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Broom sellers,

Roma broom sellers, Women’s Market, Sofia, Bulgaria, 1997. (Rolleiflex Tessar 𝘧3.5, Tri-X 400ASA, scan of print.) Click on image to enlarge.

Due to the length of this posting, I’ll invert the usual order and begin, rather than end, with a somewhat dry “footnote” on photographic technique; some reflections on the content of the photo — the Women’s Market, Sofia, Bulgaria — follow thereafter …

The Virtues of Slow Lenses

A good number of photographic sites I skim through on the internet betray an out-sized preoccupation with the virtues of fast, wide aperture lenses and their ability to create  narrow planes of focus and patterns of background blur.  As a counter to such, the photo above shows the virtues of slow, narrow-aperture lenses, in this case the 75mm Tessar f3.5, the built-in lens in a second-hand twin-lens Rolleiflex that I bought used more than three decades ago.  The Tessar is one of the simplest designed and lightest weight lenses ever produced but when used properly it is second to none in sharpness, detail, and contrast. The Tessar’s 75mm focal length is a tad wider than 80mm,  the usual “normal” focal length on 6x6cm medium-format film cameras.  This 5mm difference enables the Tessar to deliver slightly wider coverage when used up-close, an advantage in environmental portraiture. The extra 5mm also provides a tad more depth of field and a slight exaggeration in perspective.  The depth of field provided by the Tessar’s maximum aperture of f3.5 reduces the likeliness of focusing errors and keeps background details recognizable.  In the photo above, thus, the main subject is in crisp focus while his wares and female colleague and the pedestrian traffic and architectural features of the market street behind him are sufficiently out of focus so as not to detract from the main subject but still clear enough to provide meaning and context.

Now, on to the subject at hand: the urban dynamics and historical tales the photo reveals …

The Women’s Market, Sofia, Bulgaria

The Women’s Market — located on broad curved street, following the course of a one-time riverbed, just west of the present-day center of Sofia, Bulgaria — has a history that stretches back to the centuries when what is now Bulgaria was part of the Ottoman Empire.  Following Bulgaria’s independence from Ottoman rule in the aftermath of the Russo-Turkish War of the 1870s, the Women’s Market was Sofia’s main retail produce outlet.  Nearly a century later, during the final years of the communist period, the Women’s Market provided a buffer of private enterprise and a reliable source of seasonal produce. Following the collapse of the Soviet bloc in 1989, the Women’s Market remained a chief source of fresh fruit and vegetables in a city in which old distribution systems had collapsed and new ones had not yet formed.  Over the last decade, however, the Market has been in a state of decline.  Supermarkets and shopping malls have taken root throughout Sofia, tastes have changed, and those of the city’s inhabitants with disposable cash and pretensions to mobility have moved from the urban core to the urban periphery taking their purchasing power with them.

In recent years, a large percentage of the Women’s Market’s street stalls have been removed by the municipality. At the moment, new modern multistory stall complexes wishfully described as being built for “tourists” and “artists” are under construction.  What they will look like upon completion and the exact functions they will serve is anyone’s guess.  What remains for now are rows of small enclosed kiosks selling local cheese, cured meats, and fish, plus scores of open fruit and vegetable stands under large brightly painted utilitarian canopies. Each stand is manned by vendors, some morose and silent, others vigorously or halfheartedly hawking their wares.

The endurance of the 19th century

In a lifetime of working in and observing cities in many places throughout the world, I’ve noticed that late-nineteenth century neighborhoods are amongst the last to be regenerated.  This is due in part to the resilient endurance of their economic and social functions during the twentieth century and into the early-twenty-first.  In such neighborhoods, cheap rents and high vacancy rates in storefront occupancy enabled the provision of inexpensive goods to those whose budgets constricted their choices.

The same interstice of factors offers opportunities for marginal entrepreneurship and a shot at mobility to those who might otherwise fall outside of the economy.  The low profit-margins inherent to such entrepreneurship, however, can also make for dubious goods and equally dubious practices.  Thus, shopping in the Women’s Market calls for a taste for sharp-tongued banter and a quick eye ever on the lookout for rigged scales and for good looking produce on display but underweight and damaged goods placed in one’s shopping bag.  Still, where else can one buy, for example, persimmons or grapes, albeit on the last legs of their shelf-lives, for a third of the price of elsewhere and serviceable tomatoes for even far less?

