Dominic Nahr is renowned for his captivating and evocative images documenting conflict zones, natural disasters such as tsunamis, and humanitarian crises. His work has brought global attention to events including the war in Ukraine, the fragile state in Yemen, and the downfall of the Assad regime in Syria.

Born in Appenzell, Switzerland, and raised in Hong Kong, Dominic graduated with a Bachelor of Fine Arts from Ryerson University’s School of Image Arts in Toronto, Canada, in 2008. He relocated to Nairobi, Kenya, in 2009, where he began chronicling pivotal global events.

In 2011, Dominic became a contract photographer for Time Magazine, a role he held until 2015. He has collaborated with esteemed publications such as National Geographic Magazine, The New Yorker, GEO, Der Spiegel, and Stern. In 2021, he joined the Photo Team at the Swiss newspaper Neue Zürcher Zeitung (NZZ) in Zürich, where he focuses on international news stories, including the war in Ukraine, the ongoing humanitarian crisis in Yemen, and other critical global issues.

Dominic’s extensive accolades include a World Press Photo Award, Pictures of the Year Awards, and the Oskar Barnack Newcomer Award. In 2024, he was named Swiss Press Photographer of the Year, an honor recognizing his remarkable achievements, including two first prizes for portraiture in Ukraine and news coverage of the earthquake in Morocco, as well as a second prize for a story about the lost youth of Libya.

Dominic’s photographs have been showcased worldwide in solo exhibitions, including Les Rencontres d'Arles, Visa pour l’Image in Perpignan, NRW-Forum Kultur und Wirtschaft in Düsseldorf, and the Ryerson Image Centre in Toronto. His work is featured in the permanent collections of prestigious institutions such as the National Gallery of Art, Fotostiftung Schweiz, Magnum Photos, Ryerson Image Centre, The Ransom Center, The Wedge Collection, Getty Images, and private collections.

Beyond his editorial work, Dominic is dedicated to education and has served as a lecturer at numerous institutions, including the F+F School of Art and Design in Zürich and Hochschule Hannover. He has conducted photography workshops for professionals and emerging photographers in countries such as Canada, Germany, Iraq, Kenya, Mali, Myanmar and Switzerland.

While continuing his work with Neue Zürcher Zeitung, Dominic also takes on select assignments and pursues personal projects, cementing his position as one of the most influential visual storytellers of his generation.

Dominic's connection with Leica began in 2009 when he was honored with the Leica Oskar Barnack Newcomer Award, presented in Arles. In 2011, his journey with the Leica M9 began as he undertook a project in Fukushima, supported by a Leica Grant. This marked the start of his deep appreciation for the Leica Rangefinder—a relationship that initially began with uncertainty but quickly evolved into his favorite way of making photographs.

From 2012 to 2016, Dominic received support from Leica Fotografie International (LFI) magazine as part of a select group of photographers documenting the world with Leica M cameras. Upon moving to Switzerland in 2018, Dominic's collaboration with Leica Switzerland evolved into an Ambassadorship, a role he continues to this day. This partnership has fostered a close relationship with the Leica team in Switzerland, leading to opportunities such as teaching at the Leica Akademie and contributing to content creation for new camera releases.

Dominic is currently working with the M11-P, featuring the Content Authentication Initiative (CAI)—a groundbreaking effort to embed hardware tags in photos for transparent verification of authenticity. These advancements resonate deeply with Dominic’s core values, further strengthening his connection to the Leica rangefinder, a love affair that dates back to the early days of the M9 (still one of his favorites).

Current Camera Setup:

• Leica M11-P with a Leica 35mm f/1.4 Summilux
• Leica SL3 with a 24–90mm lens
• Leica Q3 43

First Love: Leica M9 (M-E Version)There’s nothing quite like working with a CCD sensor, where nailing the exposure was key, without the aid of live view or other modern conveniences. The M-E version had a unique charm, with the beautiful brass revealed as the paint wore down through use.