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          <title><![CDATA[Bäckerei-Eingang mit Brot-Auslage und Vitrine in einer engen Gasse | ちゃーりー]]></title>
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          <title><![CDATA[Koch im weißen Kittel verpackt Brot in einer Küchenarbeitsfläche | Yuya]]></title>
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          <pubDate>Tue, 10 Jun 2025 20:14:52 GMT</pubDate>
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          <title><![CDATA[Brot-Auslage in einer Glasvitrine | 柚羽]]></title>
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          <pubDate>Tue, 17 Dec 2024 16:17:53 GMT</pubDate>
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          <title><![CDATA[lächelnde Frau vor einer Brotauslage | 柚羽]]></title>
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          <pubDate>Tue, 17 Dec 2024 17:02:27 GMT</pubDate>
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          <title><![CDATA[焼きたての食パン  #bread #香ばしい #パン | つばさ製作所]]></title>
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          <description><![CDATA[Laden Sie auf cizucu das kostenlose hochwertige Bild „Frisch gebackene Brotscheiben auf einem Regal in einer Bäckerei“ von つばさ製作所 herunter.]]></description>
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          <pubDate>Sun, 25 Aug 2024 20:45:46 GMT</pubDate>
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          <title><![CDATA[Brotlaibe und aufgeschnittenes Brot auf einem Jutesack | はなな]]></title>
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          <description><![CDATA[Laden Sie auf cizucu das kostenlose hochwertige Bild „Brotlaibe und aufgeschnittenes Brot auf einem Jutesack“ von はなな herunter.]]></description>
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          <title><![CDATA[Buddhist monks take a daily trip downriver to receive alms from locals at a morning market. | Alexander Strandlien]]></title>
          <link>https://www.cizucu.com/de/photos/K0PTCcObxrEKvf9LHyHV</link>
          <description><![CDATA[Sehen Sie sich weitere großartige Werke von Alexander Strandlien auf cizucu an.]]></description>
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            <media:title><![CDATA[Buddhist monks take a daily trip downriver to receive alms from locals at a morning market. | Alexander Strandlien]]></media:title>
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          <title><![CDATA[This was a picture taken in Hoi A depicting the everyday life of the locals here. | Keira Low]]></title>
          <link>https://www.cizucu.com/de/photos/gn7rBr4E4Rnq01aQpzUi</link>
          <description><![CDATA[Sehen Sie sich weitere großartige Werke von Keira Low auf cizucu an.]]></description>
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          <pubDate>Mon, 02 Feb 2026 17:51:21 GMT</pubDate>
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          <title><![CDATA[This photo was taken at a kopitiam in Kuching, Malaysia. They serve coffee with butter over here and as you can see, it is a regular hangout spot for locals to talk about their day. I really enjoy the decor of the space as it reminds me of a simpler time. | toot_a_loot]]></title>
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          <description><![CDATA[Sehen Sie sich weitere großartige Werke von toot_a_loot auf cizucu an.]]></description>
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          <pubDate>Tue, 13 Jan 2026 16:48:53 GMT</pubDate>
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          <title><![CDATA[This was taken at the forbidden palace, and shows the aspects of people and locals going there.  | Keira Low]]></title>
          <link>https://www.cizucu.com/de/photos/hPyM2YnxtWqjr7t1CTBk</link>
          <description><![CDATA[Sehen Sie sich weitere großartige Werke von Keira Low auf cizucu an.]]></description>
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          <pubDate>Tue, 03 Feb 2026 07:55:37 GMT</pubDate>
          <atom:updated>2026-05-03T15:49:13+09:00</atom:updated>
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          <title><![CDATA[横断歩道を渡る異なる文化を持つ外国からの旅行者たちと現地の人々。 それぞれ異なる人生を生きる人たちが、ほんの一瞬、同じ信号のもとで重なり合う―― | yumemaruco]]></title>
          <link>https://www.cizucu.com/de/photos/vm2vH1mDgS8topmhHNXa</link>
          <description><![CDATA[Sehen Sie sich weitere großartige Werke von yumemaruco auf cizucu an.]]></description>
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            <name>yumemaruco</name>
            <uri>https://www.cizucu.com/de/users/9BtuFZc9Keh8560Av7ntVuRtPk13</uri>
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          <pubDate>Sun, 11 Jan 2026 21:14:33 GMT</pubDate>
          <atom:updated>2026-01-17T22:53:12+09:00</atom:updated>
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          <title><![CDATA[横断歩道を渡る異なる文化を持つ外国からの旅行者たちと現地の人々。 それぞれ異なる人生を生きる人たちが、ほんの一瞬、同じ信号のもとで重なり合う―― | yumemaruco]]></title>
          <link>https://www.cizucu.com/de/photos/QVSaYKNT42ecH9FVwPN4</link>
          <description><![CDATA[Sehen Sie sich weitere großartige Werke von yumemaruco auf cizucu an.]]></description>
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            <name>yumemaruco</name>
            <uri>https://www.cizucu.com/de/users/9BtuFZc9Keh8560Av7ntVuRtPk13</uri>
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          <pubDate>Sun, 11 Jan 2026 21:12:50 GMT</pubDate>
          <atom:updated>2026-01-17T22:53:13+09:00</atom:updated>