Layers of unwarranted blame

There is a fine ethnic division of work and functions at the Women’s Market.  Meat, cheese, and fish  kiosks and stands offering wild herbs and mushrooms are run by ethnic Bulgarians. Fruit and vegetable stands and peripatetic bootleg cigarette operations are run by Roma (Gypsies).  Storefronts in adjacent streets include honey and bee keeping supply stores run by Bulgarians and rows of “Arab” shops — halal butchers, spice stores, barbers, and low-cost international telephone services — run by and catering to increasing numbers of legal and illegal immigrants from Syria, Iraq, Palestine, Turkey, Central Asia, and Afghanistan. Many Bulgarians, their weak self esteem shakily bolstered by contempt for “others,” blame the shoddier commercial practices of this wonderfully vibrant marginal neighborhood on the presence and “inferiority” of such outsiders.

Several years ago, I attended an open town meeting on the future of the Women’s Market and its surroundings.  The meeting degenerated into hysterical, racist tirades against the presence and practices of Roma stand-holders and market laborers, this despite their being hardworking people trying to extract a semblance of a living from admittedly marginal trade and low-value added labor.  Banish the Gypsies, the sense of the meeting implied, keep the neighborhood “white” and Christian, and the market area with magically become upscale and all will be well.  Not a thought was given to viewing the attempts at entrepreneurship on the part of Roma as social and economic assets to be incubated, this whether out of commitment to equal opportunity or to the  insights of developmental  economists such as Albert O. Hirschman.  The neighborhood’s “Arabs” were denounced with equal rage.

Bulgarians complain that Roma do not work, but when Roma do work and commence to gain economic stability, the majority population reacts vengefully.  Rage and blame have deep roots at the Women’s Market.  On a symbolic level, blame even muddies the market’s name.  During the communist period, the market had been renamed after Georgi Kirkov, an early Bulgarian left-wing trade unionist who died soon after the First World War.  Following the collapse of Soviet-bloc communism, Kirkov’s name was expunged and Kirkov himself anachronistically assigned a share of blame for the mistakes and misdeeds of a neo-Stalist regime that came to power almost three decades after his death.  Today, only a unkempt bust of Kirkov remains, mounted on graffiti-daubed pedestal in a small triangular park in which idle market day-laborers, elderly Roma mostly, congregate to smoke cigarettes, drink cheap alcohol from half-pint bottles, and while away the hours.

Festering blame that has never been resolved

There is another level of blame and contempt, however, that festers under the surface of debates pertaining to the Market.  During the Second World War, the Bulgarian army rounded-up and deported to their death 18,000 Jews from Macedonia and northeastern Greece, areas ceded to Bulgaria by Nazi Germany in reward for favorable trade terms and a lion’s share of Bulgaria’s gold reserves.  At the same time, within the boundaries of the Kingdom of Bulgaria proper, 50,000+ Jews were socially and economically disenfranchised and legally robbed of their real and movable property.  Tens of thousands of Jews were deported from Sofia to the countryside; the younger and fitter male deportees were sent to work as slave laborers on road crews and the rest were left to fend for themselves without means of support in isolated villages. As a boon to ethnic Bulgarians living in Sofia, the deportation freed up hundreds of businesses (most of them marginal), thousands of dwellings in a city short of housing stock, and tens of thousands of places in the workforce.

From the post-war period on, Bulgarians called the seizure of Jewish property and the deportation of Jews from Sofia “The Saving of the Jews,” giving a self-congratulatory spin to the large percentage of Jews in Bulgaria that came through the war alive, something that can be more accurately ascribed to Bulgaria’s being knocked out of the war by the Soviet Union in mid-1944. The reaction of more than 90% of the Jews in the Bulgaria to such a “saving,” was clear enough: emigrate en masse, mostly to Israel, not long after the war ended.  Prior to the war, Sofia’s Jews had formed the bulk of the residents of the market quarter.  Their  deportation and post-war emigration created a vacuum in the midst of the city’s center and led to discontinuities and dislocations from which the streets surrounding the Women’s Market have yet to recover.

