The article is a reflective piece on the work of German documentary photographer August Sander and his exhibition, People of the 20th Century. The author discusses how Sander's portraits, which aimed to represent a cross-section of German society, were influenced by class distinctions, particularly through the attire of suits. The author, a wedding photographer, uses the essay to draw parallels with their own work, observing the influence of class on the celebrations they photograph. The article also contrasts the authenticity found in the moulid celebrations, which lack class-based hegemony, with the structured and class-conscious nature of weddings. The author's own photography at the moulid is described as an emotional and existential exploration, rather than a documentary style like Sander's.

The Shawkan Photography Contest, named after the imprisoned photojournalist Mahmoud Abu Zeid (Shawkan), has concluded its second year with a significant participation of photographers. Around a thousand photographers submitted 2500 photos, which were narrowed down to 550 by a judging committee and further to 40 for the final stage. The contest, organized by photojournalists and supporters of Shawkan, aims to bring attention to his plight. The judging panel comprised notable figures such as Hossam Diab, Randa Shaath, Thomas Hartwell, Ahmed Hayman, and Roger Anis, with Mosa’ab Elshamy coordinating. The article lists the finalists in two categories: photojournalism and daily life, showcasing a range of subjects from the January 25 anniversary to scenes of daily life in Egypt. Mada Masr will publish the photos that reached the final stage.