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Papers: 40 by Mohammadreza Tahmasbpour

Nashr e Tarikh Iran

The 20th year of the publication of the book Naseruddin, the photographer King. By Mohammad Reza ... more The 20th year of the publication of the book Naseruddin, the photographer King.
By Mohammad Reza Tahmasboour

Our understanding of the histories and practices of photography is changing as more and more crit... more Our understanding of the histories and practices of photography is changing as more and more critical attention is being paid to photographic cultures from outside of Europe and North America, and to new forms and functions emergent in a variety of contemporary social and political contexts and digital formats. This conference will bring together up to forty scholars, photographers, curators and archivists from around the world in order to undertake new explorations of photography's past and its present.

International Journal on Stereo & Immersive Media , 2018

The camera entered Iran as early as 1842, during the Qajar Dynasty (1785-1925). Naser al-Din Shah... more The camera entered Iran as early as 1842, during the Qajar Dynasty (1785-1925). Naser al-Din Shah (reigned 1848-1896), was fascinated by the new medium and became both a patron of photography and an amateur photographer himself, establishing the Royal Photography Atelier in the Golestan Palace.
Aqa Reza Iqbal al-Saltaneh (1843-1889) was appointed in 1863 as Naser al-Din Shah’s first court photographer. Henceforth known as Reza Akkasbashi, his fascinating legacy includes a rare collection of several hundred stereographs (1858-65). The rudimentary and very poor examples of stereo photographs analysed here can be revealing of a stereo desire that was not paired with proper technological skill. The paper shows how stereo craze reached Iran and how early local photographers experimented with double images and photographic cameras.
Almost 40 years later, Naser al-Din Shah’s son Mozaffar al-Din Shah (reigned 1896-1907) produced stereographs himself during his second trip to Europe in 1903, and purchased a long list of photographic material from the London Stereoscopic and Photographic Society.

the Emergence and Evolution of Portrait in Iran,

From the period of early photography in Iran, eighty-three years fell within the Qajar era, the y... more From the period of early photography in Iran, eighty-three years fell within the Qajar era, the years 1842 to 1925. Photographs, books, writings, and various events all attest that this was indeed a flourishing period within history of photography in Iran. The portrait photographs of kings and their entourages, people and their lives and mores, their professions, villages and cityscapes, natural settings, architecture, transportation, various ceremonies and photographs of myriad other topics which have reached us today have managed to preserve these images into the twenty-first century.

Photography and its various forms emerged in Iran three years after its emergence in Europe (i.e.... more Photography and its various forms emerged in Iran three years after its emergence in Europe (i.e. from 1839 in France). The first photographs, in the form of daguerreotypes, were made during the reign of Mohammed Shah Qajar by Nikolaj Pavlov (One of the young Russian diplomats) in Dec1842. Nâser-od-din Mirza, a thirteen-year old prince, during Mohammed Shah's reign, can be counted amongst the first to have his image preserved in daguerreotype form, and his interest in this new and exciting science was aroused. In the years before he came to the throne, he was first fascinated by the photographs brought to Iran by foreigners. With the arrival of Mr. Carlhian in 1859, Nâser-od-din Shah became more actively involved. Pictures and photographers were fascinating for him and photography becomes his obsession. He reserved an area of his palace for photographer's laboratory so that it became the first official photography studio in Iran. As a result, photography, gradually, acquired an official function with specific tasks performed during the journeys, official ceremonies, and celebrations of the state. His first photographs were based on the Collodion process, and had subjects such as the women of the harem, servants and the buildings of the royal palace in Tehran. Travelling to Europe and seeing the photographs taken there had the effect that the shah, to an even greater degree, supported photography and its development. Through his royal support, a unique pictorial record of this long period of Iranian history was preserved. This royal patronage resulted in the purchase of photographic equipment, the teaching of photography, and the support of the writing and publication (in Persian) of treaties on the science and aesthetics of Great attention was paid to gathering pictorial records of the different parts of Iran by means of government agents, who went on photographic missions to the far-flung areas of the country. In later years, political matters prevented the shah from greater involvement in photography, but his desire to view photographers, to have photographers taken of his favorite subjects, and to learn more about the subject did not diminish.

Books by Mohammadreza Tahmasbpour

maancentre, 2023

books and manuscripts related to Qajar era photography, has been the focus of academic researche... more books and manuscripts related to Qajar era photography, has been the focus of academic researchers and lecturers in Iran and abroad. Various reference books and articles have been written in this field. Now, the history of photography in Iran is one of the amazing and noteworthy centers of interest in scientific gatherings related to the history of photography in the world.

This book has been compiled keeping in mind the mentioned points and the fact that it will serve as a reference for students and interested parties as well as a basis for new theoretical discussions about the history of photography in Iran from the point of view of domestic and foreign researchers with various approaches and an interdisciplinary perspective. It cannot be doubted that the viewpoints presented in this book, in addition to providing knowledge about the genealogy of photography and its beginning in Iran, also raise questions relevant to the fields related to the history of photography in Iran and its functional and practical aspects. And also some possible answers to these questions.

