Six million litres of diesel and paraffin oil are smuggled from Iran to Pakistan every day, which amounts to about two billion litres every year. Joblessness, drought, and the low price of fuel in Iran compared to Pakistan are the main reasons for fuel smuggling, which have led most of the young people in Sistan and Baluchistan Province to choose this profitable and dangerous job. More than 3000 vehicles in the province are smuggling fuel. To prevent the fuel smuggling, the police do not allow the smugglers to cross the border in various ways. Therefore, the drivers of fuel vehicles drive very fast to escape from the police. As a result, the vehicles crash, capsize, and catch fire. Crossing the border is forbidden for the vehicles without permission. If vehicles enter the border zone, the police have the right to shoot. In many cases, the officers shoot at the tyres and stop the car, and in many cases, the bullets hit smugglers in the leg. According to the statistics, smugglers are mostly wounded in the leg. An average of 10 to 20 people are maimed or killed every month in the shooting or accidents.

I am truly passionate about portrait photography. It holds a special place in my heart because it allows me to perceive life differently. For me, taking a portrait photo means capturing more than just an image; it means preserving the essence of a person's soul. The face acts as a mirror, revealing all the emotions, trials, and tribulations one has endured. It is this belief that has led me to embrace the title of a soul collector. As a photographer, I often find myself pondering over my role in society. What is my duty? It is with great conviction that I have chosen to be the voice for those who are voiceless. The focus of my current collection centers around the marginalized individuals in our society those who have become homeless and addicted to drugs. These people, often judged solely based on their appearance, are subjected to harsh criticisms and misplaced assumptions. We all know someone, be it a friend or a relative, who has fallen victim to their own poor choices, leading to a life of despair. The pain that resonates from this issue is all too familiar. Over the course of nearly two years, I dedicated myself to this collection, immersing myself in the lives of these individuals. What struck me the most was their undeniable kindness and their longing for consideration. All they needed was someone to listen, to lend them an ear. In my encounters with these people, their stories touched me profoundly. I discovered that behind their current circumstances, they were once living a good life, holding steady jobs. However, a specific event or an unfortunate situation had stripped them of everything they held dear. To capture the essence of these individuals, I always carried a black background with me. Through their eyes and hands, I aimed to convey their emotions and invite viewers to feel a connection to these powerful images. What resonated with me the most was the overwhelming generosity of these individuals. Despite their own hardships, they accepted my help with great difficulty. In these moments of communication, I realized that their past lives and present struggles were much more complex than what met the eye.

My photography draws inspiration from Baroque masters like Caravaggio and Rembrandt, using chiaroscuro to explore identity, culture, and the passage of time. Through a careful interplay of light and shadow, I create images that bridge tradition and modernity, combining classical aesthetics with contemporary narratives. Influenced by early portraiture, I focus on posture, gaze, and composition to evoke a sense of historical depth while grounding the work in present-day realities.An integral element of my art is the use of contemporary Iranian fashion, featuring garments crafted from traditional fabrics and patterns. These designs reflect the fluidity and adaptability of a nomadic identity, celebrating Iran’s cultural diversity while resonating with themes of migration and belonging. My move to London deepened my exploration of the dualities of rootedness and transformation, East and West, past and future.Each photograph is a dialogue between heritage and innovation, illuminating the richness of cultural evolution. Through this fusion, I invite viewers to reflect on the timelessness of tradition, the fluidity of identity, and the shared human experience of change. My work celebrates the beauty of transformation while honoring the enduring power of cultural expression.

One of the most important mourning events in Noushabad city is the symbolic presence of the demons on the 8th day of Muharram. Every year on this day, a large number of people in Noushabad dress up and paint their faces and bodies to make themselves look like demons. . This ceremony is held in memory of the presence of a group of demons at the behest of Zafar Jani - their leader - in the incident of Karbala. Children have a colorful presence in this ceremony and attend this ceremony with their parents with indescribable enthusiasm. The frames of this collection have been prepared during the last three years in residential houses and streets leading to Hosseinieh Noushabad.

This series of images was taken at the Khara Desert, Isfahan Province, Iran. Very silent Khara sand dunes make the landscape spectacular and a great place for meditation or jogging in the desert. On a very windy day, I could hardly see my friend walking through the sand dunes. so I managed myself on the wind, saw the scenes through the viewfinder of my camera, and finally captured these stunning moments of the magnificence of the desert.

I’ve always felt that the expectations of fond moments and the strength of emotions have always fallen flat and have never felt as good as imagined. In my body of work, I seek to fulfill that expectation to prove to myself, and others that may relate, that these emotionally unique moments truly do exist. Through my photography- I am able capture people who are experiencing these quickly fleeting intimate moments. With these photographs, I aim to capture the kindling of an emotion, in the sense that, upon viewing, the photograph can initiate or evoke the emotion of the moment unfolding. To feel is to live, otherwise we have life that is not considered special.This is how I feel it should be like to feel.

