While trying to write about how I took this image, I realized that the two photographic genres that come most naturally to me are, in fact, closely related: street photography and road cycling photography.

The way I approach both is almost identical — and probably quite surprising to many.

One idea that has fascinated me since the very first moments I held a camera is that, a still image can convey a scene full of energy and movement.

In general, everything that happens on the street is connected to motion — and in the case of cycling races, that connection becomes even more evident.

If I want to capture a scene representative of a certain place, I often follow this approach: I visit the location many times, at different hours of the day or even at night. Sometimes I bring my camera; other times, I don’t. My goal is simply to observe — who is there, when, and how things unfold at different moments.

After many such explorations, I start to sense what I would call the spirit of the place. Although people and situations change, certain patterns tend to appear, regardless of the changing actors. From this multitude of observations, I begin to construct a mental scenario — an image that embodies the essence of that location.

Once I have that scenario clearly in mind, I set out with my camera, determined to capture it. What happens on the street at that moment is unique, spontaneous, and almost certainly unrepeatable. In those moments, I try to bring together all the entropic elements into a composition that reflects the image I had imagined. Most of the time, this form of “direction” — combining spontaneous human activity with the recurring patterns of a place — results in images that are truly distinctive and specific.

When I photograph cyclists in a race, I apply a very similar strategy. The image above is a good example. The moment the cyclists pass in front of my camera is extremely brief.

So before they arrive, I imagine various possible scenarios. Yet, when they finally appear, many of the conditions are often completely different from what I had envisioned — the light, the spectators, the way the cyclists emerge, my own position — all are dynamic elements that must be instantly matched to express the intended idea.

For example, before Chris Froome appeared in the yellow jersey, I wanted to capture him with the iconic Mont-Saint-Michel Abbey in the background. I hoped that the spectators wouldn’t block the view. At the decisive moment, not only did they stay clear, but their positioning actually created the perfect atmosphere for that shot. And the presence of the following motorcycle added a strong atmospheric detail.

When creating these images of fleeting moments, I often feel as though I’m constructing a static image from a puzzle of completely dynamic, unpredictable elements.

The result is, without a doubt, unique and unrepeatable… naturally.