Ảnh về Poverty | Tải hình ảnh miễn phí bản quyền & độ phân giải cao https://www.cizucu.com/vi/explore/photos/poverty vi 2026-05-04T14:40:13+09:00 60 cizucu RSS Feed Generator © 2026 cizucu Inc. All rights reserved. vi https://www.cizucu.com/assets/favicons/favicon.ico #080c4c <![CDATA[In the rhythm of ordinary streets, poetry hides in the steps we don’t notice. #PoeticStreets #EverydayPoetry #UrbanWhispers #StreetRhythm #CityFragments #HumanMoments #CrosswalkTales #StreetHaiku #UrbanPoetry #CizucuMood #StreetVerse #SilentStories | Masa]]> https://www.cizucu.com/vi/photos/pQkMszyqASBTnkIOcHDD Masa https://www.cizucu.com/vi/users/ket4TzTLjEb1mBjctjqxOt2dubs2 https://www.cizucu.com/vi/photos/pQkMszyqASBTnkIOcHDD Thu, 18 Sep 2025 00:09:54 GMT 2026-01-18T04:31:56+09:00 https://cdn.cizucu.com/images/photos/pQkMszyqASBTnkIOcHDD.jpg?auto=compress,format <![CDATA[In the rhythm of ordinary streets, poetry hides in the steps we don’t notice. #PoeticStreets #EverydayPoetry #UrbanWhispers #StreetRhythm #CityFragments #HumanMoments #CrosswalkTales #StreetHaiku #UrbanPoetry #CizucuMood #StreetVerse #SilentStories | Masa]]> https://www.cizucu.com/vi/photos/pQkMszyqASBTnkIOcHDD Masa https://www.cizucu.com/vi/users/ket4TzTLjEb1mBjctjqxOt2dubs2 https://www.cizucu.com/vi/photos/pQkMszyqASBTnkIOcHDD Thu, 18 Sep 2025 00:09:54 GMT 2025-09-18T00:09:54+09:00 https://cdn.cizucu.com/images/photos/pQkMszyqASBTnkIOcHDD.jpg?auto=compress,format <![CDATA["Bubble In Wonderland" "Bubble In Wonderland" explores the fragile harmony between precision and poetry. Created entirely through physical elements—liquid, tension, and light—it invites the viewer into a surreal space where science dissolves into magic. #マクロ #パステルカラー #泡 | takuma]]> https://www.cizucu.com/vi/photos/uhkg1U3j0ae4KMlSCSMv takuma https://www.cizucu.com/vi/users/rn71bwN3L2WFlwhnKvoE95JhNcp1 https://www.cizucu.com/vi/photos/uhkg1U3j0ae4KMlSCSMv Wed, 24 Sep 2025 12:30:38 GMT 2025-09-24T12:30:38+09:00 https://cdn.cizucu.com/images/photos/uhkg1U3j0ae4KMlSCSMv.jpg?auto=compress,format <![CDATA["Bubble In Wonderland" "Bubble In Wonderland" explores the fragile harmony between precision and poetry. Created entirely through physical elements—liquid, tension, and light—it invites the viewer into a surreal space where science dissolves into magic. #マクロ #パステルカラー #泡 | takuma]]> https://www.cizucu.com/vi/photos/uhkg1U3j0ae4KMlSCSMv takuma https://www.cizucu.com/vi/users/rn71bwN3L2WFlwhnKvoE95JhNcp1 https://www.cizucu.com/vi/photos/uhkg1U3j0ae4KMlSCSMv Wed, 24 Sep 2025 12:30:38 GMT 2026-01-18T04:10:39+09:00 https://cdn.cizucu.com/images/photos/uhkg1U3j0ae4KMlSCSMv.jpg?auto=compress,format <![CDATA[Carlton Street No 5 Color Version. A short series of photos exploring the architecture on Carlton Street in Toronto Ontario. No 196 Carlton St was designated a Heritage Property by The City of Toronto in 2007. Original photography using a Canon EOS RP body with a Canon EF 17-40mm f/4L USM lens. Processed using Lightroom. Brian Carson The Learning Curve Photography https://linktr.ee/thelearningcurvephotography #toronto #streetsoftoronto #originalphotography #photography #photoproject #architecture #building #canadian | The Learning Curve Photography]]> https://www.cizucu.com/vi/photos/xeZ1rJmbCwhTHUnFI3kh