I make images in real time of uneventful scenes, devoid of the overused motifs and impromptu techniques practiced in conventional street photography. Conceptually, these are simple recordings of people walking with undisclosed purpose, separated in plastic space in seemingly choreographed but otherwise uninteresting tableaux. Non-speaking characters are connected by no means other than where they were when the shot was taken. Images made with this technique may appear fictitious and constructed, but they're not. I wait, often for long periods, for the right organic distribution of people. Although the scenes are real, shooting them this way can make them look unreal. Photographic layering is prevalent throughout this body of work. People are photographed at near or middle distance, or into the far distance to a point where they resemble graphic dots. The inanimate built environment is the stage upon which this rhythmic urban ballet is played out. People bring the animate but are spatially arranged as though carefully directed. They give the appearance of automatons preconditioned to act like self-absorbed and isolated passersby. Could the robotic looking formations portrayed here signal a time when we’re no longer able to discern what is human and what isn’t? Perhaps the influence of digital technology on the street scene is already illustrating a boundary between the real and virtual worlds, giving a real city the look of a science fictional one.

Plants waiting for the rain, bees waiting for the nectar of flowers, herbivores waiting for the grass to grow. Carnivores waiting for those herbivores, chairs waiting for someone to sit down, machines waiting to be activated, people waiting for birth, and deaths waiting for humans.

As a board-certified Lebanese psychiatrist with years of experience in mental health, I’ve always sought meaningful ways to understand and express the complexities of the human condition. Photography became a natural extension of this pursuit, a medium where art and emotion converge. Though I am not a professional photographer, my journey is entirely self-taught, driven by an insatiable curiosity and a fascination with the power of imagery. Over time, photography has become more than just a passion—it is a form of solace, reflection, and storytelling. This project represents the culmination of years spent honing my craft through street photography, an approach that resonates deeply with my love for authentic, unposed moments. Traveling across the globe—from the bustling avenues of major cities to the quiet corners of serene neighborhoods—I’ve aimed to capture the essence of human emotion in its rawest, most honest forms. Every photograph in this series tells a story, a fleeting moment that encapsulates the depth of our shared humanity. The images are inspired by the interplay of light and shadow, much like the complexities of the psyche I explore in my clinical work. In one frame, you might find the ecstasy of a pianist lost in their music; in another, the exuberance of students celebrating a shared triumph; or the quiet sorrow of someone sitting alone on a park bench. These moments transcend cultural and geographical boundaries, speaking to universal emotions that define us all—joy, hope, loneliness, resilience, and introspection. As both a psychiatrist and an amateur photographer, I find that my dual perspectives allow me to bridge the gap between science and art. Photography, like psychiatry, is about understanding the layers of human emotion. Through my lens, I strive to give voice to the silent stories that often go unnoticed, bringing forth the subtle beauty that exists in even the most ordinary moments. This portfolio is more than a collection of photographs—it is an invitation. It asks viewers to pause, to reflect, and to discover pieces of themselves within the frames. It is a celebration of connection, a reminder that beauty exists in both light and shadow, and a testament to the emotional tapestry that binds us all. Ultimately, I hope this series serves as more than a visual journey. I hope it inspires empathy, introspection, and a deeper appreciation for the quiet moments that define our shared human experience. Whether through the lens of a psychiatrist or an amateur photographer, my goal remains the same: to explore the profound depths of what it means to feel, to connect, and to be human.

This series questions the defense mechanism of a world imprisoned by its nights. Populated by individuals, human limbs, felled trees and broken moulds, this world is a prison space in which its inhabitants convulsively wait. Even petrified, they await the moment of their metamorphosis. As man is not a self-contained entity, he is naturally caught up in the chaos of an open, infinite universe, in which finding one's place remains everyone's struggle. The human body is subject to the movements of this ordeal. We do not know what the body can do. Despite the arbitration of physiology, the body fascinates through its defense mechanisms. Mysterious, familiar, foreign, intimate and off-putting, it is the object of this adventure. Anatomy announces itself as the living place of salvation, while the skeleton is declared by Baudelaire to be the "plane of the human poem". If beauty must be convulsive, let it be!

Death may be the most powerful and mysterious reality of existence, one that no one can deny. Biologically speaking, death occurs when life exits the cycle of existence and disrupts the physiological functions of the body. Ultimately, it confronts life and overcomes it. What remains of humans is a collection of memories, recollections, and objects. Among these, photographs stand out as perhaps the most vivid and expressive. The medium of photography has shown its intrinsic connection to both life and death at the exact moment a photograph is taken. At the press of the shutter, that moment dies, producing an image that lives on forever. When death occurs in a home, all objects and spaces within it can evoke memories and link us to the past. They become a shared point between the present and the past. Among these, plants, which sometimes survive thanks to the care of those around them, are particularly fascinating. While they bear witness to both life and death, they continue to live on, quietly reminding us of the unseen presence of those who have passed. The ficus plant in my grandmother’s home is such a point for me. I’ve seen it since childhood, watched it grow, and now it has stretched tall, reaching the sunlit window of the hallway entrance, over ten years after my grandmother’s passing. Its continued survival, thanks to my uncle’s consistent care over all these years, is perhaps the main reason it remains. Seeing the still-thriving plants in the house each time I visit became the starting point of this series. In this collection, I sought to water the memories left behind, just as my uncle has watered the ficus, by incorporating old family photographs and transforming them into new, enduring images.

