N.K. Midov was born in 1918 in the village of Pervomaisky (before the Abukovo revolution), Karachaevskaya autonomous region. After graduation primary school became a herdsman, tending horses. In 1938, already in Leningrad, he was drafted into the Red Army and sent to serve north, as part of the 112th Infantry Regiment (52nd Infantry Division). As part of it, in September 1939, he took part in the campaign Soviet troops to Western Belarus, and soon in the war with Finland.
In the very first days of the war, the regiment was transferred to the Murmansk direction. On June 29, 1941, the commander of the machine gun squad of the 112th Infantry Regiment, Junior Sergeant Midov, together with his fellow soldiers, entered into battle with the Nazis. Here, on the borders of the Titovka and Western Litsa rivers, Nazir Katuevich fought with the enemy for more than 3 years.
In November 1941 he was wounded. After receiving treatment in the hospital, with the consent of the commander, Midov went to sniper training: he decided to test his abilities. The selection to become a sniper was strict, but Midov passed the exam. After spending almost a month at the sniper training camp, he went to “practice.” On his first sniper watch, the young sniper killed 7 fascists. By mid-November 1941, Midov’s sniper account already had 83 enemy kills. On November 16, he was wounded for the second time and sent to the hospital.
By order of the troops of the Karelian Front No. 182 of March 27, 1942, the commander of the sniper squad of the 35th Guards Rifle Regiment (10th Guards Rifle Division, 14th Army) of the Guard, Sergeant N. K. Midov, was awarded the Order of Lenin. After recovery, he continued combat work. After completing a short-term course for junior lieutenants, he was given command of a sniper platoon. Nazir Midov's final sniper count is no less than 104 enemies destroyed (data for September 1942).
One day the Germans discovered Midov's position and opened fire on him with mortars. He was concussed by a mine explosion, as a result of which his vision deteriorated. Returning from the hospital, Nazir Katuevich could not again take his place among the snipers. He continued to fight, commanding a platoon of machine gunners.
In October 1944, troops of the Karelian Front and the Northern Fleet carried out the Petsamo-Kirkenes offensive operation, as a result of which German troops were defeated and expelled from the Soviet Arctic, and part of the territory of Norway was also liberated. Lieutenant Midov also took part in these battles. On October 15, together with his fellow soldiers, he liberated the city of Petsamo (Pechenga), and the next day he was seriously wounded by a shell fragment.
Nazir Katuevich spent almost 3 years in hospitals, suffering complex operations on the spine. When he got back to his feet, the medical commission recognized him as a disabled person of the 2nd group. IN post-war years lived and worked in the village of Pervomaisky. Died February 9, 1982. Midov's name was given to one of the schools in the Soviet Arctic, and his sniper rifle kept in the museum of the city of Murmansk.
Original taken from chronograph in Photographer Semyon Fridlyand (1905-1964)
Surprisingly, about the biography of one of the most talented photo reporters Soviet Union, Semyon Osipovich Frinland, very little is known. Meanwhile, on the map of our country it is difficult to find a place where Semyon Frinland has not visited with his camera. If you put together all of Fridland’s photographs (and about 19 thousand of them have survived!), you can see the story Soviet state 1930-1960s - the Great Patriotic War, new buildings and collective farm fields, cities and taiga villages, deeds and exploits of Soviet people.
Semyon Frinlyand was born in 1905 in Kyiv in the family of a Jewish shoemaker Osip Moiseevich Fridlyand. In 1922 he graduated from seven-year school. From 1925, he worked at the Ogonyok magazine, which at that time was headed by his cousin, the famous Soviet journalist and writer Mikhail Koltsov, first as an assistant to a photo reporter, and then as a photojournalist. At the exhibition “10 Years of Soviet Photography” he was awarded a 1st degree diploma. In 1930 he moved to the Union photo agency (later Soyuzfoto), where he worked until 1932 as a photo reporter, editor and head of the mass department. In 1932 he graduated from the camera department State Institute cinematography. Since 1932 he worked in the magazine “USSR on Construction”. Since 1933 - photojournalist for the central party daily newspaper Pravda. At the end of the 1930s - Chairman of the Association of Moscow Photo Reporters. During the Great Patriotic War- photo correspondent of the Sovinformburo. In the 1950s - head of the photography department of the Ogonyok magazine. We have to cousin two siblings - the writer Mikhail Koltsov (1898-1942) and the famous Soviet cartoonist Boris Efimov (1900-2008).
