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The article focuses on photographer, Abdo Shanan's project "The Right to a Memory," which aims to build an archive of Algeria's ordinary citizens through a combination of crowdsourced vernacular pictures and Shanan's own portraits and street photography. It is reported that Shanan's project challenges the prevailing perception of Algeria as a country of martyrs by highlighting the lived experiences of its people beyond the revolutionary figures frozen in time.

The article offers information on the works of photographer Helga Paris. Topics discussed include capturing of the inhabitants and street scenes in melancholic images; photographs of the self-styles young punks pictured by Paris in her apartment of her building's stairwell; and exhibitions of the works of Paris in and outside of the German Democratic Republic.

The article features the work of Japanese street photographer Katsumi Watanabe. His work has been recognized for capturing the underground culture of yakuza and prostitutes in Tokyo. Photography equipment and supplies used by Watanabe during the 1970s are identified. The portrayal of the disco culture in Watanabe's photographs is discussed.

The article features Jamaican photographer Radcliffe Roye. Topics discussed include Roye's efforts to show people that walking, or having walked, is to show the human condition, the 121 mile-walk that he made in Jamaica in 2000 to photograph squatters on and alongside a defunct train line, the images in his Instagram account of people who are all too often forgotten or ignored.

The article profiles street photographer Daniel Arnold, presenting examples of his work and offering a critical analysis of his style and themes.

The article presents a profile of Dutch photographer Ed van der Elsken, focusing on an overview of his career and style. Topics include his emphasis on portraying individual characters with street-style portraits, themes of social marginality and anti-conformism, and his techniques and equipment. A portfolio of selected images is included.

The article discusses the work of the street photographer Jason Evans. Particular focus is paid to his project "NYLPT," a compilation of photographic images taken in various cities around the world including London, England, Paris, France, Tokyo, Japan and New York City. For the project, Evans created layered images that resulted from the multiple exposure of the photographic film. Comments by Evans are included.

The article presents a conversation between the photographers Philip-Lorca diCorcia and Leo Rubinfien in which they discuss the life and career of the late American street photographer Gary Winogrand. Particular focus is paid to an exhibition of Winogrand's work curated by Rubinfein at the San Francisco Museum of Modern Art (SFMOMA) in California. Other topics addressed include the unprocessed and unedited work left by Winogrand at the time of his death, Winogrand's interest in capturing the chaotic and fleeting nature of life, and why the quality of his work suffered a decline late in his career.

The article discusses the work of the French photographer Eugène Atget. The author focuses on Atget's photographs of Paris, France, noting that the photographer often took pictures early in the morning when the streets were mostly empty and devoid of people. Also explored is the concept of time in the photographs, especially in images of water, such as those that feature the Seine River, and in images of statuary. The influence of the French photographer Charles Marville on the work of Atget is also discussed.

The article discusses Chinese photographer Mo Yi and photography in China. The author suggests that new freedoms in China after communist leader Mao Zedong's death in 1976 allowed for the development of new forms of photographic expression and urban street photography, although Chinese media photographs were often propagandist. A discussion of the idea of reality in photography is presented, and the author suggests that candid photography began to dominate over staged images in China during the 1990s. Mo Yi's style in the 1980s involved questioning aesthetic sensibilities and exploring the relationship between individualism, an important Chinese issue, and the outside world. Mo Yi's style shifted in the 1990s to focus on his surroundings and forms of expression in Tianjin, China.

The article presents the architectural structure, history and characteristics of Berlin to a traveler that visit the city for the first time through a series of photographs. According to the author, any traveler from the west who went to Berlin by plane must have crossed it thrice which gave them enough time to observe the city from above. They might have also noticed that the city's structures seemed uniform and consistent. The pictures include the images of several Berlin landmarks and edifices.

A brief article provides information on SelvaSP, a group of São Paulo, Brazil-based photographers, including Gabriel Cabral, dedicated to the revitalization of street photography.

The article discusses some important insights and ideas about photography from photographer David Lee. He stresses to show interest in the field of photography at the age of fifteen with the utilization of a 35-millimeter camera. The author points out to consider himself as a portraiture as well as focuses on street photography. He infers that documentation plays a significant role in photography and anticipates that his photographs will clearly convey the message to its viewers. A photograph of My Father: William James Edward Lee III that was taken in 1982 is also presented.

The article presents the author's insights on his photographs and about photography. He states that the focus of his photographs is the problem concerning otherness in non-American countries where indigenous culture is greatly influenced by the northern culture. He plans to carry out various photographic projects including poetic meditation in tropical countries, sociopolitical exploration in Haiti and observing the streets in Mexico. In addition, he also intends to take photographs in the U.S., where he observes a large group of Caribbean and Hispanic people from Florida coming across the culture of North America. A photograph of Oaxaca in Mexico is also presented.

The article discusses how the author's interest for photography developed. She recalls how lost she was when she came back home after traveling for seven years. She explains that she took photographs of people on the street for the pleasure of following, not because of his interest for the party. She points out that she took photographs of people without their knowledge. In addition, she stresses that in 1980, she moved to Venice in Italy where her career in the field of photography started. A photograph from the series "The Graves" in 1991 is also presented.