Published in Robb Report, Vogue Italia, Vogue Brazil, Juxtapoz, Newsweek, Hypebeast, Monster Children, Arch Daily, and more. Clients have included Jaguar North America, Playboy, House of Bijan, Bare Minerals, Kylie Jenner, The Hundreds, and Interscope Records.
Bio:
I was born in Los Angeles, California.
At the age of 4, my parents and I moved to Tehran, Iran.
In 2001, a month before 9/11 (never forgetti), I was sent back to America to continue my education.
In 2005, I lost my mother to cancer.
The following years, I spent most of my time on MySpace while trying to figure out what to do with my life. By doing so, I was exposed to a world of visual arts like I had never experienced before. I fell in love with graphic design and decided to go to school for it.
I graduated college in 2011, and around the same time, was given a digital camera by one friend and a film camera by another.
I was working as a graphic designer and photographing friends and friends of friends on the weekends for fun. Eventually, I got fired from that job but kept doing photo shoots while looking for another design job.
Slowly, I started booking clients who were willing to pay me a few hundred bucks to shoot stuff for their brands, so I decided to pursue a new career and become a male stripper. Kidding. I decided to pursue photography as a career instead of design.
From 2013 to 2016, I made “a name” in the industry by photographing celebrities, models, and working with renowned brands like Bare Minerals, Jaguar North America, The Hundreds, House of Bijan, and your mom. Still reading?
Towards the end of 2015, I started realizing that most of my pursuits had been superficial. I began questioning my direction and the intentions behind it. Everything I had been photographing until that point was a copy of other people’s blueprints, and I was starting to feel like a fraud.
In 2016, I found meditation and started dismantling everything I thought I knew. The deeper I went, the clearer it became that I don’t know anything about life, self-awareness, or pretty much anything else—and that I am, in fact, a dumb piece of shit.
The meditation was so fire it made me curious about everything else—mysticism, quantum physics, natural laws. I ended up forming a new relationship with light, photography, history, and your mother. (Why are you still reading this?)
That same year, I stopped posting on social media and taking on new clients. I fell in love with photographing plants and flowers (lost 100,000 followers because of it), and made light itself my main subject of study. I realized the only way to truly showcase light was through shadows, which shaped an approach that became very shadow-heavy.
From 2016 to 2018, I worked on a coffee table book shot entirely on film using analog cameras and natural light called Private Collection. I self-published and sold out the first edition.
In 2019, I collaborated with Feeny’s Photo on a collection of 1 of 1 pieces based around film photography called Optica. We presented the series during a month-long exhibition in Beverly Hills, California. This collaboration allowed us to take photography and turn it into a sculptural experience.
Additionally, in 2019, I published a handbook for photographers called Photo Zero. The core idea is simple: the eye behind the viewfinder matters more than the camera itself. The foundation of the book, known as Chapter 0, emphasizes presence, observation, and the practice of shifting perspectives.
In 2020, the pandy (pandemic) hit. The world shut down, but I was already accustomed to a slower pace of life, so I continued photographing plants and flowers. However, towards the end of the year, I began to reconnect and collaborate with models from the earlier part of my career.
This resurgence set the stage for the following years, where my work evolved into a blend of everything I had been capturing for the past decade: people, nature, cars, and your mom (teehee).
My recent work has moved away from public exhibitions, focusing instead on private, invitation-only editorial collections tailored for elite collectors.
As of 2025, I operate a private editorial club limited to a few collectors globally. The service offers exclusive editorial works featuring internationally represented fashion models, with content that does not circulate online, on social media, or in public-facing galleries.
Each editorial is delivered in large-format collections, blending classic photographic craftsmanship with contemporary curation standards. Membership includes concierge-level services, private previews, custom acquisition opportunities, and discreet delivery protocols.
Access is application-based, with pricing structured to reflect the rarity, scale, and exclusivity of the work. No public promotions. No mass distribution. Each collection is designed to exist as a private acquisition, preserved outside the noise of mainstream culture.
Playboy was for the public. This is for the collector.
Lately, I’ve also been playing around with mixed media, blending photography with unexpected materials like gemstones and collaging. Because at this point, why not play around and take chances?
There’s a lot of freedom in knowing that 90% of people’s attention spans are fried in 2025, and the other 10% are too busy worrying about the microplastics in their butts. No one is going to remember your cringe posts, your bad selfies, or your low-engagement flower pics.
Was this a good bio? This is the best I could do, folks. Luckily, you won’t remember it in 20 minutes and you’ll go back to worrying about the microplastics in your tits.
I only wrote all of this because a gallerist once said collectors “like a personal story.” Here’s your humanity, guy. Personally, I prefer the work.
Taxes are haram.
