{"title":"Photograph","description":"","products":[{"product_id":"tum-yonleriyle-mimari-fotograf_348928-html","title":"Architectural Photography in All Its Aspects","description":"\u003cp\u003eIn 1826, Joseph N. Niepce, who captured the first photographic image, was compelled to photograph the group of buildings visible from his home's balcony. This was because the first light-sensitive surface he created was a film too slow to detect moving objects. In the same period, other photographers who followed in his footsteps also preferred to photograph static objects like architecture due to the low sensitivity of early film. Although portrait photography became more widespread with the production of faster films in later years, architectural photography never took a back seat. The development of architectural education and the emergence of the architectural profession during the same period also facilitated the progress of architectural photography. Especially in America and England, the professional architectural photography profession developed and institutionalized, becoming a specialized field in its own right today.\u003c\/p\u003e\u003cp\u003eArchitectural photography, which holds an important place in both promotional and documentary photography, requires patient, planned, and disciplined work. In addition, the photographer undertaking architectural photography must possess sufficient technical equipment and the technical knowledge to use this equipment most appropriately. At the same time, when taking architectural photographs, the aesthetics and effects on the structure must be consciously identified and conveyed in the photograph. Therefore, architectural photography fundamentally begins with the exploration of the building's plastic elements and functions, and the examination of perspective effects. Moreover, the role of light in architectural photography should never be underestimated.\u003c\/p\u003e\u003cp\u003eThis book addresses where individuals intending to take architectural photographs should start, what auxiliary materials they should use, and how they should act in extraordinary situations.\u003c\/p\u003e\u003cp\u003eSince each topic in the book is arranged according to preparation for shooting, reading it from the first chapter will facilitate a better understanding of the book.\u003c\/p\u003e","brand":"Say Yayınları","offers":[{"title":"Default Title","offer_id":39408941727939,"sku":"9786050205022","price":675.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786050205022.jpg?v=1616017077"},{"product_id":"fotografi-elestirmek_350942-html","title":"Critiquing a Photo","description":"\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003eFifty new and engaging photographs, in both color and black and white, have been added to the second edition of this book. This excellent text offers you an easy-to-understand framework and vocabulary that will allow you to engage in critical processes, based on the fundamental activities of criticism (description, interpretation, judgment, and theorization).\u003c\/p\u003e\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003e\"One cannot help but be impressed by Barrett's conceptual framework, which he proposes to keep in mind when making critical judgments about photographs.\"\u003c\/p\u003e\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003eStudies in Art Education,\u003cbr\u003eJerome Hausman\u003c\/p\u003e\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003e\"This is a lively and engaging book that clearly reveals the social and political assumptions underlying the practice and function of criticism.\"\u003c\/p\u003e\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003eCaucus on Social Theory, NAEA News,\u003cbr\u003eSally Hagaman\u003c\/p\u003e\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003e\"This book is a treasure trove of definitions, examples, and ideas. It leads the reader into the rich world of creative thinking while exploring a variety of photographic approaches and critical voices.\"\u003c\/p\u003e\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003eFocal Point,\u003cbr\u003eAnne Canright\u003c\/p\u003e\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003e\"This is not a dry academic work; it is an attempt to explore the relationships between theory and practice in the aesthetics of criticism... Fluid, clear, a pleasure to read, whether as a foundational book on theories of criticism or as a pedagogical resource book.\"\u003c\/p\u003e\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003eJournal of Art and Design, Great Britain,\u003cbr\u003eMichael Rawding\u003c\/p\u003e","brand":"Hayalperest Kitap","offers":[{"title":"Default Title","offer_id":39408975380675,"sku":"9786056334603","price":510.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786056334603.jpg?v=1616017526"},{"product_id":"fotograf-neyi-anlatir_350507-html","title":"What Does a Photo Tell","description":"\u003cp\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eWalter Benjamin A Small History of Photography\u003c\/span\u003e\u003cbr style=\"color: rgb(0, 0, 0); font-family: Arial,Helvetica,sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eAndre Bazin The Ontology of the Photographic Image\u003c\/span\u003e\u003cbr style=\"color: rgb(0, 0, 0); font-family: Arial,Helvetica,sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eRosalind E. Kraus Re-inventing Photography\u003c\/span\u003e\u003cbr style=\"color: rgb(0, 0, 0); font-family: Arial,Helvetica,sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eBeyhan Özdemir Contemporary Art Movements and Photographs\u003c\/span\u003e\u003cbr style=\"color: rgb(0, 0, 0); font-family: Arial,Helvetica,sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eMerter Oral Photography and Social Change\u003c\/span\u003e\u003cbr style=\"color: rgb(0, 0, 0); font-family: Arial,Helvetica,sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eJean Baudrillard The Art of Disappearance\u003c\/span\u003e\u003cbr style=\"color: rgb(0, 0, 0); font-family: Arial,Helvetica,sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eOrhan Alptürk Baudrillard and Photography\u003c\/span\u003e\u003cbr style=\"color: rgb(0, 0, 0); font-family: Arial,Helvetica,sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eSadık Tumay The Hyperreal Dimension of Identity and Photography\u003c\/span\u003e\u003cbr style=\"color: rgb(0, 0, 0); font-family: Arial,Helvetica,sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eAhu Antmen The Use of Photography in Contemporary Art and Thoughts on Photography-Based Art in Turkey\u003c\/span\u003e\u003cbr style=\"color: rgb(0, 0, 0); font-family: Arial,Helvetica,sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eBirsel Matara An Overview of Turkish Photographic Art from the 80s to the Present\u003c\/span\u003e\u003cbr style=\"color: rgb(0, 0, 0); font-family: Arial,Helvetica,sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eM. W. Marien The Expression of Politics Thinking Photography\u003c\/span\u003e\u003cbr style=\"color: rgb(0, 0, 0); font-family: Arial,Helvetica,sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eGöran Sonesson A Short History of Photo Semiotics\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003ci\u003e\u003c\/i\u003e\u003cu\u003e\u003c\/u\u003e\u003csub\u003e\u003c\/sub\u003e\u003csup\u003e\u003c\/sup\u003e\u003cstrike\u003e\u003c\/strike\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Hayalperest Kitap","offers":[{"title":"Default Title","offer_id":39408976462019,"sku":"9786056334696","price":175.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786056334696.jpg?v=1616017536"},{"product_id":"camera-ottomana_349386-html","title":"Ottoman Camera","description":"\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003eFrom the moment it was born in 1839, photography both became and symbolized modernity. This new technology, with its capabilities for recording and displaying, and its claims to precision and reality, became intimately intertwined with the dynamism of the modern world. The Ottoman Empire embraced photography with great enthusiasm. The impact and meaning of photography converged and merged with the modernization and Westernization drive of the Tanzimat movement. By the early twentieth century, photography had become a common part of daily life, the press, and the state apparatus in Ottoman lands.\u003c\/p\u003e\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003eThis book addresses the most striking aspects of the close relationship between photography and modernity in the context of the Ottoman Empire. A significant portion of the material it contains is about the display of modernity through photography, as seen in the photographs and albums commissioned by the sultan to introduce his empire to Western audiences. Modernity became part of the art of photography, turning it into a common, ordinary practice.\u003c\/p\u003e\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003eWith illustrated press, postcards sent to family members or anonymous collectors, portraits given to friends and acquaintances, and photographs of employees or prisoners, photography began to occupy all areas of public and private life. The visual world we live in today was born approximately 150 years ago. Camera Ottomana is both an expression of interest and respect for photography, and a critical evaluation of its local dimension as one of the most influential technological inventions with transformative power in the recent past.\u003c\/p\u003e","brand":"Koç Üniversitesi Yayınları","offers":[{"title":"Default Title","offer_id":39408999891139,"sku":"9786059389310","price":100.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786059389310.jpg?v=1616017856"},{"product_id":"izmler-fotografi-anlamak_350520-html","title":"Isms - Understanding Photography","description":"\u003cp style=\"border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; color: #000000; font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px; padding: 0px 0px 0px 12px; margin: 10px 0px 10px 0px; border: 0px none currentColor;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eThis essential and detailed photographic guide traces the evolution of photography, from the discovery of the first photographic process to the post-Internet era, through a series of key “isms” that encompass fragments, sections, themes, and movements.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; color: #000000; font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px; padding: 0px 0px 0px 12px; margin: 10px 0px 10px 0px; border: 0px none currentColor;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eChronologically sound, \"Isms: Understanding Photography\" is a unique, internationally comprehensive guide that offers a concise, engaging, and scientifically rigorous yet jargon-free perspective on the care, movements, and themes of the last 170 years. From studio portraiture to photojournalism, from advertising to conceptual art, styles, genres, and a comprehensive understanding of history are clearly summarized, accompanied by concise final photographs.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; color: #000000; font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px; padding: 0px 0px 0px 12px; margin: 10px 0px 10px 0px; border: 0px none currentColor;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eIn an era where photography resonates and attracts interest like never before, \"Isms: Understanding Photography\" offers a general and clear narrative for the general reader or student everywhere.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003ci\u003e\u003c\/i\u003e\u003cu\u003e\u003c\/u\u003e\u003csub\u003e\u003c\/sub\u003e\u003csup\u003e\u003c\/sup\u003e\u003cspan style=\"text-decoration: line-through;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Hayalperest Kitap","offers":[{"title":"Default Title","offer_id":39409003167939,"sku":"9786059452229","price":550.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786059452229.jpg?v=1616017925"},{"product_id":"fotografin-tarihi-ya-da-analoji-mucizesi_352209-html","title":"The History of Photography or The Miracle of Analogy","description":"\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003eWith its visuals and proposed ideas, The Miracle of Analogy challenges conventional notions about photography and invites the reader to rethink the meaning of \"analog\" in the digital age. The book evaluates the early years of photography from a different perspective, opening up new horizons for the mind.\u003c\/p\u003e\u003cp style=\"margin-top: 10px; font-weight: normal; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003eThe Miracle of Analogy offers qualified content on the reconceptualization of photography. It argues that photography originates from what is seen rather than from the human eye or the lens of a camera, and that it is the primary way the world reveals itself to us.\u003c\/p\u003e\u003cp style=\"margin-top: 10px; font-weight: normal; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003eThe photographic image, neither an index nor a representation, nor a copy as traditional studies suggest, is actually an analogy. This principle holds true at every level of its existence: a photograph forms an analogy with its referent, with the negative from which it was produced, with all other prints made from that negative, and with all its digital \"offspring.