The Landscape Awards 2026: A closer look at our runners-up

With The Landscape Awards presented by Synology now a wrap, we wanted to shine a spotlight on the images that stood out to our judges this year.

Our four runners-up in the Landscape, Seascape, Urban and Aerial categories all approached their subjects in different ways, but were all successful in captivating our judges.

Here's what they the judges had to say on the images they chose as our runners-up this year. 

Landscape runner-up

Dani says this image, captured in Central Highlands, Victoria, has always ‘felt like home’.

“The old farmhouse sits quietly in the middle of it all. Worn down, rusted, but still standing. To me, it’s everything I love about Australia—raw, resilient, and real.”

What the judges said

This old farmhouse in Victoria might be nearing 100 years old, but it has probably never looked as amazing as in Dani Watson’s photograph ‘Fields Remember’. A rapeseed crop in full bloom and a gorgeous sunset contribute a lot to this image, but Dani’s careful panorama treatment and good exposure management also adds a lot to majesty of this image. Overall, it is a beautiful capture that most photographers would envy. Anthony McKee

For me, this image evokes a powerful sense of memory embedded in the landscape. It’s a quiet, almost haunting scene where cultivated fields stretch into the distance under a soft, diffused light. Beautifully captured. Ignacio Palacios

Seascape runner-up

Gergo captured his seascape category runner-up image Raging Ember at Bronte Beach in July 2024 on a grey, stormy winter afternoon.

“I was walking along the beach, and as I reached the cliffs above the shoreline, I noticed a narrow opening on the horizon and a soft yellow light beginning to illuminate the dark storm clouds. I immediately felt this would turn into a rare and dramatic sunset,” he recalls.

“The beach was empty, and clean four-to-five-foot waves were rolling steadily toward the shore. I ran back to my car, grabbed my camera, and jumped into the ocean. I swam further out from the shore to capture the full scale of the glowing skyline behind the rising waves.”

What the judges said

While most of us have the habit of photographing sunrises and sunsets as we look out over water, Gergo Rugli’s Raging Ember image has us looking across the back of a breaking wave, and back at a community. In between the raging red sky and its reflection on the rough, momentary surface of this wave we can see a slither of land, trees and houses, and a reminder that many Australians literally live on the edge of this continent. Anthony McKee

What really draws me to this image is the striking colour in the sky. It creates such a powerful atmosphere, and the highlights on the water catch just enough light to add texture and movement, which makes the whole scene feel alive. Everything draws you inward, from the shape of the wave to the glow on the horizon, creating a really immersive experience that is hard to look away from. Steph Vella

Urban runner-up

“The UTS building’s architecture is stunning,” says Drew Buckmaster. “I love how the steel, glass, and wood tones translate into black and white.”

“The helix staircase is a personal favourite to photograph; its sharp angles and flowing shapes create a striking visual rhythm.”

What the judges said

This image transforms a functional architectural element into something almost hypnotic, drawing the viewer into the elegant geometry of a spiral that seems to have no beginning or end. The staircase reflects a design inspired by a double helix structure, echoing the form of DNA and symbolising movement, growth, and connection. The conversion to black and white works perfectly. Ignacio Palacios

While the spiral motif is a familiar trope in architectural photography, the tonal minimalism and clean, sweeping gradients captured by Drew help this image to move past being just a staircase. Rather, it becomes a study in abstraction, demonstrating the beauty of form over function. This image stands out for its quiet, albeit classic, execution of mathematical harmony. Serena Ho

Aerial runner-up

Roxanne Weston’s image was captured just before first light in July 2025, following the catastrophic flooding in the region in March of that year.

“I have always been fascinated by the way water and light completely transform the landscape from above, and how the colours and character of the Channels shift from minute to minute depending on the light,” she says.

What the judges said

Roxanne Weston is a very deserving runner-up in the Aerial category. Her photograph captures seasonal waterways in Queensland coming to life after distant rains begin their flow into the Eyre Basin. What makes this image so beautiful though, is the fractal nature of the work; one main river separating into another flow and then another. Add to this the vibrant colours and you have a work that deserves to be printed big and enjoyed for a long time. Anthony McKee

This image captures the extraordinary transformation of Australia’s Channel Country, where water reshapes an otherwise arid landscape into a living, breathing tapestry of colour and texture. Seen from above, the braided channels spread like veins across the land, creating intricate patterns blurring the line between aerial landscape and fine art. A truly beautiful abstract. Ignacio Palacios

Next week, we'll share judges comments on the competition's overall winners. The Landscape Awards will open for entries later this year.