I have recently perused Nicholas Kristof’s NYT piece “China’s Man in Washington, Named Trump”(https://nyti.ms/3h2JXh8). One paragraph in particular caught my attention: “A joke in China suggests that Trump’s Chinese name is Chuan Jianguo, or “Build-the-Country Trump.” That’s because Build-the-Country is a common revolutionary name among Communist patriots, and it’s mockingly suggested that Trump’s misrule of the United States is actually bolstering Xi’s regime.”
Kristoff also avows that since Trump’s ascension to presidency, the American nation became highly polarized. This is reflected in the current administration’s policies on climate change, foreign relations with established U.S. allies, and COVID-19 prevention, all of which are rather ineffective. It also seems like Mr. Trump and his team diverged from the traditional priorities, including promoting free trade, human rights, and other quintessentially American values. As described thoroughly by John Bolton, all these factors contributed to the declining standing of the U.S. in global politics.
What is more, many people fall prey to CCP’s propaganda and its interpretations of Trump’s actions, which only enhances China’s reputation.
But that might not exactly be the case.
The CCP apparently failed to utilize the window of opportunity created by the ineptness of the Trump administration, as China could have grown to the position of a leader by filling in the void left by the U.S.
During the 2016 APEC Ministerial Meeting in Lima, Peru, Xi Jinping and his team actively supported the plans to establish the Regional Comprehensive Economic Partnership (RCEP) and a Free Trade Area of the Asia Pacific, or FTAAP. In contrast, the United States withdrew its signature from the Trans-Pacific Partnership (TPP) in early 2017. Coupled with China’s Belt and Road Initiative (BRI) and the establishment of the Asian Infrastructure and Investment Bank (AIIB), this move bolstered China’s capacity to influence global investments and trade, high-tech mergers and acquisitions, and, overall, expand its geostrategic influence on the entire globe.
At the same time, various propaganda films about great power competition, military industry, and science and technology surged all at once, and gained remarkable following around the world.
All this provided a window of opportunity for the CCP to slowly change its course. Around the same time, the distrust for POTUS among U.S. allies’ reached its apex. According to polls conducted by the Pew Research Center, the distrust for the U.S. president in the U.K. reached 75%, 72% in Japan, 70% in Australia, and stunning 86% in France.
Had the C.C.P,. begun to open up at that time, or at least resumed the governance style of the Hu-Wen administration, it could have reaped the benefits of promoting liberalism where the U.S. failed to deliver. It was the time for Beijing to gradually enhance freedom of speech domestically, pursue sustainable infrastructural projects, gradually reform unfair barriers to trade, transform its S.O.E.s, strengthen protections for private ownership, and vitalize its start-ups and enterprises.
Moreover, were China to cease the genocide in East Turkestan and refrain from cracking down on Hong Kong's semi-autonomy, it would have greatly enhanced its global international image. Additionally, if paired with slow but steady reforms, Beijing’s respect for sovereignty of its peoples would have attracted a large amount of foreign investment, which in turn would have continued to buttress the country’s growth.
It is China prerogative to remain idle.
It might still be possible for Chinese “Dream” to come true.
Yet, a historic window of opportunity is now closed.
Xi assumed the tools of proscribing and stalling, which are completely antithetical to the aforementioned window of opportunity.
Today, China is more authoritarian, less flexible, and fully deprived of horizontal accountability. Its reliance on wolf warrior diplomacy backfired: for example, the Swedish parliament sought to expel the Chinese ambassador to Stockholm. Also, Prague, the capital of Czechia, terminated its sister-city agreement with Shanghai and instead signed a new one with Taipei. Last but not least, we ought not to forget about the recent fiasco in the relations with the United States who ordered the shutdown of China’s consulate in Houston. All of this took its toll on China’s reputation.
Its international standing and inability to replace the U.S. as the major global power are not the only issues China is currently facing.
As it experiences multiple domestic and international shocks, China struggles to combat the COVID-19 pandemic and tame the disastrous floods of Yangtze River. The swarm of locusts of biblical proportions is also crippling Beijing’s institutional capacity and may soon lead to food shortages. In fact, the precarity of food supply further diminishes the level of trust for Chinese authorities.
