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          <title><![CDATA[roots | つばさ製作所]]></title>
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          <title><![CDATA[Extérieur de Sunny Boy Books petite librairie avec divers présentoirs de livres | yana🦦]]></title>
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          <title><![CDATA[上野-ROUTE BOOKS | dsuke087]]></title>
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          <pubDate>Tue, 18 Jun 2024 00:44:06 GMT</pubDate>
          <atom:updated>2024-06-18T18:37:39+09:00</atom:updated>
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          <title><![CDATA[Extérieur d'un magasin de photo booth Gucci avec des lumières néon vives | NOMURA.REO]]></title>
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          <title><![CDATA[Telephone booth  | Candy]]></title>
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          <pubDate>Wed, 19 Mar 2025 05:43:03 GMT</pubDate>
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          <title><![CDATA[Snow and Boats | Paolo Del Rocino]]></title>
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          <title><![CDATA[#popeye #books #magazine | Yusei]]></title>
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          <pubDate>Thu, 23 Mar 2023 17:58:57 GMT</pubDate>
          <atom:updated>2024-09-09T15:50:08+09:00</atom:updated>
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          <pubDate>Sat, 04 Feb 2023 15:31:52 GMT</pubDate>
          <atom:updated>2024-09-08T21:28:24+09:00</atom:updated>
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          <title><![CDATA[Tree roots in the park | mjh-k]]></title>
          <link>https://www.cizucu.com/fr/photos/YVw9Vr0iIdoj92Au1yCy</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de mjh-k sur cizucu.]]></description>
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            <name>mjh-k</name>
            <uri>https://www.cizucu.com/fr/users/yB1RHHg7pPdVT9q3lhs1jOoc6x42</uri>
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          <pubDate>Thu, 06 Nov 2025 20:50:51 GMT</pubDate>
          <atom:updated>2025-11-06T20:50:51+09:00</atom:updated>
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            <media:description><![CDATA[Découvrez plus d'œuvres exceptionnelles de mjh-k sur cizucu.]]></media:description>
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          <title><![CDATA[This was the view of Hongkong from the 100th floor of a building. There is a distinct separation of the city landscape and river filled with boats, with mountains in the background. | Keira Low]]></title>
          <link>https://www.cizucu.com/fr/photos/zu6P5kwxwUo2gkLuMyf2</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Keira Low sur cizucu.]]></description>
          <author>
            <name>Keira Low</name>
            <uri>https://www.cizucu.com/fr/kwiechaen</uri>
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          <pubDate>Tue, 03 Feb 2026 16:15:41 GMT</pubDate>
          <atom:updated>2026-02-03T16:15:41+09:00</atom:updated>
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            <media:description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Keira Low sur cizucu.]]></media:description>
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          <title><![CDATA[Designated Solitude   In Tokyo, smokers gather in designated booths—small enclosed spaces set apart from the flow of the city. What caught my eye here was the interplay of layers: the letters on the glass, the decorative pattern, and the figure inside, isolated yet fully visible.  The man was absorbed in his phone, its light gently illuminating his face in the darkness, while the neon behind him created a soft halo. I was drawn to the quiet contradiction of the scene: a public booth holding a private moment. | Uday Khambadkone]]></title>
          <link>https://www.cizucu.com/fr/photos/3E4rhpe5FtUxghqnpLYe</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Uday Khambadkone sur cizucu.]]></description>
          <author>
            <name>Uday Khambadkone</name>
            <uri>https://www.cizucu.com/fr/users/fGsQRfunD0c4a7GMx48PJNbxaSE3</uri>
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          <pubDate>Fri, 13 Mar 2026 00:46:15 GMT</pubDate>
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            <media:title><![CDATA[Designated Solitude   In Tokyo, smokers gather in designated booths—small enclosed spaces set apart from the flow of the city. What caught my eye here was the interplay of layers: the letters on the glass, the decorative pattern, and the figure inside, isolated yet fully visible.  The man was absorbed in his phone, its light gently illuminating his face in the darkness, while the neon behind him created a soft halo. I was drawn to the quiet contradiction of the scene: a public booth holding a private moment. | Uday Khambadkone]]></media:title>
