Kamran Adle
Audio of the Entire Interview
Interview Transcript
Part 01
I was born in 1320 in a very famous family in Iran, which, if I do not exaggerate, was and still is the largest intellectual family in Iran.
That is, the number of people that this family gave to the Iranian society is something unique in terms of cultural and social services.
Let’s start with Adls, from Mr. Mansour Al-Saltanah Adl, who wrote the Iranian constitution
He wrote the laws of the Iranian judiciary, which are still taught in universities
Dr. Habib Adl, the assistant to Ms. Marie Curie, who won the Nobel Prize in Nuclear Medicine, was the assistant to Ms. Curie who brought the first radiology equipment to Iran.
Then it was my own father who studied agriculture and in 1300 he was brought to Iran because he was teaching in Paris at the time.
Who was the founder of Karaj College of Agriculture and launched a new agriculture
After that, it is Mr. Professor Adl who brought new surgery to Iran
And my own brothers, all of whom were so-called firsts
Now, here, for example, is Homayoun, who became the first student of the Paris Bazaar, and unfortunately he himself did not understand that he became the first student and was killed.
Recently, my brother was Shahriar Adl, who died 4 months ago, and we know what he has done in the Iranian cultural heritage system, and he is a person who is currently irreparable for Iran.
In any case, I grew up in an environment that was culturally at a high level in Iranian society
As a child, of course, I was caught between two brothers, one of whom was weak, and the artist, Homayoun.
Shahriar, who was a traitor and as a result of our childhood, was a little bullied and the so-called attention that should have been given to me
Not that I did not want to, but because my two in-and-outs were so much more noticeable, we did not get much out of it.
But I do not have a complaint about this and my life was spent in bullying
In 1943, a marriage took place in our family when my cousin, who was like my brother, married a woman and became the wife of Dr. Mesbahzadeh, who owned the Kayhan newspaper.
His younger brother, Hossein Adl, wanted to become a journalist at the time, so he went and did some work for the Kayhan newspaper.
One night he took me to the Kayhan and Zamstoon newspapers and it was a storm, and when I was 12 years old, I saw that he was taking a photo.
Well, the boy is looking for another adventure, one wants to be a policeman, one wants what I know to be a firefighter, and one wants to be a pilot.
I said now that everyone is going to their homes and this is just going out, it is an adventure in photography
From then on, I decided to take a photo, and when I said I wanted to be a photographer, it was a good adventure at home.
And everyone thought he was saying something good as a kid, and they bought me a camera with a thousand misfortunes
I started photography in 1333 and practically the best photos I put in exhibitions are from that time.
For example, this photo of Asghar Maleki, circumcision is accepted, the photo of Isfahan and the photos I took at that time, I now put in my exhibitions, as my first photos.
My childhood memories were mostly in a garden where we were born and it was 3,000 meters
Even now, of course, Shahriar’s house is 1060 meters away, which is in his mother’s house and in that garden.
There were a lot of fights, we were boys, I went to the wall and I remember these things, I have more memories of my mother than my father
There are more of my mothers, for example, we used to run on the wall so much and she would come and shout that the child would come down, you would fall but you would not die but you would be incomplete
I did not understand at all what this literature means and what it says.
I was a classmate of Homayoun Behzadi in primary school
Are you a footballer?
Yes, the football player whose uncle was Massoud Boroumand, who was the captain of the national team, of course you know that.
And, of course, I went to the Amjadia Stadium and football and all that
One day I had a cousin named Ahmad Wali who was playing with Khatam, Ahmad Wali was also in the national team
But at the time I was talking about him, he was retired and a pilot
I went to Amjadieh to go with Homayoun Behzadi to cheer on Shahin team against Taj team
I saw that my permanent son was sitting somewhere and I was in nature
Oh, I went to my son-in-law, this time I did not go with Homayoun Behzadi
Then my son-in-law came back and told the gentleman next to him that Mr. Doctor, this is my cousin, Kamran Adl
This gentleman asked who your son is, I said that I am the son of Ahmad Hussein Khan
He said, “Oh, at that time Dr. Ekrami was originally 4 Truman, he was a veterinarian, and he knew my father naturally.”
Then I found out that this Dr. Ekrami is the owner of the Shahin team, which means that it was the greatest honor for me as a child.
Then I said that Mr. Doctor, I also want to come to the Shahin team and said that next week, on Thursday, you will go to the Higher School, to Mr. Akbar Kia.
And you say that my representative is Dr. Ekrami, we also went there and by the way it was Homayoun Behzadi, it was Shirzadegan, it was Hassan Habibi
Ebrahimi, who later became the coach of the national team, was the next national team of Iran from the same Shahin model in which I had the honor of playing.
I mean, what was most important to me at that time was the so-called morality, it was honesty, it was discipline and honesty.
And for me, that time in Shahin Club was the basis of maybe, for example, my straightforwardness and honesty
Later, when Khosravani deprived Shahin of his team and they went to Peykan team
That’s when I came to Iran from France and we decided to make a photo decor for TV
Well, I called Homayoun Behzadi, Kalani and Shirzadegan and all the greats of the national team at that time.
And I said that this is the flow, Homayoun said that we will do this on one condition that we wear Shahin’s clothes, because Shahin was dissolved.
We also said that we ask God for the same, then because we did not have a stadium, I went to where the Peykan team is now.
At that time, these facilities were not there, it was just a plot of land, that is, the car factory was not like that, a shed for the Peykan team.
Because there was no stadium for us to show how crowded it was, I went at night to do it with the flash and stuff.
And hey, they threw the ball at the heads of these and these, got up and nodded, and then I took maybe 50-100 photos.
And we raised one with the falcon logo in the eyes of everyone, it was very important to us morally that they had dissolved our team.
My childhood was all about football and drinking, not playing girls, because Dr. Ekrami believed that you should lower your head.
No, it was not news at all, it was very bad to say that someone was playing girls and we went to France safe and sound.
Part02
I went to Paris in 1958, but it was well in my mind that when you went to Paris at that time, when there was the Vietnam War and the Algerian War, and there were important wars.
In the big magazines Paris Match, ……, Time, SPIEGEL, their photos were published in these
And these photos make me so excited that this is my right choice and I’m not wrong
I was born in 1960, two years after I arrived in Paris, in 1941, when I was 19 years old.
I bought my first camera that I still have my camera, and I had an exhibition that I had 2 years ago with the same camera.
It was the first reflex camera that was invented in the world and I bought this, unfortunately it was central, ie opening and closing were done inside the lens itself.
And this was the first camera I bought and I took some great photos with it
For example, there was a six-hour rowing competition on the Seine, which I have a photo of that I took at the time.
I got these here and in 1962 I came to study photography, where something else happened.
Because I did not know that photography in Iran is so suspicious, that is, they did not like it, and now there are reasons why I can not say here why photography was so bad in Iran at that time.
My mother was also an educated woman, but she was very fascist and very dictatorial, very dictatorial.
My father was killed with my brother at that time
What killed them?
In a car accident in Isfahan that was very upsetting
And now you consider the family of Adl, who was so big and their noses were high, and Yahoo told a child that I wanted to go and take pictures.
Which was a disaster for them and I wrote that when they told my mother that Kamran wanted to be a photographer
It is said that he shouted so loudly in Tehran that when this child wants to become a man, his voice was so loud that it reached my ears in Paris.
I was faced with a very, very strong opposition that my monthly salary was cut off and I was not given any money that I might regret.
I was too hungry for three months to say here that I was born a professor of justice and somehow my spiritual father.
There was also a man who was very avant-garde, he mediated and they so-called took my hand off my head.
But they did not know exactly that being a photographer is not necessarily going to the store and the darkroom and so on and so forth.
To become a photographer, you can go to a school and become a photographer at school
Their opinion about photography was that there were two jobs that Muslims did not do at that time, one was photography and one was music, which was done by Armenians and jihadists.
I also went to the group where I was involved with the Armenians and finally he did his job.
We went to school despite any misfortune
Which school was it?
Vaugirard was in Paris where I had a lot of problems because Vaugirard was a school that trained technicians.
To go to big factories like Agfa, Kodak and places like that, but I was not that type.
I was looking for an adventure outside and I had a lot of problems with the school and in fact I left the school because my water did not mix with the school.
But I was able to take the various exams separately, and that diploma, which at that time was a certificate that
Even now, of course, everyone in France who wants to get a job has to go and get this certificate.
Which can be equivalent to an industrial conservatory or an art conservatory now, at that time because there was no art conservatory in Iran, this would be equivalent to an industrial conservatory
How many years were you in Paris?
I was in Paris for 10 years,
Did you study and work in those 10 years?
I worked, I went to a lab for 6 months after I left school
Which happened to be very important to me here, because I fell into the part where we were enlarging the photos by meters
This came in handy later on the national television of Iran, so-called for the first time I took a picture in Iran and I asked and we took it and stuck it to the wall
But there I did not tolerate much and I had a classmate named Christine Ruben at the time.
That we saw each other and I told him one day that I came looking for adventure but I got caught in this cove and I do not see the sun from morning till night
He told me that you wanted to be Jacques Roshan’s assistant, Jacques Roschon was one of the 4 greatest fashion photographers in France at that time, and fashion means Paris.
The studio was in the Champs Elysees, which means it’s so important, I went to Roshan and then other than the assistants in the lab
There was an assistant 1 and an assistant 2 on the stage and I went as an intern, now I’m joking that when I went there I was sweeping
At that time in France I was the first assistant to study
One day after 2-3 months when I was there as an intern, they came to photograph a piece of cloth.
The goal was to make it one by one, they did it with a lantern camera
Fashion photography was not done with a lantern camera, it was done with a Hasselblad camera at the time because of printing issues that were not as advanced as they are today.
But on a 4-by-5-inch lantern camera that had to be done one by one, the fabric size on the film was one-by-one.
As a result, the lantern was drawn and doubled in focal length
He came in and, for example, put an aperture that gave him 8, or, for example, 11, to take a picture.
We were shooting with octochrome at the time, I told him, Monsieur Roshan, you did not calculate the magnification factor.
Everyone laughed and laughed at what this trainee was saying and laughed at my beard
I did not insist anymore, but I knew that this movie would be black, black like the cover of your glasses, it would be black, I knew that this movie would be like this tomorrow
The next morning, they came and at that time it was a special laboratory and they brought the film and Roshan looked at it and saw that it was a black shadow.
There, Yahoo realized that the rap they brought had another story, and at that time they did not tell me Kamran, they only told me
Who said what you said yesterday? I said that because the circulation goes up, it should be a factor and it should be taken into account
He said, “Come on, do this.”
But since it was not a calculator to take the second root and multiply I do not know what to do, we did it with these engineering calculation lines
Now they all look at what this madman is doing, for example we put aperture of 11-5-6 or 8
They took the photo and the next morning the film came and it was great, from that day my situation returned and the second assistant who hit went to Chuck and assistant one and I became assistant one
The assistant had a strange reward, and that was that the mannequin, for example, had a salary of $ 10,000 an hour at that time.
Fashion photography, for example, 5 mannequins, that is, going to hell, the money that they were paid.
The flash also has a guide number, if you go forward from the source of light, it will decrease to the power of 2 lights, that is, if it is 100 in 1 meter, it is 10 in 2 meters.
This means that the calculation, which now has a special device, was a light meter at that time, but it was not a flash meter
We measured these with a thread that we tied every meter to one meter
But when the flashes were 2-3, that thread was no longer responsive, you had to sit down and walk around with this line.
And calculate that this light that shines because it was also octachrome means that now in the negative you can compensate a low and high aperture with paper.
But in your octachrome, you could no longer oversize a half-diaphragm or an aperture.
That is, it would burn a lot of light if it came in, and this could no longer be printed
There, the responsibility was very bad for me, that is, I could not make a mistake in any way.
That is, if I was wrong, there would be a major loss
I did not sleep until nightfall until Polaroid came and we could test.
I mean, every night I was worried that I might have made a mistake somewhere, my father came in, I did not sleep any night
Until the day Polaroid came and we were pulling the strings and counting and taking a Polaroid and now we knew there was nothing wrong with it.
The flash meter had not been invented at all until I was in France, that is, until 1968, that is, 1347.
Later, when I came to Iran, because Roshan was very interested in me, he gave me the first umbrella flash that I brought with me to Iran.
So I brought the first questionnaire cameras to Iran, I brought the first Hasselblad to Iran, I also brought the first umbrella flash to Iran.
I worked for Roshan 3 years ago and then we came to August 1968, which happened to be my birthday
I came down from the house to go to the studio, it was closed in August, then now, of course, because there are not many tourists, but it was closed then
I came to buy food when I saw all the newspapers headlining that the Russians had invaded Hungary.
The horrific photos of the Russian attack and the killing of Russian tanks, and the fact that the Hungarian security forces put them next to the wall and killed them with a shotgun.
The photos were horrible at all and I was very shocked there, meaning I said that Kamran Adl, you were looking for an adventure.
Now, your problem is that the fabric of the yellow skirt should be fashionable, the bra should be like this, it should be like that, your place is not in fashion
Roshoon came and the studio opened and I said that Mr. Roshoon, I want to go to Tehran
Roshan Yehu sat down and said why? Here’s good and these things, I explained to him
I said I will stay to train a person and come here and these things
But I did not go there to train anyone and for example, one month I returned to Tehran
What year was it?
It was 1347, it was October, Roshan had an accountant who was very deceitful in my opinion, he was all down and I hated him very much.
One bright day he told me why do you hate this man so much?
I said, “Mr. Roshoon, this person is not a righteous person, and it just so happened, and he made an account that Roshoon went completely bankrupt.”
And I think Roshan’s stroke was due to this shock.
It already exists that there are now 9 studios, that is, from the studio where the car comes to the studio, for example, this much.
Which is run by Roshan’s grandson, Sebastian Roshan, who I went to Roshan’s studio with Sebastian in September 2014 when I went to Paris.
Ms. Roshan also came, Ms. Roshan also loved me very much at that time and knew that I was from a very good family in Iran.
Mr. Roshoon was also a bit naughty, Ms. Roshoon thought that if I followed Mr. Roshoon, for example, I would travel to Normandy to take pictures.
Roshan does not dare to be mischievous in front of me if he was doing his job, it was also comfortable that I am
I asked Madame Roshan what happened after I left.
He said we had brought Christian, the one who had taken me, who was his so-called godfather.
And I saw a lot of crap, I said what happened? He said do not talk at all
Then I realized that in the history of Roshoon Studio from 1965 until today, for example, I am part of the history of Roshoon Studio.
They write a note there that this is the best assistant of Roshan. Now there are 35 assistants in Roshan Studio.
At that time I was a person, I was in their history and my young assistants looked at me like this’s that dude
Because my hair was white and at that time all my hair was black and I was beautiful and handsome
Many girls entered the world of photography that did not exist at that time
Part 03
About 6 months before I came to Iran, a small letter that was half an A4 page came to me in Paris.
That the national television of Iran has been created and we are looking for people who will come and cooperate with us
It was also signed by Mahmoud Jafarian, who was the head of recruitment at the time
This letter had also fallen on the ground and I put it in my pocket and came to Tehran and filed the photos I had taken that these files are still here, I brought these to Tehran
And at Mehrabad airport, at that time, a plane was sitting.
The hostess thought, for example, that I left a love here and said you want me to help you, and I said no, Dad, let go.
And I came to Tehran very upset, it was 10 pm when we arrived at Mehrabad airport
The customs officers saw that 2 things were so thick that in each of them I had about 40 photos, that is, 80 photos.
Which is not a number now, but at that time 80 photos were a lot of Paris fashion photos
They held me and started looking at these pages, Hassan said, “Look at these, Hussein, look at these, Asghar, come and watch.”