Thanks to the University of Denver Library, which digitized and posted on Free access(here I want to throw a stone at our museums and archives) most of the photographs are by Semyon Frinland, we can get acquainted with his work.
01. There are very few photographs depicting Semyon Fridland himself, I present to you some of them.
02. Semyon Fridland (right) and unknown man in the shape of.
03. Semyon Fridlyand on the Sura River
04. Semyon Fridlyand with his wife Oksana.
05. Oksana Fridland with two sons.
06. Oksana Fridland with two sons.
07. Semyon Fridland with his sons.
08. Semyon Fridlyand (right) at sea
09. Semyon Fridland with his sons.
10. Semyon Fridland with his sons 
11. Semyon Fridland 
12. Semyon Fridlyand (on the left in the photo)
From the memoirs of Yuri Krivonosov ()
He (Friedlyand) was born in Kyiv, but did not at all look like a typical Kievite - and his language did not have the usual southern dialect, and there was no Little Russian arrogance in him, from the south he had only soft humor with sadness, just like Isaac Babel . In 1925, at the invitation of his cousin, he came to Moscow. By that time, his brother - Mikhail Koltsov (also Fridlyand without a pseudonym - was already very famous: the number one journalist and the creator of Ogonyok, where Semyon Osipovich, then just Syoma, began working as a photojournalist. A year later he began to participate in photo exhibitions, received prizes and diplomas for his work and quickly rose to the ranks of the best photojournalists in the country. But photography alone was not enough for his deep nature, and he began writing notes, reports and even essays, and he did it very well. The year of the “Great Turning Point” was approaching, and the young journalist realized that the word, doomed to unfreedom, was fraught with great dangers, and, putting down his pen, concentrated entirely on the camera. Then very few prudent and thoughtful people realized that at this time it was necessary. to be “well shaved in the second row,” and left explosive positions. So, who over time became a classic of the theory and history of photography, and also a musicologist, Sergei Aleksandrovich Morozov left the literature department of Pravda and covered himself with photography as a shield for the rest of his life. brought great benefit to both her and him. Fridlyand also worked at Pravda - as a photo reporter, both in the magazine "USSR in Construction" and in "Soyuzfoto", through which almost all the pioneers of Soviet photojournalism passed, and studied at VGIK in the camera department. Then the war began, and he went through it as a photojournalist for the Sovinformburo. And then follow the example prodigal son returned to his “father’s house” - Ogonyok magazine. There we met him, in 1951, when I came there as a demobilized specialist in the aerial photo intelligence service after almost eight years devoted to naval aviation, and having only seven classes in combat high school. All this has the most direct relation to Semyon Osipovich, because he immediately took up my education. He supervised my studies at the Pravdin evening school for working youth, and later, when I entered Moscow State University. It was Fridlyand and the experienced journalist Savva Timofeevich Morozov (grandson of that same Morozov) and the head of the information department Yakov Moiseevich Gik, who joined him, who insisted that I enter not the Faculty of Journalism, as I wanted, but the Faculty of Philology. “What,” they told me, “are you going to study the history and theory of the party press? Go to philology, you will know literature and language, and you see the practice of magazine work every day in the editorial office.” I am grateful to them for this advice to this day!
