The Chechen War and Nord-Ost: Sergei Shakhidzhanyan's View

Contents:

• «How to act correctly in a conflict zone: the experience of sealing camera brands»
• «Photography as a tool of sophisticated propaganda»

  «Illusory reality: how photographs can manipulate»

  «Images and deception: the role of photography in propaganda»

  «Photography: an exquisite method of manipulating public opinion»

  «How photographs become a tool of sophisticated lies in propaganda»

• The art of creating photographs that will be remembered for centuries
• «Beginners in photography believe that expensive equipment guarantees mastery»

  «Illusion: the high price of equipment - The key to successful photography"

  "The myth that a great camera automatically makes you an artist"

  "First steps in photography: why technique does not replace talent"

  "Misconception: buying a professional camera does not make you a photographer"

Brief Information

Sergey Shakhidzhanyan is a special correspondent for Vechernyaya Moskva and teaches at the Faculty of Journalism at Moscow State University. Previously, he worked as a war correspondent and has experience working for such editorial offices as Kommersant, Komsomolskaya Pravda, TASS, and Argumenty i Fakty. His journalistic career has included coverage of the Chechen wars, the civil conflict in Tajikistan, protests in Turkey and Libya, and the revolution in Egypt.

During the conversation, Sergei shared the following thoughts:

• When traveling to a conflict zone, a correspondent must consider many factors and adhere to certain recommendations. First, it is necessary to remain calm and cool in any situation. This will not only help avoid panic but also perform your tasks more effectively.

  It is important to carefully plan your actions and routes before leaving, and to be prepared for unexpected turns of events. Equipping yourself with the necessary protective equipment and communication devices is an integral part of preparation.

  Establishing contacts with local residents and military personnel can be useful for obtaining up-to-date information on the situation on the ground. At the same time, this should be approached with caution, considering the risks associated with trusting various sources.

  A correspondent should remember their role: they not only report on what is happening, but must also respect the lives and safety of those around them. Ethical principles such as honesty and objectivity must remain at the center of their work.

  It is equally important to maintain peace of mind and take care of your own mental health, as working in war conditions can have a serious impact on your emotional state. You should always be prepared for the fact that the situation can change at any moment, and it is important to adapt to new conditions.

• What prompted him to move from civilian photojournalism to the military direction?
• How did he capture moments with Boris Berezovsky and the events related to the terrorist attack on Dubrovka.
• The question of the need for specialized education for a photographer is a matter of great controversy. On the one hand, professional training can provide important knowledge about the technique and theory of photography, as well as develop creative skills. A course of study may cover aspects such as composition, lighting, and post-processing, which can significantly improve the quality of your work.

  On the other hand, many successful photographers achieved their success through self-study and practice. They studied the work of other masters, experimented with different styles and techniques, which allowed them to develop a unique approach to photography. In this sense, experience and practice can be even more valuable than formal knowledge.

  Therefore, it can be concluded that having a specialized education is not a strict requirement for a photographer. What is important is the desire to learn and develop, as well as to find your own style and approach to creativity that resonates with your personal interests and preferences.

• It is not recommended for a beginning photographer to immediately invest in a high-end camera for several reasons. Firstly, the main focus of the training should be on mastering the fundamentals of photography, such as composition, lighting, and working with camera settings. Expensive models often have many features that may be unnecessary at the initial stage.

  Secondly, there is a risk that beginners may be disappointed if their expectations do not match reality. Expensive equipment does not guarantee instant success in photography. It is best to start with a more affordable device so you can learn, experiment, and develop your skills without undue pressure.

  Furthermore, an initial investment in high-quality but inexpensive equipment allows you to save money for further training, purchasing accessories, or even traveling for practice. Ultimately, it is important to focus on developing your own style and technique, and not on owning the most expensive camera.

• About photographers who inspire admiration and films that promote the development of visual perception.

"How to act correctly in a conflict zone: the experience of covering up camera marks"

— Sergey, as a war journalist, you have had the opportunity to visit various conflict zones. What do you consider the most terrifying moment you've ever experienced?