The Learning Curve Photography https://www.cizucu.com/vi/users/wFGodvFnMXe8zuo86nPboGZQaff1 https://www.cizucu.com/vi/photos/xeZ1rJmbCwhTHUnFI3kh Fri, 26 Dec 2025 01:24:25 GMT 2025-12-26T01:24:25+09:00 https://cdn.cizucu.com/images/photos/xeZ1rJmbCwhTHUnFI3kh.jpg?auto=compress,format <![CDATA[Carlton Street No 5 Color Version. A short series of photos exploring the architecture on Carlton Street in Toronto Ontario. No 196 Carlton St was designated a Heritage Property by The City of Toronto in 2007. Original photography using a Canon EOS RP body with a Canon EF 17-40mm f/4L USM lens. Processed using Lightroom. Brian Carson The Learning Curve Photography https://linktr.ee/thelearningcurvephotography #toronto #streetsoftoronto #originalphotography #photography #photoproject #architecture #building #canadian | The Learning Curve Photography]]> https://www.cizucu.com/vi/photos/xeZ1rJmbCwhTHUnFI3kh The Learning Curve Photography https://www.cizucu.com/vi/users/wFGodvFnMXe8zuo86nPboGZQaff1 https://www.cizucu.com/vi/photos/xeZ1rJmbCwhTHUnFI3kh Fri, 26 Dec 2025 01:24:25 GMT 2026-01-17T23:31:43+09:00 https://cdn.cizucu.com/images/photos/xeZ1rJmbCwhTHUnFI3kh.jpg?auto=compress,format <![CDATA[Living in Happyland In 2019, I spent a weekend in Aroma, Tondo, Manila — an informal settlement often known as Happyland. The name comes from Hapilan, meaning dump site, a reminder of the harsh environment the community lives in. I was invited by a friend who runs a shelter for boys in the area. During my time there, I met children and families living in extreme poverty, many relying on scavenging at nearby dump sites to survive. Yet what stayed with me was not just the hardship, but the warmth of the people. I was welcomed openly, with laughter, curiosity, and generosity that felt deeply sincere. As a photographer, I struggled with how to tell this story. Rather than focusing only on deprivation, I chose to document moments of hope — the smiles, friendships, and quiet resilience of everyday life. The children spoke freely about their dreams of becoming nurses, engineers, and software developers, believing strongly in a future beyond their present circumstances. This experience reshaped my understanding of happiness, showing me how dignity, community, and hope endure even in the most difficult places. | Victor Tan KH]]> https://www.cizucu.com/vi/photos/5rLps4AdmWu1rEHn4sQW Victor Tan KH https://www.cizucu.com/vi/users/iVywoqF9Dgd0tIYYYiwLtXXfs1n2 https://www.cizucu.com/vi/photos/5rLps4AdmWu1rEHn4sQW Sun, 18 Jan 2026 21:43:45 GMT 2026-01-18T21:43:45+09:00 https://cdn.cizucu.com/images/photos/5rLps4AdmWu1rEHn4sQW.jpg?auto=compress,format <![CDATA[Living in Happyland In 2019, I spent a weekend in Aroma, Tondo, Manila — an informal settlement often known as Happyland. The name comes from Hapilan, meaning dump site, a reminder of the harsh environment the community lives in. I was invited by a friend who runs a shelter for boys in the area. During my time there, I met children and families living in extreme poverty, many relying on scavenging at nearby dump sites to survive. Yet what stayed with me was not just the hardship, but the warmth of the people. I was welcomed openly, with laughter, curiosity, and generosity that