關於 spring co work ，我們在網路上蒐集到這些相關的討論、資訊與評價

"Water" by Justin Lee & Manny Yip
Project with Urban Spring HK and Instinc Space Singapore, co-work with a Singapore artist, Justin Lee.

Voices of Photography 攝影之聲
Issue 26 : 末日棲居
Dwelling in the Apocalypse

面對不可預期的來日，我們是否與德國詩人腓特烈．賀德林曾言的「詩意地棲居」更加疏遠？災害與戰禍、虛假與算計，人類世界無限擴張的野心和欲望未曾降低，人的存在也愈來愈難以賦添詩意。而衝突升高的國際政治情勢，使此刻相隔末日只剩兩分鐘的「末日時鐘」竟回到與1953年冷戰時期的同一等級，成為二戰結束以來與末日距離最近的年代。我們如何可能地棲居——在末日到來的大地？

志賀理江子迷離如夢般的影像書寫，是她在2011年親歷東日本大地震之後對於存在與死亡的感知路徑。在新作《Human Spring》中，志賀試圖打開如今已逐漸被封閉但仍存於人類內在的自然性與身體感，透過繪織意識流般的圖景，呈現著對於人性與生存本身的冥思啟示。林諭志的《Asongcalledformosa》是他在漫長的家園行旅中刻錄的私房曲盤—故鄉與里人、工業區和荒涼的海岸、父親在二戰時遭日本軍徵召至南洋服役的往事記憶⋯⋯，跨越數十年的影像在此首次發表，島嶼的戀曲與哀歌幽幽鳴奏，旅人一路踽踽低吟。1980年代起投入錄像裝置創作的袁廣鳴，作品反映著對於日常生活的不安覺察，自上世紀末的《關於米勒的晚禱》、《離位》到本世紀的《城市失格》、《能量的風景》、《棲居如詩》、《日常演習》等系列作品，發散著前末日感氣息的寓言，這些寓言緩慢漂移在去人化的現代社會空間，直至世界轟然炸裂。

在本期中，謝佩君深度描寫美國藝術家克利斯迪安．馬克雷與亞瑟．賈法各自運用現成影像蒙太奇的創作，傳遞著影像生產中戰爭、暴力的末世預警，這兩件於今年威尼斯雙年展中受到矚目的錄像作品，同時反映著本屆「願你生活在有趣的時代」這個對現今世界充滿各種不確定性的喻義主題。陳儒修則從影史開展的歷史性一幕—「火車進站」—指出電影發展的開端與災難的關聯、災難電影與現實經驗的糾葛，以及電影本身所造成的歷史性災難。

日本在今年告別「平成」年代並開啟「令和」年號，對日本的政治與文化進入新的階段有著重要的象徵意義，張世倫從昭和天皇裕仁於1946年發表的「人間宣言」開始，針對天皇形象在戰後的轉變與影像包裝歷程，進行了細緻地視覺解析，檢視天皇制度綿延而生的歷史記憶與文化政治。「攝影書製作現場」單元則近訪日本藝術書籍出版社赤赤舍創辦人姬野希美，記錄了外界少見的編印工作實況。

今年三月起，《攝影之聲》與空總台灣當代文化實驗場合作舉辦了一系列由藝術家和影像研究者帶領的「歷史後像：攝影史敘事工作坊」，嘗試推進攝影史的當代意義與創造性思索。本期我們特別摘錄其中由高重黎主持的「影像機器工作坊」談話，在這份講稿中，他以視覺原理出發，揭示藝術與文學創作如何回應攝影與視覺，並創造出強調手眼協作感知的「觸／視頭部造相術」，為思考攝影／視覺史帶來新的啟發。關於工作坊系列的更多內容，我們將在後續製作的專題中呈現。同時，我們近期也將舉辦攝影史論壇與相關活動，等待你一起來參與。

● 更多內容預覽 / 購書 Order | http://bit.ly/vop26

In the face of unpredictable days ahead, have we drifted even further away from the “poetic dwelling” the German poet Friedrich Hölderlin so poignantly described? Disasters and wars, lies and scheming - the ambitions and desires that plague the human world never cease to expand, making it harder to imbue the presence of humans with a sense of poetry. As the threat of conflict in global politics rises to its highest level since the Cold War in 1953, where the “doomsday clock” stays at two minutes to midnight, we are closer than ever to the end since World War II. How do we possibly survive on this land as the apocalypse closes in?

