ara guler MATBAAYA 6.12.2010

Usul Gere¤i
About method
Bu kitap, foto muhabiri Ara Güler’in, 21-26 May›s 1952 tarihlerinde, Ermenice Jamanak gazetesinde yay›mlanan “Kumkapui
hay tz›gnorsnerun hed’ (Kumkap› Ermeni Bal›kç›lar›yla Birlikte)
bafll›kl› yaz› dizisinin üç dilli olarak yeniden bas›m›d›r.
This book is a reprint in three languages of photojournalist
Ara Guler’s newspaper serial entitled “Armenian Fishermen at
Kumkapi”. The series appeared from May 21 to 26, 1952, in
Armenian Jamanak newspaper.
Gazetede alt› gün tefrika edilen bu yaz› dizisinde on iki foto¤raf
kullan›lm›flt›. Bu kitapta ise, daha bütünlüklü bir tan›kl›¤›
yans›tabilmek amac›yla, gazetede bas›lanlar›n yan› s›ra, Güler’in
arflivinden al›nan toplam 56 foto¤rafa yer verildi. Bu görsel
malzeme, Kumkap›’n›n ve ‹stanbul’un çehresinin son elli y›lda
büyük bir h›zla de¤iflmesi nedeniyle art›k son bulmufl bir yaflant›y›
bugüne tafl›yor.
Twelve photos were used in this newspaper serial over six days.
Here in this book, in addition to those twelve pictures, 56 photos
provided from Guler’s archives were also included for the purpose
of reflecting the testament in its entirety. The visual materials
reveal the lifestyle that has so recently disappeared due to the
huge and rapid changes to the features of Istanbul and Kumkapi,
and transport these traces of the past fifty years to the present
time.
Türkçe ve ‹ngilizce çeviriler do¤rudan Ermenice metinden yap›ld›.
Özgün metinde geçen Türkçe kelimeler, çeviride italik dizildi.
Yay›nc›n›n notu
Turkish and English texts have been translated from the Armenian
text. Turkish words in the original text have been indicated
in italics in the translated versions.
Publisher’s note
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чٶÑÄLJÙî ûÄ® †ú™‡Í™àé
ARMENIAN FISHERMEN AT KUMKAPI
KUMKAPI ERMEN‹ BALIKÇILARI
1952
A r a s
Y a y › n c › l › k
‹stiklal Caddesi, H›divyal Palas 231/Z
34430 Tünel, Beyo¤lu-‹stanbul
Tel: (0212) 252 65 18 - 243 06 02
Fax: (0212) 252 65 19
[email protected]
www.arasyayincilik.com
––––––––––––––––––––
ARAS - ÄÄÍ 119
––––––––––––––––––––
Kumkap› Ermeni Bal›kç›lar›
Armenian Fishermen at Kumkap›
Ñ·ıßÖÅÉ·ıï üÅ© °ù´·ÒδâÒè
ARA GÜLER / ÄÄ® úîÙñå
Türkçe çeviri / Turkish translation / êÒ˘âÒç´ï ëÅÒÖßÅ´·ıëïı´
Payline Tomasyan / ˆÅ©óï´ç ê·ÌßÅÎâÅ´
‹ngilizce çeviri / English translation / Ä´ÖóâÒç´ï ëÅÒÖßÅ´·ıëïı´
Sonia Derman Harlan / Í˚´ïÅ ÓçÒßÅ´ ûÅÒóÅ´
‹ngilizce redaksiyon / English proofreading / Ä´ÖóâÒç´ï ÎÒÉÅÖÒ·ıëïı´
Carol LaMotte / ¯çÒèó ñŶ˚ë
Kapak Tasar›m› / Cover Design / ú·£˘ï ÂÅÔÒÅÎÔ·ıëïı´
Aret G›c›r / ÄÒçÔ úè•èÒ
Grafik Uygulama / Graphic Assistant / åÁÅáÒ·ıëïı´
Ararat fiekeryan / ÄÒÅÒÅÔ ¨ç˘çÒâÅ´
© 2010, Aras Yay›nc›l›k / ÄÒÅÎ ûÒÅÔÅÒÅù„·ıëïı´
© 2010, Ara Güler / ÄÒÅ© úïıóçÒ
ISBN 978-605-5753-19-1
Bask› / Printing / ÓÂÅÖÒ·ıëïı´
Mas Matbaac›l›k
So¤uksu Caddesi no 3 Hamidiye - K⤛thane ‹stanbul
Tel: (0212) 294 10 00
‹stanbul / îÎëŴ·ıó
Aral›k/December/ÜâùÔâßÉâÒ 2010
ARA GÜLER
