October winner. “A burst of the aurora borealis over Kirkjufell, taken in September 2016. This shot has been a holy grail for me and was finally captured after many trips”. MICK RYAN, JUDGE: Iceland is a hotspot for aurora photography and this composition of the symmetric, free-standing Kirkjufell and the trident waterfall is much-sought after. If you can time your visit when the aurora “kp” index is high and know the settings for nighttime aurora images, you may end up with a beautiful photograph like this. (Photo by DВ/The Guardian)

Andrew Parkinson, animal behaviour category winner: Crepuscular Contentment, Derbyshire. “In 15 years of working with badgers I’ve never seen a badger sit out in the open to have a scratch. I was sat concealed behind a tree and downwind so it was especially nice that the badger had his back to me, demonstrating just how inconspicuous and inconsequential my presence was”. (Photo by Andrew Parkinson/British Wildlife Photography Awards 2017)

“I have been photographing this group of urban foxes in Bristol for over 12 months; what started off as a chance encounter has become an obsession for me and has changed my feelings and attitudes towards urban foxes forever...”. – Ian Wade. (Photo by Ian Wade)

“They’ve been obsessing me for years. I searched and found them in Benares, on the banks of the river Gange (India). They arrive here to get rid of everything and to wait for death. This existence can last for years, sometimes decades, almost a life. Opposite to mine, well organised and filled as a human life can be, to try in vain to push the limits of its end”. – Denis Rouvre. (Photo by Denis Rouvre)

I would like to tell you why many artists, who like me, have painted portraits and landscapes in oils on canvas, worked with acrylics, watercolors, and pen and ink drawings, have turned to the art of gourd carving.

While communism, collectivism, worms, dry rot and casual looting failed to destroy the majestic wooden churches of Russia, it may be ordinary neglect that finally does them in. Dwindled now to several hundred remaining examples, these glories of vernacular architecture lie scattered amid the vastness of the world’s largest country. Just over a decade ago, Richard Davies, a British architectural photographer, struck out on a mission to record the fragile and poetic structures. Austerely beautiful and haunting, “Wooden Churches: Traveling in the Russian North” (White Sea Publishing; $132) is the result. Covering thousands of miles, Mr. Davies described how he and the writer Matilda Moreton tracked down the survivors from among the thousands of onion-domed structures built after Prince Vladimir converted to Christianity in 988.

“Show us our butts! Mucawana tribe – Angola. In Soba village, the Muhacaona (Mucawana) tribe, perhaps the best place i have visited. They use cow dung and fat to make this so nice haircut, and love the beads. They asked me to make pictures of their backs... and butts to see on the camera screen if everything was perfect!”. (Photo and comments by Eric Lafforgue)

An artwork entitled “Are you still mad at me?” by John Isaacs is displayed at the Death: A Self-portrait exhibition at the Wellcome Collection on November 14, 2012 in London, England. The exhibition showcases 300 works from a unique collection by Richard Harris, a former antique print dealer from Chicago, devoted to the iconography of death. The display highlights art works, historical artifacts, anatomical illustrations and ephemera from around the world and opens on November 15, 2012 until February 24, 2013. (Photo by Peter Macdiarmid)