My inconditional love to photography makes me love Roversi's work as much as I love photography itself. Not likely to be born for being a photographer, he discovered his vocation on a trip to Spain in 1964.
"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".
*source"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".
Mi amor incondicional por la fotograf�a me hace amar el trabajo de Roversi tanto como amo a la misma fotograf�a. Probablemente no fue nacido para ser un fot�grafo, descubri� su vocaci�n durante un viaje familiar a Espa�a en 1964.
"Nacido en Ravenna en 1947, el inter�s de Paolo Roversi por la fotograf�a despert� cuando �l era un adolescente, durante unas vacaciones familiares en Espa�a en 1964. De vuelta a casa, instal� una habitaci�n oscura en un pr�ctico s�tano con otro aplicado amateur, Battista Minguzzi, que era el cartero local, y comenzaron a revelar e imprimir sus propios trabajos en blanco y negro. El encuentro con el fot�grafo profesional Nevio Natali fue muy importante: en el estudio de Nevio Paolo pas� much�simas horas realizando un importante aprendizaje adem�s de una fuerte y perdurable amistad. En 1970 comenz� a colaborar con Associated Press: en su primer encargo, AP lo envi� a cubrir el funeral de Ezra Pound en Venecia. Durante el mismo a�o Paolo abri�, con su novio Giancarlo Gramantieri, su primer estudio de retratos, situado en Ravenna, via Cavour, 58, fotografiando a celebridades locales y sus familias. En 1971 conoci�, por casualidad y en Ravenna a Peter Knapp, el legendario director art�stico de la revista Elle. Invitado por Knapp, Paolo visit� Par�s en noviembre de 1973 y nunca m�s se fue de all�.
En Par�s Paolo comenz� a trabajar como reportero para la Agencia Huppert pero poco a poco, a trav�s de sus amigos, comenz� a acercarse a la fotograf�a de moda. Los fot�grafos que realmente le interesaban eran reporteros. En aquel momento �l no sab�a mucho sobre moda ni sobre fotograf�a de moda. Solo despu�s descubri� el trabajo de Avedon, Penn, Newton, Bourdin y muchos otros.
El fot�grafo brit�nico Lawrence Sackmann contrat� a Paolo como su asistente en 1974. "Sackmann fue muy dif�cil. Muchos asistentes solo duraban una semana y despu�s se iban. Pero �l me ense�� todo lo que necesitaba saber para convertirme en un fot�grafo profesional. Sackmann me ense�� creatividad. Siempre estaba intentando cosas nuevas a pesar de que siempre utilizaba la misma c�mara y el mismo flash. Era casi de estilo militar en su aproximaci�n para la preparaci�n de una sesi�n de fotograf�as. Pero siempre sol�a decir "tu tr�pode y tu c�mara deben estar bien fijos, pero tus ojos y tu mente deben ser libres". Paolo soport� a Sackmann durante nueve meses hasta empezar por su cuenta con peque�os trabajos aqu� y all� para revistas como Elle y Depeche Mode hasta que Marie Claire public� su primer gran editorial de moda.
*traducci�n libre
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