ÄÄ® úîÙñå
чٶÑÄLJÙî ûÄ® †ú™‡Í™àé
ARMENIAN FISHERMEN AT KUMKAPI
KUMKAPI ERMEN‹ BALIKÇILARI
1952
ARA GÜLER
1928’de ‹stanbul’da do¤du. Türkiye’de yarat›c›
foto¤rafç›l›¤›n uluslararas› alanda ün kazanm›fl en önemli
temsilcisidir. 1951’de Getronagan Lisesi’nden mezun
oldu. Gazetecilik yaflam›na 1950’de Yeni ‹stanbul
gazetesinde bafllad›. Bu y›llarda Ermenice gazete ve edebiyat dergilerinde öyküleri yay›mland›. 1956’da Time-Life,
1958’de Paris-Match ve Stern dergilerinin yak›ndo¤u foto
muhabirli¤ini üstlendi. Ayn› dönemde Magnum Ajans›’na
kat›ld›. 1961’de ‹ngiltere’de yay›mlanan British Journal of
Photography Year Book, onu dünyan›n en iyi yedi
foto¤rafç›s›ndan biri olarak tan›mlad›. 1962’de
Almanya’da ‘Master of Leica’ unvan›n› kazand›. Dünyan›n
dört bir yan›nda yüzlerce sergi açt›. Bertrand Russell’dan
Winston Churchill’e, Arnold Toynbee’den Picasso’ya,
Salvador Dali’ye kadar birçok ünlü kiflinin foto¤raf›n›
çekti, onlarla röportajlar yapt›. Foto¤raflar›n›n büyük bir
bölümü Paris’te Ulusal Kitapl›k’ta, ABD’de Nebraska
Üniversitesi Sheldon Koleksiyonu’nda, ayr›ca Boston,
Chicago ve New York’ta özel koleksiyonlarda bulunmaktad›r. Ayr›ca Almanya’da, Köln’de Ludwig Museum’da ve
Das imaginärische Photo-Museum’da foto¤raflar›
sergilenmektedir. 2006’da yay›mlanmaya bafllayan ‹z
dergisinin yay›n yönetmenli¤ini yap›yor.
- Türkiye Gazeteciler Cemiyeti, meslekte 50 y›l›n› dolduran gazetecilere verilen Burhan Felek Bas›n Hizmet
Ödülü, 1999
- 70. yafl günü nedeniyle Ermeni Patrikhanesi taraf›ndan
verilen Liyakat Niflan›, 2000
- ‘Yüzy›l›n Foto¤rafç›s›’ unvan›, 2000 ‹stanbul
- Frans›z Hükümeti taraf›ndan ‹stanbul’daki Frans›z
Saray›’nda ‘Légion d’Honneur; Officier des art et des
lettres’ unvan›, 2000
- Y›ld›z Üniversitesi Fahri Doktora unvan›, 2004
- Cumhurbaflkanl›¤› Kültür Sanat Büyük Ödülü, 2005
- Kültür ve Turizm Bakanl›¤› Kültür Sanat Hizmet Ödülü,
2008
- Paris Belediyesi Vermeil Madalyas›, 2009
- TBMM Üstün Hizmet Ödülü, 2010
Bafll›ca Kitaplar›
Foto¤raflar (Karacan, 1980, ‹stanbul); Ara Güler’in
Sinemac›lar› (Hil, 1989, ‹stanbul); Sinan, Architect of
Soliman the Magnificient (Arthaud, 1992, Paris; Thames
and Hudson, 1992, Londra ve New York); Living in Turkey
(Albin Michel, 1993, Paris; Thames and Hudson, 1993,
Londra ve New York; Archipelago Press, 1993, Singapur);
Eski ‹stanbul An›lar› (Dünya, 1994, ‹stanbul); Bir Devir
Böyle Geçti, Kalanlara Selam Olsun (Ana, 1994, ‹stanbul).
Yitirilmifl Renkler (Dünya, 1995, ‹stanbul); Yüzlerinde
Yeryüzü (Ana, 1995, ‹stanbul); Babilden Sonra
Yaflayaca¤›z (K›sa hikâyeler, Aras, 1996, ‹stanbul); Ara
Güler’e Sayg› (YGS, 1998, ‹stanbul, Hamburg); ‹stanbul
des Djinns (Fata Morgana, 2001, Montpellier, Fransa);
Yeryüzünde Yedi ‹z (Yap› Kredi, 2002, ‹stanbul); 100 Yüz
(Yap› Kredi, 2003, ‹stanbul); Retrospektif – 50 Y›l
Fotojurnalizm (YGS, 2004, ‹stanbul, Bremen); Ara Güler
(Antartist, 2005, ‹stanbul); Ara’dan Yetmiflyedi Y›l Geçti Best of Ara Güler(Fotografevi, 2005, ‹stanbul); Beyaz
