10 Questions – Aldo Pavan
With his experimental style and background in philosophy, Aldo Pavan is the ‘thinking man’s’ outdoor photographer. Nick Smith hears his story…
Aldo Pavan is a journalist and freelance photographer specializing in travel reportage. He’s been on hundreds of assignments in five continents, publishing books and working with magazines. He has taught photo-reportage in Milan and is dedicated to photographic experimentation, crossing over into the role of artist.
Born in 1954 in Treviso, Aldo has been a painter since he was young, becoming interested in aesthetics and experimenting in the dark room. After graduating in philosophy, he began writing for the local newspaper Tribuna di Treviso. Since then he’s worked on countless magazine and book projects.
In 2003 he began working on a series of hugely popular photographic books about the rivers of the world. The Ganges, The Nile and The Yellow River are published by Thames and Hudson, with The Mekong and The Danube, lined up for the near future. Another project he is preparing is entitled The Routes of Man, a series of books dedicated to the great trade routes of the world.
Nick Smith: When did you realise you were going to become a photographer?
Aldo Pavan: I have always been interested in visual media. I used to paint and draw a lot. My parents had many cameras and I started taking pictures for fun. After my university degree, I began writing for a local newspaper and using my photographs to illustrate my words.
NS: What was your first camera?
AP: With the money I got from my first job I bought a Canon FT 35mm film SLR. I remember that the first reportage I did was about a gypsy camp, but it has never been published because it was too strong. After that I photographed and interviewed a doctor who carried out abortion, which was illegal at that time in Italy. It was a small scoop.
NS: What formal training do you have?
AP: I have a degree in philosophy and I am self-taught in photography. I never took a specific course about it. I studied aesthetics, attending semiotics courses by Umberto Eco at the University of Bologna. I think that to be a good photographer you need to study a lot, as well as working on the field. Studying Roland Barthes is not wasted time.
NS: How important is it to specialise?
AP: I should say that it is very important, but I never did. I had to adapt to what my clients were asking for and sometimes keep my passions quiet to make them happy.
NS: What is the best assignment you have been and so far?
AP: I am doing a series of books about the big rivers of the world. It’s a huge work, first at home and then on the field. To photograph each river I needed from 5 to 8 trips, at least two weeks long. And after shooting I spend two months writing and laying out the book.
NS: What’s the worst thing about being a professional photographer?
AP: I’d like to answer ‘nothing’. It’s a big game for adults… it’s fun. How can we compare this to some really hard jobs, such as miners, surgeons, judges. I spend too much time away from my family.
NS: Film or digital? Why?
AP: Digital, of course. We don’t use horse carriages to go from Venice to London any more because there are faster, better, more modern means available. There is no competition between film and digital. Digital has endless benefits that give more space to creativity.
NS: What’s the most important thing you’ve learned from another photographer?
AP: I spent hours studying the forms of Chagall, the colours of Matisse and the portraits of Francis Bacon. I love the shadows of Caravaggio, Titian’s reds and the backdrops of Giorgione. Photography has taken the place of the paintings that illustrated the history of man.
NS: What does photography mean to you?
AP: Photography is a language that works along with traditional media like text and words to form the human being and the society we live in. Working with it is a great privilege.
NS: What makes great travel photograph?
AP: Walking and walking. Good photographs do not come out alone, you have to look for them, chase them. You can get there with patience and research, plus a lot of obstinacy.
Aldo’s Golden Rules
1) Avoid cliché and break aesthetic rules
2) Always look for new ideas while you are shooting
3) Don’t be satisfied – you can always do better
4) Establish good relationships with your subjects
5) Don’t ask your subject to pose – look for a spontaneity
Cameras: Nikon D300 and Nikon D700
Lenses: 12-24mm, 24-120mm, 35-70mm, 35mm f2.8, zoom 70-200mm, 300mm
Flash: Nikon SB800
Notebook and pen
Check out Aldo Pavan’s work at www.aldopavan.it