19th Century Greek Photographers in The Ottoman Empire
The newspaper Takvim-i Vekayi dated
October 28, 1839 published in Istanbul in Greek, Armenian, Arabic, French and
Ottoman (old Turkish) languages featured announcement of photograph in Paris
Academy of Sciences. This invention announced all through the world
by François Arago on August 19, 1839 found place in the newspaper Takvim-i
Vekayi as follows: The talented Frenchman, Daguerre, has reproduced an object
through the reflection of the sun’s rays onto a shiny surface. One can
understand the importance of this invention when one realises that in this way
certain things which should be preserved may be captured.
19th century witnessed
changes and innovations all around the world. Day by day new inventions emerged. The Ottoman
Empire tried to keep pace with these changes and innovations as far as
possible. Left the previous introverted structure, the empire tried to open its
doors to innovations. Particularly the problems in bringing the
printing press are a good example of the perspective towards innovations in
Ottoman history. However, the problems in bringing the printing
press were not experienced in photography. It is known that the printing press
was initially brought by Jews coming from Spain, and Armenian and Greek
communities successively established their own printing houses. Print house
to serve to Muslim communities in the Ottoman Empire was established in early
18th century by İbrahim Müteferrika.
Reformist perspective brought to the
empire by Sultan Mahmut II facilitated easier adoption of many innovations and
innovative thought from Europe. The Rescript of Gülhane positively
affected Christian communities living in Ottoman society as well. With the
reformist understanding seen particularly in arts and literature, interest in
the art of painting increased in the palace and some members of the dynasty
began painting. This reformist thought made a big contribution
to rapid popularization of photography and its acceptance by Ottoman palace. Furthermore,
efforts to prevent re-experiencing the delay in the printing press played an
important role in popularization of photography.
However, reformist lifestyle was not
accepted by Muslim society as it was by the palace. Therefore, the first Muslim
photographers in Ottoman society emerged in early 20th century. Rahmizade
Bahaeddin is known as the first Muslim to have a photography studio in 1910. For sure,
there were Muslim people taking photographs before this date, but there were no
figures to adopt it as a profession. Photography was intensively applied
in commercial field by Christian communities within the Ottoman Empire. Armenian
and Greek communities in particular established photography studios and made
its trade. The reason for Jews and Muslims to keep their distance from photography
is that the wrong interpretation of some orders of both religions led the
individuals within these communities to avoid arts such as painting, sculpture
etc. Although some reforms happened, it took centuries for the society to get
rid of this restrictive thought. Even Muslim people seen in some of
the photographs of the period were in fact members of Christian communities
dressed in Muslim style or men who wore ethnic female clothes. Therefore,
let alone Muslim society’s using photography, their appearance in photographs
was restricted.
Traveler photographers in 19th
century photographed various regions of the world. Photography entered into the Ottoman
Empire through European traveler photographers for the first time. Mysterious
east increased orientalist interest of Europe, and frequently became subject of
photographs. Stereoscopic photograph in particular was an important entertainment tool
during 19th century. Many America- and Europe-based
stereoscopy firms sent their photographers various parts of the world and
created series. The first regions were the Middle East, Egypt,
Anatolia and Greece. Istanbul is one of the important cities, as
well as Jerusalem.
Although various photographers were
mentioned in Istanbul in 19th century, some figures became
prominent. Abdullah Fréres, Sebah & Joaillier, Berggen, Basile Kargopoulo and
Nikos Andromenos are some of these figures. They established their own studios and left their mark on the period. Known with
their close relations with the palace and the dynasty, these photographers gave
photography lessons to the members of the dynasty.
Photographs of Vienna exhibition
presenting the Ottoman Empire in 1873 were shot by Pascal Sebah. Ottoman dynasty also was interested
in photography as closely as to have private lessons. Sultan Abdülhamid II, who with his
reign left his mark on 19th century, is one of the notable Ottoman
Sultans that were interested in arts. Photography rapidly proceeded in his period and was used officially as
well. Sultan Abdülhamid II had
photographed all the prisoners to be forgiven to honor his 25th
anniversary of succeeding to the throne, and forgave some of the prisoners by
looking at these photographs.
Known as Beyoğlu today, The Grande
Rue de Péra, as Istanbul’s entertainment, culture – arts center, hosted a
similar scene in 19th century. With its completely cosmopolitan structure in 19th century,
the area hosted culture, arts, rich lives and embassies of many European
countries. Theaters, luxury restaurants and
bakeries etc. were concentrated in this area. In 1850s, many photography studios situated in Beyazıt, Istanbul began
moving to Pera, with a European look.
Basile Kargopoulo, who was a Greek from Istanbul, opened a studio in 1850 in Grand Rude de Péra. He opened
his studio close to Russian Embassy at number 311 and then, moved it to number
417. Because there was no systematic numbering in Istanbul streets then, many
locations were described according to their distance to embassies and other
important buildings. That is why Kargopoulo added the statement “Rus
Elçiliğinin Yanı” (Next to the Russian Embassy) to its address. Upon the
beginning of Ottoman-Russia war in 1877, Russian Embassy left the city and
Kargopoulo avoided using this statement in its address.
In 1878, he moved to
the address “Tünel Meydanı 4” ,
where he is to spend the brightest years of his career.