Güvercinli Adam (Fotografevi, 2007, ‹stanbul); Ara Güler
(Hachette, 2007, Paris), Afrodisyas Ç›¤l›¤› (Yap› Kredi,
2008, ‹stanbul)
Bafll›ca Ödülleri
- British Journal of Photography Year Book taraf›ndan
‘Yedi Y›ld›z Foto¤rafç›’dan biri seçildi, 1961 ‹ngiltere
- Leica Firmas› taraf›ndan dünyada sadece 38 kifliye
verilen ‘Master of Leica’ unvan›, 1962 Almanya
- Gazeteciler Cemiyeti Ödülü, 1979
- Baflbakanl›k Bas›n Yay›n ve Enformasyon Genel
Müdürlü¤ü taraf›ndan “Türkiye’nin Yurtd›fl› Tan›t›m›na
Katk›lar›ndan” dolay›, Cumhurbaflkan› Turgut Özal
taraf›ndan verilen fieref Ödülü, 1991
- Baflar›l› ‹letiflimciler Ödülü, 1995
- ‹FSAK Y›l›n Foto¤rafç›s› Ödülü, 1995
- Ayd›n Do¤an Vakf› Görsel Sanatlar Büyük Ödülü, 1999
7
ARA GÜLER
- Photographer of the Year Award from ‹FSAK, 1995
- Grand Prize for Visual Arts by the Ayd›n Do¤an
Foundation, 1999
- Burhan Felek Services to the Media Award, presented
to journalists after 50 years in the profession by the
Turkish Association of Journalists, 1999
- The Order of Merit by the Armenian Patriarchate to
mark his 70th birthday, 2000 Istanbul
- Named Photographer of the Century in Turkey, 2000
- Légion d’Honneur medal and title of Officier des Arts et
des Lettres by the French Government in the Palais de
France, 2002
- Honorary doctorate from Y›ld›z University, 2004
- Presidencyof the Republic Of Turkey Grand Award for
Culture and Art, 2005
- Vermeil Medal by the Municipality of Paris, 2009
- Outstanding Service Award of Turkish Parliament, 2010
He was born in Istanbul in 1928. The most important living representative of creative photography in Turkey
today, he has a well-established international reputation.
In 1951 he graduated from Getronagan High School.
He began a career in journalism with the newspaper
Yeni ‹stanbul in 1950. He started to write short stories in
Armenian. He became a photojournalist for Time-Life in
1956 and for Paris Match and Stern in 1958. Around the
same time, he joined the Magnum Agency. In the British
Journal of Photography Year Book published in 1961, he
was named one of the seven best photographers in the
world. In 1962, he received the ‘Master of Leica’ award in
Germany. He has also interviewed and photographed
numerous celebrities ranging from Bertrand Russell and
Winston Churchill to Arnold Toynbee, Pablo Picasso and
Salvador Dali. Many examples of Ara Güler’s photographic work are to be found in institutions such as the French
National Library in Paris and the Sheldon Collection at
Nebraska University as well as in private collections in
Boston, Chicago and New York. His photographs are also
on display at the Ludwig Museum and at Das Imaginäre
Photo-Museum, both in Cologne. Ara Guler is the chief
editor of the ‹z magazine.
Major Publications
Foto¤raflar (Istanbul, 1980); Ara Güler’in Sinemac›lar›
(Istanbul, 1989); Sinan, Architect of Soliman the
Magnificent (Paris, 1992; London and New York, 1992);
