One of These 12 Photographers Will Win the 2026 Leica Oskar Barnack Award

A triptych: left, sheep on a green hillside; center, a woman in a purple veil holds a malnourished child; right, a person in dark clothing rides a white horse on a plain under a cloudy sky.

An international jury has selected the 12 shortlisted finalists for the 46th Leica Oskar Barnack Award (LOBA), one of the most prestigious photography prizes in the world.

The 12 finalists below were selected through an extensive, multi-stage judging process and will be presented in expanded detail over the coming weeks.

Further, for the first time, the jury also selected the winner of the newly established LOBA Women Grant. The winner of the LOBA Women Grant will have their work presented next year.

The winners of the Leica Oskar Barnack Award Main Prize, the Newcomer Award, and the LOBA Women Grant will all be announced on October 8, 2026, at an awards ceremony in Wetzlar, Germany.

The Leica Oskar Barnack Newcomer Award is selected from photographers nominated by experts at 28 international institutions in 18 countries.

Today, only the finalists for the Main Prize are being unveiled.

The LOBA awards have recognized exceptional photographic talent annually since 1980. This year’s jury selected shortlisted photographers from a much larger pool of photographers nominated by 130 photography experts across 48 countries. Each nominator can select up to three photo series to nominate.


Without further ado, the 2026 Leica Oskar Barnack Award finalists.

2026 LOBA Main Prize Shortlist

Saher Alghorra

Palestinian photojournalist Saher Alghorra documented the war in Gaza for his series, Witnessing Gaza. This 2025 series shows scenes of scarcity and starvation, violence, and loss. Beyond the moments that made global headlines, Alghorra’s work also looks more closely at the interpersonal stories on a smaller scale that never make the news.

A bald man with a beard stands against a plain background, arms crossed. He wears a light gray t-shirt and blue jeans with a rip on one knee, and has a black wristwatch on his left wrist.
Photographer Saher Alghorra
A woman in a purple headscarf holds a malnourished child against a cracked, beige wall. The child’s ribs are visible, and both appear somber and weary.
Two-year-old Yazan Abu Foul suffers from severe malnutrition, Al-Shati refugee camp, Gaza City, July 2025. From the series “Witnessing Gaza” | © Saher Alghorra/LOBA 2026
A large crowd of people walks along a coastal road between the sea and damaged tents, with buildings and ruins visible in the background under a clear sky.
Displaced Palestinians cross Wadi Gaza Bridge on their return to Gaza City following the ceasefire, October 2025. From the series “Witnessing Gaza” | © Saher Alghorra/LOBA 2026
A family sits at a table in a partially destroyed building, surrounded by rubble and debris, with a dirt road and more destruction in the background.
Displaced Palestinians cross Wadi Gaza Bridge on their return to Gaza City following the ceasefire, October 2025. From the series “Witnessing Gaza” | © Saher Alghorra/LOBA 2026

Todd Antony

New Zealander Todd Antony’s series, Buzkashi, delivers striking black-and-white photographs of the archaic traditions of the eponymous sport played on horseback. This sport is practiced today in Tajikistan and involves combatants fighting over a headless goat cadaver. The sport has been played for thousands of years after it was invented by nomadic horse-riding cultures in Central Asia.

A man with short gray hair wearing a dark denim shirt looks seriously at the camera against a dark background.
Photographer Todd Antony
A group of people on horseback compete intensely in a traditional Central Asian game; dust swirls around them, and mountains rise in the background.
“Buzkashi” is more than just a sport. It is centuries of history and politics handed down from generation to generation, Tajikistan 2026. From the series “Buzkashi” | © Todd Antony/LOBA 2026
A man in muddy, rugged clothing and a helmet sits on a horse, gazing into the distance with a serious expression. Snow-covered mountains are blurred in the background.
Buzkashi player, Tajikistan 2026. From the series “Buzkashi” | © Todd Antony/LOBA 2026
A person wearing a helmet and jacket sits atop a white horse on an open plain, with distant mountains and a cloudy sky in the background. The image is in black and white.
Four-year-old Abdulqadir on a horse, 2025, Tajikistan 2026. From the series “Buzkashi” | © Todd Antony/LOBA 2026

Anush Babajanyan

Photographer Anush Babajanyan’s series, The Aral Sea and the Battered Waters of Central Asia, does as its name suggests and looks at the Aral Sea, which was once the world’s fourth-largest lake. The lake shrank over 90 percent because of Soviet hydro projects, creating an environmental crisis that affects Uzbek and Kazakh communities to this day. The people there have been forced to adapt, and thanks to the Dike Kokaral dam, have been able to begin recovering.