My brothers who were outside said why he stayed inside, they all left, to show that at 1 o’clock they finished their work.
I mean, they spent 3 hours with these photos, we stayed the same and there was nothing I could do.
My mother, in order to wash away this stigma somehow, because she was very friendly with Mr. Pahlabad, said that if we send her to work with Mr. Pahlabad,
That he’s a good term for the king’s son-in-law, maybe this stigma will be removed a little
I also went to Mr. Pahlabad with these files and Pahlabad also looked at them carefully, then said you should go to the movie.
We went to the movie section, the director of the movie section looked at them like this and said, “Mr. Joon, we do not know about this here.”
We will give you a photo roll with a flash to cut and take a photo
I mean, at that time, what was Iranian photography, that is, in 1945, it meant photographing a camera …. It has 2 lenses and a flash Brown. It was a book when I entered this country.
I came to Iran on a trip in 1963 and my brother Khosrow and I took a trip to the south
And there I had a little bit of the material photography situation in Iran
During my student days, summers when school was closed, I had a lifeguard exam here and had a lifeguard diploma when I was young.
In the summers, I would go to the pool of the French national railway team to drown
With the money for working that summer, I bought these two Hasselbladms
I knew that when I came to Iran, I did not have a lot of material things, so I brought a lot of photography films with me.
Then I did not work with Mr. Pahlabad, and before I went to TV, I told him to look at the Kayhan and Information newspapers.
And I went to Kayhan and saw that it was not financial, but I had a good relationship with Kayhan because my cousin Seyed Hossein Adl had become the editor-in-chief of Kayhan newspaper after Mr. Assar.
I had a good relationship with Kayhan and its photography department, I even bought them good cameras for them, sometimes I did something for them.
I also went to Ms. Peri Abasalti in the information newspaper, and she also welcomed me.
It was a lot of money at that time because my salary on TV was 1500 Tomans, this could be 400 Tomans per month for me.
Of course, this cooperation of mine with women’s information did not last long
And finally I went to TV and all the friends I already had in France, they all came and were hired on national television without my knowledge.
I came in with these files and Yahoo threw them around me saying, oh, Kamran Joon,
They told me to take you to Sirus Hedayat. Sirus Hedayat also had a family affair with me, but he was not my friend yet, so we became very close later.
And at that time he was the head of the TV movie section, the TV at that time had 3 episodes, the movie section, the technical section and the production section.
They each had a director, Mr. Peyman was the production manager, Mr. Mechanical was the technical director, and Sirus Hedayat was the film director.
The film part was photography, filming, lab, dubbing, editing and all that, it was a very big part.
It was a building, that is, it was larger in area than the other parts
Let me also tell you that I was not the only photographer who arrived in Iran at that time
At that time it was Massoud Masoumi, it was Reza Nourbakhtiar, it was Mehdi Khansari and it was Hamid Mossadegh and Farid Cinema
This was the number of photographers who were studying and present academically in Iran at that time.
Mehdi Khansari, because he was very rich and from the Farmanfarmayian family, went to Khuzestan to look for 1,200 hectares of land and plant work.
Hamid Mossadegh, who was a very prominent photographer, had one of the first Ranger cars and was the grandson of Dr. Mohammad Mossadegh. Unfortunately, he left his car on the way to Bam and was killed.
Cinema Farid went into commercial photography with Reza Nourbakhtiar and Massoud Masoumi
During the revolution, of course, Farid Cinema also left Iran, after those who had studied academically.
Masoud Masoumi, Reza Nourbakhtiar and I stayed, they went to the commercial photography department, but I came to the national television
When the national television answered my intellectual need, they took me to Cyrus
Because there was no photography at all, of course there was photography and photography unit and there was a person named Mr. Torabi who printed photos but did not photograph.
Everyone was very happy that a photographer was finally found, I was hired on the spot, that is, at that time
My files were also left there in Cyrus’s room and I was told that we had a recording tonight.
We have a recording of a show in Studio B for Farshid Ramzi, now you can count on me not having photographed on TV in my life
And I did not know what it is at all, now you, for example, go back and say that I have not photographed in the studio yet, well, they tell me how you studied photography.
They gave me a car and I came home and took my Hassel Balad and Pentax cameras and some Tri-X movies.
Because in my brain I knew I would not have that much light
It was night and we went to Studio B, the studio was crowded, meaning the studio was crowded
But it was playback, that is, for example, Googoosh was playing lips and music was playing from behind
The audience applauded, and they mingled the music the singer was playing with the sound of people clapping and cheering.
And it turned out to be a potion because people did not know the techniques of television, they thought it was alive.
There I started photographing, seeing a professional photographer still working for people.
That’s why photographers who are not photographers at all take so many poses, but know how to pose well.
They filmed me as much as they filmed the scene.
Now you think that this show was not live, the next day it was broadcast on TV and everyone watched the show, now not because of me, because of Googoosh and Abi and so on and so forth.
The people of Iran just realized that day that there is an animal called a photographer
I must be very handsome because I was really a handsome boy and I have some photos to show you and do not think that I am cooking
I’m not familiar with it at all, but every time I go to Facebook and sometimes I post a photo, it gets very crowded.
We were young and handsome, I had a beard and this was even more unfortunate because no one in Iran had a beard at that time
That is, in the street, everyone was looking at me and saying something insulting
The first thing I did, which was very important, was the pictures where Purdwood was still alive and died a month or two later.
I do not remember, maybe for example at that time I had not yet hired a TV, I was asked to photograph Purdwood
Purdwood was also a god of looks, fortunately in Iran at that time there was a shop called Photometropol on Lalehzar Street which was very big.
And he had an owner named Mr. Ahmad Mayel Afshar who was a very good man
At that time, it supported all Iranian photos
I brought the Tri-Eggs movie in 6-in-6 format because I so-called learned very well in Roshan Studio.
And I learned his lab tricks in Roshan Studio
Special appearance drugs with specific doses, because the drug we had that I knew about, for example, one glass was so big that it had 10 signs, each of which we used for one liter.
That is, in the light system, we would dissolve this in one liter of water, and this contrast would change dramatically.
What I did not have was the emergence tank because in Iran emergencies were like this, but we appeared on the rails in Paris
I went to Photo Metropol and saw that it has plastic rails, but the professional rails that we used to work on in metal tanks were not in Iran at that time.
I re-equipped Miles Afshar with professional equipment
Mayel Afshar was a person who was ready to bring new things to Iran and was the biggest help of my life in tools such as filters.
Mr. Afshar’s name should be alive in the same category in which we entered photography, because if it were not for Afshar and his intelligence, we would not be able to either.
I mean, I used to say on TV that, for example, I want a tank like this, it never occurred to anyone to order, but Afshar did it.
And I took Mr. Purdwood’s picture with the systems I knew
But since I did not have a laboratory, it was night and I went under the quilt and appeared this way, because at that time there was a hole above the emerging tanks.
I would pour the medicine into it and empty it again so that I could change the medicine.
And for the first time, a series of photos were taken in Iran, which was a special one
We took these pictures on TV and the recordings were good at night and we came home at 11-12 o’clock at night.
And tomorrow morning we came to TV and well now how to show the movie
I said that now is the second day of my work and they said how do you make the film now and I said that we will make the film in the tank of the emergence of movies
We took out the movies and saw that they are first class and I said that it is good to hang the rest of the movies in the same way when they appear.
And now I’m joking, Farshid Ramzi and the decorator and all of them had come back in the laboratory, it was the same delivery room
That everyone was left behind in the delivery room for this boy or girl to watch the movies
We made the videos and everyone did not know what the contact was like, in short, we contacted them and they said that oh, a contact can be made as well.
At noon that day, everyone on national television realized that there was a job called photography
Apart from public relations, news, buildings, the city office, and the production office, everyone saw that they needed a photo.
My misery started the next day when everyone wanted a photo
I was so busy that I had to go to work until 5 in the afternoon instead of 8 in the morning.
I was staying up late, my overtime was so high that they saw that, for example, 3-4 times 1500 tomans of my salary should give me overtime.
Unfortunately, they passed a law that overtime should not exceed half a person’s salary
When we got caught, 750 tomans from there and 1500 tomans of fixed salary, which was 2250 tomans of my monthly salary.
I traveled a lot for various TV reports
I must also say that the day I decided to come to Iran, I will cry again
I was entering an unknown world, I did not know where I was going at all
I came to a country with a series of wonderful names, Kurdistan, Lorestan, Sistan, Baluchestan, Persian Gulf, all big names
And in this land of Iran, I went here and there and I felt very good, that is, I had reached where I wanted to be.
It was in the winter of 1347 that Qutbi asked me to go to Isfahan with Mr. Lupushansky
My tears came open, which was the first time I had encountered the architecture of Iranian alleys like Yazd and Kashan, which were very amazing at that time.
And these thatched alleys were wonderful to me
You said who was this gentleman and why did he come?
Lupushansky came to find the location, I do not think that Iran was chosen to do what he wanted to do because I did not hear from him anymore
In Isfahan, I photographed that series of so-called ectochrome photos of Isfahan mosques and Naghsh Jahan Square.
I think never like that. There was no photography, these were never the views I had on Isfahan at that time
Another important event that happened to me in Isfahan in 1347 was that in Isfahan Bazaar I saw the environment of the Iranian market
There I discovered the Iranian market and decided to photograph the Isfahan market
Part04
One day, on May 7, 1980, I saw that the phone was ringing, it was noon.
Reza Ghotbi told me from that line that you also work on Fridays? I said yes, I have backlogs
He said go and take your cameras and go to Niavaran Palace at 2 o’clock, we also said eyes
I had a car then, I had a green arrow, it took a quarter of an hour from my body to our blood, which was twisted.
I came and took my house and my cameras and again I put some film in my bag and went to Niavaran Palace.
There, when you know that they were giving a name, he said, “What is your name?” I said my name is Kamran Adl
He said do you have an ID card? I showed him the TV ID card and he told me to open your bags, they did not understand much about what each camera was at that time.
He said click once so that it is not in the week, I did the same and fortunately the film was not in you
He also looked at the bag of movies and was escorted by an officer who was called to the Palace Special Officer, who had a lot of play equipment in the yard. It was a charity party garden.
Nobody knew me, but I knew them a little bit, for example, Mr. Hoveida and others whose photos I had seen in the newspaper.
I also stood in a corner and then Yahoo said they came and we saw that Queen Farah was
Everyone bowed and opened in front of me and I started taking pictures, the queen Yehu said who is this?
When he said this, the guards poured in and took me and took him back. A polar woman who was also a TV employee.
And he came after me to let him go, and Ms. Diba also came after the polar woman and said, “What is your relationship with Zia al-Muluk? Zia al-Muluk was my mother’s title.”
I said that I am his son, Yahoo said, “Wow, wow, I was beaten so much by that Zia al-Muluk.”
That said, the guards clung to me more, now I do not know why this was beaten by my mother
Do not say that she was my aunt’s classmate when you were a child, and well, these people were beating each other in the head, and I did not know these things at that time.
The guards let me go and took my hand off my head and I started to work easily
The next morning, when I entered my room, I saw that the phone was ringing at 8 in the morning, I picked up the phone and saw that Sirus Hedayat was my boss.
He says that the saints called him from the palace and told him to print all the photos for them and hand them over.
I told him that Cyrus John, this takes 3-4 days, it’s too much, he told me to put everything aside and stick to it.
It was a Friday ceremony, and then on Saturday morning, I printed the photos until Tuesday, and I gave them to Cyrus, and he left.
One week later, Reza Ghotbi told me to go to the Qandriz Gallery on Soraya Street on Tuesday.
Go there, the saints of Hazrat will visit there, to the Iran Droudy exhibition
Iran is a greeting that some people deny, but I think it was true that he was their friend from childhood.
At the same time, Iran Droudy was giving so-called artistic reports on national television at that time
I also went there and then Yahoo saw that Ms. Absolti came from the information newspaper and said hello Mr. Adl
Yahoo, I saw that my price had gone up and everyone was warming up with me.
Apparently, everyone understood, especially the journalists, that our price summary had risen from 10 tomans to 60-70 tomans.
Until the queen came and everyone bowed, I did the same and then I started taking pictures with my own system.
He started looking and then he also looked at a line between a painting and then he looked at me, I saw that he was looking at my work style at all
Because he had finally gone to Europe and seen news photographers outside of Iran and their work style
Well, this was the first time you saw that someone was working the way they do in Farang, now that flash and old equipment has come out.
Ali Pahlavi, the son of Alireza Pahlavi, who was already in love with Katherine Adl, entered Yahoo.
That Alireza also came to Paris when Katie was living in Paris, and I knew Alireza in Paris and had become very friendly with him.
In short, this Ali came in and said, “Kamran, and then the armpit and the kiss, the queen has given up and is looking at me and this.”
Oh, I scold him for this and tell him on the phone to let go, he also said no, Kami Joon, God, I will sacrifice you.
With a thousand misfortunes, in short, we were able to take Patrick (Ali) away from us and photograph him again.
By the time Shahbao said goodbye, he came to the door and the photographers finally took two first-class photos of me there.
The queen started talking to me that your photos were very interesting and very good and they praised me a lot
My rate went from 70 tomans to 150 tomans and went higher
They used to put movies and music on national television, they used to put photo captions between programs, and I used to take those photos.
At that time, people were slowly confronted with a kind of photography that they themselves did not know what
But the perspectives in those photos were different, the contrasts were different
The fact that you can see now that the Iranian people have more contrast photos is because I liked the contrast more.
We sent captions of all of Iran at that time because the cities were all independent, for all of them, from the landscapes of Iran, from the architecture of Iran.
And one of my main tasks was to travel to find the sights of Iran and the antiquities
For example, for the days of Ramadan, Muharram, and Safar, the photos were a little more religious, there was not much comment, there was a little bit of a mosque and tiling and things like that.
We came to the art festival, these are very important events that happened to me and to Iranian photography
Do you think, for example, that the art festival on the day the queen came was full of guests and that there was no ticket office?
For example, a thousand people or 2,000 spectators were sitting around, and a gentleman was performing in the middle, and I was taking photography poses like this.
People, for example ……. who is performing is not an interesting thing and they get bored
And well, they looked at the photographer more with such gestures, and in short, we were the first person down there.
By the end of the show, when important things happened there, as we went, the photographers went a little further.
I heard from behind me that the queen told Karim Pasha Bahadori, the head of her office, that she wanted Kamran to take a single photo of me in front of Persepolis because the lighting of Persepolis had just ended.
Karim Pasha came to tell me that I said I heard Mr. Bahadori × Let me find a place
Because I had to be trapped in terms of the lens, I had to destroy the perspective, bring it in and stick to it.
Also, because I have to shoot with a flash, it should be in a scene where I can flash light.
I was solving these technical issues and I went to explain to him that the victim of this photography will be done in two times.
Now, do you think that they all circled to see that the idiot, whom we did not count now, is talking to the queen and she is doing the same?
I explained that this is a two-time shooting, it is a flash photo and you should not move for 1 minute after that because I have the photo behind you.
For example, many people may not know about two-time photography until then, but this was the first time we were doing two-time photography.
It was there that I became a royal photographer
One night, for example, at 12 o’clock, you know the Eram Palace, which was at the bottom of the TV. Another time, the whole TV building was on, and
The queen tells Reza Ghotbi that it means all this, there is a light on, it means that someone is working in it.
Reza Ghotbi also knew that only we work and there is no one else, the editors and recorders and the others who do not work at that time of night.
The only person who works is the photo group, where the photos will be delivered to public relations tomorrow morning at 8 o’clock so that the reporters who come have photos.
