“Press photographers should ‘shadow’ life”

Some people are called one-film actors, while Vlad Sodel’s image in the media is mostly that of one-genre photographer. He became famous as the author of the “tourbillon hit parade” involving MPs’ precious accessories which they brought to the chamber, and added to his fame when he released photos of mobile correspondence which these same “people’s representatives” engaged in, often exposing corruption, horse-trading between politicians and factions, political intrigues and petty plots. However, throughout his career, Sodel has never published anything having to do with MPs’ personal correspondence, sticking to his principled stance, although it seems that the subjects of his photos never learned what “principle” meant or what the concept of reputation was. However, we still know very little about Sodel himself. He works for Apostrof periodical, enjoys vintage photographic art, and has been interested in the history of Ukraine since his youth years.

During the interview he gave to Den, we talked about various aspects of his personality – why a press photographer should start at a daily newspaper and what are the consequences of doing so, whether any picture in his archive reflected modern Ukraine as a whole, and when the prosecutors will be able to launch investigations following incriminating photos appearing in the press. Furthermore, we discussed the virtues of legislators who often get photographed by him.

How do you separate photographing on orders of your editor and taking pictures “for yourself,” for you noted once that it was the photography school of the 1960s and 1970s that you liked most? Do you feel fatigued by the daily grind at some point?

“Even the editorial orders have to be separated as I work on them. Most striking photos go to the photo report. Diverse scenes and varied situations with different backgrounds go to features, the photo editor’s archive. Some of these will make it to the front pages someday for some reason. I catch myself sometimes being too carried away and creating features even off-job. Do I use different approaches to photographing for my publication and myself? No, I do not, as, fortunately, I have supportive editors who just publish my works. My superiors’ non-interference in the creative process is very inspiring; it raises the bar for me on the one hand, while on the other, it feels relaxing, because I keep remembering the frantic pace of the daily newspaper. Daily news experience is badly needed in the beginning, as it inures eyes, hands, and legs to work, cools one’s head, and teaches one to control emotions. The grind is probably there, it comes with the dates which bring same events with same participants year after year. Nonetheless, it causes neither fatigue nor disgust. One has to enjoy photographing, selecting, editing, and reviewing published work, otherwise it makes no sense to do it.”

When you left Kommersant newspaper a year ago, you said that your chief interest was the photo report. Why was it so?

“I worked for a daily newspaper which needed up-to-date black-and-white illustrations for its short articles, and I had to hunt for them every day. I had no time left for reflection on the footage, and my only desire was to somehow break out of this vicious circle. To have the opportunity to tell the story which I witnessed myself is certainly more interesting than producing a couple of small black-and-white photos for a newspaper every day.”

Your free-lance period coincided with the Euromaidan’s most violent stage. Did you notice any new images and portraits for yourself as a photographer?

“After the Vilnius Summit, everything changed: the plans, and life, and sometimes people around me, too. The revolution in downtown Kyiv presented a unique opportunity to document the bravest and frankest people from across the country in their incredible fight, as well as the bastards and villains who were the government then, thugs as well as their leaders.”

Your photo reports are sometimes quite provocative and poignant. As a photographer, do you discern any changes in the faces and behavior of these figures?

“I disagree with your labeling of my works as ‘provocative.’ Poignant? Maybe, even though my artistic manner is quite simple. I believe that press photographers should ‘shadow’ events. I try not to attract attention and press the button before I get any overt response. Even if the picture features some characteristic response to the camera, it is only because some people like to display their emotions caused by alcohol or their mental condition. All these outcast mobs which politicians have started bringing to the capital lately look differently from the ‘true people’ of winter 2013-14. What we see now is a reincarnation of the anti-Maidan, the lads from the Mariinsky Park.”

Have you made a photo which, in your opinion, is best fit to illustrate today’s Ukraine?

“It depends on what one needs to illustrate. No single answer to this question exists, unfortunately, even for myself. I do not think I have ever made such a photo.”

You have been taking pictures of MPs in the Verkhovna Rada chamber for many years, but new subjects for your photos are still appearing. When can a press photo lead to the resignation of an official, or push law-enforcement bodies to investigate activities of this or that MP? Do these people have any notion of “reputation”?

“Oh, you are alluding to that sensational story of the MP who resigned his seat, allegedly due to publication of his correspondence, are not you? [In late April, Self Reliance MP Andrii Melnyk resigned his seat after Ukrainski Novyny published photos of his intimate correspondence. Two days before, Sodel took a picture of a People’s Will MP who got an SMS during the Rada’s meeting, informing him that approximately 2.5 million hryvnias were just credited to his bank account. However, this did not stir any discussion. – Author]. I do not believe that this resignation was directly related to the published photos. We do not know how stable was this figure’s relationship with the faction’s leadership and the party’s owner. Therefore, I will refrain from jumping to conclusions. The only thing that I can notice in this story is the inappropriateness of divulging private life developments as reflected in the MP’s correspondence by the editors of the publication which obtained that photographer’s pictures.

“A time will come when the prosecutors will be able to launch investigations following incriminating photos appearing in the press. However, it looks to me that by that time, there will be no MPs in the Verkhovna Rada who are able to engage in corruption-loaded correspondence during the very plenary meeting.

“A vast majority of politicians who were shaped by the Soviet and post-Soviet periods have no claim to reputation, for they are totally rotten. Maybe that was why I received almost no response or feedback to my incriminating photos taken in the Verkhovna Rada’s chamber during Viktor Yanukovych’s administration.”

In an earlier interview, you mentioned your interest in history. Is your profession as a photographer (involving creating portraits and photo reports at the Euromaidan, taking pictures in the Verkhovna Rada, and so on) helping you to better understand the recent history of Ukraine? How do you see it through the camera’s lens?

“All my experience as a press photographer is just a moment in the history of Ukraine. Even the Orange Revolution seems to have happened the day before yesterday. I see our history as a field plentifully strewn with rakes, ready to be stepped on. By the way, photographers like to claim that all photos have long been done in our art, it is just faces that keep changing...”

What should people (including photographers) with a heightened sense of justice do as they see that nothing is changing in our system?

“Changes can come only through actions. We should continue to sharply react to injustice. Yes, it sounds like a political slogan of sorts, but I do not see another way. I admire our investigative journalists who enable the active part of our society to have an impact on the wider public opinion. There is no ‘system’ whatsoever, it is the people themselves who have to change.”