felt deeply sincere. As a photographer, I struggled with how to tell this story. Rather than focusing only on deprivation, I chose to document moments of hope — the smiles, friendships, and quiet resilience of everyday life. The children spoke freely about their dreams of becoming nurses, engineers, and software developers, believing strongly in a future beyond their present circumstances. This experience reshaped my understanding of happiness, showing me how dignity, community, and hope endure even in the most difficult places. | Victor Tan KH]]> https://www.cizucu.com/vi/photos/5rLps4AdmWu1rEHn4sQW Victor Tan KH https://www.cizucu.com/vi/users/iVywoqF9Dgd0tIYYYiwLtXXfs1n2 https://www.cizucu.com/vi/photos/5rLps4AdmWu1rEHn4sQW Sun, 18 Jan 2026 21:43:45 GMT 2026-01-18T21:44:02+09:00 https://cdn.cizucu.com/images/photos/5rLps4AdmWu1rEHn4sQW.jpg?auto=compress,format <![CDATA[For thirteen years, photography has taught me to slow down and notice the quiet poetry of everyday life. I am drawn to ordinary people doing ordinary things—walking, waiting, working, resting. Moments that often pass unnoticed, yet through the lens these fleeting fragments become something extraordinary. On Charles Bridge in Prague, during golden hour, a street artist sketches the portrait of a passing tourist while the world moves around them. In a scene filled with faces, the only one we do not see is the artist’s—hidden as he brings another’s likeness to life. For me, this simple moment reflects the heart of my photography: finding wonder in the ordinary and meaning in moments we often tend to miss in our everday lives. | Trishita Bhattacharya]]> https://www.cizucu.com/vi/photos/Cnx1Icbp0otPJg2yjyDm Trishita Bhattacharya https://www.cizucu.com/vi/users/OuzxF4GGQ7ebp6bu41IVc9KRYQP2 https://www.cizucu.com/vi/photos/Cnx1Icbp0otPJg2yjyDm Mon, 16 Mar 2026 00:57:12 GMT 2026-03-16T00:57:12+09:00 https://cdn.cizucu.com/images/photos/Cnx1Icbp0otPJg2yjyDm.jpg?auto=compress,format <![CDATA[For thirteen years, photography has taught me to slow down and notice the quiet poetry of everyday life. I am drawn to ordinary people doing ordinary things—walking, waiting, working, resting. Moments that often pass unnoticed, yet through the lens these fleeting fragments become something extraordinary. On Charles Bridge in Prague, during golden hour, a street artist sketches the portrait of a passing tourist while the world moves around them. In a scene filled with faces, the only one we do not see is the artist’s—hidden as he brings another’s likeness to life. For me, this simple moment reflects the heart of my photography: finding wonder in the ordinary and meaning in moments we often tend to miss in our everday lives. | Trishita Bhattacharya]]> https://www.cizucu.com/vi/photos/Cnx1Icbp0otPJg2yjyDm Trishita Bhattacharya https://www.cizucu.com/vi/users/OuzxF4GGQ7ebp6bu41IVc9KRYQP2 https://www.cizucu.com/vi/photos/Cnx1Icbp0otPJg2yjyDm Mon, 16 Mar 2026 00:57:12 GMT 2026-05-03T13:45:57+09:00 https://cdn.cizucu.com/images/photos/Cnx1Icbp0otPJg2yjyDm.jpg?auto=compress,format <![CDATA[These are my mother’s hands, with the flowers she loves. She has always said that her hands are ugly.
Growing up in poverty,
she had to help with farming from a very young age.
