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          <pubDate>Sun, 04 Feb 2024 23:40:14 GMT</pubDate>
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          <title><![CDATA[Where has she gone…  #streetphotography  | Kai Sakiyama]]></title>
          <link>https://www.cizucu.com/fr/photos/jMKodCNHJaFTQp0TMjfo</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Kai Sakiyama sur cizucu.]]></description>
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          <pubDate>Sat, 10 Jan 2026 19:43:42 GMT</pubDate>
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          <title><![CDATA[Love was like a meteor — brilliant, unforgettable, and gone too soon. | Sunny Li]]></title>
          <link>https://www.cizucu.com/fr/photos/X9f0AxO5EG2ETQi85h8M</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Sunny Li sur cizucu.]]></description>
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            <name>Sunny Li</name>
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          <pubDate>Mon, 09 Mar 2026 21:54:14 GMT</pubDate>
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          <title><![CDATA[Where has she gone…  #streetphotography  | Kai Sakiyama]]></title>
          <link>https://www.cizucu.com/fr/photos/QaTC4aMMFHDGE6gp2gJZ</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Kai Sakiyama sur cizucu.]]></description>
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            <name>Kai Sakiyama</name>
            <uri>https://www.cizucu.com/fr/kaisakiyama</uri>
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          <pubDate>Fri, 09 Jan 2026 21:29:37 GMT</pubDate>
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          <title><![CDATA[< The Water Road > Taiwan-  Wang-Gong Fishing Harbor | Eric Liang]]></title>
          <link>https://www.cizucu.com/fr/photos/L7DfhtlLvpmsm4PBle3o</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Eric Liang sur cizucu.]]></description>
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            <name>Eric Liang</name>
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          <pubDate>Wed, 11 Feb 2026 23:24:09 GMT</pubDate>
          <atom:updated>2026-02-11T23:24:09+09:00</atom:updated>
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          <title><![CDATA[Left behind, by the window.  Light lingers where someone once stood— a quiet trace, almost gone.  —  窓辺に、置き去りにされたもの。  光の中に、さっきまでの気配が 静かに残っている。  #日常の再発見 #静かな時間 #光と影 | benjamin]]></title>
          <link>https://www.cizucu.com/fr/photos/zetA4pd8NNub7vWUUyAb</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de benjamin sur cizucu.]]></description>
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            <name>benjamin</name>
            <uri>https://www.cizucu.com/fr/benjamin</uri>
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          <pubDate>Thu, 26 Mar 2026 20:09:57 GMT</pubDate>
          <atom:updated>2026-03-26T20:09:57+09:00</atom:updated>
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            <media:title><![CDATA[Left behind, by the window.  Light lingers where someone once stood— a quiet trace, almost gone.  —  窓辺に、置き去りにされたもの。  光の中に、さっきまでの気配が 静かに残っている。  #日常の再発見 #静かな時間 #光と影 | benjamin]]></media:title>
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          <title><![CDATA[That instant recognition, when something ordinary suddenly connects us back to someone important.  The moment I took this photo, I recognized something I once had but never truly valued until it was gone. It reminded me of my grandmother—the quiet reason I am here today. Sometimes a single image can bring back the weight of memories and the people who shaped us long before we understood their worth. | Anamika]]></title>
          <link>https://www.cizucu.com/fr/photos/9kCJljqc2Dn8wVHzN9lG</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Anamika sur cizucu.]]></description>
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          <pubDate>Sat, 14 Mar 2026 01:57:30 GMT</pubDate>
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            <media:title><![CDATA[That instant recognition, when something ordinary suddenly connects us back to someone important.  The moment I took this photo, I recognized something I once had but never truly valued until it was gone. It reminded me of my grandmother—the quiet reason I am here today. Sometimes a single image can bring back the weight of memories and the people who shaped us long before we understood their worth. | Anamika]]></media:title>
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          <title><![CDATA[This photo was taken outside Vauxhall Station on a foggy day. I used my phone first. When I tried my camera, the bird was already gone. This moment could easily be lost.  For me, memory works the same way. It is fast, unclear, and we don’t have time to control it. We catch it with instinct, or we miss it.  This image became very popular online, more than many photos I carefully planned. It made me realise that being present is more important than being perfect. Sometimes instinct sees before we think. | Miha Spring]]></title>
          <link>https://www.cizucu.com/fr/photos/l6wDkjrafjnCOnz7f6G3</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Miha Spring sur cizucu.]]></description>
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            <name>Miha Spring</name>
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          <pubDate>Sat, 04 Apr 2026 20:54:09 GMT</pubDate>
