travel alone idea的八卦，YOUTUBE、PINTEREST、PTT和Yahoo名人娛樂都在討論

⛔ TỪ VỰNG BAND 7+ TOPIC TRANSPORT ⛔

- Means of transport (n): Phương tiện giao thông
- Take the lead (v): Chiếm phần lớn
- Traffic congestion (n): Tắc đường
- Wend one’s way forward (v): Đi chậm chậm về phía trước
- MRT journey (Mass Rapid Transport journey) (n)
Chuyến đi bằng MRT (Tàu điện ngầm ở một số nước như Singapore, Đài Loan)
- Embark on the journey (v): Thực hiện chuyến đi
- Car rent (n): Phí thuê xe ô tô
- Board (v): Lên (tàu/xe)
- Fill up (v): Lấp đầy
- Jam-packed (adj): Đông người
- Rush hour (n): Giờ cao điểm
- Electric mini-bus (n): Xe buýt mini chạy bằng điện
- Carpooling (n): Hình thức đi chung xe

⛔ PART 1: What are the main means of transport in Vietnam? (Những phương tiện giao thông chủ yếu ở Việt Nam là gì?)
There are quite a few means of transport in Vietnam, but motorbikes are taking the lead. (Reason) People prefer to travel by motorbike because it is more economical and the most important thing is that when it comes to traffic congestion, it takes ages for car to move on the road but it is much easier for a motorbike to wend its way forward and escape the bad traffic.

⛔ PART 2: Describe a time you travelled by public transport. (Mô tả một thời gian khi bạn di chuyển bằng phương tiện công cộng)

Well, today I would like to tell you about an MRT journey in Singapore that I took several years ago.

Actually, I was a junior in Hanoi University when I took my summer vacation there. After a month of planning, I decided to embark on the journey alone.

(Reason) I already knew that car rent in Singapore would be prohibitively expensive to a student like me, so I chose MRT to travel around the city, which was both fast and economical. (Example) I boarded a train at Lavender station which headed towards Marina Bays station. Luckily, I managed to find a seat before it was filled up. The trains here were notoriously jam-packed in rush hours.

To my surprise, it was so silent on the train, everyone tried to keep their voice low so that they wouldn’t bother others, and I have to say that was a strange thing when compared to buses in some countries. Moreover, the train went unbelievably fast, so it took me just about 15 minutes to arrive at my destination. I felt that such a long distance was made shorter thanks to this means of transport. That was my first time I went on a public transport and I hope that there will be more modern underground systems that are built in our country in the near future.

⛔ PART 3: How do you think people will travel in the future? (Bạn nghĩ trong tương lai, con người sẽ di chuyển bằng gì?)

Well I think, electric mini-bus will be the prevalent means of transport in the future. (Reason) [1]One reason could be that it still carries the same number of passengers but being small and agile to get its way out of a traffic jam. (Example) In addition, carpooling may be a good idea (Reason) as people can not only save a great amount of money spent on fuel for their private car but they also help protect the environment. Many people travel in the same car means there will be less emission and less trafficjam and this may be a dominant way of transporting in the future.

Các bạn lưu về học nhé.

-------------------------
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Posted @withregram • @photogstory 林嘉欣 遲來的寶麗來三部曲 Scroll down for English
「我喜歡將我的宇宙縮小在正方形的影像裏面。」擁有八部寶麗來SX-70相機的林嘉欣說。

她與寶麗來的邂逅，可追溯至二十年前，當時父親贈送她第一部SX-70相機，自此林嘉欣便用它來記錄心情及旅行的日常，每次出國總會帶上三部相機及十多盒菲林，至今已拍攝數千張寶麗來照片。2009年，當她出版第一本寶麗來相集《VOYAGES》時，已有三部曲的念頭，沒想到它的續集一直姍姍來遲，直至最近才如願以償。

回想當初，她並沒料到自己會在翌年結婚生女，加上後來底片停產，所以也曾放下相機，之後得知菲林重新生產後，便重拾起寶麗來，最近《VOYAGES II》及《VOYAGES III》一齊面世，也令這件事情變得圓滿。「第一本相集是關於我一個人的旅行，第二本是婚後育有大女兒的階段，第三本則是一家四口的畫面，會比較多小朋友的照片。這也是我人生歷程的一個見證。」

VOYAGES by @karenalamkayan
日期：即日至6月20日
時間：11am-7pm
地址：TASCHEN (中環荷李活道10號大館01-G02號舖)
完整文章：https://wp.me/p4xktX-1MA

"I like to shrink my universe into a square image," said actress Karena Lam, who owns eight Polaroid SX-70 cameras. Her encounter with Polaroid can be traced back to 20 years ago when her father presented her with the first SX-70. Since then, She has used it to record her travel and everyday life. So far, she has taken thousands of Polaroid images. In 2009, when Karena published the first Polaroid album "VOYAGES," she had the idea of a trilogy, but she didn't expect its sequel to be long overdue until recently.

