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Upcoming lecture at ECA

I’m a little overawed to have been asked to give a guest lecture at the august Edinburgh College of Art this Tuesday, in the main lecture theatre, on the topic “Haggis and Vodka: working as a documentary photographer in Scotland and Russia.” ECA nowadays is part of Edinburgh University. What an opportunity to talk ‘at’ a semi-captive audience about things that interest me! The plan is to tread a delicate line between keeping the audience awake but not actually have them stampeding for the doors.

I’ll be talking about my own work, but also about some business aspects of working as a photographer – negotiating with clients, running personal projects alongside earning a living, that kind of thing. I am looking forward to it!

Here’s a copy of the poster:

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Diary of a Lawyer in Moscow III – on being white, an ethical question, and the importance of cucumbers

Sometimes my lunch breaks as a lawyer at Linklaters were longer than they strictly should have been. I always carried a camera with a lens so sharp you could shave with it in my coat pocket or lawyerly briefcase. If the KGB ever followed me, they must have put me on their distinctly dodgy list, and wondered about the significance of the apparent innocuous scenes that I was clandestinely capturing.

In this first picture, tucked away at the bottom of the frame, there is a figure sitting on a horse. He’s the only statue in the scene – the workers erecting the scaffolding are real live people! The man on the horse is Zhukov. Not many people can claim to have saved western civilisation as we know it, but Zhukov can – or rather, could. He was responsible, probably more than any other person, for the defeat of Hitler. He rode a white horse that was famous for trotting in an odd way, with its feet on either side hitting the ground more or less simultaneously rather than alternately. Or so I heard.

The bronze of the statue had weathered to almost black. I was standing next to it when a babushka (little old lady) exclaimed to an accompanying child “The statue is all wrong, Zhukov’s horse was white!” I turned to her and blurted out: “I believe Zhukov himself was white too”.

Usually the witty riposte occurs to me five minutes later, five minutes too late, so I felt smug for at least a day after that. And in a foreign langauge too! In fact, still feel a bit smug, over a decade later.

The second picture speaks for itself. I used to find it hard to look at, but then again, I don’t see why I should, and now it no longer bothers me. But it is a disturbing image. Am I exploiting the woman in the picture? On the one hand, I’m giving her money, which can’t be a bad thing, but maybe I’m only doing it to take her picture – would I have given her the money without taking the picture? So maybe it’s exploitation. And I’m also taking her picture without her consent. The fact that I am wearing a jacket, apparently well dressed, doesn’t help – and she is kissing my hand. There is something shocking about that. But why should there be? Is it shocking to wear a suit? Or to give money? Or to take someone’s picture? Or to kiss someone else’s hand? Or the combination of all these? Maybe the picture is uncomfortable because it puts in front of us something that we would rather not see? Who is at fault here: the photographer (me) for taking the picture, the owner of the hand (again me) for wearing a suit, the babushka for abasing herself, or the viewer for not liking to see some kind of truth?

I’m sure there’s a PhD in there somewhere.

And the third picture – babushki s ogurchikami – for good luck. I find the smile and eyes of this babushka mesmerising, hundreds of years of babushkina bonhomie and supply of pickled cucumbers distilled into one look. It was taken at Novie Cheryomushki Market. Cheryomushki is a kind of cliche for a ‘new’ Soviet district in Moscow. Shostakovitch orchestrated a song about it which involves a chicken which doesn’t want to be cooked which I sing from time to time in the bath.

And I think everyone understands the significance of cucumbers. No, not that significance, the other one: cucumbers = zakuska = bite on it to accompany a shot of = vodka. Cucumbers could be a kind of symbol of Russia in transformation, the engine that powers the drinking Russian muzhik from one end of the day to the other. A bit like potatoes for an Irishman, only with more vodka.

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Diary of a Lawyer in Moscow II

In some ways these pictures reinforce a preconception about Russia. Harsh winters, alchoholism, poverty. Everything in shades of grey. It’s Grim up North. Moscow has changed a lot, last time I was there, it looked more like Las Vegas with dazzling arrays of neon lights. It’s easy to see where global warming is coming from – the lights around GUM Department Store themselves must surely have contributed 0.1 C or so to global temperatures.