He says let’s go and see who he is, then now you think that in the beginning of photography we were in mammoth underwear because the lab was hot and we were sweating and we were in September
The photography lab itself smells bad, they enter the lab and Yahoo says that Kamran Ko
My students, who still call me boss, tell them that the boss is still taking pictures.
While everyone is asleep, Kamran Adl is still working, which means that these were the credits we were adding to this community, what is it like to work?
I knew that if a picture went wrong somewhere, it would all fall on me
As a result, I photographed what was difficult and awkward and fatherly scenes.
We also hired other photographers from outside to cover the art festival
When I came, we had a laboratory under the stairs and they set a table for me in the room of the director of the film, Mr. Shahrad.
They also set up a table for the accountant, that is, in the room of the director of the film section of the accountant and I were with Mr. Shahrad himself
At the time I’m talking to you, the photography unit itself had two large rooms
We had a table in the front room for our archive, which was Mr. Shahbazi, whom I had hired
There was a table for me, for example, that I was never behind, upstairs was the so-called archive and storage room and things like that.
At that time, I had hired an assistant named Mr. Farzaneh, who is still alive
That Mr. Farzaneh was both talented and learned quickly and, unlike me, had very good relations with everyone.
Later, when the other photography unit became very large, in fact, I was actually the director of television photography, because I was always here and there, and it was Mr. Farzaneh who ran it.
I just signed the papers and if I was going to eat obscenity, I would eat obscenity, no one would come and say Barikla, but I ate obscenities well.
And I cursed so much that I finally gave up and came out, but the organization was spinning like this
I was the first person not to wear a tie in front of the king and queen anymore, everyone had to wear a black dress with a black tie like the waiters, but I went in an empty shirt
He worked for the press of the imperial court, Kambiz Yazdanpanah had become the head of the press of the court and announced that he could no longer come without a tie and suit.
We also told him to sit down and one of his meetings became my grandfather
When the second trip to the Soviet Union took place, here Kambiz Yazdan had become the press shelter of the imperial court, which was a friend and companion of Joon Juni.
The plan was to do something I could not do, and it culminated when we went to Sochi.
And they knew that in the program, for example, at 3 o’clock the king would board a ship with Brezhnev and go to the middle of the sea.
I told Kambiz to give me a car, I want to go there, he said you can not go and get on the ship
I said, “Sir, if I am a journalist and a photographer, why can’t I go?” He said, “You must have an invitation card and you do not have an invitation card.”
I went to Gharib, he also loved me, I told Mr. Gharib that this is his story, he said this invitation card, go
In Sochi, it started pouring cream, the car would not let me
So that as far as I could get myself to the ship, the ship had gone 3 meters into the water
Now I was greedy and angry, that is, he had reached me here and I was back
The night was a party and I could not do anything anymore, he was very angry, I had a cigarette in my mouth and I did not tie my tie properly.
The queen and the king greeted the guests in front of the door, I entered and Yahoo said that Mr. Adl
As Mr. Adl Yahoo said, as if I was on a spring, I jumped out, lit my cigarette and made my tie, and came back inside.
Did he say that you were made very miserable today? I also said, sir, if you think that you can make Iran with these creatures, you are blind.
This prevented me from traveling to Egypt and South America anymore
It was the Asian Games and I was sitting in front of the wrestling stadium, a minibus came and I saw that the queen got off with all her friends.
They came and I went inside the ship’s cabin and I got up and bowed from a distance, they left and, for example, they stayed there for half an hour and I was sitting outside.
When they came out, I got up again and bowed, and they went inside the car, the car moved and went 20 meters, and then the gear came back.
Fereydoun, whose last name I forgot and was my friend, shouted for Kamran to come and ride
We also went and got in the car where he was sitting in the front, I bowed and went to Fereydoun and he said that they are taking you to Australia.
I said that I dared, but it was not my fault, this was the pressure they brought on me, he said now it is over and
We went, we sat on the plane to go, we went to Singapore first, Kambiz Yazdanpanah said, “Because you do not have a tie, you can not get off.”
I said I’m not at all interested in being in the hot air of the plane I get off and stay
I came down in the morning without a camera and now who is the queen photographer? Well, I was, this one is sitting here and I in the same clothes yesterday and without a tie
He came and told me that now when should he go and take the pictures of the queen? I said the same tie photographers
It’s one of those idiots who spilled the cream again and in a meeting where they wanted to go somewhere I was not informed at all
I saw that with this TV and with this atmosphere and with that worldliness and with that Yazdanpanah and with a fish salary of 3,000 Tomans, it is no more.
On March 20, 1974, I said goodbye and came out
Samad Behroozan became the head of the photography department, but Samad Behroozan, who could not make with these animals, actually became the head of the photography department, Mr. Farzaneh himself.
They were all used to working with Farzaneh, the people we trained were all first-class and the best people in Iran in the laboratory.
I had made the best laboratory in Iran, I had drawn the plan myself
I mean, all that I had learned in Roshan Studio and later …… which was the largest private laboratory in Europe, I had brought on TV and I had implemented everything.
Because I knew the so-called special office and the head of the cultural office was Firooz Shirvanloo, who was a close friend of mine, I went to the special office.
That April, in May, I started photographing 2,000 carpets for the Carpet Museum.
At that time, I was paid 500 tomans for each photo I took, and for me, who was paid 3,000 tomans a month, see how much it costs to take photos from 2,000 carpets.
I photographed for all museums, such as the Carpet Museum, the Reza Abbasi Museum, or the book Chaharmahal and Bakhtiari, a book on the role of Iran in tiling.
And for 3 years I worked on performing these so that I became known as Gold Finger, every pressure I gave fell 500 tomans.
I photographed all the contemporary architecture of Iran because Farah Pahlavi was very sensitive about them
I photographed Chaharmahal and Bakhtiari, I photographed Yazd myself, I photographed Bushehr, I did these myself
I photographed Iranian markets, I photographed all the big projects in Iran myself
I photographed a big project for the Pahlavi library, some of which had Phototech.
When you went to the Pahlavi library and said, for example, I want a photo of Sheikh Lotfallah Mosque, they also checked my photo and handed it to you.
It was also a big project for which I had photographed about 50,000 frames
After the revolution, they handed it over to the National Library. The National Library took them and put them in the basement, and it seemed that there was a flood and all of them were destroyed.
I worked on a very big project with Kambiz Atabai called Persian Horses, with the Royal Horse Association
I took all the photos that were collected in Farahabad for their competitions, we were photographing their competitions
There, of course, for the competitions of these people, for example, I would send the TV staff so that they would also get some money, because the competitions were on Fridays, that is, I had brought my team back from the television.
I also photographed Turkmen Sahara and all this archive of mine was destroyed, of course, with the archive of the National Library, the archive of the Royal Horse Association was also destroyed.
Part 05
After the good revolution, I was very worried about our situation. Finally, I had an account and a book with a special office. I had slides and other things that I wanted to know about their situation.
One day they told me and I went there and then they started cursing that you are not ashamed that you worked with these traitors
The truth is, I was completely left wondering what he was saying, I am not a coward either, I started answering him one by one.
Then he brought us here and I said, “Sir, what will happen to our money?”
I told him to return the slides, they said we would not return them to you either
I also saw that it was full of guards and weapons. I said, “Sir, we are servants.
They came a little later and from the Reza Abbasi Museum, there used to be a special office there. They called me to come.
I went there and they said that we want to decorate the official calendar of the Islamic Republic in 1979 with the Qurans of Reza Abbasi.
Who was this gentleman? Mr. Masjedjamei was there, at that time I did not know who he was
Then I said that I will take my money first, they said no, you can trust us, we will give you your money
I said, “Sir, I owe a lot to the creditor here, whose money you do not pay me.
We still do not have a professional photographer, now only their number is large, but no one knows such works, at that time people like Masoumi and Reza Nourbakhtiar knew.
Reza Nourbakhtiar, who himself was in a bad mood because Bakhtiar’s cousin was the prime minister
Masoumi was the only one who could do this, but now it was up to me
They said okay * we will pay Polton first, I said no, you should give me that old money too
I took all my money and put it in my pocket and they told me to bring the Qurans for photography. Now those photographers are in the hands of Mr. Farrokh to scan because I took 4 by 5 inch photos with a big camera.
Were calendars printed?
Yes, the calendars were printed
I did not do anything else until 1979, that is, there was nothing I could do
I thought to myself that if I went and photographed Qom, I would know first-class architecture photography, first-class religious photography, and all the great mullahs.
I get up and go Now that people all over the world are talking about Qom, I am going to photograph Qom and then I will either read his book or do something else
I never kept my mouth shut, I talked about every project I had.
Yahoo All photographers started going to Qom and taking pictures from there, but because they were news photographers, they could not go into the depth of the question of what Qom is.
Imam Masoumeh herself, pilgrims, religious schools, the city itself and the people
My photos from Qom at that time became extraordinary contrast photos
It was the photos of the students’ cells, it was Mr. Shariatmadari, it was Marashi Najafi whose story is very interesting
I mean, I was photographing my elders and the way was open for me, that is, I had no problems with anyone.
My only problem and the only one I could not take a picture of was Mr. Khomeini, who neither I knew nor he knew me well, who are you, sir, who do you want to go and take a picture
One day while working in the shrine, I noticed that the sound of mechanical hammers was coming and they were destroying a place.
And I went and said, “Sir, what are you doing?” They said, “We are destroying the tombs of Safavid kings.”
In the afternoon, I was supposed to go and take a photo of Mr. Marashi Najafi, which means that it was not an appointment and I wanted to go there.
I was walking in the streets of Qom.
He felt that I was going to Marashi Najafi’s house, and well, a photographer in this alley can not be found in the back alleys.
I said I was going to take a picture of Mr. Marashi Najafi, he said I am his son, come with me
We went to Mr. Marashi Najafi and then he said what is your name? I said my name is Kamran Adl
He said what is your relationship with Haj Adl-ol-Molk, he had a very Turkish accent, I said that he was my grandfather
He said that I was friends with him, of course, probably because they were not related in terms of age
Respectfully, we sat there and took some first-class photos of Mr. Marashi
He was a very great man, he was very literate, and the library of Marashi Najafi is perhaps, perhaps not, in fact the largest library in Qom.
There are all kinds of books in it, it was not just religious books that I photographed from there
The evening prayer of Atabaki courtyard in Qom was performed by Mr. Marashi Najafi.
Shahriar named the photo that Mr. Marashi because he is in front and first gets up and then the backs and backs are all blurred and he is fixed and I took the photo on a tripod, Islam and movement
We brought this collection and then one of those who went to Qom for photography was Abbas Attar, who also took photos of this subject for a German magazine that I do not remember what it was.
Attar had come before him and looked at all my photos to see what the angles were, what the subject was.
I told her yes you saw my pictures and she said I saw your pictures? I took these photos myself
I said that I would tell you a story and there you would understand who copied from whom
When the magazine found out that I was the first person to take this photo, it says that we guarantee that their photos will be published because it was their photographer and they had a contract with him.
It was 80,000 marks, I said who copied it now? I could not send good money to my daughter there anymore
My daughter, who was a small child, was gone and I could not send money and my daughter and I were in a lot of financial difficulties.
Then I said to transfer this money to Paris for my daughter
Well, did that magazine give you 80,000 marks?
Yes, and they guaranteed that I would not print these anywhere
The problems did not last long because one day I said that I was taking portraits in Paris
I mean, the portrait photos I took of the girls are kind of weird, I take portraits at all without retouching and with modern photography techniques.
Now that all the photos are retouched, it is because they are illiterate because they do not know lighting.
With the right lighting and the right filter, you can take a photo without retouching it
In any case, I disagree with this because I believe that everyone’s face shows a life and a character throughout his life.
I said to myself that I can take a portrait like this, and photography like this has nothing to do with it.
Then again, because I was from a good family, and these were big people who preferred me to go and take pictures of them.
I started to do wedding photography, but wedding photography in the form of Parisian portraits
A wedding table that is illuminated, not just an elk
For the cameraman, I got the ones who were fired from the TV, they all got paid, they became the wedding cameramen.
Basically, we dismantled that system, that is, it was something else, people also dismantled us and took our so-called work.
But in the middle of this, a problem arose for me, and after that, they pursued my work and harassed me.
Unable to do anything, they would occasionally break into my office and tear up the bridal album.
The brides and grooms, who saw that there were a lot of security guards coming and going slowly, maybe that was their intention at all, so that no one would come to me and be afraid, we lost that job.
When I was unemployed * Now 2 thousand which is an exaggeration but I wrote 100-200 letters to all universities, libraries and everywhere that I have such an archive
Because I had photographed Iranian tiling during that period, I had photographed Chaharmahal, I had photographed museums.
I wrote that I did these things, I photographed the contemporary architecture of Iran, and in short, if you have a job, you need it, I have it for you.
Everyone was saying that the letter had reached us and unfortunately we did not want it
It was not too late in 1979, a letter came to me asking me to be the Aga Khan Foundation in Geneva and an established award.
In the name of the Aga Khan Foundation Architecture Award, and we ask you for a photo file to see how you photograph
Because I did not know what the subject was, I took a series of photos of modern and contemporary architecture.
I had taken it for a special office
And some of my own photos that I had taken from the mosques were mixed, so I sent these to Meng Meng in Geneva and these are Achmas, who is this other cove?
Now what is the story? The Aga Khan Foundation is forming a committee that had a good name. This committee was there every year and it changed every three years.
New people came to study their so-called policies, one of them being Renata Holood, a professor of the history of Iranian civilization in Pennsylvania.
And this Mrs. Holood was in Yazd for a long time, and Mr. Mashrooteh, who was a Yazd scholar, loved her very much.
Ms. Holood says in those currents that if you want a photographer, there is a person named Kamran Adl in Iran, that photographer is prominent and it hurts you.
For this reason, they asked me for a file. One day, a letter came to me that a gentleman named Samir Abdolhaq Vali was coming to Tehran in French.
And the city of Isfahan is a candidate for the first period of the Aga Khan Architecture Award, it was held every 3 years, for example, in the years 80, 83, 86, 89, 92 and so on every 3 years.
His money was in dollars, then he came to Tehran and they wrote to me to work with him
The Italians had planned for Naghsh Jahan Square and its surroundings and started like Eight Heavens and all that.
And I was going to shoot this, they brought the film because we were short of access to the film here, there was a revolution here too
And we were in dire need of raw materials, so when they said this gentleman was coming, I said bring me so many films, I do not have films here.
But then we went to Isfahan and then to Yazd and Bandar Abbas and all of them had a plan for the Aga Khan archive that I should photograph something that
For their archives in the future, if they want to bring a book, they can use these
Then my salary turned into dollars and I opened my hands and heart a little, which means I could take a breath.
In 1983, in 1962, I became the best photographer of the Aga Khan Foundation
You see, the system was like 400-500 projects, for example, they sent their own photos.
Out of these, 30 projects were selected as finalists. These photos were taken to the Aga Khan Foundation, where 12-13 finalists were selected from our photos.
As a result, the photographs we took at the time were 1: architectural analysis photography and 2: beautiful architectural photography
Later, when I got into award-winning architectural photography, all the buildings I photographed won the architect award, and I became the first recipient.
But there was a so-called series of photos about the Aga Khan issue, with 135 taking pictures of the whole building and its good and bad.
For example, it is cracked outside, there is a hole there, water has returned there, we had to photograph a building that is at least a year old.
In this respect, they had a special faith in me in Geneva, so that the name of the head of our architect magazine, who was an American whose name I now forget
In the very first year, he said that Kamran himself had such an understanding of architecture that you do not need to send an architect to do this at all, let him do his job, he knows this job.
