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          <title><![CDATA[ハンバーガー屋さんの持ち帰り注文窓口  #takeoutorderhere→ #AKS #Burger #cityscape #TOKYO | つばさ製作所]]></title>
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          <pubDate>Sun, 23 Feb 2025 18:15:24 GMT</pubDate>
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          <title><![CDATA[vegetables road🌱 | Gonta]]></title>
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          <description><![CDATA[Download a free, high-quality image of street passage between tall buildings in Shimbashi near Shinbashi Station by つばさ製作所 on cizucu.]]></description>
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            <name>つばさ製作所</name>
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          <pubDate>Sun, 04 Aug 2024 21:31:11 GMT</pubDate>
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          <title><![CDATA[庭の枯れゆく草木 ＃枯れる ＃自然の摂理 | Monks]]></title>
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          <description><![CDATA[Download a free, high-quality image of Withered leaves and dried vines on a dead plant branch by Monks on cizucu.]]></description>
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          <pubDate>Sat, 18 May 2024 00:00:13 GMT</pubDate>
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          <title><![CDATA[cafe interior with illustrated window lettering reading “ORDER CAFE” | hhhiroooki]]></title>
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          <description><![CDATA[Download a free, high-quality image of cafe interior with illustrated window lettering reading “ORDER CAFE” by hhhiroooki on cizucu.]]></description>
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          <pubDate>Tue, 03 Dec 2024 00:16:29 GMT</pubDate>
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          <title><![CDATA[格子の秩序に絡みつく混沌  Chaos Entwining the Lattice of Order     | kazrin]]></title>
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          <description><![CDATA[Download a free, high-quality image of detail of a grid metal panel with intertwined cables on the ground by kazrin on cizucu.]]></description>
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          <title><![CDATA[hand holding a cafe order ticket inside a modern restaurant | Keisuke Nishida]]></title>
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          <description><![CDATA[Download a free, high-quality image of hand holding a cafe order ticket inside a modern restaurant by Keisuke Nishida on cizucu.]]></description>
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            <name>Keisuke Nishida</name>
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          <title><![CDATA[Bicycles lined up with handlebars and front wheels in view | s.yamamoto.18/兵庫]]></title>
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          <title><![CDATA[handheld ticket card marked “karaage (1 piece)” | エルエルシー]]></title>
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          <atom:updated>2026-05-08T04:22:05+09:00</atom:updated>
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          <title><![CDATA[光景 回転寿司オーダー | TakaBo-]]></title>
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          <title><![CDATA[guards in red uniforms standing in formation in front of a building | Shun]]></title>
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          <title><![CDATA[dim warehouse corridor with stacked cardboard boxes and bicycles | e_s_e_32]]></title>
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          <title><![CDATA[Between order and chaos | sora.days]]></title>
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          <title><![CDATA[道の秩序を保つ者 | けいた]]></title>
          <link>https://www.cizucu.com/en/photos/Jrv4UNcj1jG41SiBVYGE</link>
          <description><![CDATA[See more of けいた's photography on cizucu.]]></description>
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          <title><![CDATA[#喫茶店 #パスタ | Nonono]]></title>
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          <pubDate>Sun, 10 Aug 2025 00:26:58 GMT</pubDate>
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          <title><![CDATA[Hanoi is a city of constant contrasts — stillness and motion, waiting and rushing, order and chaos. This image seeks to hold that contradiction in a single, quiet yet telling moment. | Simon]]></title>
          <link>https://www.cizucu.com/en/photos/ULFJ6goO5K76zKE5Imwc</link>
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          <pubDate>Fri, 13 Feb 2026 16:48:09 GMT</pubDate>