The First Chechen War. It wasn't my first experience in a war zone, but I'd never seen so many dead people as I did then. I remember driving past the train station in Grozny—there were piles of bodies and mangled armored personnel carriers. It happened in January, and I wondered what the smell would have been like if it had been summer. My first gray hairs appeared after that trip.

— So exciting... Have there ever been moments when your life was in danger?

— I've never experienced shelling, but I've still found myself in some unpleasant situations. Once, during the First Chechen War, TASS photographer Gena Khamelyanin became my savior. We were working on a report about a village damaged by bombing and unexpectedly encountered a group of armed men who appeared to be either under the influence of alcohol or drugs. Gena is a strong man with a fighter's spirit. I, on the contrary, looked rather vulnerable: with glasses and a goatee. Eventually, they approached me and started harassing me, and Gena, seeing this, decided to intervene.

On his belt was a Quantum battery, designed for a photo flash—it's a bulky device with wires, reminiscent of a walkie-talkie. Gena decided to shield me from those people, pulled out his Quantum and started talking into it. They got the impression he was communicating something to someone. I, like a frightened child, hid behind his broad back, and he, slightly sideways, walked toward the car—it was a Lada. Gena opened the back door, and I climbed between the seats, from where he drove me away. We later laughed about this situation for a long time, but, to be honest, I am convinced that without Gena's intervention, everything could have turned out differently.

How should a journalist act in a war situation?

I made an important decision for myself – try not to create problems for others, so that no one would be held responsible for my actions. I chose clothes in calm, neutral colors, always civilian, to immediately make it clear that I had no connection with the military. I tried to distance myself as much as possible from information related to troop levels, their movements, and any other military reports, so as not to arouse suspicion and not become a source of concern.

Before leaving for a trip, I always tried to gather as much information as possible about the place where I would be reporting: I studied maps and the history of the conflict. One of the valuable practical tips I received from CNN cameraman Yuri Romanov was to cover the manufacturer's name on cameras with black tape, and to replace bright straps with Canon or Nikon logos with simple, almost invisible ones. Ideally, you should avoid traveling with expensive equipment, as there is a risk of its confiscation. I also always try to minimize the number of things so that they do not create inconvenience when moving.

«Photography as a Tool of Sophisticated Propaganda»

«Illusory Reality: How Photographs Can Manipulate»

«Images and Deception: The Role of Photography in Propaganda»

«Photography: A Refined Method of Manipulating Public Opinion»

«How Photographs Become a Tool of Sophisticated Lies in Propaganda»

— How did you come to the profession of a war photojournalist?

I graduated with a degree in journalism. When I started my career, it was 1985, and in the Soviet Union, opportunities for free writing were extremely limited. I came to the conclusion that photography can be more truthful than text. Being a photojournalist is a highly skilled profession: they often need to reach places inaccessible by plane, train, or car, quickly capture a moment, and promptly send the image to the editor. I decided to focus on photography, given that I had been passionate about it since childhood. However, after one photo shoot, I realized that photojournalism can also be censored, and this can be no less difficult than working with text.

The country was undergoing changes, and I continued my professional work. In 1993, I received an offer to go to Tajikistan, where civil war had broken out. I was only 24 years old at the time. I decided to take part in this trip, driven by a desire to understand how war functions. Later, I realized how important the work of a photojournalist is in conflict situations. Millions of people will see your photos and understand the horror that is really happening.

— Can you tell us about the moment when you realized how cruel censorship can be in the field of photojournalism?

During my university years, I encountered the workings of the TASS news agency. We went to a factory, and there they organized a real show for us. The workers were given new lab coats to create a pleasant impression, the workshop was carefully cleaned, and everything was put back in its place. At that moment, I realized that I was contributing to the spread of a more subtle lie in propaganda.

— You mentioned that your interest in photography began even before you entered the journalism department at university. What was the starting point of this passion?

At school, I studied with the future actress Alika Smekhova, and I developed a liking for her. However, being the daughter of a famous actor, she didn’t pay much attention to me. One day, during physics class, I had to pass a camera to one of my classmates. Alika noticed me with the camera and asked, "Seryozha, take a photo for me!" I sheepishly replied that I didn't know how to use it. Then she put her hand on my shoulder and said, "But you love me." I blushed and didn't know what to say, and she added, "You'll learn soon enough."