Shiga Lieko’s dream-like imagery creations reflect her perception of life and death after living through the Great East Japan Earthquake in 2011. In her latest work, Human Spring, Shiga attempts to recover the sense of nature and self that lies within all humans but has since been forgotten and buried. She does so through the use of imagery that flows like a stream of consciousness, presenting a picture of meditation on human nature and survival itself. Lin Yu-Chih’s Asongcalledformosa is a private songbook he created on a long travel home, filled with songs like that of his hometown and its people, the industrial area and the desolate coast, and memories of his father being recruited by the Japanese army to serve in Southeast Asia. These images taken over the course of decades are published for the first time, singing the love and sorrowful songs of this island that the traveler hums along to as he set out on his journey. Yuan Goang-Ming has been working with video installation since the 1980s, and his work illustrates a sense of uneasiness towards daily life. From About Millet’s The Angelus and Out of Position created at the end of last century, to more recent works such as City Disqualified, Landscape of Energy, Dwelling and Everyday Maneuver, a sense of our past and last days permeates his creations, the message of which is drifting afloat in the modern social space that has been dehumanized, until the world can finally take no more.

In this issue, Hsieh Pei-Chun describes in great detail American artists Christian Marclay and Arthur Jafa’s works that consist of found footage, and are warning of war and violence. Their works received much attention in this year’s edition of the Venice Biennale as they reflected the metaphorical theme of the Biennale that hints at uncertainties in today’s world, “May You Live in Interesting Times”. On the other hand, Chen Ru-Shou draws a connection between movies and disasters, the entanglement of disaster films and real-life experience and finally the disasters brought about by filmmaking itself.

Japan’s era name change from Heisei to Reiwa this year is symbolically significant both for her politics as well as her culture which have also entered a new era. Chang Shih-Lun takes a look at the post-war transformation in the external images of Emperor Hirohito since his “Declaration of Humanity” in 1946, analyzing in detail the memories of history and cultural politics that followed Japan’s imperial system. Furthermore, the Photobook Making Case Study segment features a rare behind-the-scenes look at printing work with Himeno Kimi, founder of AKAAKA, a Japanese art book publisher.

Since March this year, we have been co-organizing with C-LAB the Afterimage of History: Photography History Narrative Workshops, a series of workshops led by artists and imagery researchers, promoting the critical thinking of contemporary meaning and creativity in the history of photography. In this issue, we are featuring an excerpt from artist Kao Chung-Li’s lecture in his Imagery Machine workshop, in which he spoke about the principles of visual imagery, and revealed the ways art and literary creations responded to photography and visual perception. (Kao also created a concept called “chù/shìh tóu bù jhào siàng shù” (tangibility of touch/sight head phase-image making method), a method to illustrate the perception of touch and sight in image creation, inspiring new ways to approach photography and visual history.) We will be featuring more content from the workshops in future issues. At the same time, we will also be organizing a forum on photography history, and we look forward to your participation.

Cover photo: Shiga Lieko, Human Spring, 2019 / courtesy the artist.
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Voices of Photography 攝影之聲
www.vopmagazine.com

#最新刊!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Voices of Photography 攝影之聲
Issue 26 : 末日棲居
Dwelling in the Apocalypse

面對不可預期的來日，我們是否與德國詩人腓特烈．賀德林曾言的「詩意地棲居」更加疏遠？災害與戰禍、虛假與算計，人類世界無限擴張的野心和欲望未曾降低，人的存在也愈來愈難以賦添詩意。而衝突升高的國際政治情勢，使此刻相隔末日只剩兩分鐘的「末日時鐘」竟回到與1953年冷戰時期的同一等級，成為二戰結束以來與末日距離最近的年代。我們如何可能地棲居——在末日到來的大地？

志賀理江子迷離如夢般的影像書寫，是她在2011年親歷東日本大地震之後對於存在與死亡的感知路徑。在新作《Human Spring》中，志賀試圖打開如今已逐漸被封閉但仍存於人類內在的自然性與身體感，透過繪織意識流般的圖景，呈現著對於人性與生存本身的冥思啟示。林諭志的《Asongcalledformosa》是他在漫長的家園行旅中刻錄的私房曲盤—故鄉與里人、工業區和荒涼的海岸、父親在二戰時遭日本軍徵召至南洋服役的往事記憶⋯⋯，跨越數十年的影像在此首次發表，島嶼的戀曲與哀歌幽幽鳴奏，旅人一路踽踽低吟。1980年代起投入錄像裝置創作的袁廣鳴，作品反映著對於日常生活的不安覺察，自上世紀末的《關於米勒的晚禱》、《離位》到本世紀的《城市失格》、《能量的風景》、《棲居如詩》、《日常演習》等系列作品，發散著前末日感氣息的寓言，這些寓言緩慢漂移在去人化的現代社會空間，直至世界轟然炸裂。

