Archive

Public Space

The Golden Horn from the boat dock at Kasımpaşa. In the background, the Mosque of Sultan Selim Yavuz, 2012. Fuji X100. Click on image to enlarge.

The Golden Horn from the boat dock at Kasımpaşa. In the background, the Mosque of Sultan Selim Yavuz, 2012. Fuji X100. Click on image to enlarge.

The Golden Horn: (Halıç in Turkish), a long, narrow body of water — an estuary actually — that, wedge-like, splits into two the core of the European side of the inner city of Istanbul.  In Byzantine times the Golden Horn served as a safe harbor, shielded from currents and the depredations of raiders.  In times of danger, an iron chain barrier was stretched across its entrance-way, providing security that in the end proved illusory (in the face of not being able to sail into the Golden Horn, 15th-century Ottoman conquerors simply dragged their boats up and down the surrounding hills entered the Golden Horn from its banks).

From Harbor to Relic

In Ottoman times, the Golden Horn was a gateway to docks, wharfs, entrepôts, and workshops that lined its length and to the thriving markets on the slopes above it. By the early-twentieth century, as manufacturing functions moved further afield and maritime traffic increased and ships grew in size, the harbor function of Istanbul was displaced outward, first to nearby Karaköy, then to the late-19th-century Anatolian rail-head at Heyderapaşa. Later, as Istanbul sprawled far to the east and along the shores of Sea of Marmara, the harbor function shifted even afield to new lower-density industrial zones and truck traffic transfer nodes offering proximity to highways and ample space for handling containerized freight.

From Conduit to Barrier

As its utility declined, the Golden Horn changed from a conduit to an inconvenient barrier to be traversed.  By the start of the 20th century, a floating pontoon bridge across the Golden Horn facilitated movement to and from the commercial neighborhoods of Galata and Eminönu on opposite sides of the mouth of the Golden Horn.  By the end of the century, the pontoon bridge was replaced by a fixed structure and two additional bridges had been built, one for local automotive traffic and the as part of a ring-road highway bypassing the inner city. Last year, a fourth bridge, for pedestrians and Istanbul’s growing underground metro system, joined their ranks.

Axes of Infrastructure and Subjectivity of Trajectories

Recently, I’ve been doing some longer-form writing on the subjectivity of our mappings of urban geography and on the effects that radical changes in axes of public transportation have on our trajectories, imaginings, and horizons.  As a user (as well as an observer) of public transportation, the opening of the metro bridge and the axis of underground transportation it enabled, suddenly allowed me to move in only minutes between locations that had once taken an hour or two to reach.  Now, I can visit in a single morning or afternoon I can visit parts of the city that I previously had to schedule for separate days.  Better yet, I can now jump back and forth between disparate worlds.  The new metro line  transcends social disparities and well as space. Stylish Nişantaşı and working class Fatih, physically at opposite ends of the city, geographically and in terms of worldview are now neighbors time-wise.  The Istanbul of traditional religious faith and economic activity is now of a piece with modern, secular, high-tech and high-income Istanbul.  Rapid public transport across Golden Horn creates a breach an aquatic and cultural “Berlin Wall”  I look forward to observing the outcomes.

The Golden Horn from Eminönü, 2012. In the background, the start of construction of the Halıç Metro Bridge. Fuji X100. Click on image to enlarge.

The Golden Horn from Eminönü, 2012. In the background, the start of construction of the Halıç Metro Bridge. Fuji X100. Click on image to enlarge.

Photographic Postscript

Framing…

These last  days, while commuting back and forth between the Asian and European halves of Istanbul — a city of broad waterways, vistas, and dramatic light reflected on strong currents — I’ve come to long for the telephoto lenses I’ve usually eschewed. For years, “normal” or near-“normal” focal-length lenses — 80mm on 6×6, 135 on 6×9, 35 and 50mm equivalent on APS — have been the longest that I’ve used.  None of these lenses enable me to transcend distance, compress perspective, or pluck far-away subjects from their surroundings.  My “work-around” has been to frame faraway subjects within the contours of serendipitously present foreground objects.  Not the best solution, perhaps, but one that can result in unusual  compositions and juxtapositions as well a consistency in “language” of perspective and field of view.

Earlier this week, an acquaintance of many decades, Doc Searls, posted a nice weblog post featuring images and quotes from my recent entries on Bubkes.Org.  In his commentary, Doc suggested that horizontality is the defining characteristic of human perception and, with this, of photography as well.  I disagree … I’m a partisan of the vertical.

To continue reading (about squares, oblongs, verticals, men, and pumpkins) click here or on the “Read More” button below

Read More

Kamen Bryag, Bulgarian Black Sea coast, 2014. Fuji X100 with +1.4 tele-adapter. Click on image to enlarge.

Kamen Bryag, Bulgarian Black Sea coast, 2014. Fuji X100 with +1.4 tele-adapter. Click on image to enlarge.

