The results of the fourth round of our prestigious International Amateur Photographer of the Year 2025 competition are in! Matteo Strassera wins the top place in the Landscape category with the image ‘New day, new land’, an extraordinary sunrise scene of fissures opening up during the eruption at Litli-Hrutur in Iceland. Meanwhile, Hary Hanmad came first place in the Young APOY competition. Here are the top 10 images uploaded to Photocrowd from Round Four, Landscapes, with comments by the AP team and our guest judge
Landscape can be everything from an epic, breathtaking scene to a tiny, abstract detail in a rock; it can be a long exposure that strips back a composition to its basic elements; and it can be something that allows us to see the world anew. Light is almost everything when it comes to landscapes, and it’s being out in that light, often while nobody else is around, that is such a huge part of its appeal. It regularly tops the charts of favourite genres among amateur photographers, so it’s not surprising that this round is always of such a high standard.
International Amateur Photographer of the Year 2025, Landscapes winner
New day, new land by Matteo Strassera, Italy, 100pts
DJI Mavic 3, 24mm-equivalent, 1/50sec at f/8, ISO 100
A truly epic scene that leaves the viewer open-mouthed at the power of nature. Matteos was out at sunrise to photograph fissures opening up during the eruption at Litli-Hrutur in Iceland. Despite the extraordinary scene, he has composed with control, allowing the sun to peek out from behind the volcano and the lava to flow in a diagonal out of the frame. The oranges and blacks have been managed extremely well, with no blocky areas and no blown highlights. He has conveyed the extraordinary nature of the moment with the greatest skill.
2. Pine Island, Connemara by Ryszard Lomnicki, Ireland, 90pts
Sony A7R Mark III, 12-24mm, 120sec at f/11, ISO 100, Haida Red-Diamond ND3.0 and GND0.9 filters
Ryszard has made great use of his ND filters and a long exposure to create an explosion of illuminated cloud behind the ridiculously photogenic stand of pine trees. The muted colours are gorgeous. It’s a beautifully balanced composition, and the area of blue to the right completes the scene.
3. Sassi di Matera by Colin Griffiths, 80pts
Nikon D800, 70-200mm, ISO 100
Photographing flat on to a scene isn’t something that would usually be recommended in a landscape image, but here Colin has made a potentially two-dimensional image burst with depth, thanks to waiting until that period of crossover light where the opposing tones of natural and artificial illumination balance so beautifully. Our eyes can follow the structure of the houses that have been dug into the rock, and we can imagine the lives of the people who work and inhabit these fascinating buildings. The exposure has been well handled, with none of the streetlights blowing and plenty of detail in the shadow areas. A picture that’s full of atmosphere and makes me want to jump on a plane to this fascinating place.
4. Cast adrift by John Seager, UK, 70pts
Canon EOS R5, 24-105mm at 32mm, 1/320sec at f/11, ISO 100
Guest judge Quintin Lake says: ‘In landscape photography, I seek images that reveal something I haven’t seen before – photographs that do more than please the eye, but invite me to return and look again. This image does exactly that. At first glance, it offers beauty; with time, it reveals complexity and nuance. Its emotional weight is supported by meticulous technical choices: a composition that feels both balanced and dynamic, an understanding of light that shapes depth and texture, and a refined tonality that evokes the painterly tradition. The sky, heavy yet luminous, captures that fleeting moment after a storm when the world feels both unsettled and renewed. This interplay between drama and stillness creates a mood that resonates beyond the frame. Ultimately, this is an image I’m drawn to linger over – a photograph that sparks curiosity, invites reflection, and rewards the viewer with something new each time.’
5. Alpine pasture, Alpe di Siusi by Tim Burgess, UK, 60pts
Sony A7R Mark IV, 24-105mm at 37mm, 1/25sec at f/16, ISO 80
Another image that transports the viewer to the scene – this time a magical Alpine pasture in Italy’s Dolomites. Tim has done a great job of capturing the rolling folds of the plateau – allowing our eye to meander among the trees and farm buildings – before it comes to an abrupt halt and is taken over by the astonishingly majestic mountain in the background. Waiting for the balance of mist and raking light has paid dividends and brought depth to the landscape.
6. Perfect storm by Bircan Harper, UK, 50pts
Nikon Z9, 100-400mm at 100mm, 1/1600sec at f/4.5, ISO 640
Here we have something of a landscape-wildlife hybrid, where the sleek and instantly recognisable silhouette of a cheetah punctuates the composition. Without her, it would have been a pleasing sunset, but her inclusion elevates the shot into something special, giving it context and life. Placing her on the intersecting thirds anchors the composition and means that our attention goes straight to her, rather than the bright glow of the setting sun.
7. Forest giant, Borneo by Steve Taylor, UK, 45pts
Canon EOS 5D Mark III, 300mm, 1/400sec at f/14, ISO 320
There’s something of the Japanese ink painting about this exquisite photograph – the minimal composition, the subtle greys and the wash of paler hues. The blue-black of the conversion also enhances the overall effect extremely well. Steve placed the darkest of the tree silhouettes perfectly, and has retained just enough – and not too much – detail elsewhere. A test of restraint that he has passed with flying colours!
8. Baobab Road by John Seager, UK, 0pts
DJI Mini 3, 24mm-equivalent, 1/400sec at f/1.7, ISO 100
Many photographs have been taken of this avenue of baobab trees in Madagascar, but John’s version, shot with a drone, gives a slightly different perspective, where the elevated viewpoint serves to emphasise the scale of the trees against that of the two figures. The evening light is simply stunning, and brings the trees to life with a sharpness that makes them almost jump out of the frame. This side light also means that each trunk is separated from its neighbour; without it, they would meld into one and lose much of their clarity. An image that is full of warmth and serenity.
