacamole during the Super Bowl than the alarming connection and ramifications of Cartel interest on the product. So much so that within 10 days US & Mexican officials resolved the violence. The instability surrounding this industry now widely understood and ignored due to the worldwide hunger for the ‘green gold’ and future change is not on the horizon.

1500 to 4000 hectares of forest are cleared each year to make way for avocado fields like this one near zirahuen

Jährlich werden über dreitausend Hektar durch illegale Brandrodung vernichtet. Viele der zerstörten Flächen werden zum Avocado Anbau verwendet.

In Ampara, Sri Lanka, this photograph exposes a distressing reality - elephants are forced to eat garbage due to the absence of efficient waste management. Plastic waste threatens their lives, yet there’s no effective solution from authorities. Waste accumulation near forests lures elephants, and other animals, away from their natural habitats, jeopardising their safety. In this exploration, a small elephant was found, hurt by a homemade explosive. This highlights the danger elephants pose to villagers near garbage pits. Recent conflicts between elephants and humans emphasises the need for conservation and proper waste management. Immediate action is crucial to protect both wildlife and communities. 

8 peoples, including a 3 children, spend the day picking up rubbish from the ocean. As we pick up the rubbish, we realized that it comes from many different countries. You and I are incredibly far apart, yet we are connected by the serendipity of beach litter. The same is true of the global climate emergency, where the world is facing problems that are closely connected. Telling the story of the connection between people and nature through rubbish is a time to meet other worlds connected by the sea. People and wildlife are constantly being discarded like rubbish. I share all the sad stories of the world with children and ask them how to find a path to hope and joy. Children already know all the answers to the path to peace. A day at the sea is a time of liberation and dreams for broken hearts and abandoned souls. Even if it's just footprints leading to a very narrow path, we're falling down with everyone else with cheerful hope. May the stories of life's struggles lead to the possibility of hope for each and all, and we invite you to lend us your feet to peace and walk with us here and there.

8 peoples, including a 3 children, spend the day picking up rubbish from the ocean. As we pick up the rubbish, we realized that it comes from many different countries. You and I are incredibly far apart, yet we are connected by the serendipity of beach litter. The same is true of the global climate emergency, where the world is facing problems that are closely connected. Telling the story of the connection between people and nature through rubbish is a time to meet other worlds connected by the sea. People and wildlife are constantly being discarded like rubbish. I share all the sad stories of the world with children and ask them how to find a path to hope and joy. Children already know all the answers to the path to peace. A day at the sea is a time of liberation and dreams for broken hearts and abandoned souls. Even if it's just footprints leading to a very narrow path, we're falling down with everyone else with cheerful hope. May the stories of life's struggles lead to the possibility of hope for each and all, and we invite you to lend us your feet to peace and walk with us here and there.

8 peoples, including a 3 children, spend the day picking up rubbish from the ocean. As we pick up the rubbish, we realized that it comes from many different countries. You and I are incredibly far apart, yet we are connected by the serendipity of beach litter. The same is true of the global climate emergency, where the world is facing problems that are closely connected. Telling the story of the connection between people and nature through rubbish is a time to meet other worlds connected by the sea. People and wildlife are constantly being discarded like rubbish. I share all the sad stories of the world with children and ask them how to find a path to hope and joy. Children already know all the answers to the path to peace. A day at the sea is a time of liberation and dreams for broken hearts and abandoned souls. Even if it's just footprints leading to a very narrow path, we're falling down with everyone else with cheerful hope. May the stories of life's struggles lead to the possibility of hope for each and all, and we invite you to lend us your feet to peace and walk with us here and there.

Bioluminescence in Kogel Bay near Cape Town, South Africa.

A wildfire in the Kogelberg mountains at night. The Kogelberg Biosphere Reserve is located about 40 km from Cape Town. The stretch of the reserve where the Kogelberg mountains meet the ocean at Kogel Bay is a largely undeveloped and spectacularly picturesque coastal landscape. Over many years, Nathan has photographed the reserve repeatedly from the exact same location but in notably different conditions. Collectively these images form a photo essay that highlights how a single vista can produce vastly diverse appearances simply due to the diversity of nature.

A 30-second exposure of a wild fire burning in the mountains of the Kogel Bay Nature Reserve at night.

A wildfire in the Kogelberg mountains at night. The Kogelberg Biosphere Reserve is located about 40 km from Cape Town. The stretch of the reserve where the Kogelberg mountains meet the ocean at Kogel Bay is a largely undeveloped and spectacularly picturesque coastal landscape. Over many years, Nathan has photographed the reserve repeatedly from the exact same location but in notably different conditions. Collectively these images form a photo essay that highlights how a single vista can produce vastly diverse appearances simply due to the diversity of nature.

A 15-minute exposure of bioluminescent phytoplankton illuminating the waters of Kogel Bay near Cape Town, South Africa.

A wildfire in the Kogelberg mountains at night. The Kogelberg Biosphere Reserve is located about 40 km from Cape Town. The stretch of the reserve where the Kogelberg mountains meet the ocean at Kogel Bay is a largely undeveloped and spectacularly picturesque coastal landscape. Over many years, Nathan has photographed the reserve repeatedly from the exact same location but in notably different conditions. Collectively these images form a photo essay that highlights how a single vista can produce vastly diverse appearances simply due to the diversity of nature.

Farah Salem, an immigrant artist from the Arabian Peninsula, explores the concept of home in the USA. She draws on the evolving healing traditions of her homeland, which have adapted over time to meet the needs of migrating individuals and communities. In her work, she seeks connections between the deserts of her origin and the southwestern deserts of the US. In this image, she shows herself wandering through protected wilderness areas, engaging in private, reimagined ritual practices that resonate with her desert roots.

Farah Salem, an immigrant artist from the Arabian Peninsula, explores the concept of home in the USA. She draws on the evolving healing traditions of her homeland, which have adapted over time to meet the needs of migrating individuals and communities. In her work, she seeks connections between the deserts of her origin and the southwestern deserts of the US. In this image, she shows herself wandering through protected wilderness areas, engaging in private, reimagined ritual practices that resonate with her desert roots.