Nashr e Tarikh Iran

International Journal on Stereo & Immersive Media , 2018

the Emergence and Evolution of Portrait in Iran,

maancentre, 2023

MUSEE DU QUAI BRANLY JAQUES SHIRAC & ACTES SUD, 2023

The first daguerreotypes were made by Pavlov in the presence of the king of Persia in mid-Decembe... more The first daguerreotypes were made by Pavlov in the presence of the king of Persia in mid-December 1842 from several buildings of the royal palace (probably the gallery). After seeing the daguerreotype images, Mohammad Shah asked Pavlov to teach one of the courtiers how to photograph the daguerreotype. Iran is perhaps the only Muslim country in the Middle East where photography began much earlier than in other countries in the region and even in many Asian and European countries, and with the enthusiastic support of Nasser al-Din Shah (1830-1895) in the years After he became king, he grew and expanded.
With the beginning of the reign of Nasser al-Din Shah (1848-1895 AD), daguerreotype and paper negative photography continued to be pursued in the royal court and beyond. By order of Nasser al-Din Shah, a French photographer named Francis Karlehian was hired in 1858, and after that, photography in the negative paper style and then in the new Collodion method, continued in earnest in Iran. Nasser al-Din Shah's interest in photography led to a special place in the Golestan Palace dedicated to the photography studio, and thus, the building of the first official photography studio in Iran, called the "Happy Homayouni Photography Studio" was established.

The collection of articles in this volume gives, for the first time, a fairly complete overview o... more The collection of articles in this volume gives, for the first time, a fairly complete overview of the state of health and hygiene in the Qajar era to a Western public. The examination of the topics of health, hygiene and beauty in the collection show a remarkable uniformity in pointing to the rich ferment that nineteenth century Persia was under the Qajars. When in the minds of many, modernity and modernization was associated only with twentieth century Iran, every one of the authors here assembled proved this view to be in error.

The camera entered Iran as early as 1842, during the Qajar Dynasty (1785-1925). Naser al-Din Shah... more The camera entered Iran as early as 1842, during the Qajar Dynasty (1785-1925). Naser al-Din Shah (reigned 1848-1896), was fascinated by the new medium and became both a patron of photography and an amateur photographer himself, establishing the Royal Photography Atelier in the Golestan Palace. Aqa Reza Iqbal al-Saltaneh (1843-1889) was appointed in 1863 as Naser al-Din Shah’s first court photographer. Henceforth known as Reza Akkasbashi, his fascinating legacy includes a rare collection of several hundred stereographs (1858-65). The rudimentary and very poor examples of stereo photographs analysed here can be revealing of a stereo desire that was not paired with proper technological skill. The paper shows how stereo craze reached Iran and how early local photographers experimented with double images and photographic cameras. Almost 40 years later, Naser al-Din Shah’s son Mozaffar al-Din Shah (reigned 1896-1907) produced stereographs himself during his second trip to Europe in 1903,...

History of Photography, 2013

1842 First daguerreotype photography in Iran by the Russian Nicolai Pavlov. 1 Correspondence bet... more 1842 First daguerreotype photography in Iran by the Russian Nicolai Pavlov. 1 Correspondence between a Russian delegation in Tehran and head office in Moscow indicates that during the last years o...

‫ضذُ،‬ ‫ثثت‬ ‫ًقشُ‬ ٍ ‫ًَس‬ ‫جادٍٕ‬ ‫تِ‬ ‫آًْا‬ ‫تػَٗش‬ ‫اٗشاى،‬ ‫عکاسٖ‬ ‫تاسٗخ‬ ‫سشآغاص‬ ‫دس‬ ‫ک... more ‫ضذُ،‬ ‫ثثت‬ ‫ًقشُ‬ ٍ ‫ًَس‬ ‫جادٍٕ‬ ‫تِ‬ ‫آًْا‬ ‫تػَٗش‬ ‫اٗشاى،‬ ‫عکاسٖ‬ ‫تاسٗخ‬ ‫سشآغاص‬ ‫دس‬ ‫کِ‬ ‫هٌاطقٖ‬ ٍ ‫ضْشّا‬ ‫ًخست٘ي‬ ‫اص‬ ‫ّوذاى‬ ‫تشخٖ‬ ٍ ‫آى‬ ‫اطشاف‬ ‫سٍستاّإ‬ ‫اص‬ ‫اٗي‬ ‫دس‬ ‫کِ‬ ‫است‬ ‫سٍ‬ ‫ّو٘ي‬ ‫اص‬ ٍ ‫کٌذ‬ ‫هٖ‬ ‫تَجِ‬ ‫ضاٗاى‬ ‫سا‬ ‫ّوذاى‬ ‫دس‬ ‫عکاسٖ‬ ‫تاسٗخ‬ ‫پ٘طٌِ٘،‬ ‫اٗي‬ ‫است.‬ ‫است.‬ ‫گشفتِ‬ ‫قشاس‬ ‫تشسسٖ‬ ‫هَسد‬ ‫قاجاس‬ ‫دٍساى‬ ‫دس‬ ‫آى‬ ‫سًٍذ‬ ٍ ‫ّوذاى‬ ‫دس‬ ‫عکاسٖ‬ ‫آغاصٗي‬ ‫ّإ‬ ‫سشچطوِ‬ ‫ُستاس،‬ ‫ج‬ ‫ًخست‬ ‫سٍستا‬ ‫تشخٖ‬ ٍ ‫ّوذاى‬ ‫اص‬ ‫ّا‬ ‫عکس‬ ‫٘ي‬ ‫آى،‬ ‫پ٘شاهَى‬ ‫ّإ‬ ‫سفش‬ ‫جشٗاى‬ ‫دس‬ ‫هعشٍف‬ ‫تِ‬ " ‫سلطاًِ٘‬ ‫چوي‬ " ‫دس‬ ‫ضاُ‬ ‫ًاغشالذٗي‬ ‫سال‬ 7275 ‫ق‬ / 7858 ‫م‬ ‫است.‬ ‫ضذُ‬ ‫گشفتِ‬