Born a photographer, Abbas is an Iranian transplanted to Paris. He has dedicated himself to documenting the political and social life of societies in conflict. In his major work since 1970 he has covered wars and revolutions in Biafra, Bangladesh, Northern Ireland, Vietnam, the Middle East, Chile, Cuba, and South Africa during apartheid.
From 1978 to 1980, Abbas photographed the revolution in Iran, to which he returned in 1997 after seventeen years of voluntary exile. His book Iran Diary 1971-2002 is a critical interpretation of Iranian history, photographed and written as a private journal.
During his years of exile Abbas traveled constantly. Between 1983 and 1986 he journeyed through Mexico, attempting to photograph a country as a novelist might write about it. The resulting exhibition and book, Return to Mexico: Journeys Beyond the Mask, helped define his photographic aesthetic.
From 1987 to 1994, he focused on the resurgence of Islam throughout the world. Allah O Akbar: A Journey Through Militant Islam, the subsequent book and exhibition, spanning twenty-nine countries and four continents, attracted special attention after the 9/11 attacks by Islamic jihadists. A later book, Faces of Christianity: A Photographic Journey (2000), and touring show explored Christianity as a political, ritual and spiritual phenomenon
Abbas’ concern with religion led him in 2000 to begin a project on animism, in which he sought to discover why non-rational ritual has re-emerged in a world increasingly defined by science and technology. He abandoned this undertaking in 2002, on the first anniversary of 9/11, to start a new long-term project about the clash of religions, defined as culture rather than faith, which he believes are turning into political ideologies and therefore one of the sources of the strategic struggles of the contemporary world.
From 2008 to 2010 Abbas travelled the world of Buddhism, photographing with the same sceptical eye. In 2013 he concluded a similar long term project on Hinduism, after which he started working on Judaism around the world.
The most sorrowful songs of humans would be composed when your are hanged on the rope of time, between the ground and the air, yesterday and today, with a cold smile on your face and with a distressed mind to look upon the events that happened in the past and fearfully waiting for the coming events that will happen in the future. Does Samad Ghorbanzadeh stricken with sleepwalking? or this is just his midday wanderings to be freed from the turbulent dreams which are not letting him go. His works represents his inner side that takes us to a mysterious and obscure mind and they leave us there alone, with our apprehension. First charactered person in many of his photos is a teenager who became younger and smaller, like a person that is not getting maturer by the time that stopped for him, and he is involved with a luggage of wishes, imaginations, feelings and atrocity. Samad Ghorbanzadeh in facing the world with putting his model or subject in an unknown places is showing the destruction and disappearance of a lost and forgotten world which is just a wasteland and nothing more. The simple creation of photos with less elements and with centering them in the photos without any twisting and connecting them to visual games, makes the viewer to receive and understand his mysterious mind so easily. The photos don’t belong to any period of time, neither to past nor to future, but at the same time they look like the remnants of mankind’s destroyed memories which are just forcing to bring back a past in front of their faces and to impose the evanescence of human values and sometime beyond the time and the place it makes you to fall in a trap of fear that is like a massive punishment for your indiscreet sin, and for you to fear the falling into the time’s darkest potholes. Masterly implementation of his works, takes the audience so much close to the reality that even with being sure that they have been illustrated and causes them (the viewers) to get closer to a subjective and tangible reality which is like a swaying pendulum of a clock between dream and the reality.
Babak Fatholahi is an Iranian photographer born in 1990 in Tehran, whose work focuese on portrait. Nowadays he lives and works in Ukraine.
As he wrote: “All my love is being concentrated on portrait photographing because i believe that you can this describe the whole world by just one look…»
“I am very interested that my art would be a tool for showing the pure emotions of human where the frontiers break down and everybody can speak by own language.»
“When I shot these images, it was a dark time in Iran’s history,” says Newsha Tavakolian. “It was a time of extreme pressure on the public, especially on the youth, who were all struggling under the imposed restrictions.” Curious about the isolated lives of the middle-class youth in Tehran, Tavakolian staged images based on the real stories of her friends and neighbours to depict a society that the photographer believes is often reduced to exaggerated stereotypes in western media, and to give a more accurate portrayal of “normal people” in Iran