By: Ramin Talaie

In late February the Alexia Foundation announced the names of its 2014 grant recipients. The foundation sponsors a yearly contest that awards cash and other prizes to support exceptional documentary photography. Hundreds of professional photographers from around the world vie for this prominent competition. The foundation also provides a student grant, which includes a scholarship to Syracuse University’s London program. This year’s student category winner was Iranian photographer Mehran Hamrahi, 24, who was selected for his project on the inner life of the youth in Iran titled “Iranian People, Ordinary or Criminals?”

The same project also received a commendation from 2013 Ian Perry scholarship and Hamrahi’s name was among the 142 young photographers considered for this year’s Joop Masterclass. In March of this year Hamrahi completed a Noor-Nikon Masterclass in documentary photography in Turkey. In addition Hamrahi’s portfolio was selected from a list of over 800 submissions to Magnum Photos as their annual “30 Under 30” list. Along with such accolades, Hamrahi’s photographs has been making the rounds on FotoVisura and LensCulture blogs. Clearly his work has been noticed as an emerging talent.

However, immediately after Alexia Foundation’s announcement, Hamrahi’s images was ridiculed on a Facebook posting as “fake documentary” and “staged” by many of his Iranian peers. Meanwhile journalism ethics is a gray area in Iran even among the best photographers.

In recent months CNN Photos published a similar story by Kaveh Rostamkhani. The subject matter of Hamrahi’s essay is not original or even novel. According to Hamrahi it is merely the reality that he is witnessing, “I tried to photograph friends and family since I am part of their life,” he remarks over a Skype conversation. Hamrahi continues to say “this is my life regardless of what people say on Facebook.” Rostamkhani work displays a more mature style, while Hamrahi is admittedly working through technical and other challenges.

The common theme on Facebook appears to come from a place of resentment and envy. This sentiment was exhibited by this remark “… they [young Iranian photographers] want to be famous and win prizes with international success as soon as possible. So, they stage their photos and name it documentary.” Other individuals questioned Hamrahi’s integrity all together. One such comment “the people are posing in a way that photographer wants to show the connection …” received 21 Likes. Another photographer takes the integrity lead to a different level by quoting legendary photographer, Don McCullin, “photography is truth if it’s being handled by truthful person.” Disparaging of Hamrahi’s work continues as the posting accumulates some 64 comments. Sensing the absurdity of the discussion someone comments, “in French, this is not called a debate, but a deaf people dialogue [dialogue de sourds] so it can go on for ever…”

After reading the Facebook comments I contacted Mike Davis, the Alexia Foundation chair for documentary photography at S.I. Newhouse School of Communications at Syracuse University. My inquiry to Davis was to challenge Hamrahi’s work and at the same time I wanted to hear what Hamrahi had to say himself. I wanted to openly discuss specific images.

The comments on Facebook for the above image concentrated on the subjects being directed for posing, but I wondered about the black background in the mirror. To me it looked fake and Photoshopped. It appeared that the rest of the room was missing as the mirror reflected complete darkness. After speaking with Hamrahi, he explained that the girl’s room consisted of two black walls with posters. In fact, for this shot he had to move slightly to avoid showing any of the posters.

It took me a while, but after reading Hamrahi’s own comment on Facebook and the caption it became apparent that the photographer is also in the above photo. Hamrahi is the person in the middle with the bottle. How was this image taken? How dose one photograph himself in a documentary style? On Facebook, Hamrahi defended himself by saying that the image was taken on a timer. During our Skype conversation Hamrahi mentioned that he had found other photographers who have included themselves in their work. Particularly he likes the work of Briony Campbell’s “the dad project.” While Campbell’s project and his work are very different I can see his point.

After my email inquiry to the Alexia foundation, Mike Davis consulted with the advisory board and the judges and replied that the foundation stands by the award and the photographs. Davis writes; “the veracity of the imagery is unquestionable.” While criticizing some of the captions and lack of transparency of the relationship with his subjects Davis notes, “many subjects throughout history have been closely connected to him [Hamrahi]”, but that “does not diminish the work.”

After completing a NOOR-Nikon workshop in documentary photography, Hamrahi understands the errors he has made, “this is my first project and I have learned a lot from it.” While his work has attracted some attention Hamrahi wonders why the comments on Facebook concentrated on petty issues.

Hurling accusations is easy while nurturing and directing a young and promising photographer takes real generosity. Hamrahi’s work should not be regarded as rubbish. It is what it is. It is his understanding of journalistic ethics. It is in fact accepted by the likes of Magnum, Joop Masterclass, Ian Perry, NOOR-Nikon, and the Alexia Foundation. The very people, who disparage Hamrahi’s work and his achievements, would be more than happy with any recognition from any one of these institutions.

The pattern of ridicule and quick judgment directed at any success seems to be a right of passage by Iranians. When it comes to ethics we continue to see plenty of bad examples coming from the Middle East. Some of which were passed on from state owned agencies and others came from the so called mentors workshops preaching a culture of cheating. There is little evidence in Iran on the real understanding of journalistic ethics and the lack of dialogue or discussion for better understanding.