We recently had the opportunity to speak with Navin Paul, a travel and documentary photographer whose extraordinary journey across India on bicycle has spanned over 23 states and more than 17,000 kilometers. Through his lens, Navin captures the rich diversity of India’s landscapes, cultures, and people, weaving together compelling stories that reveal the country’s vibrant spirit and human connections.

In this interview, Navin shares insights into his inspiration, memorable experiences from the road, his approach to editing, and the essential gear he relies on while traveling light. He also discusses the physical and creative challenges of travel photography and offers valuable perspectives on what it truly takes to capture meaningful images in the field.

Hi Navin, great to have you here! Let’s start with your story—can you tell us a bit about yourself and what drew you into photography? Was there a defining moment when you realized this was the path you wanted to pursue?

I’ve been a professional photographer for the past 8 years, but my journey began back in college. I didn’t own a camera then, so I used to borrow a friend’s DSLR and head out on spontaneous bike rides. I’d come back with a memory card full of photos portraits, landscapes, moments from the road and I realized how much I enjoyed both the travel and the act of capturing the world around me.

What truly encouraged me was the response from people, they appreciated my images and that gave me the push to keep going. Over time, I fell in love with the entire process observing, connecting, framing and telling stories through visuals. That’s when it clicked this is what I want to do with my life.

Your India On Cycle project is a unique fusion of cycling and photography. What was the defining moment or idea that inspired you to embark on this journey, and how has it transformed your approach to storytelling?

The idea for India on Cycle took shape after the COVID lockdowns. That period made me reflect deeply on what I truly wanted to pursue something more personal and meaningful beyond commercial photography. I’ve always loved travelling and telling stories, so I knew I wanted to explore India in an immersive way. At first, I considered hitchhiking or even walking, but then a friend casually suggested, “Why not a cycle?” It made perfect sense. Cycling allows for slow travel, invites interactions with locals and leads you to stories you’d otherwise miss.

This journey has completely transformed my approach to storytelling. Earlier I would often arrive at a place with a set agenda or a shot list. But cycling taught me to let go of control, to allow the road, the people and the unexpected to shape the narrative. I’ve become more patient, more observant and more emotionally connected to the stories I document. It’s no longer just about making images, it’s about understanding lives, building trust and sharing moments that are deeply human and often quietly powerful.

With a journey like this, you must be encountering countless unexpected moments—some breathtaking, some challenging. Can you share a particular experience from the road that truly impacted you, either as a photographer or as a person?

One of the most intense and life altering experiences of my journey happened at Khardung La in Ladakh, one of the highest motorable passes in the world at 17,582 feet. I had successfully made it to the top, but the real challenge began on the way down. The weather shifted suddenly, the temperature dropped to –17°C, the sun was setting fast and I still had 32 kilometers to descend.

Soon darkness took over and to make things worse, my cycle lights failed. I was surrounded by complete silence, biting cold and steep mountain roads. There were moments when I genuinely feared for my life, when I thought, I’ve cycled all the way here… and this is how it ends?

But something kept me going. Maybe it was the prayers of my loved ones, maybe it was pure instinct, but my survival mode kicked in. I focused, stayed calm and somehow kept moving. I eventually made it down safely, but that experience humbled me in ways I can’t fully describe.

It taught me never to take the mountains or life for granted. As a photographer and a person, it deepened my relationship with risk, silence and resilience. That night, I didn’t just survive the cold, I survived myself.

Photography is not just about capturing what’s in front of us but also about how we choose to frame it. When you’re documenting life on the move, how do you decide what deserves to be photographed and what should be left as a personal memory?

For me, photography is as much about feeling as it is about seeing. When I’m documenting life on the move, especially during my cycling journeys, I try to stay fully present. I don’t photograph everything I witness. Instead, I ask myself: Is this moment meant to be captured, or simply felt?

One such moment happened in Ladakh, during the peak of winter. I was staying in a remote village and one evening the family I was living with invited me to sit around their Bukhari (wood stove) after dinner. There was no electricity, just the warm glow of the fire.The mother was spinning wool, the children were curled up beside her. My camera was right there, but I didn’t lift it.

