Some part of me knows that these photographs don't represent what Dhaka is "actually like." "My City Of Unheard Prayers" presents a highly stylized vision, which is what allows me to imagine that a road could have a scar in the first place. It is possible to say that this gritty, high-contrast black-and-white style has already been done to pieces by Moriyama and others--Asif Mahmud has a dog photo to match Moriyama's most famous shot. This would miss the point, though. The style itself is accessible to anyone with a camera and film. (This does actually exclude a great number of people.) If we think of the style as a kind of language, spoken by Moriyama, D'Agata and others, Asif Mahmud has developed his own vocabulary--or, you know, "found his voice," if you prefer. It makes the rest of his work, which includes a series about the tobacco trade in Bangladesh, all the more compelling.