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          <title><![CDATA[A stylish man seated in front of his shop at a local market in Maubisse, Timor Leste.  Virgin exhibitor here. Timor Leste has been a place that's close to my heart since I first travelled there in 2018, and again in 2024. So felt it was only fitting to showcase something from there for my first exhibition 😊  Having gained independence only in 2002, Timor is Asia's youngest country. Inspired after watching John Pilger's documentary 'Death of a Nation: The Timor Conspiracy', I set out in search to better understand how a country is post-war.  I solo travelled around Timor for 2 months capturing different stories and lived experiences during the war from Timorese folks, and learnt so much about what happened during, before, and after the war from a local's perspective. It was one of the most eye-opening, truly heartwarming, and utterly heart-wrenching experiences of my life, but what stuck was the wisdom, quiet strength, resilience and beauty of the Timorese which are forever etched in me.   This also kick-started my journey towards questioning Western media reportages, biases, and their heavy but not necessarily full-picture influence on us, their global audience. We really do need to hear more voices from within, not just Western perspectives.  I hope to encourage opening up convos about Timor Leste, and would love for more people to learn about Asia's youngest country. | Lavita Kala]]></title>
          <link>https://www.cizucu.com/de/photos/frHzhbGPsM4jSEmlQNpw</link>
          <description><![CDATA[Sehen Sie sich weitere großartige Werke von Lavita Kala auf cizucu an.]]></description>
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            <name>Lavita Kala</name>
            <uri>https://www.cizucu.com/de/users/Z34f8fLvXpWSxV1cqJZle6GsHOi2</uri>
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          <pubDate>Sat, 21 Mar 2026 15:27:31 GMT</pubDate>
          <atom:updated>2026-03-29T14:19:39+09:00</atom:updated>
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            <media:title><![CDATA[A stylish man seated in front of his shop at a local market in Maubisse, Timor Leste.  Virgin exhibitor here. Timor Leste has been a place that's close to my heart since I first travelled there in 2018, and again in 2024. So felt it was only fitting to showcase something from there for my first exhibition 😊  Having gained independence only in 2002, Timor is Asia's youngest country. Inspired after watching John Pilger's documentary 'Death of a Nation: The Timor Conspiracy', I set out in search to better understand how a country is post-war.  I solo travelled around Timor for 2 months capturing different stories and lived experiences during the war from Timorese folks, and learnt so much about what happened during, before, and after the war from a local's perspective. It was one of the most eye-opening, truly heartwarming, and utterly heart-wrenching experiences of my life, but what stuck was the wisdom, quiet strength, resilience and beauty of the Timorese which are forever etched in me.   This also kick-started my journey towards questioning Western media reportages, biases, and their heavy but not necessarily full-picture influence on us, their global audience. We really do need to hear more voices from within, not just Western perspectives.  I hope to encourage opening up convos about Timor Leste, and would love for more people to learn about Asia's youngest country. | Lavita Kala]]></media:title>
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            <media:description><![CDATA[Sehen Sie sich weitere großartige Werke von Lavita Kala auf cizucu an.]]></media:description>
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          <title><![CDATA[This portrait is a part of series of photographs that I shot while on an assignment for the ‘Chinar Corps’.  Our itinerary included a village in the deeper ends of Kashmir. I was drawn to the daily life of the locals, how they travelled across the village and beyond, and their seemingly vanishing connectivity to the outside world.   Among the many faces that I saw, this gentleman drew my attention. His quiet demeanor and slow movements welcomed me to look at the daily life of his village through his eyes. There was something about his presence, warm and welcoming, yet deeply reserved. In my attempts to not be overbearing, I was able to break through and had the longest conversation with him and I forgot about trying to find other villagers. I have no regrets about it as his point of view stayed with me and I plan to take it with me.  It was his matured yet innocent expression that stayed with me. He had forgotten to smile in all his years of living in the village. Whenever I shoot portraits, I try to lighten the moment to make sure I get the most authentic expression from the subject. But with him, it felt like I would lie to the world if I did that. It, perhaps seemed unnecessary.  His face carried a calm intrigue, still, composed, and full of unspoken stories. Reality of portraits is subtler yet stronger than performance, it seemed. | Yash Rane]]></title>
          <link>https://www.cizucu.com/de/photos/RsubPbXXibrVGCnrOtp8</link>
          <description><![CDATA[Sehen Sie sich weitere großartige Werke von Yash Rane auf cizucu an.]]></description>
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            <name>Yash Rane</name>
            <uri>https://www.cizucu.com/de/users/p4C2inUv1ih89epMzxU1Djvz4B03</uri>
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          <pubDate>Fri, 13 Mar 2026 17:52:43 GMT</pubDate>
          <atom:updated>2026-03-13T17:53:03+09:00</atom:updated>
