Enayatollah Famin was born in Eshghabad, Turkmenistan. He was an Iranian cinema and television cinematographer known for filming movies such as "The Midnight Terror"", "Inattention" and "The Enchanter"..

Famin completed his primary education at an Iranian school in Eshghabad and his secondary education at a Russian school. During the time when the Iranian embassy in Moscow was accepting students to study at Russian universities, he obtained permission from the Ministry of Education and Fine Industries to study at the High School of Cinematography, and after completing the six-year course, he obtained a first-class degree in cinematography.

From the second year of the school, while studying in theoretical classes, he began to learn practical details at Mosfilm, first as an assistant cameraman, then as a second cameraman and first cameraman. With one of his colleagues, he applied all his technical knowledge in the feature film Gavrosh (1937), which was his thesis at the High School of Cinematography, a film based on a part of Victor Hugo's novel Les Misérables. The film was screened at the Paris International Film Festival, and the Iranian Consulate issued a letter of commendation in his name.

The foundation of Famin's success at this school was the photography profession he had learned during his high school years. Famin came to Iran in mid-1939 and collaborated with the "Thought Development Organization". With the approval of the head of the film branch of the "Thought Development Organization" department, Famin sought to activate this department and produce a documentary film, but this was not possible with the outbreak of World War II, so he turned to photography and founded a photography studio called "Modern".

During the war years, he collaborated with Hollywood cinema magazine and wrote about the suitable geographical location of Iran for establishing a film studio. In December 1951, Nosratollah Mohtasham invited Famin to "Pars Film" and asked him to film Nader Shah for him. The studio's cameraman, Boris Matveyev, was ill, and Famin filmed Mother for Koushan until preparations were made for the film Nader Shah.

After a while, Famin's professional life entered a new phase, he was hired by "Pars Film" for 75 tomans a month, and after "Mother" (1951) he filmed other films such as: "The Thief of Love" (Esmail Koushan, 1952), "The Enchanter" (Esmail Koushan, 1952), "Whirlpool" (Hassan Kheradmand, 1953), "The Nights of Tehran" (Siamak Yasami, 1953), and "The Plot" (Ali Kasmaie, 1954). "Whirlpool" was the first color film in Iranian cinema.

"Nader Shah" (1954) and "Agha Mohammad Khan Qajar" (1954), both of which were great works, were filmed by him in the magnificent atmosphere of the Golestan Palace; however, the only copy of "Nader Shah" was destroyed in the Pars Film fire, and part of "Agha Mohammad Khan Qajar" was rescued from the flames and was shown to the public with the remains and the addition of outdoor scenes.

"The Midnight Terror" (1961) holds a special place in Famin's film career. In this film, he achieved a good result from his collaboration with Samuel Khachikian. Famin's most important films are "Waiting Beach" (Siamak Yasemi, 1963), "Humans" (Mehdi Missaghieh, 1964), "Delirium" (Samuel Khachikian, 1965), "Never Without Love" (Samuel Khachikian, 1966), "Faith" (Mehdi Raeis-Firooz, 1967), and "The Golden Road of Samarkand" (Nasser Malek-Motiee, 1968).

Famin considered the choice of composition, space, appropriate angle, understanding the camera mechanism, and familiarity with light to be among the most important factors in improving a cinematographer's work.

Famin liked wide shots because, he believed, the wider the screen, the greater the grandeur of the image. Missaghieh had given Famin the title "My Eye" and Dr. Koushan the title "The Heart of Pars Film Studio."