Looking back, Karena did not expect that she would marry and have a daughter in the next year. In addition, the polaroid film was discontinued, so she stops taking photos for a while. When the film was re-produced later, she picked up Polaroid again. The recent release of Polaroid albums "VOYAGES II" and "VOYAGES III" also made her trilogy dream come true. "The first album is about my travels alone, the second is about the stage of having the eldest daughter after marriage, and the third is photos of the family of four, and it has more pictures of my daughters. These images are a witness of my life journey."

#photographer #photogStory #hkphotographer #hkigers #hkiger #karenalam #polaroid #onestep #sx70 #InstantCamera #Taschen #travel #顯影 #攝影 #攝影師 #影像 #即影即有 #寶麗來 #林嘉欣 #三部曲

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

成為這個頻道的會員並獲得獎勵：
https://www.youtube.com/channel/UCIuNPxqDGG08p3EqCwY0XIg/join
#大阪周遊卡 #googlemap #travelplanner #travelplan #travelplan2020
#youtube #youtuber #關西國際機場 #kansaiairport #大阪必買

Hello大家好, 我叫阿Tsar Hello, everyone.

應承了大家好耐,今次就為大家介紹大阪五日四夜google map行程規劃 Finally I am introducing the google map plan for Osaka 5days 4nites itinerary

影片下面有條link, 可以給大家分享給團友這個Google Map, U can share this Google Map with your friends below this video

無論大家透過影片分享, 抑或用whatsapp都可以好方便 Whether u share it through whatsapp or social media

分享到和你一起去旅行, 或者你想分享資料訊息的對象 Share with people who travel with u, or someone who need these info

影片裏面每一日的行程, 都質到密密麻麻 As u can see the itinerary is very intensive

當然不是叫你一次過行完啦, 只不過如果你多過一個人去旅行 Of course, it's not asking u to finish the trip in one go, but if u r not traveling alone,

自然就會有不同的意見, 我只是寫多幾個地點給大家選擇 There will be different opinions, I just write a few more places for choices

還會配合大阪周遊卡, 令到你的旅程省多些金錢 Together with the use of Osaka Amazing pass to save more money on your journey

這個行程規劃 Google Map, 亦會結合我以往拍過大阪的youtube This itinerary plan Google Map will also be combined with the youtube I took in Osaka in the past

所以就算老人家小學生都看得明白, So even if the elderly or students can easily understand it,

大家亦都可以預先見到我分享的行程規劃, 去旅行之前 Everyone can also see the itinerary plan I shared in advance, before going on a trip

有個預算, 大約去什麼地方, 和用多少錢, 節省多少錢 Have an idea for the budget about where to go, how much to spend n how much to save

一目了然, 我那麼用心去製作, 你沒有理由不給我表情符號以示支持㗎? SO clearly. Do I deserve an emoji for a support?

如果你去的日數是4日3夜, 這個行程規劃都適合你, If u go for 4 days n 3 nights, this itinerary plan is also suitable for u,

只是好簡單, 揀選你認為適合的行程就ok啦, Simply choose the places u want to go

旅行的目的, 除了relax增廣見聞這些很cliche的說法之外 The purpose of travel except for relax n explore

當中包括了好多travel planning、危機處理、靈活變通的意義 There are also a lot of travel planning, crisis management n be flexible

我都會在影片跟大家一一分享 I will also mention in this video

事不宜遲, 快點來看看今日的大阪5日4夜行程規劃, are you ready? Let's take a quick look for the video for today.

第一日, 當你到達關西機場,除了買一張出市區的車票ICOCA Card之外 1st day when u arrive in Kansai Airport, other than buying Icoca card to the city

怎樣買ICOCA Card, 和它的用法, How to buy Icoca card n how to use it

怎樣由關西機場出市區的交通選擇, 亦有影片介紹 There are videos to tell u the transportations from Kansai Airport to the city

我建議你亦買一張大阪周遊卡, 可以幫你節省好多錢 I suggest u also buy an Osaka amazing pass, which can help u save a lot of money

影片的第三日, 會跟大家分享如何可以好flexible的那樣用這張大阪周遊卡 3rd day of this video, I will share how to maximize the usage of this pass

有些人是搭凌晨機出發, 很早就會到關西機場 Some people leave by midnite, they will arrive at Kansai Airport very early

如果你的酒店check in時間要等到中午過後, 那麼你早上到關西機場 If your hotel check-in time has to wait until noon, then u will arrive at Kansai Airport early in the morning

我就建議你去Rinku Town,逛逛一間24小時的超市Trial Supercenter I suggest u go to Rinku Town and visit a 24-hour supermarket Trial Supercenter