In 2019, the Pew Research Center conducted a public opinion survey to examine the international views of China. In the U.S., Argentina, the U.K., Canada, Germany, and Ukraine, only about 30% of respondents claim a favorable view of China.
As the COVID-19 pandemic rages in the U.S., as many as 73% of U.S. respondents view China unfavorably.
Recently, the C.C.P. is losing its focus by continuously shifting targets. In fact, I believe there is no need for the C.C.P.to rely on nationalistic appeals, since in this new century values, business relations, and fair competition are all far more important than greater than delusive blood ties.
China lies only 130 kilometers away from us. Of course, we welcome dialogue and seek to avoid misjudgments. But we also distinguish between the C.C.P. and China. While we do welcome dialogue, but we will not be coerced to talk under unjust preconditions or in fear.
The only fair prerequisites are those of reciprocity, mutual respect as well as fairness and openness with respect for the rule of law.
Source: Pew Research Center
最近看到紐約時報中文版的一篇文章
<美國的川普,中國的「川建國」>,其中一小段是這樣的
「在中國,人們戲稱川普的中文名字是川建國。那是因為建國是共產黨愛國者中一個普遍的革命人名。它在諷刺地暗示川普對美國的治理不當實際上是在鞏固習近平的政權。」
裡面也提到,川普在任的幾年,國家更分裂,對於氣候變遷,傳統美國盟友,乃至於疫情處理等都相當拙劣,對於美國傳統的自由貿易、人權等價值也基本上都沒有太大興趣。這些方針,導致美國在世界的評價降低,波頓的新書也多有描述。
除此之外,許多不幸相信中共宣傳,又或者是中共圈養的小粉紅,特別故意愛宣傳川普增強中國的威望。
但這不是真的。
中共完全沒有掌握美國做得不夠好的地方,去增強其在世界的領導力。
在2016年時,秘魯的亞太峰會舉行期間,習近平政權爭取(RCEP)及亞太自由貿易區(FTAAP)談判;對比2017年初,美國剛宣布退出TPP,加上中國到「一帶一路」和亞洲基礎設施投資銀行,中國當時在世界全面發揮投資貿易、高科技併購還有其地緣戰略的影響力。
也是那個時候,各種的大國崛起、大國軍工、大國科技的宣傳影片此起彼落,似乎正準備要在世界舞台發光發熱。
這曾經是中共慢慢轉向的一個機會之窗。彼時(2017)美國盟友對美國總統的不信任度達到歷史新高,根據皮尤研究中心的資訊,英國對於美國總統的不信任度達到75%、日本72% 澳洲70% 法國更高達86%
如果那時中共開始有限度的改革,對內放寬言論自由,或者至少維持在胡溫當時的水中,對外追求有責任的基礎建設,逐步緩慢減低不公平的貿易壁壘,對於國有企業改革,增強私營企業、新創企業的活力。
停止對新疆迫害,不干預香港自治,不僅國際形象會大幅改善,哪怕是緩慢但是穩健的改革,也會讓大量吸引外資,讓中國的活力持續前進。
哪怕是什麼都不做也好
那或許有這麽一點可能性,中國「夢」是可以前行的
但是歷史機緣的大門已經關上。
習、禁、停、放棄了這個機會之窗,徹底的走向相反的方向。
更專制、更沒有彈性,更沒有任何制衡的力量。各種戰狼外交,讓瑞典議員提案驅逐中國大使,捷克布拉格市長與台北簽訂姊妹是,就解散上海與該市關係、被美國關閉領事館、各種讓中國形象低下的事情,中共都沒有少做。
中共不但完全沒有辦法取代美國,在多重國內外的衝擊之下,又是瘟疫,又是超大水患,緊接著蝗害,還有進來的糧食不足問題,正在面臨巨大的瓶頸。
而糧食的命脈,卻恰恰又在對他最不信任,對中共價值最反對的國家聯盟
根據皮尤研究中心:Pew Research Center2019調查各國對中國的喜好度,美國、阿根廷、英國、加拿大、德國、烏克蘭等,對於中國的喜好度都在30%上下
而2020疫情後美國對於中國的不信任度,更高達73%。
最近中共在演習,又要玩轉移目標的手段,對於中共,其實不必再有民族主義的同情,因為新的世紀,價值、商業模式、公平競爭的制度大於血緣幻想。
中國離我們只有130公里的距離,我們當然歡迎對話,避免誤判。但我們同時也區分中共與中國,歡迎對話,但不在前提、條件、恐懼之下對話。
如果真的要有前提,那就是對等、尊重,還有公平公開法治的方式會晤。
資料來源:皮尤研究中心:Pew Research Center
(美國著名的民調機構和智庫機構,https://www.pewresearch.org/)
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強中之強!