Yes, times were cruel. Mikhail Koltsov was arrested and shot - he knew too much, and besides, he was overly active and independent in his judgments, and the shadow of an “enemy of the people” hung over both Semyon Osipovich and Koltsov’s brother, the cartoonist Boris Efimov (also Fridland ). And when the “bloodshed leader” passed away and rehabilitation began, they both, joining forces, tried to find out something about their famous brother, but they never found out anything - soon after his arrest he began to be listed under numbers that changed all the time, and then his traces were irretrievably lost in the depths of the Gulag. Or maybe all this was just a diversionary maneuver, and they shot him immediately after his arrest, as was usually done. And now at the Donskoye Cemetery in the Fridland family corner there is a stone tombstone, under which there is no coffin, and only on that stone is inscribed: “Mikhail Koltsov. 1898-1942.” Let the memory of him be preserved in this way...
The work of Semyon Fridlyand surprisingly organically combines elements of classical photography with its precise compositions and the techniques of the reportage method of shooting, which began to be freely introduced only in the mid-fifties, and in Semyon Osipovich this was discovered much earlier...
Around the mid-fifties, he was appointed head of the photography department of Ogonyok. This department was in a very deplorable state. Until the end of the fifty-second year, everything was in order in the department, because it was headed by a knowledgeable and understanding person - an excellent organizer of the photographic business, Alexey Alexandrovich Volgemut. His last name aroused certain suspicions among some people, and he was dragged to a party meeting and accused of hiding his nationality: His passport said Russian. And at this time the “doctors’ case” was being inflated, and the fight against “people without a homeland” reached complete hysteria. At the meeting it turned out that his father was German, and not what they thought, and he remarked with humor: “Yes, I hid my nationality in order to go through the entire war in a tank.” In addition, it turned out that in the party file he was listed as a German. But they didn’t give up on him, and they declared him a “stricter”, against whom only two naive truth-lovers voted - the retoucher Lesha Borovikov and I, a sinner. Both not long ago demobilized warriors, we could not understand why he was being bullied: after all, both the Russian is right, and the German is right... Well, under the “stern” and he was removed from his post, making him the head of the laboratory. And in his place they appointed a man whose full name was in order, only he was completely illiterate, dumb and did not understand anything about photography.
When the doctors were released, Fridland was called in to restore the department, and he began strengthening it by attracting fresh forces. During a business trip to Leningrad, he visited photo clubs, and in one of them he found two capable guys - Gena Koposov and Leva Sherstennikov, whom he invited to Ogonyok. Both of them very soon became not just famous, but one of the best photojournalists in the country. One day Fridland met me in the corridor - he was walking from the editorial board and was literally radiating - and said: “Listen, Tomato!” (He called everyone “You”, even addressing them by nickname; and I had a lot of them in my life; Ognykov’s “Tomato” - for his bright red hair). “I just made you and Koposov a full-time photojournalist! Congratulations!”
He devoted a lot of time and effort to searching for young talents. As a member of the editorial board of the magazine " Soviet photo", he attended seminars and exhibitions, analyzed them in his articles and reviews and made a great contribution to the development of the theory of photography in general and photojournalism in particular. And he also found time to work in the photo sections of the Union of Journalists and the Society for Friendship with foreign countries. And in our magazine he entered forward planning photo information. But instead of the previous drawing of future frames, he developed ideas for photo reports and photo essays, explained what creative techniques should be used to reveal a particular topic, what to focus on and how to create the unity of photography and text. He saw this as the main specificity of photojournalism, as an independent type of newspaper and magazine business. But even being such a pragmatist, he remained a lyricist at heart. I remember his statement in response to my complaint that, supposedly, I saw a wonderful story, but I couldn’t shoot it - our photographic means turned out to be helpless: “Don’t be upset. Not everything can be photographed, just know how to admire and absorb the beauty into your soul. This will help you later in life, not just in photography." And in his own photographs there was always a lot of soul and such a necessary component as plasticity. Even when I was a photo lab assistant, I once printed his photograph. Memory no longer retains the entire plot, but there was a steamboat, waves, a shore and something else. He stood next to me and corrected my work. And I tried, used all sorts of tricks, including hot water and stopping the development of some areas of the image. And, as happens quite rarely, I got it on the first print. Then it was necessary to print this photograph for some exhibition, and no matter how much the laboratory assistants, reporters, and myself struggled, no one managed to achieve that quality. Fridland was present at all this, watched, shook his head and finally laughed: “Well, this also happens in photography.”
