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This composite image contains three photographs of a fluffy golden‑cream cat. The top half occupies half the frame, featuring a close‑up of the cat’s head and one paw sticking out of a white and olive‑green paper shopping bag. The cat has big round yellowish‑green eyes and a pink nose, looking directly at the camera. A small fluffy paw rests on the lower edge of the bag’s opening. A person’s fingers are visible on the right edge, holding the handle. Dark vertical sans‑serif text on the white part reads “Coffee makes your day!” with a faint circular logo. Inside the bag, a yellow area shows part of a cartoon doll, and the green lower section has text and pattern fragments. The background is a wall with large glossy gray tiles reflecting round ceiling lights; a small part of a wood‑textured board appears in the bottom left. In the bottom left quadrant, the cat stands upright on its hind legs indoors on a light gray tiled floor. Its body turns slightly left, head tilted up. Its right front paw stretches forward and is blurred from rapid movement, while the left paw extends in front of its chest. A cat toy stands on the floor in the foreground: a teal ball on a pink base with a thin string upward. On the left, a cylindrical structure with vertical beige ridges and colorful abstract patterns on top is visible. A beige cat wand lies on the floor nearby. In the background are a white body weight scale, gray sneakers, and a wall. In the bottom right quadrant, the cat sits neatly on a reflective surface with light blue and white patterns. It faces forward calmly, with thick fluffy fur around the neck and chest. Front paws are neatly together, tail curled to the left. A large out‑of‑focus dark purple curved object is on the left edge, with a small patch of purple and yellow at the very bottom. On the right, a dark blue bag with a red vertical stripe and a gold metal buckle is partially visible, with a blurred beige wall in the background.


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In the center background, a golden‑brown short‑haired cat with round eyes sits upright on a chair draped with a black jacket or cloth. To the left of the cat are part of a blue curtain tied with a white cord and a wooden chair with a brown seat. To the right, a white curtain, a woven‑seat chair, a tall black cylindrical object, and a dark power switch on a light‑colored wall are visible. A wooden table runs horizontally across the middle. On the left side of the table are a dark textured round container and a black smartphone with a clear case lying flat. A long rectangular matte gray‑brown tea tray occupies the center. On it, from left to right: a small round bronze‑colored teapot, a beige small bowl, and a clear glass pitcher with a curved green handle containing pale yellow tea. Between the bowl and pitcher, engraved patterns and partially visible characters “菩提” are on the tray, with a vertical rectangular outline and a small circle “o” mark. On the right side of the table, a yellow plate holds a transparent plastic bag of light beige peanuts, with a small wooden rose ornament nearby. A small patterned teacup sits on the right side of the tea tray, and another brown‑patterned cup is partially visible on the far right edge. The foreground is occupied by a large dark gray surface, likely a wet tea table, scattered with many irregular dark water stains. In the bottom left, a lidded tea bowl with a reddish‑brown lid and white rim sits on a round wooden saucer. To its right, a second clear glass pitcher filled with golden tea stands near the edge, and a small patterned cup with tea is in the bottom right corner. A faint line drawing of a flower is visible on the far left edge of the dark foreground surface. The photo is taken from a slightly elevated angle with indoor artificial light, creating highlights on glass and wet surfaces; many water stains are on the tea tray.


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A vertical series of metallic flower‑shaped cups hangs on the right side of the frame, connected by metal chains, with an inverted triangular wire structure inside each cup. The cups are silver‑gray with six lotus‑petal edges. On the left and center, many koi fish swim in dark green water. Near the upper middle, an orange‑red koi with a little white on the head and body, white fins and tail, swims rightward. On the left edge, the head and part of the body of a red koi with black spots enter the frame. Below it, a large cream‑colored koi with irregular bright red patches swims diagonally toward the lower right. In the lower left quadrant, a pale golden koi with small orange spots and a red patch on top of the head swims right‑downward above another white koi with a clear red patch on its head; to their right, a dark grayish‑brown koi with a little gold swims upward to the left. In the center, a koi patterned with black and bright red‑orange patches swims vertically downward. The left and center‑right water surface is scattered with countless small round yellow‑green particles — coins thrown by people, indicating a wishing pond. A thin dry branch with a few brown leaves stretches from the right edge near the second cup from the top. In the lower right, leafless thin branches reach into the water, and their dark intricate reflections appear on a lighter grayish‑white area reflecting the sky. A small section of gray concrete structure with diagonal cracks is visible in the extreme top left corner. A small part of the concrete edge also appears in the bottom left. The photo is a real high‑angle top‑down shot under natural diffused light.


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A red panda is the main subject, moving diagonally from left to right across a constructed wooden platform. The animal has thick rusty‑red fur on its head and back, contrasting with black fur on its legs and belly. Its face has distinct markings: a white muzzle, dark patches around the eyes, and triangular ears with white edges and dark interiors. The panda’s left front paw steps on a section of light brown vertical wooden blocks with clear grain and knots, while its other paws rest on a darker weathered horizontal log to the left. Small metal screws are visible on the vertical blocks. In the lower left foreground, a human hand reaches into the frame, significantly blurred due to shallow depth of field; its hind paw rests on the horizontal log, right front paw bends and hangs in the air. A hand extends from the bottom of the frame, with fair skin and straight, slightly curled fingers, emerging from a ribbed olive‑green cuff. On the right, a vertical tree trunk with light gray bark and dark horizontal marks runs from top to bottom. The background is soft and out of focus, consisting of a dense network of thin leafless branches against a pale overcast sky. Below the branches, the mid‑distance is filled with dry brownish‑yellow tall grass or reeds. At the very bottom, under the wooden structure, patches of low green leafy plants and a section of brick‑paved ground are visible. The lighting is soft, diffused natural light, with low contrast and muted earth tones.


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This image is a vertical collage consisting of three separate landscape and wildlife photographs arranged in a stack. The top panel presents a close-up view of a puma lying amidst dense, textured vegetation. The animal has a tawny, light brown coat and is positioned horizontally on the ground with its back to the camera, its head slightly turned toward the viewer as it sleeps. The surrounding flora includes various shrubs, tall grasses, and clusters of small, pale pinkish-white flowers, creating a complex and textured foreground with dappled lighting. The middle panel captures a wide landscape scene dominated by a towering, jagged mountain peak in the background. The mountain features steep, rocky faces with patches of snow and ice, rendered in cool blue-grey tones under a sky with scattered clouds and patches of blue. Below the mountain, a band of dark green trees and low vegetation separates the peaks from a flat, open pasture in the foreground. The field is covered in dry, reddish-brown grass and low scrub. A small group of cattle stands in the field; to the left, a reddish-brown cow stands near a black cow, while a larger group to the right includes a prominent reddish-brown and white cow and a black and white cow, with only the rear half visible. The bottom panel depicts a grassy plain with a group of guanacos scattered across the lower half of the frame. From left to right, a small juvenile calf walks toward the right, its head blocked by the adult guanaco beside it; next is an adult standing in profile facing left with its head turned back; a second adult in the center bends its neck down to graze; a smaller juvenile walks toward the right; and on the far right, another adult stands in profile facing right with its head turned left. The animals have reddish-brown upper bodies and lighter, cream-colored underbellies and legs. The ground is covered in dry, yellowish-green grass with scattered patches of low, greyish-green bushes. A horizontal fence line with thin posts runs across the upper portion of the scene, separating the immediate grassy area from a band of lighter, pale greenish-yellow grass in the distance.


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Two dolphins are captured mid-leap in the middle distance on the left side of the composition, propelling themselves diagonally upward and toward the right. The upper dolphin extends higher and angles slightly more upward than the lower dolphin, which follows closely behind and slightly below, partially obscuring the upper one. A splash of white water spray erupts at the base where they breach the surface. A prominent wave stretches horizontally across the middle of the scene, characterized by a smooth, undulating crest and a deep, saturated blue body that displays a rhythmic, ribbed texture along its face. Below this large wave, the foreground consists of layers of choppy water and smaller rolling swells in varying shades of cyan and blue. A thin, curved line of foam and water marks the boundary where the water meets a patch of beige sand visible along the very bottom edge of the frame. The ocean surface extends to the horizon, marked by small, scattered ripples. Above the horizon line, the sky features a layered arrangement of clouds and colors. A small, bright orange sun sits low near the horizon, partially fragmented by a thin horizontal cloud band. A band of warm orange and salmon-pink light stretches across the sky just above the sun and the horizon line. Above this warm band, broader layers of clouds extend across the upper portion of the image, colored in shades of muted lavender, violet, and dusty purple. A strip of lighter, pale peach and greyish-white sky is visible at the very top edge. The scene is lit by natural light, creating a contrast between the warm sunset tones and the cool blue tones of the water.


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On the left side of the frame, a penguin stands upright on a smooth surface, facing slightly to the right with its head tilted upward and its beak pointing diagonally. Its plumage consists of a white chest and belly, a dark greyish-black head and back, and a distinctive white patch near the eye. A bright green band is attached to its right flipper, which is extended outwards along with the left flipper. Its orange-yellow webbed feet with black claws are planted firmly on the ground. To the right, a raised mound of white, granular artificial snow serves as a platform for the other subjects. In the middle ground on this mound, a second penguin stands facing right with its head tucked down toward its body, seemingly preening or resting. A rectangular white block stands vertically immediately behind this penguin. In the lower right foreground, a third penguin is positioned low against the snowy surface, with its back facing the viewer and its head angled downward toward the right. The dark feathers on its back exhibit a speckled, textured appearance. A thin, dark, linear object extends diagonally near the third penguin. A strip of blue material is visible along the very bottom edge of the image, like the edge of a pool. The background consists of a large wall with a deep blue color and a textured surface resembling ice or water with diagonal, wavy streaks and vertical seams. A small object with a neon yellow-green and black component is attached to the upper section of the blue wall near the top left. On the far right edge of the frame, a dark vertical section is visible, and the tip of a yellow object protrudes from the far right edge. The lighting is bright and artificial, creating a high-contrast scene with saturated blue tones and bright white highlights.