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            <media:title><![CDATA[This photo was taken outside Vauxhall Station on a foggy day. I used my phone first. When I tried my camera, the bird was already gone. This moment could easily be lost.  For me, memory works the same way. It is fast, unclear, and we don’t have time to control it. We catch it with instinct, or we miss it.  This image became very popular online, more than many photos I carefully planned. It made me realise that being present is more important than being perfect. Sometimes instinct sees before we think. | Miha Spring]]></media:title>
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            <media:description><![CDATA[Découvrez plus d'œuvres exceptionnelles de Miha Spring sur cizucu.]]></media:description>
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          <title><![CDATA[This photo was taken last year during the Chinese New Year period, where I stumbled upon this monastery nearby where I live. As I explored the place, I started taking notice of this one elderly lady circling this large structure by herself as she recites her prayer and holds onto her incense. What drew me to this scene was how shooting through the plastic cover (used to shelter the place) helps blur the colours and detail of the structure behind her and silhouette the woman even more, which helps really translate the feeling of serene isolation I wanted to capture. To me, street photography has always been about having the sense to capture the scenes in the everyday that might've otherwise gone unnoticed, but the ability to further express the emotional depth within a particular moment   on top of authenticity is what has led me to start adopting abstract elements in my photography. | a.da.md]]></title>
          <link>https://www.cizucu.com/fr/photos/hgTYSErakAPBxlkfS9Iv</link>
          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de a.da.md sur cizucu.]]></description>
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          <pubDate>Sun, 18 Jan 2026 15:17:34 GMT</pubDate>
          <atom:updated>2026-01-18T15:17:34+09:00</atom:updated>
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            <media:title><![CDATA[This photo was taken last year during the Chinese New Year period, where I stumbled upon this monastery nearby where I live. As I explored the place, I started taking notice of this one elderly lady circling this large structure by herself as she recites her prayer and holds onto her incense. What drew me to this scene was how shooting through the plastic cover (used to shelter the place) helps blur the colours and detail of the structure behind her and silhouette the woman even more, which helps really translate the feeling of serene isolation I wanted to capture. To me, street photography has always been about having the sense to capture the scenes in the everyday that might've otherwise gone unnoticed, but the ability to further express the emotional depth within a particular moment   on top of authenticity is what has led me to start adopting abstract elements in my photography. | a.da.md]]></media:title>
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          <title><![CDATA[This photo was taken last year during the Chinese New Year period, where I stumbled upon a Buddhist monastery near where I live. As I further explored this place, I took notice of the elderly woman circling around this large display, quietly reciting her prayers with incense in hand. What drew me to this scene in particular is how shooting through the plastic cover (made to shelter the place) helped blur the detail and mesh the colours of the structure, in addition to further silhouetting the woman who already looks so small in the frame, emphasizing on the sense of lone serenity that intrigued me about this moment. To me, street photography has always been about having the sense to capture the scenes in the everyday that might've gone ignored, with this photo being amongst the first where I infused abstract elements in my work to draw on the emotional depth of the photo even more, on top of authenticity. | a.da.md]]></title>
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          <description><![CDATA[Découvrez plus d'œuvres exceptionnelles de a.da.md sur cizucu.]]></description>
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            <name>a.da.md</name>
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          <pubDate>Sun, 18 Jan 2026 16:03:24 GMT</pubDate>
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            <media:title><![CDATA[This photo was taken last year during the Chinese New Year period, where I stumbled upon a Buddhist monastery near where I live. As I further explored this place, I took notice of the elderly woman circling around this large display, quietly reciting her prayers with incense in hand. What drew me to this scene in particular is how shooting through the plastic cover (made to shelter the place) helped blur the detail and mesh the colours of the structure, in addition to further silhouetting the woman who already looks so small in the frame, emphasizing on the sense of lone serenity that intrigued me about this moment. To me, street photography has always been about having the sense to capture the scenes in the everyday that might've gone ignored, with this photo being amongst the first where I infused abstract elements in my work to draw on the emotional depth of the photo even more, on top of authenticity. | a.da.md]]></media:title>
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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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          <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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