Now let's look at some photographs of Semyon Frinland, sometime later I will make more detailed selections.
13. Great Patriotic War
17. The country is recovering after the war
"How good it is to live in the USSR"
Cities of the USSR and great construction projects
23. Kyiv
24. Sochi
25. Vladivostok
26. Locks of the Zhigulevskaya (Kuibyshevskaya) hydroelectric station
27. Kuibyshev
28. Moscow
29. Moscow
Labor people
And many other topics
See also.
Surprisingly, very little is known about the biography of one of the most talented photojournalists of the Soviet Union, Semyon Osipovich Frinlyand. Meanwhile, on the map of our country it is difficult to find a place where Semyon Frinland has not visited with his camera. If you put together all of Fridlyand’s photographs (and about 19 thousand of them have survived!), you can see the history of the Soviet state of the 1930-1960s - the Great Patriotic War, new buildings and collective farm fields, cities and taiga villages, the deeds and exploits of Soviet people.
Semyon Frinlyand was born in 1905 in Kyiv in the family of a Jewish shoemaker Osip Moiseevich Fridlyand. In 1922 he graduated from seven-year school. From 1925, he worked for the Ogonyok magazine, which at that time was headed by his cousin, the famous Soviet journalist and writer Mikhail Koltsov, first as an assistant to a photo reporter, and then as a photojournalist. At the exhibition “10 Years of Soviet Photography” he was awarded a 1st degree diploma. In 1930 he moved to the Union photo agency (later Soyuzfoto), where he worked until 1932 as a photo reporter, editor and head of the mass department. In 1932 he graduated from the cinematography department of the State Institute of Cinematography. Since 1932 he worked in the magazine “USSR on Construction”. Since 1933 - photojournalist for the central party daily newspaper Pravda. At the end of the 1930s - Chairman of the Association of Moscow Photo Reporters. During the Great Patriotic War - photojournalist of the Sovinformburo. In the 1950s - head of the photography department of the Ogonyok magazine. He is a cousin of two siblings - the writer Mikhail Koltsov (1898-1942) and the famous Soviet cartoonist Boris Efimov (1900-2008).
Thanks to the library of the University of Denver, which digitized and made available for free access (here we want to throw a stone at our museums and archives) most of Semyon Frinland’s photographs, we can get acquainted with his work.