Hidden beneath the surface, emotions swirl like dust devils in the wind. These images capture the moments when the wind reveals what we try to conceal, carrying our hopes, fears, and unspoken truths into the open. The wind will carry us, whether we are ready or not.

This disease is hereditary in our family. My father's present condition may end up being my own in the future. In Iran, there are over 700 thousand people at risk of developing Alzheimer's disease. It seems unlikely that our country is going to be able to support and treat this issue at every societal level. The monthly expenses of a person living with Alzheimer’s come to at least $100, and the majority of people are uninsured. Meanwhile, my mother's behavior makes me rediscover love.

Life can present many obstacles for people with disabilities. These challenges lead to social isolation, poverty and reduced quality of life. However, amid these obstacles, Uganda is gradually transforming to become more inclusive. As of 2020, Uganda has one of the most progressive laws for people with disabilities in the world. This states, among other things, that discrimination against people with disabilities is prohibited. Children with disabilities have the right to education and adults have the right to a job. This is very important because 80% of all people with disabilities in the world live in developing countries, such as Uganda. While there is still much work to be done, the progress made thus far is a glimmer of hope for people with disabilities.

Since 1999, over 200,000 Serbs have left Kosovo, including 22,000 forcibly displaced. Today, Serbs account for just 5% of the population, with half residing in the Serb-majority north and the rest in isolated enclaves under NATO (KFOR) protection. These enclaves face significant challenges: unemployment exceeding 50%, limited access to resources, and restricted movement due to inter-ethnic tensions.For many Serbs, Kosovo is a cornerstone of their cultural and spiritual identity. Once the hub of Serbian political and cultural life, its cities like Prizren and Priština and landmarks such as Dečani Monastery and the Patriarchate of Peć reflect a rich history. The 1389 Battle of Kosovo Polje remains central to their collective memory, symbolizing resistance and sacrifice.Despite Kosovo’s 2008 independence, most Serbs reject its sovereignty, echoing Serbia’s stance, which is shared by Russia and others. Their deep attachment to Kosovo’s heritage underscores Serbia’s refusal to recognize the territory. This steadfast connection raises critical questions: Do Serbs remain out of cultural duty or necessity? How does Kosovo’s significance influence their resilience amid economic and political uncertainties? Their enduring story reflects a complex interplay of survival, identity, and history.

Ronnie’s Fight with Dementia: A Visual Story Ronnie’s battle with dementia is one of strength, love, and humanity—a journey captured poignantly through these seven images. This collection reflects the emotional highs and lows, the everyday challenges, and the unwavering bond of family support. The first image, “Home Is Where It Begins,” sets the stage with Ronnie proudly standing in front of his home. This symbol of stability and familiarity is where his fight unfolds. As the disease progresses, Ronnie is drawn to memories of his vibrant past, as seen in “Motorbike Boys,” where he lovingly clutches a photograph of himself in younger days, reliving the freedom of simpler times. “The Simplest Things Become Difficult” captures his struggle with day-to-day tasks, frustration etched into his expression, reminding us of the disease's relentlessness. In “Doctor on Call,” we see the medical attention he requires, a moment highlighting the care and expertise needed to manage his condition. “Goodbyes Are So Hard” captures the heart-wrenching emotions of his loved ones as they grapple with the changes dementia brings. The pain of seeing someone you love slip away is powerfully evident in their tears. Yet, amidst the struggle, “Still Time to Laugh” reminds us of the resilience of the human spirit. Ronnie’s infectious laughter shows that even in the depths of illness, moments of joy persist. Finally, “Always There for You” encapsulates the love and care that define his journey, with his family steadfastly by his side. This series is not just a documentation of Ronnie’s experience but a tribute to the dignity of those facing dementia and the profound strength of familial love.

