FOTOHANE DARKROOM
From Kobani to Mardin, Syrian photographer Serbest Salih is helping children heal through photography
In 2014, the MENA region was in turmoil. The Islamic State of Iraq and Syria (ISIS) emerged as a powerful terrorist organisation, capturing vast areas across Iraq and Syria, including the city of Kobani near the Turkish-Syrian border.
Now a symbol of Kurdish resistance against ISIS, Kobani was home to Syrian photographer Serbest Salih, who, like many others, was forced to flee and eventually settled in the southeastern Turkish city of Mardin.
Though Mardin is often described as "a beautiful and historic city," as Serbest puts it, he soon noticed divisions, particularly tensions between the Turkish government and Kurdish groups, including the Kurdistan Workers' Party.
He explains that, during this period, Mardin became a city where many Iraqis and Syrians sought refuge. Despite the shared languages — Turkish, Kurdish, and Arabic — he observed an alarming lack of connection between these communities.
“There was no integration among the people. Local Arabs, Arab refugees, local Kurds, and Kurdish refugees — they all spoke the same language, yet there was no communication between them,” Serbest says.
The birth of Fotohane Darkroom
The lack of connection inspired Serbest and Turkish artist Amar Kılıç to create a photography project that brought local and refugee communities, especially children, together through analog photography. This project eventually evolved into Fotohane Darkroom by 2024.
According to Serbest, the name Fotohane, chosen by the children, translates to “photo house" in Arabic, Persian, Kurdish, and Turkish, and while the project focuses on creativity, healing, and social cohesion, the well-being of the children remains its core priority.
Serbest stresses that most children in the region are forced to grow up quickly, with limited chances to enjoy their childhood, learn about their rights, and face common issues like child labour and few cultural opportunities.
Fotohane aims to give these children a space to simply be children and to connect with others from different backgrounds. Using photography as a shared language, the project encourages refugee and local children to meet, collaborate, and understand each other.
As for the workshops within Fotohane, the photography sessions often explore alternative printing methods, such as photograms and pinhole cameras.
Beyond photography, Serbest emphasises that the workshops are designed to foster participation and inclusion by involving children in every step, free from adult interference or manipulation, while also addressing gender equality, children's rights, and peer support.
Growing impact and future plans
The impact of Fotohane is already clear. For children from remote villages, having their photos exhibited internationally — in cities like Paris — is a rare and inspiring experience.
Some participants have gone on to pursue photography professionally. Mahabat, one of the earliest participants, is now a photographer in another Turkish city and serves as a role model for refugee girls, showing independence and passion through her work.
Looking ahead, Fotohane plans to become more mobile with a travelling darkroom to reach more regions. The project also aims to train former participants to lead, all supported by volunteers, donations, and child safeguarding training to keep the environment safe.
“This is a collective project,” Serbest explains. “I don’t want it to depend on just one person.”
In saying this, Serbest notes that Fotohane avoids, and will continue to avoid, labels and divisions by deliberately not disclosing the backgrounds of the children whose photos are shared. This sends a clear message that where children come from does not matter.
Coming soon, Fotohane will exhibit in London at the Frontline Club on Friday, 3 October 2025. The exhibition, curated by Natalia Theodoulidis and Kaan Olcay — two team members who began as volunteers and now represent Fotohane in the UK — includes photos selected and printed by the children themselves.
About the author
Zainab Mehdi is a British-Iraqi journalist and Features Associate Editor at The New Arab.
Her work has appeared in Vogue Arabia, GQ Middle East, Mille World, The National UAE, JDEED Magazine, and more.
She holds a BSc in Modern History and International Relations from the University of Essex and an MA in Near and Middle Eastern Studies from SOAS.
Zainab currently resides in London. @ZAINABMEHDI_