Rag-sellers, “çıfıtcı,” and voting with my wallet

Today, in a country almost without Jews, Jews remain an obsession for many Bulgarians and a target of their hostility and condescension.  This especially holds true for populist agitators and amongst Bulgarians with higher incomes and social standing, whether real or self-ascribed.  In such circles, Jews are blamed for communism and for capitalism and for imagined secret cabals that subvert Bulgaria and steer the world.  The poisonous, fraudulent “Protocols of the Elders of Zion” remains a best-seller at outdoor book stalls in Sofia, as do conspiracy theory books involving Israel’s Mossad.  Walls are daubed with antisemitic (and anti-Roma and anti-Turkish) slogans, the work of bands of neo-fascist football (soccer) supporters.  Few social gatherings of upper-income or self-styledly cultured Bulgarians are complete without the telling of “yevreiski vitsovi” (“Jewish jokes”) — jokes about Jews rather than by them, usually with story lines about rich but stupid Jews outsmarting themselves in avaricious schemes.

In truth, prior to the Second World War, most Jews in Bulgaria were marginal shopkeepers and low-income craftsmen, laborers, and peddlers. Like today’s Roma, Jews were blamed for the inherent defects of the economic niches in which they labored and the social niches in which they lived.  Early in the twentieth century, many Sofia Jews were old-clothes and rag vendors, literally, thus, members of the “lumpenproletariat.” To this day, in Bulgaria, Jews — be they doctors, scholars, merchants, or ordinary folks like this writer — are contemptuously referred to as “chifuti,” a Bulgarian-language bastardization of the Turkish term “çıfıtcı” or old-clothes- and rag-seller.  Personally, as someone who has worked for others since my 13th year, and whose roots are in a world not dissimilar to the that of the Women’s Market, I am quite willing to wear the label of “çıfıtcı“with pride.  For this reason, when in Sofia, I happily continue to  do my shopping in and around the Women’s Market and loyally patronize its Roma vendors …  this regardless of any and all bruised and overripe fruit or real or imagined thumbs on scales!  As to antisemitic, anti-Roma , anti-worker “cultured” Bulgarians, as we used to say in the Yiddish-English patois of my native Lower East Side of Manhattan: “Geh’n’d’r’ert!” (“Sink into the ground”).  After years of listening to their racist hatefulness  and class-condescension of , I’m always available to lend a helpful push.

Galata Bridge, Istanbul Turkey, 2012. (Fuji X100) Click to enlarge.

Flower Vendor, Galata Bridge, Istanbul Turkey, December, 2011. In the background to the right: a few of the ubiquitous amateur anglers who line railings of the bridge year-round in expectation of an evening’s meal. (Fuji X100.) Click to enlarge.

The red flowers are kokina çiçeği. Kokina is a Turkish loan word from the Greek kokinos, meaning “red.”  In Istanbul kokina çiçeği are sold as New Years decorations, a custom borrowed from the city’s once-large and vibrant ethnic Greek population.  Botany is not my strong suit, but to me kokina çiçeği resemble a variety of mistletoe — not only in their appearance but also in their function as mid-winter talismans. In many ancient cultures, mistletoe varieties — especially those parasitic to oak — were associated with virility, fertility, and regeneration, part of the reason why, in the Anglo-Saxon world, men and women who pass together under Christmas-season mistletoe traditionally were compelled to kiss. Mistletoe may also have been the “golden bough” that Aeneas took with him as a placating gift on his trip to the underworld and, thus, the inspiration from which Sir James George Frazer’s took the name for his famed late-19th- early-20th-century study of myth land legend.  The flower seller, by the way, is an Istanbul Rom (Gypsy).  In much of southeast Europe, urban Roma labor long hours in the ornamental flower trade, as street vendors and, less visible to the casual stroller, as wholesalers as well.  Central and Eastern Europeans who accuse Roma of willful unemployment are blind to the those who labor at the base of the pyramid of urban economic activities.

Technical footnote…

When processing the raw file of this photo in Lightroom, I couldn’t resist the temptation to nudge the red-saturation slider slightly rightwards!

Dancers at a weekend afternoon dance party, Coney Island Boardwalk, Brooklyn, New York, 2012. (Fuji X100 w/28mm-equivalant lens adapter). Click to enlarge.

Weekend afternoon dance party, Coney Island Boardwalk, Brooklyn, New York, 2012. (Fuji X100 w/ 28mm-equivalent lens adapter). Click to enlarge.

I haven’t gotten out to Coney Island this summer.  So, offhand, I don’t know the state of the famed Coney Island-Brighton Beach seaside boardwalk post-Hurricane Sandy.  What I do know is that I very much miss dancing on Coney Island boardwalk in the breeze and fading light of weekend summer afternoons.