A week later, I invited her over, although she probably wouldn't have dared come on her own. That's when I took my first photo. Incidentally, the delicate, graceful beads in this picture are just spaghetti I added, thinking it would make the image more appealing. That's how my first love left memories, and my passion for photography continues to live within me.

— Have you ever thought about becoming a simple photographer?

When I was just starting out, many photographers were exclusively creating portraits for documents. Naturally, such work didn't appeal to me.

The Art of Taking Photographs That Will Be Memorable for Eternity

One of your famous shots is of Mikhail Khodorkovsky, who is designated a foreign agent in Russia, on the day he was informed of the court's decision to detain him. This photograph is perhaps the only visual evidence of this event. How did you manage to capture it?

Journalists expected Mikhail Khodorkovsky (designated a foreign agent in Russia) to appear at the Basmanny Court building with his lawyers, but none of them ever showed up. To find out exactly which office the trial would take place in, I had to conduct a real intelligence operation. After that, I took up a position on the roof of a neighboring building and was able to capture this moment.

— Which of your projects are especially dear to you?

— A report on the seizure of the Dubrovka Theater Center. As might be expected, journalists were not allowed near the scene, and security forces were clearly displeased with the presence of the press. In this situation, my colleagues and I decided to enlist the help of a resident of the building across the street and work from his apartment. This allowed us to monitor the events and take several photos. Incidentally, people came to the apartment several times, knocked on the door, and demanded to be let in, but the owner did not succumb to provocation and did not give us away.

The equipment I had at that time did not allow for many photos. Moreover, it was a film camera, and every click of the shutter mattered. I managed to capture the moment when one of the hostages left the theater building with her hands raised. She was the first to escape. The minibus with tinted windows in which the terrorists had arrived could be seen in the parking lot. The doors of the vehicle were open, and the engine was running. Some oriental melody was playing from the speakers, which the whole neighborhood could hear until the battery died.

— Your portfolio also includes a portrait of Boris Berezovsky, executed in a rather mysterious and semi-mystical setting. Can you share where exactly you took it?

— I collaborated with the Moscow office of the Figaro newspaper. On the eve of the State Duma elections in 1999, a journalist and I spent the whole day in Berezovsky's company. This picture was taken during our dinner.

This picture evokes mixed emotions in me; it was truly an unusual and difficult period. Some people were rapidly losing everything, while others, on the contrary, unexpectedly became rich. I sought to portray Berezovsky as an evil genius, and therefore captured him with features reminiscent of Mephistopheles. He had an outstanding mind, but, unfortunately, he used his energy in the wrong direction, as it seems to me.

— You noted that you tried to create a certain image for Berezovsky. But isn't a journalist obligated to maintain objectivity?

— You can't limit yourself to merely recording events. As my mentor Vsevolod Tarasevich used to say, in photography, it's not just the protocol that's important, but the whole spectrum of expressions. A CCTV camera can also capture a "fact." A true photographer is a specialist with a keen sense of sensitivity and creativity. If you need to capture the image of a boring official, you shouldn't do it like a passport photo—that would be inappropriate. You'll have to look for emotions and distinctive features that make them stand out. Yes, it's a kind of interpretation. However, the photo still captures this very person - isn't that an objective reality?

"Newbies in photography believe that expensive equipment guarantees mastery"

"Illusion: the high price of equipment is the key to successful photos"

"The myth that a great camera automatically makes you an artist"

"First steps in photography: why technique does not replace talent"

"Misconception: buying a professional camera does not make you a photographer"

— How have people's perceptions of photography changed since you started your career?

In the past, a photographer was perceived as something supernatural, something akin to a demigod or a wizard, which determined the high cost of photographs. Nowadays, thanks to smartphones, the ability to capture a moment has become accessible to almost everyone, which has certainly diminished the value of photography. However, this also has positive aspects: modern photographs, especially those taken with modern cameras, are distinguished by greater sophistication and technical perfection. Sports photography, in particular, is striking in its beauty—shots like these previously seemed impossible! And in the future, we expect even more exciting developments in this field.

— By the way, about shooting with a smartphone. Nowadays, it has become quite a common phenomenon, even among photography specialists. What do you think about this?