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A large adult cow with a light cream and pale beige coat stands in the center of a lush green field, facing toward the right side of the frame. A smaller calf of similar coloration stands beneath the cow's body, positioned near the rear legs and udder area while nursing. The calf's head is lowered and partially obscured as it feeds. A distinct patch of darker, matted fur or dirt is visible on the cow's rear flank near the tail area. The cow's head is turned slightly toward the viewer, revealing a pinkish nose. The ground is covered in grass with varying shades of bright and deep green, and dark shadows are cast directly beneath the animals' legs. In the background, a horizontal strip of land separates the pasture from a dense line of trees that spans the width of the scene. The trees appear as dark, clustered masses of deep green and black foliage. Above the tree line, the upper portion of the image is occupied by a solid band of sky with a distinct teal-blue hue. The image has a noticeable grain and high color saturation, giving it a slightly vintage or film-like aesthetic, and the focus is soft with some blurriness in the background elements.


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In a top-down close-up shot, a small bird with intricate plumage rests in a natural nest-like setting. The bird's feathers display a camouflage pattern of light brown, tan, and cream hues, with distinct dark brown spots and streaks across the neck and chest area. A small, dark, round eye is visible in profile, and the beak is short, curved, and pale pinkish-grey. Surrounding the bird's upper body and head are numerous clusters of small, granular green buds or seed heads attached to thin stems, creating a leafy canopy. A thick, reddish-purple stem traverses diagonally across the upper portion of the frame, partially obscured by the green vegetation, with a fork extending upward and slightly blurred; another thin stem extends from the right center area, curving upward and partially covered by the thicker stem. A faint glimpse of white and red wall surfaces is visible in the background gaps near the top. The lower half and bottom section of the composition consist of a dense mass of dried grass or reeds. These plant elements feature feathery, bristle-like textures and vary in color from bright white and silver to light beige and dried brown, with some thin green strands intermixed. A patch of the green seed clusters also appears in the bottom left corner. The lighting is soft and diffuse, likely natural daylight, which enhances the textures of the feathers and grass without creating harsh shadows. In the bottom right corner, a white watermark text is superimposed on the grassy texture. The text reads “知乎 @十二”, written in a standard sans-serif font with a clean, uniform stroke weight and a solid white color. The image has a slightly grainy texture and a matte finish, resembling a film photography style or a vintage filter effect.


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A single male Silver Pheasant stands prominently in the center of the frame, facing toward the right in a profile view. The bird exhibits striking plumage characteristics, beginning with a vivid crimson red patch of skin covering the head and face area around the eyes and beak. A curved, pale, yellowish-grey beak protrudes from the face. A patch of white feathers extends down the neck, creating a sharp contrast with the solid black plumage that covers the throat and upper chest area. The body and long tail feathers are predominantly silver-grey and white, featuring a complex, repetitive pattern of fine, wavy lines and chevron-like geometric markings that create a textured appearance. The tail extends diagonally toward the lower left corner of the composition. The bird is surrounded by a mix of vegetation. To the left and directly behind the bird's upper body, a dense shrub consists of small, dark green leaves, with a cluster of dry, brown, curled leaves resting on top of the foliage near the upper center. To the right and in the lower right foreground, a different type of plant with larger, brighter green leaves grows densely. Several large, dried brown leaves and scattered twigs are intermingled with the fresh green foliage in the lower right section and near the bottom. A patch of long, thin green grass is visible in the lower left area beneath the tail feathers. In the extreme upper right corner, a small section of a vertical metal wire fence is visible against a greyish background. A faint, blurry, whitish haze or artifact appears in the upper left area near the shrubbery. The lighting is soft and diffuse, typical of natural daylight on an overcast day, and the image has a slightly grainy texture consistent with a digital photograph taken at a moderate distance.


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A vibrant cluster of tubular orange flowers dominates the visual field, creating a dense and colorful composition. The blossoms exhibit a variety of shapes and orientations; some are fully open with petals curling backward to reveal the inner structure, while others remain as elongated, tapered tubes pointing diagonally or vertically. A particularly long, textured flower tube hangs downward on the upper left side. In the center of the arrangement, a honeybee interacts with one of the open flowers, its body displaying characteristic brown and black stripes and fuzzy texture as it appears to forage. Thin, pale yellow stamens extend outward and downward from several of the blooms, ending in small, rounded tips that contrast against the darker background elements. Patches of dark green foliage are visible in the gaps between the flowers, all emerging from inverted funnel-shaped green stems, particularly in the upper section and along the right edge, providing a deep, cool-toned contrast to the warm orange hues. Small clusters of greenish-yellow buds and stems are nestled near the center and lower sections. A blurry, dark brownish-grey horizontal band is visible in the upper right background, suggesting the edge of a planter or container. The lighting is soft and diffused, creating a gentle sheen on the smooth petals and enhancing the high saturation of the orange tones. A shallow depth of field is employed, keeping the central bee and immediate flowers in focus while rendering the blooms in the lower left corner and parts of the background soft and blurry. The image is a realistic close-up shot taken at eye level with the subject.


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Eighteen dogs are squeezed together inside a small entryway or closet space. In the upper left area, a large black dog with a shaggy coat sits behind two Huskies with white and tan fur; the Huskies have pointed ears and open mouths with tongues visible. In the upper center, a fluffy reddish‑brown dog sits above another curly‑coated dog of slightly lighter color, with a smaller golden‑brown dog below it. To the upper right, a large pale cream‑colored dog with a pink nose and tongue looks upward, situated above a tan dog and a smaller white and tan dog on the far right edge. A dark brown dog and a black dog with pointed ears are positioned in the middle right section. In the lower left, a golden‑yellow dog with a smooth coat and a collar sits facing forward. In the lower center area, a small dark shaggy dog is tucked behind a small scruffy tan dog and a white dog with large brown floppy ears and a black patch on its head. A shaggy black dog sits to the right of the white and brown dog, while a brown dog with a white muzzle and chest is visible on the right side. A fluffy dog with mixed tan and greyish‑brown fur sits in the bottom right corner near the door frame. A white door with recessed panels stands in the background, and the walls on the left and right are painted a light teal color. A white door frame with a thin black vertical line is visible on the right side and along the left edge. In the foreground on the floor, a black rectangular doormat features a row of seven grey silhouettes depicting various dog breeds in different poses, four of which wear small red collars. Below the row of dog figures, large dark grey text is written in a stylized lowercase script font, appearing to read “kome” or similar characters, with the lower part of the letters cut off by the frame. A section of light grey flooring is visible at the very bottom left edge, and a pale yellow surface appears on the bottom right. The image is a realistic photograph taken from a slightly high angle with artificial indoor lighting that creates highlights on the dogs' noses and eyes.


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A multitude of biological sketches drawn in blue ink occupy a beige, paper‑textured surface, illustrating various marsupials and small mammals. The drawings vary between full‑body poses, head studies, and detailed anatomical breakdowns of paws and claws. In the upper region, a large animal with a long snout and a thick tail moves towards the left, while isolated sketches of claws and feet appear near the top edge. A spiny creature with a long snout is shown with its back to the viewer in the upper right, and a quadrupedal animal with a fluffy coat and pointed ears stands on the left, with four foot studies below it. A long‑bodied animal with a long tail stretches across the center area. Below this, a head study of a rodent‑like animal sits near the middle, and a small spiny animal is depicted nearby. A striped animal with a long tail and a striped body walks towards the left in the lower middle section with its mouth open. To the right, two similar striped animals stand together facing left. In the second‑last row, four animals are shown all facing left: the first runs left, the second stands facing the viewer, the third and fourth walk left. A close‑up head of an animal is drawn above the space between the first and second. The bottom row shows five figures: two skeletal quadrupedal studies on the left, and three small crawling animals on the right. Handwritten cursive text and notes in blue ink are scattered around the sketches, with some words underlined and arrows pointing to specific features. A white digital watermark in the bottom right corner displays the Chinese text “百家号” followed by a logo and the text “美术加”.


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A large brown bear dominates the upper and central portions of the frame, leaning its upper body and head over a massive, weathered log. The bear's thick fur displays a mix of textures and colors, ranging from light tan and beige on the snout and forehead to darker, coarser brown fur across the shoulders and back. Its small, triangular ears are perked up, and its dark eyes look forward with a calm expression. A long, textured pink tongue extends downward from its mouth, reaching towards the log's surface, while its dark nose is prominent above the tongue. The log beneath the bear runs diagonally across the lower half of the image, featuring a heavily weathered surface with deep horizontal cracks, grooves, and a color palette of grey, silver, and bleached wood tones. To the left, behind the main log, fragments of other jagged driftwood and a patch of white snow or ice are visible in the background. Above the bear, a vast, clear blue sky fills the upper section of the image, transitioning from a lighter blue near the horizon to a deeper blue at the top. Several small, dark flying insects are scattered across the sky area above and around the bear's head. Below the log, in the bottom section of the image, the ground is composed of jagged grey rocks and patches of sparse green grass and moss. A dark shadow is cast beneath the log onto the rocks and vegetation below. The scene is illuminated by bright, directional natural sunlight coming from the upper right, creating highlights on the bear's fur and casting shadows within the crevices of the wood and on the ground below. The image is a realistic wildlife photograph taken with a close‑up perspective.