Farah Salem, an immigrant artist from the Arabian Peninsula, explores the concept of home in the USA. She draws on the evolving healing traditions of her homeland, which have adapted over time to meet the needs of migrating individuals and communities. In her work, she seeks connections between the deserts of her origin and the southwestern deserts of the US. In this image, she shows herself wandering through protected wilderness areas, engaging in private, reimagined ritual practices that resonate with her desert roots.

Farah Salem, an immigrant artist from the Arabian Peninsula, explores the concept of home in the USA. She draws on the evolving healing traditions of her homeland, which have adapted over time to meet the needs of migrating individuals and communities. In her work, she seeks connections between the deserts of her origin and the southwestern deserts of the US. In this image, she shows herself wandering through protected wilderness areas, engaging in private, reimagined ritual practices that resonate with her desert roots.

Farah Salem, an immigrant artist from the Arabian Peninsula, explores the concept of home in the USA. She draws on the evolving healing traditions of her homeland, which have adapted over time to meet the needs of migrating individuals and communities. In her work, she seeks connections between the deserts of her origin and the southwestern deserts of the US. In this image, she shows herself wandering through protected wilderness areas, engaging in private, reimagined ritual practices that resonate with her desert roots.

Mango shoots are prepped for grafting as Sicilian farmers shift from citrus to tropical groves due to rising demand and the quickly changing climate on the island. Entrepreneur Francesco Verri spearheads a network of small-scale growers in Messina, who cultivate lesser-known tropical fruits. His vision is to establish a "made in Sicily" brand for exotic fruits, thereby raising awareness among everyday consumers.

Climate change is prompting Sicilian farmers to give up their land for solar energy systems, potentially threatening food sovereignty. Elena Giorgianni, a naturopath and farmer, resists the trend by beginning to grow exotic fruits organically in the hills around Messina. Taking advantage of new weather conditions and the demand for high-quality Italian exotic fruits, she is pioneering an approach that balances environmental sustainability with consumer preferences. Rising temperatures, shifting rainfall patterns, and an increased risk of extreme events have transformed what was once Europe's breadbasket into a testing ground for adaptation and survival.

Sicily faces an annual loss of 117 sq km of fertile land, with projections indicating that by 2030, three-quarters of the island will be affected. Root causes include drought, aridity, and climate change. In rural areas, elderly residents witness profound transformations, necessitating adaptation to modern attitudes and technology. Balancing the preservation of cultural heritage with adapting to environmental shifts poses a delicate challenge for Sicily, deeply rooted in ancestral wisdom and traditions.

The University of Catania collaborates on a vital project testing over 2,000 wheat varieties in Sicily. Identifying adaptation patterns and productivity, including ancient varieties for biodiversity, is crucial in addressing climate change. Pippo Zammataro, a veteran farmer, witnesses firsthand the effects in Catenanuova, recording Europe's highest temperature at 48.5°C. This initiative is integral for Sicily, at the forefront of Europe's climate challenges, emphasizing the urgency for sustainable solutions.

Renowned chefs are breaking culinary boundaries by infusing exotic fruits into traditional dishes, such as a tuna stew with papaya (pictured left). Many of these Sicilian exotic fruits originate from the greenhouses of Maria de Los Angeles Paniagua Guiros (pictured right). Alongside her husband Natale, they play a pivotal role in their successful nursery activity, supplying local farmers venturing into this innovative business.

Devoted Sicilian growers in the thriving exotic fruits business proudly display sprouts from avocado seeds on their cupboards and furniture shelves. Natale Torre, an agronomist and skilled nurseryman, stands out in his lush plant nursery as a leading specialist in tropical species. His activity serves as the productive hub fueling the growth of the exotic fruit business in Sicily.

Donatella Mirabella, owner of a historic bar in Catenanuova, Sicily, recently ranked as one of the hottest places in Europe, observes that climate change is driving locals to abandon family farming. 70% of the region is at risk of desertification, according to the Anbi Observatory on Water Resources. The urgent call for comprehensive action highlights the need to address the impacts of climate change and protect Sicily's natural resources.

Pietro, left, a passionate grower in Messina, Sicily, tends to a lush property resembling a tropical forest. Cultivating avocados, mangoes, and the in-demand Dragon Fruit, he adapts to climate insights from Christian Mulder, right, a Catania University ecology professor. Mulder's influential lectures, focusing on climate change, underscore the urgency for rapid adaptation strategies and raise awareness about the swift changes in our climate.

Paolo Caruso, agronomist and consultant at the University of Catania's Department of Agriculture, Food, and Environment, spearheads the Mixwheat project. This initiative concentrates on agricultural research and innovation, specifically targeting drought-resistant wheats. The project gains significance in identifying alternative crops to address the prevailing water crisis. Meanwhile, Lake Pozzillo, a vital reservoir for the Catania plain, faces a critical juncture with historically low water levels in its dam.

Antonino Scuto, owner of an agricultural services company in Rammacca, Catania, witnesses climate change's severe impact on the valley's rural economy. Water scarcity and inadequate political measures have left many farmers uncertain about their crops' future. Addressing this, the Calamarà chemical processing plant (pictured right) experiments with a sustainable, soil-conserving fertilizer aiming to recover desertified lands as a virtuous initiative to combat the issue.

Roxane Boonstra examines a “tree” of healthy elkhorn coral (Acropora palmata) at the Coral Restoration Foundation’s Tavernier nursery, the world’s largest underwater coral nursery. The (2023) summer’s extreme marine heat wave caused a mass coral bleaching event in the Florida Keys, a reef area that had already declined by 90 percent due to disease and past heat waves. Informed by scientific background, Adler uses imagery to communicate science and conservation. The goal of her work is to bring ocean science out of the pages of peer reviewed journals and into the mainstream media and classrooms.

Roxane Boonstra examines a “tree” of healthy elkhorn coral (Acropora palmata) at the Coral Restoration Foundation’s Tavernier nursery, the world’s largest underwater coral nursery. The (2023) summer’s extreme marine heat wave caused a mass coral bleaching event in the Florida Keys, a reef area that had already declined by 90 percent due to disease and past heat waves. Informed by scientific background, Adler uses imagery to communicate science and conservation. The goal of her work is to bring ocean science out of the pages of peer reviewed journals and into the mainstream media and classrooms.