That moment wasn’t about creating a frame, it was about being in it. It felt sacred, like something that should live only in memory, not on a screen.

Moments like these have taught me that storytelling isn’t just about what you share, it’s also about what you choose to keep close. As a photographer, knowing when not to shoot has made my work more human, more honest and more deeply connected to the people I meet.

The editing process is where many photographers feel their vision truly comes to life. How do you approach post-processing to enhance your work while maintaining its authenticity? Are there any specific techniques or principles you always follow?

For me editing is not about altering reality, it’s about bringing out the emotion I felt when I clicked the shutter. My goal in post-processing is to stay true to the moment, while guiding the viewer’s eye to what matters most in the frame.

I approach editing with a sense of restraint. I usually begin by revisiting the memory of the moment, what the light felt like, the mood, the colors and then I use basic tools like contrast, color balance, and shadow/highlight adjustments to subtly enhance that atmosphere.If the raw image doesn’t speak to me on its own, no amount of editing can force it to.

A principle I always follow is, If I find myself questioning whether it still feels honest, I pull back. I believe the strength of a photograph lies in its honesty and I want my images to reflect the truth of the places and people I encounter, not just aesthetically, but emotionally too.

Critique and feedback are essential for growth in any creative field. How do you handle constructive criticism, and do you believe it’s possible to achieve artistic growth without external input?

I see constructive criticism as an essential part of growing as an artist. In the early years, it was tough, I took things personally especially when I had poured my heart into an image. But over time, I’ve learned to separate myself from my work. Feedback especially when it’s honest and well intentioned often reveals blind spots I can’t see on my own.

That said, I’ve also learned to be selective about whose feedback I take seriously. Not all opinions carry the same weight. I value input from those who understand the context of my work or who challenge me to think deeper not just better.

As for growing without external input, I think it’s possible to evolve technically on your own, but artistic growth always needs some form of dialogue. Whether it’s through feedback, conversations with other artists, or simply observing how others interpret your work, those external perspectives stretch your own. Photography is a solitary act, but storytelling is communal.

Your photography is shaped not just by what you see, but also by how you see it. Do you feel your approach to storytelling has changed since you started this journey? Have you noticed yourself viewing things differently now?

Yes my approach to storytelling has changed significantly since I started this journey. In the beginning I was more focused on what I saw, visually striking moments, beautiful landscapes or culturally rich scenes. My goal was to capture something aesthetically powerful. But over time especially through India on Cycle, I’ve started to look beyond the surface.

Now, I find myself more drawn to the quiet unspoken stories, moments that might seem ordinary to others but carry a deep emotional weight when you pause and really observe. I’ve learned to slow down, to listen more and to allow stories to unfold on their own terms. Sometimes it means sitting with someone for hours before even lifting the camera.

This shift has also changed how I see the world. I no longer chase photos, I let them come to me. I’ve become more sensitive to context, to human nuance. The journey has made me realize that storytelling isn’t about creating impact through visuals alone, it’s about honesty, patience and connection.

Let’s talk gear. When you’re traveling by cycle, every gram of weight matters. What equipment do you swear by, and how do you balance the need for quality with the reality of carrying everything with you?

When you’re cycling across the country, every gram counts, but for me image quality and storytelling always come first. I travel with a Nikon D850, which is a fairly heavy DSLR but it’s never let me down. Along with that I carry four lenses: a 14–24mm for landscapes, a 24–70mm which is my go-to travel lens and stays mounted most of the time, a 70–200mm for festivals and distant moments I can’t physically reach and a 50mm for portraits. I also carry a tripod, especially for low-light or long-exposure shots.

To be honest, it’s the camera gear that really weighs me down, not the cycle or the ride. But I’ve made peace with that. I’ve learned to compromise on clothes and comforts, but not on the tools that help me tell the story the way I want to.

The reality is, carrying all this gear while cycling long distances is tough, there are days when my body aches and I wonder if it’s worth the extra kilos. But then I’ll come across a fleeting moment, a perfect light, a powerful face, a quiet scene in the hills and I know I’d regret not having the right lens to do it justice. For me, storytelling through photography is worth the weight.

In the age of social media, everyone’s a photographer in some way. Do you feel that the digital age has made storytelling through photography stronger, or do you think it’s made people more passive in how they engage with images?

