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.

News ID: ۲۰۸۸۹۶

پنجشنبه - ۱۴ مرداد ۲۰۰۹ / 2009 14 May

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.

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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. Ø§Ù†Ù‚Ù„Ø§Ø¨ Ù†Ú¯Ø§Ù‡ Ø§Ø´Ø±Ø§Ù?ÙŠ Ú¯Ø±ÙŠ Ø¹ÙƒØ§Ø³ÙŠ Ø±Ø§ Ù…ØÙˆ ÙƒØ±Ø¯ Ú¯Ù?ØªÚ¯Ùˆ Ø¨Ø§ Ø³Ø¹ÙŠØ¯ ØµØ§Ø¯Ù‚ÙŠØŒ Ø¹ÙƒØ§Ø³ Ø¯Ù?Ø§Ø¹ Ù…Ù‚Ø¯Ø³ Ø§Ø´Ø§Ø±Ù‡ Ø³Ø¹ÙŠØ¯ ØµØ§Ø¯Ù‚ÙŠ Ù…ØªÙˆÙ„Ø¯ 1332 Ø¯Ø± Ø´Ù‡Ø± ØªØ¨Ø±ÙŠØ² Ø§Ø³Øª. 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