本論文的目的是因循創作者的創作理念而著,研究內容由『婚紗攝影』及『蒙太奇技法』兩大主題共同建構,一方面就婚紗攝影在台灣的發展歷史做一整理與描述,概述台灣自日據時期至今由傳統照相館轉型到婚紗攝影公司的過程;另一方面對蒙太奇理論與技法特色進行概述。 文中就各時期婚紗攝影作品的表現技法與風格加以分析,比較早期與當前婚紗作品中形式與內容要素的差異;另一方面針對蒙太奇理論與婚紗影像之關係做一探討。 在創作研究中紀錄創作思考與創作內容,創作的表現形式以蒙太奇的技法為主要手法,嘗試以蒙太奇的多層次複合空間表現風格,應用於婚紗影像創作表現上。文中除了對創作作品加以說明外最後並提出幾項結論與建議,除作為筆者日後努力的方向外並寄望能對台灣未來婚紗影像之發展盡棉薄之力。
The purpose of this study is to discuss the processes of wedding photography. This study consists of four chapters which includes relevant literature reviews the authors’ artworks and appendices of previous weddung images in Taiwan. The literature is reviewed based on two main stream,-- “Wedding photography” and “Photomontage”. The chapter briefly reviews the history of wedding photography movement in Taiwan, which describes the processes of the transformation of imagery representation from traditional photography studios into modern photographic studios in the period from the Japanese occupation to the present. In addition, the image representation styles and skills of wedding photography in different time periods are analyzed by comparing the differences in content elements and content formations of products between early times and the present. Furthermore, the theories and practices of photomontage are reviewed and discussed as well. In chapter 3, the concepts and the processes of adapting photomontage as the method of manipulating wedding photography are presented. The images show the way of using the multi-images photomontage style that is used in wedding imagery representations. The last chapter of this study states the recommendations and reflections of the author for further artists. Finally, this study will make a contribution to the profession of wedding photography industry.