News ID: 208896
Publish Date: 14 May 2009 - 06:38
A talk with Saeed Sadeghi, the sacred defense photographer

The Revolution erased the noble view of photography

Saeed Sadeghi was born in Tabriz in 1332. He started photography since the Islamic Revolution in 1357 and continued it as a photographer and reporter of Jomhouri Eslami Newspaper in 1358 at the same time with the beginning of the Imposed War.

Hint
Saeed Sadeghi was born in Tabriz in 1332. He started photography since the Islamic Revolution in 1357 and continued it as a photographer and reporter of Jomhouri Eslami Newspaper in 1358 at the same time with the beginning of the Imposed War. Then, he spent a period of time in the country’s cinema field working as the Cameraman Assistant and Camera Manager in some movies and TV serials. Some of his works can be counted as “The end of childhood”?, “Siyavash’s death”?, “The last day of summer”?… in which he worked as the Camera Manager. After the war, he held the exhibition of “The hidden half of the war”? together with an Iraqi photographer. Besides, seven episodes of a war documentary called “Seven wounds of the sacred defense”? is another artistic work made by him. Sadeghi has been held tens of expert photograph exhibitions and has been taken part in many collective exhibitions whose titles were about war, children, today Iran, Iranian women, etc. he succeeded to receive the Golden Trophy adorned with Imam Khomeini’s message given by the time president. He is now the member of Policy-Making Council and the scientific editor of the Islamic World’s contemporary Photography Biannual. He is working as the evaluator of artists’ artistic level applying for the Photography Course of the Islamic Guidance Ministry. Saeed Sadeghi could own the Bravery medal in 1385 and the First Class Medal of Art in 1386 from the Cultural Revolution Council.
Some of books written and published by him can be counted as:
- Lovingly defense and the new life
- Enna Fatahna in three volumes
- Two volumes of the book “Halabcheh Spring”?
- The war picture collection of the Tale of Conquer “Ravayat-e-Fat-h”?
- Broken Blossoms
- The book “Frontline Culture”?
Q: I want you to talk a little about the Revolution time photography. We would like to know that what kind of impact the revolution had on photography.
A: The extension of the revolution was so much that all cameras were absorbed in the Revolution! Of course, cameras were different in different aspects of the revolution as well. There were cameras being used to destroy the revolution, and also, there were cameras being willing and thirsty to register the revolution’s shots.
Then, it seems to me that there were two kinds of view in the revolution’s cameras. One was against the revolution and was seeking obscenity while there was no obscenity; and another camera had a lovingly view toward the revolution and was seeking beauties.
Photography before the revolution was formalist. It was a formalism being overwhelmed by nobleness. The content had no role in between. However, the humanistic aspects were more extensive in the Islamic Revolution and it could make content. Maybe you cannot realize, but humanistic aspects were very weak during Pahlavi Period. People lived in discomfort and because of all these reasons; they were thirsty of humanistic and religious communications, since the religion was placed in the basis of those people. A great branch of the Islamic revolution was photography. When a photo was taken, it was dispersed through Iran and all people could be aware of Pahlavi’s crimes as well as popular movements in different cities. Pictorial media was the fastest one, because the TV and Press had limitations and were under control.
Q: What could create wonderful pictures during the Revolution Period?
A: Camera is a device and the one who presses the shutter is a human. The inside of photography and its sense was very important. The wonder and impact of photos were much more than words, since events were very important for people everywhere in the country and abroad.
Q: According to you, what kind of photos of the revolution has durability comparing to others?
A: Photos being taken by heart and soul could be durable photos. After the revolution, durable photos are concealed because of the quick social changes and disconnection of warm connections among people being found during the revolution. I mean that the atmosphere is not suitable at all to let the artworks being seen. We have not realized different aspects of the revolution yet to know the meaning of the revolution. Today, the national and religious tie and the collective ambitions are cut. Durability has been decreased and even words have become meaningless and repelling.
Q: Many of revolutionist photographers believe that the change made by Imam Khomeini’s rise is unassailable. I want to ask you a question and it is that how we can preserve these accomplishments?
A: Sacrifice has a great impact over a photographer and we can form our photographs frames with honesty and grow popular connections in the society being helped by the government to gratify the ones who took photos heart and soul in the way the revolution. Being aided with the compassion between people and government, our photography can make a great change in the world. During the revolution period, our goals and ambitions were the same. Today, we have to try to unite our ambitions as well.
Q: I want to talk about the Sacred Defense. How was photography during the sacred defense period according to you?
A: the basis of photography was established during the revolution period and it was formed in the sacred defense. When political parties were established after the revolution, photography played a great role in the society; so that if there were no revolution fan photographers, political parties could take control of the system very soon. If we turn the page of photography history, we may understand that a few people used to take photos at the beginning of the revolution. It went on until the popular and national power became established and many more entered the field of photography. If we compare photos we may find out the difference between photos taken by photographers’ logical view and the ones being taken by photographers’ sensitive view.
Q: One of the main problems of the sacred defense photographers is the lack of a complete archive from their photos. Many of them took photos for different organizations and submitted their negative photos to them. The negatives have been destroyed through the time gradually. According to you, why doesn’t an organization is volunteered to collect the photos of the sacred defense period?
A: Organizing war photos may face a lot of problems, since the authorities have not believed photography yet. The reason or reasons of activities of war photography cons is not clear, but what is clear is that the name of war photographers cannot be omitted from the scene of photography and history of Iran-Iraq war.
Q: How can you introduce the photographer of the sacred defense?
A: People who used to take photos during the war can be categorized in three groups. The first group is the ones who were sent to frontlines as officers or reporters. The second group includes professional and amateur photographers who used to take photos according to private reasons heart and soul. The third group, who were neither officers and reports, nor worked heart and soul, were the ones who took photos completely according to orders.
Artworks which can be registered in the memory of the next generation and becomes durable are the works of the second group because not every photo having the title of war may be considered as the sacred defense photo. Photography of the sacred defense needs an honesty, intention, and purity. Regarding your last question, I should say that unless categorizing war photos has not been done by a related organization, our photos will not be influential in people’s belief toward the history of Iran and Iraq war. The difference between the left works of photographers who took photos heart and soul among fighters in the battlefields and the ones who were ordered to take photos cannot be distinguished easily without a precise examination. Sensations of these three groups of people are quite different and are not alike at all.
Q: What characteristics do durable photos of the sacred defense share?
A: Taking photos from war ruins and taking memorial photos from cities streets is an easy job and is not considered the sacred defense photography. A photographer should reveal his intention in his photo and not let anyone comment his pictures. Iran did not fight to defend his borders, but it stood against the war. Then, a photo may be successful in this field which can show the art of persistence.
Q: You were one of the very first photographers who presented in Khoramshahr and witnessed its fall at the beginning of the imposed war. What happened that day and what did you do under the enemy’s bombardment and heavy fire?
A: When the war began, we were informed that the airports had been bombarded by the enemy. We went to the Mehrabad Airport quickly, but we were not allowed to enter. We went to Ekbatan District, since it was bombarded too, but the bombs had not been exploded and I could take some photos from them.
The same day, I decided to go to frontlines in which the war had just begun, but I did not have any vehicle. The bombardment of cities and messy conditions had stopped everything in the country. Economical resources and transportation were shut down and nothing was in its place those days. The only one who felt calm was Imam Khomeini.