Living in Turkey (Paris, 1993; London and New York,
1993; Singapore, 1993); Eski ‹stanbul An›lar› (Istanbul,
1994); Bir Devir Böyle Geçti, Kalanlara Selam Olsun
(Istanbul, 1994); Yitirilmifl Renkler (Istanbul, 1995);
Yüzlerinde Yeryüzü (Istanbul, 1995); Babilden Sonra
Yaflayaca¤›z (Istanbul, 1996); Tribute to Ara Güler
(Istanbul, Hamburg, 1998); Istanbul des Djinns
(Montpellier, 2001); Seven Landmarks of the World
(Istanbul, 2002); 100 Yüz (Istanbul, 2003); Retrospektif 50 Y›l Fotojurnalizm (Istanbul, 2004); Ara Güler (Istanbul:
Antartist Yay›nlar›, 2005); Ara’dan Yetmiflyedi Y›l Geçti Best of Ara Güler (Istanbul, 2005); Beyaz Güvercinli
Adam (Istanbul, 2007); Ara Güler (Paris, 2007); Call of
Aphrodisias (Istanbul, 2008)
Selected Awards
- Named one of ‘Seven Star Photographers’ in the British
Journal of Photography Year Book, 1961 Britain
- ‘MASTER OF LEICA’, a title awarded by Leica to only 38
artists in the world, 1962 Germany
- First Prize in Photojournalism by the Turkish
Association of Journalists, 1979
- Received the honorary award of the Office of the Prime
Minister, Directorate General of Press and Information
for services in promoting Turkey overseas and was presented with the award by the then President, Turgut
Özal, 1991
- Successful Communicators Award, 1995
8
ÄÄ® úîÙñå
- ñçïÖÅï ù·£ßç Å≠ôÅÒüï ßçÁ ßïÅ©´ 38 ü·Öïï
ÔÒ·ıÅõ ƶÅÎëèÒ Å˝ ñçïÖÅØ ù·„·ıßè, 1962,
ÑâÒßÅ´ïÅ
- ñÒÅÖÒ·£´âÒ·ı ¶ï·ıëâÅ´ ñ·ıÎÅ´ùÅÒ„·ıëâÅ´ ÄÈÅÁï´
ßÒÛÅ´Åù, 1979
- ÏÅÒ„ÅÂâÔÅÒÅ´ï ¶Åß·ıóï ûÒÅÔÅÒÅù„·ıëâÅ´ âı
Óâ£âùÅÔ·ı·ıëâÅ´ é´áüÅ´·ıÒ Ó´˚Òç´·ıëâÅ´ ù·£ßç
Æê·ıÒ˘ïÅ´ ÄÒÔâÒùÒï ßçÁ öÅ´˚ëÅÛ´âó·ı ïÒ
™âÒáÒ·ıß´âÒ·ı´Ø üÅßÅÒ, ¶ïÁÅãÖÅ©ï´ ¶Åß·ıóï
úâáÒ·´ï ÉÅÛßÅ´ ÅÈïë·Ì Íç˜çë„ïóçÒ ¯ÅÎÒèï ßçÁ,
ìÅßÅ´Åùï ™ÅôÅÖÅü ê·ıÒù·ıë å˚ãÅóï ù·£ßç
≠´·Òü·ıÅõ ‰ÅÔı·© ‰ÅÒÖâı, 1991
- ®ÅÁ·£Åù ®ÅÒÅÉâÒ·ıëïı´´âÒ·ı ‰ÅÒÖâı, 1995
- ‹FSAK-ï ù·£ßç ÔÒ·ıÅõ ÆÓÅÒı·©´ ñ·ıÎÅ´ùÅÒï„ï
¶ÒÛÅ´ÅùØ, 1995
- Ä©Ôè´ Ó·£Å´ ûïß´ÅÒùï´ ù·£ßç ÔÒ·ıÅõ
ÆÓâη£ÅùÅ´ ÄÒ·ıâÎÔ´âÒ·ı ÇÅÒ°Ò ‰ÅÒÖâıØ, 1999
- ê·ıÒ˘ï·© ñÒÅÖÒ·£´âÒ·ı ¶ï·ıëâÅ´, 50 ÔÅÒï´
ÅßÉ·£ÁÅÛ´·£ óÒÅÖÒ·£´âÒ·ı´ ÔÒ·ıÅõ
Ɖ·ıÒüÅ´ ¸çóç˘Ø ßÅß·ıóï õÅÈÅ©·ıëâÅ´ ßÒÛÅ´Åù,
1999
- 70ÅßâÅùï´ ÅÈïë·Ì ûÅ©·Û ‰ÅÔÒïÅÒ˘ÅÒÅ´ï´
ù·£ßç ÔÒ·ıÅõ ÄÒìÅ´Åı·Ò·ıëâÅ´ ¨˘Å´≠Å´, 2000
- ¸ÒÅ´ÎÅùÅ´ úÅÈÅÌÅÒ·ıëâÅ´ ù·£ßç îÎëŴ·ıó
¸ÒÅ´ÎÅùÅ´ ‰ÅóÅÔï´ ßçÁ ƉÅÔı·© ñâÖâ·´, ÍÂÅ©
ÄÒ·ıâÎÔïÛ âı ÑÒÅùÅ´·ıëâÅ´Ø ù·„·ıßè, 2000
- àèóÔèã ûÅßÅóÎÅÒÅ´ï ù·£ßç ‰ÅÔı·© Ü·ùÔ·Òï
ù·„·ıß, 2004
- ê·ıÒ˘ï·© ûÅ´ÒÅÂâÔ·ıëâÅ´ ™ÅôÅÖÅü·ıëâÅ´
¶≠Åù·©ëï âı ÄÒ·ıâÎÔï ÇÅÒ°Ò ‰ÅÒÖâı, 2005
- ê·ıÒ˘ï·© ûÅ´ÒÅÂâÔ·ıëâÅ´ ¶≠Åù·©ëï âı
äÉ˚ÎÅ≠ÒÁ·ıëâÅ´ ™ÅôÅÒÅÒ·ıëâÅ´, ¶≠Åù·©ëï âı
ÄÒ·ıâÎÔï öÅÈÅ©·ıëâÅ´ ¶ÒÛÅ´Åù, 2008
- ˆÅÒïãï ¯Å£Å˘ÅÂâÔÅÒÅ´ï´ ù·£ßç ÏçÒßïçó
¶çÔÅ©ó, 2009
- ê·ıÒ˘ï·© ÄãÖÅ©ï´ ¶âõ ò·ÒüÒáÅÒÅ´ ÇÅÒ°Ò
öÅÈÅ©·ıëâÅ´ ‰ÅÒÖâı, 2010
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úïıóçÒ, 2006 ë·ıÅùÅ´ï´ üÒÅÔÅÒÅù·ıëâÅ´ Îùη£ îã
üÅ´áçÎï´ ÖóôÅı·Ò ôßÉÅÖïÒï ÂÅ≠Ô˚´è ùè ÌÅÒç:
ÑóôÅı·Ò ¶ ÒÛÅ´Åù´âÒè
- Ä´ÖóïÅùÅ´ ‰Òïëï≠ §·ıÒ´èó ˚˝ ¸·ë·ùÒÅ˝ï àèÒ
‰·ı˘ï ù·£ßç Æà˚ëè ñ·ıÎÅ´ùÅÒï„ ÄÎÔ£âÒØç´ ßçùè
è´ÔÒ·ıÅõ ç 1961, Ä´ÖóïÅ
9
ÑóôÅı·Ò ÑïÒ˘âÒè
ñ·ıÎÅ´ùÅÒ´âÒ, 1980, îÎëŴ·ıó.