Years of hard labor and heavy housework
have left marks on her hands that time cannot erase. But to me, these are the hands I am deeply grateful for—
the hands that held me
and protected me as I grew up. Through this image,
I hope more people can see the strength, history,
and quiet magnificence these hands carry. これは、母の手と、母の好きな花です。 母はいつも、自分の手は醜いと言います。
貧しい家庭に育ち、
幼い頃から農作業を手伝ってきました。
長年の労働と家事によって、
その手には消えることのない歳月の跡が刻まれています。 けれど私にとって、この手は
私を抱き、守り、育ててくれた大切な手です。 この写真を通して、
この手に刻まれた力強い歴史と、
その中にある静かな美しさが伝わればと思います。

 這是我母親的手，和她喜歡的花。 母親總說自己的手很醜。
因為從小家境貧困，
年幼時便要協助耕作。
長年的勞動與繁重的家務，
讓歲月在她的手上留下無法抹去的痕跡。 而我卻深深感謝這雙手——
捧著我、守護著我長大。 我希望，
能讓更多人看見這雙手所承載的壯麗痕跡。 | JoJo Tsai 蔡易蓁]]> https://www.cizucu.com/vi/photos/v0tznKhGxq4p8f6QJS7I JoJo Tsai 蔡易蓁 https://www.cizucu.com/vi/jojotsai https://www.cizucu.com/vi/photos/v0tznKhGxq4p8f6QJS7I Thu, 19 Feb 2026 04:15:08 GMT 2026-02-19T04:15:08+09:00 https://cdn.cizucu.com/images/photos/v0tznKhGxq4p8f6QJS7I.jpg?auto=compress,format <![CDATA[These are my mother’s hands, with the flowers she loves. She has always said that her hands are ugly.
Growing up in poverty,
she had to help with farming from a very young age.
Years of hard labor and heavy housework
have left marks on her hands that time cannot erase. But to me, these are the hands I am deeply grateful for—
the hands that held me
and protected me as I grew up. Through this image,
I hope more people can see the strength, history,
and quiet magnificence these hands carry. これは、母の手と、母の好きな花です。 母はいつも、自分の手は醜いと言います。
貧しい家庭に育ち、
幼い頃から農作業を手伝ってきました。
長年の労働と家事によって、
その手には消えることのない歳月の跡が刻まれています。 けれど私にとって、この手は
私を抱き、守り、育ててくれた大切な手です。 この写真を通して、
この手に刻まれた力強い歴史と、
その中にある静かな美しさが伝わればと思います。

 這是我母親的手，和她喜歡的花。 母親總說自己的手很醜。
因為從小家境貧困，
年幼時便要協助耕作。
長年的勞動與繁重的家務，
讓歲月在她的手上留下無法抹去的痕跡。 而我卻深深感謝這雙手——
捧著我、守護著我長大。 我希望，
能讓更多人看見這雙手所承載的壯麗痕跡。 | JoJo Tsai 蔡易蓁]]> https://www.cizucu.com/vi/photos/M1X8wUZ1MnOhWKaCnonb JoJo Tsai 蔡易蓁 https://www.cizucu.com/vi/jojotsai https://www.cizucu.com/vi/photos/M1X8wUZ1MnOhWKaCnonb Thu, 19 Feb 2026 04:18:22 GMT 2026-02-19T04:18:22+09:00 https://cdn.cizucu.com/images/photos/M1X8wUZ1MnOhWKaCnonb.jpg?auto=compress,format <![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]]> https://www.cizucu.com/vi/photos/1IuVoF2K24vT83YiYK40 熊寶 https://www.cizucu.com/vi/users/zdddXarNsJdBtAS3ArljH0VHCDA2 https://www.cizucu.com/vi/photos/1IuVoF2K24vT83YiYK40 Tue, 14 Apr 2026 12:44:16 GMT 2026-04-14T12:44:16+09:00 https://cdn.cizucu.com/images/photos/1IuVoF2K24vT83YiYK40.jpg?auto=compress,format <![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]]> https://www.cizucu.com/vi/photos/1IuVoF2K24vT83YiYK40 熊寶 https://www.cizucu.com/vi/users/zdddXarNsJdBtAS3ArljH0VHCDA2 https://www.cizucu.com/vi/photos/1IuVoF2K24vT83YiYK40 Tue, 14 Apr 2026 12:44:16 GMT 2026-05-03T12:00:06+09:00 https://cdn.cizucu.com/images/photos/1IuVoF2K24vT83YiYK40.jpg?auto=compress,format <![CDATA[These are my mother’s hands, with the flowers she loves. She has always said that her hands are ugly.