When we reached Khoramshahr, there were still Abadani Families in the city. We were roaming gradually in the city until we reached the Main Mosque around noon. Those days, nobody still trusted cameras. I understood that there were two groups of people in the city, First, the ones who informed the enemy of important locations, and the second, some of youths who defended the city. Together with some of youths, we drove around the border.
The ones who could leave the city had left it, but many people did not leave it. Many of people were so poor that they could not take a vehicle to leave. In the middle of Mehr, the city was attacked by a heavy fire. Those days, we did not know what the enemy was doing. Later on, we got that we had been encircled. They had captured Darkhuwain. Their tanks were attacking from the north of the city. Situation was so complicated. What could be a merit those days may now be considered big mistakes by many people right now. We and the city’s people were like brothers and helped each other in tough conditions without knowing them. A sensation had been formed among us and the same thing made us resist. The atmosphere was so scary that we forgot to take photos sometimes. We did everything such as defending, aiding, etc.
One of those days, Hojat ol Eslam Hadi Ghaffari, Ayat ollah Khalkhali… came to the city. I remember that we had taken some prisoners of war and Ayat ollah Khalkhali had stood up stairs and behind him smoke was rising to the sky. He was making a speech and I was taking photos from him. After his death, I published them.
People had left houses and their property had been left away. Even banks had not been emptied. Abadani people had more chance to take their property away.
Iraqi infantries were marching in streets and did not let anyone escape. They killed whoever coming out of houses at once. They were shooting men to kill and robbing women. Scare had filled the city. They were burning old men and women alive. I had my camera with me, but I could not take any photo. I was just shooting nervously.
Resistance of Khoramshahr was special. The majesty of resistance is more than its victory. Briefly saying, the city had been fallen. We did not know the date but the city had been fallen when we left. I saw heroes myself in Khoramshahr not a particular hero.
Q: According to you, what has happened to photography after the war?
A: Today, photography has become ornamental. If we roam the city we can see many painting exhibition which have little influence. The ones who use such exhibitions are people whose educational course is photography. Photography has become apart from a national unity and movement. Photography was the most extensive tool serving Iran’s history during the revolution and the sacred defense.
Q: Right now, what problems and deficiencies are there in photography in order to express the definition of sacrifice and martyrdom?
A: One of our problems is that we just want to see a beautiful photo. If we formed our humanistic and cultural aspects as well as our national and religious pride in photos, nowadays, we would be located in a better place. The influence of photo is very much more than cinema, theater, and music because it remains in minds and does not disappear soon. Photography is not having a camera, but it is the photographer’s mind and conception. To enhance conception, we must gather study and experience and use others’ experience together with our study. The Revolution erased the noble view of photography, but when we look at the Press and Media today, we see and touch the reappearance of nobleness unfortunately.

انقلاب نگاه اشراÙ?ÙŠ گري عكاسي را محو كرد
Ú¯Ù?تگو با سعيد صادقي، عكاس دÙ?اع مقدس
اشاره
سعيد صادقي متولد 1332 در شهر تبريز است. وي عكاسي را از دوران انقلاب اسلامي در سال 1357 آغاز Ùˆ با سمت عكاس Ùˆ خبرنگار در روزنامه جمهوري اسلامي در سال 1358 همزمان با شروع جنگ تحميلي ادامه داد. سپس مدتي را در حوزه سينماي كشور با دستيار Ù?يلمبردارو مدير Ù?يلمبرداري در Ù?يلمهاي سينمايي Ùˆ مجموعه هاي تلويزيوني سپري كرد كه از جمله Ù?يلم هايي كه در آن مدير Ù?يلمبرداري بوده مي توان به «Ù¾Ø§ÙŠØ§Ù† كودكي » ØŒ « مرگ سياوش » ØŒ « آخرين روز تابستان » Ùˆ .... اشاره كرد. وي پس از جنگ عراق نمايشگاه نيمه پنهان جنگ را بايك عكاس عراقي برگزار كرد. همچنين مستند بلگراد Ùˆ كارگرداني Ùˆ Ù?يلمبرداري Ù‡Ù?ت قسمت از مجموعه مستند جنگ با نام Ù‡Ù?ت زخم از دÙ?اع مقدس از ديگر Ù?عاليتهاي هنري او بشمار مي رود. صادقي تا كنون ده ها نمايشگاه عكس اختصاصي برپا كرده Ùˆ در نمايشگاه هاي گروهي بسياري نيز شركت داشته از جمله موضوعات آن مي توان به :\"جنگ\"ØŒ \"كودكان ØŒ\"ايران امروز\"ØŒ\"زنان ايران\" Ùˆ ... اشاره كرد. او در سال 1367 موÙ?Ù‚ به درياÙ?ت لوح زرين مزين به پيام امام خميني از دست رئيس جمهور وقت شد . وي عضو شوراي سياست گزاري Ùˆ دبير علمي دوسالانه عكاسي معاصر جهان اسلام Ù?رهنگستان هنر است Ùˆ به عنوان ارزشياب Ùˆ تعيين كننده درجه هنري هنرمندان متقاضي در رشته عكاسي وزارت ارشاد اسلامي Ù?عاليت مي كند. سعيد صادقي در سال 1385 نشان شجاعت Ùˆ در سال 1386 نشان درجه يك هنري شوراي انقلاب Ù?رهنگي را از آن خود كرده است.
ازمجموعه كتابهاي به چاپ رسيده، توسط او ميتوان به اين ها اشاره كرد:
كتاب دÙ?اع عاشقانه Ùˆ زندگي دوباره
انا Ù?تحنا در سه جلد
دو جلد كتاب بهار حلبچه
مجموعه عكسهاي جنگ روايت Ù?تح
شكوÙ?Ù‡ هاي شكسته
كتاب Ù?رهنگ جبهه
مي خواهيم كمي از عكاسي زمان انقلاب بگوييد، و مي خواهيم بدانيم، انقلاب چه تأثيري در عكاسي داشت؟
گستردگي انقلاب آنقدر زياد بود ØŒ كه همه دوربين ها در دل انقلاب حل شدند! البته در ابعاد مختلÙ? انقلاب هم دوربين ها متÙ?اوت بود، دوربين هايي بودند كه براي از بين بردن انقلاب شاترشان زده مي شد Ùˆ دوربين هايي بودند كه عاشق Ùˆ تشنه انقلاب بودند.
براي همين به نظرم مي آيد كه دو نگاه در دوربين هاي انقلاب وجود داشت يكي در مقابل انقلاب بود و دنبال زشتي ها مي گشت، در حالي كه زشتي ا ي وجود نداشت. نگاه دوم، نگاه عاشقانها ي بود، كه دنبال زيبايي ها مي گشت.
عكاسي قبل از انقلاب Ù?رم گرا بود . Ù?رم گرايي كه اشراÙ?ÙŠ گري بر آن غالب بود. Ùˆ محتوا نقشي نداشت. اما در انقلاب اسلامي ابعاد انساني گسترده تر بود Ùˆ محتوا ايجاد كرد. شايد شما درك نكنيد اما ابعاد انساني در زمان طاغوت بسيار ضعيÙ? بود. مردم در سختي زندگي مي كردند Ùˆ به همه اين دلايل مردم تشنه ارتباط انساني Ùˆ ديني بودند. چون دين در ذات همه مردم بود. شاخه بزرگي از انقلاب اسلامي عكاسي بود كه وقتي عكسي گرÙ?ته مي شد در سطح ايران پخش مي شد Ùˆ مردم از جنايات طاغوت Ùˆ حركت هاي مردمي در شهرهاي مختلÙ? آگاه مي شدند. ارتباطات تصويري سريعترين رسانه بود. چرا كه تلويزيون Ùˆ مطبوعات محدوديت داشتند Ùˆ تحت كنترل بودند.