For the last couple of decades, impromptu dances set to the blare of portable sound systems and music decks manned by proprietors and patrons of boardwalk bars attract a crowd of dancers representative of New Yorkers to whom Coney Island is the only affordable and accessible seaside respite from the thick air, stuffy apartments, and burning pavements of summer time New York.  (This despite the efforts of former mayor Giuliani to expunge such offenses against “quality of life” and of soon-to-be-former mayor Bloomberg to sanitize, gentrify, and recycle neighborhoods and public space for the benefit of those with high incomes and volumes of disposal cash.)

Most Coney Island boardwalk dancers are urban survivors, people who’ve made it through the scourges of low-paying jobs or lives at the edge.  The music is mostly Afro-Caribbean, Latin, and fusion.  The price of a ticket is no more than a lack of pretension and a desire and ability to dance.

These last years, I’d gravitated more and more towards to weekend dances on the boardwalk.  The grit of the edge of the city is more redolent of the New York that shaped me, and the boardwalk venue is far more familiar, accessible, and welcoming to me than are stylish clubs in upper income Manhattan or in the ethnically-purged, middle-American “hipster” neighborhoods that now sprawl across the north of Brooklyn. Not least, the subtle flexibility and responsiveness of the boardwalk’s wood plank surface add spring and an intoxicating feeling of (seeming) virtuosity to one’s every step.

More Coney Island dancers! (Specifications as per photo above) Click to enlarge.

More Coney Island dancers. (Specifications as per photo above) Click to enlarge.

Technical Footnote

On the X100, the  optical imperfections (softness, flare, and color casts) of Fuji’s 28mm-equivalent screw-in wide angle adaptor helped rather than hinder portrayal of a Coney Island weekend afternoon.

Musicians marching in protest demonstration, Plovdiv, Bulgaria, winter of January,1997.  In the winter of 1996-1997 the Bulgarian Lev plummeted, store shelves empty, and the prices of food and utilities soared beyond the means of most people.  Weeks of protests ensued.  (Scan of print, Nikon F3, 35mm f2.0, Tri-X.) Click on image to enlarge.

Musicians marching in protest demonstration, Plovdiv, Bulgaria, January,1997. (Scan of print, Nikon F3, 35mm f2.0, Tri-X.) Click on image to enlarge.

Antecedent to my previous post: In the winter of 1996-1997 the Bulgarian Lev plummeted, store shelves emptied, and the prices of food and utilities soared beyond the means of most people. Weeks of protests ensued.

Köfteci. A street vendor of grilled köfte sandwiches, Gezi Park, early-June 2012. (Fuji X100). (Click on photo to enlarge.)

Köfteci. A street vendor preparing and selling  grilled köfte sandwiches, Gezi Park, early-June 2012. (Fuji X100). (Click on photo to enlarge.)

During the weeks it was extant, the Gezi Park encampment was organized and disciplined.  A committee of participating organizations put political differences far enough aside to ensure provision of essential services — sanitary, medical, and emergency.  Volunteers cooked and served in cafeteria-style kitchens well stocked with donated provisions.
Street Vendors
In addition to the means served to those encamped in the Gazi Park, the dense concentration of protestors, well-wishers, and the curious  attracted scores of ordinary street vendors.  Many such vendors were of types traditional to the streets of Istanbul — sellers of köfte, of  rice topped with shredded chicken, of hot boiled corn, and of circular bread rolls dusted with toasted sesame seeds (semit); others represented fast responses to the one-off needs of protesters.  The latter hawked Turkish flags and portraits of Atatürk, t-shirts emblazoned with slogans of protest, and simple painter’s masks and cheap swimming goggles, both passed off as protection against tear gas.  Beverage vendors did brisk businesses selling ice-cold bottled water and — rarely seen on the streets of Istanbul — beer.  Indeed, in the initial days of the occupation and demonstrations, polishing off a bottle of beer, as well as providing refreshment, was a principled statement of opposition to a regime intent furthering a sectarian-driven war to limit alcohol consumption. In the end, Gezi Park occupiers eventually banned beer vendors, this to disprove  the Turkish Prime Minister’s allegations of nightly drunkenness and debauchery in the protestors’ encampment.  According to one report, at least one beer vendor put up violent resistance to such expulsion, stabbing a protester in the process.)