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A horizontal brown band spans the top edge of the image, containing the text “no usage restrictions –all clip art from public domain” in a serif font. Below this band, on the upper left, a light beige ribbon‑style banner displays the text “HG DESIGNS” in a tall, condensed serif typeface. To the right of the banner, smaller uppercase sans‑serif text reads “PLANT AND ANIMAL” stacked above “PHOTOSHOP BRUSHES”. A small, stylized black dragon or serpent graphic is positioned between the banner and the text. The main area of the image features a light beige background with a subtle paper texture and faint, repeating diagonal watermarks reading “六图网”. A wide variety of black silhouettes are scattered across the canvas. Prominent figures include a large camel and a maple leaf in the upper left quadrant, and a large gorilla and a sitting cat silhouette in the lower left quadrant. A leafy branch and a winged bird outline appear near the left edge. The central and right areas contain numerous animals such as an elephant, flying birds, a dog, a whale, a deer, a standing giraffe, a kangaroo, and a sitting dog on the far right. Several silhouettes of pigs and moose‑like animals with antlers appear near the bottom. A kiwi bird and a long‑tailed bird are located near the bottom center. A large wild boar silhouette is positioned at the bottom center‑right. A cluster of bamboo stalks and leaves stands near the bottom right, alongside a fern leaf and another maple leaf. In the upper right section, there is an owl, a rabbit, a bird, a wide‑winged bat, and a flower outline. A rectangular floral arrangement and a flower head outline are also near the top right. A small circular wreath design is visible near the center‑right. A decorative square panel with intricate floral scrollwork and a small, detailed owl with visible feather texture are located near the center. A stylized, patterned animal figure resembling a moose and a mythological winged figure are also present. A small blue square icon in the bottom right corner depicts a brush tool and contains the word “BRUSHES” in white capital letters at the bottom.


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A group of four small baby chicks is arranged side‑by‑side in a linear formation across the center of the frame against a pure white backdrop. The chick on the far left has golden‑brown downy feathers with a darker patch on the top of its head and wears a fuzzy blue accessory around its neck; it stands upright with its small beak facing forward and slightly down. To its right, the second chick has lighter, pale yellow plumage and wears a bright green fuzzy accessory, turning its head to look toward the right side of the image, with its right foot partially covering the left foot of the first chick. The third chick, positioned in the middle‑right, has pale yellow feathers and leans its body forward and down toward the right; a red fuzzy accessory is visible near its neck area, and its right foot steps on the left foot of the second chick. The fourth chick on the far right has golden‑brown feathers with a distinct dark brown patch on its head and wears a purple fuzzy accessory; it leans forward with its head angled down and to the right, with an extra set of orange feet extending far to the right indicating a wide stance. All the chicks have small, dark eyes and orange beaks and feet. The floor is a glossy white surface that creates a distinct, slightly soft reflection of the chicks and their colorful accessories directly beneath them. Small scattered specks of debris are visible on the reflective surface near the feet of the first two chicks on the left. The image utilizes high‑key studio lighting and a shallow depth of field, keeping the chicks in focus while blurring the background and reflections slightly.


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The image is a composite grid arranged in three rows and three columns. In the top left panel, a baboon with a thick mane of pale, whitish‑grey fur and a pinkish‑grey face sits facing forward with its mouth slightly open, appearing crouched with arms resting on its knees, against a blurred background. The top middle panel shows a ring‑tailed lemur perched on a dark log, looking back over its shoulder with bright amber eyes; its body is covered in grey‑brown fur with a white face and neck, and a black‑and‑white ringed tail extends to the left. The top right panel captures an elephant in profile facing right, with reddish‑brown, textured skin and a trunk curled upward with the tip in its mouth, spraying white droplets of water or dust against a background of dark rocks and foliage, with dark stains on its ear.
The middle row begins on the left with a close‑up of a zebra's head and neck in three‑quarter view facing right, displaying distinct black and white stripes and a short mane against a dark background. The center panel features a caracal facing forward with reddish‑brown fur and large, pointed ears with distinctive black tufts; its mouth is slightly open, revealing teeth and a tongue, and it has piercing greenish‑yellow eyes against a soft, blurred background. The middle right panel depicts a primate in profile facing left, characterized by dark greyish‑black fur, a patch of rusty‑orange fur on the forehead, and a white patch of fur on the throat and chin, with a dark, solid background and a white nose and mouth area.
The bottom row starts on the left with an extreme close‑up of wrinkled, leathery brown skin surrounding a single eye with a light brown iris and long eyelashes; the skin texture is deeply creased and rugged. The bottom center panel shows a hornbill perched on a branch in profile facing right, featuring a large, curved yellow beak with a casque on top, a black head and wings, and a white underbelly against a dark background. The bottom right panel presents a close‑up of a gorilla's face in profile facing left, with dark skin and fur; a thin piece of dried vegetation is held in its mouth, and soft, dappled light filters through from the upper right, illuminating parts of the face and background foliage.


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This vertical medium shot presents a vibrant collection of jellyfish drifting through a deep blue and teal aquatic environment. A large, bright salmon‑pink jellyfish is positioned near the top center, displaying delicate radial lines and a central pattern. Directly below and slightly to the right of it is a smaller, bright neon green jellyfish with a distinct four‑lobed internal structure. To the left, a large translucent jellyfish with a pale body and a clearly defined pinkish four‑leaf clover pattern floats beneath a smaller, solid pink jellyfish near the left edge. A cluster of several neon green jellyfish is scattered across the upper‑middle section, some angled diagonally to show their bell shapes and fine, hair‑like tentacles. In the central area to the right, a medium‑sized pink jellyfish and a smaller pink one are visible, alongside a large, slightly darker pink jellyfish that clearly displays its internal clover‑shaped organs. Scattered throughout the lower half and right side are numerous smaller jellyfish in varying states of translucency; some appear as pale, whitish‑grey shapes, while others emit a soft cyan or light green glow. A large, translucent jellyfish with a visible clover pattern occupies the bottom left area, and smaller pale forms float near the bottom center and right. A thin, diagonal line of small bubbles or debris stretches across the lower right quadrant, with small vertical droplets hanging from it. A partial view of a bright red jellyfish is visible at the very top edge of the frame. The upper left and right corners show parts of the tank's infrastructure; the top left features a dark vertical frame and a partial view of a window with a dark interior, while the top right shows a similar dark rectangular frame containing a horizontal transparent section with a small, pale, elongated object resting inside. Small white specks of particulate matter are suspended in the water throughout the scene. The lighting is artificial and directional, creating a high‑contrast effect where the neon colors of the jellyfish stand out against the darker, cool‑toned background.


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A large Great White Shark dominates the central composition, swimming diagonally from the right towards the left in a deep underwater environment. The shark's body displays a classic countershading pattern, with a dark grey dorsal side and a white underbelly. Sunlight penetrating from the surface above creates a distinct pattern of wavy, light‑colored caustic reflections across the shark's back and flank, highlighting the texture of its skin. Its prominent triangular dorsal fin rises vertically, while the pectoral fin extends downward and backward, and the tail fin angles upward to the right. A small dark eye and a slightly open mouth with visible teeth are noticeable on the head. A large school of smaller fish surrounds the predator, filling the surrounding blue space. In the lower half and towards the right, larger silver fish with yellowish‑tinged tails and fins swim in various directions; one large fish is prominent in the bottom left corner, and another faces forward near the bottom center. In the background and upper left areas, numerous smaller, thinner silvery fish appear more scattered and slightly blurred due to depth of field. A significant cloud of white bubbles and turbulence is visible near the water's surface in the upper right quadrant, suggesting recent movement or surfacing. The water surface itself is visible at the very top of the frame, showing a rippled texture with light refraction. The water throughout the scene is a rich, saturated blue that transitions from lighter tones near the surface to deeper blues in the background. The image is a realistic underwater photograph with natural lighting and a medium shot perspective.


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A large grey shark swims diagonally toward the right in the center of a rectangular underwater photograph. A single smaller fish with a yellowish tail fin swims directly above the shark's back, while another elongated fish moves diagonally downward near the shark's left pectoral fin. A massive school of hundreds of small, slender fish fills the right side and upper portion of the water, creating a dense, textured mass. The fish on the right and in the lower depths exhibit purplish and violet tones, while those near the surface and on the left appear silver and grey. The water transitions from a bright, sunlit surface with shimmering white highlights and bubbles at the top to a deep cyan‑blue in the middle and lower sections. Scattered, smaller fish swim in the open blue space on the left side. The photograph is framed by a graphic design layout on a white background. A dark teal‑green shape occupies the top edge and extends diagonally into the upper left corner. The left side of the white background features thin, diagonal grey lines. A section on the right edge contains a pattern of small, salmon‑pink dots on a white field. Below the dot pattern on the right, diagonal dark teal‑green parallel lines appear. A solid salmon‑pink block covers the bottom right area and extends slightly toward the bottom center. In the bottom left corner, overlapping the teal‑green shape and the white background, are two stylized orange star‑like shapes and small yellow four‑pointed spark graphics. Thin diagonal grey lines also extend across the bottom right corner over the pink block.