A woman with short brown hair wearing a gray long-sleeve shirt sits outdoors, smiling slightly. The background includes greenery and a rusty, old vehicle under a clear sky.
Photographer Anush Babajanyan | Photo by Martin Zinggl
Four women sit and talk under a large concrete structure with a flat roof, near houses and trees, on a quiet, rural street. A bicycle lies on the ground nearby.
Women spend the evening near a Soviet-era bus stop in Altynkul village, Kungrad, Uzbekistan 2025. From the series “The Aral Sea and the Battered Waters of Central Asia” | © Anush Babajanyan/LOBA 2026
A braided river flows through a wide, rocky valley surrounded by steep, green mountains under a cloudy, misty sky.
Trees grow on the former bed of Zeravshan River. Its glacier has retreated for nearly a kilometer in the last 20 years, Tajikistan 2021. From the series “The Aral Sea and the Battered Waters of Central Asia” | © Anush Babajanyan/LOBA 2026
A group of people and a dog stand outside at sunset, viewed from inside a building with a bicycle leaning against the wall. A bird flies in the sky.
In the outskirts of Moynaq, neighbors gather for an evening together. Once a thriving port, the city now sits 105 kilometers from the Aral Sea’s receded shoreline, Uzbekistan, 2025. From the series “The Aral Sea and the Battered Waters of Central Asia” | © Anush Babajanyan/LOBA 2026

Damir Faizulin

Damir Faizulin, a Russian photographer, looks at nature and how people live alongside it in the mountainous Dagestan region. Faizulin’s series, Preserving Nature as Preserving Ourselves, grapples with how people live alongside nature, balance often conflicting goals, and carve out a new future constantly affected by the past.

A man with a shaved head and trimmed beard wears a black turtleneck sweater, standing against a plain, light-colored wall, looking directly at the camera with a neutral expression.
Photographer Damir Faizulin | Photo by Anna Zakharova
A large flock of sheep grazes on a green hillside with steep, grassy mountains and a partly cloudy sky in the background.
Spring: The sheep’s first grazing season in the mountains, Khunzakh, May 2024. From the series “Preserving Nature as Preserving Ourselves” | © Damir Faizulin/LOBA 2026
A person balances on a slackline in front of a snow-covered house with mountains in the background, while another person stands near the door.
The village of Tsovkra is known for its tightrope-walking tradition. A schoolgirl during a break between lessons, January 2025. From the series “Preserving Nature as Preserving Ourselves” | © Damir Faizulin/LOBA 2026
A woman in a red dress pulls a loaded donkey carrying bundles of dried plants along a dirt path in a rural, hilly landscape under a clear blue sky.
A woman trying to transport the harvest, Chokh, June 2025. From the series “Preserving Nature as Preserving Ourselves” | © Damir Faizulin/LOBA 2026

William Keo

Extramuros is the work of French photographer William Keo. The series looks at the young people living in banlieues today. While the word translates to “suburbs,” these are essentially the housing projects of Paris, and the neighborhoods have long been scarred by social violence, economic crisis, and controversial government housing policies. But the banlieues are also the birthplace of incredible creativity and innovation. Keo deals with all of that and more in Extramuros.