\"\u003c\/p\u003e\u003cp style=\"margin-top: 10px; font-weight: normal; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: rgb(0, 0, 0);\"\u003eAt the same time, photography is irresistibly developmental, both at the level of the singular image and the medium itself. Photography progresses through time in search of another \"relative,\" some of which may be visual, while others may be architectural, philosophical, or literary. Finally, photography develops with us and in response to us. Historically, it assumes legible forms, but when we strip them of their redemptive power, as we often do, it goes elsewhere.\u003c\/p\u003e","brand":"Hayalperest Kitap","offers":[{"title":"Default Title","offer_id":39409006575811,"sku":"9786059452403","price":190.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786059452403.jpg?v=1616017956"},{"product_id":"mimarlik-fotografi_351884-html","title":"Architectural Photography","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eProf. Dr. Reha Günay, who first brought together the concepts of \"architecture and photography\" in Turkey and continuously taught \"Architectural Photography\" courses for 33 years, has had his new book \u003c\/span\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eAnalog and Digital Architectural Photography\u003c\/span\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e published by YEM Yayın.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e Reha Günay explains the technical and detailed aspects of the subject for those with basic photography knowledge and an interest in photography, as well as for architects, interior designers, urban planners, archaeologists, landscape architects, those managing industrial products, visual communicators, and professional photographers.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e Günay, who has a large share in the widespread adoption of architectural photography as a field in Turkey and can be classified as the teacher of today's well-known architectural photographers, is an expert and authority in his field. Here are the details of his work in preparing the book:\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e \"In the years when I was still a recent graduate of the faculty of architecture and was interested in photography and archaeology, I was directed towards architectural photography. Starting with distinguished architects like Turgut Cansever, Doğan Tekeli, Sami Sisa, Aydın Boysan; architects like Sedat Gürel, Hayati Tabanlıoğlu, Emin Necip Uzman, Behruz Çinici, Birleşik Mimarlar, Mehmet Konuralp, and construction companies like Gama, AEA, Gök, Koray entrusted me with their buildings to document them.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e While dealing with the technical problems of photography, I also began to become more aware of building and space issues. The blend that developed in me was evaluated by the Aga Khan Award for Architecture Foundation, and I had the opportunity to document some important buildings in the Islamic world between 1983 and 2004. Furthermore, the State Academy of Fine Arts Photography Institute, of which I was one of the founders, began photography education in 1979 and continues today as the Photography Department. The \"Architectural Photography\" courses, which continued for 33 years without interruption, prepared me to better understand and explain the technical and visual recording of the subject...\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e Despite all this accumulated knowledge, when it came to preparing a book on this subject, I had to re-examine everything I knew and learn new things. When digital photography emerged, as I learned this new information, I felt as if my photography was starting over. The possibilities brought by this new technology, although still very early, herald a great future for architectural photography.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e The information in this book appeals to those with basic photography knowledge and an interest in photography, as well as to architects, interior designers, urban planners, archaeologists, landscape architects, those who direct industrial products, visual communicators, and professional photographers. Architectural systems are present, and architectural photography is also in short supply, not widespread, and desired by a few architects or producers... There are very few cameras working in the field of architectural photography. To be a good architectural photographer, one needs to see many structures, test their records, define functional-formal-structural features, classify locations, and differentiate them internally by architectural history or movement. This accumulated knowledge develops over time. In my work, I tried to address these issues without boring the reader...\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca name=\"_GoBack\"\u003e\u003c\/a\u003e\u003cspan style=\"font-size: 11.0pt; letter-spacing: .2pt;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208637171,"sku":"9786257008082","price":420.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786257008082.jpg?v=1634196838"},{"product_id":"fotografciligi-degistiren-100-fikir","title":"100 Ideas That Changed Photography","description":"\u003cp\u003eThis valuable book examines the history of photography as a history of inventions shaped by both science and technology, and by evolving social conditions, philosophies, art movements, and ideas born of aesthetics.\u003c\/p\u003e\n\u003cp\u003eThe book illustrates the evolution of photography, starting with the camera obscura, the ancestor of the camera, and detailing the first photographs produced without a camera using methods such as daguerreotype, calotype, cyanotype, and photogram; the first print types such as collodion, tintype, albumen, silver gelatin, platinum, and gum bichromate; Polaroid, which emerged before the digital age; and then Kodachrome.\u003c\/p\u003e\n\u003cp\u003eThe book explains the enormous changes created in photography by technological innovations such as the invention of the lens, the creation of the first color photograph, focusing, the use of artificial light, the invention of roll film, and the development of small cameras, while also shedding light on the discussions that took place when recording the world and the universe with photographs.\u003c\/p\u003e\n\u003cp\u003eExamining the inclusion of narrative and symbolism in photography and the emergence of specializations such as photojournalism, advertising photography, war photography, sports photography, and fashion photography, the book reveals the mutual interaction of photography with other branches of art and social changes.\u003c\/p\u003e\n\u003cp\u003e100 Ideas That Changed Photography is a unique work that will be read with great interest by anyone interested in photography and all branches of art, as well as by everyone from the world of communication and media, who will grasp the origins and reasons of the phenomena experienced today.\u003c\/p\u003e\n\u003cp\u003eThe meticulously prepared book is printed on high-quality art paper in a large format and contains more than 300 color and black-and-white photographs and illustrations.\u003c\/p\u003e","brand":"Literatür Yayıncılık","offers":[{"title":"Default Title","offer_id":39409018437827,"sku":"9789750407017","price":787.5,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/0004349_fotografciligi-degistiren-100-fikir.jpg?v=1742499851"},{"product_id":"insanin-resmi-ciltli-ozel-kutulu","title":"The Official Human (Hardcover, Special Boxed Edition)","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e''There are three major concepts that define humanity. The first is the problem of wholeness-inability to integrate, the second is death, and the third is creation. These are interconnected. Death constitutes the complete antipode of integration. Humanity's fundamental need is to integrate. But as a mortal being, it cannot eliminate death, meaning it cannot integrate in the real world. Humans are those who achieve their integration in the irreal-ideal realm. Humanity's somatic-biological aspect makes it a slave to nature, while its spiritual aspect makes it its master. The mechanism, the apparatus for this, is the activation of the potential for creation. Humans can only achieve immortality by creating, by leaving new meanings, values, and works on Earth. In such a defined living being, in situations where the integrity of existence is threatened or disturbed, self-consciousness and creative potentials are activated through the effectiveness of spiritual defenses, alongside physiological and psychological defenses, in the context of establishing a new homeostatic balance; the activation of creative potential aims to establish a harmonious unity of multiplicity. Thus, the act of creation occurs. In the act of creation, all realms of being, from inorganic being to spiritual being, from the 'Microcosmic Sphere' to the 'Macrocosmic Sphere,' collaborate for a common purpose. The inorganic and the spiritual, the real and the irreal, the moral and the emotional, the conscious and the unconscious, the Microcosmic and the Macrocosmic, the archaic and the contemporary, the local and the universal, the individual and the social can only achieve harmonious unity and wholeness in the act of creation. The expression of the supra-individual through individuality is creation. Every human being has creative potential. But some people cannot use this potential; they are unaware of it. In this, the oversight of the concept of creation in all intellectual, philosophical, and faith-based approaches for 2500 years, and the treatment of creativity as a semi-divine quality, have played a major role. Yet, what is truly human is creativity. Any living being that comes to Earth with the potential for creation is called human. No explanation or definition of human existence that does not include the concept of creation can adequately define humanity, just as no intellectual system or scientific discipline that does not grasp humanity in all its dimensions can reach sufficient maturity.''\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eDr. Süleyman Velioğlu Interview, 1990.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt was only after I founded the Psychopathological Art Laboratory that I realized that psychiatry and art, that is, science and art, are not separate disciplines as commonly thought. This created in me a passion to understand human existence. On one side, psychiatry, on the other, neurophysiology, and alongside them, art… When all of these came together, I began to ask the question of who man is. Interpreting what I understood from this, I turned to evaluating contemporary human existence. The most helpful resource for me in understanding healthy human existence has been the Schizophrenic Process. Without understanding the Schizophrenic Process, human existence cannot be understood. This process, a special pathological condition of human existence, is one of the greatest guiding sources in understanding humanity. In my opinion, human existence is a process of integration. Schizophrenia is the most special and pathological condition of human disintegration. For this reason, my areas of interest are psychiatry, aesthetics, philosophy, and the Schizophrenic process. The resources I have utilized concerning human existence are dynamic psychiatry, psychosomatic medicine, neurophysiology in psychiatry, ontology and contemporary philosophical disciplines in philosophy, and plastic arts in aesthetics. With the data from all of these, I am concerned with creating art by defining human existence in my own unique way and developing an aesthetic based on it. My philosophy of art is based on the effort to explain unsupported, abandoned man, lonely-man, and to establish harmony on an aesthetic level from the contradiction between man's archaic values and contemporary universal values. Hereditary, structural, functional defects, disorders, inadequacies, insensitivity, and disharmonies related to categories of being, as well as the fact that life is limited by the biological clock, cause man to succumb to an inability to integrate, to death, and to nothingness. But, among living beings, it is only human existence that resists this fate. It does not surrender to defeat in the real realm. It stands against death and nothingness through the act of creation. The perceptible world in the background of the plastic language in my paintings is the adventure of human existence within the universe.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProf. Dr. Süleyman Velioğlu, Istanbul 1999.\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSüleyman Velioğlu (1927-2001) developed his original \"Theory of Human Existence\" as a result of his integrated studies in the fields of thought, psychiatry, and art. His theory, which is very different from the theories about humanity that have been developed for 2500 years, was published as a book in 2000 under the title \"Human and the Act of Creation\". Süleyman Velioğlu's understanding of painting and art also completely illustrates his theory. Süleyman Velioğlu's works are in the Istanbul Museum of Painting and Sculpture, Anadolu University Contemporary Arts Museum, and in collections in cities such as New York, Boston, New Jersey, Paris, Istanbul, Ankara, and Izmir. This book was created to introduce Süleyman Velioğlu's \"Theory of Human Existence\" and the visual language he developed to the reader.