A road left unpaved in a village in the process of gentrification …

The photo above is one of a several I took last month to supplement a series I shot a decade or so ago in 6x9cm format on black/white negative film using a tripod-mounted technical camera. The subject of the original series: Village roads receding into the horizon on a seaside plateau. The series was shot using small aperture settings so as to achieve maximum depth of focus.  The supplemental photos taken this summer were taken with my Fuji X100 fitted with the recently released +1.4x “50mm equivalent” tele-adapter. I took them at an aperture of f5.6, thereby throwing  roads sufficiently out of focus to achieve abstraction but maintaining sufficient focus to keep road, vegetation, and farm houses recognizable.  I was pleased with the combination of sharpness and soft-focus the X100 plus adapter was able to achieve.  Over the next months I hope to scan, post, and print several of the original black/white images.

Roadside bench, village of Kamen Bryag, Bulgarian Black Sea Coast, 2014. Fuji X100 with +1.4 tele adapter. Click on image to enlarge.

Roadside bench, village of Kamen Bryag, Bulgarian Black Sea Coast, 2014. Fuji X100 with +1.4 tele adapter. Click on image to enlarge.

Decades ago, when the village of Kamen Bryag was still an agricultural settlement, homes looked outwards and, in the hours before twilight, villagers sat on roadside benches to greet and gossip with passersby.  Today, as the old agricultural generation dies off and the vacation villas of urbanites take their place, homes look inward and their inhabitants relax and socialize in the privacy of backyards and walled compounds.

Shed and Tree, Village of Kamen Bryag, 2014. Details per photo above.

Collapsed shed and unpruned tree, Village of Kamen Bryag, 2014. Details per photo above.

Lateral view of abandoned early-20th-century mineral bath pavilion, Ovche Kupel quarter, Sofia, Bulgaria, 2014.  Canon G10 pocket camera.  Click on image to enlarge.

Lateral view of an abandoned early-20th-century mineral bath pavilion, Ovcha Kupel quarter, Sofia, Bulgaria, 2014. Canon G10 pocket camera. Click on image to enlarge.

Ovcha Kupel, a suburb at the very edge of Sofia, Bulgaria.  For centuries, natural mineral water springs made Ovcha Kupel an ideal place for the washing of sheep prior to shearing — and thus its name in Bulgarian.  It the late-19th and early-20th centuries, as Bulgarian’s self-consciously attempted to adopt a central-European rather than “oriental” identity, Ovcha Kupel became a spa location and later, as until today, a center for rehabilitation medicine.  The old spa pavilion at Ovcha Kupel is derelict and crumbling, an irony as Sofia attempts to market itself as a “European Capital of Culture.”  But — and please don’t spread the word too far! — one of “my” places in Sofia is a walled-in plazh (“beach”) adjacent to Ovcha Kupel’s rehabilitation hospital.  Behind the wall of the plazh: mineral water showers (five plastic spigots actually), a mineral-water-filled pool big enough for a score of people to paddle and wade in, a “beach” of raked sand somewhat admixed with sin-bleached cigarette-butts and paper scraps, and a shaded lunch counter offering quite passable salads and delightfully cold beer.  New York’s Hamptons, the French and Turkish rivieras, and the island archipelagos of Greece are fine for those who can afford them.  For now, I settle for Ovcha Kupel.

Photographic Footnote

The photo above was taken with a Canon G10, a camera that I’ve relegated to the shelf but still occasionally blow the dust off of and take for a walk.  I still like the color palette that RAW files from the G10 renders but the poor dynamic range of the camera’s tiny sensor cameras can be seen in the blown-out sunlit areas at the right of the photo, which I’ve either enhanced or compromised further through a couple of quick attempts at remedial adjustment in Lightroom.

Musician playing tambur, Istiklal Caddesi, Istanbul, 2012. Fuji X100. Click on image to enlarge.

Musician playing tambur, Istiklal Caddesi, Istanbul, 2012. Fuji X100. Click on image to enlarge.

Istiklal Caddesi, Istanbul. An  iconic urban promenade through which millions of pedestrians pass each week.  Street musicians huddle along its edges, polished and amateur, youthful and worn.  The music of some causes passersby to break stride, that of others attracts small crowds and elicits donations of coins and even banknotes.

Who are the musicians?  The business card of the man portrayed in the photo below contained but a phone number and a single word: Kemanci, player of the Keman — a statement of identity and essence clearer and more revealing than any given or family name.

Two Photographic Moods

The photo above is a literal rendering, with strong blacks and whites.  The photo below emphasizes grays and was shaped using the digital equivalents of what in the days of physical darkrooms was called dodging and burning, the channeling and blocking of light between negative and paper.  Black/white digital processing is both a blessing and a curse: the absence of the physical properties of film and paper and of the effects of chemical processing, broadens possibilities but also eliminates worthy constraints and renders mute a valuable language of expression.