Black and white photo of a man with short dark hair and a beard, wearing a loose sweatshirt, sitting against a plain light-colored wall and looking directly at the camera with a neutral expression.
Photographer William Keo | Photo by Axelle Kane
A group of people stand on the roof of a building beneath a yellow "PRESSE" sign. The building has "TABAC" and "FDJ" signs visible. The sky is clear in the background.
Young people from the “Red Bricks” housing projects get together for a barbecue to pass the time, Verneuil-sur-Seine, France 2023. From the series “Extramuros” | © William Keo/LOBA 2026
A woman sits in a car's backseat, gently holding a man lying across her lap. Both look calm and relaxed, with warm sunlight softly illuminating their faces.
Younes and Sandra, Seine-Saint-Denis, France 2024. From the series “Extramuros” | © William Keo/LOBA 2026
A child and adult run down a parking lot towards a large, colorful apartment building, with parked cars lining the sides and greenery in the background.
The Chêne Pointu housing estate in the 93rd arrondissement of Paris is known as the starting point for riots in France’s banlieues in 2005, Montfermeil, France 2022. From the series “Extramuros” | © William Keo/LOBA 2026

Slava Lyu-fa

In Russia’s extreme Arctic regions, life is exceptionally difficult and even more fragile. Photographer Slava Lyu-fa points his lens at how Russia’s Arctic communities work together to survive for the series, Inner Distance.

A person with glasses and long hair stands in front of a large pine tree, wearing a blue jacket and patterned scarf. Yellow leaves are scattered among the tree branches above.
Photographer Slava Lyu-fa | Photo by Maria Lyu-fa
A person in a camouflage jacket stands in front of a wooden ladder and blue wall, holding a small black and tan dog.
A resident of Pokhodsk holds a toy terrier — nearly every family has a pedigree dog for breeding and selling puppies, Sakha Republic, Russian Federation 2025. From the series “Inner Distance” | © Slava Lyu-fa/LOBA 2026
An old snow-covered building with lit windows stands in the dark, snowy landscape. A vehicle with headlights on is parked nearby. The sky is dark with a green aurora visible.
The Meteorite aerological station on Chetyrekhstolbovoy Island, Nizhnekolymsky District, Russian Federation 2022. From the series “Inner Distance” | © Slava Lyu-fa/LOBA 2026
Two men in gray and red uniforms sit at a table with a floral tablecloth in a dimly lit room. Tools hang behind them, and papers are posted on a blue wall. Plush toys are lined up on a shelf above.
Workers of the Yakutsk poultry factory, one of the largest enterprises in the republic, Russian Federation 2025. From the series “Inner Distance” | © Slava Lyu-fa/LOBA 2026

Valery Melnikov

Another Russian photographer, Valery Melnikov, focuses on the Ukrainian city of Mariupol in Mariupol: Open Wounds. Melnikov’s documentary series documents how Russia’s invasion of Ukraine devastated the city and its people. Melnikov has spent his career documenting war and conflict, including in Chechnya, Georgia, Lebanon, and Syria. He began working in eastern Ukraine over a decade ago when Russia first began military operations in Crimea.

A man with short light hair and fair skin, wearing a black shirt, faces the camera with a serious expression. The lighting is dramatic, illuminating one side of his face while the background remains dark.
Photographer Valery Melnikov | Photo by Alexandra Anikeeva
A boy in an orange tank top stands indoors with his injured arm in a sling, held by a metal external fixator, looking serious in dim lighting.
Local resident Daniel (18) was wounded in the arm during a shell explosion near his house, Mariupol, Ukraine 2022. From the series “Mariupol — Open Wounds” | © Valery Melnikov/LOBA 2026
Thick black smoke rises from industrial buildings behind apartment blocks, indicating a large fire or explosion in an urban-industrial area. The sky is overcast, and the scene appears tense and hazardous.
The Azovstal plant was the site of the fiercest fighting and was completely destroyed during the fighting between Ukrainian and Russian armed forces, Mariupol, Ukraine, 2022. From the series “Mariupol — Open Wounds” | © Valery Melnikov/LOBA 2026
A man pushes a cart with a child and belongings down a damaged, debris-strewn street lined with dilapidated buildings under a cloudy sky.
Local residents, father and son, are leaving the city, Mariupol, Ukraine 2022. From the series “Mariupol — Open Wounds” | © Valery Melnikov/LOBA 2026

Benedikt Renč

Czech photographer Benedikt Renč’s series, Cairo, offers a personal perspective of Cairo, Egypt’s capital city. Cairo is undergoing radical changes, and Renč says he wanted to “document the last generation to live in this raw and uncouth reality.” The photographer says Cairo will soon change beyond recognition, and he hopes his photos help preserve how the city once was.