ÄÒÅ© úïıóçÒï ¨ÅÒìÅ´ùÅÒï„´âÒè, 1989, îÎëŴ·ıó.
Íï´Å´, Íïıóç©ßÅ´ Äüâ£ï §ÅÒÔÅÒÅÂâÔè, 1992,
ˆÅÒïã, ñ·´Ô·´ âı ™ïı à·Ò˘.
ê·ıÒ˘ï·© ¶çÁ ÄÂÒïó, 1993, ˆÅÒïã ñ·´Ô·´ âı ™ïı
à·Ò˘, Íï´ùŘ·ıÒ.
®·ı≠âÒ ûï´ îÎëŴ·ıóç´, 1994, îÎëŴ·ıó.
ÓÅδÅßâÅù ßè Ä©ÎÂçÎ Ä´ÛÅı, ‡£Á·©´
¶´ÅÛ·£´âÒ·ı´, 1994, îÎëŴ·ıó.
Ä´ÛÅõ Ñ·©´âÒ, 1995, îÎëŴ·ıó.
àÒùÒÅÖ·ı´áè Ä´·´Û ÜçߢâÒ·ı´ ÏÒÅ©, 1995,
îÎëŴ·ıó.
®ÅÒÖÅ´˘ ÄÒÅ© úïıóçÒï´, 1998, îÎëŴ·ıó,
ûÅß·ıÒù.
ÇÅÉâó·´ç´ ÏâÒÁ ‰ïÔï ÄÂÒï´˘, 1996, îÎëŴ·ıó.
‡ıÒ·ıÅùÅ´´âÒ·ı îÎëŴ·ıóè, 2001, ¶·´Âçóïç,
¸ÒÅ´ÎÅ.
àÒùÒÅÖ·ı´áï´ ÏÒÅ© à˚ëè ÜçߢâÒ, 2002, îÎëŴ·ıó.
100 Üçߢ, 2003, îÎëŴ·ıó.
®âÔÅáÅÒ° - 50 ÔÅÒï ñ·ıÎÅ´ùÅÒ„ÅùÅ´
ñÒÅÖÒ·ıëïı´, 2004, îÎëŴ·ıó, ‰Òçßç´.
ÄÒÅ© úïıóçÒ, 2005, îÎëŴ·ıó.
ÄÒÅ©ç´ à˚ëÅ´Åηı´â˚ëè ÓÅÒï Ä´ÛÅı - ÄÒÅ©
úïıóçÒï ñÅıÅÖ·©´´âÒè, 2005, îÎëŴ·ıó.
ÍÂïÔÅù Ä£Åı´ï·Ì ¶ÅÒáè, 2007, îÎëŴ·ıó.
ÄÒÅ© úïıóçÒ, 2007, ˆÅÒïã.
Ä˝Ò·ÔïÎâÅÎï §ï„è, 2008, îÎëŴ·ıó:
10
KUMKAPI ERMEN‹ BALIKÇILARI
ARMENIAN FISHERMEN AT KUMKAPI
чٶÑÄLJÙî ûÄ® †ú™‡Í™à‡Ù™ ûàÓ
KUMKAPI ERMEN‹ BALIKÇILARI
ARMENIAN FISHERMEN AT KUMKAPI
ARA GÜLER
H›zla geçen zaman insan›n haf›zas›ndan hiç unutmam sand›¤› fleyleri bile silebiliyor. ‹flte ben de tam
41 y›l önce Kumkap› bal›kç›lar›yla yapm›fl oldu¤um
fotoröportaj› neredeyse tamamen unutmuflum. Bir
süre önce arflivimde baflka fleyler ararken bu siyahbeyaz foto¤raflara rastlay›nca birden o günleri an›msay›verdim: Y›l 1952, Kumkap› hâlâ ufak bir bal›kç›
köyüdür, ‹stanbul ise sularla çevrili bir k›y› flehri.
Birkaç y›l sonra Sahil Yolu yap›l›nca bu flirin bal›kç› liman› büsbütün baflka bir biçim alacak. Ama o zaman
bunun böyle olaca¤›n› kimse bilmiyor, tahmin edemiyordu; ne bal›kç›lar, ne bal›kç› reisleri, ne Kumkap›
halk›, ne de ben...
The speed of passing time can erase things from a person’s memory that he thinks he could never forget, just
as I had almost completely forgotten the photo-report
about the Kumkap› fishermen that I did exactly 41 years
ago. Not too long ago, looking through my archives for
something else, I came across these black-and-white
photos and suddenly remembered those days.
