Shayan Sajadian’s work isn’t just about taking pictures – it’s about revealing the raw, untold stories of Iran’s overlooked communities. From his early days as an architecture student in Shiraz to becoming one of the country’s most compelling photographers, Sajadian’s intimate portraits confront societal stereotypes and political barriers. Now Sajadian shares with hube how his art became his tool for rebellion and how photography continues to be a vital means of resistance in today’s Iran.
hube: You initially studied architecture before turning to photography. How has your background in architecture influenced the way you frame and compose your photographs?
Shayan Sajadian: Shiraz, the city where I live, has many old neighbourhoods and historical buildings, most of which are in poorer areas. I try to show the people and their lives alongside these places. I certainly pay attention to the architecture of the buildings and urban spaces in the background of the people, places that, like the people, are deteriorating and falling apart.
h: Your work focuses on marginalised communities in Iran. What drew you to these subjects, and how do you build trust with individuals who might otherwise be hesitant to be photographed?
SS: My mother has always been afraid that her children would become addicted and lose their lives, which is why she always kept control over us. Her father had lost everything due to addiction, and my mother had many bad memories from her childhood. This led me to live in the controlled world she had created. I had only seen the affluent side of society and my city until I became a university student and gained more freedom. For our studies, we had to visit old neighbourhoods, and at that time, I had just bought a camera. That’s when everything started. It opened up a strange, unknown world that I had never seen before. The camera became an excuse to explore and observe more, to the point that now, I can’t let go of it.
h: In your series featuring men with tattoos, you’ve captured a side of Iranian masculinity that contrasts with mainstream depictions. How do you challenge societal perceptions through these intimate portrayals?
SS: Iranian society is a patriarchal one, and this patriarchy takes different forms across various social strata. Sometimes, they are men who have tattooed the image or name of their lover, mother, or loved ones on their bodies. Some have a poem tattooed on them, or images of myths and characters from Iranian stories and legends. I try to capture a sense of tenderness, pain, or some kind of vulnerability within this masculinity. In a way, you might see a strong and tough man on the surface, but I believe in the photos, you can also see helplessness, pain, love, and more.
h: Your photographs often blend traditional Persian storytelling with modern subjects. How do you navigate between the old and the new when crafting a visual narrative?
SS: Iran is transitioning from tradition to modernity, which has led to complexities in people’s behaviour and varying beliefs. In reality, they are both traditional and modern. I try to capture these complexities and, at times, contradictions in my images.
h: You’ve worked on projects that document crime and social transgressions in Iran. What has been the most challenging aspect of photographing these environments, both artistically and personally?
SS: This is a long-term project that I am still working on, and yes, the most challenging part has been convincing the subjects and gaining their trust, which has often come with many risks and dangers for me. Several times during photography, I have faced threats and muggings. Once, my equipment was stolen, but I was able to find the thief the next day and recover my belongings without involving the police. Another time, a group of people cornered me in an isolated place and attempted to assault me, but with a bit of luck, I managed to escape. These dangers are always present, and I try to be mindful of my safety, though there’s no guarantee that something won’t happen next time. Of course, I always carry a taser and brass knuckles for self-defence.
h: Since the Mahsa Amini protests, the act of photographing in Iran has become even more dangerous. How has this affected your work, and what steps do you take to continue documenting such sensitive topics?
SS: Photographers in Iran who have taken a documentary approach have always faced challenges, which have intensified in recent years as public protests have increased. This became especially difficult two years ago when protests began over the death of Mahsa Amini in Iran. These problems doubled because, from the government’s perspective, photography was considered a security issue, and people had less trust as well – especially those I photograph. Photographers cannot easily take pictures in various parts of the cities. More topics have become sensitive in the eyes of the authorities. The atmosphere is such that one could say everything in Iran is political and security-related. However, two years after those events, it seems that the sensitivity has slightly decreased.
h: You’ve mentioned that you sometimes like to ‘shock’ or ‘slap’ your audience with your work. Can you elaborate on this approach and the emotional response you aim to evoke in viewers?
SS: Kaveh Golestan has been one of the most important Iranian photographers and a personal favourite who has deeply influenced my photography. When I first got acquainted with photography many years ago and saw his work, I read this quote of his in a book and felt a similar sentiment: I, too, wanted to slap my audience with my photographs and show them the reality of the situation. We live in a society that is collapsing, where people prefer to close their eyes to the problems to escape. I also try to reopen their eyes, slap them awake, and confront them with reality.
h: Your images of women, especially those wielding power in conservative settings, are striking. How do you portray feminine strength while addressing the complexities of gender roles in Iranian society?
SS: The new generation of women in Iranian society has undergone significant changes. I believe Iranian women are making more effort for their future compared to men. The ‘Woman, Life, Freedom’ revolution has fundamentally shifted perspectives on women and their place in both family and society, which was a major achievement. As for my photographs, I haven’t specifically worked on a project solely about women in Iran so far. They were just single images that I had felt before and simply tried to capture in a way that reflected that emotion – women who fight for themselves, their future, and their rights.
h: You’ve captured moments of tenderness and camaraderie between men, challenging stereotypes about Middle Eastern masculinity. How do you approach these moments of vulnerability in your subjects?
SS: I try to become friends and close to the people I want to photograph, to get to know them, and sometimes maintain ongoing relationships to gain their trust. Several times, I had to smoke or drink with them so they would feel comfortable with me, accept me in their group, and let me photograph them. While there is much that can be critiqued about these individuals, I don’t see myself as a judge. So, I try as much as possible to accept them as they are and to depict them as they are.
h: As an artist documenting a rapidly changing society, what role do you believe photography plays in preserving cultural identity and advocating for social change?
SS: Photography is undoubtedly one of the most important ways to document and reflect on society’s various issues. However, nowadays, everyone can capture events and moments with their mobile phone cameras. Mobile phones can access places where traditional cameras cannot. Even when people take photos of themselves, they are unknowingly documenting something. I believe a large portion of this work is being done by them or through other means. But what makes photographers more important now is their perspective as an artist or a storyteller. I try to combine art with documentary photography and not just give my audience information they can easily conclude – I want to give them space for imagination as well.
Photography courtesy of SHAYAN SAJADIAN
