裁切應用於手機風景攝像二次構圖創作研究

Abstract

「攝影不只是在拍照，而是在創造。」——風景攝影師Ansel Adams 手機攝影與傳統單眼相機拍攝差異在於輕巧攜帶便利性，且人性化的操作介面大幅降低攝影學習門檻，使用者可以直觀地以手機大螢幕調整構圖畫面，相片後製編輯功能搭載軟體不斷翻新優化，上述皆為影響現代人轉型以手機攝影為主的原因。研究者針對手機攝像裁切應用於二次構圖創作方法進行探討，藉由手機相片圖庫管理功能，一張好的作品能同時保留多種構圖成像，希望整合適用於風景攝影的二次構圖參考線，原拍攝者可以在二次裁切重新詮釋畫面，使創作產生更豐富多元的面貌，並提供業者未來對於手機攝像編修軟體之模組化開發建議，使慣用手機攝影的使用者在相片整理時能有效提供良好的構圖建議。 本研究透過文獻探討、實驗結果研究分析與創作歸納初二次構圖的表現形式，提供後續實務創作者應用之參考，主要研究成果如下： （一） 文獻研究歸納彙整10種攝影構圖及8種英文字型構圖的分類法則，以此構圖提供攝影初學者作為二次構圖裁切參考並未遇到執行困難，不同的手機品牌皆可操作，對於攝影初學者有顯著構圖幫助。 （二） 實驗研究法觀察共計83位16~17歲以手機為攝影工具的受測者，以手機風景攝像二次構圖結果，以此研究成果案例分析發現，當手機攝像進行裁切構圖時，實測者依據參考線重新安排視覺焦點位置完成二次構圖。裁切過程中受測者嘗試將焦點重新佈局並觀察裁切後被保留下的視覺元素決定最終構圖，實驗結束後實測者填寫問卷回饋裁切後對於作品視覺感受差異，得到二次構圖創作價值的意見回饋。 （三） 在實際進行風景攝像進行二次構圖創作中，發現一張圖像可同時套用多種構圖法則則創作價值高於僅可做構圖修正之圖像，照片中的物件在裁切後影響視覺感受的元素包含視覺焦點所佔畫面位置、大小與比例，皆可為畫面呈現不同的意境、故事性、情緒感受，增加圖像的傳達性。“You don’t take a photograph, you make it.” by landscape photographer Ansel Adams. Camera-phones feature their instance, simple interface, high accessibility, and low knowledge threshold to photographers. As a result, camera-phones have been the most commonly used photographing tools for the general public or beginners learning photography. Thanks to their instance in capturing flash moments and the rapidly-developing photographing hardware and image processing software, camera-phones are gradually accepted by professional photographers for multiple proposes, such as the press industry, commercial photo-shooting, and even movie industry. However, the second composition still plays an essential role in camera-phone photography to offset the limited time to capture the flash moments. Furthermore, there is still a large qualitative gap between professional and amateur photography using the same camera-phone. To further improve the amateur photography acquired from camera-phones, this study aims to assess the effects of the second composition on the quality of camera-phone photography through image-cropping. Particularly, image composition is fundamental for successful landscape photography. Therefore, this study focuses on the second composition of camera-phone landscape photography as a proof of principle. After literature-review, we select 10 rules for image-composition through image-cropping as our guidelines to crop camera-phone images for the better second image-composition. The 10 rules can be subdivided by 8 rules in the camera-phone built-in tic-tac-toe reference in composition (Central composition, three-point composition, golden section composition, horizontal composition, Vertical composition, Symmetric composition, Diagonal composition, Triangle composition), and 2 rules from observation (Guide line and Frame composition). Next, we conduct our case-study research on the performance of the selected 83 beginners in learning photography, who mainly use camera-phones for photography. The 83 participants were asked to create a second composition of their own camera-phone landscape pictures according to the provided image-composition guidelines. After the task, the 83 participants were asked to fill out a questionnaire to inquire about their opinions about the imaging-cropping on the visual effects of the results. Our case-study found that when the camera-phone images were cropped for the second composition, the focus of the images was readjusted. According to this survey, this readjustment is sufficient for the participants to reinterpret the mood of the newly-composed landscape photos, and spur unexpected results from the imaging moments for the original works. During the process of image-cropping for the second composition, participants were able to re-assess the composition of the original images and the newly-composed images, which meets the value of the second creation in image composition. In practice, these composition rules can balance out the visual effects of landscape photography, which highlights the importance of image-cropping for second composition to readjust the visual structure of landscape photos. Therefore, applying these guidelines when cropping imaging for second composition is prominently useful for amateur landscape photographers. By summarizing the rules of second compositions from literature-reviews and analyzing the case-study results obtained in this research, this research can serve as the evidence-bases for the follow-up studies in the future and could be possibly generalized for multiple types of photography. The expected results from this research and the follow-up investigation will be the foundation for developing user-friendly photography software in the camera-phone industry or help photography beginners to master image composition.