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HomePhotographyHow a mobile photography strengthens dark children

How a mobile photography strengthens dark children


Sirkhana darkroom A mobile photography is dark, education, passion and most importantly to ignore communities in Turkey, where children face limited access to education and safety, especially after devastating earthquakes that regularly rock the region.

A acclaimed documentary, First frameAbout 30 minutes of film, which is Available for online viewing As part of the Wetransfeer’s Weprest series, focuses on children who have fallen in love with photography, not as subjects, but as storytellers themselves and growing artists and people who are not completely defined who have happened to them.

A man films a group of children sitting on the floor in a bright light room; Another man faces a group, which shows children something. The shelves with books and toys appear in the background.

“After the struggle in Syria, Iraq and here, we are trying to bring various communities together,” says Salih.

The film’s Amy-Namiksa Director and Cinematographer, Ili MitaruA friend joined the project after sending him an Instagram account for a mobile photo darkroom, Sirkhana darkroomThe project was initially launched by Turkish photographer Amel ArnebantAnd Salih developed it further and continued the initiative, although he was filmed since the “First Frame”. Sirkhane Darkroom continues under the leadership of a team of volunteers dedicated.

A person with a camera film is running through a green ground to three children at sunset, with a partially partly cloudy sky to see mountains and electric lines in the background.

Many people are working in a red -light red room, with two persons video cameras in the foreground, preparing to film or prepare others inside the room.

“I got an immediate response to how much intestinal and energetic children were,” Mitaru explains. “They were so sure about themselves, alive, and intimate – I was so surprised that the children who had just picked the cameras could catch such images.”

Mitaru’s friend introduced him to Salih, and he hit it immediately.

“He is one of the most selfless people I have ever met and oriented the whole life in this work,” says about Mataru Serbast Salih. After her first conversation, the project that became the “first frame” quickly became physical.

A man with sound tools helps two boys to sit on a bench, showing them a camera. A large red and white flag hangs behind them. The group looks out of a sunshine day.

Three people, including two girls and an adult woman, look closely at the camera screen that the woman is holding. They stand in front of a Chaiti Gate, which appear focused and curious.

A person with a video camera sits on the grass next to a child holding a phone, while a donkey stands near, in a car, in a cart, in a rural setting, under the sun with homes and trees in a rural setting.

“I wanted to tell the story from the child’s point of view, to rely too much on my photos and videos, to embrace his thinking strange, bizarre, magical nature and not as a passive topics of his often-but not as a fickle, flexible and complex individuals,” the director says.

A child, Zumra, left a powerful impression on Mitaru during production. She is “a surprisingly independent thinker,” Mitaru says. “I wish, we could have been a week a week with him and his family.”

A man closely examines a strip of the film, while two children watch vigilantly, staining in the background with another child and a girl. The view is warmly lit and focused on careful inspection of the man.

Two young girls are standing out on the path of a dirt, holding a camera and taking a photo, the other is holding a small object. They have a collapsed house surrounded by debris and trees behind them, with green hills in the background.

Zumra’s family house was destroyed in the February 2023 earthquakes in Türkiye, and when the film production team met him, he was staying in a container camp. Salih gave Zumra a camera, which she took to a local market. Although it was just seven years old at that time, she quickly realized that people saw her in a different way after having a camera in her hand and treated her.

“It took me a long time to understand and understand me completely (this dynamic),” Mitaru. “It blew me that this seven -year -old girl saw it so fast and was able to clarify it so well.”

Finally, Mataru’s biggest goal for “First Frames” is to bring the audience into the children’s world because they find new ways to express themselves and feel with the first hand that photography can give them, whether it is capturing her world, or perhaps experiencing it more positively.

A child keeps a strip of photographic negative in light, closely examining the images. The child's face appears partially in the profile, in which soft light exposes their characteristics.

A tray develops a black-end-white photograph in a tray under red dark lighting, showing three people outwards.

Although Sirkhana Darkroom is specific for weak and refugee children living around the Turkish-Syrian border, how photography has touched their lives, it is something with universal relativity.

“While the reference to our film is definitely unique, I hope that ‘First Frames’ promote a deep understanding and sympathy for weak children around the world,” says Mataru.

These children have made everyone feel painful, but they are not their trauma. Those artists are growing, thanks to the selflessness of the Amel Aranebant, Serbast Salah, and many others, learning to express themselves in new ways and are forging new bonds with those who have never met if they have never met if mobile photography is not for darkrooms. Photography has immense power, and the “first frame” shows it in a very powerful way.


Credit: Directed by ‘First Frames’ Ili MitaruWho is also the cinematographer of the film. Luke Boelitz Does additional cinematography while, while Zayenap bilginsoy Is the manufacturer and Yalda Mustajeran Is the editor. Available to watch movies Now on the Wetrans website of Wetransfer.





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