關於 港meaning japanese ，我們在網路上蒐集到這些相關的討論、資訊與評價

MONSTER TAIPEI INTERNATIONAL LOTTERY全球網路抽選活動
Monster Taipei x A Lei x Yesart Gallery - Agogo & Amigo

Monster Taipei在2016年邀請台灣藝術家－阿咧 (A-Lei) 與日本藝術家中村萌 (Moe Nakamura) 於當年的台北國際玩具創作大展「展中展」聯合展出一場華麗的「土木進行曲」，當時的首度合作受到熱烈迴響，現今兩位藝術家在國際藝術舞台上持續大放異彩，時間回到今年，阿咧受椿畫廊邀請，即將與中村萌及其他七位日本藝術家共同於東京椿畫廊聯合展出，展覽資訊：SPES（拉丁文:希望之意）-9 Artists Group Exhibition- 19 June－ 10 July, 2021

這次 Monster Taipei 與友好單位 Yesart Gallery 意識畫廊繼阿咧首件搪膠作品大象多多後，再次攜手合作推出－”Agogo & Amigo”，並由香港 How2work 團隊製作操刀下，趣味感十足的 Agogo 和小夥伴 Amigo 搪膠作品就此誕生！

實體呈現的造型與細節近似還原了阿咧每件陶塑原作中極具療癒姿態的手感，作品包裝上特別開版手工製作，讓每對狗狗們配有獨棟景觀豪宅，包裝俏皮的粉色外牆皆有印刷阿咧童趣的插畫，絕對值得珍藏！雙犬去年 TTF 搶先曝光隨即引發高度詢問，現在正式超萌吸睛登場！

此件作品將採用全球線上抽選寄送方式販售，想入手的朋友們請繼續查看以下抽選資訊。

抽選販售商品：Agogo & Amigo
藝術家: 阿咧 A-Lei
材質: Vinyl Toy
Limited Edition of 250
Monster Taipei x Yesart Gallery 共同出品
售價: NT.5980/set
尺寸: Agogo: 11cm (H) , Amigo: 7.5cm (H)
*每件作品皆為手工上色 ，顏色呈現略有不同，請以實品為準。

抽選表單填寫時間：
2021/06/19(六) 20:00 ~ 2021/06/22(二) 20:00

抽選表單連結：
https://forms.gle/wqh9CRa2W1Fvmegz8

販售規則：
1.此商品採線上抽選方式販售，欲參加抽選的朋友請填寫 Google 表單，需登入 Google 帳號，一人一個帳號限填寫一次，如有重複填寫資料者或資料填寫不齊全者將直接取消抽選資格。

2.請於表單開放時間內填寫，逾時不候。

3.抽選將會使用電腦亂數程式隨機抽選，抽選結果將於 2021/06/24(四) 當天 21:00 前以簡訊及 e-mail 通知中選者，未中選者不另行通知。

4.中選者需於收到中選通知後三日內 2021/06/27(日)
結束前完成付款，如中選者未在時間內完成交易將直接取消購買資格並列入永久黑名單，請務必確認是否能在規定時間內付款再參與抽選活動。

5.中選者付款及取貨方式
(1) 台灣地區中選者 : 提供上海商銀帳戶匯款郵寄。 (運費$80)
(2) 海外地區中選者 : 僅提供 PayPal 付款 (需另加 5% PayPal 手續費)，依所在地區的不同，運費金額將會另行估算，隨中選信通知附上運費金額。

6.抽選表單上填寫的收件人及地址無法更改，欲更改者視同放棄購買資格。

7.申請抽選將視為皆已同意以上規則，Monster Taipei 保有最終販售及修改之權利。

Monster Taipei 台北怪獸國際有限公司

In 2016, Monster Taipei invited Taiwanese artist A-Lei and Japanese artist Moe Nakamura to co-exhibition during the Taipei Toy Festival. The two artists continue to shine on the international art scene.
This year, A-Lei is invited by Tsubaki Gallery to exhibit with Moe Nakamura and seven other Japanese artists at Tsubaki Gallery in Tokyo.
Exhibition information: SPES (Latin: Meaning of Hope)
9 Artists Group Exhibition- 19 June - 10 July, 2021

After A-Lei’ s first Designer vinyl work "大象多多 DoDo", Monster Taipei and Yesart Gallery have co-work again recently, producing by Hong Kong How2work team, and the interesting vinyl work “Agogo and Amigo” was born!

