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
同時也有13部Youtube影片,追蹤數超過6萬的網紅雅軒Kinki KB Lam,也在其Youtube影片中提到,佐敦最chur糖水舖 辣椒醬番薯糖水!?!?▲雅軒漫遊食盡香港18區 2021Ep.3 [[中字]] 應該係全港最chur嘅糖水舖!外賣送到去離島! 超香蝦米臘味蘿蔔糕 鮮味湧現! 竟然有辣椒醬番薯糖水~ 到底伏唔伏?ʕʘ‿ʘʔ ====記得剔「搶先看」===== 特濃薑汁蕃薯糖水鮮奶 ...
朴平鍾 在 VOP Facebook 的最讚貼文
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
朴平鍾 在 VOP Facebook 的精選貼文
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
朴平鍾 在 雅軒Kinki KB Lam Youtube 的最佳貼文
佐敦最chur糖水舖 辣椒醬番薯糖水!?!?▲雅軒漫遊食盡香港18區 2021Ep.3 [[中字]]
應該係全港最chur嘅糖水舖!外賣送到去離島!
超香蝦米臘味蘿蔔糕 鮮味湧現!
竟然有辣椒醬番薯糖水~ 到底伏唔伏?ʕʘ‿ʘʔ
====記得剔「搶先看」=====
特濃薑汁蕃薯糖水鮮奶 $44
辣椒醬蕃薯糖水鮮奶咖啡 $44
XO醬煎蘿蔔糕 $22
黑白炸勿演(花枝丸) $32
肥大巨人(限定) $78
糖水雄
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電話: 2771 4628
營業時間: 16:30 - 02:00
星期六: 17:30 - 02:00
(星期二休息)
+本片只反映餐廳當日品質,價格及優惠+
==================
逢星期四晚上8點 ?雅軒漫遊食盡香港18區?
【雅軒婚嫁女生二三事】fb.me/KinkibrideDaily
====鍾意食嘢記得剔「搶先看」=====
► 自由身演員、主持、Vlogger
【FB專頁】 http://fb.me/Kinkikblamngahin/
【I.G.】 https://www.instagram.com/ngahin_kinki
【YouTube】http://www.youtube.com/c/KinkiKBLam
【Twitter】https://twitter.com/NgahinKinki
【TripAdviser】https://tripadv.sr/Kinkiblam
===============================
► 如果想Keep住睇雅軒嘅最新飲食資訊 ,記得剔「搶先看」,唔係就好易睇唔到雅軒嘅Post架啦
【長洲掃街 脆炸流心蛋+即煎松露薯仔絲薯餅+粒粒雪糕+魚仔燒】▲雅軒漫遊食盡香港18區 2021Ep.2 [[中字]]
https://youtu.be/DiRJa5OgAyk
【筲箕灣 海膽炸薯蓉球+朴葉蠔+豬油叉燒拉麵】▲雅軒漫遊食盡香港18區 2021Ep.1[[中字]]
https://youtu.be/tI0ybXGKhuw
新年極豐富盆菜!! 乳豬/羊鞍/威靈頓牛都有! ▲雅軒試食報告 [[中字]]
https://youtu.be/QB2_bDCxDqU
氣炸雞食譜 10分鐘食日韓台氣炸雞▲雅軒Vlog[[中字]]
https://youtu.be/orEQa4Ichqw
放題咁食!!超高質日式到會大餐!!!!!厚切!!厚切!! ▲雅軒試食報告 [[中字]]
https://youtu.be/saa07yzzEgM
重口味精選 性價比到會! 人均$150推介▲雅軒試食報告 [[中字]]
https://youtu.be/xoAL_98giJY
佐敦西日式平民居酒屋 性價比Up Up Up!!!! ▲雅軒試食報告 [[中字]]
https://youtu.be/eUyYdWjpN0U
中西合璧 到會大餐 $200超飽推介 ▲雅軒試食報告 [[中字]]
https://youtu.be/0_VPgtmNqXg
#佐敦甜品 #佐敦糖水 #糖水外賣 #外賣 #糖水雄
![post-title](https://i.ytimg.com/vi/Z_x9hQi-ZvI/hqdefault.jpg)
朴平鍾 在 雅軒Kinki KB Lam Youtube 的最讚貼文
【長洲掃街 脆炸流心蛋+即煎松露薯仔絲薯餅+粒粒雪糕+魚仔燒】
松露+薯仔+蛋 完美嘅組合!!!!!!
條條絲狀嘅新鮮煎薯餅 配埋松露炒蛋食 勁match~
用雞蛋做出無限變化! 超有心思蛋料理 雞蛋迷必試!
充滿童年回憶嘅粒粒雪糕 仲有得雙併口味 同朋友仔share食最開心
魚仔燒有凍有熱 一次體驗2種唔同口感~
====記得剔「搶先看」=====
土製炸蛋 $48
是溫泉蛋也是薯蓉 (配松露醬及自家麵包) $38
松露是蛋配心機薯餅 $58
是蛋:長洲北社街49號前座地舖
粒粒雪糕 (單味) $45
粒粒雪糕 (雙味) $55
慢活.瞬間:長洲新興海傍街11號地下
魚仔燒 (冷/熱) 10個裝 $45
適泊魚燒:長洲北社二里1A號
+本片只反映餐廳當日品質,價格及優惠+
==================
逢星期四晚上8點 ?雅軒漫遊食盡香港18區?