His use of daguerreotype technique
in portrait photography makes him one of the first Ottoman daguerreotype
photographers. Kargopoulo played in important role in
photographing İstanbul then. With a wide range of costumes in his studio,
the photographer shot portraits of notable figures of the period. At the same
time, he photographed ordinary people for documentation purposes. Fishermen,
butchers, street vendors, syrup sellers and many merchants became subjects of
his works. Then, he printed his photographs on carte-de-visite size, and sold them
to the tourists visiting Istanbul. These photographs make a significant
contribution to document the culture of the period. The albums he prepared in 1884
titled “İstanbul Hatıraları” (Istanbul Memoires) are as if the witnesses of
that period. As the compilation of a 20-year archive, these limited edition albums
contain 20 to 100 original photographs.
Furthermore, Basile Kargopoulo is
one of the figures that gave lessons to the dynasty. He worked as the official
photographer of Sultan Abdulmecid and private photographer of Sultan Murad V. He gave
photography lessons to Murad V when he was a crown prince. He
continued with the lessons during Murad V’s three-month reign.
In the following years, he opened a
studio in Edirne (Andrinople) in
addition to the one in Istanbul. As the former capital of the Ottoman
Empire, Edirme was also a crowded military center. Opened this studio in partnership
with E. Foscolo, Kargopoulo rapidly attracted attention of city’s Greek
population. Took photographs of the old palace and the city and sold them as
postcards, the photographer stated his Istanbul branch in these postcards’
overleaf.
Born in 1826, Kargopoulo continued
to run his studio opened in 1850 for 36 years uninterruptedly. After his
father’s decease on March 28, 1886, Konstantin Kargopoulo, the son of Basile
Kargopoulo could continue with photography only until 1888 due to his lack of
experience in the sector.
Istanbul’s another renowned Greek
photographer Nikolaos Andriomenos
embarked his photography adventure when he was 11, as an apprentice at the
studio that Abdullah Brothers took over from Rabach in Beyazıt. After working as an apprentice for a couple of
years, he continued his career as a retouching artist. In 1867, Abdullah Brothers
transferred the studio to Andriomenos and moved to Pera. Therefore,
Andriomenos had his own professional studio at an early age (around 17). After working
in Beyazıt for almost 30 years, he opened a branch in Pera. Andriomenos
was one of the successful photographers, who managed to enter into the palace. He gave
photography lessons to Sultan Vahdeddin, before he succeeded to throne. His 4
photographs were displayed at Paris exhibition in 1903, and he received empery
medal from Sultan Abdulhamid II. He took photographs until his death
in 1929, and after his decease, his son Tanas Andriomenos continued
photography. Changed the studio’s name as “Foto Saray”, Tanas settled in Athens in
1980s.
Another photographer who was trained
as an apprentice for Abdullah Brothers is Achilleas Samacı. His studio
titled Atelier Apollon until 1925. Like
Kargopoulo and Andriomenos, Samacı was also close to the dynasty, and gave
photography lessons to the dynasty members. Several renowned dynasty members,
actors and writers such as Halit Ziya Uşaklıgil were guests of Apollon, and
their portraits were shot.
Dimitri Michailides made his name with his photography works in Edirne. He became
an apprentice of Kargopoulo to learn photography, and opened a photography
studio in Pera close to the fish market. He published an album titled “Taselya Hatıraları” (Taselya Memoirs)
consisting of 30 photographs. Michailides
donated his wide collection of photographs to Andrianopolis Greek Association.
Alkibiades Nikolaidis is one of the photographers awarded with Otoman dynasty fine arts medal. Became
known with his company titled “Photographie
Stamboul”, Nikolaidis was a photographer to be hired for several purposes,
according to the advertisements he placed. He provides portrait shooting
services at houses and photography shooting services for travels. The most
important characteristic of Nikolaidis that made him distinguished is that he
opened his archive and library to the use of all researchers. He also
provided camera and technical equipment support and gave free photography
lessons at his studio.
Neoklis Meraklis opened one of the notable portrait studios of the period in Beyazıt. For a
couple of years after his death, his son Cleanthi continued his studio
established in 1891.
Jean Xanthopoulo opened his studio titled El – Beder. Although Studio El-Beder, meaning
The Full Moon is one of the most popular addresses for portrait photographs,
could not manage to be open for long. In 1870s, he settled in İzmir, and
opened a new studio titled “El-Beder and Partners”.
Unlike many other portrait
photographers, Theodor Servanis opened
his studio in Kadıköy, and photographed various intellectuals of the period.
Run by Studio Vaphiadis,
Theodor Vaphiadis and Costakis Vaphiadis, the studio continued to operate until
1922. It not only served as a photography
studio, but also as a distributor firm bringing many photography brands and art
materials to Istanbul. He
opened studios at two different locations in Istanbul. Vafiadis described himself as
“Oriental Railway Photographer”, and stated that when presenting his studio. Also manufacturing Zincographic
plates, Vaphiadis was a renowned figure also in sale of commercial photography
materials.
Unfortunately, Istanbul now lacks
the cultural variety it had in 19th century.
This is due to several
reasons, and reshaping of this cultural pattern seem possible neither today nor
in the near future. With the advent of photograph in 19th
century, a revolution took place in humankind’s imagery. This visual
revolution had an impact similar to today’s digital revolution. Many cities
all around the world tried to display and present both its architectural
structure and cultural pattern through photographs. Like the other cities, Istanbul
adopted a similar attitude, and Armenian and Greek photographers as the new
inhabitants of Istanbul played the leading part in this scene. Despite the
unfortunate destruction of many photographs from that period, some of them are
in private collections and museum archives today. Some addresses in Grand Rude de Péra
that hosted several photographers keep the spirit of the past alive, and are
still present.
BIBLIOGRAPHY:
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