01. There are very few photographs depicting Semyon Fridland himself, I present to you some of them.
02. Semyon Fridlyand (right) and an unknown man in uniform.
03. Semyon Fridlyand on the Sura River
04. Semyon Fridlyand with his wife Oksana.
05. Oksana Fridland with two sons.
06. Oksana Fridland with two sons.
07. Semyon Fridland with his sons.
08. Semyon Fridlyand (right) at sea
09. Semyon Fridland with his sons.
10. Semyon Fridland with his sons
11. Semyon Fridland
12. Semyon Fridlyand (on the left in the photo)
From the memoirs of Yuri Krivonosov ()
He (Friedlyand) was born in Kyiv, but did not at all look like a typical Kievite - and his language did not have the usual southern dialect, and there was no Little Russian arrogance in him, from the south he had only soft humor with sadness, just like Isaac Babel . In 1925, at the invitation of his cousin, he came to Moscow. By that time, his brother - Mikhail Koltsov (also Fridlyand without a pseudonym - was already very famous: the number one journalist and the creator of Ogonyok, where Semyon Osipovich, then just Syoma, began working as a photojournalist. A year later he began to participate in photo exhibitions, received prizes and diplomas for his work and quickly rose to the ranks of the best photojournalists in the country. But photography alone was not enough for his deep nature, and he began writing notes, reports and even essays, and he did it very well. The year of the “Great Turning Point” was approaching, and the young journalist realized that the word, doomed to unfreedom, was fraught with great dangers, and, putting down his pen, concentrated entirely on the camera. Then very few prudent and thoughtful people realized that at this time it was necessary. to be “well shaved in the second row,” and left explosive positions. So, who over time became a classic of the theory and history of photography, and also a musicologist, Sergei Aleksandrovich Morozov left the literature department of Pravda and covered himself with photography as a shield for the rest of his life. brought great benefit to both her and him. Fridlyand also worked at Pravda - as a photo reporter, both in the magazine "USSR in Construction" and in "Soyuzfoto", through which almost all the pioneers of Soviet photojournalism passed, and studied at VGIK in the camera department. Then the war began, and he went through it as a photojournalist for the Sovinformburo. And then, following the example of the prodigal son, he returned to his “father’s house” - the magazine “Ogonyok”. That’s where we met him, in 1951, when I came there as a demobilized specialist in the aerial photographic intelligence service after almost eight years devoted to naval aviation, and with only seven years of high school to my credit. All this has the most direct relation to Semyon Osipovich, because he immediately took up my education. He supervised my studies at the Pravdin evening school for working youth, and later, when I entered Moscow State University. It was Fridlyand and the experienced journalist Savva Timofeevich Morozov (grandson of that same Morozov) and the head of the information department Yakov Moiseevich Gik, who joined him, who insisted that I enter not the Faculty of Journalism, as I wanted, but the Faculty of Philology. “What,” they told me, “are you going to study the history and theory of the party press? Go to philology, you will know literature and language, and you see the practice of magazine work every day in the editorial office.” I am grateful to them for this advice to this day!
Yes, times were cruel. Mikhail Koltsov was arrested and shot - he knew too much, and besides, he was overly active and independent in his judgments, and the shadow of an “enemy of the people” hung over both Semyon Osipovich and Koltsov’s brother, the cartoonist Boris Efimov (also Fridland ). And when the “bloodshed leader” passed away and rehabilitation began, they both joined forces and tried to find out something about their famous brother, but they never found out anything - soon after his arrest he began to be listed under numbers that were always changed, and then traces of it were irretrievably lost in the depths of the Gulag. Or maybe all this was just a diversionary maneuver, and they shot him immediately after his arrest, as was usually done. And now at the Donskoye Cemetery in the Fridland family corner there is a stone tombstone, under which there is no coffin, and only on that stone is inscribed: “Mikhail Koltsov. 1898-1942.” Let the memory of him be preserved in this way...
The work of Semyon Fridlyand surprisingly organically combines elements of classical photography with its precise compositions and the techniques of the reportage method of shooting, which began to be freely introduced only in the mid-fifties, and in Semyon Osipovich this was discovered much earlier...
Around the mid-fifties, he was appointed head of the photography department of Ogonyok. This department was in a very deplorable state. Until the end of the fifty-second year, everything was in order in the department, because it was headed by a knowledgeable and understanding person - an excellent organizer of the photographic business, Alexey Alexandrovich Volgemut. His last name aroused certain suspicions among some people, and he was dragged to a party meeting and accused of concealing his nationality: his passport said Russian. And at this time the “doctors’ case” was being inflated, and the fight against “people without a homeland” reached complete hysteria. At the meeting it turned out that his father was German, and not what they thought, and he remarked with humor: “Yes, I hid my nationality in order to go through the entire war in a tank.” In addition, it turned out that in the party file he was listed as a German. But they didn’t give up on him, and they declared him a “stricter”, against whom only two naive truth-lovers voted - the retoucher Lesha Borovikov and I, a sinner. Both not long ago demobilized warriors, we could not understand why he was being bullied: after all, both the Russian is right, and the German is right... Well, under the “stern” and he was removed from his post, making him the head of the laboratory. And in his place they appointed a man whose full name was in order, only he was completely illiterate, dumb and did not understand anything about photography.