亦有一間好平的免稅妝藥店, 再去Rinku Town Premium Outlet 才出市區 There is a cheap duty-free cosmetic drugstore then Rinku Town Premium Outlet before going to the city

我這裏有條影片, 影片的07:53分鐘, Pls watch the video at 07:53mins

有講解買一張叫做Rinku Premium Outlet Stopover Ticket There is an explanation for how to buy a Rinku Premium Outlet Stopover Ticket

這張卡有兩種用法, 你可以由關西機場, 去Rinku Town stop over There are 2 ways to use this pass, u can go to Rinku Town stop over from Kansai Airport

Shopping 完, 用著同一張card出難波 After shopping, use the same pass to Namba

如果你當日班機在晚上到達, 就不建議你用這個方法 If your flight arrives at night, this method is not recommended.

但是這一張card, 是可以在你臨離開大阪當日 But this card can be use the day u leave Osaka

出機場之前, 由難波去Rinku Town Stopover Before going to airport, go to Rinku Town Stopover from Namba
..........

みなさん、こんにちは、Ah Tsarです。

皆様の忍耐へのこだわり、今回は大阪の4泊4日グーグルマップの旅程プランをご紹介します

動画の下にリンクがあります。このGoogleマップを友達と共有できます。

動画で共有するか、whatsappを使用するか

一緒に旅行する人と共有したり、情報を共有したい

映画の毎日の旅程はどんどん密集しています

もちろん、一度に旅行を終えるように求めているわけではありませんが、一人で旅行している場合は、

当然のことながら異なる意見があります、私は誰もが選択できるようにいくつかの場所を書きます

大阪トラベルカードとも連携し、旅費を節約します

この旅程の計画Googleマップは、私が過去に大阪で撮ったYouTubeとも組み合わせられます

だから、小学生の老人が理解できても

旅行に行く前に、事前に共有した旅程の計画も誰でも見ることができます

どこに行くか、どれくらい使うか、どれくらい節約するかについての予算がある

一見、私はそれをとても難しくしました、あなたは私にサポートを示すために絵文字を与えない理由はありません㗎？

あなたが行く日数が4日と3泊であるならば、この旅程計画はあなたに適しています、

とても簡単です。あなたが適切だと思う旅程を選んでください。

これらの決まり文句を緩和し、拡大することに加えて、旅行の目的

多くの旅行計画、危機管理、柔軟な意味を含む

ビデオで一つずつあなたと共有します


請用片右下角調4K睇片。

【東京食腫】200yen一日 踩單車遊川越 大食女遊記 BigEatGirls

大家好我係Yoga?
話說我上年9月過黎澳洲前自己一個飛左轉東京
因為冇乜錢既關係唔想喺city行街?
所以就去左轉川越玩左日
由池袋搭車去都只係半個鐘左右!!!
今次我選擇左租單車而冇買巴士pass
因為租單車實在係太平了!!!!???
200yen租足一日!!!!係咪真係超平呢!!!????
仲有踩單車可以唔洗受時間限制嘛!
川越有小江戶之稱
保留左江戶時期既建築同埋文化遺產
真係好有特色架!!!
未去過川越既朋友可以參考下我既玩法吖!!!
成班friend既話仲可以考慮下喺川越租下和服浴衣影下相! 川越人唔算多!想慢慢影相既話就啱晒啦!!??

其實除左片中既景點我都仲去左喜多院，不過我淨係喺佢出面檔小食亭度飲左可樂，片都冇拍過??

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片中餐廳/景點地址如下:

小川菊 (おがぎく)
埼玉県川越市仲町3-22

中市本店
埼玉県川越市幸町5-2

笛木醤油川越店
埼玉県川越市幸町10-5

Mio Casalo 川越 蔵のまち店
埼玉県川越市元町1丁目15-3

菓子屋橫丁
川越市元町2丁目

駄菓子江戸屋 川越本店
埼玉県川越市元町2丁目7-1

菓匠右門 川越けんぴ工房直売店
埼玉県川越市元町2丁目9-3

茶和々
埼玉県川越市幸町7-6

時の鐘
川越市幸町15番地7

氷川神社
埼玉県川越市宮下町2-11-3

熊野神社
埼玉県川越市連雀町17-1

四万十屋
高知県四万十市山路2494-1

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兩個大食女
yoga同汶汶
Ex-護士 + Ex-記者
劈炮唔撈
向世界出發
為咗食好西
一路窮遊一路搵食
2015年12月至於2016年7月於紐西蘭工作假期！
現於澳洲工作假期中！
↓ 不停update有乜好食好玩 ↓
√ Facebook: 大食女遊記 https://m.facebook.com/bigeatgirls/
√ Instagram: bigeatgirls
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