Figure 1.--We are not sure who the individuals here were, but we do know that the photographer was Armenian, B. Markarian in Choumla a town lcated in northeastern Bulgarian. We notice Armenians oplaying a major role in setting up photograohic studios throughout the Ottoman Empire as the various countries formed out of he Empire. This cabinet card is undates, but would have been taken in the early-1900s.

We note Armenian photographers theroughout the Balkans and Middle East. This is partly because there were Armenian communities within the Ottoman Empite. The Armenian heartland was northeast Anatolia and te southern Caucauses. But those living in the Ottoman Empire were Ottombn subjects and could move freely wihin the Empire. This is oart of the reason you also see Greek and Jewish communities thrughout the Empire. What we do not fully understand is why so many Armenian photograophic studios were established. The Greek achieved independence early (1820s) and thus had contact with the West at the time photography was invented. We are less sure why the Armenians were especially competent with photography. Perhaps there were Western contacts trough the Christiabn Church or contacts with Armenians in Tsarist Russia. Two of the best know Armenian photographers are Pascal Sebah and Abdullah Frères. Both operated studios, but also took genre photographs. And for whatever reason we see mny Armenian photographic studios througout the Ottoman Empire and in countries that were formed from the Ottoman Empire. Photographic studios were especially numerous in Constantinople and the major studios were located ghere, but we aee Armenisn studios throughout the Empire. And they were seving the wider communitiy in the cities they set up shop, not just the Armenian community.

Created: 9:19 AM 12/10/2018
Last updated: 9:19 AM 12/10/2018