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          <title><![CDATA[KOZUKI CAPTAL  #architecture #building #MAOY #tokyo #cityscape | つばさ製作所]]></title>
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          <title><![CDATA[【？？？】 No caption  #スナップ #スナップショット #考える写真 #千葉遠征編 | RYUURI]]></title>
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          <pubDate>Fri, 27 Dec 2024 19:53:19 GMT</pubDate>
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          <title><![CDATA[猫とカーテン  #猫 #動物 #生き物 #ペット #モノクロ #白黒 #カーテン #animal #love #cat #pet #kitty #cute #curtain #monochrome | eriko]]></title>
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          <description><![CDATA[下載eriko拍攝的高品質且免費的一隻貓從窗簾後面窺視照片，盡情使用。]]></description>
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          <pubDate>Wed, 28 Feb 2024 10:30:10 GMT</pubDate>
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          <title><![CDATA[No wind serves him who addresses his voyage to no certain port. | Yosuke0312]]></title>
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          <pubDate>Sun, 05 Oct 2025 08:46:19 GMT</pubDate>
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          <title><![CDATA[Light finds its way through the leaves, like it always does. Slow, quiet, certain.  | benjamin]]></title>
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          <description><![CDATA[在cizucu上查看更多benjamin的精彩作品。]]></description>
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            <media:title><![CDATA[Light finds its way through the leaves, like it always does. Slow, quiet, certain.  | benjamin]]></media:title>
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          <title><![CDATA["There was a certain harmony with nature that I sensed in this unexpected arrangement of discarded items."  この粗大ゴミの絶妙な組み合わせに、わたしは自然との融合を感じた | つばさ製作所]]></title>
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          <description><![CDATA[在cizucu上查看更多つばさ製作所的精彩作品。]]></description>
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          <pubDate>Sat, 19 Apr 2025 20:58:48 GMT</pubDate>
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          <title><![CDATA[This photo embodies the haze of faded memories and how certain parts inevitably slip away. You find yourself asking questions to reconstruct a moment buried so deep: What did she look like again? What book was she reading? How long ago was this? What did I wear that day?  This is a core memory for me, as it was the first time I experimented with double exposures on film. | Migolta]]></title>
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          <description><![CDATA[在cizucu上查看更多Migolta的精彩作品。]]></description>
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          <pubDate>Fri, 03 Apr 2026 09:36:04 GMT</pubDate>
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            <media:title><![CDATA[This photo embodies the haze of faded memories and how certain parts inevitably slip away. You find yourself asking questions to reconstruct a moment buried so deep: What did she look like again? What book was she reading? How long ago was this? What did I wear that day?  This is a core memory for me, as it was the first time I experimented with double exposures on film. | Migolta]]></media:title>
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          <title><![CDATA[I love movies more than I love photography, so when I'm taking photos I gravitate towards scenes I've recently watched on screen that have stuck with me. In a way it makes me feel like I am creating my own little movie frame starting from a memory of a scene, with the two ending up intertwining and forming a new "false" memory.  Looking at the stern composition and subject of this image, not to mention that it's in black and white, I am fairly certain I was watching a lot of Fellini and Antonioni's classics at the time I took this image. My own false memory of Mastroianni walking the streets of Bank. London, 2025. | Franco Volpi]]></title>
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          <description><![CDATA[在cizucu上查看更多Franco Volpi的精彩作品。]]></description>
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          <pubDate>Tue, 31 Mar 2026 02:52:38 GMT</pubDate>
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            <media:title><![CDATA[I love movies more than I love photography, so when I'm taking photos I gravitate towards scenes I've recently watched on screen that have stuck with me. In a way it makes me feel like I am creating my own little movie frame starting from a memory of a scene, with the two ending up intertwining and forming a new "false" memory.  Looking at the stern composition and subject of this image, not to mention that it's in black and white, I am fairly certain I was watching a lot of Fellini and Antonioni's classics at the time I took this image. My own false memory of Mastroianni walking the streets of Bank. London, 2025. | Franco Volpi]]></media:title>
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          <title><![CDATA[This photograph was taken at 萬里海灘 in Taiwan.  On that day, a friend and I planned to photograph each other using film cameras. What remains in this image is not a pose, but the most honest moment I saw of him.  I have always felt that he is a unique person. Perhaps shaped by certain experiences, there is a quiet loneliness in his eyes whenever we talk. Even when he says “it’s fine” or “it doesn’t matter,” that gaze never truly disappears.  This photograph focuses on his eyes — the moment I realized that although we were traveling together, the loneliness was still there. Unique people often walk alone, yet continue to survive gently in this world.  This work is dedicated to everyone who feels lonely, but keeps moving forward, including myself. | Erica_林瑋瑜]]></title>
          <link>https://www.cizucu.com/zh-tw/photos/f18ScarEIZLJgxhe8xOy</link>
          <description><![CDATA[在cizucu上查看更多Erica_林瑋瑜的精彩作品。]]></description>
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            <name>Erica_林瑋瑜</name>
            <uri>https://www.cizucu.com/zh-tw/erica09174</uri>
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          <pubDate>Wed, 18 Feb 2026 13:09:43 GMT</pubDate>
          <atom:updated>2026-02-18T13:09:43+09:00</atom:updated>
