Atatürk's period photographs and photographers

Since its emergence in France in the 19th century, photography rapidly developed and became a widely recognized and multifaceted art form across Europe, America, and many other parts of the world. It quickly became an integral part of individual and social life, and found a place in various studios within the Ottoman Empire as well. In time, photography became widespread in the Ottoman lands both as an artistic expression and as a documentary tool, practiced by both professionals and amateurs. In Turkey, the dissemination and development of photography were built upon this Ottoman legacy and gained momentum particularly during the Atatürk Era. In the early years of the Republic, photography became one of the main tools for constructing the new nation-state, conveying social transformation, and reflecting modernization ideals. Photographs of Atatürk depict him in a wide range of contexts: fighting on the front lines with his comrades, sitting and chatting with villagers, swimming with the public in Florya, receiving foreign guests at Çankaya Palace, playing with children on a swing, or listening to lectures with young people. He is also seen expressing his love for nature by having a mansion relocated to avoid cutting down a tree, riding a tractor at the Atatürk Forest Farm, performing the zeybek dance, or examining a sculpture. This study evaluates the photographs from this period and analyzes the perspectives of the photographers behind the lens through a scanning model (tarama modeli) approach. It is determined that Atatürk attributed particular importance to photography and photographers, viewing these images as powerful documents to be passed on to future generations and therefore consistently working with professional photographers. Keywords: Ataturk, Photograph, Photography, Art, Ataturk Photographers