\u003c\/p\u003e","brand":"İş Bankası Kültür Yayınları","offers":[{"title":"Default Title","offer_id":42657559380211,"sku":"9789944888936","price":250.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/179191_frontpage.jpg?v=1649767017"},{"product_id":"sisli-camii-the-sisli-mosque","title":"Şişli Mosque \/ The Şişli Mosque","description":"\u003cp data-mce-fragment=\"1\"\u003eThe Suna and İnan Kıraç Foundation Photography Collection, which began with the photographs our founders collected over the years and donated to the Suna and İnan Kıraç Foundation, has grown through various donations and acquisitions since the opening of the İstanbul Research Institute in 2007. It now encompasses approximately 130,000 Istanbul-focused images, covering a period from the 1850s to the 1960s.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eYears of classification and identification efforts have brought us to a stage where we can design new projects. In this context, we have planned the Suna and İnan Kıraç Foundation Photography Collection Series, which will feature various thematically curated groups of photographs.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis album-book is the first publication in this series and chronicles the architectural journey of the Şişli Mosque, the first monumental religious structure of Republican Istanbul. One reason we chose the Şişli Mosque is that it was the first mosque in the city's history built not under the patronage of the sultan or state officials, but through the collective effort of the public. Another reason is that, unlike the architectural thought and production shaped by the winds of modernism prevalent across the country in the 1940s, the mosque reflects the classical Ottoman style and has become a model for neo-Ottoman mosques built to this day. Furthermore, the fact that almost all of the Şişli Mosque photographs we published were taken by Foto Sabah, one of the leading studios of the period, is significant as it indicates that the mosque's construction process between 1947 and 1949 was deliberately documented at regular intervals. Such an effort is noteworthy in those years when documentation and preservation habits were lacking and architectural works were rarely archived. We hope that this album-book and those we will publish hereafter will be beneficial to researchers in deciphering Istanbul's historical identity.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe photographs collected by our founders through the years, which they have donated to Suna and İnan Kıraç Foundation, constituted the kernel of the Foundation's Photography Collection. Since the day the İstanbul Research Institute was opened in 2007, this collection grew with acquisitions and other donations, reaching approximately 130,000 photographs, with İstanbul as their main focus and covering a period from the 1850s to the 1960s.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eYears of classification and identification have finally brought us to the point of being able to create new projects. As a result, we have planned the Suna and Inan Kıraç Photography Collection Series, which will consist of thematically structured groups of photographs.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis album-book is the first publication in this series, discussing the architectural journey of Şişli Mosque, the first monumental religious building of Republican İstanbul. One of the reasons we have chosen Şişli Mosque is that this is the first mosque in the city's history that was built not under the aegis of the sultan or statesmen but through the collective effort of the people. Another reason is that Şişli Mosque, unlike the architectural thought and production of the 1940s, which was shaped throughout the country by winds of modernism, reflected the classical Ottoman style and has been accepted as a stylistic example, providing a prototype for neo-Ottoman mosques built in its wake. In addition, the photographs of the mosque we publish here have almost exclusively been taken by Foto Sabah, one of the leading studios of the period, which indicates that the process of the mosque's construction between 1947 and 1949 was deliberately documented at regular intervals. In those years when documentation and preservation was not habitual and architectural work was seldom archived, such an effort is noteworthy. We hope that this title and the album-books we will publish will help researchers in analyzing İstanbul's historical identity.\u003c\/p\u003e","brand":"İstanbul Araştırmaları Enstitüsü","offers":[{"title":"Default Title","offer_id":42683253817587,"sku":"9786054642533","price":250.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/0000000682414-1.jpg?v=1650448479"},{"product_id":"mimari-fotograf","title":"Architectural Photography","description":"\u003cspan data-mce-fragment=\"1\"\u003eArchitectural photography, which holds a significant place in both promotional and documentary photography, requires patient, planned, and disciplined work. Furthermore, the person taking the architectural photograph must possess adequate technical equipment and the technical knowledge to use this equipment most accurately. It is also important to consciously identify and translate the aesthetics and effects of the structure into the photograph. Therefore, architectural photography fundamentally begins with the exploration of the structure's plastic elements and functions and the examination of perspective effects. When creating an architectural photograph, it is essential to clearly define the purpose and materials, and to meticulously plan the shoot. 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The book's structure takes the reader from the theoretical foundations of photography, always explaining how to use technical aspects in a meaningful way, all the way to the professional and practical completion of a brief. The book is not only concerned with photographs created for self-expression but also with photographs created for use.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFoundations of Creative Photography offers a unique look at professional careers in the creative image industries. It is an ideal starting book for those seeking employment in the industry, those studying in lens-based visual arts departments or other training programs, and those teaching. Those entering this industry through different paths will also find this book full of useful information.\u003c\/p\u003e","brand":"Literatür Yayıncılık","offers":[{"title":"Default Title","offer_id":43385723977971,"sku":"9789750405785","price":487.5,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/51LmXjkC19L.jpg?v=1666182467"},{"product_id":"bitek-topraklar-ustunde-aydin","title":"AYDIN Over Fertile Lands","description":"","brand":"Ege Yayınları","offers":[{"title":"Default Title","offer_id":43623446118643,"sku":"9786054701070","price":650.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/bitekaydin_b.jpg?v=1675259085"},{"product_id":"bir-kentin-gorsel-tarihi-aydin","title":"Visual History of a City: AYDIN","description":"\u003cspan data-mce-fragment=\"1\"\u003eThis study aims to convey the times of a city, at least on the threshold of modern ages, before the misfortunes experienced between 1919-1922, through engravings, photographs, and postcards. All of the material has accumulated over a long period due to the difficulties in obtaining them, and although there is a possibility that other examples may emerge in the future, they have been published as soon as possible rather than waiting until then. The glass negatives in the collection of the German Archaeological Institute\/DAI in Istanbul constitute a unique cluster for Aydın. The visual material included and not included in the book \"Aydın on Fertile Lands\" will provide a different access to those who want to take a quick look at the visual history of the city through this book.\u003c\/span\u003e","brand":"Ege Yayınları","offers":[{"title":"Default Title","offer_id":43625282633971,"sku":"9786059680714","price":300.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/bir_kentin_gorsel_aydin_min.jpg?v=1675324223"},{"product_id":"zemheri-istanbul-midwinter","title":"Midwinter Istanbul","description":"\u003cp data-mce-fragment=\"1\"\u003ePhotographer and director Serkan Turaç's new book, \u003cem data-mce-fragment=\"1\"\u003eZemheri İstanbul Midwinter\u003c\/em\u003e, has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePublished in Turkish and English with the valuable contributions of Dekar Yapı ve Yatırım A.Ş., the book visually narrates \"winter Istanbul\" with a documentary approach through Serkan Turaç's black-and-white photographs taken between 1995 and 2015.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe photographs in the book are accompanied by descriptive captions by journalist-writer Devrim Kalkan. \u003cem data-mce-fragment=\"1\"\u003eZemheri İstanbul Midwinter\u003c\/em\u003e presents readers a holistic general picture of Istanbul's urban fabric with its cold weather, challenging conditions, seagulls, bridges, and historical structures, reminding us that alongside the beauties of this ancient city, its demanding nature should also not be forgotten.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book also includes comments by Burim Myftiu, Prof. Güler Ertan, and Burak Şenbak on both Istanbul winters and Serkan Turaç's photographs.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBurim Myftiu edited the book, Ebru Turaç provided the English translations, and Salih Akman was responsible for the graphic design.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the introduction to \u003cem data-mce-fragment=\"1\"\u003eZemheri İstanbul Midwinter\u003c\/em\u003e, Serkan Turaç says:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Istanbul, the city where I was born... Istanbul, the city where I grew up, was happy, sad, shared troubles, loved, got married, and my child was born... The city I don't know where to begin to describe. Its streets, historical areas, buildings resisting the past, new structures, and just as many people. Each is like a novel for those who wish to read. But our subject is not a novel, but photography, a value that will endure into tomorrow with its visual stories.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn old language, 'zemheri' means the dead of winter... The idea of \u003cem data-mce-fragment=\"1\"\u003eZemheri İstanbul\u003c\/em\u003e is a selection of my winter photographs produced between 1995 and 2015, resulting from an archival search I carried out with much thought in recent years. I tried to reflect the harsh winters of Istanbul, which has a different character in every season.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePhotography is an indispensable part of my life, as essential as breathing for me. The concept of the city is synonymous with Istanbul in my life. I am here before you with these two important parts I love: photography and Istanbul. Its cold weather, challenging slopes, bridges, seagulls, cats, and people have all come together in this book. As someone who experiences changing emotions, joys, and worries when it snows, I observed how cold and rainy Istanbul creates such a powerful effect when photographed. While this photo book presents us with the difficulties of life in Istanbul winters as a document, it is also the kind that will delight those who wish to visually enjoy it. What the future holds is unknown, but let this be a gift to my city, precious to all of us, which will be the capital of the world...\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eISTANBUL MIDWINTER\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIstanbul, where I was born… The city where I grew up, was happy, sad, troubled, loved, married, and my child was born, Istanbul...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe city I can’t tell where to start, its streets, historical sites, buildings that resist the past, new buildings and just as much people. Each one is like a novel for those who want to read. However, our topic is not novels but photography, a value that will remain tomorrow with its visual stories.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn old sayings, ‘zemheri’, that is the dead of winter… \u003cem data-mce-fragment=\"1\"\u003eMidwinter Istanbul \u003c\/em\u003eidea that I have been thinking about in recent years is a selection of winter photographs, which I produced between the years 1995-2015. I tried to reflect the tough winters of Istanbul, which is different in every season.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePhotography is an indispensable part of my life, it is essential for me like breathing. The concept of the city is identified with Istanbul in my life. I am here with the photograph and Istanbul, these two important pieces I love. The cold weather, challenging slopes, bridges we look at, seagulls, cats and people came together in this book.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs someone who experiences changing emotions, joys and worries when it snows; I observed how cold and rainy Istanbul created a powerful effect when photographed. While this photo book presents us the difficulties of life in the winters of Istanbul as a document, it will make those who want to enjoy it visually happy. It is unknown what will happen in future but it is a gift to my city, the precious of all of us, that will be the capital of the world...”