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Three emus are positioned behind a painted wooden fence structure that occupies the lower section of the frame. The upper rail of the fence is painted a reddish-brown color and shows visible wood grain and weathering, with small scattered bits of dried grass and straw debris resting on its surface. Below the red rail, a horizontal board painted in a muted, dark green tone is visible, with a sliver of a lighter gray board appearing at the very bottom edge as a cross-section of the dark green board. The emu on the left faces forward with a slight angle to the right, displaying dark, shaggy, and somewhat spiky blackish-grey plumage on its head and neck, along with a dark beak and a visible reddish-brown eye. To the right, the second emu is positioned with its head angled downward and to the left, bringing its beak close to the level of the fence rail. This bird exhibits a distinct patch of lighter, silvery-white and grey skin and feathers on the side of its head and neck, which is speckled with small dark spots, contrasting with the darker, messy plumage on the back of its neck and head. The third emu is almost completely obscured by the second emu, with only part of its beak tip, head feathers, and neck visible.
The ground behind the birds is covered with patches of green grass and some bare earth. In the mid-ground, a temporary barrier made of green mesh fabric or tarp is attached to light-colored wooden posts and horizontal beams, with some dry, leafless branches and twigs protruding from behind the mesh structure near the center. To the far left, a small area of water or mud is partially visible near the green fence. On the far right side of the background, a vertical rectangular panel or board stands upright, displaying a painted or printed image with patches of green vegetation and a distinct area of orange and reddish-brown colors near the bottom of the panel. The background features several trees with light brown trunks and branches that appear mostly bare, though some green foliage is visible in the upper canopy and distant background areas against a bright sky. The image is a realistic photograph taken at eye level with soft, natural lighting that creates a balanced exposure and moderate contrast.


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A lush floral arrangement sits in the center on a desk, dominated by soft pastel blooms. A large fluffy pink carnation with ruffled petals is in the lower left; several white chrysanthemums with light green centers are spread across the upper and lower sections. A smaller pink carnation sits near the top center, with a white petaled green‑centered flower on each side, and three bright green button chrysanthemums cluster on the middle right. A yellow rose is on the right, and a peach rose with a spiral center is in the lower right. A cluster of small purple flowers with white centers and speckled petals extends toward the bottom right edge, with several white flowers and buds on the far left. Slender green stems with small round buds stretch upward and diagonally on the left and near the upper right. A smooth reddish‑brown tubular handle arches over the bouquet, with a second parallel arch behind it. A rectangular yellow sticky note is inserted vertically in the upper middle, partially covered by a thin green stem and a small purple flower. It bears four lines of handwritten black Chinese and English: “祝 Liya 老师:”, “新年快乐 ♡”, “天天开心 ^_^”, “好运连连”. A small heart is at the end of the second line, a smiling face at the end of the third. A bit of blue glittery material is visible at the very bottom edge of the basket. To the left of the flowers, part of a black computer keyboard appears on the desk, with white characters including “Q”, “A”, “Z”, “X”, “M”. The background behind the handle and note is a large dark black area (a monitor screen). On the far right is a light‑colored wall with a grid of small round holes and a dark vertical strip. Black cables and a small piece of light wood lie on the desk to the right. The lighting is soft artificial light, creating highlights on petals and the curved handle, shot from a slightly high close‑up angle.


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A complex black geometric structure of intersecting lines forms a spherical shape in the center. A vertical oval loop sits near the middle, holding a large pale cream and soft pink rose. Two pink roses are on the upper left. Slightly left of the center is a dusty rose flower with a green center, accompanied by small pale buds and green stems with sprouts. A white flower is near the top center. On the lower right, a peach and orange flower with a green center sits above a large spherical purple‑and‑white mottled flower. A similar purple‑and‑white mottled flower is in the upper right section. A second large purple‑and‑white mottled flower is in the lower right quadrant. A dusty reddish‑brown flower is below the main structure in the lower left. A small white flower is just left of the central white rose, and a purple flower is below it. A cluster of small white flowers and dark purple foliage is at the bottom center and lower left. Small blue flowers and stems extend to the left. A tall wispy stalk of dried grass or wheat stretches from the right side of the sphere toward the upper right corner. A small insect resembling a moth rests on a stem on the right. Dark leaves and small sprigs are scattered throughout. The background is solid off‑white with a visible grainy paper texture. In the top left corner, the text “IMMINENCE” is printed in an uppercase black serif font. In the bottom right corner, the text “TURN THE LIGHT ON” is printed in an uppercase black serif font. The image has rounded corners and a vintage textured aesthetic.


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A small, sculptural plant sits centrally positioned in a minimalist setting, housed within a simple, matte white cylindrical pot. The plant is characterized by a unique, bulbous root system that forms a triangular arch near the soil line. Thick, textured roots in shades of light brown and greyish-taupe curve upward and inward, creating a triangular gap or negative space near the base before converging at a central point to form a short, woody stem. From this junction, slender branches extend upward and outward, supporting a canopy of foliage. The leaves are small, oval-shaped, and glossy, displaying a variation in color; the majority are a deep, rich forest green, while several leaves on the outer and upper edges appear in a lighter, vibrant lime or yellowish-green hue, suggesting new growth. A small patch of dark brown potting soil is visible at the top of the pot, with a tiny, sparse sprig of green moss or a small weed emerging from the dirt near the base of the roots. The pot rests on a smooth white surface that blends seamlessly into a plain white wall behind it, creating a high-key, high-brightness environment with ample negative space above the subject. A faint, soft horizontal line separates the surface from the vertical background wall. The lighting is soft, diffused, and even, casting very subtle, faint shadows to the right of the pot and beneath the arched roots, highlighting the textures of the bark and leaves without creating harsh contrast. The composition is vertical and symmetrical, utilizing a clean, realistic photography style with a focus on organic forms against a sterile backdrop.


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A large assortment of food items is arranged in a structured grid pattern across a solid white background, resembling a catalog or ingredient chart. The composition consists of roughly ten columns and seven rows of distinct subjects. The top row includes three red strawberries with green leaves, a bunch of curly green coriander, half a longitudinally cut yellow bell pepper and a red bell pepper with leaves, three green lime-like round fruits, three red and yellow peaches with stems, two red apples and a small slice, and a bunch of light green grapes. The second row features a large dark green avocado, two yellow oranges and half a cut orange and a small segment, a head of leafy lettuce, a pile of reddish-brown grains or beans, two bell peppers and two cut halves, a sprig of dill, and brown chestnuts with green leaves. The third row displays green leafy vegetables, two glossy dark purple eggplants, two yellow pears and a half cut pear, five red tomatoes with greens, a whole pineapple with leaves and two small pieces, three white mushrooms with leaves, and a bunch of four yellow bananas. The fourth row contains a whole, half, and small segment of red grapefruit, a pile of brown almonds, several red fruits with white interiors when cut, a whole and half avocado with a large brown pit, a bunch of cauliflower, whole and half strawberries, and dark red beets with leaves. The fifth row shows a whole head and two cloves of garlic, a pile of flat green leafy vegetables, two half yellow and red peaches, a large piece of ginger and four slices, three red and yellow apples, four short green cucumbers, and three half oranges. The sixth row includes a sprig of rosemary-like herbs, a cluster of dark berries or peppercorns, green pea pods, two half fresh yellow lemons, a half purple cabbage, a whole, half, and small broken pomegranate revealing red seeds, and a pile of brown potatoes. The seventh row displays a bunch of yellow bananas and a peeled banana, a yellow, red, and orange bell pepper, a bunch of red cherries, green and red chili peppers, two green apples and slices, a bunch of orange carrots, and two whole and two half sliced green kiwis. The eighth row has two brown pine cones with green needles and a pile of pine nuts, a pile of cashews, a head of green broccoli, a whole and small sliced papaya showing red flesh, a green ear of corn and two peeled yellow ears, a bunch of mint leaves, and some pistachios. The bottom row includes green aloe vera and several slices, two brown onions, a bunch of red berries with leaves, a head of light green cabbage, some peanuts and shelled peanuts, two half sliced oranges with leaves, and two, half, and small pieces of sliced red tomatoes. The lighting is bright and even, creating a high-contrast, vibrant look typical of stock photography.


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A dense collection of floral arrangements fills the majority of the frame, presented from a high-angle perspective. On the left side, several bouquets of bright yellow sunflowers with dark centers and large green leaves are wrapped in plain white paper. Moving toward the center and right, numerous bouquets of ranunculus flowers display a variety of colors, including clusters of pastel pink and white blossoms, vibrant orange and golden-yellow flowers, and deep red and burgundy blooms. Some of these central flowers are wrapped in clear plastic sleeves, while others use white paper. A few small bunches of white flowers are positioned near the center. In the upper section of the image, taller stems of flowers with orange and pale petals rise vertically, wrapped in white paper featuring a pattern of pink and purple floral motifs. To the upper right, additional bouquets contain yellow, pink, and white flowers wrapped in reflective paper with a holographic, rainbow-colored sheen. The bottom right and lower section of the display are occupied by a large quantity of greenery and small, unbloomed green buds with occasional white tips, all encased in clear plastic. A small, rectangular white piece of paper is inserted into the flowers on the right side, bearing handwritten black text in Chinese characters and numbers; the top line reads “香雪兰” and the bottom line reads “25 元”. A black plastic crate or bucket is visible in the upper middle background behind the flowers. In the upper left background, a section of dark steps and gray concrete floor is visible, showing scattered dark debris and dirt, along with the shoes of people standing nearby with their backs to the camera. In the bottom left corner, a portion of a person's arm and shoulder is visible, covered by a beige or light brown garment with a textured or ribbed fabric pattern. In the extreme top right corner, part of a person wearing blue jeans and a green-and-white knit sweater appears. The lighting is artificial and even, highlighting the saturated colors of the petals and the textures of the wrapping materials.


