Behind the Scenes: the LOBA-Jury 2026
In May, this year’s LOBA jury met at the Ernst Leitz Museum in Wetzlar. Their purpose was to sieve through the wealth of submissions and select the shortlisted series as well as the two winners of the 2026 LOBA. This selection of images offers a snapshot of the meeting.
The suspense will remain until October, when the two winning series will be announced, along with the winner of the LOBA Women’s Grant, which is being awarded for the first time. In the run-up to this event, all the series will be showcased on the LOBA website. Over the coming summer months, one series will be featured in more detail each week, accompanied by text and captions. The announcement and the award ceremony for the winners in both the Main and the Newcomer categories, as well as the LOBA Women’s Grant, will finally take place in October 2026 in Wetzlar.
Leading up to the meeting of the jury members, more than 130 photography experts from around 50 countries had drawn on their personal experience and expertise and submitted their nominations as part of this year’s rigorous application process. Once again, the 46th edition of the LOBA is characterised by diversity and high quality. The jury was able to select its favourites from the rich collection of nominated works. The 2026 jury was made up of: Gu Zheng, Professor at the Fudan University School of Journalism, Shanghai (China); Jane’a Johnson, curator and researcher, curatorial assistant, Museum of Modern Art (MoMA), New York (USA); Celina Lunsford, Artistic Director and Curator of the FFF, Fotografie Forum Frankfurt (Germany); Paolo Pellegrin, photographer (Italy); and Karin Rehn-Kaufmann, Art Director and General Representative of Leica Galleries International, Austria.
“It’s very unique that LOBA doesn’t accept freelance submissions from photographers themselves. Photographers participating in the LOBA are recommended by professionals from around the world,” says Gu Zheng, referring to the particularity of the LOBA process. He was the only jury member unable to meet in person in Wetzlar.
Considering the different cultural and professional backgrounds of the jury members, the meetings witnessed “intense discussions, which is precisely where the strength of the process lies,” says Karin Rehn-Kaufmann.
“We had fascinating exchanges—about the integrity of the photographers and their stories and visual results of course,” Celina Lunsford comments. “I enjoyed getting to know my fellow jury members and what each of us bring to the field. The quality of work was high and our expectations too. We were choosing the best image makers and appreciating how they approached their subject matter. There was not so much controversy but engaging discussions back and forth about the top choices.”
Jane’a Johnson shares the following experiences: “The discussions were vibrant, respectful, and thoughtful. We each brought our own unique perspective because we have very different backgrounds. It was very collegial, and we left with a real bond. The LOBA images have been very international, but I think the further evolution we’re seeing is that more and more photographers are entering from outside of Europe. That’s fantastic and I’m looking forward to seeing entries from outside of Europe continue to grow.”
Taking a look at the current submissions, Rehn-Kaufmann says, “As so often happens, I was impressed by the breadth of themes. At the same time, I noticed the personal and intimate the ways in which many of the stories were told. The visual styles were also very diverse: ranging from classic documentary approaches to poetic, experimental narrative styles. This year’s selection struck me as particularly multi-layered and nuanced. It was less about quick visual impact and more about long-term exploration and the depth of photographic research.” Rehn-Kaufmann went on to underline the special atmosphere during the jury meetings, “I remember in particular the moments when, during the discussions, a consensus suddenly emerged. When a body of work touches and convinces the entire jury, you immediately sense that there’s something special about it. Equally impressive to me, year after year, is the responsibility that comes with this role. Behind every series there are often years of intensive work, personal encounters and great dedication on the part of the photographers.”
“It cannot be understated how important this award is,” Jane’a Johnson emphasises. “It’s a real financial boon to photographers, provides access to heritage-quality equipment, and a tie to the legacy of some of the most important photographers to ever pick up a camera.”
“Whenever I’m at a photo festival or doing research work, I find that the key photographers are aware of this award,” says Celine Lunsford before adding, “The shortlist is also a great review list for curators, festival directors and editors.”