The appearance and details approximately re-appears the touch of A-Lei's original pottery sculpture and the healing feeling.
The packaging work is specially hand-made, so that each pair of dogs come with a family landscape mansion. The playful pink walls are all printed with illustrations of A-Lei’s childishness, which are definitely worth collecting! The first TTF exposure of "Agogo & Amigo" last year immediately triggered high levels of asking, and now it is officially released!

"Agogo & Amigo" will be sold by global online lottery delivery, please continue to check the following information.

Lottery merchandise : Agogo & Amigo
Artist : A-Lei
Material : Vinyl Toy
Limited Edition : 250 sets
Presented : Monster Taipei x Yesart Gallery
Price : NT.5980/set
Size : Agogo: 11cm(H), Amigo: 7.5cm(H)
*Each work is hand-painted, and the color is slightly different, please refer to the actual product.

lottery form filling time：
2021/06/19(SAT.) 20:00 ~ 2021/06/22(TUE.) 20:00

Sales rules:
1. This art work is sold by global online lottery. Friends who want to participate in the lottery, please fill out the Google form by your Google account. Each account is limited to one time only. If you fill in the information repeatedly or fill in the information incompletely, you will be directly disqualified from the lottery. .

2. Please fill in the form within the opening hours, overtime filing will not be accepted.

3. The lottery will be randomly selected using a computer random number program. The results of the lottery will be notified on 2021/06/24(THU) by SMS and e-mail before 21:00. Those who lost the chance will not be notified.

4. Winners of the lottery need to complete the payment within three days 2021/06/27(SUN) after receiving the notification. If they didn't complete the payment within the time limit, the purchase qualification will be directly cancelled and be included in the permanent blacklist. Please confirm whether able to pay within the specified time before participating in the lottery.

5. Way of purchase
(1) Winners in Taiwan : Provide Shanghai Commercial Bank Account to remit.( NT$80 for shipping)
(2) Winners from Overseas : Only PayPal payment is available (additional 5% PayPal handling fee is required). Depending on the region, the shipping amount will be estimated separately, and the shipping amount will be attached to the notification.

6. The recipient and address on the lottery form cannot be changed, and those who wish to change will be regard as giving up the qualification.

7. Application for lottery will be deemed to have agreed to the above rules, Monster Taipei reserves the right to final sales and modification.

MONSTER TAIPEI INTERNATIONAL INC.

新刊預覽 👀⚡️⚡️⚡️

Voices of Photography 攝影之聲
Issue 29 : #被攝影史──成為影像的台灣
History of the Photographed:
Taiwan as an Image

延續我們對於攝影史的關注，本期審視屬於我們自身的攝影經驗──被攝影的歷史。從台灣的殖民史出發，自十九世紀中葉以降歷經的人類學調查採集、二十世紀初隘勇線推進下的暴力顯影，到帝國博覽會裡的「台灣」意象與人種展示──這是一段最為系統性地將台灣影像化的初始時期。我們如何成為被攝影的對象？如何化為一具科學標本和一幅想像圖騰？如何在視覺上被納編（或排除）於國族與文化的整頓編程，並糾結至今？此一影像的潛歷史──被攝影的歷史──是我們返視「攝影史」的一處起點。

藉此，本期試圖反詰「歷史」，思考致使我們「成為影像」、「進入攝影史」的支配與佈局，嘗試突破以往「攝影（者）的歷史」框架，開啟我們的「被攝影（者）的歷史」覺察，或許將能發現對我們而言更為重要的攝影的歷史遺產，生成屬於我們的另翼影像史觀。

專題中收錄的影像與文論，標記了我們在「被攝影」的歷史經驗裡的複雜和衝突──我們從已故人類學者胡家瑜對早年台灣人類學田野調查至戰後發展的介紹專論開始，探看影像採集的知識化歷程及當代意涵；黃翰荻追尋日本人類學者鳥居龍藏與森丑之助在殖民年代的台灣原住民族群踏查足印，細述二人巨大的歷史身影；高俊宏在總督府「理蕃時期」的諸多「討伐」寫真帖中，重新諦視「歸順者」肖像裡的幽微目光；瓦歷斯．諾幹以解／反殖民書寫，展現自身與族人生命經驗裡實切的影像歷史感知；松田京子則以東京拓殖博覽會中對殖民地的活人陳列展演，析解形塑「台灣」的視覺策略。