I mean, I was only the first year that I worked for the Aga Khan Foundation during the 30-33 years that I was, only the first round of Samir Abdul Haq
Of course, he was with me in Tunisia in the second round, and now I will tell his story
In short, then we went there and I was told that I had to go to Paris first and get some equipment there.
Then I will go to Tunisia, where I will photograph 2-3 projects, which I am sure of.
It was a building in the Tunisian market, Medina is called the Medina that was rebuilt.
And a French woman named Dorothea Vozel was in charge of the expertise on behalf of the Aga Khan Foundation
Then we went to the top of this building and saw that Samir Abdolhaq of Iran also came to us, who was covering a neighborhood.
He came a little early, before I finished my work there, we hung out for a while and then he said that I wrote a very detailed report on our trip to Iran.
That document is a document that is now being photocopied and given to every new person who enters the Aga Khan Foundation.
How should a photographer work with an architect and an architect with a photographer?
Then I came back to Paris, UTA was one of the best airlines in the world, which is no more
It was an airplane specializing in flights to Africa and Australia, where we boarded a plane and flew to Niamey, the capital of Niger.
They had a building that we photographed, and then the Chigal neighborhood, a project that American and Canadian NGOs that are full in Africa are proposing.
These two projects were not acceptable, but it was very interesting for me to come to this part of Africa for the first time, and I took amazing photos, and I was taking a series of photos for myself at that time.
We went to Dakar in Senegal, it was interesting for the Aga Khan Foundation to see the condition of a building that won the award 3 years ago, now
I went to re-photograph the project I won three years ago
I did not do a lot of photography, but look, for example, the UN Cultural Center, which is UNESCO, is in Paris, FAO, which is agriculture, is in Rome.
But the United Nations also has an architectural foundation in Dakar
Then there was a high-ranking employee whose home is on an island near Dakar, which was an important part of the French navy.
That is, it was at the entrance of Dakar port, the balls that have, for example, 15-meter pipes were there, they took us there.
Also, this island was a place where there was a prison and all the slaves they took in Africa were brought here and here. This was the last base of these slaves before they were taken to America.
From the architecture there, I took a series of photos that are historical, which means that you are absolutely amazed by its beauty
After that, in this series of missions, I had a mission to go to Mauritania, a city called Rousseau.
Rousseau was the largest tin town in the world at the time, then the Swiss built a building here, a complex that also made it to the finals.
And I had a mission to go and photograph this building, we passed a city called Sanlui
Here, in ancient times, before the African countries became independent in 1960, the city of Sanlui was the capital of the coast.
It means a unique architecture that they now understand and are rebuilding because a lot of tourists go there and it is very beautiful.
In short, we went to Rousseau, Rousseau is next to a river called the Senegal River, which means that it is so wide that it is the size of a sea.
I mean, the most beautiful photos I have ever taken in my life are the ones I took from Senegal and Rousseau.
After that mission we came back to Dakar, where I met an architect named Raoul ….. who was a Dutchman who was actually a first class African.
He rode his bike across the Niger River, he was a big man and he was very first class and I loved him so much that he was a good man.
We boarded a plane and went to Bamako, the financial capital, from Bamako we went to a town called Nino which had a mosque with African architecture
We also photographed Nino, and in these projects that I photographed in these trips, only the neighborhood in Tunisia won the award, and the mosque in the city of Nino
From there, about one and a half minutes later, we boarded a plane and arrived in Algiers (Algeria).
Where is the face?
Al-Jazeera is the capital of Algeria, the Iranians call it Algeria-Algeria
Your place should not be empty. When we entered, Raoul went ahead and I followed him. I had obtained an Algerian visa from Tehran, which was signed by the ambassador himself.
As soon as Raولl passed and I followed him, Yaro told me to come and stand by him.
Sir, we saw Yahoo, they threw 5 clubs at my head and dragged me to prison, which was a strange game.
In short, we were there at 6 in the morning until 2 or 2 o’clock. They came and said, “Sir, come out and the plane was standing in the middle of the runway.”
Then the cameras were on me, they gave them back to me, 3 soldiers with guns and 1 sergeant in front of us like this
Then they took us upstairs and handed my passport to the captain and told me to give him his passport when you left the Algerian coast.
You mean, like, saltines and their ilk, eh? Were you fired?
I was fired
Why?
Because I was Iranian, I was put on a plane there, we arrived in Paris, the weather was cold and rainy and we were miserable
I stayed in Paris for about 4-5 days and then I came back to Geneva because I have to go to Geneva for all the movies and face.
I will deliver them
You mean, like, saltines and their ilk, eh?
Yes, I can settle
Did you keep the photos you took then for yourself?
No, for example, I took 4 cameras from them, in fact I took 2 cameras for them, they wanted some black and white and some slides
And they had 2 cameras, one camera I was shooting my Agfa movie and I knew that there was Agfa movie in this camera.
I took a lot of photos of myself on that trip from Africa, I also took some first-class photos that I have
We came to Geneva and it is interesting that when we came back from Africa and that misery and filth and heat, it came to Geneva and it rained, it rained when I could not sleep and then I returned to Tehran.
Part 06
This book was supposed to be one Persian and one English, but as I said, what they did not realize was that
I had written all this in detail, the repairs of the domes, how they make tiles, I had written everything in detail.
And 3-4 years ago, I went to Isfahan to photograph the reflexes of Isfahan. A woman and a foreign woman took a taxi.
I was sitting with my camera bag, this lady came into the meeting and said, “Are you not Mr. Kamran Adl?”
I said why, I am Kamran Adl, he said your book is the greatest guide of all Isfahan tour guides, we show people Isfahan through your book
Of course, the circulation of the book is over, the tour guide has also increased, but that book caused them to find the holes in Isfahan where it is, and at least this book became a reference.
I am the books of Shiraz, Isfahan and the books of my Iranian merchants, that is, 3 of my books are so complete that they became the reference book in this country.
At that time in 1350, I had started the Iranian markets for a long time, that is, I had started the Iranian markets in 1348.
First, I started from the west of Gilan, and now that I have it, it has reached the Turkmen Sahara
Next to the fort I saw the Turkmen day market, the day market was generally very colorful.
Because they were cloth sellers and fruit sellers, and women at that time wore beautiful clothes, that is, they were extraordinarily beautiful at all.
But these in Gilan were very different from the Turkmen of the Sahara, whose jewelry was different, and other things.
For example, men in Gilan and Mazandaran wore tight-fitting suits, their wives had characters.
But men also had characters, whether in terms of beards, in terms of those Turkmen hats, or in terms of faces.
And that was the first time I had just discovered Turkmen Sahara outside
Too much I photographed in that day market in the Turkmen Sahara
This means that these Turkmen-desert photos have a lot of style and character
The reason is that Khomem or Pahlavijeh or the monastery were small villages and now they became big cities, they were small villages at that time.
I wrote in the book Iranian Bazaars that girls were beautified and dressed well
In order to take a look at one and that is where, for example, Margir comes, the screen comes, there are many more activities.
But in Turkmen Sahara these were not things, their ordinary clothes were tense with their own characters.
But so many of them themselves had a style that I got a collection and got a first class
For the first time, I came across a corner of the Turkmen desert that I realized had many other things behind it.
And I went to Turkmenistan three more times for photography, which I have to date and talk to you about.
In the 70’s, my book Isfahan came out, finally it was in the year 7-71
In 1969, I took a photo in black and white for Soroush’s calendar
That I had photographed Isfahan in black and white films based on the theme of light.
For the first time in Iran, what I did not know at the time, I printed in black and white.
They print the photo in gray at once and then print a black one on it to create haftones.
These are two’s.
Not that the tram does not come in white and not that the tram does not come in black
In black and white photography we say that we do not have absolute white that is 100% white, we do not have absolute black that is black.
That is, we must have details in our absolute white, we must have details in absolute black
I had a calendar that was very beautiful, the pair was the same as the square, and it also ate Hasselblad. I photographed it because the memory is moving
In Soroush, it was a good idea at that time because they should come and do good deeds, but these drugs that we mentioned on our TV were in Soroush.
In the book of Isfahan, I explained to you what happened to us, this time on Soroush’s calendar, we did not leave the calendar in the hands of that group.
I made everything myself, that is, those calendar pages
And I wrote it myself, I wrote it all myself with Letters
And I did not let the graphic designer go there at all, he also wanted to make fun of what I knew
This is how my work with Mr. Firoozan, who is now the head of Book City, began
When they did this filth, I told him that if you think you can deal with such people, do not take care of yourself.
For this reason, please terminate all the rest of my contracts with Soroush right now
That poor man also terminated all my contracts there and he left 2-3 months after Soroush.
Firoozan was very kind and he was a very first-class person. When we printed this, in the printing house itself, they said, “Sir, what are you printing?”
So Mr. Siar took it to France, for a trip he had taken there, he had taken it and shown it.
The French themselves said, “Does such a thing go down people’s throats in Iran?” He also said that when we print it means it is going away
In the 70s
The seventies?
In 1370, the great works that I did, of course, I had published the book of Iranian markets at that time, the book of Isfahan was either under publication or had been published.
I went and photographed Shiraz, I had some money, as a photographer, if I did not have an income, I could not go to Isfahan and get a hotel for 15 days and take a photo.
Because the hotel there is at least 200 thousand tomans a night, it is the most common
Now the numbers are astronomical, but in the 70’s you could still go to Shiraz and get a hotel there and stay for 15-20 days and take pictures safely.
Especially since you do not have much time for book photography, you have to let go of its flow
I photographed the book of Shiraz, it became very first class and I rewrote its contents myself and extracted it like Isfahan
A book is like a novel, that is, it defines the story in the form of subtitles
But this time, like the Iranian markets, I did not come to put this under the photos, I took the book first, where it wants to enter the photos section, I brought the subtitles there.
Expenditures on book printing One large figure is the cost of lithography, one large figure is for paper and one large figure is for binding, printing itself does not cost anything.
When we sell the book for 5 thousand tomans, it means 2500 tomans
That is, the book ends at 2,500, you make the price 5,000 tomans, because 2,500 tomans have been spent.
At that time, out of the remaining 2,500, it gets 10-15% of book sales, 10% gets distribution.
I mean, in the end, as a photographer, producer and writer, and instead of the money I spent on travel, I get 30% as a producer and publisher.
When I finished writing for the photos, I went to Mr. Rahbari, who had become the head of Ahvaz Steel in the post-revolutionary period.
He was an architect, an intellectual, and he was then the head of the Petrochemical Cooperative
I went to him and said, “Mr. Rahbari, I did the same thing in Shiraz, but I do not have enough money.”
Said how much money he wants? I said that I have 2 million and 500 thousand tomans, he said that we will give him another 2 million and 500 thousand tomans, I said thank you very much
Mr. Anvar, you can not believe it at all.
In the 70’s, I photographed the book of Shiraz, but I also photographed a large number of Persepolis.
In fact, I wrote in another place that you shake my hands and feet when, at least, I am like this, when I enter your bed.
Oh, how can I photograph a story of this magnitude, who are you at all, that is, I am at least about the throne, every time I enter there, I get confused.
I remember everything, the technique and the form and everything, I took a very, very beautiful photo of Tachara.
From a window in Tachara, in 1348, when the 48th Art Festival was over and I was left in Shiraz
They then told me to take a picture of Persepolis for the 1349 Art Festival poster.
Anyway, at Persepolis, I have to go and look at my pictures, but I do not think I made the moon
But in 1978, I think I took a series of photos of the game with form, light, andraxpos, and these in the slide.
Of course, now that they have covered everything and They got dirty and you can no longer take pictures
And this sun has been shining for 2500 years, and now these Yahoo have forgotten not to let the sun shine, and no other photo can be taken of Persepolis, but fortunately we have some
Part 07
In the 70’s the truth is I have to go and look at the archive and see what important things I did
But I think it must have been in 1375 that I entered a very important period that is very important in the history of Iranian photography without them knowing it.
I photographed the Museum of Contemporary Art, I photographed all the sculptures
And especially the photos of the English sculptor whose name I forgot and whose sculptures are in the Museum of Contemporary Art
These were modern sculptures bought by Farah Pahlavi and are on the grounds of the Museum of Contemporary Art.
And I later re-photographed them for the Museum of Contemporary Art during the Sami Azar period.
I had gone to buy Istanbul potatoes, I found Yahoo and took out a potato and saw how much this potato looks like the sculptures of this sculptor in the Museum of Contemporary Art
I said that if this is a potato, it should be like this again, I brought the potatoes here, that is, I brought them to the studio
And I started making these very special lights, so that they would come out of the original state of the potato and become another object.
While photographing, with special lighting and appearance, and special printing, I made these look like potatoes.
And I turned them into modern sculptures
One day I had a few of these in my hand and took them to the Khak Gallery, which was our hangout for the municipality at the time.
Ms. Baradaran saw this in my hand and said, “What are these?” I said this
When he saw these potatoes, he said you should have an exhibition, I thought it was a stupid thing to exhibit
Because I said these people see my pictures every day and 15 million people on TV.
And I do not need to come here now, for example, for some of them to come and see
At the insistence of my brothers, I made these in the size of 30 ۰ 40, 35 pieces
In the same way that it is here now, we made passports for them, because things like that had not been opened at that time.
I sat down and wrote a review for this, but at that time no art journalist came at all to see what they were.
The only place I could print it was when it came to Peacock Magazine, it was number one.
And I wrote this with him, but as I’m interviewed, I gave it a peacock style.
Gentlemen, that day, the nation collapsed and Yahoo was confronted with a new confrontation with a photo
Before me, Ahmad Aali had put up a photo exhibition, after that Reza Nourbakhtiar had put it in an exhibition period.
Golestaneh also had a photo exhibition in Seyhoun Gallery before the revolution
At that time, Firooz Shirvanloo told me to go there and select a few photos, because Firooz Shirvanloo was working on a specialty basis.
He was the head of the cultural office and Firooz Shirvanloo bought Iranian paintings. What a great man he was and how much Iran owes him
For example, consider that Reza Nourbakhtiar, I think, had left this exhibition in 1350 or 1952, and he was excellent, maybe he did not take it at that time.
But the night I left this exhibition, first of all, all the photos were sold out
And these people were so surprised by these photos that what is this and what is this
They also asked me some stupid questions, for example, sir, you peeled the potatoes yourself, they said no, sir, for example, you peeled the potatoes yourself.
I myself did not know why these potatoes looked like this.
Later I found out that you are due to poor plowing of the land, that is, if the soft soil is soft and first-class, Istanbul potatoes will be (smooth) this way.
But if you plow awkwardly, wherever the soil is looser, the potato goes there.
For example, Mr. Sanati Zadeh had come at that time, and this other one touched me
All the sculptors had come and Sanati-Zadeh came with Abbas Mashhadi-Zadeh, took my arms and brought his face forward.
I thought he wanted to rub with me, I went to rub with him and saw that he kissed my shoulder
Then he came and this one kissed my shoulder, I also knew Sanatizadeh from Kerman well
I told myself that Kamran Adl has made a card, that is, it was hard work, that is, you went and stood on this step
You have to be careful and you have to go up, the French have a saying that
They had put the jump line very high, and mine, for example, I thought that in one meter and ten centimeters, Yahoo had gone one subway and ninety-five.
I mean, I did not expect such a thing at all, in fact
At that time, the National Assembly, which had caught fire, was being rebuilt, and the Islamic Consultative Assembly was being rebuilt.
At that time, I was photographing the progress of the work of these two parliaments
One day as I was walking towards the new parliament, I saw a wire falling on the ground that looked like a dancer.
I cut it and saw that it’s amazing, and I went back to the same idea of potatoes and said, if it is, it’s still like it.