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攝影之聲19
#照片 #雕塑
#photo #sculpture
在這期《攝影之聲》中,日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」,將照片層層堆疊雕琢刻鏤,改造平面攝影為多元視點的立體圖像,顛覆照片設下的時空制約;荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片,締構一系列複合媒材影像雕塑,在型態轉化之中探索當代圖像訊息的變異組建;韓國藝術家權五祥拍下大量的實物細節,將照片拼貼雕砌成各種人形塑像與物件結構,超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元,我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太,藉由他自由裂解增生的數位塗抹(digital smudge)軌跡,在介入、破壞與影像噪音化的各種實驗中,將傳統攝影的物質與機械性建制重新格式化,跌進影像生成狀態的混元世界,突顯了視覺技術的思維後像。或許激浪派(Fluxus)的意識將再透過他的作品重返攝影的話題,並反映著這個世代的視線主張。
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Voices of Photography
Issue 19 : #照片 #雕塑 #photo #sculpture
在這期《攝影之聲》中,日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」,將照片層層堆疊雕琢刻鏤,改造平面攝影為多元視點的立體圖像,顛覆照片設下的時空制約;荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片,締構一系列複合媒材影像雕塑,在型態轉化之中探索當代圖像訊息的變異組建;韓國藝術家權五祥拍下大量的實物細節,將照片拼貼雕砌成各種人形塑像與物件結構,超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元,我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太,藉由他自由裂解增生的數位塗抹(digital smudge)軌跡,在介入、破壞與影像噪音化的各種實驗中,將傳統攝影的物質與機械性建制重新格式化,跌進影像生成狀態的混元世界,突顯了視覺技術的思維後像。或許激浪派(Fluxus)的意識將再透過他的作品重返攝影的話題,並反映著這個世代的視線主張。
專欄單元中,張世倫對類比底片粒子與數位像素的影像物質性進行思辨,闡述影像的不完美特性對攝影本質的啟示;顧錚評析中國藝術家蔡東東近期發表的攝影裝置系列——《泉》,在達達主義興起並影響至今的一百周年之際,檢視當代現成物藝術的實踐語彙;此外,從這期開始,我們更邀請香港攝影學者黎健強執筆一個新的連載專欄——「影像香港」,他以近年親身參與籌劃的攝影展覽歷程做為序論,並將陸續疏理香港的攝影史脈與當代影像地景,做為我們串連東亞攝影發展的另一切點。
在英國近期「脫歐」抉擇的歷史之年,也是愛爾蘭「脫英」武裝革命——1916年「復活節起義」——的一百周年,這場獨立行動雖告失敗,卻因最終催生了愛爾蘭共和國而成為歷史關鍵,今年在倫敦與都柏林皆有相關的紀念活動。梁秋虹在英、愛現場深度剖析這些歷史影像檔案的視覺展演,解讀革命符號與受難者影像中,攝影政治學幽微操作的記憶與神話。
「Q」單元專訪德國資深出版人Gerhard Steidl,他於1972年創立的「Steidl」以出版印工精緻的作品集聞名,並成為國際藝術出版界的指標之一,Steidl在訪談中與我們分享他的工作經驗,以及對紙本印刷工藝的觀察見解。本期附帶的別冊《SHOUT》則特別揭載中國藝術家孫彥初的《虛構集》系列,他自古玩市場蒐集中國上世紀七O至八O年代的素人生活照,以塗鴉拼貼重構造相,在影像的虛實映照之間轉動拉扯。
編輯台報告埋著頭寫著寫著,《攝影之聲》正式來到第五個周年,而我們仍在深入影像銀河悠悠無邊的光年裡緩緩推進。謝謝親愛的讀者、參與《攝影之聲》的藝術家、所有撰稿人和工作伙伴。這是一段長途旅行,我們將繼續往下一站前進。
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In this volume of VOP, we see how “Nerhol” the creative duo made up of Japanese designer Yoshihisa Tanaka and sculptor Ryuta Iida put together layers of photographs with sculpturing and engraving, changing 2D photography to 3D images with multiple points of view, challenging the time-space limits of photographs. Also, we will also learn about how Dutch artist Anouk Kruithof selected official photographs from the Instagram accounts of 81 American organizations to create a series of photo-sculptures using multiple media, through which she explores the changes and construction processes of contemporary image information. In addition, we will see how Korean artist Osang Gwon with his vast number of photographs of objects taken in detail, combines these images into sculptures of various characters and structures, crossing the visual and thought boundaries of 2D and 3D.