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWHO IS SERKAN TURAÇ?\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBorn in Istanbul, he completed his higher education in 'Advertising and Public Relations' before graduating from the 'Photography and Cameraman' department. He also received 'Press Photography' training. In 1992, he began his career as a reporter for a local newspaper. He wrote columns for local newspapers and produced articles and photographs for numerous magazines and newspapers. Most recently, he served as Editor-in-Chief at \u003cem data-mce-fragment=\"1\"\u003eMirror Magazine\u003c\/em\u003e and Managing Editor at \u003cem data-mce-fragment=\"1\"\u003eBeşiktaş Yaşam Magazine\u003c\/em\u003e. He undertook various roles in short and feature films, notably in three documentaries he signed his name to. He directed short and documentary films. He founded the Bodrum Short Film Workshop and organizes short film seminars. He creates promotional films and photographs for companies. In addition to photography exhibitions, he continues to give visual photography presentations and edit books for photographers. He gives seminars in photography, video, and cinema.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfter serving two terms as Vice President of İFSAK, he held the position of İFSAK Board Chairman between 2013 and 2015. He also served as Managing Editor and Editor-in-Chief for \u003cem data-mce-fragment=\"1\"\u003eİFSAK Magazine\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSerkan Turaç, a curator in the visual arts field, organized numerous exhibitions and festivals. He wrote a chapter in the TFSF training book. While continuing his role as a guide to private institutions, universities, associations, and photography clubs, he also served as an expert witness at the Istanbul Intellectual and Industrial Property Rights Court. He has been a jury member for photography and cinema in many national and international competitions (FIAP-UPI-PSA). Serkan Turaç continues his photography, video, and cinema work under the umbrella of AKYA Film Production. He is a member of İFSAK; an \"Honorary Member\" of BÜFOD, Sille Sanat Sarayı, Muş Photography Art Association, and Halikarnas BOFSAD. Turaç holds the EFIAP\/b title from FIAP International Federation of Photographic Art (Fédération Internationale de l’Art Photographique) and the GPU (Global Photographers Union) ZEUS title.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eABOUT SERKAN TURAÇ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSerkan Turaç was born in Istanbul. After completing his higher education on ‘Advertising and Public Relations’, he graduated from the ‘Department of Photography and Videography’ and additionally studied ‘Press Photography’. He started as a news reporter in a local newspaper in 1992. He worked as a columnist for local newspapers. He produced articles and photographs for many magazines and newspapers. Lastly, he worked as the Editorial Director of \u003cem data-mce-fragment=\"1\"\u003eMirror Magazine\u003c\/em\u003e and as the Editor in Chief of \u003cem data-mce-fragment=\"1\"\u003eBeşiktaş Yaşam Magazine\u003c\/em\u003e. He took various roles in short and feature films, including three documentaries. He established the Bodrum Short Film Workshop and since then organizes short film seminars. He shoots promotional films and photos for companies. There are award-winning Poster, DVD and Book cover designs. In addition to photography exhibitions, he has edited books for visual photography presentations and photographers. He continues conducting seminars in the field of photography, video and cinema.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe served as Board Chairman of Istanbul Photography and Cinema Amateurs Association (İFSAK). He continued his publishing experience by keeping the roles as Editorial Chief and as Editor in Chief positions of İFSAK magazine.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSerkan Turaç, as acting a curator in visual field, organized many exhibitions and festivals. He wrote a chapter in the TFSF training book. While working as a guide to private institutions, universities, associations, and photography clubs, he also works as an expert at the Istanbul Court of Intellectual and Industrial Rights, and is a jury member in photography and cinema in many competitions held in the field of national and international (FIAP-UPI-PSA). He continues his photography, video and cinema works under the roof of AKYA Film Production. Serkan Turaç is the member of IFSAK, BÜFOD, BODRUMART and AFYON FRİG in Turkey and also TFSF Representative of AFYON FRIG. He is an “Honorary Member” of Sille Art Palace, BÜFOD, Muş Photography Art Association and Halikarnas BOFSAD. Serkan Turaç holds the title “EFIAP\/b” from FIAP International Federation of Photography Art (Fédération Internationale de l’Art Photographique) and title “ZEUS” from GPU (Global Photographers Union).\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210996467,"sku":"9786257008624","price":525.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/YEM_Zemheri_Istanbul_KAPAK.jpg?v=1676449664"},{"product_id":"konstantiniyyeden-istanbula-xix-yuzyil-ortalarindan-xx-yuzyila-bogazicinin-anadolu-yakasi-fotograflari","title":"From Constantinople to Istanbul: Photographs of the Anatolian Side of the Bosphorus from the Mid-19th Century to the 20th Century","description":"\u003cp\u003eIstanbul Research Institute published the book \"Constantinople to Istanbul, Photographs of the Anatolian Side of the Bosphorus from the Mid-19th Century to the 20th Century\", compiled from the Suna and İnan Kıraç Foundation Photography Collection and some private collections, and prepared by Dr. M. Sinan Genim.\u003c\/p\u003e\n\u003cp\u003ePublished in two volumes, the book showcases Istanbul of an era through the works of famous photographers of the period, revealing its unique shores, striking structures, daily life, and interesting personalities. It takes us on an enjoyable and thought-provoking journey along the Anatolian shores of this city, which has become a major metropolis and has taken on a completely different appearance with its silhouette, which is particularly debated these days.\u003c\/p\u003e","brand":"İstanbul Araştırmaları Enstitüsü","offers":[{"title":"Default Title","offer_id":43691444011251,"sku":"9789759123925","price":6162.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/0000000535513-1.jpg?v=1678969005"},{"product_id":"geleneksel-mimarligin-izinde-1-bodrum-1965-1991-ciltli","title":"In Pursuit of Traditional Architecture 1: BODRUM 1965-1991 (Hardcover, Large Format)","description":"\u003cp data-mce-fragment=\"1\"\u003eReha Günay's new book, \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn Pursuit of Traditional Architecture 1: BODRUM 1965-1991\u003c\/em\u003e\u003c\/strong\u003e, created by utilizing his identity as both a traditional architecture expert and a photography artist, has been published by \u003cstrong data-mce-fragment=\"1\"\u003eYEM Yayın\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eProf. Dr. Reha Günay, who has worked multifaceted, meticulously researched, and produced with an artistic perspective for many years, presents Bodrum, Turkey's tourism capital, through his original black-and-white photographs taken between 1965-1991 and its traditional architectural features in this work, published with the valuable contributions of the \u003cstrong data-mce-fragment=\"1\"\u003eBodrum Municipality\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eGünay's observations and findings on traditional Bodrum architecture are presented in 10 chapters under the headings: \"BODRUM PENINSULA, BODRUM, MÜSKEBİ, TURGUTREİS, YALIKAVAK, GÜMÜŞLÜK, KARAKAYA, AKYARLAR, HOUSEFRONT ARBORS and DEMİR HOLIDAY VILLAGE.\"\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay's views on Bodrum and the content of the book are as follows:\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\"Due to difficulties in transportation, the Bodrum Peninsula was isolated for hundreds of years from the political-cultural environment of the Middle Ages and beyond, where great changes occurred, and from mainland Anatolia. This situation continued until the construction of a highway in the 1930s that more or less allowed the passage of motorized vehicles. In the 1960s, with the opening of a new highway, it was greatly affected by the sudden explosion of tourism movements. While for centuries it maintained a settlement pattern suitable for its own way of life within its own surroundings, this activity almost destroyed the traditional fabric.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eIn this book, you will follow observations and visuals mostly from 1965 to 1991, and a small amount from 2011, when the degradation was just beginning. This unique and very simple residential architecture, formed under very little external influence within environmental conditions, perhaps bearing traces of thousands of years of history, led us directly to nature and humanity with its uniform architecture and settlement pattern. A comparison with the current situation reflects the ruthless dimensions of change. It is now almost impossible to even recognize many places...\"\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eBodrum Mayor Ahmet Aras, in his \"Foreword\" written in the book, states the following:\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\"We were sea children with hopes and dreams in a unique, small fishing town. We played with the sea in mandarin gardens, on the shore, in the street. With the zeferiye wind in our hair, the sunburn and saltiness of the sun and sea on our faces; we smelled of sea salt. Our breath rose and fell with shouts of joy.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eAs we grew up, our free city of Bodrum transformed into a modern tourist city. In the hustle and bustle of life, while gaining on one hand, we often didn't even realize what we were losing on the other.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe streets we ran in our childhood; our neighbor whose door we knocked on, whose window we broke, our corner grocer remained in memories. Our neighborhood, where we played the leading role, as our own history, our own world, is now the mark on our leg from cutting it while passing from tree to tree in the mandarin gardens, dancing hand in hand.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e.....\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe tourism boom and the demand for holiday homes in Bodrum led to rapid construction across the peninsula. Most of us struggled to resist this demand and its financial returns. Our gardens, lands, and coves turned into concrete.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eI don't want to use what has been experienced as a tool in the spiral of politics. I'm not saying 'he' did it, 'this one' did it; 'could we have avoided it?' is a separate discussion. Without hiding behind a weak statement like 'I wish it hadn't happened!', not just because I am the mayor, but because I have not been disconnected from my own geography and culture since my childhood, because I am Ahmet Aras from Bodrum, I think about what I need to do and what we can do together. I believe that we need to refresh our memory regarding what we want to find and what we don't want to lose about Bodrum, our common love.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eWe are not yet a city with closed air corridors, breathless and suffocated; the imbat and meltemi winds of the Archipelago still sweep through our coves. Giant blocks do not build castles on our shores like impenetrable walls. Even though our winter population has skyrocketed from 180,000 to 600,000 in the last three years, I believe we are not without solutions with our two-story white houses and our resistance to multi-story, vertical construction: By turning our faces to Bodrum, analyzing Bodrum's dynamics correctly, with the responsibility of being the inhabitants of Bodrum, with decisions we will make together, by planning locally, we must approach construction with a 'sustainable city' approach.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e.....\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eOur professor, who examined examples of Chios-type, musandaralı, and tower-type houses specific to Bodrum architecture; who defined forgotten concepts of Bodrum house life such as ayazlık, çanaklık, yunmalık, yüklük, and terek, describes the traditional Müsgebi neighborhood architecture where my childhood passed as follows: \u003cem data-mce-fragment=\"1\"\u003e'In the end, everyone is equal and respectful of each other. No one blocks anyone else's view or wind. No one tries to show off their house and make others jealous. Unfortunately, we no longer possess these common values.'\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eWe are happy to have been involved in the publication of the book \u003cem data-mce-fragment=\"1\"\u003eIn Pursuit of Traditional Architecture•1 BODRUM 1965-1991\u003c\/em\u003e. I would like to thank Umut Ülkümen for directly contributing to the publication of the book, Prof. Dr. Suha Özkan, the creator of the Bodrum Architecture Library, to which we are emotionally connected, and YEM Yayın. I extend my gratitude to my colleagues who contributed; well done.