I came back and picked up the wires, you can not believe it was so wired
Where were the wires?
It was spilled on the ground, now what were these, the cement formwork, when they made 2 wooden walls, they threw it with wire wires, and then they did it like this, this formwork was empty.
Then, when they came and poured concrete on it, the wires were pulled.
These wires took on a different shape, and so did their heads.
Then they would come and cut them with scissors, and they would throw them on the ground, and then the scrap would buy them.
Nothing, I brought these home and cleaned them and washed them and left and saw that it is itself, that is, it can not be better than this
I put on my second exhibition of these wires, all of which were ballerinas and dancers
This stone is for the same work, there is a hole there, on the bases like this, I put the wires in the exhibition so that people can see the original material.
Based on the fact that photography is a kind of seeing, how can I tell you, it requires a very large visual power
That you can see in a potato, a modern sculpture, which are still there
To see a ballerina in the wire that has fallen there
There and then I sat down and wrote a text about these wires, which I already have in his diaries.
And at that time there was still no email and these and we had to send these by mail and I delivered this to the newspapers
The newspapers only needed to add a comma and some of these things and said that yes, Mr. Kamran’s exhibition is justice, and then they left my own text.
And it was there that I first said that photography is neither an art nor a technique, photography is a feeling, so if you are not a photographer, you do not understand
I mean, what is that feeling? Even in the cinema, for example, those who work in documentaries say that we want a movie about a certain chicken, they do not appear on time.
He can not write a script in advance that Mr. So-and-so and so-and-so must go and see what material he finds, what document he finds, then sit down and write a script based on it.
We are not there either, that is, he is not supposed to come and tell a story in such a way that there is music on it, there is talk, that he wants to understand
We give a picture that he has to understand himself, under it we can not explain what it is like
The catch is a photographer of form and light, this photographer, the person who is working, is a prominent person who sees that time and place in a timely manner.
That time and place is lost to thousands upon thousands of people
For example, when you think of the movies you watch on TV about misery, what do you think catches you?
The photographer has to see that moment, he has to capture that moment when he inflicts the shock, that he inflicts that shock on himself first.
This is where I come in again that photography is the hardest job in the world, because it has different parameters.
One day, as I was walking down Shamron Street, we saw some people gathered and one of them had an air rifle and wanted to shoot in the water.
I said what are you doing, they said we are shooting at mice
In the pits I saw some cans, it was here that I picked up these cans and brought them inside the pits, and again because they were very dirty, I washed them.
But the issue of cans became much more difficult, because there was a place in the wires where we put this light to show this dancer in the best way.
The same was true of the potato, the potato showed in one place that it was a living thing, a human being, or a sitting person.
But the can is 180 degrees like this, 180 degrees like that
You have 180 to 180 angles of light, now where do you want to go and stick to this, what is your choice?
That is, at infinity, 180 to 180 degrees, you have the right to choose the light
If you have 1 projector, if you want to go to 2 projectors, this can be done twice.
There I fell in love with these cans and played with them, which was very difficult.
I also exhibited cans, they were all in the same mix
– Did you exhibit these?
These are all exhibitions, all successful, all of them were sold
– Did you print 1 copy of each photo? Did not have an edition, for example, 5?
It was a don, it had no edition, at that time we used to say, sir, this is the same one, I was bored to reprint it and I did not have much, I could not even think.
Because you know they had a painting because they only had one work, a painter who could not copy, they had a lithograph, but we did not have a lithograph.
It was the first time that a photo was ever introduced to the community and sold, you see, and others were left as it is.
That is, until now, no one dared to leave a photo exhibition
One thing that was very interesting to me was how people reacted to these photos
I mean, they came in front of these photos and they were stunned, I also stood in the distance and looked at them.
And they wondered what this wire was, but they understood the situation, they also understood the potato, there was a bit of a problem in the cans.
If you can find the best place for the light on the form, it means the end of time
I say why I do not take pictures of nature, I say that we came and I reached a place where I saw the view is very good
I have to sit there for 24 hours to see which one is better, it is not like a potato that I do this and that by my own will, it is the will of God
I was not in the cans at that stage, but I had the problem of light and form, and now that light and form later had many direct interventions in my life.
It was over, I was saying at that time that I was complaining to everyone that the gentleman is the photographer who comes out
You all sit in the studio and you are lighting, so step in and come out
And I took the holes that the mice had, but I did not catch the rats, and I took the can
But the next year I went back to the mice, how the mice in Tehran see Tehran.
This did not work at all for the university and jokes and such, because his writing was very funny
The mouse is on the ground, so I have to shoot in a way that is on the ground
It was not one of those cameras that we could look at like a digital camera and put the camera on the ground.
And it was hard work to focus, so my technical decision was based on putting a supergun on my camera, which is Fisheye.
You know that the fisheye is round, but there is also a fisheye that if you set it correctly at 180 degrees, you can flatten everything.
But as soon as you give it an angle, it either rounds like this or like that, but the depth of field can be very large if you go at a high depth of field.
I put the camera on the asphalt because the exposure was too high and because the aperture was too closed.
Then people would gather to see what he was doing, which was the funniest part of my photography career.
Berg Gallery was closed at that time, so I took it to Laleh Gallery, in Laleh Park on Fatemi Street today.
And I put this exhibition there, which was very good and no one thought that a gentleman, for example, a rat can see the city of Tehran, I will give you all the photos of these
Each of these shows the perspective of the photographer, now I do not call it art.
For me, art is where an artist creates something out of nothing, now it’s a piece of music, a sculpture or a painting or something like that.
But we photographers do not see ourselves as artists
beforeIt was the mice, the glass, the story of the glass goes back to 1348-49, the table of the best discotheque in Tehran is the same table that I have here, black as a mirror
We put candles on the table and poured ice into the bowl, while I was in Heparot.
And the hands that I saw picking up this ice and pouring it into his glass, there my photographic click worked for these hand movements with these ice
We came to photograph this story, but the technique was very difficult. First, I went to a factory and found pieces of glass that can be seen in the photos.
Well, this is the first piece, the second piece is the hands, and the third piece is light.
What we could not do anymore was that we could not work with the flash light
After a little test, I realized that, sir, we are going to give this glass to a girl who has very beautiful fingers.
Wherever I went, I said to see your fingers, girls, all beautiful fingers, finally we found the beautiful finger and came
With Hasselblad, you know that we can take pictures twice, that is, it has a screen and a shutter, and two of them have the same time.
If this screen is not closed, you will not see the object in the Hasselblad viewfinder, so you must first close the screen so that you can see in front of the object reflex and focus.
Then close this one to hold this memory up and the other one with that one
Our time was when someone was turning on the light. I was in the viewfinder, when the screen was down, I was focusing.
Another girl had it behind a match, I said turn it off, the one who turned it off would hit it and light the match right behind that glass
I mean, until this explosion happened, I would close the shutter, that is, we were ….. in fact, because if the speed is a little late or soon, we might not catch it.
But because it was dark everywhere, I would say hit and as soon as it hit I would close the shutter, we would take pictures on this technique and they would be a ball.
In fact, it was an idea we developed, that is, it was worked on
– Why do you say that this is not art?
You see, when I see a potato, it is an observation
– Now you saw and others did not?
Well, this is observation, not art, art, in my opinion, is something that
– I’m talking about these glasses, you dominate the camera and then you find a glass
Okay, I’m still photographing that cove
It might have been easier to work with the 135, I could adjust it and say turn off the light and get the job done, but the 135 would not work for me in terms of forms.
That’s why I took it with Hasselblad, if it looks like Snapshot, but it really wasn’t Snapshot.
Part 08
The story of the cats started completely differently, I also have a very beautiful text that I wrote and it is on a CD and I know where it is and I can give it to you.
The story is that one evening I will cross the boulevard of the Ministry of Agriculture, as they say, a farmer
There was one of these garbage dominions on 2 columns, then I saw there was a cat in his wolf
A cat came on top of this trash can and went inside.
After a while I saw that this cat came out of that garbage dominion and something was in his mouth and he ran away and went to a corner to put an ointment on his stuffed belly.
The subject stuck in my heart and I said I had to work on the cats
I write that the Persian cats that are famous everywhere, these cats are not the princes that you see in the arms of all women.
They make food for them, whisper to them * They say, “God, sacrifice to you,” and then they put the food in front of them.
This one also comes there and eats food and makes himself like this and leaves and at night he comes and sleeps next to the landlord until the morning under a warm and soft duvet.
No, the life of cats is a mafia life, which is a series of very stubborn cats like prisoners
That these weak cats go and find food and must bring it and put it in front of the master, find less food in the fight and those who are compatible eat together.
And the same goes for sex, which means that a male cat is not like that who can go with a female cat, he also has a master there, he has a boss, he beats him.
And their life is mafia and they live under the stairs and clutter, I wanted to see what life is like for stray cats.
I put the reality of the life of stray cats and took some first-class art photographs of them and put on an exhibition.
But we put this in Elaheh Gallery in Jordan
At that time, Pejman Rahbar was a friend of mine in Hamshahri newspaper. Pejman Rahbar sent a reporter for this exhibition.
Hamshahri is bought by ordinary people, the next day we saw how many visitors there are in this gallery
I said, oh my God, all these visitors come to Hamshahri in the morning on the first day and say that these stray cats are the crooks of justice.
All the cat lovers in Tehran were dumped there and I saw that they were standing there in astonishment and saying, “Oh my God, I will go to your sacrifice and the sacrifice of the cats’ alms.”
I said who are these people and then finally someone came and said that you are also a member of animal protection
I found out that there is support for the animals that are shed here and they are looking for these cats more.
But again, as usual, our so-called cats sold very well
After the cats, I put on an exhibition about the August sun, because we were entering August.
I go back and say that when I came to Iran, which was winter, I was photographing well and everything was normal and the lights were very good.
By the time we got to August, I saw that the photos were the same, the photos were not the same.
There was no one for me to go and ask him why my picture looks like this, sir, I was the one who had to solve this problem.
Later I stayed in this subject until one day when I was working in television, one day I was photographing for the technical office, the architecture part of television.
There I noticed that on the maps, all the light that these give in the maps is 45 degrees
Then I realized that we no longer have 45 degrees of light here, here we go back to the same observation
Here we find that we in this area, because you donkey go north do not have this problem
France, which lies south to north of Iran, you know in terms of latitude and longitude is the same 45 degrees
Because it ‘s our north, I did not notice this light current the whole time I was working in France.
But now I came to Iran and I see that our contrasts are blurred, the shadows are blurred and I did not understand why this happened
July and August Boop, and August Because I was born in August, the sun of August had two aspects for me to do this exhibition.
Especially since in 2000 the last sunshine on August 20 was my birthday, which means it could not be better.
Let’s find something
As a result, I started photographing this August sun, and I photographed exactly in the month of August, that is, from the first of August to the 31st of August.
I did not let it be here one day and there one day, and I photographed this violence of the sun, which means that it is really cruel.
You can take pictures from August, but at 6-7 in the morning, the next 8 in the morning is a holiday photo, that is, photography is complete until sunset.
Let me tell you one thing, it starts from the end of June until the middle of August, when you can photograph the northern facades of buildings.
Because the sun rises from the northeast, it rises from the northeast, and the winter is reversed.
As a result, when the sun rises in the morning, you can photograph the northern facades.
That’s why I started photographing this August sun, and now it’s a bit untrained, I calculated what day it happened that I was born on the 20th of August.
I went to the gallery and hoped that I should hold an exhibition on a day like this.
Then there was an eclipse in the middle of which I unfortunately lost the film, at that time my back hurt and everyone came and told me, sir, how to photograph this eclipse.
I said, well, now I want to take a picture on the 20th of Mordad, what should I do?
My sciatica also hurt, we made the lens 1000 mm and closed the filters on it, but I forgot that it is August 20 and the sun is no longer there and it is high.
I came out and saw that oh, how can I take this photo up there, you do not know with what pain and misery I took this lens up
And I photographed the sun of August there as well, but unfortunately its films were lost, but I have 3 original photos of it.
His exhibition, which was, as usual, grade 1, written by Aftab Mah Mordad, was very political, because I used to say that I loved Mordad until I was a child.
But the last month of August, when I came and went and entered the school, at that time the Sultanate had expelled the mass ministers.
And my dad took the mass ministers to the cabinet, and at that time, because all the teachers were masses, I went to primary school.
They took my father out and beat him severely, and I hated everything in school in general, from there and the beatings they inflicted on me.
And I did not understand why they beat me so much, of course, later when I grew up and came to high school, the first high school, at that time my strength had increased.
My skin was thick, it happened on the 28th of Mordad, then I used to beat the teachers, until then we used to beat them, now we used to beat them
After the August sun, it was an Iranian garden whose story is very long
There were two things that happened to me in the Persian Garden. At the Museum of Contemporary Art, they thought of holding an exhibition of the Persian Garden, and its secretary would be Ms. Javaheri.
He calls me and says come to the Museum of Contemporary Art, I went there and I said what, he said we are setting up an Iranian garden exhibition
And we have 9 galleries, we give 9 large architectures that have replicas and things like that, and we put photos of that garden around the gallery.
I said Faryar, I do this, but I want to take pictures of all the gardens myself, I do not want Hoo and my friend and partner.
Saying no, we do not know what we are and this should be so and so, I said I do not want, I do not work with you like this
I went to work and did not pay attention to anyone, until one day they called again to come here
I went and said that now you can not do it like this and these, I said no, I do not want to leave the trunk of the tree, I want to put the root of the tree
He said that the root has an animal, I said where the animal has, it does not have, and so on and so forth, and finally they agreed that I should put this installation (arrangement) of the roots of the Persian garden tree in that gallery.
I also signed his contract to pay because we had to take these roots, we bought them from Shahriar, from the municipality, because Mashala is a good municipality that plants trees, we uproot the roots and bring them.
At that time, the museum was very good to me, that is, Sami Azar had said that we should come and do so-called internal critique so that things would be good.
Do not go to the newspapers, do not be crowded, criticize and correct ourselves
Here, when I said this, there was a woman there who was a secretary, she said in the name of Ms. Foroughi that you called this Reza
Tell me, who was the director of the museum’s artwork?
A name came and listened, and the next week when I came to get the money, Gallery 3 gave me Shirin Neshat to August me, which they did.
We also came and your place is not empty, I wrote an article and sent an email to everyone, in this account Mr. Beheshti Heritage said that Kamran come and work this Iranian garden for cultural heritage
Because there were to be three exhibitions, one was the one that was supposed to be the office of the technicians and he went to Niavaran Palace and made his own heritage.
One I did in Saadabad Palace, they did it in the museum
That is, the artist actually sees the Iranian garden in a different way, that is, he sees objectively, not subjectively, which the mayor or the gallery owner wants.
All the works that go into the museum are critical works, these too had laid eggs and the chickens had to hatch, they had no way forward and no way back.
The last night when they pick them all up and leave, the workers drop them off and fix everything in a way that is not inconsistent.
They also come in the morning and see that everything is messed up and none of them is participating in the opening, due to the protest.
I was not there, but my writings were discredited and the exhibition was not what they wanted.
But I came and made my exhibition, I brought these trees, each of which was 3 tons, 4 tons, 10 tons, from Shahriar by truck.
We filmed and photographed him at all, we came and put these in Saadabad garden
The root of each of them, Mr. Anwar, was so big, that is, he was one or two days before the opening, and we wanted to open it on Eid night.
There was also a woman who was filming me there in the Persian Garden project.
I told her to go and see what they were saying, she had gone and told me what happened, you are shouting
They said you are not ashamed, you cut down the trees and drop the roots here
Our idea was to cut the roots and put two of these plastic trees in the middle of them, which turned on and off, turned red and black.