According to international surveys Middle Eastern countries in particular Iran hold the highest rank for close family marriages in the world. These marriages all across Iran are on the rise, now about 1.5 percent above average. Sadly In our country 45 percent of all marriages are that of close family and therefore is the leading cause for genetic illnesses and birth defects for those born of these marriages. Taking into consideration the social and cultural roots of marriage in our country you can see that more of these marriages are taking place in societies that have a more tribal and traditional build. Societies that tend to lean more to the status quota then to what is scientifically proven correct, and there for by not thinking ahead and taking there offspring’s safety and health into consideration, rob them of the chance to have a fruitful, healthy and full life. So they have these children expecting them to enrich their lives only to face the bitter truth of life with genetic defects. And the heavy emotional, financial and social burden wich accompanies these problems. Sadly in Iran we can see many of these families and their children who are direct victims of such traditional beliefs and out dated ideologies. In these marriages there are two direct victims, the parents whose hopes and dreams for a beautiful future for their children are replaced by hopes of less suffering. And second the children themselves who suffer the consequences of these marriages and cannot understand why they are born this way, why they are different and why they stand out. Why they cannot enjoy being a healthy normal child but instead must suffer through life until the day they leave it. Of these two they are the true victims, they are the victims that cannot speak out!

patience come to an end Ayuob ... It has not been running since the fall of '2019. Ayoub's patience peaked one day. Not because his right was kicked out. Because they stole the gold from the neck of Iran. Ayuob won the Jakarta Para-Asian 2018 quota in the overseas tournament but was not sent to the tournament. The federation withdrew its quota of 400 meters and handed it over to a weightlifter. They thanked Job for the quota and said that according to the calculations, if we send you, you will be sixth, but if we send that launcher, he will get gold. Good bye! Ayuob also said, God willing. He closed his mouth and said goodbye to Tehran. At his father's house, he turned on the TV, but he saw that, ironically, the opposite had happened. The athlete who consumed Ayuob's quota finished sixth in weightlifting, and the runner-up record for the gold medal in the 400m was just two seconds better than Ayuob's last record two months before the start of the Jakarta Games. AC Milan have been sidelined for five years. Twice he became the country's sprint champion for the blind and visually impaired, putting himself on the brink of Asian gold while having no job or income. Instead of all that he did not have, Ayuob saw Torab Farzinia as his mentor, friend and brother, in addition to Peykan with the knowledge of Torab who ran after him and sweated. Torab is the chairman of the Chaldoran Athletics Board, but does not sit at the table. He says that if Ayuob only has a stable job and income and does not falter for a living, he will hunt for the 2021 Olympic gold medal for Iran. Whoever runs at the height of Azerbaijan, especially Chaldoran, is automatically 2 seconds ahead of all competitors. As a child, Job contracted a rare disease, and doctors removed his right eye to protect his left eye. The left eye has 50% vision. The day he was disappointed after three months in Tehran and training, he knew he should not tell the truth. When he reached Chaldoran, at the height of his honor, he told a bitter lie to the children of the neighborhoods and his parents. He said that the selection competitions were canceled because he could not look them in the eye and tell how the years of hard work and his inalienable right were trampled. But anyone who looked into Job's eyes, especially at the sparkle in his eyes, realized that this was not the truth. Job is only 25 years old, but he has committed a great sin because he has run away from the federation and the Ministry of Sports. Ayoub the frontiersman, despite the disability border, has now drawn a border of humanity for himself.

Climate change is probably the greatest threat humanity has ever faced. Germany, with its stable economy and favorable geography, appears well-positioned to meet climate goals. However, the reality is far more complex and challenging. "Fragments of Climate Change" captures a society on the brink of climate collapse and documents Germany's ambitious plans to become a climate-neutral industrial nation by 2045. The country has committed to phasing out nuclear energy and coal-fired power generation by 2038. Additionally, Germany's climate law mandates significant reductions in greenhouse gas emissions. As an international pioneer in the fight against climate change, Germany's journey highlights the difficulties of transitioning to a climate-friendly reality. To meet its goals, Germany must triple its number of solar panels and wind farms by 2030. This push has spurred a new era of green colonialism, with the richest nations demanding vast quantities of raw materials, such as lithium and copper, to secure a green future. Germany's demand alone threatens to overwhelm the global market. Despite being one of the world's strongest economies, Germany faces immense challenges in adapting to climate extremes. While the country met its climate targets for 2022, progress remains insufficient, as noted by Dirk Messner, President of the Federal Environment Agency. We are nearing a tipping point, and it is imperative to honestly consider what a sustainable future looks like. Although many know what actions are necessary, political will to implement them is lacking. Society has perhaps never been more divided between self-interest and fear. My photos are fragments of this vast, unfolding event. They capture the values and norms of our society at this critical juncture, portraying the complexity and disruption inherent in Germany's green transformation.

Maharlu Lake in Fars Province Due to its high salinity and abundant light, it contains a harmless algae called Dunalilla salina, which is a food source for migratory birds, especially flamingos. In recent years, the entry of sewage and toxic substances has been the main threat to the life of Maharlu Lake. Excessive extraction of groundwater and the drilling of unauthorized wells have also affected the ecosystem of this lake, reducing the population and diversity of migratory birds.

The news was short. "Lake Urmia, the second saline lake in the world, dried up". The falling level of water in the lake has led to increasing salinity, lack of food sources for birds and animals, salt storms, the change in the region’s ecosystem, and a negative impact on agriculture, people’s lives, and health. The social and economic consequences of the tragedy are growing like a stain. Soil and salt particles have caused respiratory diseases and the gardens near the lake have dried up.