We present a special in this issue’s Artist Showcase on Kenta Cobayashi, a visual artist of the digital media age born in 1992. Through his creative journey using free expression with the digital smudge in Photoshop, he re-formalizes the materiality and mechanism of traditional photography, immersing himself in a state of flux when images were born and highlights the technicalities behind visual creations. His work seems to have an affinity with Fluxus bringing this art movement back into the photographic conversation through his various experiments of intervention, destruction and noise in images. The work also reflects the trend of viewing in this time and age.
In this issue’s columns, Shih-Lun Chang touches on the issue of materiality between the grains of film photography and the resolution of digital photography, illustrating the inspiration that can be brought to the nature of photography by the imperfection of images; Zheng Gu critiques Fountain, the recent photography installation work by Chinese artist Dongdong Cai, which examines the practical language of ready-made art in the centennial anniversary of Dadaism’s emergence and influence. In addition, starting from this issue, we invite renowned Hong Kong photography academic Dr. Edwin K. Lai to pen a new column “Image Hong Kong”. He begins with sharing his journey of curating and participating in photography exhibitions in recent years, and will subsequently go on to bring us through the historical lineage of Hong Kong’s photography and its contemporary landscape, providing us with a new link point with East Asian photography.
This year where we witness “Brexit” also coincides with the 100-year anniversary of the “Easter Rising” of 1916 associated with Ireland’s military revolution in a bid to perform a “Brexit”. Although this bid for independence met with failure, it continued to hold key meaning in history for its eventual result in birthing the Republic of Ireland. This year, commemorative activities were held in both London and Dublin. Chiu-Hung Liang brings us in-depth reports of the visual displays of historical archival images from the two locations, interpreting the revolutionary iconography involved and the intricate influences exerted by photography politics on the images of victims, their memories and legacies.
The “Q” segment features an interview with long-time publisher Gerhard Steidl who founded the publishing house “Steidl” in 1972, well-known for its high quality publications which marks it out as a landmark of the international artistic publication circle. Steidl shares his work experiences as well as observations and opinions about the craft of the print with us in this interview. Also, in this issue’s supplement SHOUT, we present a special excerpt of Chinese artist Yanchu Sun’s Ficciones, where he presents a series of photographs of the everyday life of ordinary people from antique markets in China between the 70s’ and 80s’, employing the means of drawing and collage to recreate images, playing on the relations between the real and the fictional.
With this editorial we write, VOP enters its fifth anniversary. As we continue our slow but sure journey forward in the universe of photography, we want to thank our dear readers, artists, writers and contributors as well as others who have worked with VOP, onward we move!
