Arman Stepanian, a researcher, graphic artist, and photographer of Armenian descent, was born in Abadan. Stepanian began his art studies in graphics at the Faculty of Fine Arts in Tehran. His collection of photos in 1999 from the Armenian cemetery of Sar Asiyab brought him fame and his entry into the professional field of photography. In 2002, the first solo exhibition of his photographs was held at the Sofitel Gallery in Luxembourg, and in the same year, his photographs were exhibited individually at the Seyhoun Gallery in Tehran. He has also participated in numerous domestic and foreign group exhibitions; Exhibitions in domestic galleries such as Homa, Khak, Laleh, and Seyhoun and galleries in Paris, Greece, Cyprus, Dubai, New York, Vienna, and Toronto are among them. Stepanian has a special diploma from the jury of the first and second biennial of Iranian graphics in 1986 and 1988. In 1995, he also won an honors diploma from the Art and Prayer Festival.

Stepanian was very interested in the history of photography in Iran, and the importance of Armenians in this history was another link to make him do research and analysis in this field. In 1990, he collected photos taken from the Qajar period onwards of the Armenians of Iran and displayed a collection of 210 pieces of photos in the Tehran Museum of Contemporary Arts titled "Looking at the history of Iran, the Armenians of Iran through the lens of a camera." This desire for historical progress led him to Antoine Suryugin, known as Antoine Khan. Antoine Khan was one of the most famous photographers of the Naseri period and served the first Pahlavi. Stepanian did detailed research about this photographer and collected his photos, which were exhibited in France and Iran in 2002 with the cooperation of the Tehran Museum of Contemporary Art and Paris Municipality.

Stepanian's historical desire and retrospection are also reflected in his own photos. Obsolescence, wear and tear, destruction, and everything that shows signs of time are integrated into Stepanian's photos. He sometimes collects old and anonymous family photos and uses techniques such as photo collages to put them in the frames of his works. The sense of nostalgia and longing for the past has left its stamp on most of Stepanian's photos. In the pictures he took from the Armenian cemetery of Doulab, he makes the ruined tombstones with faded faces imprinted on them as the subject of his photo, emphasizing the same point of view. Stepanian's scattered paintings also follow the same rule. In some of his paintings, he goes to the Qajar harem's women, recreating them with a mood similar to the photos Suryugin took of the interior.