Keman player, istiklal Caddesi, Istanbul, 2012. Fuji X100. Click on image to enlarge.

Keman player, istiklal Caddesi, Istanbul, 2012. Fuji X100. Click on image to enlarge.

Street Vendor, Vicinity of Egyptian Spice Market, Eminönü, Istanbul; +/-2000; Rolleiflex Xenotar ƒ2.8, black/white negative. Click on image to enlarge.

Street Vendor, Vicinity of Egyptian Spice Market, Eminönü, Istanbul; +/-2000; Rolleiflex Xenotar ƒ2.8, black/white negative. Click on image to enlarge.

In a late-day moment of exuberance — or might it have been desperation? — a teen-aged street vendor of shmattes (forgive me the Yiddish-ism) suddenly punctuates his sales shpiel by tossing part of his stock of clothing into the air.  I caught the moment while working with a manually focusing twin-lens Rolleiflex and a handheld light meter — no mean feat if I might say so myself.

I took the photo almost 15 years ago.  Where is the the street vendor today?  I have no idea, although another generation of vendors still line the narrow street running behind the Misr Çarş (Egyptian Spice Market) in Eminönü, Istanbul.  I do know, however, where his photo can be seen: Large  prints thereof hang on the walls of (my only two!) “collectors” (close friends, actually) in Istanbul, one, in Çukurcuma,  a talented emerging cinematographer, and the other, in Kuzguncuk, a corporate executive with an uncanny eye for photographic composition and emotionality.  Both of these friends also share a visceral feeling for the pressures, uncertainties, and seeming absurdities of commerce at the street level.  Both also know that — in our age of urban gentrification, rising income disparities, and hegemony of “big-box” retailing — the roles and presences of urban street vendors and the people they serve are being made increasingly marginal and becoming fated to near or full extinction.

Late-19th-century "çarșı"-style row house, Pirotska St., Sofia, Bulgaria, 2014. (Fuji x100). Click on image to enlarge.

Late-19th-century “çarșı”-style row house, Pirotska St., Sofia, Bulgaria, 2014. Note the neo-classical decorative elements and prim domesticity of the curtained windows on the second story and the presence of an Apteka (pharmacy) on the ground floor. (Fuji x100). Click on image to enlarge.

After the founding of an independent Bulgarian kingdom in the aftermath the Russo-Turkish War of the 1870s, the city of Sofia was chosen as the capital of the new nation-state.  The choice of Sofia comprises a tale unto itself.  True to the nation-state model, from day-one newly independent Bulgaria was giddy with dreams of expansion, northward, westward, and southward (to the east, expansion was blocked by the waters the Black Sea).  Sofia, located near Bulgaria’s western border, would be at the country’s epicenter if Bulgaria would succeed in realizing its revanchist “manifest destiny” by expanding westward to the Lake Ohrid and annexing all of Macedonia.

At the time, Sofia had not fully recovered from a heavy earthquake and ensuing epidemics during the first quarter of the nineteenth century.  The city boasted the palatial residence of the former Ottoman governor — soon to be re-purposed as the palace of a monarch recruited from a family of minor German “nobility”– and a main thoroughfare paved with ocher-colored bricks imported from abroad.  For the rest, however, Sofia’s streets were warrens of winding lanes centered around Friday mosques, neighborhood mesjids for daily prayer, churches, wells and fountains.

The first step in creating a self-styled European capital was to sweep away the old Ottoman neighborhood structure and cut a street plan in the western model.  The adopted plan combined a rectilinear street grid with a circular ring road and curving boulevards ala Hausmann’s plan for Paris.  The next step was true to the model of mono-ethnic nation state that Bulgaria was striving to become: “ethnic cleansing.  Gypsies and Jews, the latter comprising a full one-third of Sofia’s population of 10,000 at the time, were forcibly expelled from the city center; Jews to the newly cut parallel streets of  Üç Bunar (“Three Wells)” to the west of downtown Sofia, and Gypsies further outward to the far bank of the Vladaya river, one of several seasonally flooding streams that together formed a moat surrounding the city.

Amongst the new grid of streets cut from Sofia’s main north-south boulevard through the old Ottoman quarter of Sungur and out to Üç Bunar was Pirot, today Pirotska.  The downtown end of Pirotska eventually was lined with European-style apartment houses.  At the Üç Bunar end of Pirotska an older form of architecture still dominates: Two-to-three-story row-houses built in çarʂı (Turkish for “arcade” and “market”) style, with commercial space for shops and craftsmen’s ateliers on the ground floors and family dwellings on the floor(s) above.  Such çarʂı dwellings contributed to the re-shaping of Sofia by spatially integrating the functions of residential streets and  market quarters.  By doing so, they contributed to a culture of urban street life and the emergence of an urban middle- and lower-middle-class and paths to class mobility, both essential elements of democratic nation-building, an imperfect process in Bulgaria to this very day.

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.