關於 cold plate design ，我們在網路上蒐集到這些相關的討論、資訊與評價

Love is in the hair 😍

Panasonic promotion is happening on 9 – 11 Sep🎊

Get EH-NA98-K655/ EH-NA98RP655 in promotion price of RM599 (N.P RM899) &
EH-HS99-K655 in promotion price of RM369 (N.P RM490) only😱

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🛍Any purchase of nanoe Hair Dryer & nanoe Hair Styler on Panasonic Official Store at Shopee, Lazada and Panasonic Malaysia E-Store, will get a box of Belly Mug which includes 2 sets of it (worth RM45) for 🆓‼️
(While Stock Last)

Also, 9️⃣ Sep 1pm @ Shopee Live show with GWP Limited DKNY Luggage worth RM899 are here when purchase during LIVE in PM Shopee Official Store (While Stock Lasts)

#PanasonicBeautyMalaysia #beautifywithnanoe

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新刊預覽~~✨👀

Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue

自創刊以來，《攝影之聲》持續關注影像書寫、歷史與文化樣態，隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇，邀請攝影史研究者共同參與，推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿，在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中，作為攝影與歷史論述的反思與參照。

其中，金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置，揭示非主流的創作脈動，何以是日本攝影史論中需要補遺的重要章節；陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮，以及以日本攝影雜誌作為平台的競賽文化的可能影響，呈現出戰後台、日攝影界另類的民間交流場域；朴平鍾細述自日本殖民統治結束後，韓國攝影在現實主義與現代主義之間引發的論爭，疏理戰後韓國對於攝影認知的辯證與反省；戶田昌子析論1950年代的日本攝影表現，在脫離戰時的壓抑並逐漸獲得解放之後，受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印；張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識，檢視戰後台灣的影像操縱、治理機制，以及國族攝影史本身的建構和詮釋問題。

攝影，在與光學、化學、政治社會學、文化研究，乃至符號學與精神分析等學科譜系的結合中，已不斷延展、流動、重構，打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論，勾勒攝影理路的發展形貌，本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗，並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇，為濕版法在1850年代於香港興起的考據，展現不同的史料論證。

此外，本期我們特別專訪陳傳興，刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片，一探銀鹽與光交集而生的影像喻意，以及他不停思辨的攝影本質論題。同時，我們也介紹高重黎的聲音與投影裝置新作，析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元，本期專訪日本設計師森大志郎，分享他細膩的平面設計語彙。

儘管維持出版的路途艱辛，這些年我們仍努力在有限的資源下，持續進行資料考掘整理、訪談記錄等基礎工作，緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持，讓我們在新的一年裡，繼續探索未知的影像星河。

▍購買本期 BUY | http://bit.ly/vop-27

Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.

Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.

When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.

In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.

Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like t✨o thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.

---
Voices of Photography 攝影之聲
www.vopmagazine.com

Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue

自創刊以來，《攝影之聲》持續關注影像書寫、歷史與文化樣態，隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇，邀請攝影史研究者共同參與，推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿，在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中，作為攝影與歷史論述的反思與參照。

其中，金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置，揭示非主流的創作脈動，何以是日本攝影史論中需要補遺的重要章節；陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮，以及以日本攝影雜誌作為平台的競賽文化的可能影響，呈現出戰後台、日攝影界另類的民間交流場域；朴平鍾細述自日本殖民統治結束後，韓國攝影在現實主義與現代主義之間引發的論爭，疏理戰後韓國對於攝影認知的辯證與反省；戶田昌子析論1950年代的日本攝影表現，在脫離戰時的壓抑並逐漸獲得解放之後，受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印；張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識，檢視戰後台灣的影像操縱、治理機制，以及國族攝影史本身的建構和詮釋問題。

攝影，在與光學、化學、政治社會學、文化研究，乃至符號學與精神分析等學科譜系的結合中，已不斷延展、流動、重構，打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論，勾勒攝影理路的發展形貌，本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗，並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇，為濕版法在1850年代於香港興起的考據，展現不同的史料論證。