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This vertical macro photograph presents a highly detailed close-up of a flower cluster in a natural setting. The central subject is a dense aggregation of numerous small buds, which are tightly packed together. These buds display a complex coloration, with outer protective casings in shades of dusty brownish-green and bronze, while vibrant violet-purple petals emerge from within several of the buds, creating a striking color contrast. A distinct, elongated, and tapered leaf-like structure rises diagonally from the bottom and extends upward across the lower section of the bud cluster, partially obscuring the flowers beneath it. A smaller fragment of a purple bud is also visible near the bottom left edge. A defining characteristic of the image is the presence of a fine, granular substance that coats the surfaces of both the buds and the leaf structure; this dust-like layer creates a speckled, textured appearance across the organic forms. The photography employs a very shallow depth of field, keeping the central buds and the diagonal leaf in relatively sharp focus while rendering the rest of the scene with a strong blur. The background is composed of soft, indistinct vertical shapes resembling plant stems and foliage, blending hues of chartreuse, olive green, and muted yellow-brown. In the upper right quadrant of the background, a blurry, isolated patch of purple suggests another flower bud in the distance, and a mottled brownish mass is visible in the upper middle area. The lighting is soft and diffused, likely natural light, which enhances the texture of the granular coating and the organic shapes without creating harsh shadows.


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A tightly packed assortment of decorative gourds and small pumpkins fills the frame from edge to edge in a high-angle close-up shot. The collection exhibits a wide variety of colors and textures. A prominent gourd on the left side of the middle section has a pale yellowish-green body with distinct dark teal-green vertical stripes and ridges radiating from a central dark stem. To the right of the center, a large, heavily textured gourd features a dark teal-green base color covered in numerous pale green and cream-colored bumpy protrusions and spots. Above the striped gourd, a bright orange gourd with small raised bumps sits near a large, cream-colored gourd with deep, rounded lobes in the upper left corner. Near the top center, a gourd displays a creamy white surface with dark green, jagged vertical stripes and a circular stem area. To the right of that, a pale whitish-green gourd has thin, dark vertical markings and a purplish-brown stem scar. On the far right edge, a gourd is covered in a mottled pattern of dark green and light lime-green bumps. A cream-colored gourd with distinct, wide, flat lobes and a star-like shape occupies the middle right area. In the lower left quadrant, a smooth, vibrant orange pumpkin sits below a textured, bumpy orange gourd. Below the orange pumpkin is a round gourd with a mottled beige and light brown surface featuring irregular white patches and spots. In the lower center and bottom right areas, additional bright orange gourds with slightly ribbed surfaces are visible. A large, pale greyish-white gourd with small, widely spaced bumps dominates the bottom right corner. A dark teal-green stem extends diagonally across the lower right section near the orange gourds. At the very bottom edge, parts of dark purple and deep teal gourds are partially visible in the shadows. A small, textured white gourd is tucked into the upper left area between larger items. A gourd with cream-colored segments and patches of light greenish-brown is located near the center, just above the dark teal bumpy gourd. A small fragment of another orange gourd is visible on the far left edge. A white watermark is located at the bottom center-right of the image, featuring the Weibo eye logo icon followed by the text “@爱玥儿 -”. The lighting is soft and even, creating highlights on the smooth and bumpy surfaces and enhancing the high saturation and contrast of the colors. The image is a real photograph with a sharp focus on the textures and colors of the produce.


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The image is a composite grid containing sixteen separate panels. In the top row, the first panel on the left shows a left hand holding a plant with thick, segmented green stems and long thin tendrils in a beige pot against a white background. The second panel features a plant with branching, spiky stems and a mossy base in a dark brown bowl‑shaped pot resting on a textured grey concrete block. The third panel depicts a slender plant with long, thin leaves supported by a vertical stake; it sits in a textured black pot atop a magazine where the text “THE NE” and “MAGAZINE” is visible on the cover, with blurred foliage on both sides. The fourth panel displays a plant with glossy, rounded, waxy green leaves in a speckled grey cylindrical pot placed on a wooden surface with light shadows, and small text “LA MLE” appears in the upper left.
The second row begins with a plant featuring large, dark green, heart‑shaped leaves on reddish stems in a weathered terracotta pot. The next panel shows two plants with arrow‑shaped leaves featuring distinct light yellow‑green spots; one sits in a small pot on a light wooden surface, while another is elevated on a white rectangular block against a textured light blue‑grey wall, with part of a third plant also visible. The third panel in this row contains a plant with small, curly, spiral leaves in a smooth terracotta pot with a matching saucer, positioned next to a small white spherical vase and a white vertical object with a labeled item on top, against a bright white wall. The fourth panel shows a plant with trailing stems and round, coin‑shaped leaves hanging down toward the table, in a white pot with a distinct base ring, resting on a white table alongside a blurred magazine.
The third row starts with a small tree‑like plant with bright lime‑green pinnate leaves branching from a thin trunk in a simple white pot, set against a background of white walls and light wood flooring, with a black vertical element on the left and white railings on the right. The second panel features a bushy plant with small, compound leaves in a pale pinkish‑beige pot with a matching tray, filled with small light blue‑green gravel; a blurred beige structure resembling three stacked bowls is partially visible in the background. The third panel displays a dense, round shrub‑like plant with fine foliage and a visible woody base covered in dried straw‑like fibers, planted in a textured, marbled beige pot with a matching saucer, with a blurred black object behind it. The fourth panel shows a plant with large, glossy, lance‑shaped leaves arranged in a radiating pattern from the stem tips, planted in a textured cream‑colored pot, with a wooden structure visible on the left.
The bottom row begins with a plant featuring large, dark green, leathery leaves radiating from a central point in a black pot against a white background, showing nine leaves. The second panel depicts a bushy plant with intricate, frosted silvery‑blue foliage in a terracotta pot, placed in front of a dark wooden structure with horizontal slats and a black base below. The third panel shows a slender plant with small, paired oval leaves in a bulbous ceramic vase decorated with dark blue floral or leaf motifs against a dark grey wall and wooden surface. The final panel on the bottom right features a small plant with small, green leaves growing from a patch of green moss in a tall, rectangular beige planter; wisps of white smoke or steam rise around the plant against a background featuring a blurred framed object and a grey floor, with black items on the left and right.


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A rich variety of fresh produce is packed tightly together in a top‑down view, creating a colorful tapestry of textures and shapes. In the upper left quadrant, dark green broccoli florets, rhubarb, and leafy greens cluster around a whole pineapple with textured golden‑yellow skin and a spiky green crown, with a small cucumber tightly placed below the pineapple. The upper center features a grouping of orange‑hued items, including several smooth, elongated orange peppers and a pile of small, round, bright orange fruits resembling kumquats. To the upper right, a large head of light green cabbage with layered, crinkled leaves occupies the corner. The central area is dominated by large, smooth yellow fruits and vegetables, including two large round pears and three lemons. To the right of the yellow fruits, a bright red bell pepper and a reddish‑orange tomato sit near a red apple and a light green pear. A green apple and a fruit with a gradient of pink and red hues are positioned on the right side, near the partial view of a yellow banana on the far right edge. A small, glossy dark green bell pepper is visible near the right‑center edge. The lower left section contains a cluster of small, round, reddish‑pink radishes and a small orange fruit near the middle edge. Below the radishes, a group of dark, bumpy, textured vegetables with a deep purple‑grey hue fills the bottom left corner. The lower central area features several apples in varying shades of light green and reddish‑pink, alongside a large round orange fruit and a cluster of small red tomatoes and reddish fruits near the bottom edge. A group of smooth, light green pods or beans extends diagonally from the bottom center towards the left. The bottom right area is anchored by a large, smooth, deep purple aubergine with a glossy surface and a small stem. A cluster of small, bright red cherry tomatoes is scattered near the bottom right edge. The lighting is bright and even, highlighting the fresh textures and high saturation of the colors.


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A single daisy flower dominates the right‑center portion of the frame, captured in sharp focus against a dark, moody background. The flower head features twenty‑three elongated white petals that extend outward in an irregular pattern; some stand upright and clustered near the top and left, while others extend horizontally to the right and droop slightly beneath the center. The petals show fine longitudinal lines and subtle variations in white tones, with some tips appearing slightly curved or uneven. The central disk is a prominent, convex mound with a granular, stippled texture composed of tiny florets. The color of this center transitions from a bright golden‑yellow on the right side to a darker, brownish‑yellow‑green on the left side. A slender green stem extends diagonally downward from the flower head towards the bottom center of the image, featuring a small, thin leaf or bract protruding from the stem near the bottom. In the lower left quadrant, a second flower head is visible but is rendered completely out of focus, appearing as a soft, blurry patch of white and pale yellowish tones without any discernible detail or shape. A faint, blurry vertical green line extends downward from this blurred flower, suggesting a stem. The background is divided by lighting and color; the left side and upper areas are dominated by a deep, almost solid black shadow that creates high contrast with the bright flower. The right side of the background transitions into a blurred field of dark olive and moss greens with fainter patches of brownish tones, suggesting out‑of‑focus vegetation. The image employs a shallow depth of field, keeping only the main flower in sharp focus while blurring the secondary flower and the background into a smooth bokeh. The lighting appears to be directional natural light coming from the right, illuminating the yellow center and the right‑side petals while leaving the left side of the flower and the background in shadow.


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A hand-drawn grid composed of pink lines divides a sheet of textured white paper into a layout of three rows and four columns, creating twelve distinct rectangular cells. Inside each cell, a unique floral design is sketched in black ink using a simple line art style. The top row begins on the left with a large, blooming flower featuring broad petals and leaves attached to a thick stem with small thorn-like protrusions. To its right, two vertical stems rise, one topped with a rose-like bloom and the other with a closed bud, accompanied by simple leaves near the base. The third cell contains a single tulip-shaped flower standing above a cluster of jagged, leafy foliage. The final cell in the top row depicts a branching plant with small, rounded buds and serrated leaves extending along thin stems.
The middle row starts on the left with two sunflower-like heads facing slightly different directions, each featuring a cross-hatched grid pattern in the center and triangular petals, supported by curved stems and leaves. The second cell shows a symmetrical arrangement of three ruffled flowers growing from a central stem with small leaves branching out. The third cell contains a large, multi-petaled flower resembling a four-leaf clover with rounded petals and two distinct leaves at the base. The fourth cell in the middle row displays two flowers on stems, one larger and lower with rounded petals, a smaller, simpler bloom positioned higher on a curved stem, and an additional leaf.
The bottom row begins on the left with a whimsical design featuring three stems with cup-shaped blossoms and several round shapes near the base, accented by small scattered dots surrounding the upper elements. The second cell depicts a stylized flower with a circular head containing a central star-like pattern and large, broad leaves extending to the left and right. The third cell features a flower with a central dark circular core, five petals marked with vertical lines, flanked by decorative curly tendrils and a single leaf at the base. The final cell on the right contains a single flower head with jagged, serrated edges and a central linear detail, resting above two simple leaves. A tiny fragment of a black line is visible at the very bottom edge of the paper below the grid. The paper has a visible grain texture throughout, and the lighting is even and flat, highlighting the contrast between the black ink, pink grid lines, and white background.