Indonesia’s Sumatran orangutan is under severe threat from the incessant and ongoing depletion and fragmentation of the rainforest.  As palm oil and rubber plantations, logging, road construction, mining, hunting and other development continue to proliferate, orangutans are being forced out of their natural rainforest habitat. Organizations like the OIC (Orangutan Information Center) and their immediate response team HOCRU (Human Orangutan Conflict Response Unit), rescue orangutans in difficulty (lost, injured, captive...) while the SOCP (Sumatran Orangutan Conservation Programme) cares for, rehabilitates and resocializes orangutans at their purpose-built medical facility, aiming to reintroduce them into the wild and to create new self-sustaining, genetically viable populations in protected forests.That we share 97% of our genetic heritage with orangutans seems obvious when you observe their human-like behavior. Today, with just over 14,000 specimens left, the Sumatran orangutan (Pongo Abelii) along with the 800 specimens of the recently discovered Tapanuli species (Pongo tapanuliensis), are listed as critically endangered by the International Union for Conservation of Nature (IUCN).

The suspicious deaths of thousands of migratory birds in the Miankaleh Wetland area in northern Iran have raised concerns among local residents and environmentalists. The cause of death remains unknown, and various rumors have circulated, including bird flu, botulism, sewage, poisoned prey, and toxins used by hunters, as possible explanations for their demise.

Every year, with the arrival of Nowruz in Iran, the market for buying and selling goldfish booms. Despite the fact that goldfish have a long lifespan of several years, due to poor storage conditions and the lack of knowledge of buyers and sellers about how to care for them, these marine creatures face a dark fate and a short life span.

The Magh Mela: A Monochromatic Journey into Devotion and Ritual This series of black-and-white photographs explores the profound spirituality, timeless rituals, and human stories embedded within the Magh Mela, an annual Hindu pilgrimage held on the sacred banks of the Sangam in Allahabad. Through this project, I sought to document not just the event, but the essence of faith, resilience, and cultural identity that permeates every moment of this grand confluence. The choice of black-and-white imagery strips away the distraction of color, allowing the raw emotions and textures of the human experience to shine through. It is an intentional approach to focus on the contrasts—the interplay of light and shadow that echoes the duality of devotion and the ephemeral nature of life. These images, while rooted in a specific cultural and spiritual context, transcend boundaries to speak to universal themes of humanity's search for meaning and connection. The first photograph captures an elder stepping out of the sacred waters, his expression reflecting both the weight of his years and the lightness of faith. In the second, a vendor with a towering bundle of cloth embodies the resilience and rhythm of the mela’s microeconomy. The third frames a poignant moment of prayer, while others depict the vitality of youth juxtaposed against the humility of seasoned devotees. Each frame is a testament to the timeless rituals, the fervor of the faithful, and the intimacy of personal offerings. Through these photographs, I aim to invite viewers into the spiritual intensity of the Magh Mela, offering a lens into moments that are both deeply personal and universally relatable. This work stands as a reminder of the enduring power of ritual and the unyielding connection between humanity and the divine.

Bodybuilding, bodybuilding or body beauty is a sport in which a bodybuilder tries to build a bulky, cut and proportionate body by performing various strength and endurance exercises on his muscles, as well as proper nutrition and sufficient rest. Today, bodybuilding is booming among young people. Athletes use expensive supplements that are sometimes harmful to the human body in building muscle and stimulating their body's hormones. Backstage is called behind the scenes of the competition. Where the athletes prepare themselves to appear on the stage. Backstage bodybuilders are closer to their true selves. They have been on a diet for a long time and sometimes they don't even drink water for a day before the competition. In this collection of photos, I tried to photograph the events that took place in the backstage of the national competitions held in Iran. Backstage, the athletes paint their bodies, eat diet food, pose for photographers and reporters, make friends and are anxious about the competition. They have worked hard for years and today they have come to get the reward for their hard work.

A week before the storm, our creative little community along the river felt so vibrant and alive. Marshall, like so many mountain towns, was totally destroyed by the Appalachian apocalypse caused by Hurricane Helene. Deeply embedded in this place and our community, we all collectively lost our central heart the day the flood filled the buildings like fish bowls and washed everything away. I wanted to capture these wild times in a tintype time capsule, using similar technology from when the infamous 1916 flood tore through town. The image of Josh blurs the lines between these two catastrophic events. Standing in front of his destroyed business next to the water marker installed when thigh high water reached Main Street and now with the new unimaginable water line that reached 27 feet in town during Helene. My tintypes, developed out of the back of my Subaru, will forever be a document of this chapter in our lives. These quiet moments showcase what we are proud of today, capturing images of newer business owners right alongside folks in a long lineage of those that have held these spaces in town for generations. My portraits capture the artists, musicians, makers, dreamers and workers – all essential occupations and the heart of Marshall. Out of context this series could be stills from a war zone, but it’s our Main Street weeks after the flood. The south end of town still looks like a bomb went off. Every business is gutted and empty. The 24 hours news cycle had moved on. The dust has mostly settled. The crowds are gone, but we are still here. And that’s who I wanted to photograph. The spaces that held us. The spaces we hold. The places we gathered. And will again. Community is more than just our buildings. It’s the people that create their lives inside of them and how they share it with us. What started as a little idea has become the honor of my artistic career to document the resilience of this beautiful place and its fantastic people.