在本期中，謝佩君深度描寫美國藝術家克利斯迪安．馬克雷與亞瑟．賈法各自運用現成影像蒙太奇的創作，傳遞著影像生產中戰爭、暴力的末世預警，這兩件於今年威尼斯雙年展中受到矚目的錄像作品，同時反映著本屆「願你生活在有趣的時代」這個對現今世界充滿各種不確定性的喻義主題。陳儒修則從影史開展的歷史性一幕—「火車進站」—指出電影發展的開端與災難的關聯、災難電影與現實經驗的糾葛，以及電影本身所造成的歷史性災難。

日本在今年告別「平成」年代並開啟「令和」年號，對日本的政治與文化進入新的階段有著重要的象徵意義，張世倫從昭和天皇裕仁於1946年發表的「人間宣言」開始，針對天皇形象在戰後的轉變與影像包裝歷程，進行了細緻地視覺解析，檢視天皇制度綿延而生的歷史記憶與文化政治。「攝影書製作現場」單元則近訪日本藝術書籍出版社赤赤舍創辦人姬野希美，記錄了外界少見的編印工作實況。

今年三月起，《攝影之聲》與空總台灣當代文化實驗場合作舉辦了一系列由藝術家和影像研究者帶領的「歷史後像：攝影史敘事工作坊」，嘗試推進攝影史的當代意義與創造性思索。本期我們特別摘錄其中由高重黎主持的「影像機器工作坊」談話，在這份講稿中，他以視覺原理出發，揭示藝術與文學創作如何回應攝影與視覺，並創造出強調手眼協作感知的「觸／視頭部造相術」，為思考攝影／視覺史帶來新的啟發。關於工作坊系列的更多內容，我們將在後續製作的專題中呈現。同時，我們近期也將舉辦攝影史論壇與相關活動，等待你一起來參與。

● 更多內容預覽 / 購書 Order | http://bit.ly/vop26

In the face of unpredictable days ahead, have we drifted even further away from the “poetic dwelling” the German poet Friedrich Hölderlin so poignantly described? Disasters and wars, lies and scheming - the ambitions and desires that plague the human world never cease to expand, making it harder to imbue the presence of humans with a sense of poetry. As the threat of conflict in global politics rises to its highest level since the Cold War in 1953, where the “doomsday clock” stays at two minutes to midnight, we are closer than ever to the end since World War II. How do we possibly survive on this land as the apocalypse closes in?

Shiga Lieko’s dream-like imagery creations reflect her perception of life and death after living through the Great East Japan Earthquake in 2011. In her latest work, Human Spring, Shiga attempts to recover the sense of nature and self that lies within all humans but has since been forgotten and buried. She does so through the use of imagery that flows like a stream of consciousness, presenting a picture of meditation on human nature and survival itself. Lin Yu-Chih’s Asongcalledformosa is a private songbook he created on a long travel home, filled with songs like that of his hometown and its people, the industrial area and the desolate coast, and memories of his father being recruited by the Japanese army to serve in Southeast Asia. These images taken over the course of decades are published for the first time, singing the love and sorrowful songs of this island that the traveler hums along to as he set out on his journey. Yuan Goang-Ming has been working with video installation since the 1980s, and his work illustrates a sense of uneasiness towards daily life. From About Millet’s The Angelus and Out of Position created at the end of last century, to more recent works such as City Disqualified, Landscape of Energy, Dwelling and Everyday Maneuver, a sense of our past and last days permeates his creations, the message of which is drifting afloat in the modern social space that has been dehumanized, until the world can finally take no more.

In this issue, Hsieh Pei-Chun describes in great detail American artists Christian Marclay and Arthur Jafa’s works that consist of found footage, and are warning of war and violence. Their works received much attention in this year’s edition of the Venice Biennale as they reflected the metaphorical theme of the Biennale that hints at uncertainties in today’s world, “May You Live in Interesting Times”. On the other hand, Chen Ru-Shou draws a connection between movies and disasters, the entanglement of disaster films and real-life experience and finally the disasters brought about by filmmaking itself.