The year was 1952, and Kumkap› was still a little fishing
village. Eight years later the construction of the coastal
highway would completely transform this pleasant little
fishing port. But at the time, no one knew or could have
guessed that this would happen: neither the fishermen,
the skippers, the people of Kumkap› nor myself…
‹flte bu siyah-beyaz foto¤raflar çoktan yitmifl olan bir
dünyan›n belki de tek tan›klar›d›r.
So there you have it, these black-and-white photos
are perhaps the only witnesses to a world that has
long since vanished.
O zamanlar›n dergi ve gazetelerinde kullan›lan teknoloji henüz renkli foto¤raf basmaya müsait de¤ildi.
чٶÑÄLJÙî ûÄ® †ú™‡Í™àé
ÄÄ® úîÙñå
ÄÒÅÖ Å´Û´·£ ìÅßÅ´Åùè, ßÅÒá·ıÎ ©ï≠·£·ıëâ´ç´
ïÒ Å´ß·ÈÅ´Åóï ´ùÅÔÅõ´âÒ´ ïÎù ùÒ´Å© Á´Áâó:
ÄüÅ âÎ Åó •ï≠á 41 ÔÅÒï´âÒ ÅÈÅÁ Ñ·ıßÖÅÉ·ıï
°ù´·ÒδâÒ·ı´ üâÔ ùÅÔÅÒÅõ ó·ıÎÅ´ùÅÒ„ÅùÅ´
üÅÒÛÅãÒ·©Ûè ÖÒâëç ÅßÉ·£Á·Ìï´ ß·ÈÛÅõ çï: ¶ïÁ·Û ßè ÅÈÅÁ, âÒÉ ÅÒôïıïÎ ßçÁ ·ıÒï≠ ÉÅ´âÒ ùè
˜´ÔÈçï, Å©Î Îâı-•âÒßÅù ó·ıÎÅ´ùÅÒ´âÒ·ı´ üÅ´áïÂâÛÅ©, ïÎù·©´ Å©á ˚ÒâÒè ßÔÅÉâÒâÛï: ÓÅÒï´`
1952, Ñ·ıßÖÅÉ·ı´ ÔÅùÅıï´ ÂãÔïù °ù´·ÒÎï Öïı£
ßè´ ç, ïÎù îÎëŴ·ıóè ÂÅÒÎÂÅÂÅÔ õ·ÌâãâÒ-
âÅ© ˘Å£Å˘ ßè: ‡ıë ÔÅÒï âÔ˘, âÒÉ ö·ÌâãâÒ˘ï
§ÅßÉÅ´ ≠ï´·ıçÒ, Å©Î ÎïÒ·ı´ °ù´·ÒÎÅùÅ´ ´ÅıÅüÅ´ÖïÎÔè É·ó·Ò·Ìï´ ÔÅÒÉâÒ ùâÒÂÅÒÅ´˘ ßè
ÂïÔï ÎÔÅ´ÅÒ: ÍÅùÅ©´ Å©´ ÅÔâ´ ·„ ßçùè ÖïÔçÒ ùÅß ùÒ´ÅÒ Ö·ı≠Åùâó, ëç Å©áÂçÎ ÂïÔï
èóóÅÒ. ·„ °ù´·ÒδâÒè, ·„ ´ÅıÅÌÅÒ´âÒè, ·„ Ñ·ıßÖÅÉ·ıï É´Åù„·ıëïı´è, ·„ Åó âÎ...
ÄüÅ Å©Î Îâı-•âÒßÅù ó·ıÎÅ´ùÅÒ´âÒè ≠ÅÔ·´Û ÌâÒÅÛÅõ Å≠ôÅÒüï ßè ëâÒâıÎ ßïÅù ÌùÅ´âÒ´ â´:
Ä©á ìÅßÅ´Åù´âÒ·ı ÅßÎÅÖïÒâÒ·ı´ âı ëâÒëâÒ·ı´
15
Ama ben yine de Kumkap› bal›kç›lar köyünün y›k›laca¤›n› duyunca oraya tekrar tekrar gidip çok say›da
renkli foto¤raf da çekmifltim. Arflivimde uzun uzun
arad›ktan sonra nihayet bu renkli foto¤raflar› da bulmay› baflard›m. Ne var ki geçen zaman›n etkisiyle
hepsi k›pk›rm›z› olmufl, bozulmufltu. Dolay›s›yla,
Kumkap› bal›kç›lar› tarihe siyah-beyaz olarak kald›.
Gecenin kör karanl›¤›nda denize ç›k›p gün a¤ar›rken
dönüyor ve avlanan bal›klar› goygoycularla paylaflt›ktan sonra kalanlar› bal›k haline götürüyorlard›.
Goygoycular gecenin içinde a¤ çevirerek ba¤›ra ça¤›ra kürek çeker, a¤a tak›lm›fl bal›klar meflalenin titrek
›fl›¤›nda par›ldayarak oynafl›r ve bütün bunlar günün
ilk saatlerinde ‹stanbul’un minareli siluetine do¤ru
ilerlerdi. ‹flte o güzelim Kumkap› bal›kç› köyünden
kala kala birkaç siyah-beyaz foto¤raf ve an›lar›mdaki
o alacakaranl›k sabahlar kald›.