本期Artist’s Showcase單元，我們與藝術家葉偉立進行長篇訪談，呈現他這些年來以行動介入所構成的獨特影像場域，記錄其未曾間斷的勞作沉思。而在影像論述單元，本期新闢由影像研究者李立鈞執筆的科學攝影專欄，揭示平時隱沒在科學實踐中的「影像問題」，首篇從圖繪細菌與拍攝細菌在十九世紀引發的論爭談起，一探科學家對於攝影「客觀性」的認知辯證。謝佩君接續前期對於影像／視覺理論的引介，深入闡論歐美學界近年如何反駁過去以視覺機具作為現代性發展的線性觀點。黎健強探究香港攝影源流的連載系列，揭載「作為影像的香港」在1850年代末首次出現於可供西方觀眾賞玩的遠東立體照片。此外本期亦特邀黃建宏撰文紀念近期辭世的法國哲學家貝拿爾．斯蒂格勒，記述其影像哲理綿延的技術與時間之論。

在本期出版（焦頭爛額）之際，也正是《攝影之聲》邁入第十年的開端，回想起來真是一段不可思議的旅程。感謝所有的讀者共同撐起這份小刊，也要再次感謝參與《攝影之聲》、支持我們的朋友與工作伙伴，給予我們面對艱困的勇氣，繼續在蜿蜒的道路上行進。
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購書 Order | http://bit.ly/vop-29
台灣讀者免運費優惠中！
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As we continue on the topic of the history of photography, we turn to our own photography experiences in this issue – our history of being photographed. It takes root in Taiwan’s colonial history, from the collection of anthropological surveys in the 19th century, to the acts of violence at the defence lines as they pushed on during the Japanese colonial era in the early 20th century, as well as the exhibition of the “Taiwanese” imagery and ethnicity at various expositions held during the Japanese colonial rule. These form the beginnings of a systematic effort to visualize Taiwan. How did we become the photographed, a scientific specimen, a totemic image? How did we become visually part of (or excluded from) the rectification process of nationality and culture, that continues to trouble us till now? The veiled history of such an image – the history of being photographed – guides the beginning of our journey of looking back at the “history of photography”.

With this, we attempt to cross-examine “history” and think through the control and disposition that led us into “becoming an imagery” and “going into the history of photography”, hoping to break free from the existing framework of “the history of the photograph(er)” and enlighten our awareness of the “history of the photographed”. We reckon this could allow us to discover the historical heritage of photography that is even more important to us and generate our very own alternative view of the history of photography.

The collection of imagery and essays in this series marks the complexity and conflicts in our historical experience of “being photographed”. We begin with the late anthropologist Hu Chia-Yu’s field research of Taiwan’s anthropology from the early years to the post-war period as we explore the knowledge-based development and contemporary meaning of imagery collection. Huang Han-Di traces the footsteps of Japanese anthropologists Torii Ryuzo and Mori Ushinosuke in their study of the Taiwanese indigenous peoples in the colonial era, detailing the historical impact that they had. Kao Jun-Honn takes a second look at the faint gaze in the eyes of those who had pledged allegiance, as captured in the many portraits of the “submissives” kept at the Governor-General’s office during the Japanese rule. Walis Nokan expresses his and his fellow people’s real perception of the history of photography as they had experienced it in his de-/anti-colonization writings. Matsuda Kyoko analyses the visual strategy of shaping “Taiwan” through the living displays at the Tokyo Colonization Exposition of 1912.