Ú†Ù‡ چيزي عكس هاي Ø´Ú¯Ù?ت انگيز را در دوران انقلاب پديد آورد؟
دوربين يك وسيله است Ùˆ كسي كه شاتر را Ù?شار مي دهد يك انسان است. درون عكاسي Ùˆ حسي كه داشت خيلي مهم بود. Ø´Ú¯Ù?تي Ùˆ تاثيرگذاري عكس ها از واژه ها خيلي بيشتر بود، چون اتÙ?اقات براي همه مردم در همه نقاط مهم بود.
به نظر شما چه عكس هايي از دوران انقلاب قابليت ماندگاري دارند؟
عكس هايي كه با قلب Ùˆ دل عكس گرÙ?ته مي شدند عكس هاي ماندگاري شدند . بعد از انقلاب به دليل تحولات سريع اجتماعي Ùˆ قطع شدن ارتباطات صميمي كه در دوران انقلاب بين مردم وجود داشت، عكس هاي ماندگار پنهان مي شود. يعني Ù?ضا، Ù?ضاي مناسبي نيست كه كارها ديده شوند. ما هنوز ابعاد مختلÙ? انقلاب را درك نكرديم Ùˆ هنوز به معرÙ?ت انقلاب نرسيده ا يم. امروز پيوند ملي Ùˆ ديني Ùˆ آرمان گرايي جمعي قطع شده Ùˆ ماندگاري ها كمت ر شده حتي واژه ها بي معماو مشمئز كننده شده است.
بسياري از عكاسان انقلاب معتقدند، تحولي كه نهضت امام خميني(ره) بهوجود آورد غير قابل انكار است، مي خواهم از شما سوال كنم، چطور بايد اين دستاورد ها را Ø­Ù?ظ كنيم؟
از خود گذشتگي Ùˆ Ù?داكاري نقش برجستها ÙŠ روي عكاس دارد Ùˆ ما ميت وانيم با صداقت تركيب قاب هاي عكاسي خودمان را ببنديم Ùˆ ارتباط مردمي را در جامعه رشد دهيم Ùˆ حاكميت هم نقش داشته باشد Ùˆ قدر اÙ?رادي را كه در راه انقلاب با جان Ùˆ دل عكاسي كردند، بداند. با همدلي مردم Ùˆ دولت، عكاسي ما مي تواند تحولي عظيم در جهان بوجود آورد. در دوران انقلاب هدÙ? ها Ùˆ آرمان همه يكي بود .امروز هم بايد سعي كنيم آرمان هايمان يكي بشود.
مي خواهيم سوال ها را به سمت دÙ?اع مقدس بكشيم، از نظر شما عكاسي در دوران دÙ?اع مقدس Ú†Ù‡ وضعيتي داشت؟
بذر عكاسي در دوران انقلاب پاشيده شد Ùˆ در دÙ?اع مقدس به ثمر نشست Ùˆ نتيجه داد. وقتي در دوران بعد از انقلاب گروههاي سياسي بوجود آمدند عكاسي نقش برجستها ÙŠ را ايÙ?ا كرد. به طوري كه شايد اگر عكاسان عاشق انقلاب نبودند گروه هاي سياسي خيلي سريع سوار نظام مي شدند. اگر تاريخ عكاسي را ورق بزنيم متوجه مي شويم در اوايل انقلاب Ù?قط تعداد انگشت شماري عكاسي كردند، تا زماني كه قدرت مردمي Ùˆ ملي تثبت شد Ùˆ تعداد بيشتري وارد صحنه شدند. اگر عكس ها را با هم مقايسه كنيم متوجه تÙ?اوت عكس هايي كه با منطق عقل عكاسان گرÙ?ته شده Ùˆ كساني كهب ا دلشان عكسي گرÙ?تها ند مي شويم.
يكي از مشكلات عمده عكاسان دÙ?اع مقدس ØŒ نبود آرشيو كاملي از عكس هايشان است. بسياري از عكاسان براي ارگان هاي مختلÙ? عكاسي كردند Ùˆ نگاتيوهاي خود را در اختيار آنان قرار دادند كه به مرور زمان از بين رÙ?تها ند. Ù?كر مي كنيد چرا ارگاني متولي جمع آوري عكس هاي دوران دÙ?اع مقدس نم يشود؟
ساماندهي عكس هاي جنگ با مشكلات زيادي روبه رو است، چرا كه مسئولان هنوز عكاسي را باور ندارند. دليل يا دلايل Ù?عاليت هاي مخالÙ?ان عكاسي جنگ معلوم نيست اما آنچه مسلم است، نام عكاسان جنگ را نمي توان از عرصه عكاسي Ùˆ تاريخ جنگ عراق با ايران حذÙ? كرد.
شما عكاس دÙ?اع مقدس را چگونه معرÙ?ÙŠ مي كنيد؟
اÙ?رادي كه زمان جنگ عكاسي مي كردند در 3 دسته قابل شمارش هستند كه گروه اول عكاساني بودند كه به عنوان مأمور Ùˆ خبرنگار به جبهه هاي جنگ اعزام مي شدند. گروه دوم شامل عكاسان حرÙ?ها ÙŠ Ùˆ آماتوري مي شد كه از جان Ùˆ دل Ùˆ بنا به خواست شخصي عكاسي جنگ مي كردند Ùˆ دسته سوم كه نه مأمور Ùˆ خبرنگار بودند Ùˆ نه از جان Ùˆ دل كار مي كردند بلكه كاملا به طور سÙ?ارشي عكاسي مي كردند.
آثاري كه در اين ميان در اذهان نسل آينده نقش مي بندد Ùˆ ماندگار مي شود، آثار عكس گروه دوم است زيرا هر عكسي كه با موضوع جنگ باشد نمي تواند عكس دÙ?اع مقدس محسوب شود. عكاسي دÙ?اع مقدس دل خوشي، صداقت Ùˆ پاكي خاص خودش را مي طلبد. پيرو سوال قبلي شما بايد بگويم تا زماني كه دسته بندي عكس هاي جنگ از طرÙ? ارگان يا سازماني مرتبط، انجام نشود، عكس هاي ما در باورپذيري مردم نسبت به تاريخ جنگ ايران Ùˆ عراق مؤثر نخواهدبود. بدون بررسي دقيقي آثار باقيمانده تÙ?اوت ميان عكاساني كه با دل Ùˆ جان يا با زاويه ديد سÙ?ارشي كه اجازه ورود به محل عمليات پس از پايان آن را داشتند يا آن دسته كه بين رزمندگان زندگي Ùˆ عكاسي كرده ا ند، بر نسل هاي آينده معلوم نمي شود. احساسات اين 3 دسته با هم متÙ?اوت است Ùˆ هيچ شباهتي به هم ندارند.