Japan’s era name change from Heisei to Reiwa this year is symbolically significant both for her politics as well as her culture which have also entered a new era. Chang Shih-Lun takes a look at the post-war transformation in the external images of Emperor Hirohito since his “Declaration of Humanity” in 1946, analyzing in detail the memories of history and cultural politics that followed Japan’s imperial system. Furthermore, the Photobook Making Case Study segment features a rare behind-the-scenes look at printing work with Himeno Kimi, founder of AKAAKA, a Japanese art book publisher.

Since March this year, we have been co-organizing with C-LAB the Afterimage of History: Photography History Narrative Workshops, a series of workshops led by artists and imagery researchers, promoting the critical thinking of contemporary meaning and creativity in the history of photography. In this issue, we are featuring an excerpt from artist Kao Chung-Li’s lecture in his Imagery Machine workshop, in which he spoke about the principles of visual imagery, and revealed the ways art and literary creations responded to photography and visual perception. (Kao also created a concept called “chù/shìh tóu bù jhào siàng shù” (tangibility of touch/sight head phase-image making method), a method to illustrate the perception of touch and sight in image creation, inspiring new ways to approach photography and visual history.) We will be featuring more content from the workshops in future issues. At the same time, we will also be organizing a forum on photography history, and we look forward to your participation.

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

Long awaited outfit video! What I'm wearing this Spring/Summer, inspiration for your own looks, as well as some styling tips to get the most out of your clothes.

Yes I know I'm slow as always, but today I come with maaaany outfits for the hotter weather!
I also attempted something new by shooting on a green background just for fun because i thought it would be funny lol

Does the title mean that I'll make a video like this every season? We shall see.....

✩ Where to find everything (in order of appearance):
Many pieces are vintage and/or secondhand so it is not possible to buy the exact pieces; in which I linked to similar looking pieces.
The list ended up longer than I can add on here so I've put everything separately on a Google doc that you can find here (https://docs.google.com/document/d/1EKSaQr2XU7fO4erdHFUuvRUNuobP61LqziPBv6VTXyo/edit?usp=sharing)

Please refer to my shoe video (https://youtu.be/iDOf5E6kFpE) for details on those!

ーーーーーーー

#summeroutfits #lookbook #ferntube
✩ Instagram: @warukatta
✩ Email: ferntube22@gmail.com
Please contact my agencies in regards to model work

ーーーーーーー

✩ Music:
Blurred Cages - Daniel Mahardika (https://thmatc.co/?l=355FE9C3)
Departure - Daniel Mahardika (https://thmatc.co/?l=0CA399D5)
Hesitant - Daniel Mahardika (https://thmatc.co/?l=46ACAD9C)

✩ Subtitle file (https://drive.google.com/file/d/1wmNATVu8VN327ITy433_5IBa22en6Z6g/view?usp=sharing)
*** As Youtube has unfortunately discontinued community contributions, here is the script for anyone still willing to do subs for other languages. If you replace the English text with your language and email me the file, I'll be more than happy to upload it for everyone to see. Thank you for your helpful contributions until now!

✩ FTC:
All items by Coach, Dion Lee, Honey mi Honey, OHT nyc, and Y-3 were gifted to me; some items by Creepyyeha and Daisy were gifted.
I received Tiffany & Co. necklaces for shooting the campaign (https://www.instagram.com/p/BJNie4tBp0L/) in 2016 and another shoot with Vogue Girl Japan (https://www.instagram.com/p/Bq4xPZJA2x7/) in 2018.
Everything else was bought with my money.
However these brands are otherwise unaffiliated with this video and all thoughts and opinions are my own.
Some links are affiliate links
i.e. I will make some money off purchases.

大家好，我來自馬來西亞
在艱難的2020年，我透過留學的方式來到了紐西蘭拍攝
為了完成這組作品，記錄下最原始純凈的中土世界自然風光
我花了10個月時間實現新西蘭南北島自駕大縱走，超過32000公里的旅程
Hello everyone, I am Yap Hui Phong from Malaysia.
In 2020, I filmed a video by studying abroad in New Zealand.
In order to complete these works, I recorded the most primitive and pure nature of New Zealand.
It took me 10 months to realize a self-driving trip across the North and South Islands of New Zealand. The total mileage exceeds 32,000 kilometers.