In this issue’s “Artist’s Showcase”, we feature an in-depth interview with artist Yeh Wei-Li, showing our readers his unique field of imagery that extends from his art of intervention, a record of his neverending contemplation with regard to labor and art. Moving on to essays on visual imagery, we present a new scientific photography column by imagery researcher Lee Li-Chun, who unveils the “imagery problem” that underlies scientific practice, beginning with cognitive dialectics of “objectivity” of photography by scientists that stemmed from the debate sparked by illustrating and photographing bacteria in the 19th century. Hsieh Pei-Chun continues with her introduction to imagery/visual theory from an earlier issue, and explains in detail how Western academia has refuted the existing linear view of visual machinery as a modern development. Edwin K. Lai’s series on the origins and development of Hong Kong photography tells us about the first 3D photograph from the Far East that aimed to entertain a Western audience with “Hong Kong as an image” in the late 1850s. In addition, we specially invited Huang Chien-Hung to commemorate the French philosopher Bernard Stiegler, who had recently passed, and the continuous techniques and time that stems from his philosophy of imagery.

At the same time as we (run off our feet to) prepare for the publication of this issue, Voices of Photography is going into its 10th year, and what an incredible journey it has been. We sincerely thank all our readers for keeping us going, and express our heartfelt gratitude once again to all our friends and partners who have worked with us and given us the courage to overcome our difficulties to march on on this winding road.
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本期目錄 Contents
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文化調查、標本收藏與攝影
——十九世紀中葉起的台灣調查採集動力與歷史脈絡
Cultural Investigations, Material Collections and Photography:
Agencies and Historical Contexts in Taiwan Since the Mid 19th Century
#胡家瑜 Hu Chia-Yu

「空中鳥跡」與「依風彩畫」——寄鳥居龍藏與森丑之助
“The Trail of Birds in Flight” and “Paintings in the Wind”: A Letter to Torii Ryuzo and Mori Ushinosuke
#黃翰荻 Huang Han-Di

「不看」的能指——關於理蕃攝影中的「歸順者」之眼
The Significance of “Not Seeing”: On the Eyes of the “Submissives” in the Photography of the Aboriginal Taiwanese
#高俊宏 Kao Jun-Honn

關於日據時期老照片的解／反殖民書寫練習
Interpreting Old Photographs from the Japanese Occupation Period De-/Anti-Colonization Practice Writings
#瓦歷斯諾幹 Walis Nokan

人類的「展示」與殖民地再現——以1912年拓殖博覽會為中心
The “Exhibition” of Mankind and the Resurgence of Colonization: A Look at the Tokyo Colonial Exposition of 1912
#松田京子 Matsuda Kyoko

如何「做」視覺民族誌？——讀《學做視覺民族誌》
How to “do” a visual ethnography?: Understanding Doing Visual Ethnography
#顧錚 Gu Zheng

我們可以祛除帝國主義嗎？——《潛在的歷史》的指引
Can We Unlearn Imperialism?
Methods and Lessons from Potential History by Ariella Azoulay
史蒂芬．席海 #StephenSheehi

Artist’s Showcase: #葉偉立 Yeh Wei-Li

故事之野——訪葉偉立
A Field of Stories: Interview with Yeh Wei-Li
#李威儀 Lee Wei-I

「可怖的客觀性」——十九世紀的顯微攝影
“Dreadful Objectivity”: Photomicrography in the 19th Century
#李立鈞 Lee Li-Chun

偉大的否定——負影像史
The Great Disavowal: A Counter History of Image
#謝佩君 Hsieh Pei-Chun

追夢人的藥控——離散的「貝拿爾．斯蒂格勒」影像
Pharmakon by Dreamer: Discrete Image of Bernard Stiegler
#黃建宏 Huang Chien-Hung

浴火重生的香港攝影（上）——最早為香港留下照片的攝影師
Hong Kong Photography: Rising from the Ashes (I) – The Photographer Who Left Behind the First Images of Hong Kong
#黎健強 Edwin K. Lai

攝影書製作現場⑤ : 便利堂
Photobook Making Case Study #5: Benrido
#羅苓寧 Lo Ling-Ning

七等生 : 重回沙河
Qi Deng Sheng(1939-2020): A Return to Sand River
李威儀 Lee Wei-I

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更多訊息 More info :
www.vopmagazine.com

Voices of Photography 攝影之聲
Issue 29 : #被攝影史──成為影像的台灣
History of the Photographed:
Taiwan as an Image