But in 1993 Moscow really did feel more black and white than now. Photographing in colour would probably not have made much difference. Everyone wore dark leather jackets or dark brown furs. Anyone wearing anything bright had to be a foreigner. There were few neon signs – most shops were still called things like “Meat No.9″ or “Bread”, and the only thing you could guarantee about their produce was that it would be meat or bread, and that it would be stale. Irish House on Arbat held Moscow’s only western style bar, the Irish Bar, until Rosie O’Grady’s opened a year or two later. The shop in Irish House was the only western style shop, and the only place in Moscow that sold milk that hadn’t gone off. It was brought in fresh all the way from Ireland more or less daily. How it was made it through the notoriously slow and bureaucratic Russian Customs fast enough to keep fresh was a mystery – some Customs official somewhere must have become very rich.

In short, to a foreigner, who always had the option of leaving the place when it got too much (which it did frequently), Russia felt exotic and romantic, a living and breathing Le Carre novel, where anything might happen, and often did.

I rented my first flat at Taganka, opposite the avant garde theatre which had constantly been at odds with the Soviet authorities, where Vysotsky had been a lead actor. Vysotsky was a kind of Soviet superstar singing poet – something like the Beatles rolled up into Louis Armstrong (his voice had something in common) rolled up into T.S. Eliot. When he died and was laid out at the Taganka theatre, the Soviet authorities tried to keep news of his funeral quiet, but tens of thousands of people turned out to attend – so many that the attendance at the Olympic events that were in full swing dropped noticeably that day.

After I had been at Taganka a year or so, there was a general renovation of the appartment building, which involved taking out the pipework, and rats began to run around in the flat using the holes left by the pipework, one of them strolling casually through the kitchen during tea and another waking me up by running across my bed at night. I moved from there shortly after, not so much driven away by the rats as by a lunatic landlord who insisted on visiting regularly using his own key.

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Diary of a Lawyer in Moscow I

I began to photograph in earnest when I was a lawyer working in Moscow in the 1990′s just after the break up of the Soviet Union. Wandering around the streets in between client meetings and in lunch breaks, this brave new world of wild capitalism was just crying out to be captured in some form. Taking pictures may have been a lazier option than keeping a diary. I rather wish I had done both, but one was better than nothing.

I processed the film back at my flat, and set up a rudimentary enlarger and darkroom in the bathroom. Sourcing paper and chemicals and all the other necessaries was a challenge at a time when I had to cross Moscow to find a drinkable carton of milk.

But looking back I think some of the pictures were interesting. I’ve picked out a few here, and, so as not to overload with too many at one go, will post a few more in one or two other posts.

Terrorist attack? Revolution? Mafia hit? Horrendous road accident? Actually none of these, the explanation is more Russian and prosaic. This was the scene that greeted me when I went out of the office door one lunchtime. The owner of the van had been refuelling, while multitasking by enjoying a quiet cigarette. He managed to partially melt the cars next to him too. It must have been an expensive fag : to paraphrase the title of a popular film, in those days “Moscow doesn’t believe in insurance”:-

Let Sleeping Dogs Lie

And, errr, Let Sleeping Dogs Lie again. A not uncommon sight around lunchtime in Moscow:

Flautist, Petersburg:

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Corporate photography in East Europe – photographing in Moldova for the EBRD

It occurred to me I never post tearsheets on my blog, and I thought I’d better make up for lost time! Some of my pictures which I took when I visited Moldova have appeared in this year’s EBRD (European Bank for Reconstruction and Development) publications, including their latest Transition Report 2011.

I took these latest pictures at a bread and beer factory in Moldova in a city called Cahul. Moldova is pretty much Europe’s forgotten country, it rarely seems to reach the headlines. When it is mentioned, it’s usually because it is Europe’s poorest, most backward, economy, reliant mainly on agriculture, especially vineyards. Or, even less flatteringly, as a centre for human sex trafficking. So it was a bit of a privilege to visit some of its nascent industrial base.

If it hadn’t been for the EBRD, I probably wouldn’t have visited the country at all, but now I got a taste for it, I really want to go back!

Here are the images as they appeared in the latest transition report, as well as some of my  Moldovan pictures that appeared in earlier EBRD reports:

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