此外，本期我們特別專訪陳傳興，刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片，一探銀鹽與光交集而生的影像喻意，以及他不停思辨的攝影本質論題。同時，我們也介紹高重黎的聲音與投影裝置新作，析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元，本期專訪日本設計師森大志郎，分享他細膩的平面設計語彙。

儘管維持出版的路途艱辛，這些年我們仍努力在有限的資源下，持續進行資料考掘整理、訪談記錄等基礎工作，緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持，讓我們在新的一年裡，繼續探索未知的影像星河。

▍購買本期 BUY | http://bit.ly/vop-27

Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.

Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.

When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.

In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.

Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like to thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.

---
Voices of Photography 攝影之聲
www.vopmagazine.com

- Mua COLBOR PL5: https://www.facebook.com/colborlight
- COLBOR Instagram: https://www.instagram.com/colborlight

- Nhóm săn hàng rẻ và mã giảm giá tại: https://bit.ly/2PEwsfm

Review On-Camera Video Light, MOMAN LUMINO PL5 LED Panel for Smartphone and Camera with 2700K-6500K Bi-Color Dimmable CRI 95+, Metal Plate Built-in Rechargeable for YouTube Video Photography Live Streaming
*Innovative Magnetic Design For Flexible Mounting
*Tiny Size With High Intensity Of Illumination (1500Lux at 30cm 6500K)
*Bi-color (2700K-6500K wide range of color temperature presents warm or cold lights at 0%-100% brightness)
*Intuitive Parameters on screen

#COLBORPL5 #COLBOR #DenStudio

เผยโฉมตัวจริง All-New Nissan Note e-Power 2021 นิสสัน โน้ต อีเพาเวอร์ โฉมใหม่ เริ่มขาย 23 ธันวาคมนี้ ในประเทศญี่ปุ่น

ระบบขับเคลื่อน 2WD เครื่องยนต์รหัส HR12DE-EM47
รุ่น F ราคา 2,054,800 เยน
รุ่น S ราคา 2,029,500 เยน
รุ่น X ราคา 2,186,800 เยน

Evolution of e-POWER "e-POWER", which has evolved into the second generation, has renewed its motor and inverter. Compared to the predecessor "Note", the motor has improved torque by 10% and output by 6%, achieving more powerful and comfortable starting acceleration and a powerful feeling of acceleration when overtaking from medium and high speeds. The inverter is 40% smaller and 30% lighter than the first generation, and the efficiency of the engine is also improved, which not only improves acceleration performance but also improves fuel efficiency. In addition, by reducing the frequency of engine operation by controlling the system and improving the sound insulation performance of the car body, we have achieved a class of quietness despite being a compact car. In addition, we have developed the world's first control system that actively generates electricity when it is judged that road noise is large based on the road surface condition, and we are improving the quietness.

Advanced safety technology
in all directions Equipped with advanced safety technology that realizes 360 ° safety support, safety in all directions has been improved. In addition, "ProPilot (with Navilink function)" is installed for the first time * 2 . By adding a function linked with the navigation system to the professional pilot who supports driving operations when driving in the same lane on the highway, it is possible to switch the set speed according to the change in the speed limit and decelerate according to the size of the curve. The system assists the driver to reduce the frequency of operation and realize a safe and comfortable drive.
In addition, Nissan's first 1470MPa class ultra-high-tensile steel (ultra-high-strength steel plate for cold pressing) is used for the body frame to achieve both weight reduction and collision safety at a high level.