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eI do not want my childhood and the Bodrum where my childhood was spent to disappear. I do not want to be generations whose past has been forgotten, watching Bodrum with a heavy heart and a sigh.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe fundamental question I ask myself is: \"It's not what we expect from Bodrum, but what we want to do with Bodrum and how we will do it?\" I sought the answer to this question even before becoming the Mayor of Bodrum, and I am still seeking it.\"\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe graphic design of the book, whose photographs are by Reha Günay, was done by Gökçen Yanlı Atmaca, and the graphic application by Resul Atabay, and it has reached the readers.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48380902539507,"sku":"9786257008761","price":1400.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/BODRUM_1965-1991_CiltliBuyukBoy.jpg?v=1700216070"},{"product_id":"geleneksel-mimarligin-izinde-1-bodrum-1965-1991-karton-kapak","title":"In the Footsteps of Traditional Architecture 1: BODRUM 1965-1991 (Paperback)","description":"\u003cp data-mce-fragment=\"1\"\u003eReha Günay's new book, \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn the Footsteps of Traditional Architecture 1: BODRUM 1965-1991\u003c\/em\u003e\u003c\/strong\u003e, created by combining his identities as both a traditional architecture expert and a photography artist, has been published by \u003cstrong data-mce-fragment=\"1\"\u003eYEM Yayın\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this work, published with the valuable contributions of the \u003cstrong data-mce-fragment=\"1\"\u003eBodrum Municipality\u003c\/strong\u003e, Prof. Dr. Reha Günay, who has worked multifaceted, meticulously researched, and produced with an artistic perspective for many years, conveys Bodrum, Turkey's tourism capital, through his original black-and-white photographs taken between 1965 and 1991, and its traditional architectural features.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGünay's observations and findings on traditional Bodrum architecture are presented in 10 chapters under the headings: \"BODRUM PENINSULA, BODRUM, MÜSKEBİ, TURGUTREİS, YALIKAVAK, GÜMÜŞLÜK, KARAKAYA, AKYARLAR, HOUSEFRONT ARBORS, and DEMİR HOLIDAY VILLAGE.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay's views on Bodrum and the content of the book are as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Due to transportation difficulties, the Bodrum Peninsula was isolated from the political-cultural environment of the Middle Ages and beyond, where great changes occurred for hundreds of years, and from mainland Anatolia. This situation continued until the construction of a highway in the 1930s, which more or less allowed the passage of motorized vehicles. In the 1960s, with the opening of a new highway, it was greatly affected by the sudden boom in tourism. While maintaining a settlement fabric suitable for its own way of life within its own environment for centuries, this activity virtually destroyed the traditional fabric.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this book, you will follow observations and visuals from 1965 to 1991, and a small amount from 2011, when the degradation had just begun. This unique and very simple residential architecture, formed with very little external influence in environmental conditions, perhaps bearing the traces of thousands of years of history, and the uniform architectural and settlement fabric it achieved, led us directly to nature and humanity. A comparison with the current situation reflects the cruel dimensions of the change. It is almost impossible to recognize many places now...\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBodrum Mayor Ahmet Aras, in his \"Foreword\" written in the book, touches upon the following:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"We were children of the sea, full of hopes and dreams in a unique, small fishing town. We played with the sea in tangerine groves, on the shore, in the streets. With the zeferiye wind in our hair, the scorching of the sun and sea on our faces; we smelled of sea salt. Our breath rose and fell with shouts of joy.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs we grew up, our free city, Bodrum, transformed into a modern tourism city. In the hustle and bustle of life, while gaining on one hand, we often failed to realize what we were losing on the other.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe streets we ran through in our childhood; our neighbor whose door we knocked on, whose window we broke, our corner grocer remained in memories. Our neighborhood, where we played the leading role, as our own history, our own world, is now the mark on our leg from cutting it while moving from tree to tree in the tangerine groves, hand in hand, dancing the halay.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e.....\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe tourism boom that peaked in Bodrum and the demand for holiday homes led to rapid construction across the peninsula. Most of us struggled to resist this demand and its financial returns. Our gardens, lands, and coves became concretized.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI do not want to instrumentalize what has been experienced into the spiral of politics. I am not saying 'this one did it' or 'that one did it'; 'could we have avoided it?' is a separate discussion. Without hiding behind a weak statement like 'I wish it hadn't happened!', not only because I am the mayor, but also because I have not been disconnected from my own geography and culture since childhood, because I am Ahmet Aras from Bodrum, I think about what I need to do and what we can do together. I believe we need to refresh our memory about what we do not want to find and what we do not want to lose regarding our shared love for Bodrum.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWe are not yet a city with closed air corridors, breathless and airless; the imbat of the Archipelago, the meltem still caresses our coves. Huge blocks do not build castles on our shores like impenetrable walls. Although our winter population has skyrocketed from 180 thousand to 600 thousand in the last three years, I believe we are not without solutions with our two-story white houses and our resistance to multi-story, vertical construction: By turning our faces to Bodrum, by correctly analyzing Bodrum's dynamics, with the responsibility of being residents of Bodrum, with decisions we will make together, by planning locally, we must approach construction with a 'sustainable city' perspective.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e.....\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOur esteemed professor, who examines Chios-type, musandara-roofed, and tower-type house examples specific to Bodrum architecture; who defines forgotten concepts of Bodrum home life such as ayazlık (cool courtyard), çanaklık (dish rack), yunmalık (laundry area), yüklük (storage cupboard), and terek (shelf), describes the traditional Müsgebi neighborhood architecture where I spent my childhood as follows: \u003cem data-mce-fragment=\"1\"\u003e'As a result, everyone is equal and respectful of each other. No one blocks anyone else's view or wind. No one tries to make their house showy and make others jealous. Unfortunately, we no longer possess these common values.'\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWe are happy to have been involved in the publication of the book \u003cem data-mce-fragment=\"1\"\u003eIn the Footsteps of Traditional Architecture•1 BODRUM 1965-1991\u003c\/em\u003e. I would like to thank Umut Ülkümen, who directly contributed to the publication of the book, Prof. Dr. Suha Özkan, the creator of the Bodrum Architecture Library to which we are emotionally attached, and YEM Yayın. I wish good health to my colleagues who contributed to this work.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI do not want my childhood and the Bodrum of my childhood to be lost. I do not want to be generations whose past has been forgotten, to watch Bodrum with a full heart and a pang of sorrow.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe fundamental question I ask myself is: \"What do we want to do with Bodrum, not what do we expect from Bodrum, and how will we do it?\" I sought the answer to this question even before becoming the Mayor of Bodrum, and I am still seeking it.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe book, with photographs by Reha Günay, was brought to readers with Graphic Design by Gökçen Yanlı Atmaca and Graphic Application by Resul Atabay.\u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207097075,"sku":"9786257008778","price":385.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/BODRUM_1965-1991_KartonKapak.jpg?v=1700216454"},{"product_id":"mehmet-gazioglu","title":"Mehmet Gazioğlu","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eThe book titled \u003cem data-mce-fragment=\"1\"\u003eMEHMET GAZİOĞLU\u003c\/em\u003e, which includes the works of the versatile artist Mehmet Gazioğlu, who has produced photography, digital art, metal wall sculptures and metal sculptures, as well as his life story, was published in English and Turkish by YEM Publishing.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs Mehmet Gazioğlu grew up, he gathered his imagination from people and life; he derives his technique from painting, photography, writing, drawing, sound, image, digital technology and metal; an artist who has woven his artistic cocoon by kneading his yeast from today and discipline...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book offers the opportunity to get to know Mehmet Gazioğlu, an artist who is a candidate to be a source of inspiration for everyone who is looking for ways to express their dreams, especially those who are interested in art.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe graphic design concept of the book, which was prepared for publication as a result of intense efforts by Müge Gazioğlu, was made by Selim Cennetoğlu.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the Foreword of the book, Cenk Gençdiş describes Mehmet Gazioğlu and his works as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“…Mehmet Gazioğlu knitted his cocoon of art by gathering his imagination from his childhood, his materials from people and life as he grew up, using his technique from painting, photography, writing, drawing, sound, image, digital technology, metal, and kneading his leaven from today and discipline... He listened to photography lessons for hours and days, watched photographs, worked tirelessly to use his camera and lenses in the most efficient way on the streets of Istanbul, cities of India, roads of Nepal… He recorded images that could be normal for everyone, beautiful for everyone, ordinary for everyone. But with one difference… He did not look, see, or think like everyone else while watching those images, neither taking the photos nor evaluating them… He searched for images that could be considered unreal from time to time in his mind, heart and soul. For this, he used a camera, mobile phone, various computer programs and applications and showed the courage to transform that imaginary image into a visible one. He experienced not looking from a single window, but using all the possibilities of art…\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEvery time I think about how to put a photographer on the art and history scale, I think of a glamorous bird with two wings and colorful feathers. I believe that there is production on one wing and sharing on the other of this Phoenix. In other words, I question what this photographer has produced, how long he has been producing, whether he is still producing and whether he shares what he has produced or reveals it to people… With all his passion, discipline and experimentation, Mehmet Gazioğlu has produced many works in very different styles in a very short time. Not only that, he shared all of these works that he thought, dreamed of, worked, and spent time and effort on different platforms. He evaluated the possibilities of our age, used social media platforms such as Instagram, opened exhibitions in galleries and participated in art fairs. He nourished his courage in the production phase with his generosity in sharing… If we briefly examine the exhibitions he opened, we will have the chance to see the different works he tried.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhen we examine his works between 2016 and 2020, we can say that we are facing a period in which Mehmet Gazioğlu discovered both the technical limits of photography and the limitlessness of his own imagination. He transformed the images he photographed with classical methods into surreal, extraordinary, imaginary frames by carrying the technological possibilities to the extreme. This can also be defined as a cocoon period in which the language of expression that he will construct before shooting in later works is formed.