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A variety of staghorn ferns are mounted on a white wire grid panel attached to an interior wall. The arrangement includes approximately fifteen distinct plant groupings. On the left side and scattered through the center, smaller ferns are attached to small rectangular blocks of light brown wood and dark, textured clumps of moss or soil. A prominent specimen in the lower-left area features broad, bright lime-green basal fronds and shorter, curling vegetative fronds. In contrast, the majority of the plants, particularly those occupying the right side and bottom center, exhibit long, sprawling, antler-like fronds with a dusty, silvery-grey-green hue. A large, dense cluster of these long, branching fronds extends significantly to the right, creating a voluminous shape that reaches toward the wall. Near the upper right section within the foliage, a dried, tan-colored, fan-shaped structure is visible among the living greenery. A vertical strip of medium-brown wood runs along the far left edge of the frame. To the right of the wire grid, a plain wall with a subtle, mottled texture in shades of beige and light grey serves as a backdrop. Artificial lighting from the upper left casts distinct, linear shadows of the wire grid and the plant fronds onto the wall to the right, creating a pattern of diagonal lines and organic shapes. The lighting creates highlights on the upper surfaces of the leaves and deep shadows within the dense foliage. The image has a slightly grainy texture and low contrast, typical of an indoor photograph taken in artificial light.


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A large, dusty green cactus pad dominates the foreground and right side of the composition, serving as the base for a multitude of vertical fruit buds and flowers. Two vibrant yellow blossoms stand out near the upper center and right, their petals opening in a cup-like shape with a rich, saturated hue. A third yellow flower is visible on the far left side of the pad. Interspersed among the open blooms are numerous upright, cylindrical buds that taper toward their tips. Most of these buds are green with brownish-purple tops and are covered in small clusters of fine, needle-like spines. In the lower central area, one specific bud appears withered and dried, displaying a textured surface of orange and brownish hues. Another bud to the left of the single yellow flower has a dried, beige tip. The arrangement of the buds creates a rhythmic pattern across the surface of the plant.
The background is rendered with a shallow depth of field, resulting in a soft bokeh effect. To the left, a large, out-of-focus cactus pad extends diagonally, featuring irregular holes and gaps that allow patches of bright white sky to show through. A darker green leaf shape is visible in the middle distance on the left, and additional blurred green vegetation occupies the upper right background. A thick, brownish-green stem structure is partially visible on the far left edge. The lighting is soft and natural, evenly illuminating the scene and highlighting the contrast between the bright yellow flowers and the muted dark green tones of the cactus body.


A gray rectangular bus stop sign is affixed to a wall painted white on the upper half and dark gray on the lower half. The top-left corner of the sign features a logo and the text “巴士集团”. Below it, a bright orange rectangular area displays the number “199” in large white digits, followed by the character “路”.On the right, the route direction is indicated by “交大农学院 → 佘山汽车站”, with smaller text below showing operating hours: “首末班车 06:00-20:00” on the left and “首末班车 04:45-18:00” on the right.The middle part of the sign is a horizontal panel with a light green background, with “199 路站点示意图” at the top center. A route line runs across the panel with circular station markers; station names are printed diagonally above and below the line, starting with “交大农学院” on the left and ending with “佘山汽车站” on the right. A red circle on the far right shows “单程 票价 2 元”.The bottom-left of the green panel displays “服务热线：64925849”.A dark gray horizontal strip separates the map from the lower section, with white text “本线参加社会一条龙服务” on the left and “七十岁老人凭证优先上车” on the right.
The lower section is divided into three columns:
Left column: green header “公交行业服务规范”, listing six items with large vertical numbers “1” to “6”.
Middle column: white background with header “上海市公共汽车和电车乘坐规则”, followed by dense small text and small logos at the bottom-right.
Right column: green header “文明乘车公约”, listing seven items with large vertical numbers “1” to “7”.
At the very bottom of the gray board, large white text reads “绿色巴士” on the left and “服务到家” on the right. Screws are visible securing the bottom edge. The lighting is soft and diffuse, with a slight sheen on the surface.


A low-angle view captures the spacious interior of a building under construction, dominated by industrial equipment and structural frames.In the immediate foreground, a long dark metal helical auger lies diagonally on the dusty and cluttered floor, next to a weathered heavy-duty hydraulic block; corrugated metal sheets are stacked on the left.A thin red-and-white safety tape runs across the lower area, with scattered wooden blocks and metal scraps nearby.On the far left, a large pile is covered with a bright blue tarp near vertical steel columns.
The mid-ground floor becomes muddy. A large machine with an orange base and a long inclined boom stands near the structural frame. On the far right, a large curved orange component with hoses and cables rests on the ground.A yellow excavator is working in the middle distance, and an orange excavator is working near the right edge.
The left background is a tall wall with light gray panels, two distinct rows of rectangular windows, and dark door openings at the bottom.The right background is a complex multi-story structure of gray steel beams, columns and walkways with metal safety railings; small green industrial fans are installed on one upper walkway.The high, open ceiling reveals a network of gray metal trusses, beams and panels illuminated by numerous bright lights. A green pipe or trunking runs along the top of the steel framework on the right.


A gray concrete road stretches into the distance, showing uneven construction surfaces and scattered debris.In the left lane, a dark gray Audi station wagon has its red taillights illuminated; the rear displays the Audi four-ring logo and license plate “粤 J H737H”.Ahead in the same lane, a black SUV drives away, with a license plate appearing to be “粤 C CA220”.In the right lane, a large truck with a white cargo bed and red panel moves forward, closely followed by a large green cement mixer truck.Further ahead in the right lane is a white light truck facing the camera; a person wearing a dark top and blue jeans crouches near the front wheel.
The right lane in the foreground is blocked by a temporary barrier: a low metal frame supporting a rectangular sign with diagonal black-and-orange chevron arrows pointing left.To the left of the barrier stands a yellow A-frame traffic island with a red warning light on top, displaying the Chinese text “施工慢行” above black-and-yellow chevrons.To the right of the barrier is a blue rectangular sign with a yellow diamond worker symbol, large white Chinese characters “前方施工”, and smaller illegible text showing “台山公” in the bottom-right corner. A large gray rock sits near the blue sign.
Tall, sparse trees and bushes line the left side of the road; denser vegetation and a small white building appear in the distance on the right. Several indistinct figures stand on the dirt shoulder to the right.In the background, hazy mountains and a tower rise against a flat gray-white sky. Utility poles and wires run along the left side.A watermark in the bottom-left corner shows two small circles followed by “HONOR X50i+” and “108MP Ultra Clear Camera” in white sans-serif font.


In the foreground and mid-ground, vehicles travel away from the viewer on a gray asphalt road marked with white dashed lines.A dark gray minivan with yellow license plate “UF 931” is in the bottom-left.In the center lane, a classic red taxi with yellow license plate “UA 8016” drives forward, followed by another red taxi and a yellow double-decker bus.To the right of the median, a white car with license plate “RP 1123” and a white van travel in adjacent lanes.A large red double-decker bus with white “KMB” logo on the rear is in the left lane; the front of a yellow double-decker bus is partially visible on the far right.
On the left side, a large building is salmon pink and cream with many windows and air conditioners. A large horizontal billboard dominates the lower part, with a dark background, dynamic figure graphic, and green-yellow diagonal stripes, showing text including “Vista partners” and “進退之間 如何”.Above the billboard is a vertical column of rectangular signs: from top to bottom, teal “浦東”, blue “達萊島”, green “世紀”, bright lime-green “亞洲”, dark blue “电梯按 9 字”, reddish-brown “新輝煌”, light blue “愛莎”, white “銀泉”. A horizontal sign above ground-floor shops reads “六福”.
On the right, buildings are taller and more modern. A prominent vertical sign has a yellow upper half with vertical red Traditional Chinese “龍珠酒樓” and a blue lower half with vertical white “壹號”.Next to it is a white vertical billboard showing a seated woman and text “Pricerite” and “荷李活 商業中心 1/F”. Further back, a vertical purple sign displays “龍豐集團”.A tall slender gray streetlight curves over the road from the right.A low concrete median with small green bushes runs diagonally through the scene.In the distance, the street extends toward a vanishing point lined with high-rises in gray, white and beige against a pale cloudy sky. A vertical white sign with text list and “8-9 樓” appears on a building in the mid-distance on the right.


