I do feel like I am living a lie and the general population is ignorant about pedophilia. However, I am very attracted to boys that I don't really know or other men who loves boys too. I almost see him as my own kid and that kills the attraction. I have not acted out on my attractions because once I get to know a boy personally, I am not attracted to him anymore. For reasons outside of being a pedophile, I started working with boys. While I continue to jumpstart my career, I have found limited job opportunities. I am neither attracted to men nor women just boys. For the longest time, I thought I was gay which was weird because I had a few same-sex experiences and did not enjoy it. I think that is why it took me so long to realize that I am a pedophile. I never acted on my attraction because I was never around boys. Ever since I was 12, I knew I had an attraction to boys ages 7-12. The winners were also featured at photo festival screenings in Dublin, Barcelona, Buenos Aires, Korea, Tokyo and Amsterdam in 2014.I am a 33 year-old male. Nafise Motlaq’s work, along with photographs from ALL the LensCulture Emerging Talents was shown in an exhibition at the Galeria Valid Foto in Barcelona.
Nafise Motlaq, as told to Alexander StreckerĮxhibition of all 50 LensCulture Emerging Talents: Barcelona, October 13-31
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My familiarity with Iranians lets me know how to deal with them and allows me capture their real moments.
Iran where I can reach deeper levels of communication with my subjects. For example, when I’m in Malaysia, I find it very easy to make street photographs-quick, slightly distant work, that’s done in public. Photographer’s perspective and his or her views about the issue.
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The editing of a series of images reveals the Photo-stories not only describe what’s in front of the camera but also who is behind it. I strongly believe story-telling is important in photography. He liked my project so much, he helped get me access to the father who leads off the series. After combing through Tehran’s most religious neighborhoods, I finally met a clergyman who was interested in photography. For example, finding a member of the clergy was challenging. So, the biggest challenge in “Fathers and Daughters” was simply finding enough different families who were willing to be photographed. When I visited Iran in 2014, after seven years away from the country, the idea sprang to mind.įrom my experiences in photojournalism, I have learned how to quickly build trust with my subjects. His illness and then eventual recovery brought us much closer. I was driven to begin “Fathers and Daughters” after my father nearly passed away. This inspires my work on Iran, sparking my desire to show a reality that many people don’t get to see. During my time away from home, I noticed how often people talk about Iran without having a real picture of the country in their minds.
Surprisingly, the editors showed more interest in myįor the past 11 years, I’ve been living in Malaysia, working as a university lecturer. Soon, I bought a camera to take pictures to accompany my stories. Originally, Iįound a small job in one of the pioneering newspapers. Nafise Motlaq, a self-taught photographer from Iran. LensCulture Assistant Editor Alexander Strecker interviewed the photographer, and here is an edited version of their exchange:
I asked each of the young women to give a short statement about their fathers they can be read in the captions.įrom the first time we saw this series, we were fascinated by the images and by Nafise Motlaq’s ability to reach across different levels of Iranian society. The photos were made in their home environments. This is a series of portraits of Iranian fathers and daughters in different social classes in Tehran and other cities.