延續我們對於攝影史的關注，本期審視屬於我們自身的攝影經驗──被攝影的歷史。從台灣的殖民史出發，自十九世紀中葉以降歷經的人類學調查採集、二十世紀初隘勇線推進下的暴力顯影，到帝國博覽會裡的「台灣」意象與人種展示──這是一段最為系統性地將台灣影像化的初始時期。我們如何成為被攝影的對象？如何化為一具科學標本和一幅想像圖騰？如何在視覺上被納編（或排除）於國族與文化的整頓編程，並糾結至今？此一影像的潛歷史──被攝影的歷史──是我們返視「攝影史」的一處起點。

藉此，本期試圖反詰「歷史」，思考致使我們「成為影像」、「進入攝影史」的支配與佈局，嘗試突破以往「攝影（者）的歷史」框架，開啟我們的「被攝影（者）的歷史」覺察，或許將能發現對我們而言更為重要的攝影的歷史遺產，生成屬於我們的另翼影像史觀。

專題中收錄的影像與文論，標記了我們在「被攝影」的歷史經驗裡的複雜和衝突──我們從已故人類學者胡家瑜對早年台灣人類學田野調查至戰後發展的介紹專論開始，探看影像採集的知識化歷程及當代意涵；黃翰荻追尋日本人類學者鳥居龍藏與森丑之助在殖民年代的台灣原住民族群踏查足印，細述二人巨大的歷史身影；高俊宏在總督府「理蕃時期」的諸多「討伐」寫真帖中，重新諦視「歸順者」肖像裡的幽微目光；瓦歷斯．諾幹以解／反殖民書寫，展現自身與族人生命經驗裡實切的影像歷史感知；松田京子則以東京拓殖博覽會中對殖民地的活人陳列展演，析解形塑「台灣」的視覺策略。

本期Artist’s Showcase單元，我們與藝術家葉偉立進行長篇訪談，呈現他這些年來以行動介入所構成的獨特影像場域，記錄其未曾間斷的勞作沉思。而在影像論述單元，本期新闢由影像研究者李立鈞執筆的科學攝影專欄，揭示平時隱沒在科學實踐中的「影像問題」，首篇從圖繪細菌與拍攝細菌在十九世紀引發的論爭談起，一探科學家對於攝影「客觀性」的認知辯證。謝佩君接續前期對於影像／視覺理論的引介，深入闡論歐美學界近年如何反駁過去以視覺機具作為現代性發展的線性觀點。黎健強探究香港攝影源流的連載系列，揭載「作為影像的香港」在1850年代末首次出現於可供西方觀眾賞玩的遠東立體照片。此外本期亦特邀黃建宏撰文紀念近期辭世的法國哲學家貝拿爾．斯蒂格勒，記述其影像哲理綿延的技術與時間之論。

在本期出版（焦頭爛額）之際，也正是《攝影之聲》邁入第十年的開端，回想起來真是一段不可思議的旅程。感謝所有的讀者共同撐起這份小刊，也要再次感謝參與《攝影之聲》、支持我們的朋友與工作伙伴，給予我們面對艱困的勇氣，繼續在蜿蜒的道路上行進。
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購書 Order | http://bit.ly/vop-29
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As we continue on the topic of the history of photography, we turn to our own photography experiences in this issue – our history of being photographed. It takes root in Taiwan’s colonial history, from the collection of anthropological surveys in the 19th century, to the acts of violence at the defence lines as they pushed on during the Japanese colonial era in the early 20th century, as well as the exhibition of the “Taiwanese” imagery and ethnicity at various expositions held during the Japanese colonial rule. These form the beginnings of a systematic effort to visualize Taiwan. How did we become the photographed, a scientific specimen, a totemic image? How did we become visually part of (or excluded from) the rectification process of nationality and culture, that continues to trouble us till now? The veiled history of such an image – the history of being photographed – guides the beginning of our journey of looking back at the “history of photography”.

With this, we attempt to cross-examine “history” and think through the control and disposition that led us into “becoming an imagery” and “going into the history of photography”, hoping to break free from the existing framework of “the history of the photograph(er)” and enlighten our awareness of the “history of the photographed”. We reckon this could allow us to discover the historical heritage of photography that is even more important to us and generate our very own alternative view of the history of photography.