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            <media:title><![CDATA[This photograph was taken at 萬里海灘 in Taiwan.  On that day, a friend and I planned to photograph each other using film cameras. What remains in this image is not a pose, but the most honest moment I saw of him.  I have always felt that he is a unique person. Perhaps shaped by certain experiences, there is a quiet loneliness in his eyes whenever we talk. Even when he says “it’s fine” or “it doesn’t matter,” that gaze never truly disappears.  This photograph focuses on his eyes — the moment I realized that although we were traveling together, the loneliness was still there. Unique people often walk alone, yet continue to survive gently in this world.  This work is dedicated to everyone who feels lonely, but keeps moving forward, including myself. | Erica_林瑋瑜]]></media:title>
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          <title><![CDATA[March, Unlived  I left before the thaw could speak, before the sidewalks loosened their grip on salt and silence.  In the country where I am from, March is a quiet revolution— not loud, not certain, but felt in the soft rebellion of light lingering just a breath longer on familiar walls.  Here,  where I chose to live for now, seasons do not hesitate. The air is already complete, lush, unwavering— no trembling in-between.  And yet I find myself missing that fragile hesitation.  The way winter would loosen its cold fingers slowly, as if unsure it should let go. The way people would almost smile again, as if remembering something they hadn’t needed in months.  I traded that uncertainty for endless warmth, for skies that do not question themselves.  But March— March was never about certainty.  It was about sitting between worlds, coat half-open, heart unsure, waiting for something unnamed to return.  Somewhere, my family gathers around a table set for Easter, voices rising like the first birds, familiar, imperfect, whole.  And here, palm leaves move without memory.  I chose the sun, but I think of that soft, grey light— how it carried hope not as a promise, but as a possibility.  And maybe that is what I miss most: not the cold, not the country—  but the feeling of something beginning without knowing if it will last. | analogbysissi]]></title>
          <link>https://www.cizucu.com/zh-tw/photos/ZGnqRjAS6NTCzWe3Irv5</link>
          <description><![CDATA[在cizucu上查看更多analogbysissi的精彩作品。]]></description>
          <author>
            <name>analogbysissi</name>
            <uri>https://www.cizucu.com/zh-tw/users/bGcW6RBOnzR08kS9qh7M8YjSgeQ2</uri>
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          <pubDate>Wed, 25 Mar 2026 15:24:24 GMT</pubDate>
          <atom:updated>2026-03-25T15:24:24+09:00</atom:updated>
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            <media:title><![CDATA[March, Unlived  I left before the thaw could speak, before the sidewalks loosened their grip on salt and silence.  In the country where I am from, March is a quiet revolution— not loud, not certain, but felt in the soft rebellion of light lingering just a breath longer on familiar walls.  Here,  where I chose to live for now, seasons do not hesitate. The air is already complete, lush, unwavering— no trembling in-between.  And yet I find myself missing that fragile hesitation.  The way winter would loosen its cold fingers slowly, as if unsure it should let go. The way people would almost smile again, as if remembering something they hadn’t needed in months.  I traded that uncertainty for endless warmth, for skies that do not question themselves.  But March— March was never about certainty.  It was about sitting between worlds, coat half-open, heart unsure, waiting for something unnamed to return.  Somewhere, my family gathers around a table set for Easter, voices rising like the first birds, familiar, imperfect, whole.  And here, palm leaves move without memory.  I chose the sun, but I think of that soft, grey light— how it carried hope not as a promise, but as a possibility.  And maybe that is what I miss most: not the cold, not the country—  but the feeling of something beginning without knowing if it will last. | analogbysissi]]></media:title>
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            <media:description><![CDATA[在cizucu上查看更多analogbysissi的精彩作品。]]></media:description>
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          <title><![CDATA[Title: The Willow Veil  Viewed through the timeless curtain of a weeping willow, the frantic megalopolis is pushed into the distance, small and harmless. Nature reclaims the frame, offering a moment of 'Ma' (negative space) and stillness. The concrete remains, but the spirit has found its drift.  This work is currently competing in the 23rd International Photography Awards (IPA).  タイトル : The Willow Veil (柳の帳) 作品解説 : 枝垂れ柳の時を超えた帳（とばり）越しに眺めると、狂騒の巨大都市は彼方へと追いやられ、小さく無害なものへと変わります。自然が再び主役となり、「間」と静寂のひとときをもたらすのです。コンクリートは依然としてそこに在りますが、心はついにその漂うべき場所を見出したのです。 備考 : 本作品は、第23回 IPA (International Photography Awards) のコンペティション参加作品です。 | Corinne Vallienne]]></title>
          <link>https://www.cizucu.com/zh-tw/photos/u6ua0Jxsn1pE4fXLb5Yh</link>
          <description><![CDATA[在cizucu上查看更多Corinne Vallienne的精彩作品。]]></description>
          <author>
            <name>Corinne Vallienne</name>
            <uri>https://www.cizucu.com/zh-tw/japantokyodaybyday</uri>
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          <pubDate>Sat, 31 Jan 2026 17:58:07 GMT</pubDate>
          <atom:updated>2026-01-31T17:58:07+09:00</atom:updated>
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            <media:title><![CDATA[Title: The Willow Veil  Viewed through the timeless curtain of a weeping willow, the frantic megalopolis is pushed into the distance, small and harmless. Nature reclaims the frame, offering a moment of 'Ma' (negative space) and stillness. The concrete remains, but the spirit has found its drift.  This work is currently competing in the 23rd International Photography Awards (IPA).  タイトル : The Willow Veil (柳の帳) 作品解説 : 枝垂れ柳の時を超えた帳（とばり）越しに眺めると、狂騒の巨大都市は彼方へと追いやられ、小さく無害なものへと変わります。自然が再び主役となり、「間」と静寂のひとときをもたらすのです。コンクリートは依然としてそこに在りますが、心はついにその漂うべき場所を見出したのです。 備考 : 本作品は、第23回 IPA (International Photography Awards) のコンペティション参加作品です。 | Corinne Vallienne]]></media:title>
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            <media:description><![CDATA[在cizucu上查看更多Corinne Vallienne的精彩作品。]]></media:description>
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