從北島的塔拉那基山，到南阿爾卑斯山的最高峰庫克山
從東海岸廣袤無垠的坎特伯雷平原，到西海岸郁郁蔥蔥的冰川雨林
我背著30公斤的器材上到高山之巔等待日出的到來
也在同一地點蹲守數日，只為等待落霞與孤鶩齊飛的一刻
我迷戀於波瀾壯闊的太平洋，也驚嘆世界上最大的星空保護區下的萬點繁星
我曾在38℃的炎熱高溫下熱淚盈眶，也在-12℃的刺骨寒風中瑟瑟发抖
From Mount Taranaki on the North Island to Mount Cook, the highest peak of the Southern Alps.
From the vast Canterbury Plain on the east coast to the lush and glacier rainforest on the west coast.
I carried 30 kilograms of equipment to the top of the mountains to wait for the sunrise.
Staying at the same place for a few days, just to wait for the moment when the sunset and the lonely bird fly together.
I am obsessed with the magnificent Pacific Ocean. And also marvel at the view of stars under the world's largest International Dark Sky Reserve.
I used to have tears in my eyes under the hot temperature of 38℃, and also shivered in the freezing wind of -12℃.

奔山赴海，只為心中的熱愛
無所畏懼，只因那不屈的執念
忘了有多少個夜晚，我癡癡地守候在三腳架前，等著將滿眼的星河燦爛一點點寫入相機裡
拍攝照片超過20萬張，不斷購買硬碟用以儲存檔案，經過1000多個小時的後期制作，最終精簡成這12TB的素材
也忘了有多少個夜晚，我伏案電腦前，一次次調整修改照片的每一個細節，常常不知不覺中发現窗外天色已微亮
I can go over the mountain and across the sea, just because I love and enjoying in filming.
I am fearless, just because of the unyielding obsession.
Forgot how many nights there were. I was waiting in front of the tripod to write the entire galaxy into the camera bit by bit.
I keep buying hard drives to store the files. I have took more than 200,000 photos and post-production more than 1,000 hours.
Finally reduced to this 12TB material.
I also forgot how many nights there were. I seat in front of my computer adjusting every details of the photo again and again. And often unconsciously find that the sky outside the window is slightly bright.

為了新西蘭最能代表春天的魯冰花，拍攝到完整的四季
我再一次申請延長留在新西蘭的簽證，守候蒂卡波湖畔半個月，只為捕捉到魯冰花盛開的那一刻
為了捕捉螢火蟲的美，我深入與世隔絕的深山洞穴，雙腳浸泡在溪流中三天才拍出想要的畫面，在這三天里都與螢火蟲為伴
In order to be able to capture the Lupins which represent the spring of New Zealand, and also to film the complete four seasons of New Zealand.
I applied for an extension of my visa once again to stay in New Zealand. And waiting by the Lake Tekapo for half a month, just to capture the moment when the Lupins bloom.
In order to capture the beauty of Glowworm, I went deep into the cave in the isolated mountain. My feet were soaked in the stream for three days before I took the picture I wanted.

而這部作品也成功獲得了8KRAW攝影大賽 第一名
在全世界最頂尖的團隊所辦的比賽，我很幸運拿到了夢寐以求的獎項
還要感謝精研國際 呂文元導演一直大力支持我的計劃
得到精研國際的支持讓我設備，技術大幅升級得以製作出高規格的作品
這也讓我更加堅定追求心中的熱愛，繼續去追逐我的夢想與創作
Fortunately, the film also successfully won the first place in the 8KRAW photography contest.
In the competitions held by the best teams in the world, I was lucky to have won the coveted award.
I also want to thank Director Wen-yuan, Lu of HD.CLUB CO., LTD for supporting my plan.
With the support of HD.CLUB CO., LTD, my equipment and technology have been greatly upgraded to produce high-standard works.
This also makes me more determined to pursue what I love and continue to work hard on my dreams and creations.