عكس ماندگار دÙ?اع مقدس Ú†Ù‡ خصوصيتي دارد؟
عكاسي از خرابي هاي جنگ، گرÙ?تن عكس يادگاري از در Ùˆ ديوار شهر كار راحتي است اما عكاسي جنگ محسوب نمي شود زيرا ميان مردم باور نمي شود. عكاس بايد منظور خود را در تصوير عكس مشهود كند Ùˆ اجازه تÙ?سير به كسي ندهد. ايران در دÙ?اع از مرز هايش نجنگيد، بلكه در برابر جنگ ايستادگي كرد. بنابراين عكسي در اين عرصه موÙ?Ù‚ است كه هنر ايستادگي را نشان دهد.
شما در آغاز جنگ تحميلي جزو اولين عكاساني بوديد كه در خرمشهر حاضر شديد Ùˆ سقوط آن را ديد، Ú†Ù‡ اتÙ?اقي در آن روز اÙ?تاد Ùˆ شما در ميان بمباران Ùˆ تيرباران سنگين دشمن Ú†Ù‡ مي كرديد؟
روزي كه جنگ آغاز شد خبر رسيد كه Ù?رودگاه را بمباران كردها ند. سريعا به Ù?رودگاه مهرآباد رÙ?تم، اجازه ورود به Ù?رودگاه را به ما ندادند. به شهرك اكباتان رÙ?تم. آنجا را نيز بمباران كرده بودند، اما بمب ها عمل نكرده بود Ùˆ من از بمب هاي منÙ?جرنشده عكاسي كردم.
همان روز تصميم گرÙ?تم به مناطق مرزي كه جنگ آغاز شده بود، بروم، اما وسيله اي در اختيار نداشتم. بمباران Ùˆ اوضاع نابسامان، همه كشور را Ù‚Ù?Ù„ كرده بود. منابع اقتصادي Ùˆ حمل Ùˆ نقل كشور تعطيل شده بود. در آن شرايط هيچ چيزي سر جاي خود نبود. تنها كسي كه سرجاي خود بود Ùˆ آرامش داشت،ا مام(ره)بود.
وقتي به خرمشهر رسيديم هنوز خانواده هاي آباداني در شهر بودند. آرام آرام در شهر مي گشتيم كه حوالي ظهر به مسجد جامع رسيديم. در آن زمان هنوز كسي به دوربين اعتماد نداشت. Ù?هميدم در شهر دو گروه هستند، عده ا ÙŠ كه به دشمن گرا مي دهند Ùˆ گروهي هم جواناني كه از شهر دÙ?اع مي كنند. به همراه عدها ÙŠ از جوانان در مسجد جامع سوار ماشيني شديم وبه حوالي مرز رسيديم.
اÙ?رادي كه مي توانستند شهر را ترك كردند. اما خيلي ها از شهر نرÙ?تند. بسياري از مردم آن قدر Ù?قير بودند كه پاي رÙ?تن نداشتند. اواسط مهرماه حجم سنگين آتش بر شهر بالا گرÙ?ته بود. ما آن زمان اصلا نمي دانستيم Ú†Ù‡ مي كنند. بعدها Ù?هميديم كه شهر محاصره شده بود. دارخوين را گرÙ?ته بودند. تانك ها از بالاي شهر هجوم آورده بودند. شرايط بسيار سخت بود. آنچه آن روزها ارزش بود، شايد امروز از سوي بسياري عيب هاي بزرگي محسوب شود. ما با مردم شهر مثل برادر بوديم Ùˆ در شرايط سخت خاص همه به هم ياري مي رسانديم، بدون اينكه همديگر را بشناسيم. احساس ميان همه ما شكل گرÙ?ته بود Ùˆ همين باعث مقاومت ما شده بود. آن چنان Ù?ضا رعب آور بود كه بعضي اوقات اصلا Ù?راموش مي كردم عكس بگيرم. همه كارا نجام مي داديم. دÙ?اع مي كرديم، كمك مي كرديم Ùˆ....
در همان روزها حجت الاسلام هادي غÙ?اري، آيت ا لله خلخاني Ùˆ... به شهر سر زدند. به ياد دارم تعدادي اسير آورده بودند Ùˆ خلخالي بالاي پله ها ايستاده بود Ùˆ پشت سر او دود بلند شده بود Ùˆ او حرÙ? مي زد كه من از او عكس گرÙ?تم Ùˆ بعد از Ù?وتش آن را منتشر كردم.
مردم خانه ها را رها كرده Ùˆ رÙ?ته بودند. اموال مردم خرمشهر رها شده بود Ùˆ حتي بانك ها تخليه نشده بود. آباداني ها بيشتر Ù?رصت كرده بودند تا وسايل خود را ببرند.
نيروهاي پياده عراقي در شهر حركت مي كردند Ùˆ هر كس را مي ديدند از خانه بيرون مي كشيدند Ùˆ اعدام مي كردند Ùˆ اصلا Ù?رصت نمي دادند Ùˆ در جا مي زدند. مردها را با گلوله مي كشتند Ùˆ خانم ها را ميب ردند؛ وحشت شهر را گرÙ?ته بود. پيرمردها Ùˆ پيرزن ها را زنده زنده آتش مي زدند. دوربين همراه من بود Ùˆ من از ترس تيراندازي مي كردم اما نمي توانستم عكاسي كنم.
مقاومت خرمشهر خاص بود. عظمت مقاومت، از پيروزي آن بيشتر است. خلاصه شهر سقوط كرده بود. تاريخ آن را نمي دانستيم اما شهر سقوط كرده بود كه ما رÙ?تيم. من به چشم خود قهرمان ها را در خرمشهر ديدم، نه يك قهرمان را.
از نظر شما عكاسي بعد از جنگ چه وضعيتي پيدا كرد؟
عكاسي امروز جنبه تزئيني پيدا كرده Ùˆ اگر در سطح شهر بگرديم نمايشگاههاي نقاشي زيادي مي بينيم كه تاثير چنداني ندارند. آدم هايي كه از اين نمايشگاهها استÙ?اده مي كنند كساني هستند كه بيشتر اقتضاي رشته تحصيلي شان است. عكاسي از حالت وحدت ملي Ùˆ حركت ملي Ùˆ ديني Ù?اصله گرÙ?ته Ùˆ جدا شده. عكاسي رساترين ابزاري بود كه در مدت انقلاب Ùˆ دÙ?اع مقدس در خدمت سينه خالي تاريخ ايران بود .
در حال حاضر Ú†Ù‡ كمبودها Ùˆ مشكلاتي در عرصه عكاسي، براي بيان Ù…Ù?هوم ايثار Ùˆ شهادت وجود دارد؟
يكي از مشكلات ما اين است كه ما Ù?قط مي خواهيم عكس زيبا را تماشا كنيم .اگر ما ابعاد انساني Ùˆ Ù?رهنگي Ùˆ غرور ملي Ùˆ ديني خود را در تركيب عكس ها شكل مي داديم Ùˆ بينش هاي خود را نشان مي داديم امروز در جايگاه بهتري قرار داشتيم. تاثير عكس خيلي بيشتر از سينما تئاتر Ùˆ موسيقي است چون در ذهن مي نشيند Ùˆ زود از بين نمي رود. عكاسي داشتن دوربين نيست عكاسي ذهن عكاس است. بينش عكاس است . براي بالا بردن بينش بايد مطالعه Ùˆ تجربه وجود داشته باشد Ùˆ همراه مطالعه از تجربه ديگران هم استÙ?اده كنيم. انقلاب نگاه اشراÙ?ÙŠ گري عكاسي را محو كرد كه متأسÙ?انه امروز وقتي به مطبوعات Ùˆ رسانه ها نگاه مي كنيم ظهور دوباره اشراÙ?ÙŠ گري را مي بينيم Ùˆ لمس مي كنيم.