The aftermath of a major climate change driven fire is un-ending as the sound of active fires increases in the background. I was interested in the overbearing uneasiness of living through climate disasters in real time. For my community, these impacts are real and already happening, not a discussion of "when" climate change advances.  The Bridger Foothills Fire burned outside my bedroom window, caused by high winds, holdover lightning, and record-setting warm temperatures. I watched this fire burn, watched an early snow dampen it, and aided in relief efforts through fundraising and labour. Much of the text from this project has been written on the multiple walks I take through the burn perimeter every few months.

The aftermath of a major climate change driven fire is un-ending as the sound of active fires increases in the background. I was interested in the overbearing uneasiness of living through climate disasters in real time. For my community, these impacts are real and already happening, not a discussion of "when" climate change advances.  The Bridger Foothills Fire burned outside my bedroom window, caused by high winds, holdover lightning, and record-setting warm temperatures. I watched this fire burn, watched an early snow dampen it, and aided in relief efforts through fundraising and labour. Much of the text from this project has been written on the multiple walks I take through the burn perimeter every few months.

The aftermath of a major climate change driven fire is un-ending as the sound of active fires increases in the background. I was interested in the overbearing uneasiness of living through climate disasters in real time. For my community, these impacts are real and already happening, not a discussion of "when" climate change advances.  The Bridger Foothills Fire burned outside my bedroom window, caused by high winds, holdover lightning, and record-setting warm temperatures. I watched this fire burn, watched an early snow dampen it, and aided in relief efforts through fundraising and labour. Much of the text from this project has been written on the multiple walks I take through the burn perimeter every few months.

The aftermath of a major climate change driven fire is un-ending as the sound of active fires increases in the background. I was interested in the overbearing uneasiness of living through climate disasters in real time. For my community, these impacts are real and already happening, not a discussion of "when" climate change advances.  The Bridger Foothills Fire burned outside my bedroom window, caused by high winds, holdover lightning, and record-setting warm temperatures. I watched this fire burn, watched an early snow dampen it, and aided in relief efforts through fundraising and labour. Much of the text from this project has been written on the multiple walks I take through the burn perimeter every few months.

'Darvaza Pietà' was photographed in Turkmenistan in October 2023. Miller Kovac travelled with an assistant off grid into the desert to the Darvaza Gas Crater, known as the Gates of Hell, which has been burning for over 50 years. The site was drilled by Soviet engineers in 1971 as a natural gas well, but it collapsed, forcing the engineers to set the crater on fire to prevent poisonous gases from escaping. Scientists claim that the fire inside the crater will continue to burn for decades to come.  What will future cultures think of the scarred earth we leave behind? 

'Darvaza Pietà' was photographed in Turkmenistan in October 2023. Miller Kovac travelled with an assistant off grid into the desert to the Darvaza Gas Crater, known as the Gates of Hell, which has been burning for over 50 years. The site was drilled by Soviet engineers in 1971 as a natural gas well, but it collapsed, forcing the engineers to set the crater on fire to prevent poisonous gases from escaping. Scientists claim that the fire inside the crater will continue to burn for decades to come.  What will future cultures think of the scarred earth we leave behind? 

'Darvaza Pietà' was photographed in Turkmenistan in October 2023. Miller Kovac travelled with an assistant off grid into the desert to the Darvaza Gas Crater, known as the Gates of Hell, which has been burning for over 50 years. The site was drilled by Soviet engineers in 1971 as a natural gas well, but it collapsed, forcing the engineers to set the crater on fire to prevent poisonous gases from escaping. Scientists claim that the fire inside the crater will continue to burn for decades to come.  What will future cultures think of the scarred earth we leave behind? 

'Darvaza Pietà' was photographed in Turkmenistan in October 2023. Miller Kovac travelled with an assistant off grid into the desert to the Darvaza Gas Crater, known as the Gates of Hell, which has been burning for over 50 years. The site was drilled by Soviet engineers in 1971 as a natural gas well, but it collapsed, forcing the engineers to set the crater on fire to prevent poisonous gases from escaping. Scientists claim that the fire inside the crater will continue to burn for decades to come.  What will future cultures think of the scarred earth we leave behind? 

'Darvaza Pietà' was photographed in Turkmenistan in October 2023. Miller Kovac travelled with an assistant off grid into the desert to the Darvaza Gas Crater, known as the Gates of Hell, which has been burning for over 50 years. The site was drilled by Soviet engineers in 1971 as a natural gas well, but it collapsed, forcing the engineers to set the crater on fire to prevent poisonous gases from escaping. Scientists claim that the fire inside the crater will continue to burn for decades to come.  What will future cultures think of the scarred earth we leave behind? 

Quadtych 5, A406, from The Series, Our Dark Materials. The North Circular has been named the most polluted road in London but also for many, home. Between 2009 and 2015 Quail photographed the residents of the road, curious how they ended up in such an inhospitable and polluted environment. In 1952 the great London ‘pea soup’ Smog led to the clean air act four years later. This inspired his realisation that making the invisible pollution visible was key to the success of the project. During lockdown he discovered that by hanging the original photographic images as prints on the roadside, he could directly evidence the dangerous road dust. However, despite amplifying the significance of the dust with close up photography, a problem remained: the real killer is invisible to the naked eye. The particulate matter 2.5-10 microns wide that slips past our bodies’ defences is so small, you can fit a thousand on the full stop at the end of this sentence. These particles penetrate deep into our respiratory and circulatory system, damaging our bodies. What we were actually seeing on the prints although visually effective and dramatic, was at the safer end of the scale. He eventually resolved this with his use of electron microscopy. We can finally see the invisible killer in the last image. Quail believes debate needs to be improved. Plus, the idea we can trade personal health for seductive convenience, challenged. The title ‘Our Dark Materials’ references the Pullman novels, but is also about materialist culture; especially our love for the motor engine.

