“I am not a photo reporter, so I don’t feel obligated to honour every detail. What I’m trying to achieve is to emphasize the whole potential of a shot, creating a sight that I'd like if existed.. And since it’s impossible in real life, I do it in virtual :) My work is maybe more similar to ‘photo-painting’ than photography”. – Katarina Stefanović

Photo: Pannonian spring fantasy. (Photo by by Katarina Stefanović)

Shortlisted: “Two big eyes” by Miao Yong (Zejiang province, China). Damselflies look over the leaves. “I was photographing insects in a park near my home when suddenly I found two damselflies in the grass. They kept flying and it was very difficult to focus until suddenly they parked behind a leaf”. (Photo by Miao Yong/2017 Royal Society of Biology Photographer of the Year)

Blizzard in the High Peak, Derbyshire, by John Finney: “After a difficult journey in the snow, I made my way from Mam Tor down onto the Great Ridge. As the clouds got darker, I placed the tripod and camera at just the right angle to avoid snow getting onto the lens, and used a flash gun and a relatively slow shutter speed to highlight the fast motion of the blizzard”. Classic view, adult class – winner. (Photo by John Finney/Landscape Photographer of the Year)

Khadjou Sambe, 25, surfs off the coast of Ngor, Dakar, Senegal, August 18, 2020. Growing up in the coastal capital of Dakar, Sambe never saw a Black woman surfing the Atlantic swells. As Senegal's first female professional surfer, Sambe is now inspiring the next generation to defy cultural norms and take to the waves as a surfing coach for local girls. “When I am in the water I feel something extraordinary, something special in my heart”, Sambe said. (Photo by Zohra Bensemra/Reuters)

Runner-up. “The heavens opened and the streets around Shibuya, Tokyo, were suddenly drenched in even more colour and movement. I was taking photos (my friend was holding the umbrella) when I noticed this woman at the crossing. I’m pleased with the futuristic feel of the image”. (Photo by Katherine Bridgestock/The Guardian)

I wanted to create the smoke effects on animals I used on some few of my female subjects.
The hardest part was that while there were only faces, here there was the whole body that needed to be “smokeified”.