Street photography has never been short of ambition. The Pure Street Photography Awards remind us what the genre does best: celebrate the everyday with honesty, patience and curiosity. The most recent edition drew 1,160 entries from 34 countries. Committed photographers turning their lenses towards the world and stating, ‘This moment matters.’ What makes PSPA distinctive is its scale, intimate enough to feel personal, big enough to feel global. Every image gets seen and as the judges emphasise, each entrant is treated with respect.
The judging panel was a formidable pairing of writer, curator and ICP Creative Director David Campany alongside internationally acclaimed street photographer Dimpy Bhalotia. Together they sifted through work from across continents and cultures that shared a common instinct for something fleeting, surprising or profound.
Their winning selection of 147 photographs in total go on show at Mumbai’s Jehangir Art Gallery 22–27 January 2026 | 11 AM – 7 PM. It’s a landmark exhibition for India and the first time a street photography award of this scale has been hosted in the country, bringing together photographers from 34 nations under one roof. For many exhibitors, it marks their first piece of international recognition. For visitors, a rare chance to see such a cross-section of global street practice in a single space.
Dimpy Bhalotia, who co-founded Pure Street Photography with Kamal Kumaar Rao in 2020 says, ‘Street photography is the reminder that the world is worth looking at in all its layers and depth.’ What began as an Instagram initiative has grown into a community of more than 270,000 followers and 144 members across 40 countries. Bhalotia insists it’s a platform built on fairness, energy and a deep belief in the human eye over the algorithmic one.
This year’s Grand Winner is Germany’s Stefanie Waiblinger with Who is Next, a photograph that lingers long after the first glance. First place goes to the UK’s Cazerella Tavs for Meeting in the Middle, a study in choreography and chance; second to Chris Yan from China for Mirror; and third to fellow German Nicole Prüm for the haunting Phantom of the Past. These headline images are joined by dozens more that witness moments that are playful, tense, tender and at times, absurd.
In a photographic landscape increasingly defined by speed and simulation, the Pure Street Photography Awards plant their flag firmly in the real world. This gallery brings together a selection of winning and finalist images: moments plucked from streets across the globe – reminders that the ordinary still has an extraordinary capacity to surprise.
Grand Winner : Stefanie Waiblinger, Germany
‘The Galata Bridge in Istanbul – a place full of life, tradition and spectacular scenery – became the stage for a very special moment. Against the backdrop of the Istanbul skyline, between mosques and minarets, the bride throws her bouquet into the air – a spontaneous, lively moment full of joy and symbolism.’
1st Place Winner : Cazerella Tavs, UK
‘There is always an element of surprise to photography and a thrill in capturing a candid moment that can never be replicated. This was one of those moments. An unexpected standoff in the middle of a quiet rural road, where two cows pause as if negotiating the right of way. It emphasises form, symmetry, and contrast what might otherwise be a fleeting roadside encounter transforms into a playful reflection on standstills, stubbornness, and the gentle comedy of rural life — a reminder that even traffic jams can be charming when left to cows!!’
2nd Place Winner : Chris Yan, China
‘This photo was taken in a market in Beijing. Two girls passed by me on an electric bike. One of the girls was holding a large mirror, and her figure was reflected in the mirror. The figure in the mirror merged with the girl in front, which looked very interesting.’
3rd Place Winner : Nicole Prüm, Germany
‘This shot was taken spontaneously during a walk through New York City 2023. It captures a figure whose profile and attire—fedora and suit—immediately call to mind the appearance of Al Capone. The actual humour lies in the pure chance of the moment: the classic, historical allusion stands directly in front of a modern NYPD Police SUV in the background. The irony of this scene—the unprompted confrontation between the spirit of Prohibition and today’s street police—is what defines the image. It is a quiet, humorous moment of street photography that transports a historical jest into the present day.’
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