Quadtych 5, A406, from The Series, Our Dark Materials. The North Circular has been named the most polluted road in London but also for many, home. Between 2009 and 2015 Quail photographed the residents of the road, curious how they ended up in such an inhospitable and polluted environment. In 1952 the great London ‘pea soup’ Smog led to the clean air act four years later. This inspired his realisation that making the invisible pollution visible was key to the success of the project. During lockdown he discovered that by hanging the original photographic images as prints on the roadside, he could directly evidence the dangerous road dust. However, despite amplifying the significance of the dust with close up photography, a problem remained: the real killer is invisible to the naked eye. The particulate matter 2.5-10 microns wide that slips past our bodies’ defences is so small, you can fit a thousand on the full stop at the end of this sentence. These particles penetrate deep into our respiratory and circulatory system, damaging our bodies. What we were actually seeing on the prints although visually effective and dramatic, was at the safer end of the scale. He eventually resolved this with his use of electron microscopy. We can finally see the invisible killer in the last image. Quail believes debate needs to be improved. Plus, the idea we can trade personal health for seductive convenience, challenged. The title ‘Our Dark Materials’ references the Pullman novels, but is also about materialist culture; especially our love for the motor engine.

Vanishing is a six-minute experimental film about the climate crisis. It is a documentary with a lyrical narration arranged in seven sequences. The themes of coastal erosion and rising sea levels emerge and submerge throughout the film, drawing on history as well as possible futures. The video's exploration of coastal erosion and the role of fossil fuels begins from a local south coast perspective, while highlighting the global crisis.  Vanishing is a six-minute experimental film about the climate crisis. It is a documentary with a lyrical narration arranged in seven sequences. The themes of coastal erosion and rising sea levels emerge and submerge throughout the film, drawing on history as well as possible futures. Film footage of eroding local coastlines in south east England lead back to visuals of drowned villages and land falls in the early 20th century and then forward to a fast-approaching future of swollen rivers and vertical seas where childhood memories of swimming in the sea are gone forever. The role of fossil fuels in the climate crisis seeps through the film. From the local history of the Kent coalmines to the proposed new colliery in the north of England, coal has changed fortunes and the lie of the land is continued by the mining companies. A drone shot of England’s future coalmine is accompanied by two soundtracks – choral and industrial - and the narration speaks of the dilemma faced by those who need to work in the mine after years of economic deprivation while knowing the environmental damage it brings. While the film acknowledges global protest, it ends by asking will our anger need to be mobilised and targeted more forcefully, or will we remain passive observers to the destruction of our environment? I would like the audience to feel moved by the short film and to consider what paths we have open to us to avert this crisis.

Vanishing is a six-minute experimental film about the climate crisis. It is a documentary with a lyrical narration arranged in seven sequences. The themes of coastal erosion and rising sea levels emerge and submerge throughout the film, drawing on history as well as possible futures. The video's exploration of coastal erosion and the role of fossil fuels begins from a local south coast perspective, while highlighting the global crisis.  Vanishing is a six-minute experimental film about the climate crisis. It is a documentary with a lyrical narration arranged in seven sequences. The themes of coastal erosion and rising sea levels emerge and submerge throughout the film, drawing on history as well as possible futures. Film footage of eroding local coastlines in south east England lead back to visuals of drowned villages and land falls in the early 20th century and then forward to a fast-approaching future of swollen rivers and vertical seas where childhood memories of swimming in the sea are gone forever. The role of fossil fuels in the climate crisis seeps through the film. From the local history of the Kent coalmines to the proposed new colliery in the north of England, coal has changed fortunes and the lie of the land is continued by the mining companies. A drone shot of England’s future coalmine is accompanied by two soundtracks – choral and industrial - and the narration speaks of the dilemma faced by those who need to work in the mine after years of economic deprivation while knowing the environmental damage it brings. While the film acknowledges global protest, it ends by asking will our anger need to be mobilised and targeted more forcefully, or will we remain passive observers to the destruction of our environment? I would like the audience to feel moved by the short film and to consider what paths we have open to us to avert this crisis.

Vanishing is a six-minute experimental film about the climate crisis. It is a documentary with a lyrical narration arranged in seven sequences. The themes of coastal erosion and rising sea levels emerge and submerge throughout the film, drawing on history as well as possible futures. The video's exploration of coastal erosion and the role of fossil fuels begins from a local south coast perspective, while highlighting the global crisis.  Vanishing is a six-minute experimental film about the climate crisis. It is a documentary with a lyrical narration arranged in seven sequences. The themes of coastal erosion and rising sea levels emerge and submerge throughout the film, drawing on history as well as possible futures. Film footage of eroding local coastlines in south east England lead back to visuals of drowned villages and land falls in the early 20th century and then forward to a fast-approaching future of swollen rivers and vertical seas where childhood memories of swimming in the sea are gone forever. The role of fossil fuels in the climate crisis seeps through the film. From the local history of the Kent coalmines to the proposed new colliery in the north of England, coal has changed fortunes and the lie of the land is continued by the mining companies. A drone shot of England’s future coalmine is accompanied by two soundtracks – choral and industrial - and the narration speaks of the dilemma faced by those who need to work in the mine after years of economic deprivation while knowing the environmental damage it brings. While the film acknowledges global protest, it ends by asking will our anger need to be mobilised and targeted more forcefully, or will we remain passive observers to the destruction of our environment? I would like the audience to feel moved by the short film and to consider what paths we have open to us to avert this crisis.

‘Open Fire’ tells the story of a planet ablaze, a story which is real and is happening now (take as example the striking fires we witnessed last year in the Hawaii, Greece, Canada, Chile, Argentina, Spain, and Brazil). By pushing the photographic medium to express my understanding on this situation from Latin America (where fires are a consequence of both climate crisis and political conflicts), to unveil the unrecognisable environment it leaves for future generations to live in, this work develops as follows: with a medium-format analogue camera I photograph natural areas of high relevance for conservation in my country, Brazil.

After being developed, I burn the photographic film – reproducing the aggression that has been openly inflicted upon the actual landscapes. The resulting three-dimensional pieces are, then, digitized and presented in juxtaposition to news-sourced stories involving fire that have happened recently in Brazil as well as to insights I have during the making of the work. Through the interweaving of this visual and textual material a narrative emerges, contextualizing and echoing the loop of violence and destruction by fire we have been facing in the Anthropocene. With ‘Open Fire’ I aim to encourage debate around a contemporary issue that is of global relevance: it is environmental, social, historical and political, and urges to be discussed in a framework in which society would play the role of protagonist and not of spectator.