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          <title><![CDATA[Finding Color in the Noise  Street photography is often an exercise in patience and restraint. On Armenian Street in Georgetown, Penang, the umbrella installation fills the frame with repetition—layers of monochrome forms, tangled lines, and surrounding buildings competing relentlessly for attention. Every direction offers distraction. Nothing wants to stay quiet.  This photograph emerged from the challenge of seeing through that visual noise. The abundance of umbrellas and architectural clutter made it difficult to establish a clear subject. By isolating a single rainbow umbrella within the chaos, the image finds its anchor. Color becomes the language of focus, cutting through complexity and guiding the eye.  The result is not just documentation of a street art installation, but a reflection of the street photographer’s pursuit: to impose order on disorder, to wait for clarity within clutter, and to reveal meaning by choosing what to exclude. In a world full of visual repetition, sometimes one deliberate frame is enough to let individuality rise. | Big_Dins_Photos]]></title>
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          <pubDate>Sun, 18 Jan 2026 05:30:11 GMT</pubDate>
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            <media:title><![CDATA[Finding Color in the Noise  Street photography is often an exercise in patience and restraint. On Armenian Street in Georgetown, Penang, the umbrella installation fills the frame with repetition—layers of monochrome forms, tangled lines, and surrounding buildings competing relentlessly for attention. Every direction offers distraction. Nothing wants to stay quiet.  This photograph emerged from the challenge of seeing through that visual noise. The abundance of umbrellas and architectural clutter made it difficult to establish a clear subject. By isolating a single rainbow umbrella within the chaos, the image finds its anchor. Color becomes the language of focus, cutting through complexity and guiding the eye.  The result is not just documentation of a street art installation, but a reflection of the street photographer’s pursuit: to impose order on disorder, to wait for clarity within clutter, and to reveal meaning by choosing what to exclude. In a world full of visual repetition, sometimes one deliberate frame is enough to let individuality rise. | Big_Dins_Photos]]></media:title>
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          <title><![CDATA[在異地生活的過程中，常以第三者的視角觀看首爾街頭，尋找日常中有趣的畫面。  這件作品拍攝於韓國街頭。一個標示「禁止停車」的設施，其傾斜的姿態彷彿正在鞠躬。原本具有命令性的語言，在這個微妙的角度之下，被轉化為一種柔和而不具威脅性的提醒。  我將場域與細節並置，使這個擬人化的瞬間被放大觀看。然而，在這種看似溫和的表象之下，仍潛藏著另一層張力：一個帶有損壞痕跡的物件，仍維持著低姿態對外示意。似乎在提醒著我們「禮貌」不只是人際互動的形式，而是一種滲透於環境之中的文化機制。  當「禁止」以如此謙遜的形式出現時，它不僅沒有削弱約束，反而揭示了一種更深層的運作方式——規範並非透過強制，而是透過內化，使個體在不自覺中調整自身姿態。  在這樣的觀看之下，我開始質疑：我們是否也如同這個物件一般，在受損與不完整的狀態中，仍持續維持著一種被期待的姿態，以回應社會的目光與秩序。  During my time living abroad, I began to notice that “politeness” extends beyond human interactions—it is embedded in everyday objects and environments.  This work was photographed on a street in Korea. A “No Parking” traffic cone, tilted in such a way, visually appears as if it is bowing. What is originally a directive—firm and restrictive—becomes softened through this subtle gesture.  By combining a contextual wide shot with a close-up, I aim to highlight this anthropomorphic moment. The juxtaposition invites viewers to reconsider how rules are communicated—not merely as enforcement, but as a form of culturally embedded courtesy.  Yet beneath this seemingly gentle appearance lies another layer of tension: a damaged object that continues to maintain a lowered posture, as if still performing its role.  Through these lens, I begin to question: how are we shaped by our surroundings, and how do we, in turn, learn to negotiate boundaries with gentleness? Also, are we, like this object, continuing to perform expected forms of behaviour even in states of damage and incompleteness—quietly responding to the gaze and order of society? | Joanne Sun]]></title>
          <link>https://www.cizucu.com/en/photos/KxmYJu8uTx7YorZUymnh</link>
          <description><![CDATA[See more of Joanne Sun's photography on cizucu.]]></description>
          <author>
            <name>Joanne Sun</name>
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          <pubDate>Thu, 07 May 2026 02:19:00 GMT</pubDate>
          <atom:updated>2026-05-07T02:20:37+09:00</atom:updated>
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