The workshop “War Photography through the Lens of Alfred Yaghobzadeh,” led by the internationally acclaimed Iranian photographer, was held at Hafez Hall in Shiraz as part of the 43rd Fajr International Film Festival.
Yaghobzadeh, who is serving as a jury member for the Photo and Video section of this year’s edition, is regarded as one of the most influential war photographers from Iran and beyond. In addition to his extensive work in conflict zones, he is also known for his contributions to photojournalism and social documentary photography.
He began his career during the 1979 Iranian Revolution and has since documented the human and political realities of wars with deeply narrative imagery. His body of work includes coverage of the Iran–Iraq War, as well as conflicts in Lebanon, Afghanistan, Chechnya, and Palestine. His photographs have been exhibited across the world, and he is a recipient of the prestigious World Press Photo award.
This year’s festival also features an exhibition of about 47 of his photographs, drawn from various global conflicts, including the eight-year Iran–Iraq War and the ongoing war in Gaza. The exhibition is open to the public.
Speaking at his workshop, Yaghobzadeh highlighted the distinction between news photography and documentary photography: “In news work, you must not manipulate the final result; you must confront reality as it is. Documentary photography, however, requires a different approach, where the photographer may shape the process according to artistic sensibility – for instance through portrait-style work. Documentary photography is inherently tied to the photographer’s personal vision.”
He added: “When I work with reputable newspapers and agencies, I consider myself committed to the subject. There are legal considerations as well, and a photojournalist must be very careful not to distort the subject or the situation. Some photographers may choose another path, but they will face problems eventually. Without any slogans, my personal belief is that every photographer must uphold honesty in their practice.”
Reflecting on his experiences working in different countries, he said: “Sometimes I am already familiar with the location and the subject before traveling, and this depends on the destination and its regulations. In Iraq, for example, you simply introduce yourself as a photographer and no one interferes. But in Sudan the situation is different; operating freely is far more difficult. What matters is that the country recognizes you and approves your presence from a security perspective.”
He recounted his experience covering the war in Afghanistan: “I entered the country at a time when there were no mobile phones, no teletypes, no email. I crossed the mountains – once dressed as a woman and another time as a doctor. When I finally introduced myself as a photographer, I was allowed to stay for several weeks and work with various groups. Everyone cooperated, and nothing happened to me.”
Yaghobzadeh emphasized the equal importance of technique and artistic sensibility:
“Tools, techniques, and the process of conveying the message all matter. Composition, form, light – combined with aesthetic principles – are essential. A photographer must channel both technical skill and personal vision simultaneously.”
Addressing the use of social media to circulate images that risk censorship, he noted: “Photography is my profession. Today many countries face difficulties, and political groups may each have their own perspective. My duty as a photojournalist is not to risk my life to publish an image at any cost. If I discover a truth that I believe society needs to hear, I will consider the right conditions for its publication. Sometimes a photograph may take years to be seen. In my view, photos do not remain in the dark forever.”