Hint Saeed Sadeghi was born in Tabriz in 1332. He started photography since the Islamic Revolution in 1357 and continued it as a photographer and reporter of Jomhouri Eslami Newspaper in 1358 at the same time with the beginning of the Imposed War. Then, he spent a period of time in the country’s cinema field working as the Cameraman Assistant and Camera Manager in some movies and TV serials. Some of his works can be counted as “The end of childhood”?, “Siyavash’s death”?, “The last day of summer”?… in which he worked as the Camera Manager. After the war, he held the exhibition of “The hidden half of the war”? together with an Iraqi photographer. Besides, seven episodes of a war documentary called “Seven wounds of the sacred defense”? is another artistic work made by him. Sadeghi has been held tens of expert photograph exhibitions and has been taken part in many collective exhibitions whose titles were about war, children, today Iran, Iranian women, etc. he succeeded to receive the Golden Trophy adorned with Imam Khomeini’s message given by the time president. He is now the member of Policy-Making Council and the scientific editor of the Islamic World’s contemporary Photography Biannual. He is working as the evaluator of artists’ artistic level applying for the Photography Course of the Islamic Guidance Ministry. Saeed Sadeghi could own the Bravery medal in 1385 and the First Class Medal of Art in 1386 from the Cultural Revolution Council. Some of books written and published by him can be counted as: - Lovingly defense and the new life - Enna Fatahna in three volumes - Two volumes of the book “Halabcheh Spring”? - The war picture collection of the Tale of Conquer “Ravayat-e-Fat-h”? - Broken Blossoms - The book “Frontline Culture”? Q: I want you to talk a little about the Revolution time photography. We would like to know that what kind of impact the revolution had on photography. A: The extension of the revolution was so much that all cameras were absorbed in the Revolution! Of course, cameras were different in different aspects of the revolution as well. There were cameras being used to destroy the revolution, and also, there were cameras being willing and thirsty to register the revolution’s shots. Then, it seems to me that there were two kinds of view in the revolution’s cameras. One was against the revolution and was seeking obscenity while there was no obscenity; and another camera had a lovingly view toward the revolution and was seeking beauties. Photography before the revolution was formalist. It was a formalism being overwhelmed by nobleness. The content had no role in between. However, the humanistic aspects were more extensive in the Islamic Revolution and it could make content. Maybe you cannot realize, but humanistic aspects were very weak during Pahlavi Period. People lived in discomfort and because of all these reasons; they were thirsty of humanistic and religious communications, since the religion was placed in the basis of those people. A great branch of the Islamic revolution was photography. When a photo was taken, it was dispersed through Iran and all people could be aware of Pahlavi’s crimes as well as popular movements in different cities. Pictorial media was the fastest one, because the TV and Press had limitations and were under control. Q: What could create wonderful pictures during the Revolution Period? A: Camera is a device and the one who presses the shutter is a human. The inside of photography and its sense was very important. The wonder and impact of photos were much more than words, since events were very important for people everywhere in the country and abroad. Q: According to you, what kind of photos of the revolution has durability comparing to others? A: Photos being taken by heart and soul could be durable photos. After the revolution, durable photos are concealed because of the quick social changes and disconnection of warm connections among people being found during the revolution. I mean that the atmosphere is not suitable at all to let the artworks being seen. We have not realized different aspects of the revolution yet to know the meaning of the revolution. Today, the national and religious tie and the collective ambitions are cut. Durability has been decreased and even words have become meaningless and repelling. Q: Many of revolutionist photographers believe that the change made by Imam Khomeini’s rise is unassailable. I want to ask you a question and it is that how we can preserve these accomplishments? A: Sacrifice has a great impact over a photographer and we can form our photographs frames with honesty and grow popular connections in the society being helped by the government to gratify the ones who took photos heart and soul in the way the revolution. Being aided with the compassion between people and government, our photography can make a great change in the world. During the revolution period, our goals and ambitions were the same. Today, we have to try to unite our ambitions as well. Q: I want to talk about the Sacred Defense. How was photography during the sacred defense period according to you? A: the basis of photography was established during the revolution period and it was formed in the sacred defense. When political parties were established after the revolution, photography played a great role in the society; so that if there were no revolution fan photographers, political parties could take control of the system very soon. If we turn the page of photography history, we may understand that a few people used to take photos at the beginning of the revolution. It went on until the popular and national power became established and many more entered the field of photography. If we compare photos we may find out the difference between photos taken by photographers’ logical view and the ones being taken by photographers’ sensitive view. Q: One of the