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSurrealist’s Dream, \u003c\/em\u003eMehmet Gazioğlu’s first work, based on his idea ‘Whatever you reflect comes back to you. Life is such a mirror.’ is an exhibition that he prepared in a short period of four months. This time, he set up the main frame of the work even before he used the camera, planned every detail from the subject he will shoot to the framing, from the arrangement to the presentation, and completed his work with the motto ‘looking at reality from an unrealistic window is a dream’... I think an important point of this exhibition is that he shared the exhibition’s income with the children with autism since he felt a bond with the children and the feeling of his work.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his second exhibition \u003cem data-mce-fragment=\"1\"\u003eMorphosis\u003c\/em\u003e, Gazioğlu continued his previous surrealist dream by presenting the reverse reflection on the vertical axis, with the mirror effect technique. This makes it a continuation dream with the idea of following. Thus, the \u003cem data-mce-fragment=\"1\"\u003eSurrealist’s Dream \u003c\/em\u003eexhibition completes its story with its confidant.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his third exhibition titled \u003cem data-mce-fragment=\"1\"\u003eTransform\u003c\/em\u003e, Mehmet Gazioğlu is now completing his own transformation and coming out of his cocoon, which he started to knit in his first exhibition. Now, he records his photos not only with his camera, but also with his mobile phone, uses both applications and computer programs in a way that obeys his imagination and completes the journey of modern man’s evolution from images to ideas, from ideas to data world. This is also in his portfolio as the last example of three years of intense work.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eToday, we have tens and hundreds of schools that train one-dimensional people under the name of ‘specialization’… Everyone continues their struggle for life under a single title as ‘Knows almost everything’. However, this was not the case in ancient times… Everyone in the West and the East was involved in more than one discipline… Many ‘famous people’ we know have spent their lives in different fields as well. We do not know that Ömer Hayyam was a mathematician and astronomer while his poems were circulating on social media, and that Nietzsche was a poet and composer while praising his philosopher side. As the famous composer Hans Eisler stated in his saying ‘A person who only understands music cannot understand music,’ art has an inseparable connection with science and life.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHere, Mehmet Gazioğlu did not only deal with photography on this path he embarked on by combining his vision and imagination with his talent; in his rush with the world, with emotions and thoughts, he also included steel, which is actually an economic-commercial business. Much more difficult than photography, by using his physical strength for hours or even days, this time by putting forth a more intense effort to flap the wings of production and sharing much more powerfully... Just like in his photography works, he first fictionalized the concept he would describe, the dream he would convey, and then put it in the best way possible. He has found a medium to communicate effectively. He pondered on how different he could present metal and steel to us and produced different and extraordinary works of art by exerting the necessary discipline and effort for this. He continued the sharing habit he acquired through photography exhibitions, with sculptures where he turned an ordinary object into a work of art.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMehmet Gazioğlu has deserved the title of a person with knowledge in different disciplines, which the Westerners call \u003cem data-mce-fragment=\"1\"\u003epolymat\u003c\/em\u003e, with three solo exhibitions he opened in a short period of four years, a group exhibition he participated in, and seven art fairs he participated in, and proved his artist identity first to himself and then to his audience with all the works he created.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWHO IS MEHMET GAZİOĞLU?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eMehmet GAZİOĞLU was born in Istanbul in 1977. He grew up in the steel industry, which his family has run for four generations, and worked there as Chief Operating Officer and Investment Officer. Growing up in an open-minded, social family that supported his identity provided him with inspiration. Inspired by an open mind, he transformed mechanical materials into more masculine and vibrant pop culture designs as conceptual art. He was interested in ancient and modern art, visual language, modern architecture, popular culture, and photography.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eMehmet GAZİOĞLU, placing creativity, passion, and vision at the center of his art, kept pace with rapidly developing technology through his unique style. Mehmet GAZİOĞLU, who unlocked his imagination by combining artistic preferences and new colorful techniques, thus began to write his own story.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eHe tried to make the invisible visible in metal. He made details perceptible in the material that even our physical perception could not notice. This formed an idea identical to the transformation of both the object and perception while creating awareness. By exceeding the limits of imagination, he began to work by combining new techniques with his abstract artistic preference.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eMehmet GAZİOĞLU, while transforming the wastes we ignore and many more materials that we do not realize, also allowed imagination to develop and increase by translating forms and colors. He believed that his sculptures were changeable and calm, but certainly not passive. He lit a fire in the middle of obscurity by adding to and cutting from the material.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eMehmet GAZİOĞLU, who entered the world of art as a collector at an early age, began to emerge with means of artistic expression and abstract models created by psychedelic photography, but the provocative possibilities provided by metal, thanks to its environmental and dimensional properties, shaped the artist’s journey.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eBy characterizing the mystery of digital effects with his surrealist works, he continued to create different works that combined his talents, emotions, and spiritual scenarios. With the decrease in awareness of his physical self, he achieved his own goal in the concept of digital art. In his digital and pop-art applications, he affected the audience not only visually but also emotionally and cognitively.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eHe continues to tell his own story with the arts that he left for us…\u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208342259,"sku":"9786257008808","price":1400.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/MEHMET_GAZIOGLU_KAPAK.jpg?v=1703338347"},{"product_id":"chernobyl","title":"Chernobyl","description":"\u003cp data-mce-fragment=\"1\" class=\"indented selectionShareable\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMy endeavor with my photographs has not been to convey information, introduce a place, or bear witness to a process, but rather to reach the emotions of the viewer. I chose not to disclose when or where a photograph was taken, nor to tell its story. I tried to bring together photographs that could reveal the commonalities of these diverse places. I wanted the viewer to move away from the comfort of looking at the pain of the defined \"other\" and establish a connection that could touch their own life, through these photographs taken in distant lands.\u003c\/i\u003e\u003cbr data-mce-fragment=\"1\"\u003e—Emin Altan\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"selectionShareable\"\u003e\u003ci data-mce-fragment=\"1\"\u003eChernobyl\u003c\/i\u003e collects Emin Altan’s photo series \"Chornobyl,\" which he worked on between 2015 and 2020, and thirteen articles that examine various aspects of the nuclear disaster from different perspectives. Cemil Aksu edited the publication, Rachel Walther was the text editor for the English edition published by Manifold, and the authors include Emin Altan, Günther Anders, Slavoj Žižek, Pınar Demircan, Mehmet Özdağ, A. Öner Kurt and Gülçin Yapıcı, Foti Benlisoy, Osman Özarslan, Eda Sezgin, Cemil Aksu, Özgür Gürbüz, Martin Cohen, and Michael Löwy. The translation from Turkish to English was done by Neylan Bağcıoğlu, and the book design by Esen Karol.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"selectionShareable\"\u003e\u003cb\u003eContents:\u003c\/b\u003e\u003cspan\u003e EMİN ALTAN, “Chornobyl: One Small Step for Cosmos, One Giant Leap for Humankind” \/ GÜNTHER ANDERS, “Ten Theses on Chernobyl” \/ SLAVOJ ŽIŽEK, “Nature and Its Discontents” \/ PINAR DEMİRCAN, “Reproduction of Apocalyptic History: Nuclear Disasters” \/ MEHMET ÖZDAĞ, “Things to Know about Türkiye’s Nuclear Energy Story!” \/ A. ÖNER KURT and GÜLÇİN YAPICI, “Effects of Nuclear Plants on Public Health” \/ FOTİ BENLİSOY, “Nuclear, Ecomodernism, and Capitalist Exposal” \/ OSMAN ÖZARSLAN, “The Chernobyl Disaster and The Birth of Bio-Citizenship” \/ EDA SEZGİN, “The ‘Prohibited Zone’: The Exhausted Image of Nuclear and Beyond” \/ CEMİL AKSU, “Energy for What, for Who?” \/ ÖZGÜR GÜRBÜZ, “Nuclear Opportunism in the Climate Crisis” \/ MARTIN COHEN, “How to Slay the Nuclear Zombie?” \/ MICHAEL LÖWY, “Beyond Progress: The Ecosocialist Alternative”.\u003c\/span\u003e\u003c\/p\u003e","brand":"Manifold Kitap","offers":[{"title":"Default Title","offer_id":48378304790771,"sku":"9786058155558","price":1600.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/manifold-emin-altan-chernobyl-kapak-yem.jpg?v=1703620292"},{"product_id":"bogazicinin-ahsap-konutlari-ve-yalilari","title":"Wooden Houses and Waterfront Mansions of the Bosphorus","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReha Günay’s new book, \u003cem data-mce-fragment=\"1\"\u003eWooden Houses and Waterfront Mansions of the Bosphorus\u003c\/em\u003e, which conveys the structural and living culture of the Bosphorus through his unique photographs, has been published with the valuable contributions of DEKAR Yapı ve Yatırım A.Ş.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn \u003cem data-mce-fragment=\"1\"\u003eWooden Houses and Waterfront Mansions of the Bosphorus\u003c\/em\u003e, Prof. Dr. Reha Günay conveys the architectural and living culture of the Istanbul Bosphorus shores through a unique selection of black and white photographs, distilled from his more than 60 years of experience as an architect, academician, photographer, and author.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe INTRODUCTION of the book presents historical data indicative of the importance of the Bosphorus, which has been a living and settlement area from ancient times to Byzantium, from the Ottoman Empire to the present day, accompanied by maps and engravings. Specific information regarding the architecture and culture that developed along the Bosphorus during the Ottoman period is presented through the writings of authors who witnessed the era, such as Gugas V. Inciciyan, Edmondo de Amicis, Abdülaziz Bey, A. Cabir Vada, and Abdülhak Şinasi Hisar. The book offers glimpses into this culture of life that developed and integrated with the sea, ranging from the Göksu recreational areas to moonlight boat trips, from waterfront mansion gardens to life in summer houses, from fishermen to boatmen, and from waterfront mansion architecture to wooden houses. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFollowing this, Reha Günay, with his unique photographs taken from the 1960s to the present day, transfers structures and textures, some of which no longer exist today or have lost their originality, to future generations. He does this by following routes under the heading ASIAN SIDE, extending from Üsküdar to Anadolukavağı, and under the heading EUROPEAN SIDE, extending from Tophane to Yenimahalle.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe documents dozens of buildings of historical and architectural importance, such as the Aziz Mahmut Hüdayi Complex, the Debreli İsmail Paşa Mansion designed by Alexandre Vallaury, the Sadullah Paşa Mansion, the Kadiri Lodge, the Naime Sultan Mansion, the Amcazade Hüseyin Paşa Mansion (Istanbul's oldest wooden structure) and the Kavafyan Mansion (the second oldest structure), the Sait Halim Paşa Mansion, the Italian Consulate designed by Raimondo D'Aranco, and the Huber Mansion. In addition, he records humble wooden row houses, streets, and avenues that lean against each other, serving as a testament to the culture of communal living.