Photographing the Tour de France generally consists of producing a dynamic view of the cyclists, the motorcyclists who escort them and the public busy with the caravans installed at the stages. It is also looking for scoops: to portray the emaciated face and dripping of the climbers, to detect in the bunch the one who has the sign, to foresee the imminence of a blow of jackal, to spoon his shot of the yellow, White, red, blue, cyclamen or green shirts, track down the rider who has the pedal and who is going to shoot his fellow travelers or worse, detect those who engage in retro strollers.
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