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Voices of Photography 攝影之聲
www.vopmagazine.com
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Voices of Photography
Issue 19 : #照片 #雕塑 #photo #sculpture
▍購買雜誌 Order | http://goo.gl/Xecs3q
▍訂閱雜誌 Subscribe | http://goo.gl/ZE9gd0
在這期《攝影之聲》中,日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」,將照片層層堆疊雕琢刻鏤,改造平面攝影為多元視點的立體圖像,顛覆照片設下的時空制約;荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片,締構一系列複合媒材影像雕塑,在型態轉化之中探索當代圖像訊息的變異組建;韓國藝術家權五祥拍下大量的實物細節,將照片拼貼雕砌成各種人形塑像與物件結構,超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元,我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太,藉由他自由裂解增生的數位塗抹(digital smudge)軌跡,在介入、破壞與影像噪音化的各種實驗中,將傳統攝影的物質與機械性建制重新格式化,跌進影像生成狀態的混元世界,突顯了視覺技術的思維後像。或許激浪派(Fluxus)的意識將再透過他的作品重返攝影的話題,並反映著這個世代的視線主張。
專欄單元中,張世倫對類比底片粒子與數位像素的影像物質性進行思辨,闡述影像的不完美特性對攝影本質的啟示;顧錚評析中國藝術家蔡東東近期發表的攝影裝置系列——《泉》,在達達主義興起並影響至今的一百周年之際,檢視當代現成物藝術的實踐語彙;此外,從這期開始,我們更邀請香港攝影學者黎健強執筆一個新的連載專欄——「影像香港」,他以近年親身參與籌劃的攝影展覽歷程做為序論,並將陸續疏理香港的攝影史脈與當代影像地景,做為我們串連東亞攝影發展的另一切點。
在英國近期「脫歐」抉擇的歷史之年,也是愛爾蘭「脫英」武裝革命——1916年「復活節起義」——的一百周年,這場獨立行動雖告失敗,卻因最終催生了愛爾蘭共和國而成為歷史關鍵,今年在倫敦與都柏林皆有相關的紀念活動。梁秋虹在英、愛現場深度剖析這些歷史影像檔案的視覺展演,解讀革命符號與受難者影像中,攝影政治學幽微操作的記憶與神話。
「Q」單元專訪德國資深出版人Gerhard Steidl,他於1972年創立的「Steidl」以出版印工精緻的作品集聞名,並成為國際藝術出版界的指標之一,Steidl在訪談中與我們分享他的工作經驗,以及對紙本印刷工藝的觀察見解。本期附帶的別冊《SHOUT》則特別揭載中國藝術家孫彥初的《虛構集》系列,他自古玩市場蒐集中國上世紀七O至八O年代的素人生活照,以塗鴉拼貼重構造相,在影像的虛實映照之間轉動拉扯。
編輯台報告埋著頭寫著寫著,《攝影之聲》正式來到第五個周年,而我們仍在深入影像銀河悠悠無邊的光年裡緩緩推進。謝謝親愛的讀者、參與《攝影之聲》的藝術家、所有撰稿人和工作伙伴。這是一段長途旅行,我們將繼續往下一站前進。
In this volume of VOP, we see how “Nerhol” the creative duo made up of Japanese designer Yoshihisa Tanaka and sculptor Ryuta Iida put together layers of photographs with sculpturing and engraving, changing 2D photography to 3D images with multiple points of view, challenging the time-space limits of photographs. Also, we will also learn about how Dutch artist Anouk Kruithof selected official photographs from the Instagram accounts of 81 American organizations to create a series of photo-sculptures using multiple media, through which she explores the changes and construction processes of contemporary image information. In addition, we will see how Korean artist Osang Gwon with his vast number of photographs of objects taken in detail, combines these images into sculptures of various characters and structures, crossing the visual and thought boundaries of 2D and 3D.