This series captures the intimate charm of Atlantic puffins in stunning close-up detail, celebrating their vibrant colors and captivating personalities. Each image reveals a unique perspective of these remarkable seabirds, from their striking orange beaks to their expressive eyes. By showcasing their nuanced behaviors and subtle expressions, "Puffins Up Close" invites viewers to connect with these beloved icons of the wild. This collection aspires to inspire admiration and a sense of stewardship for these fascinating creatures and their fragile habitats.

In the Barzan region of Kurdistan, white horses resembling the white Pegasus are searching for the truth, embarking on an unknown journey. These horses symbolize freedom. Their spirit of nobility and freedom is unmistakable in their domain.

An intimate series of images of the wild North American Black Bear. There came a moment when I realized our similarities were far greater than our differences. May these misunderstood souls always have a place on our planet .

This collection of photographs captures the vibrant essence of human connection, culture, and place, woven together through travel, portrait, and street photography. Each image tells a unique storyThe travel shots reveal stunning landscapes, from sweeping vistas to hidden gems, inviting viewers to explore the world through the lens of discovery. The portraits, rich with emotion and personality, celebrate the individuality and stories of the people I encountered on my journey. Meanwhile, the street photography offers a candid look into the rhythm of everyday life, where the mundane becomes extraordinary in its simplicity.Through these images, I aim to convey not just the beauty of the places I've visited, but also the shared experiences that unite us all, regardless of where we come from.

Each ceiling transcends its architectural role to become a vast canvas of human aspiration. Celestial Tapestries capture the transcendent beauty of France’s historical monuments—museums, theaters, cathedrals, grand halls—where gilded moldings and frescoes rise beyond mere decoration. Each frame invites viewers to drift into a realm between structure and spirit, where centuries of devotion to craft live on, resonating with echoes of an infinite aspiration toward beauty.

For centuries, humanity has been intrigued by the idea of artificial companionship. Rumors suggest that as far back as the 1600s, sailors carried early versions of sex dolls crafted from cotton and fabric on their long sea voyages. Despite the ambiguity surrounding their origins, the allure of these synthetic companions has persisted through time. In the modern era, the landscape of synthetic relationships has undergone a profound transformation. Since 2018, catalyzed further by the upheavals of the Covid era, the adult doll market has seen rapid growth, fostering a global community of individuals who opt for "synthetic" relationships. Far from fitting the stereotype of isolated introverts, doll owners defy easy categorization. They come from diverse backgrounds, span various age groups, and pursue a range of professions, challenging societal norms with their embrace of unconventional connections. Their homes become gateways to a secret, private world dedicated to their dolls; neat, compact spaces filled with accessories, clothes, jewelry, shoes—everything their dolls might need if only they were alive. Despite the undeniable significance of these relationships, most remain shrouded in secrecy. Fueled by societal stigma and misconceptions, many who are part of this subculture often find themselves hiding it from even their closest friends and family. Through private forums, blogs, and social media, doll enthusiasts build connections, share advice, and celebrate the intricacies of their lives. These online networks serve as lifelines, offering a sense of belonging in a world that often fails to understand their reality. As technology advances, love dolls represent the brink of a new era—the emergence of genuine robot companionship. With each innovation, the line between fantasy and human reality blurs, offering a glimpse into a future where the boundaries of intimacy are redefined. "The Doll Next Door" explores the deep emotional connections formed between individuals and their synthetic counterparts, revealing how companion dolls serve as confidants, companions, and even surrogate family members. Moreover, it delves into the concept of identity for both doll owners and their synthetic companions. Through this project, I aim to highlight the depth within these unconventional relationships and bring to life a contemporary, romantic story that reflects something deeply human: our need for connection, acceptance, and the desire to feel understood.

Raheleh lives in Heijle, a highland village in the north of Iran. Her father is a farmer, and her mother suffers from multiple sclerosis, but is able to do some household chores. Raheleh is curious about life, and always wants to know more. Although she is unaware of color, she can sense light during the day, and darkness at night, and she explores her surroundings through touch, listening to sounds, and smell.