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            <media:description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Uday Khambadkone sur cizucu.]]></media:description>
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          <title><![CDATA[伊根の舟屋 Tango, at Kyoto’s northern edge, faces the Sea of Japan. Here, there is no city rush, only coastlines, fields, and the slow passage of seasons. Since ancient times, Tango has kept its distance from the world, preserving raw landscapes, fishing villages, and unembellished life.  Ine’s boathouses hug the shore, ground floor for boats, upper floor for living. Wood absorbs the waves’ rhythm, light drifts across the water, and even time feels softened by the sea breeze. | Lawrence Liou]]></title>
          <link>https://www.cizucu.com/fr/photos/QSmZJSkwkQbEHeB2lxtJ</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Lawrence Liou sur cizucu.]]></description>
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            <name>Lawrence Liou</name>
            <uri>https://www.cizucu.com/fr/momoliou</uri>
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          <pubDate>Sat, 21 Mar 2026 13:53:18 GMT</pubDate>
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            <media:title><![CDATA[伊根の舟屋 Tango, at Kyoto’s northern edge, faces the Sea of Japan. Here, there is no city rush, only coastlines, fields, and the slow passage of seasons. Since ancient times, Tango has kept its distance from the world, preserving raw landscapes, fishing villages, and unembellished life.  Ine’s boathouses hug the shore, ground floor for boats, upper floor for living. Wood absorbs the waves’ rhythm, light drifts across the water, and even time feels softened by the sea breeze. | Lawrence Liou]]></media:title>
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            <media:description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Lawrence Liou sur cizucu.]]></media:description>
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          <title><![CDATA[This photograph was taken in Yunnan at a place called Lugu Lake. It's home to the Mosuo, an ethnic matriarchal tribe.  The subject is a Mosuo boat rower enjoying a smoke while waiting for his next ride. Each boat ride is physically demanding, as the boats are hand-rowed and the total distance spans just over a kilometer. To prevent exhaustion, each rower is limited to 6 trips a week and all proceeds are pooled into the village's communal fund to be distributed equally. | beanuptosomething]]></title>
          <link>https://www.cizucu.com/fr/photos/fKjDjBEVTpOETCfW4SAz</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de beanuptosomething sur cizucu.]]></description>
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            <name>beanuptosomething</name>
            <uri>https://www.cizucu.com/fr/users/yNaVBlQLbLayxpnViBhjAvASoMo1</uri>
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          <pubDate>Sat, 17 Jan 2026 00:37:10 GMT</pubDate>
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            <media:title><![CDATA[This photograph was taken in Yunnan at a place called Lugu Lake. It's home to the Mosuo, an ethnic matriarchal tribe.  The subject is a Mosuo boat rower enjoying a smoke while waiting for his next ride. Each boat ride is physically demanding, as the boats are hand-rowed and the total distance spans just over a kilometer. To prevent exhaustion, each rower is limited to 6 trips a week and all proceeds are pooled into the village's communal fund to be distributed equally. | beanuptosomething]]></media:title>
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            <media:description><![CDATA[Découvrez plus d'œuvres exceptionnelles de beanuptosomething sur cizucu.]]></media:description>
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          <title><![CDATA[This photo was taken on a scorching afternoon in Southern China, just days before I moved to London. I was walking to my grandparents' graves to say goodbye. It was my first time going there all by myself, and I felt like at that moment, I had truly become a mature adult.  Along the way, I 'borrowed' a few lotus seed pods from a neighbor's pond to bring them a taste of summer. To me, memory is like these loofah vines: fragile and seasonal, yet stubbornly clinging to the sturdy trunk of home. Even now in London, the scent of the heat and the texture of those lotus seeds remain vivid—a living link to the roots I left behind. | hichubbypotato]]></title>
          <link>https://www.cizucu.com/fr/photos/pIDW724HfD5EDuCOIaUm</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de hichubbypotato sur cizucu.]]></description>
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            <name>hichubbypotato</name>
            <uri>https://www.cizucu.com/fr/users/gZWO4xQetegER2Nxn1ToiXNuzrd2</uri>
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          <pubDate>Sun, 05 Apr 2026 10:17:07 GMT</pubDate>
