They share the same visual grammar: fog as the primary agent. Each image is muted by mist, atmosphere, or dim light that dissolves edges, flattens contrast, and leaves things half-visible rather than sharply defined. There's no bright sun, no clear horizon—just gray veiling, diffused illumination, and surfaces that refuse to resolve fully. This isn't incidental in the sense that fog might just happen to be present; fog is the structural condition in all six. The light itself has been absorbed or scattered by moisture in the air.
What it implies is that the clustering respects atmosphere as a content class, not just an incidental overlay. The same unseen fog that softens a Japanese roadside at night does the same to a Faroe Islands coast at dusk or a Swiss alpine valley. Temporally, they all sit in the transitional moments—twilight or pre-dawn, overcast midday, fog-thick afternoon—when the world hasn't settled into one condition. Spatially they're wildly disparate in location and topography, but they've been collapsed into one kind of scene by the weather and the way the camera captures it. It says something about how the salience layer might value softness, isolation, and suspended presence over sharpness and eventfulness.