【雅軒婚嫁女生二三事】fb.me/KinkibrideDaily
====鍾意食嘢記得剔「搶先看」=====
► 自由身演員、主持、Vlogger
【FB專頁】 http://fb.me/Kinkikblamngahin/
【I.G.】 https://www.instagram.com/ngahin_kinki
【YouTube】http://www.youtube.com/c/KinkiKBLam
【Twitter】https://twitter.com/NgahinKinki
【TripAdviser】https://tripadv.sr/Kinkiblam
===============================
► 如果想Keep住睇雅軒嘅最新飲食資訊 ,記得剔「搶先看」,唔係就好易睇唔到雅軒嘅Post架啦
【筲箕灣 海膽炸薯蓉球+朴葉蠔+豬油叉燒拉麵】▲雅軒漫遊食盡香港18區 2021Ep.1[[中字]]
https://youtu.be/tI0ybXGKhuw
新年極豐富盆菜!! 乳豬/羊鞍/威靈頓牛都有! ▲雅軒試食報告 [[中字]]
https://youtu.be/QB2_bDCxDqU
氣炸雞食譜 10分鐘食日韓台氣炸雞▲雅軒Vlog[[中字]]
https://youtu.be/orEQa4Ichqw
放題咁食!!超高質日式到會大餐!!!!!厚切!!厚切!! ▲雅軒試食報告 [[中字]]
https://youtu.be/saa07yzzEgM
重口味精選 性價比到會! 人均$150推介▲雅軒試食報告 [[中字]]
https://youtu.be/xoAL_98giJY
佐敦西日式平民居酒屋 性價比Up Up Up!!!! ▲雅軒試食報告 [[中字]]
https://youtu.be/eUyYdWjpN0U
中西合璧 到會大餐 $200超飽推介 ▲雅軒試食報告 [[中字]]
https://youtu.be/0_VPgtmNqXg
#長洲 #長洲美食 #長洲一日遊 #蛋料理
![post-title](https://i.ytimg.com/vi/DiRJa5OgAyk/hqdefault.jpg)
朴平鍾 在 雅軒Kinki KB Lam Youtube 的精選貼文
元朗$130任食牛涮鍋 高質性價比推薦!!
頂級美國牛肩胛+加拿大保濕豬任食
大大隻新鮮豪華海鮮盤
超多濃郁湯底任你揀
初七就可以有返晚市啦
午市已經超抵,晚市再抵啲!!
留言「熊本」再送入口即溶靚海膽一板!
====記得剔「搶先看」=====
熊本牛鍋 元朗店新開張優惠
3小時火鍋放題 $250/位
頂級牛小排、牛肩胛、豚肉、雞肉任食
再送時令海鮮拼盤一份
全場配料、飲品任拎
留言「熊本」2位入座再送入口即溶靚海膽一板!
-------------------------------------------
90分鐘精選火鍋放題 $130/位
豚肉、雞肉、頂級美國牛肉任食
全場配料、飲品任拎
加$45 有時令海鮮拼盤一客
-------------------------------------------
熊本牛鍋
元朗店:元朗安寧路38號世宙地下24號舖
電話:5236 3638
尖沙咀總店:尖沙咀山林道21號2樓A室
電話:9432 4188
+本片只反映餐廳當日品質,價格及優惠+
==================
逢星期四晚上8點 ✿雅軒漫遊食盡香港18區✿
星相占卜► ► 雅軒女生二三事 https://fb.me/NgahinDaily/
====鍾意食嘢記得剔「搶先看」=====
► 自由身演員、主持、Vlogger
【FB專頁】 http://fb.me/Kinkikblamngahin/
【I.G.】 https://www.instagram.com/ngahin_kinki
【YouTube】http://www.youtube.com/c/KinkiKBLam
【Twitter】https://twitter.com/NgahinKinki
【TripAdviser】https://tripadv.sr/Kinkiblam
===============================
► 如果想Keep住睇雅軒嘅最新飲食資訊 ,記得剔「搶先看」,唔係就好易睇唔到雅軒嘅Post架啦
【筲箕灣 海膽炸薯蓉球+朴葉蠔+豬油叉燒拉麵】▲雅軒漫遊食盡香港18區 2021Ep.1[[中字]]
https://youtu.be/tI0ybXGKhuw
新年極豐富盆菜!! 乳豬/羊鞍/威靈頓牛都有! ▲雅軒試食報告 [[中字]]
https://youtu.be/QB2_bDCxDqU
氣炸雞食譜 10分鐘食日韓台氣炸雞▲雅軒Vlog[[中字]]
https://youtu.be/orEQa4Ichqw
放題咁食!!超高質日式到會大餐!!!!!厚切!!厚切!! ▲雅軒試食報告 [[中字]]
https://youtu.be/saa07yzzEgM
重口味精選 性價比到會! 人均$150推介▲雅軒試食報告 [[中字]]
https://youtu.be/xoAL_98giJY
佐敦西日式平民居酒屋 性價比Up Up Up!!!! ▲雅軒試食報告 [[中字]]
https://youtu.be/eUyYdWjpN0U
中西合璧 到會大餐 $200超飽推介 ▲雅軒試食報告 [[中字]]
https://youtu.be/0_VPgtmNqXg
#牛涮鍋 #任食火鍋 #元朗任食 #熊本牛鍋
![post-title](https://i.ytimg.com/vi/2K09ihtSieU/hqdefault.jpg)
朴平鍾 在 【哈利波特:魔法觉醒】周年庆七大彩蛋汇总,啥都有!朕很 ... 的推薦與評價
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