If you haven’t heard of the Saltzman-Leibovitz Photography Prize yet, now’s the time to pay attention. Launched in 2025 by New York photographer and philanthropist Lisa Saltzman, through the Saltzman Family Foundation, and created in collaboration with Annie Leibovitz, it’s explicitly designed to spotlight emerging female photographers at a pivotal point in their careers. It comes with real money ($15,000 for the winner, $5,000 for the runner-up), a serious jury and, crucially, an exhibition at Photo London. Only in its second year, it’s already making a strong case for itself.
The 2026 edition takes Leibovitz’s book Women as its inspiration, with five international nominators each putting forward a candidate, whose work is then judged by a panel of experts. This year’s winner is Marisol Mendez, a photographer and researcher from Cochabamba, Bolivia, whose project MADRE takes the $15,000 top prize. And it’s worth listening to how Mendez explains her own practice.
“It’s usually easier to understand love or time through a poem or song than through a chemistry lesson or the manual of a clock,” she said on receiving the nomination. That’s a line worth pinning above your monitor: not because it’s particularly original, but because it articulates something photographers often know instinctively, yet struggle to act on. Documentation is a floor, not a ceiling.
The winner and her work
MADRE weaves Andean folklore and Catholic iconography into an exploration of Bolivian identity and matriarchal lineage, drawing on archival family photographs alongside Mendez’s own staged and naturalistic imagery. It’s ambitious, layered and formally striking.
The connection to Leibovitz isn’t merely institutional, either: Mendez cites being “enamoured” by Leibovitz’s images as what first drew her toward fiction and storytelling, which gives the whole thing a pleasingly circular quality.
Diverse voices
The shortlist around Mendez makes for a compelling survey of where serious photography is happening right now. It includes Cole Ndelu, working at the intersection of fashion, spirituality and Zulu identity in Johannesburg; Lindeka Qampi, a self-taught South African photographer documenting township life with formal rigour; Bettina Pittaluga turning her lens on queer community life in Paris with an emphasis on the quiet and unguarded over the spectacular.
Then there’s runner-up Miranda Barnes, whose project Social Season documents Black debutante balls in the United States.
A Brooklyn-born artist who studied humanities and justice before turning to photography, Barnes receives $5,000 for a project that uses colour photography to explore African American cotillion culture (a coming-of-age tradition where young women are introduced into society).
It’s simultaneously glamorous and pointed, a reminder, as she frames it, that within living memory “being a well-dressed, articulate black person was deemed inappropriate, even a dangerous offense”.
The images, shot with a warm and unhurried eye, treat their subjects with the seriousness the tradition deserves, and the tradition has rarely been photographed this carefully.
Why this matters
Awards like this one matter beyond the prize money, though $15,000 is genuinely useful at an early stage of a career. They matter because they set a standard and this prize is setting an interesting one.
The jury, the nominators and the winning work all seem to share a conviction that photography is most valuable when it’s doing something that a phone camera and a caption can’t do alone: building a world, interrogating a system of belief, finding the mythic inside the domestic.
A selection of works by all five nominees will be on show at Photo London, Olympia, from May 13-17 2026. If you’re going, it’s worth making time for: this is the kind of work that reminds you why you picked up a camera in the first place. For more information, visit saltzmanfamilyfoundation.org.
Author: Tom May
Source: DigitalCameraWorld
Reviewed By: Editorial Team