‹stanbul üç ayl›k dergi, say› 7, 1993.
At that time, the technology used to produce periodicals and newspapers didn’t permit the use of color
photography. But when I heard that the Kumkap› fishermen’s village was going to be demolished, I went
there repeatedly and took numerous color photos. After a long search through my archives I finally succeeded in locating them, but as fate would have it, they
had all reddened with the passage of time and were
completely ruined. As a result, the Kumkap› fishermen are passing into history as black-and-white. The
fishermen would go out to sea in the dark of night and
return as the day was dawning, taking their remaining
catch to the fishmarket after sharing it with the goygoycus. The goygoycus would row through the dark
night, turning the nets, shouting as they rowed; the
fish caught in the nets would slide and slither, sparkling in the trembling torchlight as they moved in the
early hours of morning towards the minaret-studded
silhouette of Istanbul. And so, this is all that remains
of the lovely Kumkap› fishing village: a few black-andwhite photos and my memories of those dark hours
before dawn.
‹stanbul trimonthly, no 7, 1993.
Ö·ÒõÅõÅõ ÅÒüâÎÔÅÖïÔ·ıëïı´è ÔÅùÅıï´ Ö·ı´Åı·Ò ó·ıÎÅ´ùÅÒ´âÒ ÔÂâó·ı ©ÅÒßÅÒ „çÒ: ÇÅ©Û
âÎ áâÈ âıÎ ïßÅ´Åó·Ì ëç ÂïÔï ˘Å´á·ıçÒ °ù´·ÒδâÒ·ı Öïı£è, ùÒùï´ ·ı ùÒùï´ ÖÅÛÅõ, ·ı ÉÅãßÅëïı Ö·ı´Åı·Ò ó·ıÎÅ´ùÅÒ´âÒ Åó ÅÒ°Å´ÅÖÒÅõ
çï ü·´: ÄÒôïıïÎ ßçÁ âÒùÅÒ˚Òç´ ˜´ÔÈâóç âÔ˘,
ÌâÒÁÅÂçÎ ùÒÛÅ© ÖÔ´âó Å©á Ö·ı´Åı·Ò ó·ıÎÅ´ùÅÒ´âÒè: ÇÅ©Û âı Å©´ÂçÎ, ìÅßÅ´Åùï ÅãáâÛ·ıëâÅßÉ É·ó·Ò´ Åó ùÅÎùÅÒßïÒ â£Åõ, ˜•ÅÛÅõ
çï´: ûâÔâıÅÉÅÒ Ñ·ıßÖÅÉ·ıï °ù´·ÒδâÒè ÂÅÔß·ıëâÅ´ ßçÁ Îâı-•âÒßÅù èóóÅó·Ì ß´ÅÛï´: Ñï≠âÒ·ıÅ´ ß·ıëï´ ´ÅıÅÒùâó·Ì ÅÒ≠Åó·©Îï´ ùè
ÌâÒÅáÅÈ´Å©ï´, âı °·ıùâÒè ù·©ù·©•ï´âÒ·ı´ üâÔ
ÉÅì´âóç´ âÔ˘, ß´ÅÛÅõ´âÒè °ù´ÅÒÅ´ ùè ÔÅ-
16
´çï´: ú·©ù·©•ï´âÒè Öï≠âÒè ÛÅ´Ûè áÅÒ°´âó·Ì ·ÈÅó ùÅ´„âó·Ì ùè ëïÅÌÅÒçï´, ÛÅ´Ûï´ ùÅô·ıÅõ
°·ıùâÒè ÁÅüï´ ßÅÒßÒ·£ ó·©Îï´ ÔÅù ˜Åó˜óÅó·Ì
ùè ôóÒÔÅ©ï´, âı Å©Î É·ó·Òè, ˚Ò·ıÅ´ ÅÈÅÁï´
ìÅßâÒ·ı´, ù˛·ı££·ıçï´ áçÂï ÍÔŴ·ıóï ßï´ÅÒç´âÒ·Ì ·ıÒ·ıÅÖïõè: ÄüÅ Ñ·ıßÖÅÉ·ıï °ù´·ÒδâÒ·ı
Å©á ÎïÒ·ı´ Öïı£ç´ ß´ÅÛÅõ „ß´ÅÛÅõè ˘Å´ï ßè
Îâı-•âÒßÅù ó·ıÎÅ´ùÅÒ âı ©ï≠ÅÔÅù´âÒ·ıÎ ßçÁï
Å©á ÅÈÅı˚Ô´âÒ´ â´ ßë´≠Å£·Ì:
îÎëŴ·ıó âÈÅßÎâÅ© ÂÅÒÉâÒÅëâÒë, ëïı` 7, 1993:
ACEMDA⁄I MAHALLES‹
THE ACEMDA⁄I QUARTER
MURAT BELGE
Benim Kumkap›’ya gidip gelmeye bafllamam, altm›fllar›n ilk yar›s›na denk düfler. O tarihlerde Menderes
buralardan geçmifl, bugünkü sahil yolu (yani Kennedy
Caddesi) yap›lm›flt›. Kumkap› tren istasyonunun alt›ndaki geçitten geçince, bu caddeye ç›k›l›rd›. Onun için
Ara Güler’in hem anlatt›¤›, hem de foto¤raflad›¤›
“Acemda¤›” ad›ndaki mahalleyi ben hiç görmedim.