They came and cursed at these plastic trees and did not know that they were an installation.
And they said that you cut down the trees and now you put them in their place.
This lady came and told me that Mr. Adl says this, I said that wow wow, Didi, we were a bitch at all
It was good that these people came and started this commotion, otherwise the impression would have been different
I came and at night I thought what to do, I made a big gate with an iron pipe, and we put this painting there
The Persian Garden, the arrangement of Kamran Adl, the name of the work at the end of the speech … and finally the culture and civilization of Dubai took over that people and they cut down their trees
And they uprooted it and built a tower in its place and built plastic forests, the end book, the end paragraph, the end sentence
When people entered Sa’dabad, they were furious and angry, and when they saw the trees, they still did not know what was going on.
Then they would come and read this sign and start chanting from there.
I also sat at the bottom with a powerful telephoto camera and photographed all of their reactions from the bottom.
It was an extraordinary success that three days later all the plastic trees in Tehran were removed
My exhibition was about 4 months old and after 4 months, they submerged it and collected it, because it was no longer a disgrace.
But for me, it was a great success against that exhibition of their Persian garden there
Of course, his book remains, because we do not have a catalog, it remains his memento, but it is still written for us everywhere. There is also an Iranian garden and its photos.
But if you want to go and search the Iranian garden on the Internet, it is filtered, censored, my Iranian garden is filtered and you can not go and see
I had photographed the Kerman post, I had told Mr. Mirdamadi at that time that I could not photograph the northern corruption now.
I will come in June and I will photograph the northern corruption for you here for free.
As soon as I told him, 2-3 days later, Isfahani called me and said that Mr. Kamlan was the head of the department.
The post said that now that Mr. Adl is there, he is going there
Take a series of photos of the Prince’s garden that a joint stamp between Iran and Spain wants to be printed. There are two gardens, one is a Spanish garden and one is an Iranian garden.
We wanted to go there by night to sleep there, your place is empty, it was delayed 8 hours a month
We arrived in the morning and went to work from there at all, that is, we did not go to the hotel at all to take a nap.
I went at 8-9 in the morning, on my own account to take a photo of the northern façade, I saw that there is no sun on the northern façade
Dad, why is it like this here, there is always a compass in my bag, so I know where the north is
I left and I see that I did not make a mistake anywhere, this is the north, so why not the sun
I saw that I had no choice but to wait for this sun to come, the sun came at two, two and a half o’clock.
I went and took my photo, but I was left wondering how it is that my account is at 8 in the morning, but now it is 2, it does not look like this, it must be here
I did not think at all that the horizon of Tehran is 650 kilometers different from here
And my calculations were based on the horizon of Tehran and not on the horizon of Mahan Kerman
I jumped at 3 o’clock and went to these sandwich shops, where there are many, and there I ate my food and the car I had.
My photography policy is based on what I just told you to photograph the Prince’s garden in Gregumish so that these lights and the Prince’s garden are in the right balance.
Do you know that when the sun starts to set and it gets dark, it is not more than a quarter or 20 minutes when it is time for a photographer?
In this quarter, 20 minutes, I ran from north to south at least 20 times to take pictures from both the north and the south, then go up, then come down.
The fountains of the Prince’s garden are also on for a day, thanks to the irrigation of the surrounding countryside.
I will go tomorrow and photograph this as a garden fountain, which fortunately was sunny this time because it was north.
You know that when the sun shines from the south on the north corridor, there is no light, but you have to photograph the water and the fountain in the light.
Grass, flowers, plants and trees, these all have to be photographed against light, what is my subject? My subject is the geranium flowers of the Prince’s garden
It is full of candles and these fountains, that is, anti-light, helped me the most here so that I could take first-class photos of the day.
Except for my original idea for sunset photography
This is your place, we came and put on an exhibition, of course I handed over the photos and the stamp was printed.
Later that night, when the stamp was printed, that is, it came to the market, we put an exhibition in the gallery of the moon to sell stamps as well.
I wrote an article for him about how much God loves me, 2 times I wrote this article about how much God loves me
Once for the Persian garden, because I succeeded and once because not only the photo I took goes on the stamp
Now an exhibition is being set up and I am getting 1 million tomans, what could be better than this
In the same years, in 2005, I went to Kuwait to take these photos
There was a fortress with dirt there, the Kuwaitis believed that they fought a lot against the Iraqis and the British here
And I photographed this castle, but it was black and white, but it was digital
I put an exhibition in Khak Gallery called Ghamze Khak, I say that a building made of soil is very erotic
And I printed 20 photos of this castle, which were the walls and how it came down.
The exhibition became very erotic and a lot of people came to visit, it was my first exhibition that no longer had a frame and it was a photo
That same year, I also had an exhibition about India with Ms. Khansari
A trip I went to India in 2004 to take a series of photos of the Aga Khan from India for the internal use of the Aga Khan Foundation.
Photos Red Tower ceremony and parts related to Nader Shah
In them, I was able to take some photos that, in terms of visual arts, entered the field of art, as you say, I also left the Indian exhibition at that time.
Part 09
It was 2008, at that time I had very long interviews with the BBC, which was not yet banned, which was very problematic.
They believe that I took this photo in 2007 and put the exhibition of Mir Hossein Mousavi in 2007.
If I click here 2007, it’s 86, but I think it was 1387
At that time, Mr. Mir Hossein Mousavi, in other words, had left politics and had nothing to do with politics.
And no one thought he would be motivated to decide to get back into politics.
I had seen Mr. Mir Hossein Mousavi several times during his time at the Academy of Arts
I felt that he was a very nationalist, a nationalist was very important to Azerbaijan in the first place and to Iran in the second stage, that is, Azerbaijan.
I was interested in him, I realized that because he knows I am justice and my Azerbaijanis have an interest in me
After all, in the men of Azerbaijan, my family name has always been in the books, and they knew our family well.
As a result, when I was told to leave this exhibition to Mr. Mir Hossein Mousavi, I gladly accepted.
So the first building we wanted to go and photograph was Isfahan’s water and sewage
I arrived at the Isfahan Water and Sewerage Building at night, I do not remember it was Friday, but it was night and they were closed
We went there and the doorman said that he could not, sir, we do not know such a person here
I said, “Sir, let me come and see this building. I will understand whether this is Mr. Mir Hossein or not, because I knew his work style.”
He was very kind and we went and saw that yes, Mir Hossein Mousavi’s signature is on the building.
I photographed Mr. Mir Hossein’s works, for example, there is a center in the former Kennedy Square, which is now Tohid.
Up there is a street that, like its name is Tawhid, has built a cultural center made of bricks
I am sure that no one knows who this building belonged to, I am sure, I photographed the tomb of 72 martyrs of 7 Tir
There is a building to determine the expediency of the system in Niavaran, in front of Niavaran Park, in short, I photographed these
And it was decided that we would put an exhibition of these in the center of Saba, and I had to write a review of this exhibition and its catalog myself because no one knew what it was.
He also built a university, Shahed University, near Behesht Zahra, which is very large
He also built a mosque called Salman Mosque in the house of the Supreme Leader
– Not in the house of leadership, next to the presidency
Yes, he did something that was very interesting, including in the same presidential mosque (Salman)
He had made all the knots with colored glass, he had also made a skylight on it
Because in the architecture of our mosques, when you enter, each of our mosques goes back and forth into a dark area.
That is, when you enter the mosque, you do not see the details of the tile
Mir Hossein’s work is different from other people in terms of lighting, and you can see all the tiles, while in the Abbasi Grand Mosque in Isfahan, you do not see the details of the tiles in your life.
On the opening day, all of Saba was full of people, so-called people said that these were 8,000 people and it was raining heavily.
A few days ago, the newspapers realized that this is an exhibition. In fact, a challenge had occurred that Mir Hossein Mousavi and Kamran Adl, who will go to this exhibition and grow up.
But what happened was that the number of people who came that night was large, that they came for both him and me, and it became very crowded, 8,000 people came and the doors were closed.
Some newspapers said that he wanted to run in the elections and fell into these issues, but what is certain is that Mir Hossein did not wait for this crowd that night.
After Mr. Mousavi, I had an exhibition at Aran Gallery. For my fifth anniversary, I had an exhibition, and this photo is one of the photos there.
We published 50 photos that told the story as usual and many people came, we also published a catalog at that time, which cost me 7 million Tomans.
I came to Shirin Gallery, I put on an exhibition that was on hand, it was called one, it was not one
There I selected 20 photos from the photos of the 50s and earlier, what Iran was like, but in the old style, the photos were 13.18 and without retouching.
That means digital retouching because when you scan the movie now, all that dirt comes out.
In order to keep it a little older, we printed it out in the same way and in the same old way, without removing it and cleaning it, and it was sold in large passports.
I also did an installation where I put 15 photos of Bakhtiari dance that were in different positions in the same frames.
Then there was one of the female employees of Shirin Gallery who said, “Let me arrange these. She had a small room in front of her office.”
It was very beautiful photos from Kurdistan, it was from Azerbaijan, it was from Sistan and Baluchestan
There is still a nostalgia for Iranians to take these photos
But there, I did not subtitle them because I realized that if you subtitle the photos, they will sell much better.
In any case, it was one, not one. We were so-called based on the photos of the 1940s and 1950s
Then we come to the part where we talk about the middle ground, the year 2008
In 2008, you know, there was an economic collapse in the world
During that period the bourgeoisie was severely damaged in Europe and America, and so were we.
One day while I was watching Euronews, there was talk of a photographer saying that because we realized that people no longer have money
We have to sell the work, they are photographers, we decided to increase the circulation of our first-class photos and lower the price, and people bought very well.
I also said that well, if the French experienced this, there is no reason for me not to experience it, I came and did the same.
I mean, I chose 20 level 1 photos, the one behind me is one of them, but it is in color
Level 1 photos, printed in 50 × 70 and larger format, for 150 or 200 thousand Tomans
People poured like locusts and moths and bought them all, some even though we had a circulation of 20, up to 7-8-10, but not 5-6.
You see, I have been told many times that we do not have the money to buy your work
Well, we are photographers and what should we do, is it okay for me to lower the prices and sell 20?
Or not, I should leave the same one and sell, for example, 3 million Tomans, sell 2 million Tomans, which one is better in your opinion?
– In my opinion, selling 20 is better, because it goes to more houses
Very well, then we will go to the same 500 thousand tomans instead of 1 million tomans and increase the circulation to 10
I did a very long photo shoot, which is based on a photo I took of Paris.
With the difference that Paris is very beautiful and Tehran is very empty
When you photograph the reflexes of a showcase, something, your volume doubles, the mirror is different.
But unfortunately there are some differences in Tehran, except for some places that were somehow good and the rest were not very interesting.
But we got good things out of it again, well, finally it was Tehran
For example, I photographed a group of tool sellers on Imam Khomeini Street, which we call Sepah.
Yaro is a tool seller, but he has the entrance to the training field, for example
I took a series of photos in Istanbul Street, in the shop windows of clothing stores, if you look.
They look like their hands are shaky, they do not move, except this way and that way.
Then, on the streets of Istanbul and at the crossroads of Istanbul, I took a series of photos with the reflexes of the taxis, which, when eaten, turned out to be interesting.
I photographed some of them in Lalehzar Street, but I also photographed some of them, for example, in front of the Sepahsalar Mosque.
This was actually a photograph of the city of Tehran, I photographed the face of the city of Tehran
Especially, for example, where there are a number of old buildings in Lalehzar and the reflexes in this shop window of electricians and chandeliers became an interesting thing.
This was my reflexes, and one thing I did, which of course was charity work, the furniture sellers in Imam Hussein Square and the furniture market itself.
Their sofas were very bright colors, because of the people around them
They are people who see bright colors
And they do not see the grays, so the colors are blue, brown, brown, red, red, green, green.
I photographed these, but in detail, so that these lines come in, as they come in, and for example, 2 come in the same way.
Turn it into a form of photography with sunlight, because I could not touch the cove sofa, it was roaring in the air.
If you have seen some of these, they also draw on them from these food wrapping papers that do not get dirty.
They also found reflexes in themselves that were interesting, so I gave it as a gift to Dehshpour Cancer Charity.
The next exhibition I did in Georgia, one of the big things I had to talk about was that
I wanted, and still want, and some has been done, to work on Iran’s foreign civilization.
I rented a house in Georgia, because we generally travel whenever we go.
Because it is long lasting, we rent a house, a furnished house
For example, I would go from my house to a big store called Populi in Tbilisi to buy food such as meat so that I could cook.
I was walking through a gallery to see how beautiful it was and it had a window facing out.
Then I saw that there was a painting by Lenin, I went inside and said I am someone, I want to put an exhibition here
And I had taken 2 CDs with me, I had also taken some photos of Ali Khan Hakim
The gentleman you owned had a gallery called Marina, and when he saw this, he said, “I ask God to have an exhibition here.”
I thought of adding something new that would get Georgia a little involved
I had photographed a lot of Georgian sculptures and there was a woman named Aka who had a small name because Georgians have very long names and I can never say them all.
He lived in the house of Mirza Reza Arfa. Mirza Reza Arfa was the Iranian consul in Tbilisi.
And they had a house that had a mirrored roof, but of course their mirror style is different from Iran.
And one day a journalist and writer goes to see Mirza Reza Khan, he describes this from the roof of his house in a book
This book was known to all Iranologists in Tbilisi, and Shahriyar Adl also knew this.
In my work, Mirza Reza Khan was important in two ways, one of which was that in Borjomi, which is a place with a lot of mineral water, a palace was built next to the palace of the Russian Tsar.
And then he built a house in Tbilisi, and this style of Mirza Reza’s architecture made all the old architecture of Tbilisi look like it was a kind of Iranian architecture.
With my guidance, we went to a three-story apartment and he said, “According to the address, this is it.”
We also went and saw that it is a house that does not fit Iranians at all, big doors, such ceilings
I photographed everyone, no matter how much, I came at night and emailed the photos to Shahriar and said that this is also Mirza Reza Khan’s house.
The prince was in Paris, the prince says then where is the mirror work, I said there was no mirror work at all
There, I had a doubt in my head that these people are wrong somewhere, I started looking for Mirza Reza Khan’s house in that area.
One day I came to a entrance and saw that this entrance was ironic. I went to the house, to that area.
There were some wooden houses with doors and doors, there is a house here too, but it has a strange staircase that is similar to the staircase of Mirza Reza Khan Palace in Borjomi, they have a similarity
We finally have a visual memory, these are always in your mind when you become a photographer.
Two women came to go out, I said that the lady here was a mosque? What happened here?
He said no, it was Mirza Reza Khan’s house, he showed me something there too, I went and saw on the bars at the entrance that there is an oval plate, I opened it and saw that it was written by Mirza Reza Khan Arfa
Then we went in and saw yes, mirroring the ceiling, but this mirroring, that mirroring is not
You know, at that time, when the Russians confiscated the houses, they razed them and gave each piece to one of them, this is how the communist people became housewives.
In short, we went to a house and saw that there was some painting on the roof that had gone into a wall that was already visible.
Where is his testicle?
While we were chatting with them, I saw a woman come and go through a door.
They said it was in this lady, we also knocked on the door, but no one opened the door
The next day was Sunday, I went there again and knocked on the door, this lady came
And he spoke to me in a very, very bad tone, which means go get lost and that’s like a fight
Tomorrow was Monday, when I was returning to Iran at night, I said Miranda, this is our last chance, write a letter in Georgian.
Write that this gentleman came from Tehran and gave you money to let me take a photo from here
We threw this in that lady’s house, we were having lunch when she called and Miranda picked up the phone.
