Problem statement: As film still photography has become more important as a means of selling more cinematic works, photographers active in other branches of photography have also shown interest in this field. In the present study, by comparing the photographs of Jassem Ghazbanpour from the film “Life, and Nothing More” and the photographs of Josef Koudelka from the film “Ulysses’ Gaze”, the issue of the independent identity of the film still photographer and his works in the film production process were investigated. The research question is “What are the similarities and differences between the actions of Ghazbanpour and Koudelka in achieving an independent identity beyond the subject and narrative of the film in the film still photography?”
Research objective: Understanding the stages of selecting a film still photographer in the pre-production stage of a film and identifying the photographer’s activities during film production while maintaining an independent artistic identity are the objectives of this research.
Research method: This research was carried out using the content analysis method and a comparative approach and data was collected in both bibliographic and field study methods. First, with the help of genetic criticism, the selection stages of Ghazbanpour and Koudelka for the film still photography were examined, and then, the results of their activities were interpreted and compared based on Daniel Chandler’s theory of communication codes. Comparing the artistic performance of two Iranian and foreign photographers helps to gain a deeper understanding of the independent identity of the film still photographer.
Conclusion: Due to the narrative and stylistic nature of the art genre in cinema, Jassem Ghazbanpour and Josef Koudelka have maintained their independent identities while filming. Also, comparing their photographs, it can be concluded that they have similar themes and characteristics in the form of social documentaries and have a tendency towards the subject that they photographed before the production of the film.