Ali Reza Zarrin Dast (born in Tabriz, 1945) is an Iranian distinguished and irreplaceable cinematographer and director of photography.

He is matchless in directing grips, camera operators, lighting crew smoothly and harmoniously and cooperating closely with the director to ensure that the artistic aesthetics are supporting the director’s vision of the story being told.
Cinema professionals call him “wizard,” a title that he deserves due to his unrivaled expertise in handling the camera. He can capture any scene in every style he desires. Nothing is impossible for him.
This veteran cineaste has had a diligent and perseverant presence in the Iran’s cinema for about half a century and has cooperated with all leading Iranian cinematic figures.
He has participated in the production of over 100 films, documentaries, and TV series and has had a vital and undeniable role in the most of major cinematic projects in Iran.
He started his brilliant career as an assistant camera operator in the “Devil’s Temptation” (1966) directed by his brother who had recently come back from the US and had ambitious aspirations in filmmaking. Ali Reza also asked renowned director, Ali Naderi, to cooperate in the film as the photographer.
This friendly cooperation continued and they made “Goodbye Buddy” in 1969 in the news style. This film was among the first films, which were called “Street Films.” Contrary to the conventional films, 80 minutes of this feature was filmed by a camera in the cameraman’s hands.
By shooting this film, Zarin Dast gained recognition as a professional cinematographer.
Some of famous smash features and TV series of that time, which were shot by Zarin Dast, are “The Late Suitor” (1970) directed by Ali Hatami, “Harmonica” (1970) directed by Amir Naderi, “The Caretaker” (1971) directed by Khosro Haritash, “Dear Uncle Napoleon” (1976) immortal hit by Naser Taghvai. He attained these stunning achievements when he was just 30. He had already filmed 400 feet length of film negative. He learned the knowledge of contrast and psychology of colors and their function on filmmaking.
He gained invaluable experience in filming in low light condition by working in “Report” (1978) directed by Abbas Kiarostami.
In the early 80s, he began utilizing the capabilities of lighting in colored films. In “The Spell” (1987) according to the structure of the film, he took advantage of classic and expressionistic lighting.
In 1989, he drew on all of his experience in “Close-up” to capture the frames, which are consistent with Kiarostami’s thoughts, and was successful.
In “Abadanis” (1991) directed by Kianush Ayari, Zarin Dast used the 70’s cinematographic styles and filmed in black and white, however, he took the modern shooting techniques into consideration and it was regarded as one of the strong points of the film.
In “Pari” (1995) directed by Daryush Mehrjui and “The Survivor” (1996) directed by Seilfollah Dad, Zarin Dast Picked up and displayed the unique imagery of the esthetic film script.
In 2005, Reza Darmishian, Iraninan emerging director, made a biopic called “Wizard” introducing Zarin Dast’s personal life and career and depicted some of the memorable works of this grand master.
Zarin Dast got nomination in several renowned festivals and won the Crystal Symorgh for Best Cinematographer in the 13th Iran Fajr Film Festival.
His last work “Penniless
[ness]” is now being shown on screens in Iran