The collection of imagery and essays in this series marks the complexity and conflicts in our historical experience of “being photographed”. We begin with the late anthropologist Hu Chia-Yu’s field research of Taiwan’s anthropology from the early years to the post-war period as we explore the knowledge-based development and contemporary meaning of imagery collection. Huang Han-Di traces the footsteps of Japanese anthropologists Torii Ryuzo and Mori Ushinosuke in their study of the Taiwanese indigenous peoples in the colonial era, detailing the historical impact that they had. Kao Jun-Honn takes a second look at the faint gaze in the eyes of those who had pledged allegiance, as captured in the many portraits of the “submissives” kept at the Governor-General’s office during the Japanese rule. Walis Nokan expresses his and his fellow people’s real perception of the history of photography as they had experienced it in his de-/anti-colonization writings. Matsuda Kyoko analyses the visual strategy of shaping “Taiwan” through the living displays at the Tokyo Colonization Exposition of 1912.

In this issue’s “Artist’s Showcase”, we feature an in-depth interview with artist Yeh Wei-Li, showing our readers his unique field of imagery that extends from his art of intervention, a record of his neverending contemplation with regard to labor and art. Moving on to essays on visual imagery, we present a new scientific photography column by imagery researcher Lee Li-Chun, who unveils the “imagery problem” that underlies scientific practice, beginning with cognitive dialectics of “objectivity” of photography by scientists that stemmed from the debate sparked by illustrating and photographing bacteria in the 19th century. Hsieh Pei-Chun continues with her introduction to imagery/visual theory from an earlier issue, and explains in detail how Western academia has refuted the existing linear view of visual machinery as a modern development. Edwin K. Lai’s series on the origins and development of Hong Kong photography tells us about the first 3D photograph from the Far East that aimed to entertain a Western audience with “Hong Kong as an image” in the late 1850s. In addition, we specially invited Huang Chien-Hung to commemorate the French philosopher Bernard Stiegler, who had recently passed, and the continuous techniques and time that stems from his philosophy of imagery.

At the same time as we (run off our feet to) prepare for the publication of this issue, Voices of Photography is going into its 10th year, and what an incredible journey it has been. We sincerely thank all our readers for keeping us going, and express our heartfelt gratitude once again to all our friends and partners who have worked with us and given us the courage to overcome our difficulties to march on on this winding road.
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本期目錄 Contents
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文化調查、標本收藏與攝影
——十九世紀中葉起的台灣調查採集動力與歷史脈絡
Cultural Investigations, Material Collections and Photography:
Agencies and Historical Contexts in Taiwan Since the Mid 19th Century
胡家瑜 Hu Chia-Yu

「空中鳥跡」與「依風彩畫」——寄鳥居龍藏與森丑之助
“The Trail of Birds in Flight” and “Paintings in the Wind”: A Letter to Torii Ryuzo and Mori Ushinosuke
黃翰荻 Huang Han-Di

「不看」的能指——關於理蕃攝影中的「歸順者」之眼
The Significance of “Not Seeing”: On the Eyes of the “Submissives” in the Photography of the Aboriginal Taiwanese
高俊宏 Kao Jun-Honn

關於日據時期老照片的解／反殖民書寫練習
Interpreting Old Photographs from the Japanese Occupation Period De-/Anti-Colonization Practice Writings
瓦歷斯．諾幹 Walis Nokan

人類的「展示」與殖民地再現——以1912年拓殖博覽會為中心
The “Exhibition” of Mankind and the Resurgence of Colonization: A Look at the Tokyo Colonial Exposition of 1912
松田京子 Matsuda Kyoko

如何「做」視覺民族誌？——讀《學做視覺民族誌》
How to “do” a visual ethnography?: Understanding Doing Visual Ethnography
顧錚 Gu Zheng

我們可以祛除帝國主義嗎？——《潛在的歷史》的指引
Can We Unlearn Imperialism?
Methods and Lessons from Potential History by Ariella Azoulay
史蒂芬．席海 Stephen Sheehi

Artist’s Showcase: 葉偉立 Yeh Wei-Li

故事之野——訪葉偉立
A Field of Stories: Interview with Yeh Wei-Li
李威儀 Lee Wei-I

「可怖的客觀性」——十九世紀的顯微攝影
“Dreadful Objectivity”: Photomicrography in the 19th Century
李立鈞 Lee Li-Chun