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            <media:title><![CDATA[This portrait is a part of series of photographs that I shot while on an assignment for the ‘Chinar Corps’.  Our itinerary included a village in the deeper ends of Kashmir. I was drawn to the daily life of the locals, how they travelled across the village and beyond, and their seemingly vanishing connectivity to the outside world.   Among the many faces that I saw, this gentleman drew my attention. His quiet demeanor and slow movements welcomed me to look at the daily life of his village through his eyes. There was something about his presence, warm and welcoming, yet deeply reserved. In my attempts to not be overbearing, I was able to break through and had the longest conversation with him and I forgot about trying to find other villagers. I have no regrets about it as his point of view stayed with me and I plan to take it with me.  It was his matured yet innocent expression that stayed with me. He had forgotten to smile in all his years of living in the village. Whenever I shoot portraits, I try to lighten the moment to make sure I get the most authentic expression from the subject. But with him, it felt like I would lie to the world if I did that. It, perhaps seemed unnecessary.  His face carried a calm intrigue, still, composed, and full of unspoken stories. Reality of portraits is subtler yet stronger than performance, it seemed. | Yash Rane]]></media:title>
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            <media:description><![CDATA[Sehen Sie sich weitere großartige Werke von Yash Rane auf cizucu an.]]></media:description>
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          <title><![CDATA[Under the fluorescent glow of 7‑Eleven, a quiet kind of democracy unfolds. Here, in the threshold between street and shelter, differences dissolve—if only for a moment. Foreigners in transit, Thai locals on routine, migrant workers from Myanmar on break: they all arrive with the same gestures, the same small transactions, the same pause in motion. The counter becomes a shared horizon, where currencies, languages, and lives briefly align.  In Thailand, 7/11 is more than a convenience store—it is infrastructure, ritual, and refuge. It punctuates the day with iced coffees, toasted sandwiches, and the soft hum of air conditioning. It is a place of arrival without destination. Yet, embedded in this familiarity is a quiet tension: the rhythm of consumption mirrors the transient pace of those who pass through it. Quick, efficient, replaceable. A culture of immediacy—mirroring the itinerant lives of travelers who drift through, never fully staying.  There is a tenderness in this contradiction. Everyone loves 7/11. Not despite its uniformity, but because of it. It offers consistency in a landscape of movement. But that same consistency flattens difference, turning moments into transactions, encounters into routines.  This photograph captures that ambivalence. The saturated red hue—produced by pre-souped Kodak Gold 200 film—bathes the scene in a sense of heat and nostalgia, as if the image itself is dissolving under the weight of time and repetition. The familiar green-orange stripes are still visible, but altered, almost overwhelmed. What remains is an atmosphere: dense, fleeting, and slightly melancholic.  A place where everyone meets—yet no one stays. | analogbysissi]]></title>
          <link>https://www.cizucu.com/de/photos/T23GHpu4jeBibaaVi8wS</link>
          <description><![CDATA[Sehen Sie sich weitere großartige Werke von analogbysissi auf cizucu an.]]></description>
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            <name>analogbysissi</name>
            <uri>https://www.cizucu.com/de/users/bGcW6RBOnzR08kS9qh7M8YjSgeQ2</uri>
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          <pubDate>Fri, 10 Apr 2026 15:23:09 GMT</pubDate>
          <atom:updated>2026-04-10T15:23:16+09:00</atom:updated>
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            <media:title><![CDATA[Under the fluorescent glow of 7‑Eleven, a quiet kind of democracy unfolds. Here, in the threshold between street and shelter, differences dissolve—if only for a moment. Foreigners in transit, Thai locals on routine, migrant workers from Myanmar on break: they all arrive with the same gestures, the same small transactions, the same pause in motion. The counter becomes a shared horizon, where currencies, languages, and lives briefly align.  In Thailand, 7/11 is more than a convenience store—it is infrastructure, ritual, and refuge. It punctuates the day with iced coffees, toasted sandwiches, and the soft hum of air conditioning. It is a place of arrival without destination. Yet, embedded in this familiarity is a quiet tension: the rhythm of consumption mirrors the transient pace of those who pass through it. Quick, efficient, replaceable. A culture of immediacy—mirroring the itinerant lives of travelers who drift through, never fully staying.  There is a tenderness in this contradiction. Everyone loves 7/11. Not despite its uniformity, but because of it. It offers consistency in a landscape of movement. But that same consistency flattens difference, turning moments into transactions, encounters into routines.  This photograph captures that ambivalence. The saturated red hue—produced by pre-souped Kodak Gold 200 film—bathes the scene in a sense of heat and nostalgia, as if the image itself is dissolving under the weight of time and repetition. The familiar green-orange stripes are still visible, but altered, almost overwhelmed. What remains is an atmosphere: dense, fleeting, and slightly melancholic.  A place where everyone meets—yet no one stays. | analogbysissi]]></media:title>
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            <media:description><![CDATA[Sehen Sie sich weitere großartige Werke von analogbysissi auf cizucu an.]]></media:description>
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