‘Open Fire’ tells the story of a planet ablaze, a story which is real and is happening now (take as example the striking fires we witnessed last year in the Hawaii, Greece, Canada, Chile, Argentina, Spain, and Brazil). By pushing the photographic medium to express my understanding on this situation from Latin America (where fires are a consequence of both climate crisis and political conflicts), to unveil the unrecognisable environment it leaves for future generations to live in, this work develops as follows: with a medium-format analogue camera I photograph natural areas of high relevance for conservation in my country, Brazil.

After being developed, I burn the photographic film – reproducing the aggression that has been openly inflicted upon the actual landscapes. The resulting three-dimensional pieces are, then, digitized and presented in juxtaposition to news-sourced stories involving fire that have happened recently in Brazil as well as to insights I have during the making of the work. Through the interweaving of this visual and textual material a narrative emerges, contextualizing and echoing the loop of violence and destruction by fire we have been facing in the Anthropocene. With ‘Open Fire’ I aim to encourage debate around a contemporary issue that is of global relevance: it is environmental, social, historical and political, and urges to be discussed in a framework in which society would play the role of protagonist and not of spectator.

‘Open Fire’ tells the story of a planet ablaze, a story which is real and is happening now (take as example the striking fires we witnessed last year in the Hawaii, Greece, Canada, Chile, Argentina, Spain, and Brazil). By pushing the photographic medium to express my understanding on this situation from Latin America (where fires are a consequence of both climate crisis and political conflicts), to unveil the unrecognisable environment it leaves for future generations to live in, this work develops as follows: with a medium-format analogue camera I photograph natural areas of high relevance for conservation in my country, Brazil.

After being developed, I burn the photographic film – reproducing the aggression that has been openly inflicted upon the actual landscapes. The resulting three-dimensional pieces are, then, digitized and presented in juxtaposition to news-sourced stories involving fire that have happened recently in Brazil as well as to insights I have during the making of the work. Through the interweaving of this visual and textual material a narrative emerges, contextualizing and echoing the loop of violence and destruction by fire we have been facing in the Anthropocene. With ‘Open Fire’ I aim to encourage debate around a contemporary issue that is of global relevance: it is environmental, social, historical and political, and urges to be discussed in a framework in which society would play the role of protagonist and not of spectator.

‘Open Fire’ tells the story of a planet ablaze, a story which is real and is happening now (take as example the striking fires we witnessed last year in the Hawaii, Greece, Canada, Chile, Argentina, Spain, and Brazil). By pushing the photographic medium to express my understanding on this situation from Latin America (where fires are a consequence of both climate crisis and political conflicts), to unveil the unrecognisable environment it leaves for future generations to live in, this work develops as follows: with a medium-format analogue camera I photograph natural areas of high relevance for conservation in my country, Brazil.

After being developed, I burn the photographic film – reproducing the aggression that has been openly inflicted upon the actual landscapes. The resulting three-dimensional pieces are, then, digitized and presented in juxtaposition to news-sourced stories involving fire that have happened recently in Brazil as well as to insights I have during the making of the work. Through the interweaving of this visual and textual material a narrative emerges, contextualizing and echoing the loop of violence and destruction by fire we have been facing in the Anthropocene. With ‘Open Fire’ I aim to encourage debate around a contemporary issue that is of global relevance: it is environmental, social, historical and political, and urges to be discussed in a framework in which society would play the role of protagonist and not of spectator.

‘Open Fire’ tells the story of a planet ablaze, a story which is real and is happening now (take as example the striking fires we witnessed last year in the Hawaii, Greece, Canada, Chile, Argentina, Spain, and Brazil). By pushing the photographic medium to express my understanding on this situation from Latin America (where fires are a consequence of both climate crisis and political conflicts), to unveil the unrecognisable environment it leaves for future generations to live in, this work develops as follows: with a medium-format analogue camera I photograph natural areas of high relevance for conservation in my country, Brazil.

After being developed, I burn the photographic film – reproducing the aggression that has been openly inflicted upon the actual landscapes. The resulting three-dimensional pieces are, then, digitized and presented in juxtaposition to news-sourced stories involving fire that have happened recently in Brazil as well as to insights I have during the making of the work. Through the interweaving of this visual and textual material a narrative emerges, contextualizing and echoing the loop of violence and destruction by fire we have been facing in the Anthropocene. With ‘Open Fire’ I aim to encourage debate around a contemporary issue that is of global relevance: it is environmental, social, historical and political, and urges to be discussed in a framework in which society would play the role of protagonist and not of spectator.

A man walks along playa Babilonia in Guardamar de Segura where the sea level is increasing year by year.  "Dry Horizons" is a photographic endeavour that unveils the harsh reality of water drought in Spain. Through a lens focused on arid landscapes and dwindling water sources, the project seeks to illuminate the environmental crisis gripping the nation. The parched earth, once teeming with life, now stands as a silent testament to the escalating challenges posed by climate change. With a concise and compelling visual language, "Dry Horizons" serves as a call to action. 

A lonely swamp tree stands in the water of Nikli Haor at Nikli Upazila in the Kishorganj district. The reflection of the sun over the small waves of Haor water will capture anyone’s heart. The Water of Nikli Haor recedes at the beginning of the dry season. In the next few months the place becomes green with paddy fields.  It is about 110 km away from the country's capital Dhaka, and is one of the largest freshwater wetlands in Bangladesh.

A lonely swamp tree stands in the water of Nikli Haor at Nikli Upazila in the Kishorganj district. The reflection of the sun over the small waves of Haor water will capture anyone’s heart. The Water of Nikli Haor recedes at the beginning of the dry season. In the next few months the place becomes green with paddy fields.  It is about 110 km away from the country's capital Dhaka, and is one of the largest freshwater wetlands in Bangladesh.

A lonely swamp tree stands in the water of Nikli Haor at Nikli Upazila in the Kishorganj district. The reflection of the sun over the small waves of Haor water will capture anyone’s heart. The Water of Nikli Haor recedes at the beginning of the dry season. In the next few months the place becomes green with paddy fields.  It is about 110 km away from the country's capital Dhaka, and is one of the largest freshwater wetlands in Bangladesh.

