Create an experimental photography PDF artist book that explores image reproduction, absence, textual description, and the transmission of thought and emotion through photography and AI. The project should be based on real documentary-style photographs, not purely synthetic images. Use quiet, everyday scenes such as interiors, streets, beaches, fields, windows, urban corners, anonymous objects, distant people, and open landscapes. The photographs should have a restrained, observational atmosphere, with soft light, low-resolution photographic textures, slightly faded colors, muted shadows, and a subtle documentary or analog-film quality. The images should feel as if they were taken from ordinary life, but reorganized into a system of deletion, reading, and reconstruction. In each photograph, remove selected areas of visual information and replace those missing parts with blocks of text. These text blocks should appear directly inside the photographic image, occupying the spaces where visual content has been deleted. Some text should describe the missing image in a precise but partial way, while other text should function as direct AI image-generation instructions. The inserted text should not feel like ordinary captions placed outside the image, but should become part of the image surface and part of the viewing experience. It should disturb the photograph while also becoming the only remaining evidence of what has disappeared, still faintly readable. The title of the work is Things Can Tell The text inside the photographs should be understood as both visual interruption and generative material.It interrupts the viewer’s ordinary reading of the photograph while also providing a possible path for reconstructing what has disappeared.It should feel like a page waiting to be activated by another device.The author i s ZHANG YI The project should show that the deleted areas of the photograph are not simply empty spaces or losses of information.The text is not only meant to be read by humans, but also captured by a camera, processed by a machine, and transformed back into an image. In this way, the photographic surface becomes a place where human reading and machine interpretation overlap, and where absence begins to operate as a productive visual structure rather than as a simple lack. The layout should be minimal, quiet, and conceptual, with large white margins, asymmetrical placement, generous empty space, and a book-like rhythm. The typography should feel plain, direct, and slightly mechanical, somewhere between an artist statement, an instruction manual, a generated prompt, and a photographic archive. The overall design should avoid decoration and preserve a sense of silence,softness, incompleteness, and analytical distance, open to both reading and scanning. Instead, they become visual and conceptual centers that attract the viewer’s attention. By removing part of the photograph and replacing it with language, the work makes the viewer aware of the act of looking, imagining, and reconstructing. A detail that might originally have been ordinary or unnoticed gains special importance precisely because it has been removed. The missing image becomes stronger through its absence, and the viewer is forced to imagine not only what was there, but also why it was removed. The text in the image functions as a low-density but highly expandable medium of imagination. Unlike a photograph, which records a large amount of visual information mechanically, text appears as an abstract medium that requires the viewer to construct an image from memory, experience, and imagination. The PDF should emphasize the tension between photographic density and textual openness: photography as a high-density but relatively closed information medium, and language as a low-density but highly expandable imaginative medium.AI should be presented not simply as a tool for generating images, but as a medium that changes the viewer’s role. The viewer no longer remains only a passive observer of the photograph, but participates in the reproduction of the image through reading, camera capture, machine interpretation, and newly generated image. The work moves through several stages: original photograph, removed image, textual description, viewer reading, camera capture, AI interpretation, and image regeneration. The final image is not a restoration of the original photograph, but a new image produced through distance, misunderstanding, and reconstruction. The PDF should also explore the idea of “imaginable clarity.” This concept refers not to the physical resolution of the photograph, but to the degree to which the viewer can imagine or reconstruct the missing image based on the amount and precision of textual information provided. When the description is detailed, the missing area becomes more imaginable and more visually directed. When the description is vague, contradictory, incomplete, or misleading, the viewer and AI gain more possible paths of reconstruction.Some text blocks should include non-standard AI prompt language, such as repetition, negation, misleading expressions, first-person pronouns, incomplete instructions, excessive detail, or emotionally unstable phrasing. These linguistic elements act as interference inside the image-generation process. They reduce the mechanical smoothness of the AI-generated result and reveal the difference between human imagination and algorithmic reconstruction. The prompts should not always be optimized for perfect AI generation; instead, they should expose misunderstanding, ambiguity, memory, and subjective intention. The errors and deviations should be treated as part of the work. The final PDF should include an afterword explaining photography as a mechanical record of light, text as an abstract medium of imagination, and AI as a system that translates language into visual reconstruction. The book should remain quiet, slightly strange, analytical, and poetic, as if the photograph has not simply been damaged or censored, but transformed into a system where missing images continue to speak through text, imagination, camera capture, and artificial reconstruction. The viewer should photograph the text inside the images and upload it to an image-generating AI.This final action completes the circuit between photograph, language, viewer, and machine. The work does not end here. Instead, The viewer should photograph the text with the images and upload them to an image-generating AI.The cover remains both a description and a latent prompt, awaiting machine reading, another possible image, and the viewer’s next act of reconstruction beyond the printed page once more.