I was born and still live in Tehran, the bustling capital city of Iran. This photo was taken on my way home from work after a long and exhausting day. I am a part of one of Iran’s news agencies, where my responsibilities include editing photographs and shooting on assignment. As I observed the tired women around me on the bus, their closed eyes indicating their exhaustion, I discreetly captured this powerful image with my iPhone.
This photograph captures a sense of loneliness and isolation that many workers in the capital experience, regardless of gender. The black and white filter emphasizes this feeling. The composition, with its strong diagonals and sense of movement, adds to its striking nature. In the background, you can see the Chamran Expressway against the backdrop of the majestic Alborz mountain range and the iconic Milad Tower, a symbol of Tehran.
The construction of the Milad Tower began in the mid-70s under the rule of the last Shah of Iran, Mohammad Reza Pahlavi, but it was completed long after the 1979 revolution that established Iran as an “Islamic republic.” Since the revolution, it has been mandatory for women to wear the hijab in public. Even non-religious women are required to cover their hair with a veil. This law is enforced by the government and morality police.
Being a woman and a street photographer in Iran is not an easy task. Through my photography, I aim to give Iranian women the visibility they deserve. The women on the bus may be civil servants, clerical workers, wives, or mothers, and this photo symbolizes their central presence yet alienation in Iranian society. The weight of their circumstances is evident in their expressions. I believe that women in my country must possess extraordinary strength to overcome the rules and restrictions they face daily, both at home and in the outside world.
My first European solo exhibition, titled “Unveiled,” showcases photographs of women and girls in various settings across Iran. One series, called “Lost Paradise,” captures women in the conservative religious city of Mashhad, where most women can only be photographed if their faces are not shown. In these photos, women wearing patterned chadors stand before intricately designed Persian rugs, creating a metaphor for their presence yet invisibility in Iranian society.
The exhibition’s title alludes to the hijab and my efforts to reveal a different side of life in Iran during a time when the country is becoming more isolated from the rest of the world. My main intention is not to court controversy, but rather to represent the diverse experiences of women in my country and pay tribute to them.
Iran is a beautiful country with a rich cultural and historical heritage, and I am immensely proud of my roots. However, being a woman and a street photographer here comes with its challenges, especially after the civil unrest and protests of last year. Photographing in public has become even more difficult. Even Iranian news agencies must adhere to government policies, making it rare for photojournalists to have permission to photograph in public, let alone during protests. While I have some permissions as a photojournalist, I often use my iPhone for personal work to remain discreet.
I have been living alone since last year, which is uncommon for women before marriage in Iran. This experience has made me contemplate what it means to be a woman in my country. It was these thoughts that initially inspired me to pursue photography at the age of 16. Photography gave me the courage to observe the world more deeply and make sense of my own place within it. The positive feedback and support from my friends, particularly my female friends who recognized my talent, further fueled my determination. Women should uplift and empower each other to be heard in this world.
My mother, who is also an artist, has been a constant source of support and encouragement. Even though I constantly struggle with my fears, she always stands by my side. Living alone as a woman before marriage is not an easy decision, but she understands and supports my desire for independence and prioritizing my work, something she was unable to do due to societal expectations. She recognizes the profound connection that photography allows with the world, whether it be capturing cities or the extraordinary individuals who shape them.
Farnaz Damnabi’s solo exhibition, “Unveiled,” is currently being showcased at the 29 Arts in Progress Gallery in Milan until September 30th. It is also available for viewing online in a virtual gallery.
Farnaz Damnabi’s Bio:
– Born in Tehran in 1994.
– Holds a BA in graphic design and an MA in photography.
– Does not rely on specific influences, but rather personal instincts and experiences.
– High point: Communication with people, one of the greatest advantages of being a photographer.
– Low point: Safety concerns, as there are no guarantees for the safety of the camera or personal well-being when photographing in public spaces.
– Top tip: Every moment in life is worth capturing, so keep your eyes wide open and be ready to press the shutter.
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