Very beautiful and very truthful editorial by Jean-Francois Leroy in his presentation of Visa pour l’Image. Perpignan which has just opened. Here it is as well as the festival program. JJN
The dramatic increase in the number of photographers, or at least of persons claiming to be so, has coincided with a reverse phenomenon which is the disappearance of picture editors. When we heard that Kathy Ryan was retiring after 39 years at The New York Times Magazine, we felt great sorrow and a wave of nostalgia. Someone will no doubt take her place, but many other media are simply doing away with these positions or appointing novices. At Visa pour l’Image we have an opportunity to pay tribute to these figures so often overlooked, but who play a crucial role in maintaining the editorial standards of a newspaper, and also the standards of the entire industry.
How many exhibitions and feature stories screened in the evening shows in Perpignan can be traced back to a phone call from one of these picture editors, to their enthusiasm for a reportage they produced or noticed? How many thousands of euros have they managed to salvage for budget allocations for photo departments in the face of drastic cost-cutting measures? How many stories that are now legendary were made possible through the daring, flair and creative spirit of professional picture editors who realize that a good headline gets an even better reaction when there is a good photo to go with it? Yet readers and the general public usually have no idea of who the picture editors are, and sometimes they are quite unaware of the photographers too. It is an unfortunate state of affairs.
The tragic and powerful photograph taken by Mohammad Salem has just received the World Press Photo award, and behind it is a talented team under the leadership of Rickey Rogers (Reuters) who had the skill to pick out the one photo from a steady influx of images, finding the one that makes us stop and think.
The talent of a worthy picture editor is particularly relevant in these times when it is increasingly difficult to gain access to war zones. With more and more pictures being produced, and more homogenous output, with platforms sending out endless streams of images, how can a story be told in a different way? How can people be drawn to focus on a story when there are so many players bidding for their attention?
At Visa pour l’Image, with our juries and different approaches, we shall continue to defend and advocate for these men and women working in the background, for the picture editors whose visual skills help shape our relationship with the world.
Jean-François Leroy
Visa Pour L’Image – Perpignan 2024
August 31 – September 15, 2024
https://www.visapourlimage.com/en
Professional Week
September 2 – September 9, 2024
Exhibitions
August 31 – September 9, 2024
https://2e-bureau.hosting.augure.com/Augure_2eBureau/default.ashx?WCI=EmailViewer&id={f061058d-489e-42a3-992c-5e4002081919}
Evening Screenings
https://www.2e-bureau.com/wp-content/uploads/2024/08/dp_VISA_2024_Projections.pdf
Meetings & Events
https://www.2e-bureau.com/wp-content/uploads/2024/08/dp_VISA_2024_Agenda.pdf
Transmission pour l’Image
www.2e-bureau.com/wp-content/uploads/2024/08/004_dp_VISA_2024_Transmission.pdf
Visa d’or Awards – Grants & Awards
https://www.2e-bureau.com/wp-content/uploads/2024/08/006_dp_VISA_2024_Visador_Prix.pdf
School Groups Programs
https://www.2e-bureau.com/wp-content/uploads/2024/08/007_dp_VISA_2024_Scolaires.pdf
