關於 森大志郎 ，我們在網路上蒐集到這些相關的討論、資訊與評價

在新刊中，我們專訪日本平面設計師 #森大志郎（Mori Daishiro），分享他的書籍設計經驗，並透過回顧森榮喜的攝影書《Family Regained》的製作過程，重返他的設計思索。

森大志郎（1971ー），畢業於多摩美術大學平面設計學科，是活躍於日本一線的平面設計師，以美術相關的展覽圖錄、文宣和攝影集等編輯類設計（editorail design）為主要工作項目。他經手製作的攝影書包括：由赤赤舍出版的志賀理江子《CANARY》、《CANARY門》、《螺旋海岸》、Gerhard Richter《Strip Paintings and 8 Glass Panels》、森榮喜《intimacy》、《Family Regained》，以及與Wolfgang Tillmans共同設計的作品集《Your Body is Yours》等。並長期與東京國立近代美術館和當代藝廊Wako Works of Art合作展覽圖錄和出版書系。

這個訪談單元是我們自第24期起開啟的「攝影書製作現場系列」，由藝術書編輯／設計師羅苓寧帶領讀者一起拜訪出版前線的專業製書人、圖片編輯與設計師，並在製作現場記錄第一手觀察，一窺從構思、溝通、編輯、設計、印刷到正式出版的各個有趣環節。歡迎收看！

關於本期 | http://bit.ly/vop-27

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

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

〜関連動画〜


美人姉妹の芸能人まとめ！堀北真希の妹知ってた？広瀬すず＆アリスだけじゃない！！【激似・そっくり】
https://www.youtube.com/watch?v=Tfr69QGlhL0


芸能人・有名人の意外な血縁関係まとめ【実は兄弟(姉妹)だった！？】
https://www.youtube.com/watch?v=lKLGhy44PEs&t=1s


似すぎだろ！！そっくりだと話題になった超有名芸能人まとめ
https://www.youtube.com/watch?v=tO6BhmYsVQk


【親の七光りだけじゃない！】　似てるかな！？芸能人親子
https://www.youtube.com/watch?v=um0RNG6EN0I


【芸能人】　似てる？似てない？！　芸能人 美人姉妹・兄弟の画像まとめ！【タレント・有名人】
https://www.youtube.com/watch?v=ockBQFEtI-s



〜芸能です何 ピックアップ〜


美人がブスに世の中の厳しさを教えてる画像100選
https://www.youtube.com/watch?v=ILGpFus-J_0


実はタバコを吸っている？意外な芸能人の喫煙画像100選
https://www.youtube.com/watch?v=LP5ClFHDFi4&t=13s


島田紳助の愛人だったテレビから消えた女性芸能人２２選
https://www.youtube.com/watch?v=aD5t7wY2DPI&t=1s


長嶋茂雄の妻は自殺していた！？長年夫を支え続けた妻への仕打ちがエグすぎる。。その不可解すぎる死因とは
https://www.youtube.com/watch?v=XO8-MaRwFbs&t=183s


【悲報】綾野剛に”ゲイ”疑惑浮上！？星野源に送ったメールに●●が！！
https://www.youtube.com/watch?v=SdGxG2XmUPE




ご視聴ありがとうございます

「見てよかった」

と思ってもらえるような動画を
作れるよう日々精進中です。


過激な表現、誇大表現などが含まれることもありますが、

娯楽の一つとして楽しんでいただければ幸いです。


ご感想など、コメントいただけたら
大変励みになります^ ^



良ろしければチャンネル登録も
よろしくお願いします
https://www.youtube.com/channel/UCAKrWdIGAW2fZwmkdUJOJYQ


公式ツイッター
https://twitter.com/gossip_desuga



〜タイトル〜


【吹いたら負け】なぜかそっくりな芸能人・有名人まとめ！長澤まさみや松本潤、武井咲に似てるのは誰！？【激似】



〜内容〜


芸能界に存在する都市伝説のようなものになぜか”激似””そっくり”な芸能人同士がいる。

そんなそっくりさんな芸能人や有名人を一挙ご紹介。

↓↓↓↓↓↓


東出昌大と松本潤、ダルビッシュ有、中条あやみ

二階堂ふみと宮崎あおい、中川大志と福士蒼汰

中越典子と武井咲、佐藤大樹と菅田将暉

大東駿介と松坂桃李、RADWIMPS野田洋次郎と吉田沙保里

渡部陽一、マギー司郎、内村光良と宮川一朗太

ハイキングウォーキングQ太郎と小雪、ルー大柴

遠藤要とエハラマサヒロ、木村文乃と伊藤歩

八乙女光 と山本美月、堺雅人と小日向文世

ホラン千秋とハリセンボン箕輪はるか、羽田圭介と志村けん

サンドウィッチマン富澤と千鳥ノブ、水嶋ヒロ とアレクサンダー

桐谷健太と三浦貴大、長澤まさみと鈴木ちなみ

吉田鋼太郎とリリー・フランキー、高梨臨と坂下千里子

いしのようことE-girls、Ami、元AKB48小嶋陽菜と平子理沙

おのののかと関根麻里、河北麻友子と三井ゆり

向井理と田中圭、玉森裕太と岡田浩暉

中谷美紀と柴咲コウ、芹那とPerfumeのっち

広田レオナと真木よう子,中原麻衣(声優)と高見沢俊彦


以上アイドルから女優、俳優、モデルにお笑い芸人まで５０組の激似芸能人を一挙ご紹介。






▼Special Thanks▼


〜楽曲提供〜


Hiroaki Tamura様 → https://goo.gl/r6mCHA
Kevin MacLeod様 → http://incompetech.com/
Audionautix様 → http://audionautix.com/

ポケットサウンド様 – https://pocket-se.info/
魔王魂 様 → https://goo.gl/fHi7KR

〜画像 提供〜

ぱくたそ様 → https://goo.gl/gJwvXf