Could you please talk a bit about yourself to allow us to know you better?
I am from Muğla, have two sons and two granddaughters. I graduated from Istanbul University Dentistry Faculty in 1967. I have worked non-stop since that date until 2014 December.
http://https://istandist.com/tr/sokagin-adi-fotograf/
How did you decide to become a photographer while your actual profession was dentistry? While you were taking this path; did any one from your circle or family object or were there any moments when your mind was confused?
I had to work to stand strong, bring up two sons, I worked non-stop until 2014 December when I closed my clinic. When I opened my clinic in 1970 and set-up a dark room to develop dental x-rays I prized myself with 2 photograph dark rooms. Since that day to today I have been living photography non-stop in parallel with profession. Did I not have problems with my family, my circle; leave the rest aside with myself? Of course I did. I solved these problems, whichcame up, good or bad andarrived to today without any losses. Don’t forget, as I wrote two novels on top of these I am not regarded as unsuccessful right?
Why do you think photography is art?
We searched for the reply (naively) to this question mostly in the 80’s. I remember that everywhere was smoked in dust. No matter what people say masses/art fans, meaning society makes the final decision. They own up to it and make it live, if they accept, everything stops. Otherwise why should we bother with postmodern trouble, why should we not mock with its existence? We shall disregard the artistic dimension of photography used purely by, from the most ignorant individual to the most refined, the most ordinary to highest level of profession, the most ignorant country to the most developed, briefly “everyone”, every institution, organization and where they communicatetheir problems, refer to prove their existence, is that it?Don’t make me laugh…
Is there a philosophical background to taking photos, if there is what is it in a nutshell? Meaning while you take photographs is there another dimension which makes you contemplate besides the artistic dimension that you wish those looking at the photos think about?
This is a question that we should reply without mixing apples with pears. If we elaborate; lets assume that apple is the rules and theories of that branch of art adopted by the society. And pear is the attitude, shape and desires adopted the individual who has committed to that branch of art. These two approaches are free outside “ main theme”. Let’s elaborate. Photograph hastravelled to today by experiencing “black and white, analogue and digital” adventures. All works produced in light of these are photographs and there are works among them that carry “ artistic concerns”. Let’s call this kind of explanation apple. If we come to pear everything changes. Because pear only and only defines “personal approaches”. Meaning; the individual defines “black and white photograph” as “ art of photography” and ignores the rest or nature photo is important for him/her, or it is “street photography” (worthless), it doesn’t make a difference. “Art was individual creativity”, whoever is up to it does whatever he/she wants, no one can interfere, and anyway the producing individual doesn’t let anyone interfere with his/her job. Buttt… (Particularly as with us) if these values are mixed up and generalizationsare arrived at everything sinks in dirt. If we give an example; when you say“ art of photography is black and white, none of the remaining works have artistic value” it means that you are putting an embargo on the art of photography with your individual ego and ignorance and this is not an acceptable approach at all. Is it clear?
It is obvious that every photographer has a style. What make your photographs Nevzat Çakır photos?
Well you are including pears with this question. Nevzat Çakır ispeople, life: putting it shortly, street photographer. For him nature exists with people otherwise itis a lonely, incomplete, sad planet away from functionality. It is all people that make it exist, carry it up to the sky and build it. How can we ignore this dialectic as a human? If we summarize; “ PHOTOGRAPH IS THE NAME OF THE STREET”.
Surely you have had photographs, which affected you deeply with its underlying story. Could you share with us some of them?
Sure… But this is not the place to tell it. This question may be replied only when I look at my photos with you in joy, when we are in front of one of my photos in the exhibition or as a result of the emotional connotations arising from flipping through the pages of the album consisting of my personal photos.
Some poets, musicians devote their works to Istanbul,tells Istanbul. You are also a lover of Istanbul if we ask you to tell Istanbul through your eyes.
Yes I am a pure Istanbul fan. If we set the past aside I have been walking Istanbul since 1980 street by street in lights. Despite many beauties lost day-by-daywith sly, shameless and irresponsible attacks, it is still beautiful and mysterious. But so is my country, I can say without hesitation that every part of it that I go, I photograph with the same joy and pleasure that I take in Istanbul.
You have quite creative works on angles and colors. What do your eyes seek when you build your compositions?
Photograph is the product of a contemporary industry. Its existence lies on scientific and technological fundamentals. Hence first we shall learn to take correct photographs by respecting this. Furthermore, you shall have a good grasp of stacking, meaning “composition” rules and cement them with your experiences. Then you shall love something. It may be people, nature, documents, does not matter as longs as you love that thing and you remain loyal to it and declare your love. Leave the rest to yourself and enjoy taking photographs frequently and regularly. Filling your memory without ignoring your cultural knowledge shall sort out everything.
In time as you gained experience what changed regarding your view of light, people and the impact of photographs onpeople?
I liken life to a street with an example I use when I talk about the phases that a photograph goes through untilit istransformed from the line of curiosity to “ FORM OF LIFE”. I set loose to the street the curious who got his first camera and inserted the first film inside, “ there is no need for those who take digital pictures to do this”. The individual shall first photograph randomly everything s/he sees with great hunger. Then he/she shall approach matters, people, light and shadows more consciously during the following entrances to the street. Briefly, the individual shall identify his/her entrances again and again to the street with the development he/she nurtured. Moreover as his/her technique, culture grows s/he shall need other things. As long as s/he carriesout these, completes the missing bits, these achievements shall provide his/hercourage, strength and energy in his/her next entry into the street. So here is an endless development example to you. In other words: “ Doesn’t the individual live his/her infinity in this narrow street called life”?
Istanbul is a metropolis where the contradiction of the palace and the plaza live together, does this contradiction nourish you?
If I say it attracts my attention I would be lying. It takes my attention from time to time. However I cannot yet perform long-running works. Meaning my lane is different, what is the meaning of persisting?
When we investigate, your name is written with prizes everywhere. There should be a difference that sets you apart from others. What do you think this difference could be?
Let’s start the wording by underlining that contests are not the purpose but the means. While talking about the existence of a branch of art in a country, you have to look at the existence of three significant structures. One: is there an artist who produces that branch of art? Yes there is. Two; are there art fans who consume that branch of art? Yes, to some extent. Three; well, are there organizations and institutions that support that branch of art? Here is where the problem comes up. With one word, there is NONE. Then there is a hard task ahead for this branch of art. We have experienced this in photography for years and we are still experiencing it. The only areas where we voice ourselves physically and morally are the contests. I also did this between 1983-1987. All my prizes and wins occurred during that time frame. Otherwise what could I have written in biography as some one who has pursued the artistic dimension of photography in this country?
Besides taking photographs you also wrote novels, could you briefly talk to us about your books?
I wrote two novels. “ THREE SNOW GODDESSES” and “ PATIENCE DILEMMA”. Both were published by “Eksik Parça” Publishing House. It gives me endless pleasure to chat with people who read these novels, which have been created with the impulse of reality raised by the fact that I am from Muğla and the difference of living simultaneously the city I was born in, and the metropolisIstanbul, created by such contradictions and cemented with the emotion of responsibility.