A bald man with a trimmed beard and earring stares seriously at the camera. He wears a dark textured jacket and a necklace, posed against a plain light background in black and white.
Photographer Benedict Renč | Photo by Tess Rencova
A shirtless young man with short, curly hair stands on a rooftop, looking out over a sprawling city filled with buildings and satellite dishes under a hazy sky.
Cairo, Egypt 2025. From the series “Cairo” | © Benedikt Renč/LOBA 2026
A large plume of black smoke rises from a burning vehicle in a fenced lot between buildings, with a motorcycle in the foreground and a person observing the scene.
Cairo, Egypt 2025. From the series “Cairo” | © Benedikt Renč/LOBA 2026
An empty, hazy parking lot with red cones blocking a lane; tall light poles line the area, and pyramids are faintly visible in the background through the dust.
Cairo, Egypt 2025. From the series “Cairo” | © Benedikt Renč/LOBA 2026

Elliot Ross

Taiwanese-American photographer Elliot Ross’ series, A Question of Balance, documents the history of water supply in the Navajo Nation, the largest Native American reservation in the United States. Ross considers how the water supply has been shaped by conflict between Indigenous people and settlers, droughts, and excessive water consumption by those living far off the reservation.

Five people jump off a wooden dock into a large, clear swimming pool, surrounded by modern houses and palm trees under a blue sky. Other people relax and swim in the background.
The 2.4-hectare swimming pool in a housing estate is one of the ten largest in the world, Washington County, Utah, June 2024. From the series “A Question of Balance” | © Elliot Ross/LOBA 2026
A person bends over a sink inside a small shed surrounded by blue barrels in a desert landscape with tall, twin rock formations in the background.
Linda washes her hair with water from Goulding, half an hour’s drive away, Monument Valley, Arizona, June 2024. From the series “A Question of Balance” | © Elliot Ross/LOBA 2026
An elderly woman with long gray hair sits indoors, wearing a reddish sweater and blue skirt. She has her hands folded in her lap and looks calmly ahead. A table with a checkered tablecloth is visible behind her.
Florence Neztsosie, aged 90, has no running water and has only had electricity in her kitchen for two weeks, Navajo Mountain, Arizona, December 2025. From the series “A Question of Balance” | © Elliot Ross/LOBA 2026

Annie Sakkab

Annie Sakkab is a Palestinian-Jordanian photographer who also focused on water for her series. We Used to Watch the Rivers Go By looks at how water is much more than just a resource for people.

A person with curly hair, glasses, and earrings poses with one hand near their neck, wearing a textured blouse against a dark, plain background.
Photographer Annie Sakkab

“What began as curiosity about a resource turned into a deep dive into my own history and my heritage, a search for roots in a country shaped by centuries of change and hardship. This is not only a study of water; it is also a story about people,” Sakkab says.

A person in a light robe walks away from a blue water truck on sandy ground, with trees and small buildings in the background under a hazy sky.
Against the backdrop of a swirling sandstorm in the Wadi Rum desert, 71-year-old Mohammad Al Zawaideh navigates the landscape, Jordan 2025. From the series “We Used to Watch the Rivers Go By” | © Annie Sakkab/LOBA 2026
Two girls, one in a dark hijab and the other with loose dark hair, stand close together. The light softly illuminates their faces, with one girl's eyes looking directly at the camera, while the other looks away.
In the northern reaches of Jordan’s “Black Desert” sisters Maisa and Mona Al Bnayyan pose for a portrait in their family kitchen in the village of Jbayya, Jordan 2026. From the series “We Used to Watch the Rivers Go By” | © Annie Sakkab/LOBA 2026
A woman in a maroon dress fills a jug with water in a small pink kitchen, while a child in a yellow shirt stands in a dimly lit doorway, looking inside. Several white water containers are on the floor.
Water scarcity in Jordan disproportionately affects lower-income neighborhoods and refugee camps, unlike larger cities, where access is more regular, Jordan 2023. From the series “We Used to Watch the Rivers Go By” | © Annie Sakkab/LOBA 2026