器材方面/Gear:
製作8K 的設備 Production 8K Equipment：ASUS ZenBook Pro Duo 15 UX581GV
Higrace 投入式漸層濾鏡系統：ZERO R0.6 | R0.9 | S0.9 | NDCPL32 | ND1000
YC 洋蔥熱狗滑軌 l 飛宇Qing l Vixen Polarie

Sony A7R4 | A7R3 | A7R2（MOD）
-Canon 16-35 F2.8 L ii
-Sigma 24-70 F2.8 Art
-Sony 100-400 F4.5-5.6 GM
-Sigma 14 F1.8 Art
-Sony 24 F1.4 GM
-Sigma 40 F1.4 Art

軟體Software:
LRTimelapse | Adobe Lightroom | Premeire l DaVinci Resolve 17 | After Effects | Media Encoder | Photoshop

若有縮時專案或8K縮時素材授權需求
If there is a time-lapse project or 8K time-lapse material authorization needs，Manufacturers are welcome to cooperate
LINE：yaphui96 Mr.Phong，馮先生
Email : yaphui01111740800@gmail.com

關於我的故事：https://www.youtube.com/watch?v=gFtcGnjyIEQ
臉書FaceBook : https://www.facebook.com/yaphui1996
INSTAGRAM : https://www.instagram.com/yh.1102/
音樂Music：Cassiopea - FullMix-15297
Maximum Impact Aurora 3149 - Look To The Stars 3149/7
影片歡迎個人非營利 FB 分享

やって参りました！
私のくだらない企画選手権！！！笑


今回は安心してください、着てますよ的な…
カメラ回しっぱで挑戦してみました♡


熱海まできて…何してるんだろうね…笑


I'm here!
My stupid planning championship! !! !! Lol


Rest assured this time, it looks like you're wearing it ...
I tried to change clothes without turning the camera ♡


Come to Atami ... what am I doing ... lol

✼••┈┈••✼••┈┈••✼••┈┈••✼••┈┈••✼

♥8/25発売！
おうちグラビア！
まじでめっちゃ豪華ですよ…(小声)
出演させてもらえてとても嬉しい笑顔と🥰✨
VRじゃないので普通に見れます！
ぜひGETしてみてください🙏🏻💕

♥8/25 release!
Home gravure!
It's really gorgeous... (whisper)
With a very happy smile for me to appear🥰✨
It's not a VR work, so you can easily see it!
Please try to get it 🙏🏻💕

https://amzn.to/3cxlO1t

✼••┈┈••✼••┈┈••✼••┈┈••✼••┈┈••✼

不定期で気ままに更新します！
チャンネル登録、高評価よろしくお願いします！

It will be updated irregularly and freely!
Subscribe to the channel and appreciate it!

http://www.youtube.com/channel/UCjh7PnbWQM351Dt_C5INw9g?sub_confirmation=1

釘町みやび（みーちゃん）
Miyabi Kugimachi (Mi-chan)

■Twitter
https://twitter.com/miyajyaga382
■Instagram
https://www.instagram.com/miyajyaga382/


■お仕事のご依頼等
miyajyaga382@gmail.com


↓プレゼント宛先 (Destination of gifts)↓

〒150-0044
東京都渋谷区円山町15-3
グランエストビル 5F
株式会社FANSTAR　
(ロゼ女王) 釘町みやび 宛

150-0044
Grand Est Building 5F
15-3 Maruyama-cho, Shibuya-ku, Tokyo

FANSTAR Co., Ltd.
To Miyabi Kugimachi (Queen Rose)

✼••┈┈••✼••┈┈••✼••┈┈••✼••┈┈••✼

アイドルグループ「めたもるふぉーぜ」でも活動しています！！
YouTubeチャンネル「めたふぉちゃんねる」でも動画を上げているので遊びに来てください♥

We are also active in the idol group "Metamorphose"! !
I'm also posting a video on the YouTube channel "Metafo Channel" so please come and visit me♥

https://www.youtube.com/c/metafoch/

✼••┈┈••✼••┈┈••✼••┈┈••✼••┈┈••✼


♥1st DVDやROMも発売しています！
是非、釘町商店へ！！

1st DVD and ROM are also on sale!
Come to Kugimachi Store!!!

https://miyajyaga382.official.ec/

♥ホラードラマ「ぞくり。」にも出演させて頂いています👻
I have also appeared in the horror movie "Zokkuri." 👻

https://amzn.to/3qyQAMi


■BGM
DOVA-SYNDROME様
https://dova-s.jp/
こんとどぅふぇ様
https://conte-de-fees.com/

■SE
効果音ラボ様
https://soundeffect-lab.info/

■イラスト
いらすとや様
https://www.irasutoya.com/
落書きアイコン様
https://rakugakiicon.com/
フリーペンシル様
https://iconbu.com/

#浴衣 #生着替え #足裏