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The festival

Editorial by Jean-François Leroy


2026 began with a fake photograph: Venezuelan President Nicolás Maduro appears in it surrounded by two marines, handcuffed. Reputable media outlets and journalists who have been raised on social media—which they have come to regard as a source of information—were taken in.

But paradoxically, the AI revolution and its consequences may be journalism’s best chance for survival. Since these models, to be effective, must be fed reliable, up-to-date, and verified data, who is better suited to do this than news professionals?

The proof is in the speed with which, over the past three years, these giants have sought to forge partnerships with the big names in the international press. History will tell whether these agreements—negotiated and signed in haste by media outlets struggling with solvency issues and economic difficulties—served their interests. Or whether they struck a deal with the devil, who is eager for their data.

The real photos of Maduro in New York, handcuffed, do exist. They were taken by professional journalists and published by media outlets that adhere to standards and rules that may be outdated, but are so important. And valuable. This is evidenced by the success of the digital offerings from The New York Times, Le Monde, the Financial Times, and so many others.

These “old media” share with us, the “old festival,” this orthodoxy that we continue to defend and celebrate. With their influence, their legitimacy, and their power, they are the last bastions against the gravediggers of reality, who dream of only one thing: to tear them down or take them over to further their own agendas—and, above all, their business interests. The media mergers and acquisitions that have taken place this year, as well as the witch hunts disguised as taxpayer-funded investigative committees designed to advance a freedom-destroying ideology, are evidence of this phenomenon.

Whether they are political or technological, those in power are therefore either afraid of us or, on the contrary, need us. That is why we will continue here, in Perpignan, the fight we began nearly forty years ago. And we hope to be joined and supported by all those who still share our vision. To stand tall, or be set straight, but always remain standing. And faithful to the values of freedom and journalism.

Jean-François Leroy

April 20, 2026

Credit: Stephan Vanfleteren

Over 30 editions covering the events that have shaped the world.

"Photographers let me see what is happening in the world."

- Jean-François Leroy, Director General of Visa pour l'Image

Visa pour l'Image key figures


25+ exhibitions

every year throughout the city of Perpignan

17 awards and grants

awarded to photojournalists

6 evening screenings

on a giant screen at the Campo Santo, attracting over 2,000 spectators each evening

40+ countries

represented through the exhibitions and reports

100+ photojournalism reports

covering topics from all over the world

220,000+ visits

during the festival

1989

year the festival was founded

1,000+ accredited professionals

(photographers, editors, journalists, agencies...) every year

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Visa pour l'Image: Current events around the world

Every year since 1989, the international festival of photojournalism, Visa pour l'Image Perpignan, has reviewed the events of the previous year, covering social issues, conflicts and the state of the world viewed via a variety of subjects and from different points of view.

The program includes: exhibitions, evening screenings, round tables, workshops, portfolio reviews, school weeks, the chance to meet photographers, awards and grants.

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