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThrough his unique photographs, ranging from small traditional wooden houses to magnificent mansions and waterfront estates built in Baroque, Art Deco, Art Nouveau, or Neoclassical styles, Reha Günay reminds us of an architectural understanding and a way of life that we have lost:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Istanbul, where I spent my childhood, was almost entirely made up of wooden houses. In a city 2,700 years old, public buildings were constructed of stone and brick; a large portion of them still exist despite all the ravages of time. However, residential architecture was entirely wooden, and it had managed to endure until my childhood, being renewed at intervals of a quarter-century. As I walked through the streets of Istanbul, I occasionally encountered masonry or reinforced concrete houses. These were mostly located in certain neighborhoods or on main streets. This construction method began to increase gradually. It was then that I started taking photographs, fearing that this architectural heritage would one day disappear...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Bosphorus is a cultural channel 30 km deep that has persisted throughout history. To narrate the continuity of this past, I wanted to examine it period by period. While the shores of the Bosphorus were a well-known region in every aspect during ancient times, our knowledge about the Bosphorus gradually decreased after the end of Byzantium, and the last curious individuals seem to have ceased to exist in the 18th-19th centuries. However, as the images of the past faded into the mists, a newly emerging Bosphorus culture began to dazzle our eyes. This was a very brilliant period, refined by the sensitivity integrated with nature created by Ottoman civilization. Unfortunately, this period ended in the last days of the Ottoman Empire, just as its power waned and collapsed.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn recent years, the Bosphorus has entered the sphere of influence of the rent economy due to Istanbul's unlimited growth and overcrowding, becoming a focal point of interest for the newly rich. Perhaps for the same reasons, a passion for waterfront mansions has emerged; owning and living in a waterfront mansion has become a new obsession; waterfront mansions have been saved from ruin and have begun to shine on the waterfront with their new faces. However, the delicate world of life of the Ottoman notables seems to have evolved into another form... How much does renovating or restoring individual houses suit the appearance and spirit of the Bosphorus? While hundreds of concrete monstrosities rise among them... I think it needs to be questioned. Therefore, when choosing photographs, I preferred the oldest ones. Now, perhaps you will barely recognize some of them in their newly adorned state...”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book, which was printed in duotone special printing technique on coated paper, in large format, and hardcover, was edited by Mesut Kaya. Kemal Kara handled the graphic design and print preparation, and Resul Atabay carried out the graphic application.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCONTENTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eINTRODUCTION: The Bosphorus in the Past, Witnesses of the Period, The Bosphorus, Life on the Bosphorus, Mansion Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eASIAN SIDE: Üsküdar, Kuzguncuk, Beylerbeyi, Çengelköy, Vaniköy, Kandilli, Anadoluhisarı, Kanlıca, Çubuklu, Paşabahçe, Beykoz, Anadolukavağı\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEUROPEAN SIDE: Tophane, Fındıklı, Kabataş, Beşiktaş, Ortaköy, Kuruçeşme, Arnavutköy, Bebek, Rumelihisarı, Emirgân, Yeniköy, Tarabya, Kireçburnu, Büyükdere, Yenimahalle\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWHO IS PROF. DR. REHA GÜNAY?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay, born in Istanbul in 1937, graduated from Istanbul Technical University, Faculty of Architecture in 1960. He completed his doctorate in Art History at Istanbul University. Reha Günay became a professor in 1994 and worked in the Department of Restoration at Yıldız Technical University until his retirement, after which he served as a faculty member at Yeditepe University for a period.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe was among the founders of the Photography Department at Mimar Sinan Fine Arts University and taught Architectural Photography from 1978 to 2011. In his photography work, he strived to document cultural heritage and architectural legacy. From 1983 to 2004, he documented with photographs the structures participating in competitions in Islamic countries for the Aga Khan Award for Architecture Foundation.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay was awarded the \"Contribution to Architecture Award\" within the scope of the 17th National Architecture Exhibition and Awards of the Chamber of Architects of Turkey in 2020, for his successful work throughout his life.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay, who has conducted studies on archaeology and local architecture and organized international exhibitions, has 30 books published by YEM Publishing, including \u003cem data-mce-fragment=\"1\"\u003eMimar Sinan, Istanbul's Lost Wooden Houses, Living Wooden Houses of the Istanbul Islands, Analog and Digital Architectural Photography, The House in Şile, Why is Mimar Sinan a Design Genius?, In the Footsteps of Traditional Architecture 1: Bodrum 1965-1991.\u003c\/em\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206474483,"sku":"9786257008815","price":2100.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_BOGAZICI_AHSAP_KONUTLAR_YALILAR_KAPAK.jpg?v=1705077984"},{"product_id":"yaratici-fotografcilikta-baglam-ve-anlati","title":"Context and Narrative in Creative Photography","description":"\u003cp\u003e\u003cstrong\u003eContext and Narrative – The Power of Storytelling in Photography\u003c\/strong\u003e\u003cbr\u003eContext and Narrative, the second book in the Literatür® Creative Photography Fundamentals Series, guides you in discovering how to use storytelling in the process of creating meaning with photography.\u003c\/p\u003e\n\u003cp\u003eThis book, written on the language, words, and voice of photography, examines the relationship between the photographer, the subject, and the viewer by focusing on concepts such as the viewer, subject, narrative, signs, symbols, and text. The content, which concentrates on the contextual and narrative features of visual language, offers inspiring methods for you to apply the correct techniques.\u003c\/p\u003e\n\u003cp\u003eSupported by case studies for students and teachers, the work brings together a wide selection of professional, amateur, and student photographs. An indispensable resource for those who want to discover the power of context and create visually strong narratives.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTopics Covered in the Book:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli\u003ePhotography, Subject, and Viewers\u003c\/li\u003e\n\n\u003cli\u003eSigns and Symbols\u003c\/li\u003e\n\n\u003cli\u003eThe Function and Power of Narrative\u003c\/li\u003e\n\n\u003cli\u003eUsing Text and Visual Communication\u003c\/li\u003e\n\n\u003cli\u003eViewer Response and Project Development\u003c\/li\u003e\n\n\u003cli\u003eStorytelling with Photo Series\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003ePhotographers Who Contributed to the Book:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli\u003eBerenice Abbott\u003c\/li\u003e\n\n\u003cli\u003eBetsie Genou\u003c\/li\u003e\n\n\u003cli\u003eBritta Jaschinski\u003c\/li\u003e\n\n\u003cli\u003eEve Arnold\u003c\/li\u003e\n\n\u003cli\u003eGregory Crewdson\u003c\/li\u003e\n\n\u003cli\u003eHenri Cartier-Bresson\u003c\/li\u003e\n\n\u003cli\u003eJem Southam\u003c\/li\u003e\n\n\u003cli\u003eJill Cole\u003c\/li\u003e\n\n\u003cli\u003eLaura Pannack\u003c\/li\u003e\n\n\u003cli\u003eMary Power\u003c\/li\u003e\n\n\u003cli\u003eMehdi Vosoughnia\u003c\/li\u003e\n\n\u003cli\u003eMichelle Sank\u003c\/li\u003e\n\n\u003cli\u003eNewsha Tavakolian\u003c\/li\u003e\n\n\u003cli\u003ePaul Fusco\u003c\/li\u003e\n\n\u003cli\u003ePolly Braden\u003c\/li\u003e\n\n\u003cli\u003eRichard Rowland\u003c\/li\u003e\n\n\u003cli\u003eRobert Capa\u003c\/li\u003e\n\n\u003cli\u003eSeba Kurtis\u003c\/li\u003e\n\n\u003cli\u003eSimon Carruthers\u003c\/li\u003e\n\n\u003cli\u003eStuart Griffiths\u003c\/li\u003e\n\n\u003cli\u003eSusan Derges\u003c\/li\u003e\n\n\u003cli\u003eSusan Meiselas\u003c\/li\u003e\n\n\u003cli\u003eTaryn Simon\u003c\/li\u003e\n\n\u003cli\u003eTina Barney\u003c\/li\u003e\n\n\u003cli\u003eTom Stoddart\u003c\/li\u003e\n\n\u003cli\u003eWeegee\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor those who want to discover the narrative power in their photography, Context and Narrative continues to be a creative guide.\u003c\/p\u003e","brand":"Literatür Yayıncılık","offers":[{"title":"Default Title","offer_id":46803774046451,"sku":"9789750406942","price":273.75,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/0003540_yaratici-fotografcilikta-baglam-ve-anlati.jpg?v=1742045103"},{"product_id":"yaratici-fotografcilikta-tasarim-i̇lkeleri","title":"Design Principles in Creative Photography","description":"\u003cp\u003e\u003cstrong\u003eDesign Principles – Exploring Creativity in Photography\u003c\/strong\u003e\u003cbr\u003eDesign Principles, the first book in the Literatür® Creative Photography Fundamentals Series, offers ways to approach the creative process of photography through a design methodology.\u003c\/p\u003e\n\u003cp\u003eIn today's visually saturated world, design awareness can add a new layer of meaning and aesthetics to photographs. The book addresses fundamental design components such as line, shape, color, space, texture, and light, showing how they can integrate with photography. It guides readers on consciously creating compositions while producing different types and styles of photographs.\u003c\/p\u003e\n\u003cp\u003eDesign Principles offers a roadmap for anyone looking to gain a new perspective on photography. 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The book, prepared with texts in Turkish, English, and Arabic, introduces these holy cities of the Hejaz province in the early 1900s, accompanied by approximately two hundred archival photographs. This work, shaped by respect for sacred places and aesthetic sensitivity, with its visual and textual integrity, offers a unique resource for a wide readership with a connection to Ottoman history and the Haramayn. 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With the widespread adoption of digitalization, \"image production\" transcends traditional photography, integrating with architectural visuals, scenes collected from the internet, and visual data from artificial environments. Thus, an image is no longer merely a reflection of an object but a practice that is selected, re-constructed, and theoretically debated.\u003c\/p\u003e\n\u003cp\u003eIn this context, the book offers rich examples not only for academics and students interested in art practice but also for all enthusiasts who follow the transformation of visual culture. Visual theories, visual production processes, and the applications of the post-photography concept in daily and professional contexts become clearer with this work.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWho is this for?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli\u003eStudents interested in contemporary photographic theory and visual culture\u003c\/li\u003e\n\n\u003cli\u003eAcademics working in photography, media, and art\u003c\/li\u003e\n\n\u003cli\u003eCurators and visual production professionals\u003c\/li\u003e\n\n\u003cli\u003eCurious readers interested in the interaction of visual culture with technology\u003c\/li\u003e\n\n\n\u003c\/ul\u003e","brand":"Doruk Yayınları","offers":[{"title":"Default Title","offer_id":48454928433395,"sku":"9789755539287","price":322.5,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/post-fotograf-1743770291.jpg?v=1769864431"},{"product_id":"tanik-cagdas-turkiye-mimarligi-1995-2025","title":"WITNESS - Contemporary Turkish Architecture (1995-2025) Through the Eyes of an Architect and the Lens of a Photographer","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 8.5pt; line-height: 120%; vertical-align: middle;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 10.5pt; line-height: 120%; font-family: 'Arial',sans-serif; color: black; letter-spacing: -.1pt; mso-fareast-language: EN-US;\"\u003eThe book titled \u003ci\u003e\"\u003c\/i\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan style=\"font-size: 10.5pt; line-height: 120%; font-family: 'Arial',sans-serif; color: black; mso-fareast-language: EN-US;\"\u003eWITNESS - Contemporary Turkish Architecture from the Architect's Eye and Photographer's Lens (1995-2025)\"\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 10.5pt; line-height: 120%; font-family: 'Arial',sans-serif; color: black; mso-fareast-language: EN-US;\"\u003e by Architect-Photographer Gürkan Akay, which serves as a valuable architectural archive documenting the last 30 years of building production in Turkey and transferring it to architectural literature, has been published by YEM Yayın.