Revolutionary melon slices for a revolutionary market. The slogan scratched onto the watermelon: "Taksim, the people's revolution is coming." But, no matter how progressive, red, and tasty such melon slices may have been, the going price -- five lira per serving -- was counter-revolutionary at best! (Fuji X100) (Click on image to enlarge).

Revolutionary melon slices for a revolutionary market. The slogan scratched onto the watermelon: “Taksim, the people’s revolution is on.” But, no matter how red and tasty such melon slices may have been, the going price — five lira per serving — was counter-revolutionary at best! (Fuji X100) (Click on image to enlarge).

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The text of the banner:

Hey, Tayyip!
Be human, show respect and be respected,
Turn your face and heart to God and your people,
Show respect to the souls of our ancestors: Turks, Kurds, Armenians, and Jews,
With a single heart they gave their blood for our unmatched homeland.
We know our constitutional rights.
Together, using Article14 of the constitution,
We will burn out your light bulb (the logo of the ruling AK Party).

(tr. Serhat Güven)

This banner moved me, and not only because I am active in one of the communities it mentions.  As a native New Yorker and the product of an immigrant world, I know the culture of inter-communal respect, public participation, and inclusive politics that commitment to diversity can engender.  And, as someone who, over the years, has also lived and worked in self-proclaimed mono-ethnic, mono-linguistic, and mono-religious countries that, even up to the final years of the 20th-century, marginalized, expelled, and murdered Gypsies, Muslims, and Jews, I know that acknowledgement of the legitimacy of diversity can comprise a giant step towards enduring democracy.  I do not know which group raised this banner and wrote its appeal to Turkey’s “Leader,”  but, whoever they are,  I do thank them respectfully.

The Çarşı encampment, Gezi Park, taken during the first days of the occupation. (FujiX100)

The Çarşı encampment, Gezi Park, taken during the first days of the occupation. (FujiX100) Click on photo for larger image.

Two ubiquitous presences at Occupy Gezi and attendant demonstrations: Çarşı and smart phone cameras.

Çarşı is the fan club of the Beşiktaş football (soccer) club — rough-and-ready, anarchistic, high-spirited, and energetic. Çarşı lent confidence, safety, and a tough urban edge to the protests.  (For more on Çarşı, go the archives of The New Yorker magazine for an excellent profile by writer Elif Batuman).

The age of the smart phone has changed the postures of demonstrators.  Many protesters march with hands held high, by no means in fascist salutes, but holding cell phones to photograph and record seemingly everything in their fields of vision. Every step, every moment of two weeks of protest seem to have been documented and ready for  crowd-sourcing. And, is not impossible that the faces of many activists and protestors have been recorded as well; I  noticed occasional cell phone shutterbugs who, if I were the suspicious type, I would identify as police photographers.  In all, over the weeks, so many people took so many photographs that any privacy disappeared; during the last days of the park occupation, many occupiers posted signs requesting that passersby refrain from photographing them.

iPhone as surrogate telephoto lens. In focus on the iPhone screen and out of focus in the background: "guerilla theater" performed by a troupe of striking Turkish Airlines workers, Gezi Park, first week of occupation. (FujiX100)

iPhone as surrogate telephoto lens. In focus on the iPhone screen and out of focus in the background: “guerilla theater” performed by a troupe of striking Turkish Airlines workers, Gezi Park, first week of occupation. (FujiX100.)  Click on photo for larger image.

Marchers carrying the banner of a folkloric dance association, Istiklal Cadessi (Avenue), Istanbul, , 1 June 2013,  The hundreds of thousands of other marchers that passed through Istiklal that day ranged from trade unionists to nationalists, to fringe leftists, to lesbians and gays, and to just ordinary people. Marching phalanxes from Istanbul's football (soccer) fan clubs added a tough working-class edge. (Fuji X100)

Marchers carrying the banner of a folkloric dance association, Istiklal Cadessi (Avenue), Istanbul, , 1 June 2013, The hundreds of thousands of other marchers that passed through Istiklal that day ranged from trade unionists to nationalists, to fringe leftists, to lesbians and gays, and to just ordinary people. Marching phalanxes from Istanbul’s football (soccer) fan clubs added a tough working-class edge. (Fuji X100)

As of yesterday morning, I had planned to write a reflective post on the significance and of the confluence of urban issues that sparked the present protests in Istanbul.   I abandoned this idea at 9:00pm last night, when Turkey’s self-styled “Leader” — in a manner redolent of European diplomacy Anno 1938 — unilaterally broke the agreement he had reached on Friday with an umbrella organization of protestors and let the police loose on the occupation encampment in Istanbul’s Gezi Park, at the time packed with a Saturday night crowd of visitors and well-wishers.