When the doctors were released, Fridland was called in to restore the department, and he began strengthening it by attracting fresh forces. During a business trip to Leningrad, he visited photo clubs, and in one of them he found two capable guys - Gena Koposov and Leva Sherstennikov, whom he invited to Ogonyok. Both of them very soon became not just famous, but one of the best photojournalists in the country. One day Fridland met me in the corridor - he was walking from the editorial board and was literally radiating - and said: “Listen, Tomato!” (He called everyone “You”, even addressing them by nickname; and I had a lot of them in my life; Ognykov’s “Tomato” - for his bright red hair). “I just made you and Koposov a full-time photojournalist! Congratulations!”
He devoted a lot of time and effort to searching for young talents. As a member of the editorial board of the magazine "Soviet Photo", he attended seminars and exhibitions, analyzed them in his articles and reviews and made a great contribution to the development of the theory of photography in general and photojournalism in particular. And he also found time to work in the photo sections of the Union of Journalists and the Society for Friendship with Foreign Countries. And in our magazine he introduced long-term planning of photo information. But instead of the previous drawing of future frames, he developed ideas for photo reports and photo essays, explained what creative techniques should be used to reveal a particular topic, what to focus on and how to create the unity of photography and text. He saw this as the main specificity of photojournalism, as an independent type of newspaper and magazine business. But even being such a pragmatist, he remained a lyricist at heart. I remember his statement in response to my complaint that, supposedly, I saw a wonderful story, but I couldn’t shoot it - our photographic means turned out to be helpless: “Don’t be upset. Not everything can be photographed, just know how to admire and absorb the beauty into your soul. This will help you later in life, not just in photography." And in his own photographs there was always a lot of soul and such a necessary component as plasticity. Even when I was a photo lab assistant, I once printed his photograph. Memory no longer retains the entire plot, but there was a steamboat, waves, a shore and something else. He stood next to me and corrected my work. And I tried, used all sorts of tricks, including hot water and stopping the development of some areas of the picture. And, as happens quite rarely, I got it on the first print. Then it was necessary to print this photograph for some exhibition, and no matter how much the laboratory assistants, reporters, and myself struggled, no one managed to achieve that quality. Fridland was present at all this, watched, shook his head and finally laughed: “Well, this also happens in photography.”
Now let's look at some photographs of Semyon Frinland, sometime later I will make more detailed selections.
13. Great Patriotic War
17. The country is recovering after the war
"How good it is to live in the USSR"
Cities of the USSR and great construction projects
23. Kyiv
24. Sochi
25. Vladivostok
26. Locks of the Zhigulevskaya (Kuibyshevskaya) hydroelectric station
27. Kuibyshev
28. Moscow
29. Moscow
Labor people
And many other topics
See also.
Born in 1905 in Kyiv in the family of a Jewish shoemaker Osip Moiseevich Fridland.
In 1922 he graduated from seven-year school. From 1925, he worked for the Ogonyok magazine, which at that time was headed by his cousin, the famous Soviet journalist and writer Mikhail Koltsov, first as an assistant to a photo reporter, and then as a photojournalist. In 1930 he moved to the Union photo agency (later Soyuzfoto), where he worked until 1932 as a photo reporter, editor and head of the mass department.
In 1932 he graduated from the cinematography department of the State Institute of Cinematography.
Since 1932 he worked in the magazine “USSR on Construction”. Since 1933 - photojournalist for the central party daily newspaper Pravda. At the end of the 1930s - Chairman of the Association of Moscow Photo Reporters.
During the Great Patriotic War - photojournalist of the Sovinformburo. In the 1950s - head of the photography department of the Ogonyok magazine.
He is a cousin of two siblings - the writer Mikhail Koltsov and the famous Soviet cartoonist Boris Efimov.
Awards, bonuses and honorary titles
- At the exhibition “10 Years of Soviet Photography” he was awarded a 1st degree diploma.
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