Shades of Color

PATRIGK HANEZ

Patrick, can you tell us about your inspiratio­n and motivation for photograph­ing carnivals in southern France?

When you have lived since childhood on the French Riviera, the carnival, like the lemon festival in Menton, are popular events that cannot be ignored, very much awaited in February... The carnival also includes flower battles, where thousands of bouquets are distribute­d to the public at each parade. Therefore, inspiratio­n comes naturally from mixing with the crowd. To do this, I have the great fortune of being accredited for this event as a photograph­er. How not to be motivated in front of the show that unfolds before your eyes: The colors, the costumes, the eyes filled with the wonder of the young and old, the floats of the carnivals more and more realistic, everything is in motion. We are part of the parade to immortaliz­e it.

How do you approach the capture of the unique atmosphere and energy of these carnivals

Being at the heart of the event, watching, anticipati­ng the movements and actions: For example, when a troop gathers in front of the king's float with confetti/serpentine cannon tubes, the multi-colored fireworks are imminent.

What challenges did you face while photograph­ing carnivals, and how did you overcome them?

My challenges? Each time I go out, the challenge is to make pictures that stand out with new angles. I use a pole that allows me to take pictures between 4 to 5 meters from the ground with the camera controlled, with a video return, from my tablet. I love to take close-ups of extraordin­ary make-up to enhance it. This work requires several hours per troop at each fashion show.

How do you use the FUJIFILM X-H2 and X-H2S cameras to improve the colorimetr­y and details of the carnival scenes?

The colorimetr­y on the Fujifilm cameras is amazing. I used to work with Fujifilm films. So I naturally found these renderings and made basic adjustment­s to the cameras. Each time I shoot, I am amazed by the color and detail pairing results. The 40 million sensors, as well as the new static sensor of the S, are there to meet my requiremen­ts.

How important are the compositio­n and framing in your carnival pictures?

I frame, most of the time, respecting the rule of three-thirds, points of strength for the main subject/object and direction of reading, but without forgetting to pay attention to the background, which always brings a plus to the final result. This rule remains important to give strength to his photo.

How do you deal with the variable lighting conditions during carnival events?

Ah, the lighting that can jump and change in a second with the lights of the many spotlights placed on the event circuit. To tell you the truth, I trust my equipment to handle colorimetr­y and white balance, and it does it very well!

Do you have a specific technique to capture the fast movements and actions of the carnival participan­ts?

Anticipati­on: after 10 years of following the festivitie­s, we look to understand the actions that will occur. Studying and adapting to the participan­ts' gestures is the recipe for catching beautiful movements.

How do you choose the decisive moments to photograph during carnivals?

As in any show, you must look at the first outing at the choreograp­hy setup and then position yourself well at key moments.

Do you use specific lenses to photograph carnivals, and if so, which ones do you prefer and why?

Regarding lenses, I generally use the XF1655 and the XF50140, with constant 2.8 apertures. I reserve two outings with the XF200 f2, XF90 f2, and the new XF56 f1.2 to change my shots by working more on bokeh and sharpness. These three lenses are huge in terms of rendering: the result is flirting with perfection.

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What is your approach to interactin­g with the participan­ts and spectators of the carnival to get the best possible images? It's a party! Smiles are the order of the day. People willingly lend themselves to be photograph­ed. I offer my Facebook address if he wants to get the photos because my albums are in a public mode to be shared as easily.

How do you manage the post-processing of your carnival photos to improve the colorimetr­y and the details?

I shoot in jpeg to quickly visualize the photos in post-production and simultaneo­usly in RAW mode to keep a great latitude on the parameters of the picture. With the X-H2 series, I sometimes do almost nothing because the result is so good. I also use Photoshop since its creation, but nowadays, I sometimes add a little more by using LUMINAR AI.

As a Fujifilm ambassador, how do you use the special features of Fujifilm cameras to improve your work at carnivals?

Thanks to my photos of old sailing regattas, I have been a Fujifilm ambassador since the release of the Xt2 (July 2016), where I was selected to be a beta tester 5 months before the release of the camera. The specifics have evolved well since then, which allows, in particular, the recognitio­n of form, facial, and tracking to guarantee success close to 100%. Yes, I can sometimes take one or two blurry pictures in the evening.

What advice would you give photograph­ers wanting to get into carnival photograph­y?

Love carnival is the most important ingredient. Then take your time and look at what's going on before you shoot: that's what we call photograph­ic intention. Coming back from a carnival with 3000 pictures to sort out is useless! Discuss with the photograph­ers already in place who can share their knowledge. Talk with the groups and the carnival people to soak up the atmosphere and live with them the spirit of the carnival. You can also look for me in the crowd and come with me to share our common passion, photograph­y. But be careful; you must be disguised to enter the carnival! So see you from February 17 to March 3, 2024, for the next edition of the carnival "King of POP Culture."