David Sládek

Czechoslovakian-born photographer David Sládek, who now lives in the United Kingdom and Ireland, made the Slovakian village of Šumiac his second home nearly 20 years ago. Since then, Sládek has been photographing daily life there. His black-and-white series, People of Šumiac, presents this long-term project and how a creek in the village separates two distinct groups of people, local Slovaks and the Roma who live there. As Sládek comments, the water is not the only thing that separates these two groups of people in Šumiac.

A man with long hair and a beard sits on a couch, looking to the side. He wears a dark shirt and is in a softly lit room with a plant and framed photo in the background.
Photographer David Sládek
A group of women in headscarves walk through a snowy landscape, some carrying buckets and wearing patterned clothing, with trees and rocks in the background.
Šumiac, Slovakia 2019. From the series “People of Šumiac” | © David Sládek/LOBA 2026
A smiling child in the foreground with houses, a car, and grassy yard in the background, shown in black and white.
ac, Slovakia 2021. From the series “People of Šumiac” | © David Sládek/LOBA 2026
A crying baby lies bundled in a stroller on a rough, muddy street, with rundown structures and a child standing nearby. The scene is in black and white, evoking a somber, gritty atmosphere.
Šumiac, Slovakia 2023. From the series “People of Šumiac” | © David Sládek/LOBA 2026

Laila AnnMarie Stevens

American photographer Laila AnnMarie Stevens’ work, Clayton Sisterhood Project, was inspired by her desire to feel connected to her ancestors, a legacy of strong Black women. The series focuses on Stevens’ two sisters, who, along with her four nieces, moved from Queens in New York City to a shared house and plot of land in Clayton, North Caroline, to create new lives for themselves.

A young woman with curly hair, wearing large yellow glasses, a headscarf, large earrings, and a nose ring, looks at the camera. Tattoos are visible on her arm. The background is dark and blurred.
Photographer Laila AnnMarie Stevens | Photo by Amber N. Ford
A group of women and young girls pose together between two houses. One older woman sits in a white chair at the center, surrounded by others standing, all looking at the camera.
Three generations: Geneva, Jennifer and Shantell, Bayside, Queens 2022. From the series “Clayton Sisterhood Project” | © Laila AnnMarie Stevens/LOBA 2026
A person with an afro sits in an armchair in a room filled with family photos, a piano, and chandeliers. The walls have framed art and mirrors, reflecting the scene and adding depth to the cozy, nostalgic space.
Anaïs in front of a gallery of framed photographs of her women-majority family, Rego Park, Queens, New York, 2021. From the series “Clayton Sisterhood Project” | © Laila AnnMarie Stevens/LOBA 2026
Three women pose together in a grassy, sunlit park with tall trees in the background. Two women sit on the grass while one stands behind them, all looking toward the camera. The photo is in black and white.
Stevens Family Portrait, South Jamaica, Queens, New York, 2021. From the series “Clayton Sisterhood Project” | © Laila AnnMarie Stevens/LOBA 2026

Winners Will Be Announced on October 8, 2026

The winners of the Leica Oskar Barnack Award, LOBA Newcomer Award, and new LOBA Women Grant will be unveiled on October 8, 2026, at an awards ceremony in Wetzlar, Germany.

“The Leica Oskar Barnack Award celebrates not only exceptional photographic quality but also photography’s ability to make societal change visible and to create connections between people,” says Leica’s Karin Rehn-Kaufmann, Art Director and Chief Representative of Leica Galleries International.

“The LOBA draws attention to longstanding projects, which would not receive the visibility they deserve without this platform.”


Image creditsLeica Oskar Barnack Award. Individual photographers are credited in the captions.

Discussion