130. Today in 1920s Turkey: 1 January 1925 (Photography and Opportunistic Pursuits)

(Cartoon by Ramiz, Akbaba or “Vulture/White-Bearded Old Man,” 1 January 1925, no. 217, page 3.)

Comments
Many of us are all too familiar with the trope of the selfie-taking person publicly falling victim to their own carelessness (justifiably fueled by an acute proclivity for narcissism). This rich genre of foolish behavior is not a contemporary flaw of human behavior but one that predates the twenty-first century (and many other centuries, for that matter). Photography had existed in Ottoman Turkey since the late nineteenth century and quickly became a familiar staple of urban life by the twentieth century. In fact, the 1920s witnessed a boom in photography when the new Republican government began requiring photographs on all personal identifications in 1923 (see post #53.). In response to the growing demand for pictures more photography studios cropped up over the course of the decade. In modern, cosmopolitan cities like Istanbul photographers even took to the streets to provide (relatively) quick alternatives to studio pictures while also catering to a growing tourist industry with a thirst for personalized picturesque street souvenirs.

Noting the increase in “street photography” in Istanbul our artist, Ramiz, presents a scenario in which carelessness and self-centeredness intersect and provide a humorous contrast of “visions.” The cartoon includes three men: a pickpocket (right), a poser/customer (center), and a photographer (left). Although the camera and photographer are focused on the customer and the customer is focused on himself there is still nobody capable of baring witness to the crime happening in plain sight. In a sense, the composition illustrates the common notion that magic is nothing more than a slight of hand. At the core of a magic trick is a visual distraction and such distractions are usually necessary for crimes to go unnoticed. And yet it is not the criminal who is creating the distraction of sight that will enable him to successfully fish for his “catch.” Rather, it is the magic of the camera, the allure of the technology, the promise of the “personalized” return that is blinding the eyes of those engaged in the photographic trade.

English:
Its Craftsmen on the Corner
Photographer: Don’t move, it is taking!

Türkçe:
Köşebaşı Sanatkarları
Fotoğrafçı: Kımıldamayınız, çekiliyor!..

(Entire page, Akbaba or “Vulture/White-Bearded Old Man,” 1 January 1925, no. 217, page 3.)