          <atom:updated>2026-04-05T10:17:07+09:00</atom:updated>
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            <media:title><![CDATA[This photo was taken on a scorching afternoon in Southern China, just days before I moved to London. I was walking to my grandparents' graves to say goodbye. It was my first time going there all by myself, and I felt like at that moment, I had truly become a mature adult.  Along the way, I 'borrowed' a few lotus seed pods from a neighbor's pond to bring them a taste of summer. To me, memory is like these loofah vines: fragile and seasonal, yet stubbornly clinging to the sturdy trunk of home. Even now in London, the scent of the heat and the texture of those lotus seeds remain vivid—a living link to the roots I left behind. | hichubbypotato]]></media:title>
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            <media:description><![CDATA[Découvrez plus d'œuvres exceptionnelles de hichubbypotato sur cizucu.]]></media:description>
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          <title><![CDATA[Juliet in the garden, December 2025 By Leonie Freeman  In December 2025 I travelled to Ibiza to photograph a project about the colourful native Ibizan lizard facing extinction due to invasive snakes coming to the island. This lizard is an ancient species and a much loved symbol of the island. In the last decade numbers are down 80%, since snake eggs have been finding their way to Ibiza hidden in the roots of imported olive trees from mainland Spain. The snakes have multiplied hugely in numbers and have been killing and eating the lizards, who have no defence against the snakes. People living on Ibiza are coming together to try and save the beloved lizard, by making snake traps and lizard sanctuaries where hopefully numbers can recover.  I was collaborating with Joanna Hruby, of Theatre of the Ancients, a puppet maker and performance artist. Joanna was putting on a Christmas play about the lizard and snake problem, at Can Cristofol farm. The play was a version of Shakespeare’s Room & Juliet, ‘Un Amor Impossible’…. Or ‘an impossible love’ between two species who can not co-exist on the island. With children dressed in amazing hand make costumes, the feuding families of the original Shakespeare play were instead lizards and snakes.   Juliet, played by Fallon, was Juliet and fell in love with Romeo, a snake. In this portrait we see Fallon as Juliet, photographed at sunset in the orange garden at Can Cristofol. She is gleaming in the golden hour sun and it feels like she is in the garden of Eden.   Shot on Mamiya 645 Pro camera with 45mm Mamiya Sekor lens. Using Kodak Gold 200 film.  | Leonie Freeman]]></title>
          <link>https://www.cizucu.com/fr/photos/LcfITjpuir5fca1v6H39</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Leonie Freeman sur cizucu.]]></description>
          <author>
            <name>Leonie Freeman</name>
            <uri>https://www.cizucu.com/fr/users/Z3nyxOavExSZa5rmcDPnnZRo9P03</uri>
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          <pubDate>Tue, 07 Apr 2026 23:00:45 GMT</pubDate>
          <atom:updated>2026-04-07T23:00:52+09:00</atom:updated>
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            <media:title><![CDATA[Juliet in the garden, December 2025 By Leonie Freeman  In December 2025 I travelled to Ibiza to photograph a project about the colourful native Ibizan lizard facing extinction due to invasive snakes coming to the island. This lizard is an ancient species and a much loved symbol of the island. In the last decade numbers are down 80%, since snake eggs have been finding their way to Ibiza hidden in the roots of imported olive trees from mainland Spain. The snakes have multiplied hugely in numbers and have been killing and eating the lizards, who have no defence against the snakes. People living on Ibiza are coming together to try and save the beloved lizard, by making snake traps and lizard sanctuaries where hopefully numbers can recover.  I was collaborating with Joanna Hruby, of Theatre of the Ancients, a puppet maker and performance artist. Joanna was putting on a Christmas play about the lizard and snake problem, at Can Cristofol farm. The play was a version of Shakespeare’s Room & Juliet, ‘Un Amor Impossible’…. Or ‘an impossible love’ between two species who can not co-exist on the island. With children dressed in amazing hand make costumes, the feuding families of the original Shakespeare play were instead lizards and snakes.   Juliet, played by Fallon, was Juliet and fell in love with Romeo, a snake. In this portrait we see Fallon as Juliet, photographed at sunset in the orange garden at Can Cristofol. She is gleaming in the golden hour sun and it feels like she is in the garden of Eden.   Shot on Mamiya 645 Pro camera with 45mm Mamiya Sekor lens. Using Kodak Gold 200 film.  | Leonie Freeman]]></media:title>
