Photographers are the record keepers of visual history of the culture and art of IRAN

In this interview, veteran Iranian cinema photographer Amir Abedi discusses the evolution of photography from analog to digital and examines the challenges photographers face today, including the rising cost of equipment, lack of insurance, and the mispricing of their profession. He shares bittersweet and sweet behind the scenes memories, while clearly emphasizing the importance of preserving the dignity of the photographer and the profound role the art of photography plays in recording history and culture.

According to Artmag.ir, citing the Public Relations Department of Iranian Cinema Museum, in the world of photography, every image has a story; a story of the moments captured, the inner feelings, and the hardships hidden behind each frame.

Amir Abedi, one of the pioneers of Iranian cinema photography, has been using his camera for years to not only take pictures, but also to narrate life and history. From the era of analog photography to the entry into the digital age, from the lack of insurance for freelance photographers to bitter and sweet memories behind the scenes.

What is the difference between cinema photography and other branches of photography?
There are reportedly nearly 100 fields of photography, but many of these fields are divided into more specialized subfields; such as medical or architectural photography, each of which has multiple branches. Industrial and advertising photography are no exception to this rule. However, when we come to the field of cinema and theater photography, we can say that cinema photography is an astonishing mixture of all types of photography.

In the process of cinema photography, it seems that we are faced with a complex and multilayered field, explain the “inclusiveness” of this branch of photography in more detail.
In the process of shooting a film, you encounter different aspects of photography. Journalistic photography, a painterly look, a sociological tone, and even in action scenes, similarities can be seen with sports photography. The photographer must capture the actor in various situations; sometimes running or driving, and sometimes in a static and calm state. Because of these variables, working conditions are very difficult.

Do behind the scenes photos necessarily have to reflect the film frames or can they have a different angle?
For example, if you compare the frames of a film with the series of photos I took from the same project, you will see that about 70-80% of the photos are different from the film frames but faithful to the content. Unfortunately, some of our colleagues have engaged in a kind of commercial photography of films in recent years, instead of documentary photography of the scene. For example, I remember that in one of the family melodrama films, which had no action scenes, no weapons, and no fights, the photographer asked a passing policeman who was a guest on location to give his gun to the main actor of the film so that he could take some promotional photos with it in different poses. This is a clear distortion of the film’s narrative.

In the meantime, how important is the role of the photographer as a “narrator”?
The photographer must be an honest narrator of the story. First of all, he must have read the script of the film. Unfortunately, among the younger generation, I have seen many who do not even know what the script is. Without knowing the story, they come to the shooting location and ask what to photograph right there and then and start taking a series of close-up photos without analyzing. This process is completely wrong. The photographer must have a clear analysis of the story.

How important is the photographer’s analytical perspective in choosing the tools, especially the lens?
Suppose we are going to take a close-up of the villain in a film. The type of lens we use for him must definitely be different from the one used for the positive character. If the photographer takes a close-up of both characters with the same telephoto lens, the result will be wrong. Even if a wide lens is used at close range for the villain, that exaggeration of perspective creates a special feeling that serves the storytelling. This is where the difference between an analytical photographer and a purely technical photographer becomes apparent.

You have been active in both the fields of theater and cinema photography for years. Given this experience, how would you describe the fundamental differences between the two branches?
I started photography approximately 38 to 40 years ago with an analog camera and began seriously photographing short films and theater in 1985. All these years, I was active in both fields simultaneously. But the issue I have to point out is that, contrary to what many people think, theater and cinema photography are not the same, and the assumption that if someone is a theater photographer, they can easily enter cinema photography is completely wrong.

In what specific cases do these differences manifest themselves?
In theater, we face the phenomenon of repetition; a play is performed on stage for several nights, even in Europe, we have plays that have been performed for more than 10 years. Therefore, a theater photographer can take pictures every night from a different angle or with a different lens. But a cinema photographer does not have such an opportunity. He must take his picture in the moment, at the exact moment a scene is happening in front of the camera. Without disrupting the filming process or delaying the crew.