Excited by the idea that rocks hold truths in an age of disinformation, Naomi White began tearing and burning into her photographs of landscapes, layering them over and over until new spaces emerged. These fissures and cracks make room for connections between the earth and its inhabitants, between past and future possibilities. These landscape images were made in Wyoming, on the territory of the Očhéthi Šakówiŋ, Cheyenne, and the Apsaalooké (Crow) tribes. 20% of all artwork earnings from this project go to The Center Pole, a non profit on the Crow Indian Reservation, where they build knowledge, justice, opportunity and prosperity in Native communities.

Excited by the idea that rocks hold truths in an age of disinformation, Naomi White began tearing and burning into her photographs of landscapes, layering them over and over until new spaces emerged. These fissures and cracks make room for connections between the earth and its inhabitants, between past and future possibilities. These landscape images were made in Wyoming, on the territory of the Očhéthi Šakówiŋ, Cheyenne, and the Apsaalooké (Crow) tribes. 20% of all artwork earnings from this project go to The Center Pole, a non profit on the Crow Indian Reservation, where they build knowledge, justice, opportunity and prosperity in Native communities.

2014, Los Angeles. Sailcloth on a raft. Grandpa sailed between LA and Peru. Enlargement from 4x5 negative. Analog c-print.

Ole Brodersen explores the intertwined narratives of environmental changes, cultural identity, and the legacies of historical colonialism, set against the backdrop of Lyngør, hailed as 'Europe's Best-Preserved Village' by the EU. This project, rooted in my twelfth-generation heritage in Lyngør, navigates the village's rich maritime history while addressing the global environmental and social challenges of today. In 1812 a naval battle took place in Lyngør, where Denmark-Norway was defeated by Great Britain, a pivotal event that led to Norway's gradual journey towards independence. This historical moment, reflects how local and global histories are deeply intertwined, serving as a poignant reminder of the complex historical events that shape our present. The project also honours my grandfather's experiences as a war sailor and his work in the mines of La Oroya, Peru, highlighting the broader historical contexts of maritime trade and its role in global dynamics, including the aftermath of colonial endeavours. His life story reflects on the global consequences of resource extraction and its environmental and social impacts. The smelter in La Oroya, Peru, 3745m, where my grandfather worked during the war. Is now the world’s 5th most polluted place.   "Seaborne‘s" conceptual seascapes capture the essence of surrendering control, reflecting on the vast, unpredictable forces shaping our world. These images juxtapose personal and collective experiences with global dynamics, meditating on human vulnerability and our collective fate amidst the unpredictability of nature and societal changes. "Seaborne" seeks to enrich discussions on environmental relationships, historical influences, and sustainable futures. Through Lyngør's unique story, the project seeks to illuminate the broader implications of our shared history, inviting viewers to reflect on the world's complexity, beauty, and fragility.

A sail made by my father lifted by a kite on my grandfather‘s island. Enlargement from 4x5 negative. Analog c-print.

Ole Brodersen explores the intertwined narratives of environmental changes, cultural identity, and the legacies of historical colonialism, set against the backdrop of Lyngør, hailed as 'Europe's Best-Preserved Village' by the EU. This project, rooted in my twelfth-generation heritage in Lyngør, navigates the village's rich maritime history while addressing the global environmental and social challenges of today. In 1812 a naval battle took place in Lyngør, where Denmark-Norway was defeated by Great Britain, a pivotal event that led to Norway's gradual journey towards independence. This historical moment, reflects how local and global histories are deeply intertwined, serving as a poignant reminder of the complex historical events that shape our present. The project also honours my grandfather's experiences as a war sailor and his work in the mines of La Oroya, Peru, highlighting the broader historical contexts of maritime trade and its role in global dynamics, including the aftermath of colonial endeavours. His life story reflects on the global consequences of resource extraction and its environmental and social impacts. The smelter in La Oroya, Peru, 3745m, where my grandfather worked during the war. Is now the world’s 5th most polluted place.   "Seaborne‘s" conceptual seascapes capture the essence of surrendering control, reflecting on the vast, unpredictable forces shaping our world. These images juxtapose personal and collective experiences with global dynamics, meditating on human vulnerability and our collective fate amidst the unpredictability of nature and societal changes. "Seaborne" seeks to enrich discussions on environmental relationships, historical influences, and sustainable futures. Through Lyngør's unique story, the project seeks to illuminate the broader implications of our shared history, inviting viewers to reflect on the world's complexity, beauty, and fragility.

The smelter in La Oroya, Peru, 3745m, where grandfather worked during the war. The mining town is now the world’s 5th most polluted city and has been in the news recently because residents are suing the Peruvian state for ignoring pollution from the smelter. The smelter was run by the Doe Run Company and extracted lead, with it‘s largest shareholder on the Forbes list. Closed in 2009, the metallurgic complex found new owners last year, when 1,270 former workers became shareholders. The new owners intend to reactivate the site. La Oroya’s residents are now divided between dreams of renewed prosperity and fears of a return to life in a massively polluted environment. Enlargement from 4x5 negative. Analog silver gelatin print on glossy fiber paper.

Ole Brodersen (Norway) explores the intertwined narratives of environmental changes, cultural identity, and the legacies of historical colonialism, set against the backdrop of Lyngør, hailed as 'Europe's Best-Preserved Village' by the EU. This project, rooted in my twelfth-generation heritage in Lyngør, navigates the village's rich maritime history while addressing the global environmental and social challenges of today. In 1812 a naval battle took place in Lyngør, where Denmark-Norway was defeated by Great Britain, a pivotal event that led to Norway's gradual journey towards independence. This historical moment, reflects how local and global histories are deeply intertwined, serving as a poignant reminder of the complex historical events that shape our present. The project also honours my grandfather's experiences as a war sailor and his work in the mines of La Oroya, Peru, highlighting the broader historical contexts of maritime trade and its role in global dynamics, including the aftermath of colonial endeavours. His life story reflects on the global consequences of resource extraction and its environmental and social impacts. The smelter in La Oroya, Peru, 3745m, where my grandfather worked during the war. Is now the world’s 5th most polluted place.   "Seaborne‘s" conceptual seascapes capture the essence of surrendering control, reflecting on the vast, unpredictable forces shaping our world. These images juxtapose personal and collective experiences with global dynamics, meditating on human vulnerability and our collective fate amidst the unpredictability of nature and societal changes. "Seaborne" seeks to enrich discussions on environmental relationships, historical influences, and sustainable futures. Through Lyngør's unique story, the project seeks to illuminate the broader implications of our shared history, inviting viewers to reflect on the world's complexity, beauty, and fragility.

