Russia lashed out at Ukrainian authorities over the travel ban, calling it "yet another

outrageous, cynical and inhumane act."

Ukraine had previously condemned the choice of singer as a Russian "provocation," while the
Kremlin said it wanted to avoid "politicizing" the international singing event. Moscow accused
Kyiv of similar provocations at last year's contest in Stockholm. Ukraine's 2016 entrant was a
Crimean Tatar named Jamala, whose song decried war-time deportations of Tatars under
Soviet leader Joseph Stalin in the 1940s.

The organizers of Eurovision said in a statement they were "deeply disappointed" by Ukraine's
decision to ban the Russian singer, adding that "it goes against both the spirit of the contest,
and the notion of inclusivity that lies at the heart of its values."

Samoylova had intended to sing "Flame Is Burning" in English. Last week she told a Russian
newspaper it was her "greatest dream" to sing at Eurovision.

The bulk of the profit is shifted to Ireland and never taxed anywhere in the
world, he said. Its a very small portion that is being taxed, even in Australia.

He said Apples international tax structure was perfectly legal under the
prevailing tax law in Australia but the forthcoming diverted profits tax could give
the ATO teeth to tax the profits lodged in Ireland.

Described by Ting as basically a carbon copy of the UKs diverted profits tax, it
was announced in the 2016-7 budget and was due to come into effect on 1 July
2017, though Ting warned its effectiveness remained to be seen.

Asked about the ethics of Apples sending profits offshore, Ting said: Tax law is
not always fair or just. If the law is perceived to be unfair, we should seek to
change or improve it.

Ireland may not get Apple's 13bn

back taxes in full, EU says
Read more

Questioned in front of the Senate inquiry into corporate tax avoidance in April
2015 that preceded the amendment, Apple Australia and New Zealands
managing director, Tony King, denied the company had strategies in place to
reduce the tax it paid in Australia.

He said it paid all taxes it owed under Australian law and was committed to the
success of its economy and a transparent and collaborative relationship with the
ATO.

In fact, in our most recently lodged accounts, our effective tax rate was above
the Australian corporate tax rate of 30%.

The company faces a titanic legal battle against the European Commission after it
was ordered in August to pay a record 13bn in taxes to the Irish government.
The outcome has implications for the more than 600 US multinationals based in
Ireland and thousands more using tax-avoidance vehicles globally.

Its chief executive, Tim Cook, strenuously rejected the commissions finding that
Ireland had given Apple a special deal, stating that it had no basis in fact or in
law.

On 31 January 2016, Apple reported fiscal first-quarter revenue of US$78.4bn,

its highest quarterly revenue ever.

came across this girl in the Oxford University parks, lying in the summer sun
reading a book. It was in the late-60s, not a laptop in sight. It was surprising to
find an unshaven armpit, almost as shocking as pubic hair. Its from The Oxford
Pictures, my first photographic essay. It was very much a young mans vision:
anxiety, desire and sexual guilt run right through it, maybe because of my strict
upbringing with Sunday school lessons and Christian teaching.

It might have been the swinging 60s, with lots of photos in the papers of girls in
miniskirts and Mick Jagger in a white dress, but plenty of people felt they were
missing out that this sexual revolution was somewhere else, out of reach. We
felt the barriers rather than the freedoms. So I looked for visual moments that
reflected my sense of being an outsider: isolated figures beside the river, or
sitting on a park bench.

I wanted a relationship but also feared having one. So its not so much sexuality
in the pictures as anxiety over something forbidden. Since I was looking to show
alienation and loss, I often photographed people from behind, or with body parts
amputated. I sensed that many of my young subjects shared my feelings.

We were all young together, all lonely together

Summer was the perfect time for the project: the stronger the sunlight, the
darker the shadows and the greater the melancholy. By making figures
fragmented and amputated, they become dehumanised, while turned backs and
hidden faces suggest a fear of rejection. Often, I dont show a particular person,
but something more general that can stand for us all.

Its been a good life, working as a photographer. Its not a proper job. All day
photographing, in and out of pubs in the evening, a bit of noise and mischief and
exhibitionism. Back then, we were always talking about pictures: what we
understood, what we felt others were saying.

I may have taken my photographs in Oxford but it was not really my subject.
They are a personal document, concerned with expressing my inner life rather
than recording the world around me. So by photographing students, I found a
way to tell a story of pain. We were all young together, all lonely together.
Everyone looks for love, everyone. We dont all find it.

Paddy Summerfield. Photograph: Patricia Baker-Cassidy

Paddy Summerfields CV
Born: Derby, 1947.

Trained: Guildford School of Art, later qualifying as a medical photographer.

Influences: Samuel Palmers ink drawings, the films of Michelangelo

Antonioni.

High point: David Hockney telling me photography was so easy: All you need
is a camera, an eye and a finger. I felt hope.

Low point: The photographer Tony Ray-Jones once said about my pictures, Is
it enough? I carry that question with me.

Top tip: Look, search, think, hope.

The Oxford Pictures by Paddy Summerfield is published by Dewi Lewis.