Summarize for us your experience at the controls of the four aerial robots of “L’Équipe” set up during the Games?It blew me away! It’s so new! These images taken from a unique point of view, 30 m high, create a wow effect. Until recently, they simply did not exist. At the Olympics, I was not expected on quantity but on rarity. In two weeks, I sent 1,900 photos, which is not a lot, for 22 publications, some of which on one or two pages caused a stir (Teddy Riner and the French judo team, Léon Marchand, Guerschon Yabusele’s dunk). This is a new asset up the sleeve of the photographer and his employer.
Tell us about how it works.
Locked in a windowless room with air conditioning that was too cold, I felt so free in front of my screens! I was like the eye of Moscow, going from the swimming pool to the Stade de France, then going to judo or to Bercy. All day long, by remotely controlling devices that can rotate 360° on all axes and zoom, I tried things – framing, speed, movement… – in search of emotion, of the so-called image iconic. I felt 100% a photographer. But, instead of having my eye in the viewfinder of my camera, I used a screen and a controller. And I was focused in the same way, with photographer’s biases: angle, shutter speed, composition, light…
How did you go about getting the right photo?
From above, everything is flat, I only see skulls. I have to search, move, zoom so that the photo becomes visually interesting. The current action must help me. For example, on an ippon in judo, one leg in the air, the two fighters no longer touching the ground, a look upwards, a choreography of the moment… I work at 20 images/second, i.e. a quick trigger, in order to obtain a breakdown of the image and capture this moment when everything aligns, where luck intervenes.
Do photos taken by an aerial robot make those taken from the edge of the field obsolete?
Not at all… People will always want images taken on the ground: Mbappé’s face or Biles on the beam. This will remain 99% of the images. But from time to time, the aerial robot will take an exceptional photo because the athlete lies on his back, because the movement of the action lends itself to it, because a shadow produces a singular effect. We are not going to install aerial robots everywhere, it has to be relevant on a journalistic level: chances of a French medal, big finals… Given the potential of Léon Marchand, a robot was needed in the swimming pool, of course. But why not imagine aerial robots all year round in large stadiums and large halls? People who like images will ask for these types of photos. The media will have to invest in this, as will operators of sports venues and competition organizers.
How is the practice of your profession influenced?
The aerial robot can be piloted from anywhere. From the newspaper’s headquarters, from home working remotely from a tablet and a controller. For example, for a Real-Barça clash, the photographer could be on his sofa, warm, to pilot the robot, and he will be on the front page of The Team the next day with an incredible image, never before seen, taken from above, of Vinicius’ goal. This operation will become normal, especially as technology will quickly simplify the control of robots.
What are the areas for improvement?
Nikon, Canon, Sony and other brands are on the move to optimize their remote control software. Soon, they will offer wireless robots, which will turn on themselves without being blocked by connectivity. The gain in mobility will be enormous. There is also the responsiveness of the controller. At the Games, I worked with a range of 100mm-400mm lenses. Very soon, we will also have a wide-angle (24 mm) and a super telephoto lens that will catch the drop of sweat on the judoka’s forehead. As for miniaturization, it will be limited. Currently, counting the box and the robot, we are approaching 10 kg. Maybe we’ll win one or two.
What about artificial intelligence and virtual reality?
To photograph humans, you need humans. AI is not yet ready to take our place. As for virtual reality, it is one of the areas of development over the next four or five years. The photographer will put on a virtual reality headset and pilot his aerial robot by moving his head. Before his eyes, he will have the room, in wide and tight shot. It will follow the athlete’s eyes, the focus will be automatic and it will trigger with a button. It will remain sports photography, from the moment the sports photographer, with his expertise and sensitivity, takes care of the settings: speed, light, focal length, framing…