main problems of the sacred defense photographers is the lack of a complete archive from their photos. Many of them took photos for different organizations and submitted their negative photos to them. The negatives have been destroyed through the time gradually. According to you, why doesn’t an organization is volunteered to collect the photos of the sacred defense period? A: Organizing war photos may face a lot of problems, since the authorities have not believed photography yet. The reason or reasons of activities of war photography cons is not clear, but what is clear is that the name of war photographers cannot be omitted from the scene of photography and history of Iran-Iraq war. Q: How can you introduce the photographer of the sacred defense? A: People who used to take photos during the war can be categorized in three groups. The first group is the ones who were sent to frontlines as officers or reporters. The second group includes professional and amateur photographers who used to take photos according to private reasons heart and soul. The third group, who were neither officers and reports, nor worked heart and soul, were the ones who took photos completely according to orders. Artworks which can be registered in the memory of the next generation and becomes durable are the works of the second group because not every photo having the title of war may be considered as the sacred defense photo. Photography of the sacred defense needs an honesty, intention, and purity. Regarding your last question, I should say that unless categorizing war photos has not been done by a related organization, our photos will not be influential in people’s belief toward the history of Iran and Iraq war. The difference between the left works of photographers who took photos heart and soul among fighters in the battlefields and the ones who were ordered to take photos cannot be distinguished easily without a precise examination. Sensations of these three groups of people are quite different and are not alike at all. Q: What characteristics do durable photos of the sacred defense share? A: Taking photos from war ruins and taking memorial photos from cities streets is an easy job and is not considered the sacred defense photography. A photographer should reveal his intention in his photo and not let anyone comment his pictures. Iran did not fight to defend his borders, but it stood against the war. Then, a photo may be successful in this field which can show the art of persistence. Q: You were one of the very first photographers who presented in Khoramshahr and witnessed its fall at the beginning of the imposed war. What happened that day and what did you do under the enemy’s bombardment and heavy fire? A: When the war began, we were informed that the airports had been bombarded by the enemy. We went to the Mehrabad Airport quickly, but we were not allowed to enter. We went to Ekbatan District, since it was bombarded too, but the bombs had not been exploded and I could take some photos from them. The same day, I decided to go to frontlines in which the war had just begun, but I did not have any vehicle. The bombardment of cities and messy conditions had stopped everything in the country. Economical resources and transportation were shut down and nothing was in its place those days. The only one who felt calm was Imam Khomeini. When we reached Khoramshahr, there were still Abadani Families in the city. We were roaming gradually in the city until we reached the Main Mosque around noon. Those days, nobody still trusted cameras. I understood that there were two groups of people in the city, First, the ones who informed the enemy of important locations, and the second, some of youths who defended the city. Together with some of youths, we drove around the border. The ones who could leave the city had left it, but many people did not leave it. Many of people were so poor that they could not take a vehicle to leave. In the middle of Mehr, the city was attacked by a heavy fire. Those days, we did not know what the enemy was doing. Later on, we got that we had been encircled. They had captured Darkhuwain. Their tanks were attacking from the north of the city. Situation was so complicated. What could be a merit those days may now be considered big mistakes by many people right now. We and the city’s people were like brothers and helped each other in tough conditions without knowing them. A sensation had been formed among us and the same thing made us resist. The atmosphere was so scary that we forgot to take photos sometimes. We did everything such as defending, aiding, etc. One of those days, Hojat ol Eslam Hadi Ghaffari, Ayat ollah Khalkhali… came to the city. I remember that we had taken some prisoners of war and Ayat ollah Khalkhali had stood up stairs and behind him smoke was rising to the sky. He was making a speech and I was taking photos from him. After his death, I published them. People had left houses and their property had been left away. Even banks had not been emptied. Abadani people had more chance to take their property away. Iraqi infantries were marching in streets and did not let anyone escape. They killed whoever coming out of houses at once. They were shooting men to kill and robbing women. Scare had filled the city. They were burning old men and women alive. I had my camera with me, but I could not take any photo. I was just shooting nervously. Resistance of Khoramshahr was special. The majesty of resistance is more than its victory. Briefly saying, the city had been fallen. We did not know the date but the city had been fallen when we left. I saw heroes myself in Khoramshahr not a particular hero. Q: According to you, what has happened to photography after the war? A: Today, photography has become ornamental. If we roam the city we can see many painting exhibition which have little influence. The ones who use such