In your opinion, what qualities are essential for a cinema photographer to be able to perform professionally in sensitive backstage situations?
A cinema photographer must have high speed, accuracy and strong visual perception in order to be able to record an image without interruption.

When was your first professional experience in cinema and on what project?
My first experience in a professional project dates back to 1367. That year, I collaborated with Mr. Mohammad Ali Najafi on a project called “Seven Cities of Love.” Of course, I had been working in the field of short films before that. This project was my first serious entry into professional cinema, but unfortunately, after about four months of filming, the project was stopped. However, after that, the work continued continuously.

The first film I photographed and the work was released was “The Garden of the Sun.” After that, “Flight at Last” directed by Homayoun Asaadian, and then “Shared Pain,” which was a very interesting experience for me due to the presence of two very dear friends, Khosrow Shakibaei and Reza Kianian. That project is one of my favorite works; both in terms of the photos I captured and the memories I have of that era. After that, I did various works such as “Red,” “Women’s Prison,” “Yalda Night,” and many other projects.

Given your long experience in analog photography, what is your view on the transition from analog to digital and the state of photography education today?
A large part of my experiences were formed during the analog photography era. Unfortunately, today, despite the fact that digital cameras allow you to view the image immediately after recording, I still see many photos with incorrect exposure among students and trainees. This is a sad issue for me. While digital cameras offer instant review and correction, the necessary precision in exposure metering and basic settings is still lacking. In my opinion, this is a sign of a weakness in basic photography education.

In your opinion, what are the major weaknesses in photography education today and how have these weaknesses affected the quality of the work?
I cannot understand how in the analog era, without the possibility of seeing the result of the photo immediately after recording, exposure and composition were done correctly and the photos achieved the desired result, but today, despite all the digital possibilities and the ability to repeat and correct, there are so many errors in exposure and composition. I think the root of this weakness is in the photography education system and perhaps part of the fault lies with us teachers. We fall short in some areas and in some cases there is even illiteracy.

In the meantime, how do you evaluate the role of Photoshop and digital tools?
Today, unfortunately, there is a misconception that anyone who knows Photoshop can claim to be a photographer. Personally, I do not even recognize Photoshop in my classes; Not that it’s wrong to use it, but it should be used in its place, not as a substitute for basic photography knowledge. In the past, color, light, contrast, and brightness corrections were done mechanically and in a lab. If the photo was underexposed, we would ask the printer to print it brighter. But today, with thousands of options on cameras, many photographers don’t even understand the basics of lighting.

Can you give an example of this weakness in your experience?
I had a friend who was not my student who brought a collection of photos for an exhibition. When I saw the photos, I realized that they all had exposure problems. When I asked why he didn’t use a light meter, he said, “I don’t have one and I have to buy one!” While every camera has a built-in light meter, and not knowing this is very worrying. However, the same collection was exhibited a few months later in a professional gallery in Tehran, only because someone with professional editing knowledge had corrected the images in terms of color, light, and contrast, and the photos were printed in large size and turned into a masterpiece.

What is your opinion about the current state of art criticism and the atmosphere in galleries?
Unfortunately, in many cases, our gallery owners do not have the necessary specialized knowledge. They usually have relationships with collectors who buy works based solely on relationships, and this undermines the quality and true value of the works.

You mentioned the experience of switching from analog to digital photography. Can you explain that experience and its effects?
I remember the first movie I shot digitally was “Father’s Farm”; I was also the photographer for that movie. I have to say that I was terrified at the time. I even shot analog at the same time as the digital camera, just to be on the safe side. Digital cameras were completely unknown to us, and we were worried that the photos might be completely lost by the time we got home. I used to joke that the car might hit a bump and the photos would be lost. Today, however, with mobile phones, digital photography is completely familiar to everyone.

