Pavel Volkov

Russian photojournalist and Canon Ambassador Pavel Volkov has made a career confronting his country's social issues and subcultures head on, capturing the country at its best and its worst.

Not one to shy from difficult situations, Pavel has documented football hooliganism, fight clubs, and controversial modern religious groups such as the Orthodox Youth movement and its polar opposite, the Russian Pagans. He has captured what daily life is like for disabled people and for the military, in particular young cadets and new recruits.

Pavel has also focused his attention on tensions between Crimea and South-East Ukraine. "I believe that photography can change the world," he says. "It's that belief that drives me. I'm honest in life and work. I believe in humanism and I hope my pictures convey that."

After studying photojournalism at the Galperin Faculty of Photojournalism in Saint Petersburg, Pavel started working as a freelance photographer for a variety of publications. Then in 2014, aged 27, he moved to Moscow to take on the post of staff photographer at the Evening Moscow newspaper. Since 2015, Pavel has shot for a variety of photo agencies and his images have been used by a wide range of international organisations including The Washington Post, Der Spiegel, Stern, Harper's Magazine, Rolling Stone, the BBC, Greenpeace, VICE and The Institute. "I think the turning point for me was when one of my photo stories was published in The New York Times, both online and in print. It was a remarkable opportunity for me and the first time that I felt I was really getting somewhere in this industry," says Pavel.

As well as seeing his work exhibited in Russia, it has also appeared internationally, including at Visa pour l'Image International Festival of Photojournalism in Perpignan, France. "That was another key moment for me," he says. "My story about football hooligans was included in the programme at the festival and shown on the big screen in front of a large audience of photographers and editors from around the world. I was unbelievably happy, but the most important thing was that I began to believe in my own talent. I realised that I had chosen the right path and I shouldn't give up."

Recognition of his talent has come in the form of a variety of awards, such as Russia's Andrei Stenin International Press Photo Contest and selection for the New York Times Portfolio Review. "Photojournalism has always interested me the most out of the photography genres," says Pavel, reflecting on his career so far. "I try to work with different communities and subcultures, but I also like working on projects that look at the life of just one person. I spend a lot of time researching issues, and then I get the chance to live part of someone's story with them, to capture it. It might just be a small part of their life but it's filled with emotion and drama. It's such an important responsibility. I may not work on issues that earn me a lot of money, but I know that documenting real life is more important."

Has your technique evolved?

"Definitely. When I started out I was afraid and embarrassed to take pictures of people, I found it so hard going up to a stranger with a camera. Over the years, I've worked on my communication skills, be it a group situation or with the main subject one-on-one. Group work is easier for me, but I still struggle when the story is just about one 'hero'. Recently I've pushed myself to work with such stories; sometimes I still have some failures, but we are all human."

What's your process? How do you decide what part of a scene to capture?

"I don't like random pictures. It sometimes happens that luck gives you a good photo, but you must understand that this is only luck and not your work. I try to plan everything as much as possible. When I look back through my images, I initially look for storylines that seem important, with images that highlight the points that will bring the story together."

What might professional photographers sometimes overlook?

"We can overlook the things that we are not ready for. We should analyse the situation as fully as possible, understand all the ways it can develop, and keep in mind the story that we are searching for. If we do not search for anything, we will not find anything. Sometimes our luck helps us but it is not always enough. Experience and planning are always important."

What's been the most valuable lesson you've learnt during your career so far?

"The realisation that in a world full of diversity, it's important to have your own opinion. And to make a story and pictures in the way you want, and not in the way the industry demands or that someone else likes. You do not need to be influenced; it's too easy to lose your personality."

One thing I know
Pavel Volkov

"The most important thing is always to understand that you are a photographer and you stand here to make a picture. Sometimes the drama is so devastating that it may swallow you like a huge wave in the ocean. When that happens, you do not understand who you are: a photographer or a participant. Do not forget, you are a photographer and your job is to document; you are a witness and your picture will witness too."

Instagram: @pavelvolkovphoto

Website: volkovpavel.com