The Landscape Awards 2026: A closer look at our winners

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 winners 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 winners this year. 

Landscape category winner

A fateful trip to the Red Centre in 2015 sparked Glenn Young’s love for photography, and the Newport, Queensland photographer describes himself as lucky that he can now travel more often since retiring.

“I love to share this beauty with people, it’s not always easy to do this and so the journey continues for me,” he says.

While travelling, Glenn had heard whispers of a beautiful, derelict stone church tucked away in an isolated spot, and was determined to capture it beneath the night sky.

“I did my planning for clear skies and the correct day and time for the Milky Way and then one very early morning I set about taking the photographs,” he recalls.

“Unfortunately a very thick fog rolled in. At first I was miffed that my planned photos would fail and almost gave up, but then I was taken by the beauty of what I saw before me. The church looked mystical and ethereal and the stars and the Milky Way shone like I had never seen before in a most beautiful way. I kept taking photos until dawn and it was such a very special moment for me.”

That sense of beauty, touched with a hint of mystery, made for a compelling image that impressed the judges not just for its technical excellence, but also for its storytelling.

What the judges said

The soft, ground-level haze in this image creates a ghostly foundation for the sharpness of the Milky Way above. It gives the building itself both an ancient and otherworldly ambience. The composition balances the weight of the architecture with the weightlessness of our galaxy. It is a quiet reminder that humans are connected to the stars. Serena Ho

This photograph immediately stood out to me for its thoughtful use of perspective and framing, combined with beautifully balanced lighting and atmospheric haze that seamlessly connects the sky to the foreground. The Milky Way is perfectly positioned above the structure, and the choice of location works exceptionally well, mimicking the subtle white highlights of the plants against the expansive, star-filled night sky. Petra Leary

Seascape category winner

Vicki Moritz says her winning image was taken on a remarkably fine and cold morning from the Apostles lookout on the Great Ocean Road, Victoria.

“I selected the viewpoint that offered the two stacks known as Gog and Magog to make the best of the morning light on the foreground and the soft sea mist,” she explains.

A tripod and a 7.5 second exposure created the blur in the incoming waves, which beautifully balance the mist above.

What the judges said

The sea mist captured in this image from the Great Ocean Road brings a fresh atmosphere and interpretation to a classic Australian scene. Technically the photograph is superb, featuring excellent sharpness and texture throughout. A longer exposure was used to create a contrast between the smooth water, detailed foliage and the jagged edges of limestone stacks.

It also contributes to the ethereal feeling of the sea fog which creates a beautiful backdrop for the stacks to stand against. A subtle gap in the shroud reveals a headland further behind the stacks creating a sense of mystery and depth. Matt Palmer

I really enjoyed the composition of this image. Keeping the foreground edge in frame and in sharp focus creates a strong sense of presence, as if you’re standing right on the clifftop looking out. The colour balance is beautifully handled, and the use of a slow shutter speed introduces a soft, flowing movement that adds a calm, atmospheric quality to the scene. Petra Leary

Urban category winner

“This image came about because my real job required me to work for three months in Melbourne city,” explains Levin.

“After a few weeks I began to notice some of the amazing buildings I was passing. With a planned early finish one day, I hit the streets with my camera.”

“After an hour, I walked into this building in Collins Street and was hit by the massive foyer and cleverly created interior by the designer. The series of disks that arced over the reception desk reminded me of the phases of the moon and were reflected on the floor.

The receptionist adds balance and drives home the scale of the foyer. I realised it was critical to capture the symmetry of the scene and B&W added to the simplicity of the image.”

What the judges said

The creative use of symmetry is what I love most about this picture. The mirrored geometric reflection on the floor transforms the otherwise static lobby space. I like how the round wall installations resemble the different phases of the moon.

By stripping away the distraction of colour, the textural contrast between the wall and the foreground stands out. Meanwhile, the lone figure in the centre of the arc invites me to reflect upon how grandiose human ambitions can be. Absolutely stunning. Serena Ho

I thought this photograph offered a refreshing take on urban imagery. Its simplicity, combined with a striking use of symmetry and reflection, is what stood out most. The choice of black and white works beautifully, enhancing the contrast and giving the image a bold, graphic quality. Petra Leary

The strong sense of composition and symmetry is perfectly balanced. The black and white enhances yet simplifies the scene and allows the shapes, contrast and light to take focus. The reflection on the floor adds another layer, softly guiding your eye around the frame. There is a calm, minimal quality to it, but all the elements come together in a way that keeps you engaged and taking it all in. Steph Vella

Aerial category winner

Paul Hoelen’s Aerial category winning image Ghost Trees withholds a clear sense of scale or context, and yet captivated our judges with its subtle shifts in tone and texture that reward a closer look.

“It becomes less about what is seen, and more about how it is felt, or what it represents – an invitation to engage with intuition more than intellect alone,” Paul says.

What the judges said

Paul Hoelen’s Ghost Trees image is a mysterious abstraction that leaves both the viewers and judges quietly wondering what we are really looking at. At a guess we are seeing black sands being sculpted by tidal movements to reveal lighter sands beneath, but in the process creating the illusions of a treescape against a starry sky, or a mollusc edging its way across asphalt.

Whatever it is we are looking at, it caught our attention and it is a very deserving winner in the Aerial category. Anthony McKee

I liked the clever use of perspective in this image. At first glance, it looks like a stand of upright trees, but on closer inspection it reveals itself as natural landscape forms seen from above. It’s a smart use of top-down photography that plays with perception. Petra Leary

The Landscape Awards will open for entries later this year. You can see the judge's comments on the runners-up here.