Interview with Manouchehr Daghati; Photography During the Iran-Iraq War Was Not Easy

He says he did not want to become a photographer and was interested in cinematic work when he was young. He went to Italy to continue his studies in cinema, but the revolution and the closure of cinemas forced him to abandon cinema and turn to photography. Manouchehr Daghati has photographed from dangerous areas throughout his forty years of journalistic activity and has worked as a photographer and regional editor for international news agencies. He currently works as a freelancer and resides in Italy. I interviewed Manouchehr Daghati in southern France during his exhibition at the Perpignan festival, which showcased several decades of his photography. I first asked him if his intention was to provide a visual narrative of history. Manouchehr Daghati responded that he believes each of these photos represents a stage of history for that region or country. Regarding how it was possible to photograph during the Iran-Iraq War and his experience, he said: 'I think the Iran-Iraq War was one of the most difficult wars to photograph, not because of the dangers of war itself but because of the restrictions placed on photographers and journalists. As photojournalists, we were not allowed to go to the front lines unless it was with tours organized by the Ministry of Culture and Islamic Guidance. This was under conditions where when foreign journalists were invited, if possible, we were also taken along with that group by bus or plane to the front lines, where they would show us four Iraqi tanks, and that was it; that was the war! According to them, we were supposed to see only that. But it was not possible; after all, we are Iranians, and the war was happening in our country, destroying our homeland, and our duty was to work in some way. During the first five years of the war, while I was in Iran, I managed to go to the front lines for photography about 10 or 12 times. For example, we would find someone in the Jihad Construction Organization and, without them knowing that the Ministry of Culture and Islamic Guidance did not allow us to work or even issue press cards, we would say we wanted to publish a book on the war for them. They would agree and give us a paper or send one or two people with us, and we would go to the front lines, and by the time the Ministry of Culture and Islamic Guidance found out, we had already done our work, and since they were from the Jihad organization, they did not dare to say anything. But I also have very bad memories. When the Khorramshahr attack began, there was someone in the Ministry of Culture who was a good person and knew photography and helped us a lot. He got a letter from Khatami, who was the Minister of Culture, for me, Kaveh Golestan, and several other photographers so that we could photograph. One day before the attack began, we went to Ahvaz. At that time, [Kamal] Kharrazi was in the war headquarters, and everything was controlled through them. We were sitting in a hotel with the same person who was the deputy minister of culture and were preparing our cameras when suddenly a few people who looked like Revolutionary Guards entered. Kaveh and I were sitting when the agents came in and pointed their guns at us, saying to return the cards and permits we had obtained. A large number of our films were confiscated by the Ministry of Culture. The programs that were coordinated for us to go for photography had an agent with us, and after developing our films, they would decide which films to give back to us, and many times they ruined our films. Sometimes they would also say the films were lost. They would count our films. For example, when we went with them, they would ask how many rolls of film you have? For example, 15 rolls, [then they would say] when we return, you must give us back 15 rolls; now full or empty. Were any of your photos ever purchased by the Ministry of Culture? In the early years of the revolution, the Ministry of Culture would send people abroad to agencies like SIPA and SIGMA and would pay thousands of dollars for photos taken by foreign photographers who had photographed from the war front with Ministry tours, but our photos were censored and confiscated. The Ministry of Culture of the Islamic Republic of Iran spent a lot on buying photos and still does this for foreign photographers, but not for us. After all, there was another relationship established between us. Regarding the photo of clerics in that unusual space, where is this? This photo you see is right at the border between Iran and Iraq, and this is an Iraqi oil well that the Iranians bombed and was burning. The sky was black all day, and it was very dark, so not much photography could be done. In this scene, which is close to sunset, the clerics who came to visit were asking the commanders for explanations about the area, and at that moment, the sun set and appeared for a few seconds from behind this black smoke. That’s why this unusual light you see is due to the black smoke and its reflection, creating this unusual atmosphere, and I took this photo. What about the photo of teenagers holding G3 rifles? This photo is from high schools in Tehran, at the time when the war started, they were preparing the kids to send them to the front, but at first glance, the viewer thinks these individuals are being executed. And what about the photo of the mass execution in the street, where was it taken and what is the story behind it? If you remember, Khalghali [the revolutionary court judge] started the mass executions. This was the first mass execution in the streets of Tehran and on Jamshid Street. They said these were smugglers, but in reality, no one knew who these people really were, whether they were smugglers or opponents of the regime or who they were. You know that taking photos of executions at that time was not like now when it is free and no one bothers you. It was very difficult, and they did not allow it, but I had acquaintances and managed to take a few frames of photos through my connections. If you had the opportunity to return to Iran, where would you go first for photography? The first place is the village where I was a Sepah Danesh. Between Malayer and Hamadan, there is a village called Oshtarnah where I was a Sepah Danesh for 18 months. I built a school, built a road, and taught the first group of kids there. I think the first place I would go is there.