It’s a double-edged sword. The digital age and especially social media has made photography more accessible than ever. More people are telling stories through images, which is beautiful in its own way. It’s allowed projects like India on Cycle to reach people far beyond the places I travel to. It’s created visibility for voices and stories that might have stayed unheard.

But at the same time, the way people engage with images has changed. We’ve grown more used to seeing than connecting. Most people scroll, swipe and move on. The habit of reading a story, understanding the context or even just sitting with an image for more than a few seconds is becoming rare. It often feels like we’re consuming content rather than experiencing it.

Personally, I feel an image speaks most powerfully when it’s paired with words, when there’s context, emotion or even just a sliver of the story behind it. A photograph might catch your eye, but it’s the accompanying text that invites you to feel something deeper. That connection is what I strive for. Not just to create visually appealing images, but to craft stories that linger.

With a journey like yours, there’s always a new place on the horizon. But looking ahead, do you already have ideas for what comes next? Are there places you’re still dreaming of capturing, or projects you’re eager to start?

Absolutely with a journey like this, there’s always a new place calling, a new story waiting to be told. Over the last 4 years of India on Cycle, I’ve covered 23 states and yet I still feel like there’s so much more to discover. I’ve already spent significant time in the Northeast, but I’m now drawn toward the eastern belt of India—regions like Odisha and Chhattisgarh places rich in indigenous culture, untouched landscapes and stories that don’t often make it into mainstream narratives.

Looking ahead, I’m also thinking about how to take this project deeper. I’d love to shape it into a long form photo book or a curated exhibition, something that captures not just the visuals but also the emotional, human layers of the journey. I want to explore what it means to belong, to move slowly and to connect across cultures.

Eventually, I do dream of taking India on Cycle beyond borders maybe cycling through other parts of Asia to trace cultural threads that connect us. But for now, my focus is still rooted in India. There’s still so much more to feel, to learn and to photograph.

People often romanticize the idea of travel photography, but the reality is that it’s physically demanding and creatively challenging. What’s one thing you wish more people understood about the work that goes into capturing meaningful images on the road?

One thing I wish more people understood is that travel photography, especially when done slowly and independently like on a cycle, is not just about beautiful views and spontaneous clicks. It’s physically exhausting, mentally demanding and emotionally draining at times. Behind every powerful image is a mix of planning, patience and persistence.

People often romanticize the idea of just showing up and capturing magic. But the truth is, meaningful images come from slowing down, from taking time to understand a place beyond the surface. You need to do your research, know the cultural context and often spend days waiting for the right moment or light. Most importantly, you have to communicate with locals, not just for access but to build trust. That’s where real stories come from.

And you need a lot of patience. Sometimes I cycle for days without capturing a single image I truly connect with. But that waiting, that stillness, it teaches you to observe deeply and respect the pace of life around you.

Travel photography for me isn’t about chasing moments, it’s about earning them. And that takes effort far beyond what most people see in a finished photo.

Lastly, for those who dream of telling stories through photography but don’t know where to begin—what’s the best piece of advice you can give?

For anyone dreaming of telling stories through photography but unsure where to start—just start. Don’t wait for the perfect gear, the perfect project or someone to tell you how to do it. I say this because I’ve been there myself. I come from an engineering background, with no formal training in photography and no one to guide or nurture me into this path. I used to wonder where to even begin.

But what changed everything was the decision to take that leap into doing what I love, which, for me was travelling. That leap eventually became India on Cycle and now, I find myself at a point where I’m ready to go anywhere, push any limit and do whatever’s physically possible to get the shot. This journey has taught me one powerful lesson: it’s always mind over body. Your passion, your intent and your grit matter more than any external circumstance.

My advice, start small, but stay consistent. Shoot what moves you, not what trends. Learn to observe more than you shoot. And be okay with growing slowly, because real storytelling isn’t a sprint, it’s a lifetime of looking deeper.

Facebook: https://www.facebook.com/navin.paul1/

Instagram: https://www.instagram.com/navinpaulphotography/

Image Credits
Navin Paul

Have a question for Navin or want to share your thoughts? Drop a comment below!

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