exhibitions are people whose educational course is photography. Photography has become apart from a national unity and movement. Photography was the most extensive tool serving Iran’s history during the revolution and the sacred defense. Q: Right now, what problems and deficiencies are there in photography in order to express the definition of sacrifice and martyrdom? A: One of our problems is that we just want to see a beautiful photo. If we formed our humanistic and cultural aspects as well as our national and religious pride in photos, nowadays, we would be located in a better place. The influence of photo is very much more than cinema, theater, and music because it remains in minds and does not disappear soon. Photography is not having a camera, but it is the photographer’s mind and conception. To enhance conception, we must gather study and experience and use others’ experience together with our study. The Revolution erased the noble view of photography, but when we look at the Press and Media today, we see and touch the reappearance of nobleness unfortunately. انقلاب نگاه اشراÙ?ÙŠ گري عكاسي را محو كرد Ú¯Ù?تگو با سعيد صادقي، عكاس دÙ?اع مقدس اشاره سعيد صادقي متولد 1332 در شهر تبريز است. وي عكاسي را از دوران انقلاب اسلامي در سال 1357 آغاز Ùˆ با سمت عكاس Ùˆ خبرنگار در روزنامه جمهوري اسلامي در سال 1358 همزمان با شروع جنگ تحميلي ادامه داد. سپس مدتي را در حوزه سينماي كشور با دستيار Ù?يلمبردارو مدير Ù?يلمبرداري در Ù?يلمهاي سينمايي Ùˆ مجموعه هاي تلويزيوني سپري كرد كه از جمله Ù?يلم هايي كه در آن مدير Ù?يلمبرداري بوده مي توان به «Ù¾Ø§ÙŠØ§Ù† كودكي » ØŒ « مرگ سياوش » ØŒ « آخرين روز تابستان » Ùˆ .... اشاره كرد. وي پس از جنگ عراق نمايشگاه نيمه پنهان جنگ را بايك عكاس عراقي برگزار كرد. همچنين مستند بلگراد Ùˆ كارگرداني Ùˆ Ù?يلمبرداري Ù‡Ù?ت قسمت از مجموعه مستند جنگ با نام Ù‡Ù?ت زخم از دÙ?اع مقدس از ديگر Ù?عاليتهاي هنري او بشمار مي رود. صادقي تا كنون ده ها نمايشگاه عكس اختصاصي برپا كرده Ùˆ در نمايشگاه هاي گروهي بسياري نيز شركت داشته از جمله موضوعات آن مي توان به :\"جنگ\"ØŒ \"كودكان ØŒ\"ايران امروز\"ØŒ\"زنان ايران\" Ùˆ ... اشاره كرد. او در سال 1367 موÙ?Ù‚ به درياÙ?ت لوح زرين مزين به پيام امام خميني از دست رئيس جمهور وقت شد . وي عضو شوراي سياست گزاري Ùˆ دبير علمي دوسالانه عكاسي معاصر جهان اسلام Ù?رهنگستان هنر است Ùˆ به عنوان ارزشياب Ùˆ تعيين كننده درجه هنري هنرمندان متقاضي در رشته عكاسي وزارت ارشاد اسلامي Ù?عاليت مي كند. سعيد صادقي در سال 1385 نشان شجاعت Ùˆ در سال 1386 نشان درجه يك هنري شوراي انقلاب Ù?رهنگي را از آن خود كرده است. ازمجموعه كتابهاي به چاپ رسيده، توسط او ميتوان به اين ها اشاره كرد: كتاب دÙ?اع عاشقانه Ùˆ زندگي دوباره انا Ù?تحنا در سه جلد دو جلد كتاب بهار حلبچه مجموعه عكسهاي جنگ روايت Ù?تح شكوÙ?Ù‡ هاي شكسته كتاب Ù?رهنگ جبهه مي خواهيم كمي از عكاسي زمان انقلاب بگوييد، Ùˆ مي خواهيم بدانيم، انقلاب Ú†Ù‡ تأثيري در عكاسي داشت؟ گستردگي انقلاب آنقدر زياد بود ØŒ كه همه دوربين ها در دل انقلاب حل شدند! البته در ابعاد مختلÙ? انقلاب هم دوربين ها متÙ?اوت بود، دوربين هايي بودند كه براي از بين بردن انقلاب شاترشان زده مي شد Ùˆ دوربين هايي بودند كه عاشق Ùˆ تشنه انقلاب بودند. براي همين به نظرم مي آيد كه دو نگاه در دوربين هاي انقلاب وجود داشت يكي در مقابل انقلاب بود Ùˆ دنبال زشتي ها مي گشت، در حالي كه زشتي ا ÙŠ وجود نداشت. نگاه دوم، نگاه عاشقانها ÙŠ بود، كه دنبال زيبايي ها مي گشت. عكاسي قبل از انقلاب Ù?رم گرا بود . Ù?رم گرايي كه اشراÙ?ÙŠ گري بر آن غالب بود. Ùˆ محتوا نقشي نداشت. اما در انقلاب اسلامي ابعاد انساني گسترده تر بود Ùˆ محتوا ايجاد كرد. شايد شما درك نكنيد اما ابعاد انساني در زمان طاغوت بسيار ضعيÙ? بود. مردم در سختي زندگي مي كردند Ùˆ به همه اين دلايل مردم تشنه ارتباط انساني Ùˆ ديني بودند. چون دين در ذات همه مردم بود. شاخه بزرگي از انقلاب اسلامي عكاسي بود كه وقتي عكسي گرÙ?ته مي شد در سطح ايران پخش مي شد Ùˆ مردم از جنايات طاغوت Ùˆ حركت هاي مردمي در شهرهاي مختلÙ? آگاه مي شدند. ارتباطات تصويري سريعترين رسانه بود. چرا كه تلويزيون Ùˆ مطبوعات محدوديت داشتند Ùˆ تحت كنترل بودند. Ú†Ù‡ چيزي عكس هاي Ø´Ú¯Ù?ت انگيز را در دوران انقلاب پديد آورد؟ دوربين يك وسيله است Ùˆ كسي كه شاتر را Ù?شار مي دهد يك انسان است. درون عكاسي Ùˆ حسي كه داشت خيلي مهم بود. Ø´Ú¯Ù?تي Ùˆ تاثيرگذاري عكس ها از واژه ها خيلي بيشتر بود، چون اتÙ?اقات براي همه مردم در همه نقاط مهم بود. به نظر شما Ú†Ù‡ عكس هايي از دوران انقلاب قابليت ماندگاري دارند؟ عكس هايي كه با قلب Ùˆ دل عكس گرÙ?ته مي شدند عكس هاي ماندگاري شدند . بعد از انقلاب به دليل تحولات سريع اجتماعي Ùˆ قطع شدن ارتباطات صميمي كه در دوران انقلاب بين مردم وجود داشت، عكس هاي ماندگار پنهان مي شود. يعني Ù?ضا، Ù?ضاي مناسبي نيست كه كارها ديده شوند. ما هنوز ابعاد مختلÙ? انقلاب را درك نكرديم Ùˆ هنوز به معرÙ?ت انقلاب نرسيده ا يم. امروز پيوند ملي Ùˆ ديني Ùˆ آرمان گرايي جمعي قطع شده Ùˆ ماندگاري ها كمت ر شده حتي واژه ها بي معماو مشمئز كننده شده است. بسياري از عكاسان انقلاب معتقدند، تحولي كه نهضت امام خميني(ره) بهوجود آورد غير قابل انكار است، مي خواهم از شما سوال كنم، چطور بايد اين دستاورد ها را Ø­Ù?ظ كنيم؟ از خود گذشتگي Ùˆ Ù?داكاري نقش برجستها ÙŠ روي عكاس دارد Ùˆ ما ميت وانيم با صداقت تركيب قاب هاي عكاسي خودمان را ببنديم Ùˆ ارتباط مردمي را در جامعه رشد دهيم Ùˆ حاكميت هم نقش داشته باشد Ùˆ قدر اÙ?رادي را كه در راه انقلاب با جان Ùˆ دل عكاسي كردند، بداند. با همدلي مردم Ùˆ دولت، عكاسي ما مي تواند تحولي عظيم در جهان بوجود آورد. در دوران انقلاب هدÙ? ها Ùˆ آرمان همه يكي بود .امروز هم بايد سعي كنيم آرمان هايمان يكي بشود. مي خواهيم سوال ها را به سمت دÙ?اع مقدس بكشيم، از نظر شما عكاسي در دوران دÙ?اع مقدس Ú†Ù‡ وضعيتي داشت؟ بذر عكاسي در دوران انقلاب پاشيده شد Ùˆ در دÙ?اع مقدس به ثمر نشست Ùˆ نتيجه داد. وقتي در دوران بعد از انقلاب گروههاي سياسي بوجود آمدند عكاسي نقش برجستها ÙŠ را ايÙ?ا كرد. به طوري كه شايد اگر عكاسان عاشق انقلاب نبودند گروه هاي سياسي خيلي سريع سوار نظام مي شدند. اگر تاريخ عكاسي را ورق بزنيم متوجه مي شويم در اوايل انقلاب Ù?قط تعداد انگشت شماري عكاسي كردند، تا زماني كه قدرت مردمي Ùˆ ملي تثبت شد Ùˆ تعداد بيشتري وارد صحنه شدند. اگر عكس ها را با هم مقايسه كنيم متوجه تÙ?اوت عكس هايي كه با منطق عقل عكاسان گرÙ?ته شده Ùˆ كساني كهب ا دلشان عكسي گرÙ?تها ند مي شويم. يكي از مشكلات عمده عكاسان دÙ?