This low-light photograph depicts a highway at night, dominated by two large rectangular green directional signs suspended above the road.The left sign has white text and a diagonal arrow pointing upper-left; the top section shows the Chinese characters “机场” above “A'rport” (the vertical line of the letter “i” is missing), and the bottom section shows “广州” above “Guangzhou”.The right sign has white text and a diagonal arrow pointing upper-right; the upper half reads “龙岗” above “Long gang”, and the lower half reads “汕头” above “shan tou”.
A smaller vertical sign below and between the main signs displays “G94” in a box at the top, with vertical Chinese characters and a small arrow below.Near road level, a small square sign shows a white branching road symbol on a cyan background; on the far right, a small sign shows a yellow chevron arrow on a dark background.In the center foreground, two red rectangular grid-patterned objects glow brightly on the road surface.A barrier with vertical white-and-dark stripes runs across the lower-left and middle sections; a low barrier with small amber lights lines the bottom edge of the road.
Dense foliage and trees are visible on the left background, lit by artificial lights, with a utility pole and wires; dark tree silhouettes appear on the right against the black sky.A strong light source in the upper-left emits hazy beams and flares diagonally across the sky; faint circular artifacts are visible in the dark space between the light and the signs. A small cluster of distant yellow lights appears in the right background.


A driver’s left hand grips the left side of a black leather steering wheel with a gold-red-black Porsche crest, “PORSCHE” in the center, and “AIRBAG” embossed below. A rotary dial on the lower-right is labeled “DRIVE” and “MODE”.Behind the wheel, the digital instrument cluster displays several circular gauges:
Left gauge: “9:18”, “4.0°C” with a snowflake icon, speed scales “60, 100, 140, 200, 250, 300, 330”, and odometer readings “6465.2 km” and “16468 km”.
Center gauge: speed “13 km/h”.
Right gauge: Chinese text “车辆”, data “125 km”, “39°C”, “1.9 bar”, “14.8 v”, and “SPORT” at the bottom.
On the right, a wide infotainment screen displays the song title “what a nice day to run away” and artist info “Audacia/amber/BNXN/WestDix”.Below the screen, climate buttons show a red hazard icon and temperature “24.0”.A small circular suction mount sits on the dashboard near the passenger-side vents.
Through the windshield, a wide city street with crosswalks leads to an intersection. A tall beige building with a square window grid dominates the left; a white building is on the right. Leafless branches reach into the pale sky. A traffic light on the left shows red.A person stands on the left sidewalk near a small white structure. A dark blue car drives in the distance.On the right side of the street, storefronts have Chinese signs including a green sign “北京市民政局金都园社区卫生服务中心” and a partially visible blue sign.E-scooters and people gather on the right sidewalk near yellow bollards.A SF Express delivery vehicle is visible on the left.Part of the rearview mirror appears in the upper-right corner.


A medium shot taken from a seated position inside a bus captures the cabin's interior and its passengers. In the immediate foreground at the bottom, a portion of a red headrest cover is visible, with a hand partially appearing at the very bottom edge. To the right in the middle ground, a woman with long, straight black hair sits in profile facing left, wearing a light pink quilted jacket and a grey backpack with straps across her chest. In the row ahead of her, a man with short black hair and glasses sits facing forward, looking down at a white smartphone held in his hands; he is dressed in a black jacket and dark trousers. A black hard-shell suitcase sits on the floor in the aisle between them, and a bright blue cylindrical bucket with a red circular center is positioned on the floor near the aisle in the next row forward. A red backpack hangs from the back of the seat in front of the man. To the left, the backs of several other passengers' heads with short black hair are visible.

The seats are equipped with advertising headrest covers that feature a gradient design transitioning from bright red at the top to yellow at the bottom. The covers display images of a bottle and a box of a beverage product alongside Chinese text. The text "人参健康饮品" is prominent in large, bold, white and yellow characters with a slight 3D effect on the covers. Smaller text reading "齐山快" and "风味" is also visible near the product images.

The bus ceiling is beige and features a large rectangular ventilation grille with a mesh texture near the top center, along with smaller access panels and reading lights. A digital display near the front shows red LED numbers, appearing to read "1:07". A small convex mirror and a security camera are mounted near the front windshield. The front windshield reveals a view of a paved road and a dry, rocky hillside with sparse vegetation under a bright sky.

On the upper right side near the windows, a rectangular poster is attached to the wall. The poster has a yellow section on the left with lines of small black text and a larger section on the right featuring a landscape image with mountains and blue sky, topped by a line of red calligraphic Chinese characters. A red fire extinguisher is mounted vertically on the wall near the front right door area. A yellow rectangular sign with lines of black text is adhered to the window glass on the left side. A white suitcase and other items are stored near the front of the bus. The lighting is natural and diffuse, coming from the windows, creating a realistic and documentary-style atmosphere.


From the driver’s seat viewpoint, the car interior dominates the foreground.On the left is a black three-spoke steering wheel with silver metallic accents and a central circular emblem. Faint red illumination is visible on the instrument cluster behind the wheel.In the dashboard center, a rectangular infotainment screen displays a digital navigation map with a light beige background and thin graphic lines.Below the screen are various control buttons, knobs and a small red indicator light; further down on the center console is a shiny metallic gear shift lever.The passenger-side dashboard has a horizontal silver trim strip and a metallic-outlined vent on the far right.A rearview mirror is mounted at the top center of the windshield, reflecting a bright orange diagonal shape. A yellow rectangular sticker is attached to the upper-right interior headliner.
Through the windshield, a wide road stretches into the distance under a cloudy, deep teal and cyan sky. Long-exposure photography renders lights from passing vehicles as continuous horizontal streaks of bright red and orange across the right and center of the road.The background features an urban or industrial landscape with blocky buildings, construction structures and streetlights.On the right background, a tall lattice tower is illuminated by an intense yellow-orange light with a starburst flare effect.Faint red lights and indistinct signage appear on distant buildings.Through the left side window, the side mirror reflects a distorted view of a white vehicle and red light trails.The left interior door panel includes a silver door handle and a row of control switches near the bottom.Small circular air vents are located on the interior pillars near the top corners of the windshield.The image uses a wide-angle perspective and high-contrast color style, emphasizing complementary teal and orange tones.


In the upper half of the vertical composition, a large white commercial airplane flies horizontally from left to right.The aircraft has a blue stripe along the lower fuselage and a vertical stabilizer decorated with a stylized pink plum blossom logo. The text “CHINA AIRLINES” is printed in uppercase sans-serif letters along the fuselage; the landing gear is fully extended beneath the wings and body.The sky behind the plane consists of multiple cloud layers: dark slate-gray cloud formation at the very top, billowing white and gray clouds in the middle and lower sections, with small patches of pale blue visible in gaps.
The lower half displays concrete highway infrastructure.A road ascends from the bottom center toward the mid-distance, marked with dashed white lane lines. A dark gray SUV travels upward in the center lane; a group of cars is visible further up the ramp near the horizon.To the left, a massive elevated highway curves diagonally across the frame, supported by vertical concrete pillars with vertical pipes and vegetation near the base.To the right, another elevated road extends diagonally from the right edge.A row of tall, slender streetlights with curved tops lines the right side of the road and adjacent structure.Beneath the right overpass and in shadowed areas, a lower road level shows a white truck with “JAC” on the door and a white van driving.In the distance between roads, urban buildings and a fence with a blue sign with indistinct white characters are visible.A horizontal metal bar with circular traffic sign backs is in the bottom-left corner.The scene is lit by soft diffuse natural light, creating a cool color palette with low contrast and a slightly overcast atmosphere.


A matte black road bicycle is positioned diagonally across the foreground, resting on a black support stand under the front wheel.The frame has a sleek aerodynamic design with “TREK” printed in large bold white sans-serif capitals diagonally along the down tube. A small rectangular yellow-and-black graphic sticker with illegible text is near the bottom of the down tube.The bike is equipped with drop handlebars wrapped in textured black tape and brake levers. A black saddle is mounted on the seat post.The drivetrain includes a silver rear cassette with multiple gears, a chain, and a black crankset with a chainring.The wheels have deep-section black rims with small yellow-and-white decals near the valve stems and thin black spokes. A silver disc brake rotor is visible near the front hub.A small piece of light-colored debris lies on the reddish-brown rectangular brick pavement near the front wheel.
The image uses a shallow depth of field, keeping the bicycle sharp while blurring the background into soft bokeh.To the left, a building facade rises with a prominent red horizontal awning or signboard with blurry white shapes resembling characters or logos, above a white wall with vertical architectural elements and a blurry potted green plant near the ground.In the central distance, the street extends with indistinct vertical structures and soft pink and orange light patches.To the right, a large tree with dense green foliage fills the upper frame; sunlight filters through leaves, creating bright circular bokeh highlights against a bright overexposed white sky area.The lighting is soft and natural, creating a smooth texture on the bike frame and highlighting background colors.


A large passenger vessel is docked at a pier, dominating the midground of the scene. The boat features a multi-level design with a white upper structure and a blue lower hull. A distinct orange stripe runs horizontally along the white section of the hull, curving slightly near the bow. The upper deck is enclosed by a cabin with large, dark-tinted windows and is topped by a roof supporting various equipment, including vertical antennas, a horn speaker, and a white navigation mast with a radar scanner. A metal staircase leads up to the upper deck area near the front. On the blue band of the upper deck, faint reddish-orange characters and numbers, resembling "478", are visible. A person wearing a grey jacket stands on the lower deck near the stairs, while another individual in dark clothing stands on the upper deck railing on the right side. The lower blue hull shows signs of weathering with some rust and paint chipping near the waterline and displays faint, illegible script-like markings and white vertical draft depth numbers near the bow. A large mechanical anchor structure protrudes from the bottom of the bow. An orange circular lifebuoy is attached to the railing on the upper deck near the front. On the right side of the boat, large windows and an open doorway reveal the interior, and a group of people dressed in dark winter coats stands on the connecting pier walkway. The foreground features a pier with a floor paved in reddish-brown rectangular tiles. A stainless steel railing with horizontal bars runs diagonally across the lower portion of the view. A bright orange lifebuoy is mounted on the railing in the lower right area. Between the railing and the water, a grey concrete ledge is lined with several large, heavy, treaded tires serving as fenders. The river water is a murky, opaque brown color with a rippled surface. In the background to the left, a cluster of tall, multi-story residential apartment buildings with grey and beige facades rises above the riverbank. A distant cityscape with more buildings is visible on the far right horizon. The sky occupies the upper half of the image, showing a gradient of blue that is lighter near the horizon and darker at the top, with a patch of soft white and grey clouds visible on the left side. Strong natural sunlight coming from the right creates distinct, diagonal dark shadows of the railing bars and the lifebuoy on the tiled pier floor. The image is a realistic photograph taken at eye level.