Despite the advancement of technology, how have economic conditions affected cinema photographers?
Today, all the tools and technologies necessary to become a professional photographer are available. But the big difference and the main problem is the high cost of equipment. Previously, we could buy a professional camera for about one twentieth of the price of a regular car, but now the price of my camera set is equivalent to the price of three Pride cars. While the salaries of photographers have increased, this increase is not at all proportional to the growth rate of equipment prices.

What problems does the cinema photographer job market have today?
The Iranian Cinema Photographers Association sets a minimum wage every year, but unfortunately many colleagues do not comply with these rates. Also, some photographers accept multiple projects at the same time, which is a professional error. A cinema photographer must focus on one project for at least 45 days or two months. But unfortunately, today we see on platforms that a photographer is sent to multiple projects at the same time; For example, in the morning on a series, at night on another film, and the next day on a different project. This situation prevents the photographer from having enough time to analyze, get to know the drama and story, and focus on capturing narrative images.

You consider cinema photography to be more than just capturing a moment. Please explain this perspective.
Photography is not just a simple physical act. The image is first formed in the photographer’s mind and then recorded on the negative or camera memory. Over time, these images become part of our history, culture, and art, leaving traces of artists, society, and the mood of an era. Unfortunately, if professional principles are not followed, these traces become shallow and superficial, and we, as photographers, are responsible for this.

How do you assess the role of cinema photography in preserving history and culture?
I am not talking about general historical issues, but my focus is on culture and art. If we want to have a lasting impact on the history of this land, the footprint we leave behind must be deep and professional. Cinema photography is an important part of this great responsibility.

You have also talked about the difference in the status and salary of photographers and actors. Please explain more.
The salaries of some actors have jumped dramatically in recent years. An actor who used to be paid around 50 million Tomans may now receive two to three billion Tomans. The reason for this is that some projects require the actor to have an exclusive contract for several years so that his face is not seen in other films for a while and to maintain his freshness. Therefore, to maintain this exclusive contract, the actor is paid an amount equivalent to several films.

However, what is the situation with photographers’ salaries and equipment?
Unlike many production staff who either don’t have the equipment or, if they do, rent it from the production, cinematographers have to personally procure and bring all their expensive equipment to the set. This equipment is very expensive, and while photographers’ salaries have not grown proportionately, the cost of purchasing equipment has increased dramatically.

What do you think is the place of cinematography among professional professions?
I believe that cinematography, like other branches of the film industry, needs to be recognized as a profession with its own challenges. All cinematography jobs are difficult, but the work of a photographer is also grueling. We work in conditions such as extreme heat, polluted air, and physically demanding situations, and we are on set for long hours, but we are still not seen as we should be.

How do you define the dignity of the photographer and the status of the image?
Photographer’s Day should be a day when this profession is truly respected; not just in slogans and words, but in practice. Unfortunately, today anyone who holds a camera in their hand, especially in our country, may face suspicious glances. While we are the narrators of the image; those who record the visual history of the culture and art of this land.

What is the insurance situation of photographers in Iran?
We have a duty, we work, we pay taxes, but many photographers, especially freelancers, do not have insurance. Of course, my friends who are insured through cinemas or theaters are in a better situation, but there are still many who do not have any type of insurance. This issue should be seriously pursued and a solution should be found for it. When a photographer is honored, his dignity is also preserved.

How do you feel when taking photos?
When I am behind the camera, I sometimes cry. I don’t know why; Maybe it was the moment or the mood at the time, but I couldn’t help but feel tears welling up in my eyes.

Tell us about one of your most bitter experiences in photography.
In the film “Father’s Farm,” which was my first experience with digital photography, we had an explosion scene. A fake bridge that was supposed to explode was set over a river. To make the explosion look bigger, they used powdered coal, plaster, and cement, along with gasoline to create smoke and fire. When the explosion happened, the water mixed with the materials and we all turned into cement sculptures! Luckily, we were washable, but my camera was completely destroyed. The last frame I took was with it, but the water got inside and it never worked. Although it was very upsetting, I quickly got a new camera because I had become interested in digital photography.