Submissions for the Rewilding Europe Award in this year’s European Wildlife Photographer of the Year competition are eligible until March 1. With the deadline approaching, Munich-based photographer Viktoria Pezzei — who will act as one of this year’s judges — shares her views on what makes a powerful rewilding image.
As part of the annual European Wildlife Photographer of the Year competition, which was launched in 2001 by the German Society for Nature Photography, the Rewilding Europe Award celebrates some of the best rewilding-related imagery from across Europe. The deadline for submissions is March 1, 2026.
In 2026, the Rewilding Europe Award will be judged by Jon A. Juárez and Viktoria Pezzei, a German-Ukrainian photographer and photojournalist based in Munich. In her work, which focuses on the environment, science, and sustainability, Viktoria explores relationships between people, wildlife, and place — with a focus on underrepresented stories in conservation. She is an Emerging League Photographer with the International League of Conservation Photographers, and a member of Women Photograph and the German Society for Nature Photography. We caught up with her to find out a little more about her background — and what she looks for in a great rewilding image.
What does it mean to be a member of the International League of Conservation Photographers?
Above all, it’s about community and shared purpose. In a field that can often feel solitary, being surrounded by like-minded fellows who share a deep-rooted commitment to ethical storytelling is incredibly empowering. It provides a platform where we can exchange ideas, collaborate on global issues, and amplify our collective voice. Knowing that I am part of a group that prioritises the protection of nature over just “getting the shot” gives my work a sense of belonging and pushes me to uphold the highest standards of integrity in conservation photography.
You focus on underrepresented stories in conservation. Can you give us an example?
I am deeply drawn to the “underdogs” of the natural world — species such as bats, which are often misunderstood or overlooked, particularly in my home country of Germany. I believe that by bringing local stories to a global audience, we can inspire a wider reach for conservation efforts. A recent example is my work on fawn rescue in Bavaria, which was recently published in BBC Wildlife magazine. These stories prove that you don’t need to travel to the ends of the earth to find compelling conservation narratives. By highlighting the beauty and vulnerability of species right on our doorstep, we can foster a more personal connection between people and the nature they interact with every day.
Your photography helps people visualise scientific research – why is this important?
Scientific research is the backbone of conservation, but research papers are often complex and written for a very specific, expert audience. I see photography as a bridge; visuals have the power to translate abstract data into a language that is tangible and emotional for the general public. When people can actually see the subject of a study — or the impact of a particular conservation method — the science becomes accessible. It transforms facts and figures into a story people can understand, feel — and ultimately support.
Nature photography has traditionally shied away from including humans and man-made elements, but you celebrate it — why?
To me, conservation is inherently a human story. Humans are the ones behind every rescue effort and every restoration project, and I want to make that invisible work visible. I value a journalistic approach that embraces the “whole story”, rather than just a sanitised version of wilderness. In today’s world, where there is less space for nature, many of our most vulnerable species simply wouldn’t survive without human intervention and dedication. By including the human element, I hope to show that we are not just observers of nature, but active participants in its healing.
What’s your most memorable wildlife encounter?
By pure coincidence, it actually happened right in my own neighbourhood. My neighbour told me about a bat conservation initiative in a forest just minutes from my doorstep, which ended up sparking a long-term personal project. I remember joining the volunteers as they monitored bat boxes. As I sat ready with my camera at the base of a tree, they opened a box, and everything happened in a blur. A bat flew out and brushed past me — a sensation I’ll never forget as it was incredibly soft. In that split second, I managed to capture the moment before the box was closed again. It was a beautiful reminder that natural wonder is often hiding exactly where you least expect it.
Do you think photography can be a force for good?
Absolutely. Photography is one of the most powerful tools we have for advocacy, but it comes with a great deal of responsibility regarding how subjects are portrayed and interpreted. When used ethically, an image can shift perspectives, influence policy, and raise vital funds for conservation. A perfect example of this power is Steve Winter’s iconic photograph of the mountain lion positioned in front of the Hollywood sign. In a single frame, that image told a complete and complex story: that wildlife can and does coexist within our densest cityscapes. The impact was monumental; shifting the narrative from fear to pride, it ultimately led to the construction of the Wallis Annenberg Wildlife Crossing. This shows that a well-timed, intentional image can inspire tangible, large-scale change that benefits the natural world.
What will you be looking for in this year’s Rewilding Europe Award submissions?
I’m looking for photographs that dive below the surface and truly tell a story. While technical skill is the baseline, I’m searching for images that evoke a sense of hope and show the tangible progress of rewilding. I particularly love stories that happen in one’s own backyard; images that find the extraordinary in the ordinary, and prove that conservation isn’t just happening in remote wilderness — but right where we live. I want to be surprised by a perspective I haven’t seen before and moved by the narrative behind the lens.
What are you working on now?
I’m honoured to be a Vital Impacts Fellow, which is giving me the opportunity to dive into a new project exploring the intersection between humans and wildlife. I’m currently focusing on the critical role bats play in agriculture — a fascinating relationship that supports our food systems in ways that few people appreciate. This fellowship provides a wonderful platform to further develop my visual storytelling and highlight essential conservation narratives which I hope will resonate both locally and internationally.