My grandfather on his island, Langholmen, Lyngør. From article in local newspaper. Unknown photographer. Most sailors in Lyngør were out for 4 years at a time, in order to get a free ticket home. (There‘s 4 years between my aunt and my mother). Grandfather mustered on a ship in Norway in 1937, and another on 9th of April 1940 in Los Angeles. (The day Germany invaded Norway) He sailed between LA and Peru for Nortraship, transporting iron ore for weapons production. My grandfather did not return to Lyngør until 1946, and thus my grandmother waited for 9 years. Their daughter died while he was away and their son drowned outside their house, 5 years old, in 1952. Enlargement from medium format negative. Analog silver gelatin print on glossy fiber paper.

Ole Brodersen (Norway) explores the intertwined narratives of environmental changes, cultural identity, and the legacies of historical colonialism, set against the backdrop of Lyngør, hailed as 'Europe's Best-Preserved Village' by the EU. This project, rooted in my twelfth-generation heritage in Lyngør, navigates the village's rich maritime history while addressing the global environmental and social challenges of today. In 1812 a naval battle took place in Lyngør, where Denmark-Norway was defeated by Great Britain, a pivotal event that led to Norway's gradual journey towards independence. This historical moment, reflects how local and global histories are deeply intertwined, serving as a poignant reminder of the complex historical events that shape our present. The project also honours my grandfather's experiences as a war sailor and his work in the mines of La Oroya, Peru, highlighting the broader historical contexts of maritime trade and its role in global dynamics, including the aftermath of colonial endeavours. His life story reflects on the global consequences of resource extraction and its environmental and social impacts. The smelter in La Oroya, Peru, 3745m, where my grandfather worked during the war. Is now the world’s 5th most polluted place.   "Seaborne‘s" conceptual seascapes capture the essence of surrendering control, reflecting on the vast, unpredictable forces shaping our world. These images juxtapose personal and collective experiences with global dynamics, meditating on human vulnerability and our collective fate amidst the unpredictability of nature and societal changes. "Seaborne" seeks to enrich discussions on environmental relationships, historical influences, and sustainable futures. Through Lyngør's unique story, the project seeks to illuminate the broader implications of our shared history, inviting viewers to reflect on the world's complexity, beauty, and fragility.

BRA0x. MANACAPURU (BRASIL), 27/09/2023 - El barquero Paulo Monteiro da Cruz, de 49 años, navega en su embarcación entre decenas de miles de peces muertos por el calor y la acidez del agua en la Reserva de Desarrollo Sostenible Lago do Piranha en Manacapuru, Amazonas, Brasil. Los peces mueren debido a la grave sequía en la región de la cuenca del Amazonas. De los 62 municipios del estado de Amazonas, 59 se encuentran afectados por la ribera del río. Según la Defensa Civil del estado, más de 80 mil personas están afectadas por la sequía. Según Defensa Civil, la previsión es que, debido a la influencia del fenómeno climático de El Niño, que inhibe la formación de nubes de lluvia, la secuencia de este año será prolongada y más intensa, en comparación con años anteriores. EFE/ Raphael Alves.

Paulo Monteiro da Cruz, 49, navigates his boat among tens of thousands of fish killed by the heat and acidity of the water in the Lago do Piranha Sustainable Development Reserve in Manacapuru, Amazonas, Brazil. Fish died due to severe drought in the Amazon basin region. The 62 municipalities of the state of Amazonas were affected by the decline in the Amazon basin. According to the state's Civil Defense, more than 600,000 people were affected by the drought. This was the most intense drought in the history of the state of Amazonas, the largest in Brazil. 

Terraces could be found in Southern China. A farmer is walking on the terrace which is like a colour palette.

I am fourteen-year-old student from shanghai of China. I like taking photos of sceneries and people during my travel with my parents. I hope you may like the photos and the stories behind them.

Terraces could be found in Southern China. A farmer is walking on the terrace which is like a colour palette.

I am fourteen-year-old student from shanghai of China. I like taking photos of sceneries and people during my travel with my parents. I hope you may like the photos and the stories behind.

Meltwater streams from the Passu Glacier above Passu village in Pakistan’s Gilgit-Baltistan region on April 24, 2023. The Karakoram glaciers are behaving enigmatically. Some shrink, but others are growing, even though glaciers are disappearing almost everywhere. Glaciologists call it the Karakoram anomaly. It is possible that increased snowfall has been responsible. Scientists disagree on what will happen to the anomaly if Earth continues to warm. According to a study in the science journal ‘Nature’, the third pole will shrink. Even if the international community adheres to the 1.5 degree mark of the Paris climate agreement, one-third of high Asian glaciers will disappear, including along the Karakorum. If the temperature rises by 2-3 degrees, half the glaciers will disappear.

Pakistani vendors load ice onto carts to be transported for sale in local markets in Jacobabad on April 14, 2023. Ice vendors in Jacobabad say they are selling more every year. These days, heat waves are sweeping across India and Pakistan. A 2022 World Bank report stated, "Soon India could become one of the first countries in the world to experience heat waves that are not survivable." Amnesty International has reported that Jacobabad is "uninhabitable for humans" because of the heat. In 2022, it reached 51 degrees Celsius (123.8 F) in Jacobabad; located just a few hours from the Indus, it is one of the hottest cities in the world.

Meltwater streams from the Passu Glacier above Passu village in Pakistan’s Gilgit-Baltistan region on April 24, 2023. The Karakoram glaciers are behaving enigmatically. Some shrink, but others are growing, even though glaciers are disappearing almost everywhere. Glaciologists call it the Karakoram anomaly. It is possible that increased snowfall has been responsible. Scientists disagree on what will happen to the anomaly if Earth continues to warm. According to a study in the science journal ‘Nature’, the third pole will shrink. Even if the international community adheres to the 1.5 degree mark of the Paris climate agreement, one-third of high Asian glaciers will disappear, including along the Karakorum. If the temperature rises by 2-3 degrees, half the glaciers will disappear.