A large aging industrial vessel occupies the center and right portions of the frame, captured from a front-right angle.The hull shows extensive weathering, with peeling paint revealing rust-red, dark brown and black patches against a dark base.Four large black rubber tires are mounted on the front and side as fenders: two prominent on the bow, one on each side.Above the hull, a faded reddish-orange section holds various rusted mechanical components, pipes and vents.A white cabin structure sits atop this section, with rows of rectangular windows with dark glass.A metal railing encircles the deck below the upper cabin, with rust patches on the white surface.A tall black mast rises from the cabin roof, supporting multiple lights, sensors and crossbars; a thin vertical antenna extends upward on the right.
The boat floats on calm water that reflects its colors and shape in a distorted rippled pattern near the bottom. The water surface changes from dark tones near the hull to lighter blue on the left.In the left background, a distant shoreline with green trees and vegetation is visible. A thin vertical mast and rigging of a sailboat rise from the water near the shore; a small group of birds flies in the distance against the sky.The sky fills the upper half, deep blue with large voluminous cumulus clouds with bright white tops and gray shadowed undersides.
In the bottom-right corner, a white watermark is superimposed on the water: a logo icon followed by “美篇”, below it “@点石艺术”, and the bottom line “美篇号：9177037”.The image has a high-contrast, saturated aesthetic with a slightly stylized or filtered look that emphasizes textures and colors.


A sleek silver high-speed train travels diagonally from upper-right to lower-left, dominating the composition.The train has a streamlined aerodynamic nose with a large dark windshield and wiper. A distinct red geometric stripe and dark blue band run along the carriage side; a red logo is visible on the front nose.The roof details vents and mechanical components.The train runs on tracks laid on gray gravel ballast and concrete sleepers.
To the left of the train, parallel railway tracks curve toward the background.A tall translucent white noise barrier runs along the left side, separating the railway from a road.On the road, a green bus, white truck, red car and a single pedestrian on the sidewalk are visible.
A metal truss structure spans horizontally across the upper section, supporting overhead catenary wires and electrical equipment; small reddish-brown insulators are attached to wires above the train.To the right of the train, a vertical gray metal lattice support stands near the tracks, with a small white rectangular sign displaying “018” in black.A fence runs along the right side, with green vines on lower sections and a dense bright green bush in the bottom-right corner.In the right background beyond tracks and fencing, trees with vibrant pink blossoms are visible.A large gray concrete bridge or overpass spans the top of the scene in the distance, with parts of buildings above it.The lighting is natural and diffuse, creating a soft realistic atmosphere with low contrast.


A dark angular architectural structure with curved supports and paneling extends diagonally from the top-left corner, framing the upper view.The lower half is dominated by a square-tiled sidewalk with a color gradient from dark shadowed tones on the left to reddish-purple on the right.A distinct tactile paving strip with raised dotted bumps runs diagonally across the tiles toward the curb.Splashes and scattered debris on wet tiles indicate falling rain.A metal drainage grate separates the sidewalk from the asphalt road.
The road surface is soaked, creating a mirror effect reflecting bright yellow and white lights from lamps and vehicles.A white Chinese character marking “公交车” is painted on the wet asphalt near the road center.On the far left, bright white headlights from oncoming cars create intense glare and long reflections.In the mid-distance, a yellow bus and several white cars travel along the road.To the right, a line of trees with dense foliage extends into the distance, leaves appearing dark green and brownish-yellow under artificial light.A white car is parked or moving slowly near the trees on the right; a blurred gray vehicle speeds past in the right foreground with motion blur.A crosswalk with faded white stripes is visible in the distance near the trees.A green rectangular sign with indistinguishable markings and the back of a gray circular sign are mounted on poles in the background.A distant streetlamp emits strong warm yellow light, contrasting with the deep blue twilight sky above.A faint building silhouette is visible in the far background.


A dense line of vehicles fills the road, creating a scene of congestion with cars extending into the distance. In the left lane, a white SUV is prominent in the mid-ground, featuring distinct red taillights and chrome badging on the trunk that includes illegible characters and small text lines. Directly in front of it sits a silver SUV with red graphic decals applied to its rear window. The right lane contains a sequence of vehicles, including a silver car with a circular red light, a dark SUV with a wide horizontal red taillight bar, and a grey sedan. A person's arm and hand reach out from the window of a white vehicle in the right lane. In the immediate right foreground, the rear section of another white car is visible with a glowing red taillight, while a side-view mirror and part of a silver vehicle body occupy the bottom right area. A black side-view mirror housing is positioned in the lower center, reflecting a grey tone. Large trees with drooping branches and green foliage rise on both sides of the road, framing the upper portion of the scene against a bright, white-grey sky. In the far distance, the traffic queue leads toward a bridge structure and several multi-story buildings with repetitive window patterns. The lighting is soft and diffuse, typical of an overcast day. A navigation bar overlays the bottom edge of the image, displaying three black outline icons: a square on the left, a circle in the center, and a triangle pointing to the left on the right. The image has a slightly grainy texture and low resolution, characteristic of a mobile phone screenshot.


A crowd of travelers stands on a gray concrete surface, facing away from the viewer toward a large white airplane parked on the left.A mobile boarding staircase with a curved blue canopy and white steps leads up to the fuselage. A small yellow rectangular sign with illegible black text “当心滑倒” is attached to the metal railing.The side of the aircraft engine is visible, displaying a circular blue logo with white letters “ge”.In the distance, the plane’s vertical tail fin rises against the dark sky, with a blue background and stylized red-and-white graphic design. A long white wing extends horizontally across the upper right.
Passengers in the queue show varied attire and luggage:
Right foreground: a short-haired man in light gray-and-white horizontal block short-sleeve shirt, black trousers, white sneakers, carrying a bright orange-front black-side backpack and wheeling a metallic silver hard-shell suitcase.
To his left: a woman in light green short-sleeve top and gray pants, carrying a large black-and-beige leopard-print tote bag and holding a black suitcase handle.
Mid-ground further left: a woman in a loose bright orange shawl/cardigan over a brown outfit and patterned sandals.
Near center: a long-haired woman in black-and-white patterned short-sleeve blouse and blue jeans, carrying a black shoulder bag.
Near base of stairs: a man in white short-sleeve shirt and beige vest.
The concrete ground has diagonal red rectangular markings on the left and white alphanumeric text “A2” in the bottom-right area.Part of a white ground support vehicle with green and red stripes is in the bottom-left corner.In the right background, several white airport service vehicles and equipment are parked under bright warm artificial floodlights, creating starburst effects and shadows.A partial view of a person in a pink top is on the far right edge.The upper half is dominated by a solid deep black night sky.


This high-angle shot presents chaotic heavy congestion on a complex highway system, rendered with a strong digital art effect creating jagged edges and flattened color patches similar to a posterized or oil-painting filter.Numerous vehicles, mostly white and black sedans and SUVs, are tightly packed with almost no space between them. A few stand out in bright red, blue and yellow.A prominent elevated highway ramp runs diagonally from mid-left to bottom-right, with a white railing with repeating dark loop-like patterns.A yellow-and-black bus travels along this ramp; a large white bus is in traffic on the right side of the main road. A smaller white bus is partially visible at the very bottom edge.
In the upper portion, another highway level runs horizontally across the background with additional traffic and large trucks; a distinct red truck or container with a graphic design is near the top center.On the upper right, a wall or billboard section shows abstract green, blue and reddish-brown patches.A vertical blue road sign with indistinct white symbols stands near the upper-right lanes. The lane can turn into the main road at the top.
Below the main traffic flow and diagonal ramp, lower infrastructure levels show dark gray concrete pillars and additional lanes filled with cars, including a row of white vans and cars on the lower left.The lighting is bright and directional, creating high-contrast highlights on white vehicles and deep shadows between cars and under overpasses.


A metallic blue autonomous vehicle leads a procession on a paved road, captured in a medium shot with shallow depth of field keeping the foreground sharp and background blurred.The car features a complex roof sensor assembly: a central vertical unit with a teal sensor window, a horizontal bar below holding four circular lenses and a small yellow triangular warning sticker. Small white sensors are also attached to the roof rails.A large graphic decal with dynamic yellow-and-red flame-like patterns stretches across the hood, displaying the Chinese text “自动驾驶测试”.A temporary license plate on the lower windshield reads “京 D0510 试”. A circular sticker with number “147” appears near the top of the windshield; vertical white markings are on the passenger-side window pillar.The front grille is silver mesh with a central emblem, flanked by detailed LED headlights.
Directly behind the lead car, a white vehicle with a similar roof sensor structure follows, with a yellow decal on the hood and blurry license plate. A third dark-colored vehicle is further back in line.
To the right, a row of tall trees with bare brown branches lines the road; lower trunks are painted white. A low hedge of brownish-green bushes runs along the base.A series of tall white Y-shaped streetlights extends into the distance along the left side.In the far left background, green traffic lights, blurred vehicles and distant mountains are visible under a clear blue sky.A solid white line marks the left lane.Bright natural sunlight illuminates the scene from the right, casting distinct shadows on the asphalt to the left of the vehicles.