Alexander Uzlyan

Uzlyan went on to work as a photojournalist for various Russian news organisations, including [[Izvestia|''Izvestiya'']], ''[[Pravda]]'', ''[[Literaturnaya Gazeta]]'', and [[Ogoniok|''Ogonyok'']].Hannah Jopling Kaiser ''Russia from the Inside'', Dutton, 1980, Page 184

Uzlyan went on to work as a photojournalist for various Russian news organisations, including [[Izvestia|''Izvestiya'']], ''[[Pravda]]'', ''[[Literaturnaya Gazeta]]'', and [[Ogoniok|''Ogonyok'']].Hannah Jopling Kaiser ''Russia from the Inside'', Dutton, 1980, Page 184

During [[World War II]] he accompanied the [[Black Sea Fleet]], documenting its activities for the [[Soviet Information Bureau]].{{Cite book |last=Stigneev |first=Valeriĭ Stigneev |title=Век фотографии, 1894-1994 : очерки истории отечественной фотографии / Vek fotografii, 1894-1994 : ocherki istorii otechestvennoĭ fotografii |publisher=Knizhnyĭ dom "Librokom" |year=2019 |isbn=9785397064347 |location=Moscow |language=ru |trans-title=The century of photography, 1894-1994: essays on the history of domestic photography}} His photographic record of Soviet naval exploits during the war,{{Cite book |last=Roth |first=Mitchel P. |title=The encyclopedia of war journalism, 1807-2015 |date=2015 |publisher=Grey House Publishing |isbn=978-1-61925-745-0 |edition=Third |location=Amenia, NY}}{{Cite book |last=Tausk |first=Petr |title=A Short History of Press Photography |publisher=International Organization of Journalists |year=1988}} which illustrate several histories including ''The Russian War: 1941-45,''{{Cite book |last1=Mrázková |first1=Daniela |title=The Russian war, 1941-1945 |last2=Remeš |first2=Vladimír |publisher=J. Cape |year=1978 |isbn=9780224015875 |location=London}} have been described as giving "an impression of movement that is almost like a motion picture."Daniela Mrazkova and Vladimir Remes, eds. ''The Russian War 1941-1945''. 1975. Uzylan creatively applied the use of slow shutter speeds and panning, as his colleague Lev Nisnevich recalled of his promotional photography of factory workers in 1973, made when Uzylan was white-haired and sixty-five years old:

In this case Uzlyan is theatrical director. We find some workers who look basically all right, then Uzlyan goes work them. He tells one guy roll his sleeves. And he's giving another one a paper ... before he rehearsed them walking into the frame.{{Cite journal |last=Cunnif |first=Lois |date=May–June 1983 |title=Soviet photojournalism: Three emigres open their portfolios |journal=Columbia Journalism Review |volume=22 |issue=1 |pages=47}}

Post-war, his picture stories appeared in such publications as the English-language ''USSR: Soviet Life Today,''{{Cite journal |last=Uzlyan |first=Alexander |date=August 1960 |title=Two Eras |journal=USSR : Soviet Life Today |issue=8 |pages=12–14}} and from the mid-1960s, he photographed for the ''[[Literaturnaya gazeta]]'' and documented various Russian cities for tourist articles. One of his heroic industrial images featured in a 1970 ''[[Pravda]]'' photo competition.{{Cite news |date=28 November 1970 |title=Pravda Competition: Experimenters |work=Pravda |pages=3 |issue=332}}

During [[World War II]] he accompanied the [[Black Sea Fleet]], documenting its activities for the [[Soviet Information Bureau]].{{Cite book |last=Stigneev |first=Valeriĭ Stigneev |title=Век фотографии, 1894-1994 : очерки истории отечественной фотографии / Vek fotografii, 1894-1994 : ocherki istorii otechestvennoĭ fotografii |publisher=Knizhnyĭ dom "Librokom" |year=2019 |isbn=9785397064347 |location=Moscow |language=ru |trans-title=The century of photography, 1894-1994: essays on the history of domestic photography}} His photographic record of Soviet naval exploits during the war,{{Cite book |last=Roth |first=Mitchel P. |title=The encyclopedia of war journalism, 1807-2015 |date=2015 |publisher=Grey House Publishing |isbn=978-1-61925-745-0 |edition=Third |location=Amenia, NY}}{{Cite book |last=Tausk |first=Petr |title=A Short History of Press Photography |publisher=International Organization of Journalists |year=1988}} which illustrate several histories including ''The Russian War: 1941-45,''{{Cite book |last1=Mrázková |first1=Daniela |title=The Russian war, 1941-1945 |last2=Remeš |first2=Vladimír |publisher=J. Cape |year=1978 |isbn=9780224015875 |location=London}} have been described as giving "an impression of movement that is almost like a motion picture."Daniela Mrazkova and Vladimir Remes, eds. ''The Russian War 1941-1945''. 1975. Uzylan creatively applied the use of slow shutter speeds and panning, as his colleague Lev Nisnevich recalled of his promotional photography of factory workers in 1973, made when Uzylan was white-haired and sixty-five years old:

In this case Uzlyan is theatrical director. We find some workers who look basically all right, then Uzlyan goes work on them. He tells one guy roll his sleeves. And he's giving another one a paper ... before he rehearsed them walking into the frame.{{Cite journal |last=Cunnif |first=Lois |date=May–June 1983 |title=Soviet photojournalism: Three emigres open their portfolios |journal=Columbia Journalism Review |volume=22 |issue=1 |pages=47}}

Post-war, his picture stories appeared in such publications as the English-language ''USSR: Soviet Life Today,''{{Cite journal |last=Uzlyan |first=Alexander |date=August 1960 |title=Two Eras |journal=USSR : Soviet Life Today |issue=8 |pages=12–14}} and from the mid-1960s, he photographed for the ''[[Literaturnaya gazeta]]'' and documented various Russian cities for tourist articles. One of his heroic industrial images featured in a 1970 ''[[Pravda]]'' photo competition.{{Cite news |date=28 November 1970 |title=Pravda Competition: Experimenters |work=Pravda |pages=3 |issue=332}}

In 1971 Uzlyan explained his process:

The subject, its precise selection, and its significance are very essential factors in the work of a photojournalist. A broad public information base assists in the search and selection of a subject. One must always be aware of the latest news from newspapers, radio, and television, not out of a desire to borrow and repeat of course, but the information obtained in this way serves as a means of "guidance" and approach to the material. It allows me to correctly determine the place and significance of the subject.

In 1971 Uzlyan explained his process:

The subject, its precise selection, and its significance are very essential factors in the work of a photojournalist. A broad public information base assists in the search and selection of a subject. One must always be aware of the latest news from newspapers, radio, and television, not out of a desire to borrow and repeat of course, but the information obtained in this way serves as a means of "guidance" and approach to the material. It allows me to correctly determine the place and significance of the subject.