Ladies and Gentlemen, photographer – Paolo Roversi. Here is a brief bio I snagged from his website. I found a great interview on a great website called The Talks. I found it really interesting to hear his commentary on technology changing photography and how photography has access to such a large audience immediately. He is asked how he is planning to adapt, and he replies saying basically, that he isn’t. For some reason, I liked that. He is working from the soul. He will adapt, and if he cant, well, he doesn’t seem very worried. He is happy with the present. I posted a quote from the interview below about how he enjoys the accidents that happen with a photo shoot. To me, that was surprising. With a name as prolific as Paolo Roversi, you would think that every detail of his shoots would be meticulously planned and calculated. I find it refreshing to learn otherwise. He is no doubt known for his nudes which are very tasteful and escape the stigma of eroticism or pornography. His work is unmistakeable and shows his love for film which is undoubtably being jeopardized by the digital age. Little known fact: when Paolo Roversi photographs Natalia Vodianova, it makes random vital organs spontaneously combust inside my body. I will probably be dead by the end of this post…
Below are a few examples of Paolo’s work. Hope you enjoy.
Born in Ravenna in 1947, Paolo Roversi’s interest in photography was kindled as a teenager during a family vacation in Spain in 1964. Back home, he set up a darkroom in a convenient cellar with another keen amateur, the local postman Battista Minguzzi, and began developing and printing his own black & white work. The encounter with a local professional photographer Nevio Natali was very important: in Nevio’s studio Paolo spent many many hours realising an important apprenticeship as well as a strong durable friendship.
In 1970 he started collaborating with the Associated Press: on his first assignment, AP sent Paolo to cover Ezra Pound’s funeral in Venice. During the same year Paolo opened, with his friend Giancarlo Gramantieri his first portrait studio, located in Ravenna, via Cavour, 58, photographing local celebrities and their families. In 1971 he met by chance in Ravenna, Peter Knapp, the legendary Art Director of Elle magazine. At Knapp’s invitation, Paolo visited Paris in November 1973 and has never left.
In Paris Paolo started working as a reporter for the Huppert Agency but little by little, through his friends, he began to approach fashion photography. The photographers who really interested him then were reporters. At that moment he didn’t know much about fashion or fashion photography. Only later he discovered the work of Avedon, Penn, Newton, Bourdin and many others.
The British photographer Lawrence Sackmann took Paolo on as his assistant in 1974. « Sackmann was very difficult. Most assistants only lasted a week before running away. But he taught me everything I needed to know in order to become a professional photographer. Sackmann taught me creativity. He was always trying new things even if he did always use the same camera and flash set-up. He was almost military-like in his approach to preparation for a shoot. But he always used to say ‘your tripod and your camera must be well-fixed but your eyes and mind should be free’”. Paolo endured Sackmann for nine months before starting on his own with small jobs here and there for magazines like Elle and Depeche Mode until Marie Claire published his first major fashion story. A Christian Dior beauty campaign brought him wider recognition in 1980, the year he started using the 8 x 10” Polaroid format that would become his trademark. Not only because of the large camera, Paolo has always preferred working in studio. In his first years in Paris, the studio was very often a room from his own different apartments, all on the left bank, until he found in 1981 the studio located in 9 rue Paul Fort where he is still working.
In the middle of the ‘80s the fashion industry was very keen to produce catalogues which allowed photographers to express a very creative and personal work: Comme des Garcons, Yohji Yamamoto, Romeo Gigli… gave Paolo that opportunity.
During his travels to India, Yemen… Paolo took many portraits; we can see some of them in his books ANGELI and Al Moukalla; a book about India is in preparation. Paolo has also realised some commercials. Since the middle 80’ his work has been subject to many exhibitions and books and many awards have honored his work. Today Paolo has a regular collaboration with the most interesting fashion magazines and fashion designers.
“When you plan a photo shoot, do you structure everything or do you leave a lot open for improvisation when everyone gets together?
Oui, oui. When I’m having a shoot, in the morning the model is arriving from the hotel, the hairdresser is coming from London, a lot of different moods – one is happy, one is crying, one is angry, one is – I don’t know what – sleeping. And even if you have a precise idea of what you want to do, you can’t. Everyone is coming in with all this different energy and you have to deal with them. So you never know what you’ll do in the end. And this I like. I like the accidents, the things that happen by chance. I let the life come to the picture and the creativity flow.”