On the outskirts of Mexico City a vibrant Carnival is celebrated annually, transforming the streets for several weeks where families and friends come together to honor their traditions while incorporating contemporary elements into music and costumes, creating an atmosphere full of life and color: Tlaltenco’s Carnival.Tlaltenco’s Carnival features parades, parades floats, music bands, and dancers in traditional costumes and others not so much, offering a unique visual and auditory spectacle for all the families and children who come out to the streets to watch and participate in this celebration.This event is an example of how traditions can coexist with modernity, the Carnival strengthens social bonds, allowing residents to reaffirm their identity and sense of belonging. Additionally, it provides an opportunity for new generations to learn about their cultural heritage. More than just a festival, Tlaltenco’s Carnival is an expression of cultural resilience and community cohesion, underscoring the importance of belonging in an ever-changing environment looking forward into the future.

Because of her father’s addiction and beatings, Samira commits suicide twice at the age of 15. Her father used to harass his family whenever he used drugs at home. In her second attempt, Samira uses gas for suicide, yet her mother arrives and saves her. Samira tells her mother that whether she or her father should live in this world ... After a while, Samira, her sister, Somayeh, and her mother decide to kill the man. Samira’s father travels to Zanjan and one night he returns home without notice. Nobody knows about his return; so, they decide to execute the murder plan. After eating dinner and using drugs, her father goes to bed. Samira’s mother lays next to her husband and wraps a shawl around his neck. Samira and her sister pull the two ends of the shawl, yet they are scared and drop the shawl. Samira’s mother continues and chokes her husband to death. After the murder, her mother consults with her boyfriend and together they decide to bury the body in their house with the help of Samira and Somayeh. After a few months they move to another house. Two months later, the new tenant finds the body and following police interrogations, her mother confesses to the murder with the help of her children. Samira and her sister are sent to a “Correction and Rehabilitation Center (Prison)” and their mother is sent to the adult prison. At the age of 17, Samira is sentenced to death and at the age of 18, she is transferred to an “adult prison”, where she is molested. Unable to tolerate terrible psychological pressures, Samira decides to tell the truth. At the court hearing, she confesses that she and her sister have only witnessed the crime that night and their mother has committed the murder on her own. Regarding her silence, she tells the court that she had thought that if 3 people take the blame for the murder, they won’t be sentenced to death or execution. After hearing her confessions and conducting investigations, the judge sentences “Samira” to five years in prison for collaborating in the murder and burying the body. She had already spent 3 years in the “Correction and Rehabilitation Center” and 2 years in “Adult Prison”; thus, she was released from prison at the age of 20. The court concludes that Samira’s sister has not been in full mental health at the time of crime and in accordance with the article 92 of the Islamic Penal Code, she is released from prison (two years after the release of Samira). Her mother is still in prison.

The Gulf of Bengal, with a population of more than 156 million, keeps its economy running on hard human labour every day. Across the age, gender... older children take care of young children and infants, while parents earn money for daily survival, medical care, housing and other daily necessities. In such working conditions where the human body is exposed to dust, polluted water, fumes from machines and cars for a long time. So that families do not have to waste time commuting to work, they live in simple shelters around the shipyard, the port, or directly in the areas where bricks are made and baked, in villages where they also manually model clay bowls and bake them in primitive kilns. Even whole families work on a landfill, where they sort and recycle garbage for sale to make a living. Brave young people travel west to work in Arab countries near the Persian Gulf to make many times more money in services, auxiliary work and gastronomy, which they regularly send to their families in Bangladesh.

A border is the boundary line between two countries. Iran shares more than 6,000 kilometers of land borders with Turkey, the Republic of Azerbaijan, Turkmenistan, Pakistan, Iraq, Afghanistan and Armenia. In a way, all this diversity of borders can be seen in Iran like : pre-settlement boundaries, adaptive boundaries, imposed boundaries, abandoned boundaries, natural boundaries, abnormal boundaries. The border residents are a large population of Iranians who speak several different languages. They often have different religions and cultures. But they do not study in their mother tongue and their culture and religion are despised. These people are from different ethnic groups that have ethnic relations and linguistic commonalities with the nations across the borders. Ignorance of this issue by governments throughout history has caused these border tribes to see themselves as an imposed part of homeland. Poverty, discrimination and inequality economic and political weakness and instability can also be seen and felt inside Iran, right in the border towns of Iran. And this has caused the government in many parts of Iran to pay more attention to security issues than economic and welfare issues. Fewer commutations to the area and relatively inadequate familiarity with this areas during recent decades put it in an uncertainty. My story has been photographed in four provinces and border cities of Iran, including South Khorasan, Kurdistan, Golestan province, Khuzestan province, and my personal observations are in these areas. This collection of photos seeks to show the aspirations, unrest and tensions and problems of the Iranian border people. People in these areas are facing many problems, including wars, migration, separatists, etc.

UnbrokenThe concept of true freedom is not merely the absence of constraints; instead, it is the capacity to flourish and achieve one’s potential, even when faced with the limitations imposed by external forces. It is an elusive and intangible phenomenon, resisting capture and defying the boundaries of circumstance. So long as there exists a willingness to dream, freedom will endure—unbroken, unfrozen, and unyielding.

