Last time I visited Paris Photo was ten years ago. The yearly art photo fair was then held in the basement of The Louvre. The past weekend I had the chance to once again venture to the old capital of photography and the new Wall Street of the art photo world. The fair itself is now housed in the amazing Grand Palais, the “Monument dedicated by the République to the splendour of French art” as the inscription on the pediment of the building reads. Over the past decade, the prices of the work sold by the galleries at the fair have skyrocketed. And with them the interest in photography as art it would seem. (Or was it the other way around?)

For photographers like us, coming from the struggling editorial world, the universe of galleries and art collectors represents a new, mysterious, arena. But how to enter it? What are the rules? Can we keep working in the same way if we want to be part of it? Do we want to be part of it? Are we welcome? It is interesting to look at the work that is being sold at Paris Photo. Not surprisingly, prints by legendary photojournalists such as Henri Cartier-Bresson, Robert Capa, William Eggleston, Robert Frank and other pioneers are traded for astronomical sums. But what about those who came later? Those who work today? Photographers like Paolo Pellegrin and Alex Majoli, trendsetting contemporary photojournalists, are among those who skillfully maneuver the borderline of photojournalism and the art world – moving between the frontlines and the champagne-drenched gallery spaces of Paris and New York. And maybe this is the example we have to follow if we want to keep producing good work in the future.  When magazines can no longer pay for it – maybe art collectors will.