Growing up in poverty,
she had to help with farming from a very young age.
Years of hard labor and heavy housework
have left marks on her hands that time cannot erase. But to me, these are the hands I am deeply grateful for—
the hands that held me
and protected me as I grew up. Through this image,
I hope more people can see the strength, history,
and quiet magnificence these hands carry. これは、母の手と、母の好きな花です。 母はいつも、自分の手は醜いと言います。
貧しい家庭に育ち、
幼い頃から農作業を手伝ってきました。
長年の労働と家事によって、
その手には消えることのない歳月の跡が刻まれています。 けれど私にとって、この手は
私を抱き、守り、育ててくれた大切な手です。 この写真を通して、
この手に刻まれた力強い歴史と、
その中にある静かな美しさが伝わればと思います。

 這是我母親的手，和她喜歡的花。 母親總說自己的手很醜。
因為從小家境貧困，
年幼時便要協助耕作。
長年的勞動與繁重的家務，
讓歲月在她的手上留下無法抹去的痕跡。 而我卻深深感謝這雙手——
捧著我、守護著我長大。 我希望，
能讓更多人看見這雙手所承載的壯麗痕跡。 | JoJo Tsai 蔡易蓁]]> https://www.cizucu.com/vi/photos/M1X8wUZ1MnOhWKaCnonb JoJo Tsai 蔡易蓁 https://www.cizucu.com/vi/jojotsai https://www.cizucu.com/vi/photos/M1X8wUZ1MnOhWKaCnonb Thu, 19 Feb 2026 04:18:22 GMT 2026-02-19T04:18:28+09:00 https://cdn.cizucu.com/images/photos/M1X8wUZ1MnOhWKaCnonb.jpg?auto=compress,format <![CDATA[These are my mother’s hands, with the flowers she loves. She has always said that her hands are ugly.
Growing up in poverty,
she had to help with farming from a very young age.
Years of hard labor and heavy housework
have left marks on her hands that time cannot erase. But to me, these are the hands I am deeply grateful for—
the hands that held me
and protected me as I grew up. Through this image,
I hope more people can see the strength, history,
and quiet magnificence these hands carry. これは、母の手と、母の好きな花です。 母はいつも、自分の手は醜いと言います。
貧しい家庭に育ち、
幼い頃から農作業を手伝ってきました。
長年の労働と家事によって、
その手には消えることのない歳月の跡が刻まれています。 けれど私にとって、この手は
私を抱き、守り、育ててくれた大切な手です。 この写真を通して、
この手に刻まれた力強い歴史と、
その中にある静かな美しさが伝わればと思います。

 這是我母親的手，和她喜歡的花。 母親總說自己的手很醜。
因為從小家境貧困，
年幼時便要協助耕作。
長年的勞動與繁重的家務，
讓歲月在她的手上留下無法抹去的痕跡。 而我卻深深感謝這雙手——
捧著我、守護著我長大。 我希望，
能讓更多人看見這雙手所承載的壯麗痕跡。 | JoJo Tsai 蔡易蓁]]> https://www.cizucu.com/vi/photos/v0tznKhGxq4p8f6QJS7I JoJo Tsai 蔡易蓁 https://www.cizucu.com/vi/jojotsai https://www.cizucu.com/vi/photos/v0tznKhGxq4p8f6QJS7I Thu, 19 Feb 2026 04:15:08 GMT 2026-05-03T14:56:16+09:00 https://cdn.cizucu.com/images/photos/v0tznKhGxq4p8f6QJS7I.jpg?auto=compress,format