Imagination meets technique in photography
By Saeideh Ehsani Rad
Staff writer
Photography combines imagination and technique. Recently, Abolqasem Khoshro gained recognition in the photography community by being named one of the top 10 conceptual minimalism photographers in the 2024 35AWARDS. He competed against over 10,000 photographers from 131 countries and more than 42,000 submissions, with one of his works featured among the top 350 photos. The 35AWARDS is an international competition established in 2015, aiming to showcase the best works annually across 10 categories. Since 2017, it highlights influential photographers based on their three best works. Winners receive certificates, cash prizes, and publication in an annual album, offering international exposure and networking opportunities.
Khoshro discussed his achievement and artistic endeavors in an interview with Iran Daily reporter.
The full text of the interview follows.
IRAN DAILY: How did your interest in painting and entering the field of photography develop?
KHOSHRO: From a young age, I was drawn to painting and traditional coffeehouse murals. I continued painting throughout high school and later pursued mathematics in college, followed by mechanical engineering. I also took architecture courses and eventually studied architecture after completing my mechanical engineering degree. Outside of formal education, I learned from excellent mentors and explored art. During university, I began photography, particularly architectural photography, working with notable photographers like Kaveh Golestan and Abbas Attar. I met Golestan at an exhibition at Molavi Hall before the 1979 Islamic Revolution and Attar during protests. While photography was a part of my journey, painting remained my primary focus alongside rigorous training.
What style did you have in painting?
I learned drawing through the art school method, studying under Faramarz Pilaram, a renowned Iranian painter who encouraged me to create a monograph on Qeshm Island. I have an unpublished photo collection of Qeshm from 48 years ago. Later, I studied anatomy with Gholamhossein Nami and completed a four-year painting course, including oil techniques, with Morteza Katouzian. This led to my decision to focus on photography over painting.
Can you explain why you made this choice?
I believed the world was moving towards speed, and painting required more patience and had a different impact scope. While painting has a profound effect, it didn’t offer the speed I desired. As we entered the digital era, I joined the digital caravan and transitioned from analog. My last analog photography period coincided with the liberation of Khorramshahr, where I worked with the late Golestan, Mohammad Farnood, and Deqati. From Golestan, I learned the importance of capturing moments without hesitation.
Do you edit your digital photos?
In documentary photography, editing is not allowed. However, in conceptual minimalism, editing is entirely permissible, and any alterations are noted for the judges. Using others’ photos is not permitted.
Is your style in photography minimalist?
In addition to architectural and street photography, I also work in minimalism. In this competition, I focused on conceptual minimalism.
How did you develop this minimalist mindset with a philosophical perspective?
In minimalism, you retain only what’s essential and discard the rest. This applies to lifestyle as well—eliminating unnecessary ceremonies and decorations. You can easily feel a sense of calm in minimalist spaces, akin to meditation. When it becomes conceptual, despite its simplicity, it conveys a concept, giving you the freedom to use your own photos in combinations. Of course, these details must be explained in the photo descriptions.
Did you reach this perspective in photography because of the good instructors you had in painting?
In artistic work, imagination is the initial step, whether in painting or photography. For photographers, this involves capturing, editing, and printing the image effectively. However, sanctions limit access to modern software and technology, and printing is complicated by the need for costly imported materials like high-quality paper and chemicals. Despite efforts by places like Aria Laboratory, these challenges persist. I personally manage the entire process from idea creation to editing and printing.
How has your photography approach changed from the Revolution and Iran-Iraq War to now?
I applied visual arts principles to photography, adhering to composition and aesthetic guidelines. Although I had limited experience, it was sufficient for documentary work, and I often took risks. My documentary style has remained consistent but has become more refined. Meanwhile, I’ve discovered new opportunities in minimalist and conceptual photography, which is a fresh direction for me.
Have your photos from the Revolution and the war been conceptually acclaimed?
I am preparing photos from the Revolution and war for release, and I plan to hold an exhibition this September. The exhibition will include fine art works with limited editions, pending the availability of materials like paper and chemicals.
My approach to photography and painting is innovative, often bold in design and composition while respecting certain rules. Simplification requires courage, and once achieved, it’s about societal interpretation. My work has been well-received in specialized gatherings.
Historically, horses symbolize power, beauty, intelligence, and loyalty. Inspired by a horse named “Shamshir,” I worked on a project involving horses. I consulted with Babak Mohammadi and chose a Selle Français named “Legend” and its offspring at a farm owned by my friend, Mr. Vosough, who used to manage the Iran newspaper.
One black-and-white photo features a horse waiting for its master, with a shadow on the wall, capturing the agony of waiting. The play of shadows and light is depicted simply yet powerfully.
A color photo shows a white horse looking out a window, symbolizing a meaningful view of life. The crack on the wall adds depth to the story, and this photo has been well-received internationally.
Another photo explores the relationship between humans and technology, sparking curiosity and viewed extensively on photography sites. In a contest with 42,000 submissions from 131 countries, my work was among the top 10, and I was recognized as one of the top 10 minimalist conceptual photographers worldwide. The black-and-white photo was among the top 350 globally in 2024. Extensive research was conducted for this project.
How many photos did you submit to the competition?
I took three photos, all of which were among the best. I am very strict in my selections and discard many works that do not meet my standards. These photos will be published in a highly valued book and will also be exhibited in art centers around the world.
How would you evaluate the state of digital photography in Iran?
In Iran, most photographers rely on digital techniques due to the unavailability or high cost of analog methods. Sanctions prevent access to advanced software, and weak internet infrastructure hinders bypassing filters, leading to technical limitations. Universities lack structured programs for teaching digital photography, and vocational groups fail to provide adequate training due to poor foundational education. A systematic approach, such as training 50 individuals and deploying two per province to train others annually, is absent. Consequently, the digital education system in Iran is disorganized and ineffective, with quality productions often stemming from individual efforts.
What did you learn from Mr. Golestan and your painting instructors in terms of personality as an artist?
Golestan taught me how to capture moments. He’d take the first photo without using the viewfinder, relying on a wide-angle lens to frame the shot quickly. He’d move from the periphery to the center, dominating the subject. Equipped with a motor drive, he could take up to five photos per second, ensuring he never missed the decisive moment.
How did you draw inspiration from your painting instructors?
My last painting instructor, Katouzian, was strict and precise in design, with a sharp and powerful gaze that made students immediately understand their mistakes during corrections. His construction and color techniques were conveyed with a powerful yet sweet pen. I completed a gouache course and learned watercolor techniques under his guidance. Reflecting on my works from that time, I feel the strength he instilled in us, though we may not have fully appreciated it by not continuing. I wish him health and longevity.