Pakistani vendors load ice onto carts to be transported for sale in local markets in Jacobabad on April 14, 2023. Ice vendors in Jacobabad say they are selling more every year. These days, heat waves are sweeping across India and Pakistan. A 2022 World Bank report stated, "Soon India could become one of the first countries in the world to experience heat waves that are not survivable." Amnesty International has reported that Jacobabad is "uninhabitable for humans" because of the heat. In 2022, it reached 51 degrees Celsius (123.8 F) in Jacobabad; located just a few hours from the Indus, it is one of the hottest cities in the world.

Like all leaves, the chicory leaf is covered with stomata - tiny openings like mouths that are found on the epidermis of the leaf and play a vital role in regulating the exchange of gases between the internal spaces of the leaf and external atmosphere. Using data gathered from an X-ray spectrometer on a scanning electron microscopy image, airborne pollutant particles of potassium (purple), aluminium ( red), silicon (orange) and magnesium (yellow) are revealed. Inflorescence continues Kesseler’s investigation into the hidden structures and plants and our complex relationship with them. 

Chhat pilgrims, immersed in rituals along the polluted Yamuna, face a stark contradiction of spirituality and environmental decay. The once-holy river now teems with toxins, endangering both worshippers and the ecosystem. As devotees pray and float lamps, they unwittingly expose themselves to hazardous contaminants. Urgent action is needed to mitigate this crisis, safeguarding both spiritual practices and public health. Balancing reverence with environmental stewardship is crucial to sustain sacred traditions and protect devotees from harm. The highly toxic Yamuna river jeopardises both human health and aquatic life. Through awareness and activism, the tide of toxicity can be reversed to preserve a habitable world for future generations.

Chhat pilgrims, immersed in rituals along the polluted Yamuna, face a stark contradiction of spirituality and environmental decay. The once-holy river now teems with toxins, endangering both worshippers and the ecosystem. As devotees pray and float lamps, they unwittingly expose themselves to hazardous contaminants. Urgent action is needed to mitigate this crisis, safeguarding both spiritual practices and public health. Balancing reverence with environmental stewardship is crucial to sustain sacred traditions and protect devotees from harm. The highly toxic Yamuna river jeopardises both human health and aquatic life. Through awareness and activism, the tide of toxicity can be reversed to preserve a habitable world for future generations.

Chhat pilgrims, immersed in rituals along the polluted Yamuna, face a stark contradiction of spirituality and environmental decay. The once-holy river now teems with toxins, endangering both worshippers and the ecosystem. As devotees pray and float lamps, they unwittingly expose themselves to hazardous contaminants. Urgent action is needed to mitigate this crisis, safeguarding both spiritual practices and public health. Balancing reverence with environmental stewardship is crucial to sustain sacred traditions and protect devotees from harm. The highly toxic Yamuna river jeopardises both human health and aquatic life. Through awareness and activism, the tide of toxicity can be reversed to preserve a habitable world for future generations.

2023 was the hottest year on global record and the Arctic is disproportionately affected by these elevated temperatures. The remote Western Brooks Range of North West Alaska has recorded a 2.4 degree increase in temperature since 2006. Permafrost, the layer of soil that remains frozen throughout the year is thawing at an unprecedented rate, exposing the bedrock and all metals that have been frozen within it, to the elements.

Tukpahlearick Creek and its tributaries are now flowing bright orange with oxidized iron and sulphuric acid. The change to water quality, and risks associated with metals in the water pose dire threats to ecosystems downstream that rely on these waters, and are symbolic of the far reaching consequences of climate change.

2023 was the hottest year on global record and the Arctic is disproportionately affected by these elevated temperatures. The remote Western Brooks Range of North West Alaska has recorded a 2.4 degree increase in temperature since 2006. Permafrost, the layer of soil that remains frozen throughout the year is thawing at an unprecedented rate, exposing the bedrock and all metals that have been frozen within it, to the elements.

Tukpahlearick Creek and its tributaries are now flowing bright orange with oxidized iron and sulphuric acid. The change to water quality, and risks associated with metals in the water pose dire threats to ecosystems downstream that rely on these waters, and are symbolic of the far reaching consequences of climate change.

Greg and Rich checking lobster pots off Marske-by-the-Sea, a large village between Redcar and Saltburn-by-the-Sea, April 2023. There aren’t many traditional wooden cobles or double-enders commercially fishing along the Teesside coast these days. There’s a few boats parked up and a long line of old tractors lining the road leading down to the beach where they launch from into the sea. The number of registered vessels landing in 2023 all along the north east coast is on a declining trend.

Release of 822 juvenile lobsters by Whitby Lobster Hatchery off Redcar on 3 October 2023. Rearing baby lobsters in the hatchery ensures their best chances of survival, aiming to boost numbers to ensure the populations are protected into the future.

There aren’t many traditional wooden cobles or double-enders commercially fishing along the Teesside coast these days. There’s one in Redcar and Levi who is a part-time fisherman going out from Marske-by-the-Sea, a large village between Redcar and Saltburn-by-the-Sea. There’s a few boats parked up and a long line of old tractors lining the road leading down to the beach where they launch from into the sea. Levi loves the sea and fishing and would go every day if he could but it’s not the right time for young fishermen to make that move.

The gargantuan western redcedar measures over 5 m (17 ft) wide near its base and 46 m (151 ft) tall. Given its size, it’s likely well over a thousand years old. Thankfully, the incredible Land Use Vision from the Ahousaht First Nation calls for the protection of 80% of their territory, including the ancient forest where this tree is found. Here, Ahousaht Hereditary Leader, Tyson Atleo, stands at the base of the tree for scale. After years of hard-fought campaigning, we are seeing major progress to help safeguard old-growth forests in BC. 

The gargantuan western redcedar measures over 5 m (17 ft) wide near its base and 46 m (151 ft) tall. Given its size, it’s likely well over a thousand years old. Thankfully, the incredible Land Use Vision from the Ahousaht First Nation calls for the protection of 80% of their territory, including the ancient forest where this tree is found. Here, Ahousaht Hereditary Leader, Tyson Atleo, stands at the base of the tree for scale. After years of hard-fought campaigning, we are seeing major progress to help safeguard old-growth forests in BC.