A police riot ensued.  I watched scores of protestors and bystanders overcome and burned by tear gas being hand-carried by their fellows to a nearby hospital.  In a side street, I stood with the front-line of peaceful, albeit very vocal, demonstrators as the police, without provocation, sprayed them with jets of chemically tainted water and fired tear gas into their midst as they retreated.  Last week, an acquaintance told me that when the police come to clear the Gezi he and his friends would stop them with “smiles and hugs.”  Sadly, neither worked well against police batons and chemical weapons.

So, instead of focusing on  urban issues, the next several posts to this site will comprise a photographic tribute to the millions of Turkish citizens who peacefully demonstrated and occupied parks and streets these past weeks.  Despite stereotypes presented in the Turkish and Western press, these were demonstrations and not “riots” (the only rioters I saw were the police themselves).  Also, not all demonstrators were young or naive and not all were from the left or the privileged middle class.  And, not all protestors demonstrated or camped in Gezi Park; some simply took to their balconies in residential neighborhoods across the city, banged together pots and pans and shouted: “Tencere, Tava, Tayyip Istifa” (Pot, Pan, Tayyip resign.)

A word on the approach behind the photos in this and the next subsequent entries:

Photojournalists tend to work with extreme telephoto lenses to capture dramatic and “decisive” moments and isolate iconic images.  I photograph mostly up close-up and with moderate wide angle lenses.  I look for context and for ordinary, prosaic moments.  Thus, the photographs that follow attempt to portray the ordered and optimistic nature (to date!) of the present protests and show the diversity of ordinary citizens unjustly accused of looting and rioting.

The Turkish Prime Minister announced that he would never kneel before "looters/freebooters" occupying Gezi Park and the marchers demonstrating on their behalf.  This marching folklorist carries a sign liberally translated as: "Even when we dance Zeybek (a traditional dance involving crouching steps), we do not kneel!"

The Turkish Prime Minister announced that he would never kneel before “looters/freebooters” occupying Gezi Park and the marchers demonstrating on their behalf. This marching folklorist carries a sign liberally translated as: “Even when we dance Zeybek (a traditional dance involving crouching steps), we do not kneel!.” It remains to be seen who, in the end, will be the one(s) kneeling. (FujiX100)

Ivo Papasov, Sofia, Bulgaria, 1996. Nikon F2, Tri-X 800ASA.

From the Archives: Bulgarian-Turkish-Roma Clarinet Virtuoso Ivo Papasov, Sofia,1996. Nikon F2, 105mm f2.5, Tri-X 800ASA.

Over the past months, several friends and former colleagues have suggested that I resurrect one or more of my old weblogs.  I’ve chosen to begin with Bubkes.Org, in part because of its emphasis on images and in part because, as its name implies, it allows me to concentrate on the minor and the peripheral rather than on real-time events or definitive pronouncements, things beyond the ken and resources of a part-timer blogger.

As a talisman of sorts, I’ve prefaced this first entry with a photo that appeared in one of the first entries of the original Bubkes.Org: Balkan clarinet legend Ivo Papasov, as I photographed him in a Sofia night club in 1996 (more photos, taken in 1992 at a wedding in Novi Pazar, Bulgaria, follow after the break below).  A chance meeting with Papasov and his orchestra a quarter of a century ago set me off on an odyssey that, indirectly, propelled me into a trajectory of events, some of which I intend to treat in subsequent posts.

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Below, Papasov, then-sidemen Yuri Yunakov and (rear) Neshko Neshev, followed by bride, groom, and others, on the first day of a three-day-long wedding celebration, complete with attendant drama), Novi Pazar, Bulgaria, 1992.

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Smaller92NoviPazarBrideArri

SmallerNoviPazar92BrideandG

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(Photos copyright Stephen Lewis. Nikon F3, 24mm f2.8 and 105mm f2.5, Tri-X 800ASA, scans from color xeroxes of of 8″x10″ b/w prints)