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研究生:鄭閎仁
研究生(外文):JHENG,HONG-REN
論文名稱:天馬行空-合成對創作的影響力
論文名稱(外文):Beyond your imagination - The influence of image manipulation on creation
指導教授:施盈廷施盈廷引用關係
指導教授(外文):Shih,Ying-Ting
口試委員:林恩盈楊秀娟
口試日期:2018-12-26
學位類別:碩士
校院名稱:中國科技大學
系所名稱:視覺傳達設計系
學門:設計學門
學類:視覺傳達設計學類
論文種類:學術論文
論文出版年:2019
畢業學年度:107
語文別:中文
論文頁數:47
中文關鍵詞:攝影蒙太奇影像合成
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  在這個數位時代,除了單眼相機廣泛,連手機的相機功能也越做越好,相較於19世紀攝影剛普及的時代,一般人也能輕易的踏入攝影的領域。雖然這讓許多有天份的人更容易創作出更優秀的攝影作品,但也容易讓人們輕忽攝影專業,或讓有單眼相機的人,就自以為是攝影師。

  筆者從國中開始接觸影像編修軟體,享受創作過程的想像,也樂於看到觀眾對創作的驚艷。在大學時期剛接觸攝影時,因攝影的技巧笨拙,故開始利用後製來彌補攝影技術的不足。因為在相同的技術與美感下,想要脫穎而出奪人目光,勢必要加入一些一般人不太容易學會的操作,也就是取代性低的技術。而運用在攝影上的技術除了一些基本的調色修圖以外,合成更能讓創作者突破現實的侷限,以增加作品的張力。在歷史上也有不少攝影師透過底片在暗房做合成,直到今日,合成技術無論在動態影像或平面視覺上,仍被廣泛地運用在各式各樣的媒介中。

  影像合成就像是魔術,能夠豐富創作內容,也可以讓觀眾毫無察覺合成運用。本篇主要探討平面攝影與合成技術的交織下,除了創作出更精緻的平面影像,更重要的是影像合成對作品的影響力。合成的技術除了是一種實現虛構的手段,更是創作者說話的工具。他可以讓一張平淡無奇或日常用品賦予全新的意義,也可以利用合成的技巧,讓藝術家的作品變成詮釋自己想法的媒介。正因為他可以天馬行空不受現實物理條件所限,所以唯一限制作品的只有自己的想像力。

It is an age of digital. So is cameras. Compared to the nineteenth-century – when photography had just gained ground – modern society with advanced technology allows non-specialists to access to photography easily than before. Admittedly, technology enables gifted people to create more brilliant works. However, it makes people ignorant about what photography, as a profession, is, and inevitably brings the delusion to some amateurs that, they are professionals.

I have been learning the skills of photo retouching for eighteen years. While I am creating works, I not only enjoy all the imagination occur to me but also the pleasant surprise they elicit from my audience. But it all started with the young me with poor skill of photography. Due to a lack of mature skill of photography, I started applying different methods of photo retouching in order to polish my works. As mentioned, digital age opens a window for non-specialists accessing photography, but it also creates a more difficult environment for photographers because, it is hard to have their works stand out from the rest. Therefore, apart from basic skills such as toning, it is necessary to use some advanced skills of photo retouching, i.e. image manipulation.

Image manipulation not only helps photographers to break through the dilemma we have now, but also creates more dynamics in photos. When it comes to image manipulation, history, in fact, has already had years of practice. Photographers in twentieth century had made it in a more inchoate way – i.e. proceeding it in darkrooms. With time progressed, image manipulation, as a profession, has been evolving, which leads to its wide application on various medias, including dynamic images and graphic design.

Image synthesis is like magic. It on the one hand creates more dynamics in works; on the other hand, the audience might not have been aware of its application.


This paper proposes that, with the effect of image manipulation, images become more refined; more importantly, the profound influence image manipulation brings to the works. Image manipulation is not only a vehicle for visualising our imagination, but also a way creators communicate with the world. Armed with image manipulation, the creator could turn a plain image into something new, appealing and completely different object. The creator, however, is telling a story to, or communicating with the audience through the medium of this new object.

Image manipulation cannot be restricted by reality, and it can only be harness by imagination.

壹、創作動機與目的
貳、文獻探討
  一、攝影的起源
    第一節 相機的誕生
    第二節 攝影藝術的誕生
  二、蒙太奇手法
    第一節 名詞解釋
    第二節 技巧與演進
参、影像合成
  一、超越現實
  二、賦予影像新的意義
  三、詮釋想法的創作
肆、創作論述
  一、神奇101
  二、毀壞市容的競選廣告
  三、工具人
伍、結語與未來計畫

Susan Sontag,2010,ON PHOTOGRAPHY,麥田出版,譯者: 黃燦然。

Ralf Stelander,2013,Photo Inspiration: Secrets Behind Stunning Images,遠流出版,譯者: 顏志翔。

Ben Goossens,2013,Photo Inspiration: Secrets Behind Stunning Images,遠流出版,譯者: 顏志翔。

圖1,e世代基礎攝影,藝風堂出版,作者:鄭國裕。

圖2,e世代基礎攝影,藝風堂出版,作者:鄭國裕。

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