偉大的否定——負影像史
The Great Disavowal: A Counter History of Image
謝佩君 Hsieh Pei-Chun

追夢人的藥控——離散的「貝拿爾．斯蒂格勒」影像
Pharmakon by Dreamer: Discrete Image of Bernard Stiegler
黃建宏 Huang Chien-Hung

浴火重生的香港攝影（上）——最早為香港留下照片的攝影師
Hong Kong Photography: Rising from the Ashes (I) – The Photographer Who Left Behind the First Images of Hong Kong
黎健強 Edwin K. Lai

攝影書製作現場⑤ : 便利堂
Photobook Making Case Study #5: Benrido
羅苓寧 Lo Ling-Ning

七等生 : 重回沙河
Qi Deng Sheng(1939-2020): A Return to Sand River
李威儀 Lee Wei-I

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更多訊息 More info :
www.vopmagazine.com
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※動画の内容を一部修正しました。先程の動画にコメントを残していただいた方、申し訳ございません！各国からのコメントがとても嬉しいです。これからも世界の皆さんにも楽しい動画を届けられるように頑張ります！
The content of the video was partially modified. I'm sorry if you leave a comment on the previous video! I am very happy with the comments from each country. We will continue to deliver fun videos to everyone!
香港を広東語で撮りなおしました。香港のみなさん申し訳ございませんでした。香港大好きです！
對唔住,香港.我愛香港！

Thanks to people from other countries too!
いつもご視聴ありがとうございます！
翻訳機を使いましたが、文法や発音など間違っていたらすみません。
中国や一部の国では閲覧規制によりYouTubeを視聴できないそうなのでデータが取れなかったです。
「バイバイ」のハンドサインは国によって色々意味が違うと思いますが、日本での肯定的表現でやっています。

Thank you for watching my video!
I used a translator, but I'm sorry for the wrong grammar and pronunciation.
It seems that YouTube can not be viewed due to viewing restrictions in China and some countries
由于中国和某些国家/地区的观看限制，似乎无法观看YouTube
I think that the meaning of the "bye-bye" hand sign differs in different countries, but it is based on Japanese standards.
Νομίζω ότι η έννοια του σήματος "bye-bye" διαφέρει στις διάφορες χώρες, αλλά βασίζεται στα ιαπωνικά πρότυπα.
میں سمجھتا ہوں کہ "بائی بائی" ہاتھ کے نشان کے معنی مختلف ممالک میں مختلف ہیں ، لیکن یہ جاپانی معیار پر مبنی ہے۔
من فکر می کنم که معنی علامت دست "خداحافظ" در کشورهای مختلف متفاوت است ، اما بر اساس استانداردهای ژاپنی است.


鈴川絢子：主に鉄道が好きです。おもちゃも好きです。
2014年7月に第一子の男の子、常陸（ひたち）が誕生、
2017年12月に第二子の男の子、常磐（ときわ）が誕生しました。
千葉県出身です。宜しくお願い致します。

私の本 第1作「鉄分多め。」
http://www.amazon.co.jp/dp/4847093607
第2作「鈴川絢子とちっくんの東京電車さんぽ」
https://www.amazon.co.jp/dp/4533134610/
鈴川絢子のゲーム実況チャンネル：https://www.youtube.com/user/suzugame
鈴川絢子のTwitter：https://twitter.com/kinokostar_suzu
鈴川絢子のインスタグラム：http://instagram.com/suzukawaayako

I'm Suzukawa Ayako.
I'm from Chiba prefecture in Japan.
I am giving various videos with my interests, videos with my son, mainly on railway related.
In July 2014 a boy, the first child, Hitachi was born.
In December 2017 a boy, a second child,Tokiwa was born.
It is loose feeling, but thank you.

My published book, “A Little More Iron.”
http://www.amazon.co.jp/dp/4847093607
second book,"Tokyo railway
walk"
https://www.amazon.co.jp/dp/4533134610

Ayako Suzukawa’s Game Playthrough:
https://www.youtube.com/user/suzugame
Ayako Suzukawa’s Twitter：https://twitter.com/kinokostar_suzu
Ayako Suzukawa’s Instagram：http://instagram.com/suzukawaayako このチャンネルは鈴川の家族ビデオブログです。