People on a crowded street in Dhaka pass by en mass while Masood begs for donations holding an afflicted woman, that he said was his sister, sprawled over his knee. Amina moaned and writhed at times, and was still at other times, but she appears to be deeply afflicted with some kind of debilitating spinal disease. Nazia, who Masood says is their mother, hovers behind them. Masood, Amina and Nazia stayed in this place for a few hours after I first saw them. After I took a few photographs I made a meager donation, and moved to depart. Just then a Bengali man—an English speaker—approached and asked me what I was doing. I conscripted this man as an interpreter and asked Masood some questions. Their names, their ages, where they lived, and what happened to Amina. I asked if I could follow them and take more pictures, and Masood (and Nazia) agreed.

Amina appears completely disabled, completely dependent on Masood. Judging from the scene before my eyes, I assumed they must have to carry Amina, or put her in an auto-rickshaw and ferry her wherever they go. Amina at times stares vacantly, as if there is no one home. I am also poignantly aware that Amina's frock is more than 'open at the neck': it is peeled away, her bony chest exposed by her flimsy unbuttoned frock, and there is nothing covered her head. These aspects strike me as incongruous with the Muslim culture she is clearly part of and that her brother and mother clearly observed.

Amina appears virtually unconscious at times, spastic and immobilized. Few of the passersby pay them much or any attention.

Masood, Amina and Nazia are on the move. Nazia clings to Masood's right arm, while Amina—able to stand in part, but unable to stand straight or walk independently— clings to Masood's waist.

Masood supports Amina while she clings to his waist as they move from one to another location, their mother Nazia following along clinging to Masood's arm.

Masood, Amina and Nazia pass by many people with very real afflictions begging on the street. This man's right leg and foot are grotesquely swollen and discolored (not easily seen) with some yellow material oozing out.

This woman's body is covered in thousands of tumors, a rare skin disease (probably 'multiple neurofibromatosis').

This was another human being whose condition in life challenged my consciousness.

Masood leads Amina and Nazia through the obstacle course of the busy street in the Bashundhara District; the street is overrun by bicycle rickshaws, and auto-rickshaws are banned here. The family is almost mowed down by a speeding bicycle rickshaw.

A huge mural advertises the 2019 Hollywood blockbuster "Knives Out" (grossed $US 283.4 million at the box office); an adjacent billboard advertises an exclusive high fashion runway show. Both billboards line the street in front of an amusement park and a deluxe shopping mall (background) along a busy boulevard in Dhaka's Bashundhara District. Many beggars frequent this street, seeming to have regular posts they have staked out. There is plenty of wealth in Bangladesh, as demonstrated by many luxurious shops and homes, fancy cars, and high-priced shopping malls, and it's own one-percent of the population that control and possess substantial, profligate, obscene wealth.

Masood plugs along, Amina tucked under one arm, Nazia clinging to the other, as they pass by the amusement park and exclusive shopping mall (background).

As they moved through the streets, in and out of several alleys, I began to question the frightful images that lingered in my mind. I kept flashing back to the vacuous stare and sense of complete paralysis projected by the the original scene's of Amina across Masood's lap. And I began to wonder what was real, and what wasn't.

A child victim of severe burns sits in his regular spot along the colorful boulevard. The child has a magazine open, displaying a photo feature telling the story of his horrible ordeal. Two other people begging (in their own regular spots) can be seen in the background.

Masood, Amina and Nazia pass by another of the many beggars found on one of Dhaka's main avenues. This man's legs have been amputated at the knees.

Masood, Amina and Nazia have stopped to rest in an alley just off the busy street.

Masood rests his hand, affectionately, on Amina's bowed head. Amina never lifts her head while the three rest in an ally where the family has paused for a break from their foot journey along Dhaka's busy streets.

Amina rests with bowed head and eyes open against a wall in an ally where the family has paused for a break from their foot journey along Dhaka's busy streets.

Resting in an alley.

Masood waits for a break in the heavy, disrespectful traffic, before leading the trio across the busy street.

It is late in the day, the bright late afternoon sunshine juxtaposed with the dark shadows along the unlit parts of the boulevard (momentarily empty). The trio continues to walk along the street, resting now and then, but no longer begging.

Masood has led the trio into an alley/alcove slightly off the street. They set here resting for some time.

While resting in an ally slightly off the street, Amina appears to have regained still greater control of her body, exhibiting complete independence.

Amina sits upright, has a clear and focused gaze, and she appears to be very coherent, and completely in control of her body. She wears her green scarf over her shoulders, covering (what was) her skimpy black blouse/dress. The stark change in Amina's physicality provokes me to begin to question the scenes I initially encountered, when Amina was prostate over Masood's lap, and thus to question the true nature and extent of Amina's "affliction".

While resting in an ally slightly off the street, Masood rests his hand on Nazia reassuring her, his voice confirming her accounting of the money they have so far earned. Nazia pulls the money out of her wrappings and unfolds the notes with one hand, barely able to discern their worth due to her limited eyesight. According to Masood, Nazia lost her right arm in an industrial accident some years ago.

Masood shares a friendly smile and knowing gaze while resting in the alley.

Masood, Amina and Nazia move under the elevated highway ramp.

Masood, Amina and Nazia share a meal in a street-seller's (closed) stall under the highway. Amina appears to have completely recovered (!) from her horrible affliction(s), and the three people share conversation. Amina has also changed her attire with clothes that Masood pulled out of his hand bag. Nazia exhibits normal Muslim attire, her body almost completely covered, including her head.

Though blind, according to Masood, Nazia glances at the photographer and appears to smile. Their meal finished, the family rests and chats.

Again and again my mind flashed back to the sense of absolute suffering and misery projected by those first scenes of Amina, Masood and Nazia. Scenes like this one, where Amina is moaning in agony, flopping her head a little, but never moving her arms or legs, and her turquoise scarf is draped over her prostate body. Again I recalled her 'costume' in those early scenes, a manner of attire and bodily control that was contradicted by the later scenes, where Amina has changed her clothes, she sits upright, feeds herself, and covers her body in alignment with Muslim culture.

Masood finishes packing up the food. Amina has changed her clothes. Her head is covered, which is normal for Muslim culture, she has a colorful yellow dress and purple blouse. I'm beginning to question my naiveté, and find myself challenged by many ethical questions.

I have always felt so much compassion, in the face of compelling suffering, that usually moved me to make at least a cursory donation. My philosophy has always been to share a little of my wealth, by western standards, with many people. I always carried around a wad of small notes to be able to give something to everyone. In some places, however, the need is too great, and the number too many.

Masood, Amina and Nazia leave the street seller's stall and walk along the boulevard. Falling behind a few times, while photographing other scenes on the streets, I noticed that Masood was always looking back, checking to see if I was still there.

Masood, Amnina and Nazia walk along the street.

Masood is now seeking an auto-rickshaw, petitioning driver's or bargaining for a good ride.

After walking more than two miles, stopping to rest several times, and eating their meal, Masood, Amina and Nazia flag down an auto-rickshaw, negotiate with the driver (right), wave off the photographer, and depart. Nazia appears to be able to see her way to the auto-rickshaw, while Amina remains attached to Masood's waist. I made the mistake of not following them in another auto-rickshaw, to learn more about the reality of their existence.

Another blind man that I often saw walking the boulevard—guided by another—chanting and praying, begging for alms.

Masood holds Amina, who has one eye open, and this early scene provoked a deep but unresolved questioning.