\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 10.5pt; line-height: 120%; font-family: 'Arial',sans-serif; mso-ansi-language: EN-US; mso-fareast-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 8.5pt; line-height: 120%; vertical-align: middle;\"\u003e\u003cspan style=\"font-size: 10.5pt; line-height: 120%; font-family: 'Arial',sans-serif; color: black; letter-spacing: -.1pt; mso-fareast-language: EN-US;\"\u003eGürkan Akay is an architect and photographer who, since starting his architecture education at ITU, has observed the built environment through an architect's eye while also documenting it with his lens. In this book, published with the valuable contributions of Marwood, Akay shares with the architectural community a selection from over 2,500 structures he has photographed \"witnessing on-site\" over the last 30 years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 8.5pt; line-height: 120%; vertical-align: middle;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 10.5pt; line-height: 120%; font-family: 'Arial',sans-serif; mso-ansi-language: EN-US; mso-fareast-language: EN-US;\"\u003eThe photographs of the buildings featured in the book, which begins with forewords by Deniz Aslan, Murat Germen, and Nevzat Sayın, are accompanied by project descriptions and sketches from their designers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-fareast-language: EN-US;\"\u003eGürkan Akay, who says, \"I was known as 'photographer' by my fellow architects, and 'architect' by my photography circles; but I always saw myself first as an architect, then as an architectural photographer,\" states:\u003c\/span\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; mso-ansi-language: EN-US; mso-fareast-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-fareast-language: EN-US;\"\u003e\"This dual perspective allowed me to 'read' every building I documented, first as someone who understood its language. Thanks to this profession, I had the chance to experience spaces that were sometimes very unusual, sometimes very intimate, and sometimes very 'inaccessible,' and to be a living witness to what was happening in the country's architecture. A common language established through the ideas of hundreds of architects across thousands of projects, the reality of the building, and my perspective... Every shot in this book is one of those unique moments when the architectural mind of the past quarter-century met my lens. The selection in this book, filtered from hundreds of thousands of frames, is no longer just my testimony, but a document aspiring to be the memory of us all...\"\u003c\/span\u003e\u003c\/i\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; mso-ansi-language: EN-US; mso-fareast-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003eMarwood General Manager Mehmet Tamer Ünlü says, \"This work is much more than a photography book; it is a mirror held up to the recent architectural history of Turkey.\" He continues:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003e\"Gürkan Akay's perspective, stemming from his architectural education, and his aesthetic sensitivity in the art of photography, create not just a silent archive but a living memory of Turkey's architectural production over the last thirty years. It is an indescribable joy for us to be able to witness a distilled part of this vast archive, built through his years of effort, and to be a part of this work. Gürkan Akay also holds an important place in Marwood's transformation journey. When we were just starting out, his open and guiding assessments, looking at us from the outside, provided valuable contributions to us realizing who we are and what we could be. Seeing ourselves through the eyes of a professional added more strength to our journey than we had imagined. Our contribution to this book is a simple expression of our respect for his effort, his art, and the testimony he has accumulated over the years...\"\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003eDeniz Aslan:\u003ci style=\"mso-bidi-font-style: normal;\"\u003e \"Gürkan made many attempts on his way to becoming a master, a photographer, and naturally an architectural photographer at ITU Faculty of Architecture; he made a solid investment, established a pleasant studio. I believe that the patterns he created between architecture and art were the most important motivation in his self-transformation.\"\u003cspan style=\"text-transform: uppercase;\"\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003eMurat Germen:\u003ci style=\"mso-bidi-font-style: normal;\"\u003e \"Gürkan, who is one of the few people who have kept a record of Turkish architectural practice for 25 years, meticulously created his opus, indicating more than just a professional practice action and content... Gürkan is one of the first people to consult when academic, archival information about recent Turkish architecture needs to be produced, and the corpus he possesses is not even in state archives. This alone is a very significant achievement.\"\u003cspan style=\"text-transform: uppercase;\"\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003eNevzat Sayın:\u003ci style=\"mso-bidi-font-style: normal;\"\u003e \"It's a good thing that he takes photos with strong understandability using dual concepts such as light-shadow, surface-texture, fullness-emptiness, mass-detail, from ground-air, what's in the building-what's in his mind, often sharp, legible, from unexpected angles, showing us aspects of well-known structures that we didn't know well and would never know without his photos.\"\u003cspan style=\"text-transform: uppercase;\"\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"P-arketipArketip\" style=\"margin-right: 8.5pt; mso-hyphenate: none;\"\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: -.1pt; mso-bidi-font-weight: bold; mso-bidi-font-style: italic;\"\u003eThe cover design of the book, prepared for publication by Burçin Yılmaz under the consultancy of Selim Velioğlu, with Şenay Akay as photo editor and Resul Atabay for graphic design and application, was done by İlknur Alparslan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"mso-element: para-border-div; border: none; border-bottom: solid windowtext 1.0pt; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm 0cm 1.0pt 0cm;\"\u003e\n\n\u003cp class=\"MsoNormal\" style=\"mso-line-height-alt: 6.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm; mso-padding-alt: 0cm 0cm 1.0pt 0cm;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; mso-bidi-font-style: italic;\"\u003eWHO IS GÜRKAN AKAY?\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003eBorn in Bursa in 1976. Due to his father's profession, he spent his childhood in Şanlıurfa Akçakale, Nevşehir, Denizli Buldan, and Balıkesir.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: -.1pt;\"\u003eHe graduated from Ankara Gazi Anatolian High School in 1994 and from the Department of Architecture at ITU Faculty of Architecture in 1998. Immediately after his architectural education, he began his photography education at Marmara University Faculty of Fine Arts, Department of Photography, completing it in 2001 with a master's thesis titled \"Visual Pollution and Erosion of Public Awareness in Quality Today,\" prepared under the supervision of Prof. Dr. Sabit Kalfagil.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003eSince his student years, he has pursued both disciplines simultaneously. While participating in projects as an architect, he also began working as an architectural photographer under the umbrella of his company, \"Gürkan Akay Architectural Promotion.\" Since 1995, he has photographed over 2,500 projects for more than 400 architects-designers and firms, creating one of the most comprehensive visual memory archives in the Turkish architectural scene.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003eGürkan Akay has served as a jury member in national competitions and given seminars at various universities and institutions. His work has been featured in many publications such as \u003ci\u003eVogue, Yapı, Arredamento Mimarlık, and Tasarım\u003c\/i\u003e. Gürkan Akay was listed among \"25 names shaping the memory of the country's architecture\" in the 25th-anniversary special 250th issue of \u003ci\u003eTasarım\u003c\/i\u003e magazine.\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .15pt; mso-fareast-language: EN-US; mso-bidi-font-style: italic;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48489424683251,"sku":"9786259393186","price":1330.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_GURKAN_AKAY_TANIK_KAPAK.jpg?v=1770502773"},{"product_id":"gorsel-acidan-daha-iyi-fotograf-nasil-cekeriz","title":"How to Take Visually Better Photos?","description":"\u003cp align=\"left\"\u003e\u003cstrong\u003ePhotographer and Director Serkan Turaç's new book, \"\u003cem\u003eHow to Take Better Photographs from a Visual Perspective?\u003c\/em\u003e,\" which explains proper visualization through his original photographs and their analyses, has been published by YEM Yayın.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e \u003c\/p\u003e\n\u003cp align=\"left\"\u003e“\u003cstrong\u003eHow to Take Better Photographs from a Visual Perspective?\u003c\/strong\u003e” is a bedside book where you can discover what the visual concept is, what it consists of, how it can be produced, its importance in our lives, and how results can positively change with the right impact and methods.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eThe book was prepared with a narrative style and structure that can benefit anyone seeking to develop themselves in visual arts, visual communication, graphic design, basic design, film, and framing, especially photographers and photography enthusiasts.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eIn the preface of the book, Serkan Turaç explains what the \"visual\" concept consists of, addressing each element individually, providing examples, and enabling you to fully perceive, experience, and feel the visual. He states:\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e“Becoming visual is not as easy as it seems; it harbors many dreams and thoughts. It is the reflection and recording of what has accumulated from humanity's continuous existence throughout the ages for the future. I can say that we owe this act to the greatest light within us, namely our ability to imagine. Just as writings and inscriptions are transmissions that guide future generations, each visual product is a statement in itself that can open new horizons for us...”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003eThe book, edited by Burçin Yılmaz, proofread by Dilşad Aktaş, and designed and laid out by Resul Atabay, consists of the following sections: \u003cstrong\u003eSeeing, Perception, Meaning, Ability to Create Impact, Critical Elements, Aesthetics, The Language of Colors, Composition, Moment, Narrative Language, Light and Power, Presentation, Artificial Intelligence, Creation Process and Framing, Telling\/Being Understood, Metaphorical Approaches, Drone, Abstract and Netless, Tips\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e \u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cstrong\u003eWHO IS SERKAN TURAÇ? \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003ePhotographer and Director Serkan Turaç completed his higher education in Advertising and Public Relations; he then graduated from the Photography and Cinematography Department and received training in Press Photography. In 1992, he started working as a reporter for a local newspaper. He wrote columns for various local newspapers. He worked as Editor-in-Chief for Mirror Magazine and as Managing Editor for Beşiktaş Yaşam Magazine.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eIn addition to his personal exhibitions and presentations, he also curated exhibitions and edited books for other photographers, and organized festivals. He gave seminars on photography, cinema, and short films within private institutions, universities, associations, and photography clubs; he served as a guide, project consultant, and instructor; and he acted as a jury member in national and international competitions.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHe directed promotional films and short films, including documentary films he signed; he held various roles in feature films. He founded the Bodrum Short Film Workshop. He continues his cinema education.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eIn addition to his personal photography books titled How to Take Better Photographs from a Visual Perspective? (2026), Zemheri İstanbul (2023), and Halikarnas Mirror (2017), he produced articles and photographs for many magazines, newspapers, and blogs. He wrote a chapter in the TFSF (Turkish Federation of Photographic Art) training book.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eSerkan Turaç, whose works have been featured in personal and group exhibitions in Turkey and various countries around the world, has opened nine personal exhibitions in fourteen different cities and participated in over fifty group exhibitions.\u003cspan lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003eTuraç, who holds the EFIAP\/b title from FIAP International Federation of Photographic Art (Fédération Internationale de l’Art Photographique) and the GPU (Global Photographers Union) ZEUS title, continues his photography, cinema, short film, and video work by producing corporate promotional and advertising visuals under the umbrella of AKYA Film Prodüksiyon, which he founded.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48890062602483,"sku":"9786259010809","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_DAHAIYIFOTOGRAFNASILCEKERIZKapak.jpg?v=1774744486"}],"url":"https:\/\/yemkitabevi.com\/en-us\/collections\/fotograf\/basimtarihi_2016.oembed","provider":"YEM Kitabevi","version":"1.0","type":"link"}