9. All roads lead to Rum by Mark Hetherington, UK, 35pts
Sony A7 Mark I, 16-35mm at 17mm, 5sec at f/11, ISO 100
Mark’s image is almost dizzying in its perspective, with the ultra-wide focal length emphasising the sensation of rushing water leading to the distant island of Rum. The five-second shutter speed is long enough to create just the right effect of movement, while retaining a certain amount of detail in the water. Any longer and the effect would have been too milky and all that energy would have been lost. The silvery-blues are just the right choice when it comes to processing, reflecting the monotones that are a feature of the Scottish weather at times!
10. Curlew and castle by Rachel Riley, UK, 30pts
Canon EOS 90D, 150-600mm at 450mm, 1/1600sec at f/7.1, ISO 100
In a similar vein (although an entirely different location) to the sixth-placed image in this top ten, here we have another shot that is part landscape, part wildlife. What is so clever about it is that the castle in the background is thrown out of focus, but that doesn’t make it any less of a landscape. The focus on the foreground curlew is spot on, as is the beautifully simple composition and the sepia-toned processing, which gives the image a timeless feel. Very well executed indeed.
International Young Amateur Photographer of the Year 2025, Landscapes winner
The orange landscape by Hary Hammad, Pakistan, 100pts
Unknown
Hary has given this image a very appropriate title – with the warm colours of the autumnal trees that make up so much of the frame complemented beautifully by the orange sky in the background. This might have been any other drone shot if it weren’t for the low-lying cloud that bisects the top part of the frame. Its softness provides a pleasing contrast, as does its silver-grey colour – which matches the grey of the tarmacked road perfectly. It’s a simple composition, but one that has been very well seen, and the overall result is memorable indeed.
Camera Club competition
Each round, we shine a spotlight on a selection of excellent entries from the many camera clubs that enter APOY
Hverfjall volcanic crater, Iceland by Mike Morley, Harrogate Photographic Society
DJI Mini 3 Pro, 24mm-equiv, 1/2500sec at f/1.7, ISO 100
A breathtaking image of this volcano, which emphasises its other-worldly location. It’s full of atmosphere, and the subzero temperatures are obvious!
Fairy Pools, Isle of Skye by Janet Miles, Mid-Somerset Camera Club
Olympus E-M1 Mark II, 12-100mm at 12mm, 24sec at f/10, ISO 64
This super-wide interpretation of the famed Fairy Pools brings energy to an already atmospheric scene. The low viewpoint enhances the textures and tones of the rocks.
Sunrise reflection, Loch Leven by Mark Constable, Derby City Photographic Club
Nikon D850, 24-70mm at 32mm, 25sec at f/16, ISO 64
Simply gorgeous colours and immaculate reflections, with excellent and appropriate use of a long exposure. Definitely one to print large, frame and hang on the wall.
Clouds and mountains by Lynn Pascoe, Truro Camera Club
Sony A1, 24-105mm at 105mm, 1/250sec at f/8, ISO 100
A great example of a thoughtful black & white conversion, with the short telephoto allowing the compressed layers of cloud and mountains to recede into the distance.
The start of the holiday by Wendy Mountford, Plymouth Camera Club
Fujifilm X-T3, 18-135mm at 83mm, 1/500sec at f/11, ISO 500
A Lowry-esque scene where the whole is much more than the sum of its parts – the empty areas, which give scale, are as important as the areas occupied by the stick-figure people.
The 2025 International Amateur Photographer of the Year leaderboards after round four, Landscapes
The leaderboard hasn’t changed a great deal since the previous round, but for one significant addition – round winner Matteo Strassera, who jumps into joint second place, thanks to his epic volcano-scape. In Young APOY, Hary Hammad has leapfrogged his way to the top of the leaderboard, having not even featured in the top ten last month, which just goes to show how quickly things can change. No doubt they will change again as the competition continues, which is all part of the enjoyment!
Winning kit from Camera Centre UK
What gear did our top ten photographers use?
In fourth place, John Seager used a Canon RF 24-105mm F4-7.1 IS STM lens for his image. This lens is sold both as a kit and a standalone, and is small and light, with five stops of shake compensation, a customisable control ring, and a fast and very quiet autofocus system. When reviewed in AP it received 4.5 stars, and was praised for JPEGs straight from the camera being ‘corrected so well that they are effectively aberration-free.’ This versatile lens can be purchased at Camera Centre UK for £399.
In fifth place, Tim Burgess shot using a Sony A7R IV. This camera features a 61MP full-frame CMOS sensor, ISO 100-32,000 (expandable to ISO 50-102,400), 10fps continuous shooting and 5-axis in-body stabilisation. AP’s review stated, ‘The fine detail it resolves in its files is astonishing and so is the performance at high ISO.’ The IVa version of this camera can be purchased at Camera Centre UK for £2,249.
In tenth spot, Rachel Riley shot using a Sigma 150-600mm F5-6.3 C Contemporary DG OS HSM. With its versatile zoom range, it features a dust- and splash-resistant mount, as well as a special water- and oil-repellent coating on the front element. It is constructed with 20 elements in 14 groups. This excellent lens can be found at Camera Centre UK for £894.
To see the full range, visit www.cameracentreuk.com