اع مقدس ØŒ نبود آرشيو كاملي از عكس هايشان است. بسياري از عكاسان براي ارگان هاي مختلÙ? عكاسي كردند Ùˆ نگاتيوهاي خود را در اختيار آنان قرار دادند كه به مرور زمان از بين رÙ?تها ند. Ù?كر مي كنيد چرا ارگاني متولي جمع آوري عكس هاي دوران دÙ?اع مقدس نم يشود؟ ساماندهي عكس هاي جنگ با مشكلات زيادي روبه رو است، چرا كه مسئولان هنوز عكاسي را باور ندارند. دليل يا دلايل Ù?عاليت هاي مخالÙ?ان عكاسي جنگ معلوم نيست اما آنچه مسلم است، نام عكاسان جنگ را نمي توان از عرصه عكاسي Ùˆ تاريخ جنگ عراق با ايران حذÙ? كرد. شما عكاس دÙ?اع مقدس را چگونه معرÙ?ÙŠ مي كنيد؟ اÙ?رادي كه زمان جنگ عكاسي مي كردند در 3 دسته قابل شمارش هستند كه گروه اول عكاساني بودند كه به عنوان مأمور Ùˆ خبرنگار به جبهه هاي جنگ اعزام مي شدند. گروه دوم شامل عكاسان حرÙ?ها ÙŠ Ùˆ آماتوري مي شد كه از جان Ùˆ دل Ùˆ بنا به خواست شخصي عكاسي جنگ مي كردند Ùˆ دسته سوم كه نه مأمور Ùˆ خبرنگار بودند Ùˆ نه از جان Ùˆ دل كار مي كردند بلكه كاملا به طور سÙ?ارشي عكاسي مي كردند. آثاري كه در اين ميان در اذهان نسل آينده نقش مي بندد Ùˆ ماندگار مي شود، آثار عكس گروه دوم است زيرا هر عكسي كه با موضوع جنگ باشد نمي تواند عكس دÙ?اع مقدس محسوب شود. عكاسي دÙ?اع مقدس دل خوشي، صداقت Ùˆ پاكي خاص خودش را مي طلبد. پيرو سوال قبلي شما بايد بگويم تا زماني كه دسته بندي عكس هاي جنگ از طرÙ? ارگان يا سازماني مرتبط، انجام نشود، عكس هاي ما در باورپذيري مردم نسبت به تاريخ جنگ ايران Ùˆ عراق مؤثر نخواهدبود. بدون بررسي دقيقي آثار باقيمانده تÙ?اوت ميان عكاساني كه با دل Ùˆ جان يا با زاويه ديد سÙ?ارشي كه اجازه ورود به محل عمليات پس از پايان آن را داشتند يا آن دسته كه بين رزمندگان زندگي Ùˆ عكاسي كرده ا ند، بر نسل هاي آينده معلوم نمي شود. احساسات اين 3 دسته با هم متÙ?اوت است Ùˆ هيچ شباهتي به هم ندارند. عكس ماندگار دÙ?اع مقدس Ú†Ù‡ خصوصيتي دارد؟ عكاسي از خرابي هاي جنگ، گرÙ?تن عكس يادگاري از در Ùˆ ديوار شهر كار راحتي است اما عكاسي جنگ محسوب نمي شود زيرا ميان مردم باور نمي شود. عكاس بايد منظور خود را در تصوير عكس مشهود كند Ùˆ اجازه تÙ?سير به كسي ندهد. ايران در دÙ?اع از مرز هايش نجنگيد، بلكه در برابر جنگ ايستادگي كرد. بنابراين عكسي در اين عرصه موÙ?Ù‚ است كه هنر ايستادگي را نشان دهد. شما در آغاز جنگ تحميلي جزو اولين عكاساني بوديد كه در خرمشهر حاضر شديد Ùˆ سقوط آن را ديد، Ú†Ù‡ اتÙ?اقي در آن روز اÙ?تاد Ùˆ شما در ميان بمباران Ùˆ تيرباران سنگين دشمن Ú†Ù‡ مي كرديد؟ روزي كه جنگ آغاز شد خبر رسيد كه Ù?رودگاه را بمباران كردها ند. سريعا به Ù?رودگاه مهرآباد رÙ?تم، اجازه ورود به Ù?رودگاه را به ما ندادند. به شهرك اكباتان رÙ?تم. آنجا را نيز بمباران كرده بودند، اما بمب ها عمل نكرده بود Ùˆ من از بمب هاي منÙ?جرنشده عكاسي كردم. همان روز تصميم گرÙ?تم به مناطق مرزي كه جنگ آغاز شده بود، بروم، اما وسيله اي در اختيار نداشتم. بمباران Ùˆ اوضاع نابسامان، همه كشور را Ù‚Ù?Ù„ كرده بود. منابع اقتصادي Ùˆ حمل Ùˆ نقل كشور تعطيل شده بود. در آن شرايط هيچ چيزي سر جاي خود نبود. تنها كسي كه سرجاي خود بود Ùˆ آرامش داشت،ا مام(ره)بود. وقتي به خرمشهر رسيديم هنوز خانواده هاي آباداني در شهر بودند. آرام آرام در شهر مي گشتيم كه حوالي ظهر به مسجد جامع رسيديم. در آن زمان هنوز كسي به دوربين اعتماد نداشت. Ù?هميدم در شهر دو گروه هستند، عده ا ÙŠ كه به دشمن گرا مي دهند Ùˆ گروهي هم جواناني كه از شهر دÙ?اع مي كنند. به همراه عدها ÙŠ از جوانان در مسجد جامع سوار ماشيني شديم وبه حوالي مرز رسيديم. اÙ?رادي كه مي توانستند شهر را ترك كردند. اما خيلي ها از شهر نرÙ?تند. بسياري از مردم آن قدر Ù?قير بودند كه پاي رÙ?تن نداشتند. اواسط مهرماه حجم سنگين آتش بر شهر بالا گرÙ?ته بود. ما آن زمان اصلا نمي دانستيم Ú†Ù‡ مي كنند. بعدها Ù?هميديم كه شهر محاصره شده بود. دارخوين را گرÙ?ته بودند. تانك ها از بالاي شهر هجوم آورده بودند. شرايط بسيار سخت بود. آنچه آن روزها ارزش بود، شايد امروز از سوي بسياري عيب هاي بزرگي محسوب شود. ما با مردم شهر مثل برادر بوديم Ùˆ در شرايط سخت خاص همه به هم ياري مي رسانديم، بدون اينكه همديگر را بشناسيم. احساس ميان همه ما شكل گرÙ?ته بود Ùˆ همين باعث مقاومت ما شده بود. آن چنان Ù?ضا رعب آور بود كه بعضي اوقات اصلا Ù?راموش مي كردم عكس بگيرم. همه كارا نجام مي داديم. دÙ?اع مي كرديم، كمك مي كرديم Ùˆ.... در همان روزها حجت الاسلام هادي غÙ?اري، آيت ا لله خلخاني Ùˆ... به شهر سر زدند. به ياد دارم تعدادي اسير آورده بودند Ùˆ خلخالي بالاي پله ها ايستاده بود Ùˆ پشت سر او دود بلند شده بود Ùˆ او حرÙ? مي زد كه من از او عكس گرÙ?تم Ùˆ بعد از Ù?وتش آن را منتشر كردم. مردم خانه ها را رها كرده Ùˆ رÙ?ته بودند. اموال مردم خرمشهر رها شده بود Ùˆ حتي بانك ها تخليه نشده بود. آباداني ها بيشتر Ù?رصت كرده بودند تا وسايل خود را ببرند. نيروهاي پياده عراقي در شهر حركت مي كردند Ùˆ هر كس را مي ديدند از خانه بيرون مي كشيدند Ùˆ اعدام مي كردند Ùˆ اصلا Ù?رصت نمي دادند Ùˆ در جا مي زدند. مردها را با گلوله مي كشتند Ùˆ خانم ها را ميب ردند؛ وحشت شهر را گرÙ?ته بود. پيرمردها Ùˆ پيرزن ها را زنده زنده آتش مي زدند. دوربين همراه من بود Ùˆ من از ترس تيراندازي مي كردم اما نمي توانستم عكاسي كنم. مقاومت خرمشهر خاص بود. عظمت مقاومت، از پيروزي آن بيشتر است. خلاصه شهر سقوط كرده بود. تاريخ آن را نمي دانستيم اما شهر سقوط كرده بود كه ما رÙ?تيم. من به چشم خود قهرمان ها را در خرمشهر ديدم، نه يك قهرمان را. از نظر شما عكاسي بعد از جنگ Ú†Ù‡ وضعيتي پيدا كرد؟ عكاسي امروز جنبه تزئيني پيدا كرده Ùˆ اگر در سطح شهر بگرديم نمايشگاههاي نقاشي زيادي مي بينيم كه تاثير چنداني ندارند. آدم هايي كه از اين نمايشگاهها استÙ?اده مي كنند كساني هستند كه بيشتر اقتضاي رشته تحصيلي شان است. عكاسي از حالت وحدت ملي Ùˆ حركت ملي Ùˆ ديني Ù?اصله گرÙ?ته Ùˆ جدا شده. عكاسي رساترين ابزاري بود كه در مدت انقلاب Ùˆ دÙ?اع مقدس در خدمت سينه خالي تاريخ ايران بود . در حال حاضر Ú†Ù‡ كمبودها Ùˆ مشكلاتي در عرصه عكاسي، براي بيان Ù…Ù?هوم ايثار Ùˆ شهادت وجود دارد؟ يكي از مشكلات ما اين است كه ما Ù?قط مي خواهيم عكس زيبا را تماشا كنيم .اگر ما ابعاد انساني Ùˆ Ù?رهنگي Ùˆ غرور ملي Ùˆ ديني خود را در تركيب عكس ها شكل مي داديم Ùˆ بينش هاي خود را نشان مي داديم امروز در جايگاه بهتري قرار داشتيم. تاثير عكس خيلي بيشتر از سينما تئاتر Ùˆ موسيقي است چون در ذهن مي نشيند Ùˆ زود از بين نمي رود. عكاسي داشتن دوربين نيست عكاسي ذهن عكاس است. بينش عكاس است . براي بالا بردن بينش بايد مطالعه Ùˆ تجربه وجود داشته باشد Ùˆ همراه مطالعه از تجربه ديگران هم استÙ?اده كنيم. انقلاب نگاه اشراÙ?ÙŠ گري عكاسي را محو كرد كه متأسÙ?انه امروز وقتي به مطبوعات Ùˆ رسانه ها نگاه مي كنيم ظهور دوباره اشراÙ?ÙŠ گري را مي بينيم Ùˆ لمس مي كنيم.
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