We present a special in this issue’s Artist Showcase on Kenta Cobayashi, a visual artist of the digital media age born in 1992. Through his creative journey using free expression with the digital smudge in Photoshop, he re-formalizes the materiality and mechanism of traditional photography, immersing himself in a state of flux when images were born and highlights the technicalities behind visual creations. His work seems to have an affinity with Fluxus bringing this art movement back into the photographic conversation through his various experiments of intervention, destruction and noise in images. The work also reflects the trend of viewing in this time and age.
In this issue’s columns, Shih-Lun Chang touches on the issue of materiality between the grains of film photography and the resolution of digital photography, illustrating the inspiration that can be brought to the nature of photography by the imperfection of images; Zheng Gu critiques Fountain, the recent photography installation work by Chinese artist Dongdong Cai, which examines the practical language of ready-made art in the centennial anniversary of Dadaism’s emergence and influence. In addition, starting from this issue, we invite renowned Hong Kong photography academic Dr. Edwin K. Lai to pen a new column “Image Hong Kong”. He begins with sharing his journey of curating and participating in photography exhibitions in recent years, and will subsequently go on to bring us through the historical lineage of Hong Kong’s photography and its contemporary landscape, providing us with a new link point with East Asian photography.
This year where we witness “Brexit” also coincides with the 100-year anniversary of the “Easter Rising” of 1916 associated with Ireland’s military revolution in a bid to perform a “Brexit”. Although this bid for independence met with failure, it continued to hold key meaning in history for its eventual result in birthing the Republic of Ireland. This year, commemorative activities were held in both London and Dublin. Chiu-Hung Liang brings us in-depth reports of the visual displays of historical archival images from the two locations, interpreting the revolutionary iconography involved and the intricate influences exerted by photography politics on the images of victims, their memories and legacies.
The “Q” segment features an interview with long-time publisher Gerhard Steidl who founded the publishing house “Steidl” in 1972, well-known for its high quality publications which marks it out as a landmark of the international artistic publication circle. Steidl shares his work experiences as well as observations and opinions about the craft of the print with us in this interview. Also, in this issue’s supplement SHOUT, we present a special excerpt of Chinese artist Yanchu Sun’s Ficciones, where he presents a series of photographs of the everyday life of ordinary people from antique markets in China between the 70s’ and 80s’, employing the means of drawing and collage to recreate images, playing on the relations between the real and the fictional.
With this editorial we write, VOP enters its fifth anniversary. As we continue our slow but sure journey forward in the universe of photography, we want to thank our dear readers, artists, writers and contributors as well as others who have worked with VOP, onward we move!
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Voices of Photography 攝影之聲
www.vopmagazine.com
free image asian 在 kelkeltan Youtube 的最讚貼文
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![post-title](https://i.ytimg.com/vi/jkxddOngcik/hqdefault.jpg)
free image asian 在 mrbrown Youtube 的精選貼文
Note: This is the Peter Jackson Lord of the Rings Special Edition for Slow Readers. The previous edition was too fast paced for some of you. That older video has been taken to the back of the barn and shot.
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Recently a series of the age-old You Have Two Cows joke went viral. For example:
You have two cows. The government takes one and gives it to your neighbour.
Communism: You have two cows. You give them to the government, and the government then gives you some milk.
Fascism: You have two cows. You give them to the government, and the government then sells you some milk.
Capitalism: You have two cows. You sell one and buy a bull.
So I thought we ought to have an Asian edition. So here is my take on You Have Two Cows.
Music
"Monkeys Spinning Monkeys" Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/
Cow Image:
Nature vector designed by Freepik
http://www.freepik.com/free-photos-vectors/nature
![post-title](https://i.ytimg.com/vi/y-bW-c6YVdY/hqdefault.jpg?sqp=-oaymwEbCKgBEF5IVfKriqkDDggBFQAAiEIYAXABwAEG&rs=AOn4CLBUGmv6zxAZbgDZPqZp16mADEheDQ)
free image asian 在 Portrait of a middle aged asian man | free image ... - Pinterest 的推薦與評價
Sep 21, 2018 - Download free image of Portrait of a middle aged asian man about asian, portrait asian, japanese, black background, and singapore 427961. ... <看更多>