It is impossible to notice black without white and white is a boredom when there is no black. Myths comparing these two; the good, the bad, the devil, the angel… But they are nothing when they stand alone. They complete each other, we do the same in daily life. Together, we are gray

Life is fleeting. Time reveals what was once obscure. And in the age of technology, the solitary individual feels more isolated than ever.This collection explores the theme of human loneliness, depicting individuals who, in their pursuit of happiness, have lost touch with grace and affection.This persistent absence of fortune has led to a profound sense of self-loss.

These images capture the harrowing and painful reality of the Israeli-Palestinian conflict, where civilians bear the brunt of systematic extermination. Amid the rubble of demolished homes, worshippers stand in orderly rows for prayer—a poignant contrast between the surrounding destruction and the spiritual resilience that defies an eradication intent on extinguishing all traces of humanity. On the shattered roads, displaced families embark on arduous journeys toward an uncertain future. Their faces speak of fear and exhaustion as they carry their memories and children on their shoulders. A man in a wheelchair among them embodies wounds that never heal—not just physical, but emotional, as souls fight for survival. In hospitals, pain turns into a desperate battle between life and death. Doctors struggle to save the wounded in inhumane conditions, while a grieving mother cradles her lifeless child, her tears expressing an indescribable loss. Children, with innocent faces marked by wounds, gaze at the world with fear-filled eyes, embodying the suffering of an entire generation robbed of its childhood. In one of the most heartbreaking scenes, an infant covered in blood clings barely to life. This moment encapsulates the tragedy of an entire people, where innocence is taken before life begins. Behind every image lies a muted cry, a call for the world to witness the unvarnished truth: a war that kills hope, erases identity, and turns the present and future into shadows of pain. These images are not merely fleeting snapshots—they are vivid testimonies of profound human suffering. They document a war waged against the vulnerable, where defenseless civilians are direct targets, and their dreams are buried beneath the rubble. Together, these images cry out: Save humanity, stop the extermination, and restore life to those still fighting to survive.

Cease Fire Now! Is an ongoing reportage of the 'United for Palestine' rallies in the city streets of Sydney Australia. These rallies have persisted for sixty three consecutive weeks, drawing people from diverse faiths and backgrounds, all united in one powerful message: "We are all Palestinians!" showing a remarkable display of unity and solidarity.This body of work captures the spirit, resilience, and determination of those who stand in solidarity with the Palestinian people.

On February 29, 2024, a catastrophic fire broke out at a restaurant on Bailey Road in Dhaka. The fire, reportedly caused by a gas leak in the kitchen, quickly spread throughout the seven-story Green Cozy Cottage Shopping Mall, which housed multiple businesses.The incident resulted in the tragic loss of 46 lives and left over 75 people injured, many of whom suffered from severe burns and smoke inhalation. Rescue efforts were hindered by the building's lack of adequate fire safety measures, including emergency exits and clear evacuation routes. Gas cylinders stored in the building further exacerbated the intensity of the flames.Firefighters battled the blaze for over two hours, rescuing numerous individuals trapped on various floors. The incident has highlighted the urgent need for stricter enforcement of fire safety regulations in commercial establishments to prevent such devastating tragedies in the future.

The photo was taken from a drone at a height of about 30 meters. It shows the thawing surface of one of the Milicz ponds. What you see here are shapes created by nature, a slow process of melting. Where the ice is thinner, the light reflects differently, creating incredible shapes—something reminiscent of neurons. It offers a vast space for interpreting what we see.I see the shape of a whale or an anglerfish (a deep-sea fish), but someone else might see a chameleon, a coffee stain, or just random scribbles…While I was admiring these strange shapes on the ice, I noticed out of the corner of my eye that a raven, which had been sitting nearby, was flying over. It flew right over the photographed object. That is why the photo is so unique and special for me.

The rivers and alluviums that flow into Maharlu Lake are a safe haven for various species of birds, including flamingos. These beautiful landscapes, like tree branches or veins in the Maharlu Lake courtyard, can only be seen from the sky.

"Volcanic Patterns" captures the mesmerizing textures and colors of lava during volcanic eruption in Iceland in 2023, capturing from drone and showcasing nature’s raw artistry. From dragon to the and volcano itself, each image tells a story of transformation and renewal and highlights the beauty and power of Earth’s ever-changing surface.

In the photos, you can see the scenery of my city (Zanjan). Humans and horses are mysterious. The horse plays an important role in my dreams. Every time I see a horse in my dream, I like to find that imaginary space in reality. The name of my beautiful city is Zanjan and its snowy and mountainous scenery gives me this possibility.

Aghajani Co. Handicraft Advertising series

For the Assignment of Miniature Toy figures, captured a series of miniature Toy figures with different storytelling setting Concept to promote the Toy Brand "Preiser"