Arvin’s father was a highly skilled and passionate photographer, and photography was an inseparable part of his everyday life. His camera was almost always with him—during family trips, weekend picnics, celebrations and informal gatherings. Whenever he had free time at home, he would photograph members of the family, carefully shaping each frame with his own approach to light and composition.

Arvin was one of his father’s favorite subjects. In that sense, he entered the world of photography almost unintentionally at the age of four or five—not yet as a photographer, but as a model. A collection of remarkable photographs from those years still remains. Created on analogue film, they feature thoughtful lighting and composition that continue to stand out, especially considering the technical limitations of the period.

That early connection with images continued until a small, book-shaped Kodak camera—originally belonging to his brother—was handed to him. This simple camera became the starting point of Arvin’s independent journey into photography.

Digital photography did not yet exist. Arvin had to buy rolls of film, photograph each frame carefully and wait until the entire roll had been used. Sometimes that process took days or even weeks. Only then could the film be sent for developing and printing, allowing him to finally discover what he had created.

Seeing the finished prints was always exciting, but it was more than the pleasure of seeing an image. Arvin studied every photograph, mentally corrected his framing, recognized his mistakes and discovered the strengths of his own vision. Through this process, he came to understand that every photographer sees the world differently—and that no two photographic perspectives are ever exactly the same.

The journey continued until Arvin received his first professional photography assignment and was paid for his work. It was a defining moment: he realized that something which had begun as a personal passion and a form of recreation could become both a profession and a way of life.

With the arrival of digital cameras, the photographic process changed dramatically. Work became faster, and photographers could immediately review a frame, assess it and take another if necessary. Yet the discipline of analogue photography remained deeply rooted in Arvin’s approach. He still prefers to examine the light, angle, composition, background and every visual detail before pressing the shutter, aiming to achieve the strongest possible result within the first one or two shots.

Living and working in Iran, Dubai and Istanbul—and photographing across different cities and regions—has connected his visual language with a wide range of cultures, people and environments. His photographic journey has taken him to European cities including Paris and London, as well as locations throughout Iran such as Shiraz, Isfahan, Kashan and the historic village of Abyaneh.

Experiencing different forms of architecture, culture and everyday life has helped shape a style centered on storytelling, emotion, identity and human detail.

Arvin has contributed to numerous artistic, commercial, advertising and television projects as a photographer, filmmaker, producer, director and creative director. Portrait, fashion and advertising photography, short filmmaking, television production and the creation of visual content for brands form the central areas of his professional practice.