Exterior design that goes beyond the conventional wisdom of compact cars
A thin headlamp integrated with the front grille, a new V-motion chrome that connects to it, a character line that connects from the front to the rear with a single line, and a clean view that extends below it The advanced, clean and dynamic design of Nissan's new design language, such as the inflection of the richly sloping surface depending on the angle and the distinctive signature rear combination lamp with the shape of one horizontal character that spreads horizontally, while being compact It also has a striking presence. In addition, the front grille has a pattern inspired by Kumiko, a traditional Japanese craft, and has a "design that blends into the Japanese landscape." The sleek and advanced headlamps use a 4-unit LED projector * 3 . Similarly, the optional 16-inch aluminum wheels have a sharp and sophisticated design inspired by Japanese swords, and are designed to remind you of the driving performance of the "e-POWER." We have prepared a wide range of 13 body colors, including 2 tones of 2 colors, to create a lineup that customers can enjoy and choose according to their tastes. Nissan's new cool tone "Opera Move", which was developed for the advanced and dynamic "Vivid Blue" and the new "Note", is a color that suits sophisticated adults.

Advanced and comfortable interior space The
interior design realizes an advanced and comfortable space that overturns the common sense of compact cars. The instrument panel that expands outward is equipped with a meter integrated with the center display, embodying Nissan's new interior design concept that combines advanced feeling and ease of use suitable for electrification. In addition, the bridge-type center console on which a small electronically controlled shift lever sits is equipped with a large storage space and long reach armrests, so you can enjoy both comfortable driving with an innovative design. In addition, the center console in the front seat is equipped with highly convenient functions such as a wireless charger for smartphones * 3 . The rear seats are equipped with a reclining function, ensuring a class-leading spacious space in both the knee room and headroom. Furthermore, in the luggage compartment, by securing a wide opening and luggage compartment width, it is possible to store luggage without stress. Three types of interior colors and materials are available. The X grade is a combination of a jersey seat with gradation stripes and a synthetic leather armrest. The instrument panel also features carbon-like decorations and a long, horizontally-spreading matte chrome finisher for a clean, modern color coordination.

用了Sony A6400接近一年時間，我發現它並不完美⋯⋯
除非你擁有這五個配件，就可以令它接近完美。

1. UURig A6400 Cold Shoe
https://www.ulanzi.com/collections/camera-vlog-accessories/products/r011-cold-shoe-plate-for-sony-a6400-uurig
Promo Code: vee95 (Extra 5%)

2. UURig A6400 Cage
https://www.ulanzi.com/products/r008-sony-a6400-cage-uurig
Promo Code: vee95 (Extra 5%)

3. Deity V-Mic D3 Pro
https://www.deitymic.com/v-mic-d3-pro/

4. SwitchPod 三腳架

5. Peak Design Leash相機帶

#A6400必買配件#拍片器材#廣東話Youtuber
.

加入暴力軍團Discord吹水
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BGM我都用Artlist.lo
如果你也剛好想訂閱Artlist 希望你可以用我的推薦碼
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我的器材兄弟們 My Gear :

相機 Camera-
Sony A7sii http://a.co/cECZ2Mr
Sony RX100IV
DJI OSMO http://a.co/g8UgS8y

鏡頭 Lens-
Sony FE 28mm F2
Sony G 18-105mm F4
Samyang 35mm T1.5
Helios 58mm F2
Pentax 50mm F1.8
七工匠 28mm F1.8 APSC

相機外接螢幕 Monitor：
FeelWorld F6
Aputure VS-5X
BestView S5

燈光 Lighting-
Aputure COB 120D
Aputure COB 300D
Aputure Tri-8C
Aputure Mini-20
Aputure F7

滑軌 Slider-
YC Onion Chocolate Mini Slider
YC Onion CHIPS Slider
至品創造 Micro2

航拍機 Drone-
DJI Spark http://a.co/ctrbCuW

收音 Sound-
Rode VideoMic http://a.co/iCs3O0P
Rode VideoMicro http://a.co/0pVlOJj
Deity D3 Pro
Deity S-Mic2
Aputure A-Lav
Saramonic

電腦 Editing-
2018 MacBookPro 15" with Final Cut Pro X