photojournalist Farid Khayrulin :: Baku photo, Azerbaijan photo, foto, photogallery, oil photo

Farid Khayrulin is a member of the Azerbaijan Union of Journalists and the Republican Association of photojournalists. He is a winner of the Khumaj, Golden Argus and G. Zardabi awards. He is accredited to the press-service of the President of the Azerbaijan Republic. He contributes his works to Azerbaijani information agencies, as well as to Reuters and such journals as “Azerbaijan IRS”, “Azerbaijan International” etc.

He participates and receives awards at a number of local and international photo-exhibitions. His works are displayed in the department of ecology at the British Ministry of Foreign Affairs, at private photo exhibitions in Germany.

MOOD. The photographs taken by Khayrulin have something that differentiates a good photograph from an ordinary one – a thought, a mood. He sees the world in three, not in two dimensions. When looking at the series Refugees, the two-dimensional image appears in three dimensions. And that is why his works reflect, in the context of Azerbaijani political journalism, the whole polyphony of the last decade. He has an enormous ability to see the new depths of social vision.

Every one of his works features two conceptual layers, like a false bottom. "The energy of generalization. "A Rambo from Baku", - Farid points at the photograph – is a collective portrait of teenagers. Pay attention to the alignment of forces in the fight. A hero, a coward and an average man, who has lived in all times and who does not really care who gets beaten as long as somebody does".

Bitter complaints that whole generations and social strata throw at each other… "I like paired photographs: here’s The Pessimist, a young painter selling the medals and orders of his father, who belonged to the era of "Our locomotive is rushing forward and the next stop the commune" – remember? Now this old steam locomotive – he takes another photo – has come, like the grandson, to a dead-end, arrived at an unknown place".

Farid breaks a whole number of stereotypes regarding color, light, angle, and entourage. "A photograph is not a mirror image of life. Everything in this world is subjective. The environmental series “The payment for oil”... An austere composition. One single rig in a vast space. But it consumes everything around it. “At the time the photograph was taken, the sky was still and blue, but I made it blood red to convey the anxiety and concern for the ruined land. Every method must serve the subject, the plan. It is not all by itself".