I highly appreciate the work of Dima Markov and have the honor of knowing him personally, and I have had the opportunity to share several lessons with him. He truly has a deep sense of feeling as a person and as an artist. Although some perceive him as a critic of Russian reality, I am convinced that he simply reflects life in its true form.

Another contemporary photographer who really interests me is Dima Zverev. He doesn't use a phone for shooting, but his work is striking in its unique ability to "peek" into moments.

There's a school of thought that simply doing photojournalism is difficult to earn enough to earn, and that it's necessary to find additional sources of income. How true is this?

— Currently, this is indeed true. It's better not to limit yourself to one specialty, as versatile specialists are in high demand. For example, if you work as a journalist and also know how to take pictures, this will be a great advantage. Even for an ordinary person, photography skills can become an exciting hobby that adds variety to life.

— So you decided to take up teaching?

I decided to teach because, unfortunately, photojournalism in our country is going through hard times. So, I chose the path of voluntary photo emigration, delved into the history of photography, and began sharing my knowledge by teaching others the art of photography.

— Speaking of education, it's worth asking: how necessary is it for a photojournalist? Or is it possible to master photography skills on your own?

Self-education is great. Today, you can master the technical aspects of photography in just a month, as opposed to the year it took in my time. However, it's important to understand that learning to take pictures is only one side of the issue. The real challenge is learning to see what's worth capturing. This requires not only theoretical knowledge, but also practice, as well as a developed perception and life experience.

— Can you tell me more? How should they be trained?

— Enjoying high-quality films and analyzing the works of famous photographers. Here are some movies I can recommend:

• Full Metal Jacket is a film directed by Stanley Kubrick in 1987.
• Apocalypse Now is a film directed by Francis Coppola in 1979.
• Wag the Dog is a film directed by Barry Levinson in 1997.

Photographers:

• Brassai is a photographer and artist born in France and Hungary, who became known for his skill in street and portrait photography.
• Josef Sudek is a Czech master photographer, known as one of the leading representatives of subjective photography.
• Elliott Erwitt is an American fine art photographer who became famous for his ironic images. His lens captured such celebrities as Marilyn Monroe, Nikita Khrushchev, Richard Nixon, and Jacqueline Kennedy.
• André Kertész is a Hungarian-born photographer who also made a mark in France and the United States. He captured famous figures such as Mondrian, Alexandre Calder, Marc Chagall, and Sergei Eisenstein in his photographs.
• Sebastião Salgado is a Brazilian photographer who actively advocates for the protection and restoration of the Amazon rainforest.
• Helmut Newton is a German photographer known for his nude work. His photographs feature celebrities such as Madonna, Sigourney Weaver, Linda Evangelista, Cindy Crawford, and many others.

— What mistakes do your students encounter?

• Many newcomers to photography tend to buy the latest cameras, believing that this will ensure excellent photographs. However, in reality, the quality of photographs is largely determined by the photographer's experience, not the characteristics of the camera. It is also important to consider that the choice of lens plays an equally important role, as different types of photography require their own specific models. I recommend choosing equipment depending on the specific object or event you intend to capture: be it advertising materials, reportage photography, or photos for a blog. Each direction has its own unique requirements and characteristics.
• Another common mistake is taking too many photos. People capture every moment without taking their eyes off the screen, which leads to a missed opportunity to capture a truly meaningful shot. Personally, when I'm doing photography, I try not to dwell on what I've already captured: I take a photo and then focus again on the world around me.
• It often happens that people don't pay attention to preparing for a photo shoot, believing that it's not their responsibility to understand who or what they're going to photograph. Sometimes I take beginners with me to events, and they start asking questions like: "Who is this? Who is that person?" It's important to familiarize yourself with the details of the event in advance and know who your subject will be.

— You say that skills are formed through experience. How much time do you need to devote to practice to achieve good results in photography?

— Some master photography in four months, others in a year, and some can spend ten years trying to capture the same thing without noticing any progress. It's important to work hard. I recommend focusing on topics that truly interest you so that the learning process doesn't turn into a routine. In general, it is worth choosing the area that interests you - this will significantly facilitate the path to success.