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            <media:description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Leonie Freeman sur cizucu.]]></media:description>
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          <title><![CDATA[This photograph was taken during my journey through Liangshan. The day was bitterly cold, and the air was heavy with moisture. The cold did not feel like something that merely touched the skin—it felt as though it could pass through clothing and sink deep into the body. We crossed one frost-covered hill after another, and at the top of one of them, we came across a solitary house. There were no other people in sight for nearly a kilometer, yet inside lived a young brother and sister, both no older than about five.  They told us that the adults had gone to the market to sell cattle and sheep, leaving the two of them at home alone. There was no light in the house, and the floor was rough, cold concrete. Even with boots on, I could feel my toes growing painfully numb, yet they walked barefoot across the frost-covered floor as if they had long since grown used to it. Their runny noses clung to the tips of their noses, drying and wetting again and again, becoming one of the most direct traces of that winter day.  We asked them what they usually did at home, and they answered, quite naturally, that they liked biting thick pieces of cardboard for fun. As they spoke, they really did begin to bite into it. In that moment, I felt a quiet sadness. But then a beam of sunlight fell across the child’s face, and he burst into laughter, as if the harshness around him had not managed to define him. At that instant, I realized that what I was seeing was no longer just poverty or cold, but something far stronger—the resilience of life itself.  This photograph is important to me not because it documents hardship in a remote place, but because it reminds me that even in the most unforgiving environments, people can still hold on to joy, vitality, and light. What I felt that day was not simply sympathy, nor the shock of an outsider looking in, but a deep sense of respect. To me, this photograph is not about suffering. It is about resilience. It is not about deprivation, but about the light that remains, even within it. | 熊寶]]></title>
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          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de 熊寶 sur cizucu.]]></description>
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            <name>熊寶</name>
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          <pubDate>Tue, 14 Apr 2026 12:44:16 GMT</pubDate>
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            <media:title><![CDATA[This photograph was taken during my journey through Liangshan. The day was bitterly cold, and the air was heavy with moisture. The cold did not feel like something that merely touched the skin—it felt as though it could pass through clothing and sink deep into the body. We crossed one frost-covered hill after another, and at the top of one of them, we came across a solitary house. There were no other people in sight for nearly a kilometer, yet inside lived a young brother and sister, both no older than about five.  They told us that the adults had gone to the market to sell cattle and sheep, leaving the two of them at home alone. There was no light in the house, and the floor was rough, cold concrete. Even with boots on, I could feel my toes growing painfully numb, yet they walked barefoot across the frost-covered floor as if they had long since grown used to it. Their runny noses clung to the tips of their noses, drying and wetting again and again, becoming one of the most direct traces of that winter day.  We asked them what they usually did at home, and they answered, quite naturally, that they liked biting thick pieces of cardboard for fun. As they spoke, they really did begin to bite into it. In that moment, I felt a quiet sadness. But then a beam of sunlight fell across the child’s face, and he burst into laughter, as if the harshness around him had not managed to define him. At that instant, I realized that what I was seeing was no longer just poverty or cold, but something far stronger—the resilience of life itself.  This photograph is important to me not because it documents hardship in a remote place, but because it reminds me that even in the most unforgiving environments, people can still hold on to joy, vitality, and light. What I felt that day was not simply sympathy, nor the shock of an outsider looking in, but a deep sense of respect. To me, this photograph is not about suffering. It is about resilience. It is not about deprivation, but about the light that remains, even within it. | 熊寶]]></media:title>
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            <media:description><![CDATA[Découvrez plus d'œuvres exceptionnelles de 熊寶 sur cizucu.]]></media:description>
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