My visits to Kumkap› began around the first half of the
1960s. By that time Menderes had passed through
here and today’s seaside highway, Kennedy Road,
had already been constructed. You reached this
highway by going through the underground passage
beneath the Kumkap› train station, so consequently I
never got to know the neighborhood called “Acemda¤›” that Ara Güler described and photographed.
Foto¤raf sanat›n›n gerçeklikle son derece s›k› f›k› bir
iliflkisi vard›r. Zaten o nedenle Ara Güler, bu “sanat”›n dünya çap›nda ustas›, “Ben ‘sanatç›’ de¤ilim”
der durur–ama pek kimseyi inand›ramaz. Ara Güler
Acemda¤› mahallesinin gerçekli¤ini kameras›yla tesbit etmifl ve flimdi de bu gerçekli¤i bizlere sunuyor.
The art of photography has a very intimate relationship with actuality. In fact, that’s why Ara Güler, a
world-renowned master of this “art”, keeps insisting,
“I’m not an ‘artist’,” even though he’s unable to convince anyone of that. Ara Güler has captured the actuality of the Acemda¤› quarter with his camera and
presents us with its reality.
Bu röportaj› 1952’de yapm›fl, o tarihte çekmifl bu resimleri. Benim yolumun Kumkap›’ya düflmesinden on
y›l önce, bugüne göre neredeyse altm›fl y›l önce. Bu
“zaman›” mahalleden ötürü de¤il, Ara’dan ötürü vur-
He conducted this series of interviews in 1952, and
took these photos at that time. That was ten years
before I happened upon Kumkap›, nearly sixty years
ħå¶ÓÄ¢î êĢĶÄÍé
¶‡ÙÄÓ ‰åñúå
Ñ·ıßÖÅÉ·ı âÒëÅó-ÖÅó·ı ÎùÎïóÎ ùè ã·ıÖÅáïÂï
ÌÅëηı´ÅùÅ´´âÒ·ı ÅÈÅÁï´ ùçÎï´: Ä©á ˚ÒâÒ·ı´
¶ç´ÔçÒçÎè ÅÒáç´ ü·Îùç Å´ÛÅõ âı Å©Î˚Ò·ıÅ´
õ·ÌâãâÒ˘ï •ÅßÉÅ´ (Å©Îï´˘´ ¯ç´çÔï ‰·£·ÔÅ´)
≠ï´·ıÅõ çÒ: Ñ·ıßÖÅÉ·ı ≠·ÖâùÅÈ˘ï ùÅ©ÅÒÅ´ï´
ÎÔ·ÒÖâÔ´âÅ© Å´Û˘è ùè ÉÅÛ·ıçÒ Å©Î Â·£·ÔÅ©ï´
ÌÒÅ©: ûâÔâıÅÉÅÒ ÄÒÅ© úïıóçÒï´ ëçÿ ´ùÅÒÅÖÒÅõ,
âı ëç ó·ıÎÅ´ùÅÒÅõ ÆÄ•çßÔÅ£ïØ ëÅ£ÅßÅÎè âÒÉ⢠„âß ÔâÎÅõ:
ñ·ıÎÅ´ùÅÒ„ÅùÅ´ ÅÒ·ıâÎÔè „Å˜ÅãÅ´Û ß˚Ôç´
©ÅÒÅÉâÒ·ıÅõ ç ïÒÅùÅ´·ıëâÅ´ üâÔ: ÄÒáç´ Å©á
ÂÅÔ•ÅÈ·Ì Åó ÄÒÅ© úïıóçÒè` Å©Î “ÅÒ·ıâÎÔ”ï´
üÅßÅ≠ôÅÒüÅ©ï´ ßÅùÅÒáÅùï ÌÅÒÂâÔè` ÆàÎ
“ÅÒ·ıâÎÔÅÖçÔ” „âßØ ù˛èÎç ≠ÅÒ·ı´Åù, ÉÅ©Û ·„
ßçùè ùè üÅß·ãç: Ä´ ïÒ ÔâÎÅôÛïù·Ì ÅÒ°Å´ÅÖÒÅõ ç Ä•çßÔÅ£ï ëÅ£ÅßÅÎï´ ïÒÅùÅ´·ıëïı´è, âı üïßÅ Å©á ïÒÅùÅ´·ıëïı´´ ç ·Ò ßâãï ùè
´âÒùÅ©ÅÛ´ç:
Ä©Î üÅÒÛÅãÒ·©Ûè èÒÅõ ç 1952-ï´ âı ´·©´ ë·ıÅùÅ´ï´ Åó ó·ıÎÅ´ùÅÒÅõ: îß •ÅßÉÅÎ Ñ·ıßÖÅÉ·ıç´
20