2017 Rouleur Photographer of the year competition

As 2017 drew to a close, we asked our regular photographers to pick their six favourite cycling images from this year. We then asked you, our readers to vote for your favourite of the photographers.

After several days of furious competition, the ballot was closed and the votes were counted. It was always going to be close-run thing, but in the end the people’s favourite was…. drum roll please… Pauline Ballet.

Check out each photographer’s gallery below. 


Pauline Ballet

“I love shooting in this dramatic landscape. There’s raw landscape, the weather and light are always changing, there’s a lot of harmony in Norwegian constructions.”


David Powell

“Everything is happening all around you all at once… the most intense, action packed and frankly crazy shoot I’ve ever experienced… UCI rules prohibit any leaning out of the window by photographers, so with my entire movement being restricted to the space of the passenger seat of a Skoda Octavia I had the challenge of showing this incredible race under some pretty testing conditions.”


Paolo Ciaberta

Paolo is the kind of photographer who’ll go the extra mile for a shot. Sometimes literally. His cycling portfolio is characterised by lots of views of the peloton from afar: the bunch often strung out and sometimes appearing little more than a stripe or a smudge on a mountainous landscape. 


Benedict Campbell

When Tom Pidcock asked Benedict Campbell if he’d like to see his Oakley collection, the photographer’s reply was “how many can you wear?”

Several clicks of the shutter later and what was already a stunning shoot had another dimension to it. Maybe there’s something a little Daft Punk about the image. Whatever, it’s not your normal cycling magazine fare. 


Eugene Kim

“I had missed that epic shot of Barguil crossing the finish line with his hands in the air. I hadn’t wanted to sit or stand with the other photographers in the designated finish area getting replicas of each other’s shots so I was 200-400m down the road. It didn’t work and I was left empty-handed.

Luckily, after the stage, the Izoard was completely gridlocked and Barguil was trapped in a solo photo shoot with my Polaroid 600SE camera. On the morning of the next stage, right after the team buses arrived, I again ran into Barguil, stepping out of the bus in a quiet moment before the crowds had arrived. ‘Autograph?’ I asked.”


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