And he said yes, we will pay and he said how much and we said as much as you say and said that I will call you again at 4 o’clock
Because it was the last day, I went to the Academy of Arts to say goodbye to all these professors and these, because I was coming back at night.
Yehu called and I told Miranda to give the phone to Professor Timur so that he could talk to her.
Professor Teymour also talked to this lady for 20 minutes and praised her and then said that I am very sorry and send Mr. Adl to come and take a photo from here.
We went there and told Miranda to warm this lady’s head in one go, I will take a photo for about 5 minutes, 10 minutes because my photography is very fast, I am very fast
Sir, whoever you are, it means that one heart, not one hundred hearts, fell in love with us, now I have photographed
And he began to describe his whole life, which I myself was an academy of art, and to tell of his background
Then we saw that on …… this roof, he was making the same thing and, for example, he decorated the German embassy and painted it on miniature glass.
The Iranian miniature that I photographed all this, now that I want to go back to Tbilisi, I took a copy of this chicken and parrot and cut it around.
And with a fashion photo I took of a girl, I combined it with Ms. Ghazaleh Saba’s clothes, where the girl was standing like this to show in the fashion photo that these sleeves are wide.
The girl was standing there and I stuck this parrot on her hand, all these photos are collages
These are Iranian photos. With photos of things, I told you that my cousin was standing.
And in 2010 I put this exhibition in Tbilisi
Part 10
A subject that I photographed for a long time, that these are big projects, for example, I photographed the clouds, but it did not happen the way I wanted.
It’s not perfect yet, even though I’ve been working for a few years
But I photographed the water, I photographed the water when I was in Martinique and I was photographing the architecture there.
Martinique is one of the Caribbean seas, Cuba and all the islands of Central America, it is a calm sea and there are not many storms.
The other side is the Atlantic Ocean, which has a small wave of at least 15 meters, which means it is very large
You actually see the flow between the elephant and not the cup but in the animals, for example the kid
That is, the waves of the Atlantic Ocean are huge, because the deeper it is, the deeper it is called.
That means you have a wave but you see it moving under water
This is a project of water photos, some of which I like very much
You know that my mother’s father, Sardar Homayoun, was the so-called Cossack commander.
In fact, he goes to Mehrabad, the night before the 3rd of Esfand, and meets with Reza Shah, but no one writes what happened after that.
The only thing that happened was that the coup succeeded, that is, that our grandfather had gone there and, in short, Ahmad Shah …..
Because he was very liberal and he was a man who helped the fighters a lot during the Constitutional Revolution in Tabriz, who became known as Satakhan and Baqer Khan.
But he was doing well from behind the defense command of Tabriz
Because my grandfather was a constitutionalist himself, Hajj Adl al-Molk was a great constitutionalist, his books and documents are also in the parliament, of course I took photos of them.
As a result, the so-called green palace, which is in marble and is in Saadabad Palace, was my grandfather’s house.
Whose original name was Reshk Behesht, the hill next to it and it is called Ali Khan hill, it is also Ali Khan Khan’s house, my grandfather
Which is the one that came from St. Petersburg, that is, Saadabad was for my mother’s family
There was a pool in front of it, and I photographed its waves, and very first-class photos were taken.
I also took some photos of the artists’ garden pool, which also became first-class photos with a game in the waves.
And I took some pictures of the pools of the houses that were a little stylish, the photos of my water are very good, but it is something that can be continued.
Second vision architecture is a series of ideas that I exhibited
You see, in architecture we now have details based on form and light that can have a nice harmony with our neighbor.
If we take the basis of my ideas that photography has no right to crop, it means that it should be the same photo.
As a result, there are a number of photos that can be good, in the middle of which are blurred and destroyed.
Martinique roofs are very, very beautiful, especially Martinique clouds
Because the clouds are very transient there, because the wind is the ocean and the cloud does not come to stay unless there is such a cloud that it is very cloudy and can stand
But it also happens that it rains so-called monsoon
But when you are not in the rainy season, these pass quickly and have a lot of beautiful flavors.
These are the photos I took of these buildings in France, which I took personally and not to order Martinique architecture
I came here and based on the beauty of those roofs, I cropped these, none of them are the same
They are the same length, but their offerings are different because the shape has to fit.
I named it Blue Sky until the second view, the second view was because these were cropped, that is, I was telling the audience that, sir, this was cropped and not the full width of the photo.
The number of photos that sold from 20, for example, could be 6, which means that he did not make any money with all this and that.
But one big thing I did, which of course took us a long time to get to this point
In these experiences, especially this one comes from digital, it used to be done in the past, but the form was very different.
In the old days, when they were photographing, their curtains were torn off or whatever it was, they cut the picture of that servant of God and stuck it on a better background and took the picture again.
And well, that attention to perspective that they did not have at the time, then you would see that this is better than that demolition wall in any case.
It means that the photo was taken away, there was,
When I was in school, I was introduced to the subject of being told what teleportation is.
In the Soviet Union, whenever one of these leaders became the chairman of the board, they would take a step back and take it one step further.
Then they repaired the incision, retouched it differently from the incision, blackened it and took another photo.
I came up with the same idea and did it, but not with that idea, the idea I had in remote control was
When you take a person away and strip him, his identity changes
In other words, one day I was at the side of Takhtavous Highway, on the street next to it, it was the time of the Shah
I came to turn into Takhtavous Street, you have to go around a defined square that has no body, which means you can not take a shortcut like this.
I came and walked around like a man and the policeman whistled for me to stop, I stood up and he came and said that you did something wrong.
I said, “Sarkar, I am the only one who is right here, they are the ones who are violating.”
It also started that no, you did wrong and started shouting, I got angry too and said
What are you doing so hard and hard, you thought who you are, the night you went home, take off your hat and your clothes at the court and look in the mirror
Yaro hit him too hard, I told him to get naked and see who you are
Now, to get back to this point, when you take a person away, it’s the same as undressing that person, he loses all of his character.
I played a lot on these and came to the conclusion that the content of the topic can be defined in a different way.
In Milan, I took a picture of a group of Japanese tourists, all of whom are looking at Milan Cathedral.
The sun was with me there, that is, the sun shone on them, and I took these photos and brought them.
One day I said that I should take a look at these and I saw that it has a beautiful shape
But oh, they are all looking at one place, that is, they are looking at the cathedral
Let’s do something and make it Iranian.
I picked them up and copied and pasted them, that is, I took them away and brought them and put them on top, of course, because they were looking up.
I made a series of very first-class assemblies
– When was your last exhibition?
It was the year 1393,
– Where were you?
It was a trust gallery
– Was it lost in the name of dreams and aspirations?
Has not come and gone
– What was the issue?
You see, everyone has an aspiration, a large part of which may not be achieved
But there are some things that you are wasting, now it’s fatherly wealth or whatever.
Hopes and aspirations are pictures that show the Iranian people in exchange for one thing they had and lost
For example, there is a photo where you saw the municipality painting the back of the houses
His first photo is behind a house with very beautiful windows, very mommy, standing in front of a Pride and a woman in a chador passing by.
These are all hopes and aspirations that have been blown away, and that is Pride that has not come yet
You know, Yaro shows a picture of Tajrish, which is an air bridge and full of stylish cars and the latest system, Porsche and so on.
This shows the back of a Pride and the cars they have are going, unfulfilled dreams and aspirations.
There is a picture that, for example, is on a highway in Kurdistan that goes up
On a façade there is a dahi where they painted that Yaro is farming
At that time, above this, there is a certain amount of houses and apartments, that is, we lost all the hopes and aspirations that we had there, those lands and that agriculture.
We blew it up and built these apartments instead, which we are not satisfied with either
Unfulfilled hopes and aspirations are based on the spiritual conflict that the people of this city have with themselves, they do not get what they want and they lost what they had.
Part 11
– Where do you place yourself in the photography classification, in fact the fields of photography?
I’m nowhere, because when I came to Iran, I wrote it again last night
You see, I was a fashion photographer in Paris and in Roshan Studio. The first day I came to Iran, I went to TV.
Now, apart from taking a series of portraits of Pourwood, I did all this in Iran during the revolution.
The next morning when I went to the TV, I was told that we had a recording tonight, this is Farshid Ramzi
Well, I could not tell them there that I have not photographed the show yet, what is the show at all?
Tomorrow, when they saw Farshid Ramzi’s films, the architects realized that they needed a photographer.
Then the city office, news affairs, all Yahoo felt they needed a photo
I started photography the next day, whatever they put in front of me, I had to take a photo and take a first-class photo.
– Are you more inclined to black and white or color photography?
I do not have much snobbery on these issues, that is, the color helps you in some places, which in black and white may cause a deficit somewhere.
You know, it all depends on how you deal with them
When a photographer takes a picture, he must see what it’s finished, that is, know what it’s finished.
Not to take a picture and see what he wants to do next
Now I might say in one of the epsilons in the final photo a taste that may well be so good.
That’s where he sees me take 2-3 photos, because I change it to output it at that time.
Then, when these 3 came in front of me, I put all 3 of them in front of me in Photoshop and said which one I like the most now.
– Now, considering the digital world and the fact that digital has come, are you more inclined to celluloid or is it digital or does it not matter to you?
If you are a techie who knows the basics of photography, digital will help you a lot and it will be very difficult.
My last exhibition was analog because I said it was in the style of 60 years ago
I went and took out the cameras I had bought 60 years ago and ordered them from Mr. Taghavi and imported a movie worth 18,000 Tomans.
And I photographed with the black and white film in the old style and on those photos we sold 40 million tomans, the same black and white photos
– Well, but you do not really have a particular sensitivity to digital or analog?
No no
– And you also use a computer?
Well, yes, you see, at that time our papers had another grade, 1, 2, 3, 4, 5, 6, and now, depending on the contrast of the paper film, we used the paper for that grade of film.
Because the film you are shooting has different contrasts, which is what the paper did for that particular film.
I do this with a computer, because now that I want to print a photographer, I pick it up and go to Mr. Reza Rafi
He puts it in his device and I tell him not to touch anything, because his computer is compatible with my computer.
He prints my photo and we already know what comes out, which is why I was in the lab when I had 6 employees.
I did not let anyone print my black and white photo, I always printed my black and white photo myself.
You see, when I returned to Iran, I worked in my own studio, but it did not take long
Because I was so busy that I was going to the city, my studio was actually closed, because I was out all the time, but I was doing portrait photography.
You know that in our era of European photographers of the 60’s, the whole cultural revolution of the 60’s is a special thing that no one can move now.
As a result, for example, we did not have the right to do something, for example, in framing, etc., for example, you do not have the right to do retouching.
Because you have to give the main character that theme
Now I came to Iran, here all the photos were retouched, well we were doing fashion photography in Europe that we could not retouch the slide
It does not fit with reason, so I have to be strong in my technique, my filtering should be such that I can take pictures of them without retouching.
They do not know how to light, that is, what I learned from the light was the right lighting,
When you turn on the lighting, 95% of the retouching work is solved, it is the ignorance of the light that causes these disasters.
– Do you know photography more as a technique or an art?
One day I said something that I am still following, photography is not an art at all
Why, because what is the definition of art, for example, visual arts or music, they bring a mound of flowers and put it in front of the cove?
It forms by hand and makes a sculpture, either of stone, or of wood, or of metal.
They throw some paint in front of a woman, and she picks it up and paints something, like a portrait.
They create a work with their own hands and thoughts, you know, I do not create anything.
The photographer does not create anything, the photographer takes a form that exists, a click
If you come and look at this from here, from the second that the photo went on the wall in Iran as art
I implemented it in Iran, that is, with potatoes, that is, with wires, that is, with cans.
That is, with the exhibitions that I had, that is, before me, no one knew what the form of a photo exhibition was
I set up an exhibition in Iran and opened a photo exhibition in Iran
So if it’s based on creating an art, here I can tell you ok
When I see a potato, I have an observation that the good of this art is to have an observation of art, so I am an artist there.
observation I find that this is like Moore’s sculptures and from the second I put the projector on it
I mean, what kind of light is needed for me to take this picture?
That is, what kind of reflector is needed, the reflector should be on the projector or diffuser or we should put something in front of it in all kinds of lights
There I intervene in that I just turn the light on and on
Here now you want to call it art, I have no problem with this but when we went out and I photographed the desert of Qom
I said yes, it’s very good here at 3 pm, I’ll come back and take a picture here, I’m an artist or an observer.
Photography is neither an art nor an art, photography is a feeling, unless you are a photographer, you do not understand
See, being a photographer is first to see, you must first see, you must first understand
Then tell me with what lens and what light to take it, with what aperture and at what speed, and at what stage to take it and put it in front of people, this is a photo.
– Have you not been photographing for a long time?
No, never, my camera is never more than 3 meters away from me
Look, you sit down and something happens, photography is an event, well, then your camera should be close to you.
Now I had lost my camera battery, I was so nervous that it might happen.
Suddenly I had a Fuji conference and we were taken to university
This happened and Yaro posted it on Facebook, which I dealt with myself
Someone comes to the conference where I was sitting, he knows me, he is a photography student
Then he says that this is his writing, he says I went and sat next to him and greeted him.
He also greeted me, I said you are Mr. Adl, he said yes, I am Kamran Adl myself
He says that so far everything has passed and this later, when I came out, it got stuck and was next to my hand and could not be separated from me.
We came and reached the tail in the university, he said teach me something
I said you see this light on the university, he said yes, I said what time is it now, he said for example it is four and a half
I said come tomorrow at four and a half o’clock, this light will not be like this, because it has been shaken again.
Tomorrow he came and said, “Sir, you are all masters, you do not know what you are saying at all, you are watching.”
That time and that event in photography, you see, time is zero, so every time I say that time is zero.
When you get it, it is registered, it is registered for eternity, it can not be repeated again
You need to know that the camera will hurt you then, not tomorrow because it will not happen again.
– Did you also photograph different Iranian tribes?
Yes, not as much as I did, but I got it from the Baluchis, I got it from the Bakhtiaris and the Qashqais, I got it from the Kurds and the Turkmen.
You know, for example, I have a photo I took in Chabahar of an old man who is very old and is still in the water and has 2 fish in his hand.
That is, the blue form of the sea and the blue of the sky and this old man in the middle, not that you think he is close-up, consider such a picture, the old man is so big.
Because its shape and size are important in photography
For example, I have a photo in the name of man and nature, I took it in Kurdistan
If you count this as a photo, here is a mountain and here is a green plain, a woman so black, she is walking there
I mean, there I show what I really am, the greatness of nature, it is also called man and nature
It means the smallness of man in front of the great nature, if I take this and vice versa, I can no longer talk about nature, you know what I mean.
It depends on what you want to define, photography is actually writing
Some people now believe that because I am both a writer and a photographer, I am a photographer-author, maybe these things are much easier for me to tell a story with this
That is, when you look at my books, they are all in one narrative, that is, they tell a story.
They complete one thing, all my books tell a story
The photo must be taken when it is taken, that is, you count this photo that I am taking today, they want to look at it for another thousand years.
Well, they should know what this is, every photo should be written, this will take a photo and it will be stored.
The difference with me is that I, the dead mother, have to write the photo I take for her, you know it takes time
I can not take pictures and tap photos, I took 4 photos of Farshid Ramzi, I took a day to write to them
Finally, I concluded that Farshid Ramzi, who has made all these singers famous, and they are all billionaires
She herself lives in a nursing home in Karaj and is kissing
This must be recorded, you now take a photo with your mobile phone, go to the exhibition, this must be recorded
– Between seeing and looking, because you put so much emphasis on seeing, I want to know where is this difference and what is it?
Looking at something is vague and seeing is very fast and zooming
You look, but the reason you do not see is to see what you see in the context of millimeters and optics.
This is an exercise, which means you have a 70-degree angle of view, but for example, I’m going to take a picture of a decor.
Yaro comes and collects his family photos, well, I tell him don’t collect it, ma’am, it can’t be seen
I mean, my point of view depends on the subject, which is 28 mm, 50 mm, 100 or 200, 700 or 1000 mm.
This is how I look at the subject, that is, I see the framework, the framework in a particular light and form.
What is your definition of a good photo?
There is no definition, it varies from case to case, see when you have 100,000, 200,000 photos, all of which are important to you
What definition do you want to give him, I have no definition
You see, somewhere you are told that, right now we were talking, in visual art you are told that there are 5 golden dots, and if 3 of them are filled, the picture is full.
I came and told you that sir I have a picture of nature which is a mountain and a green plain and a black woman is there, what is the golden point of this feather?
See how people react so interestingly, I realized that every photo I write for them, they die for that photo
These are our photos that we sold 40 million, because they had subtitles, you know what I mean.
In the exhibition that we put these, the trust gallery, the photos, you know, was 20.30,
There was a trust gallery around these photos and it was written below, people were like that
That is, there was a person in front of each photo, and when they read the subtitle, everyone went one step forward.
Because they could not separate themselves from that text, he wrote that he justified this photo to him
For example, the same photo that Yaro takes on the highway, he sees his old village and those apartments.
If he saw this when he was out, he did not see it, now that I have seen it, I must realize that this is also the case.
In other words, I’m telling you that we’s supposed to teach people to look
– Can you tell us where and how creativity and that creative part of photography appear?
Go to the kitchen and bring those charcoals and see, as soon as your left hand twists it is a white bag
Now I want to photograph these, what do I call them, these are black coals and I want to put them on a black phone and photograph
I have to give it another name, an art photo that I do not take, I call creative photography
This is creative photography, now I can do this lighting, well, this is full of these now.
You look like a human, don’t you? This is his eyes, this is his nose and this is his throat, right?
See who says a good photographer? A good photographer is a photographer who can take a picture of a cat, a black cat at night and in a charcoal burner.
Part 12
What has been the evolution of your mind over the years?
Our job is to confront you with various phenomena from day one
And if you start there with this engagement, the cartoon will not go ahead, so you have to sit and listen to what Yaro says.
The only thing that changed a lot for me was my degree of tolerance.
I am in the worst condition, I am very well, I was in prison in the Soviet Union, that is, alone
But you have never heard me complain and say that I had a bad time, no, I loved my job
What has been the most important day of your life?
It is funny that they say our wedding day, because it was suddenly, then they say when did you get married, I say the year I went to China, they say when did you go to China, I say the year I got married
No, everything was fine
What year did you get married?
How many do you have now, how many children do you have?
My wife did not live with me for more than a year because no one can stand me, I have a daughter
Only? Yes
Are they French?
Yes, it is France
Did you not remarry?
Why, I got married again, but the second time my wife was very opportunistic and I did not understand
My marriage and marriage period did not last more than 2 years in a formal and certified manner
How has photography affected your personal life?
Photography itself had no effect on my lifestyle, it had an indirect effect
First of all, when you travel and see all this, your perspective is very open.
You understand a lot, you understand a lot, you can analyze
It’s hard for me to sit next to someone who can’t speak normally
I have been alone for very long days and nights since I returned to Iran and started traveling
For example, in photography, if I do not have to have someone with me, now as a guide or anything like a translator.
If someone is in my arms, I can not work, I lose my focus
I prefer to be alone, the same at night
So how do you balance your career and your life?
That’s what they are
Did you not balance?
No, they are part of each other,
I mean, is your personal life really your professional life? it’s true?
Yeah Al that sounds pretty crap to me, Looks like BT aint for me either
I mean, I’m thinking here that if I were to give this explanation, it would be for the sake of enlightenment that Mr. Benefactor thought this, maybe a thousand years from now.
I wrote this for Kaveh Golestan, I wrote that what no one understands is that death is not important to us, we will finally die
This is about the death of Kaveh Golestan, we do not care about death because we all die
And we chose the way this happened to us, the only thing you do not know is that
After our deaths, those photographs of ours have been kept in museums and libraries for thousands of years with great respect, no one thinks that.
I asked you what was your biggest struggle, you gave an answer, my answer instead is that
My struggle is the struggle itself, which has come to me moment by moment, over time, and only its subject has changed, right?
Yeah Al that sounds pretty crap to me, Looks like BT aint for me either.
He is not a photographer, he is the photographer of the person in his life, that is why our women do not make us
Because she is our first wife (photography) and I do not separate from this, it is part of my lunch and dinner
Nobody understands that my Eid-e-Norooz and sitting at the Haft-e-Sin table is about a quarter for me, then I go and I am behind the table again, there is no place for me.
– What do you think you would do if you were not a photographer?
I can not think of anything at all, Montesquieu says how it is possible to be an Iranian, I say how it is possible to be an Iranian
Do not be a photographer
How do you relate to other art disciplines?
About the movie, I like the movie well, but the movies in the genre are very action-packed, and that’s cognitive.
For example, I prefer spy movies and these to romance movies that I do not like at all, I like Western movies very much.
But for me, so-called geography, geopolitics, conflicts like this are very interesting, or it’s enigmatic.
And the patience, for example, to go and take a child hostage and become so and so, and I do not have these
I like people to be stubborn people whose brains are working and they want each other to do wrong
You, who are sitting there, have to anticipate that, yes, how this should happen
I like theater, but in general I am not a person who can survive in a chair
I mean, I buy movies but serials and watch the old style, for example a quarter a day
Because after another quarter I get bored, I sit well and get tired
– How about music?
The music I love, I love classical music and blues and not jazz, I do not like jazz itself but I like blues very much
And in music from the beginning I loved Ludwig van Beethoven because his story is long
When I was a kid, my cousin worked for the United Nations, they recorded a radio show.
The logo of the beginning of this choral symphony was the ninth that I, as a 14-year-old child, listened to so much to see what the name was.
Later, I had this misfortune, so I fell in love with classical music and I have a lot of pages, I have a lot of music CDs.
The only thing I do not like about classical music is the opera, the Italian opera, I think they shout a lot.
I really like classical death music, like the late nineteenth and twentieth centuries until 1950, like Ravel
I really like the music of the Soviet Soviet period
No Iranian music, because they have a melodic poverty for me
One thing I really liked was Lotfi’s thread, I think Lotfi was a very strong man, he had a claw, Lotfi knew when he was riding that he was a rider.
I like Shettar very much when there is a wave, that is, on four, not Ding Ding
To me, the sound of a third is like desert music
There was a musician who recently died, and his son is now in Khorasan, playing the dutar, Haj Soleiman
So the first time I took a picture of him at an art festival, in the first year I went to an art festival, he was telling the story of Ibrahim Adham.
A helper is sitting in the middle with a dotar instrument, sir, you do not know what this was doing
I was completely stunned by this, that is, I still saw that he was riding his poem, he was riding his voice, he was riding his dutar
The girl was sure of what she had, and I was left wondering how this instrument could make this sound and this sound power,
That’s right, yes I love it, but he sees that these are so case by case that I can name for you, please there, there and there
But, for example, that they come and play with a reed and circle, which the Iranians like very much now, no, I do not like it, listen to them once and for all, this is always the end.
What do you think about newer arts?
Now from here, when you go out, everything is performance, here it is, there is a broken teapot.
There is a nail that is crooked, well, a long nail, then I stuck it on a stone and wrote not to let the iron nail on the stone
– Do you also teach photography?
I taught, a year in high school, but you know about teaching, when you do college work and all that, there’s a problem that
The photographer is a man of freedom, you can not go to class every Wednesday at 10 o’clock in the morning
I can not allow myself to fix myself every week for that particular hour, no
Maybe someone will tell me to go to Qazvin on Wednesday morning, and I would love to go to Qazvin.
The student must first know before I explain, not say from the beginning what the contrast is, what the form is, he must know these
Let me tell you now your picture in this case
And here it is, if you have done this, it’s better
My students, whenever my assistant left and a new assistant came, this old assistant, instructing the new assistant, would tell him that
I heard him tell me that Kamran Adl does not teach you anything, you have to get out of it
– How do you know the differences and characteristics of your generation with today’s generation?
It’s very simple, I’m talking about myself, I’m not telling others, the love of photography and adventure, that is, my adventure into photography, I said this on the first day
I loved adventure and I did not care if anyone knew me, famous or not
I loved this kind of life, picking up this camera and going and doing something and taking a set, it was fun for me
But now photography is a way for everyone to become famous because they think it’s easy
Now that I look at Facebook, maybe now I have 4,000 followers and friends, I do not accept all of them
Now do you think that I can see two good pictures a month? Not
What are their photos? Any large lenses that gesture in such a way that it turns out that they have a camera or something.
Do I hold such lenses, do I post pictures of myself on Facebook at all?
I posted a photo of myself, sir, I went to Instagram with this photo, it exploded when who took this photo
He used to ask me about Isfahan, I have the same photo, I do not have a photo of myself every day to put there
They are all thinking of showing off their bodies with very scary cameras and saying yes we are photographers, if not at all, this is the wrong way to go.
What has been the key to your continued work and success?
Love to see, I say this to everyone, I say that you sit in the house, the issue does not come to you, you have to go back to the issue
Yesterday I was looking for a photo about the Darband Hotel, I came across a photo that Tehran is very old
The alley is dirt, it is clear that it is dirt, in a shop 3-4 women are making a purchase
A gentleman with a suit and tie is also very hot. A photo passes by here.
If you had not seen this cove in the house, this photographer came out to see it.
What is your future project?
One day I talked to Shahriar about the foreign civilization of Iran and said where is this castle of Samangan?
He said, “That’s where Rustam got married to Tahmineh. I said, ‘Where is this?’ He said it is between Balkh and Kabul
I said very well, Shahriar, who visits this area 2-3 times a year, I realized that a lot of our history is there.
When Rostam talks about Iran and Turan, in Shahnameh the names of Tabriz and Maragheh and these are not mentioned, everything is for them.
As a result, it is very natural, where did the Iranians go after the Arab invasion? They went there, they went to Tajikistan
Well, the original Persian language was where Ferdowsi went, it is not my field, but it was something I understood from that time, Shahriar has worked a lot on the history of Central Asia for UNESCO
I mean, this was his main job, and this was going to Herat and Balkh and so on, so this piece has become more important to me now.
And on this subject, that is, the part that I am working on right now, I am very sensitive, that is, I will definitely photograph it.
I mean, if it’s my corpse and dead, I’ll photograph it
– The same Central Asia?
I will finish Central Asia and Georgia
Who do you think are the leading photographers of the last hundred years?
You see, we had many photographers during the Qajar period. Go to the city photo studio, it is full
Why is the ruling Ali Khan the most important? Because Ali Khan was the ruler of my ancestor and I discovered this, I wrote this
After Shahriar noticed the flow, he wrote, the owners of the album realized that this album is important and went to Harvard.
Harvard has shown this to the world, someone has to start this
I said this at the time of Shahriar’s death that you were not in the period when Shahriar came
Shahriar did not care about the photo at all at that time, but when my uncle asked me to go and photograph Ali Khan’s album
I understand what a great photographer he was and how well he photographed the sociological events of his time.
You have all the evidence, you have the architecture, you have the vampire, you have the beautiful woman, everyone has subtitles
– Considering the strong presence of Iranian photographers in the Iran-Iraq war, what is the reason for their absence in important events in other countries?
The reason is very simple, you should be insured as the first photographer, no one, no TV, no institution does this
If he wants to insure a photographer, when Yaro says pay me $ 100 million to set me free, you see what I mean, no one can pay that kind of insurance.
Because the risk is high, as a result, first-class photographers do not go now, at some point it depends on the photographer’s adventure spirit.
The photographer should know that death is part of his job and he should not be afraid
Tell your grandfather’s grave that you do not want to insure me, I will go at my own expense, and if the Taliban came and hit me on the neck, I’s my grandfather’s grave, I asked for it myself.
This is what I am saying about Kaveh, which means that Yaro must choose that the job you choose is also part of death.
Then you will die safely and without fear
One of our photographers is that they do not have the money and one is not fluent in the language
Let me tell you a funny story. When I came back to Iran, there was a communist revolution in a place where I do not remember where it was.
We had a war correspondent named Ahmad Farooqi who said that I am the grandson of Ahmad Shah and I am the Shah of Iran.
And we also had a cameraman who died a few days ago named Sohrab Akhavan
He knew English, French and Persian, he knew Turkish Brotherhood and German and Persian
They are going to East Germany and Onura and the surrounding countries that are now Yugoslavia and these
They see that Ahmad Farooqi can not do anything wrong with English and French and he with German and Persian except with Sohrab Akhavan in Turkish.
Why, because it could talk to people, that is, you when you go to a place where people do not know any language.
What do you want to do, you can not ask Yaro which way, for example, Qom goes, when you can not say this, well what do you want to do in a city
The main problem with these is not knowing the language, and if you want to spend at your own expense, it can be very expensive.
– What is the situation of contemporary photography in your opinion?
I do not know, see if, for example, you come now and consider the same story of the Samadians that we used to tell
Yesterday, we said the same thing with piety that we can not take 400,000 photos at all, and these
Pious believes that let there be 400,000 photos from which 2 to 2 photos can be taken.
I say who can see 400,000 photos and take 2 of them?
Now I want to say that I want to take a photo of Paris, how many should I put, should I put 200, should I put 400? I took 12,000 photos
Dealing with the issue itself requires a lot of thought, meaning you should not think that I took these pictures, I am not involved in it anymore.
I’m constantly involved in things like what I have to do, now I’m excited if we can build our own museum
We can take 20 photos every 15 days, how many to 15 days a year do we have? ۲۵ تا
How much is 25 to 20? It can be 400, 500, 600, there is a long way to 200 thousand
All of us who do not want to post my photos, we must also post the photos of Kasraian, we must also post Massoud Masoumi
We have to leave Reza Noor Bakhtiar, we have to leave our friend, I did not swear that all the photos are my own photos
And it’s normal and fortunately now that we have a monitor and we make a fee, we no longer spend it on our grandchildren and such things, but the story is very big.
– What is your biggest wish?
Look, now I have 3 topics in front of me, there is a Paris exhibition that I do not know at all or not,
And the smell of Molian atmosphere is the same for Samarkand, Bukhara, Afghanistan and Iran
And one is a museum, these 3 issues
They are, and of course there is the completion of the archive, so that I can review it and see that everything is in order to be ready and say goodbye.
What are you hoping for and what are you disappointed with?
Unfortunately, I do not have much hope about Iran. When Reza Shah comes, they say that Mr. Reza Shah will come, he will fix everything.
When Reza Shah came, a nation had its eyes and ears closed and some bloodthirsty readers
When this happened, he read it and said, “Sir, you do not own this, and so on and so forth.”
And he sent these to the army, Rasht soldiers with Turks, Baluchis, Arabs and Khorasani, they all went to a barracks
And they were forced to go through that suffering and misery and joy and happiness together
It was there that Reza Shah built the nation of Iran.
But the cove that has a line here, which means 3 classes in the classroom, he preferred you
A society in 1320 delivers that they passed through this meat wheel
Today, we see that in our country and in this election, look at the extraordinary coordination in the middle.
This is the result of his hard work, what do you expect when the reactions in the community become so morally strained?
When will he come and build this, except a fool like me, to what extent can I come and build a museum there and tell people that this is the picture, this is how you should look?
When television was in my hands, I founded modern Iranian photography, but now I do not have it
– What is your advice to students and youth?
Go to work, do not tell me what it means, that is, your camera is on Colt, take pictures constantly and think about them constantly, know your community, know the sun