攝影圖像創作之對比表現

Use of Contrast in the Photographic Image Creation

溫婉伶(Wan-Lynn Wen)

指導教授 ： 梁桂嘉

國立臺灣師範大學/藝術學院/設計研究所在職進修碩士班/碩士(2011年)

摘要

攝影的本質使圖形（視覺）元素的運作受限於先天的環境條件。但是，作為一種傳達的工具，創作者仍需去組織、安排視框內的圖形元素。對比（Constract）是有效的基本構圖方式。若能運用對比表現拍攝，依循客觀原則組織訊息，便能表達主客關係、加強彼此的效果，並帶來張力、美感與想像空間，也能突顯主題與吸引目光，增加圖像的訊息傳達效果。
本研究透過文獻探討、個案研究分析與創作歸納出攝影圖像對比表現形式，提供給後續實務創作者應用之參考，本文之結論：
（一） 對比表現來自於兩個（組）或兩個（組）以上元素間的並置，在攝影創作中，對比元素的組合與選擇來自於攝影者。常見的對比種類可分為形式與內容對比。將對比的兩元素視為主體與客體，可藉由單襯與互襯來表現。在構圖時，創作者透過視覺認知與心理展現完整的視覺形象。欲增加視覺元素的強度，可運用圖地關係中易被視為圖的特徵為依據。當主客體強度一致時，可運用完形法則表達關係，讓人將兩視覺元素連結。
（二） 個案分析中發現，觀者在與圖像的互動中，主題扮演重要的角色。當圖像中的元素較多時，可先依主題群化視覺元素，再鎖定對比組合。另外，視覺元素間的對比、內容對比、互襯是MAGNUM PHOTOS較常使用的對比圖像表現方式。此外，善用空間錯置將不同平面的對比元素組合、文字符號、擬人化的表現、同物種的虛實替換，皆為其增加趣味性、聯想與想像空間的手法與技巧。
（三） 在實際創作的過程中，對比視覺元素的選擇，會因為客觀環境的條件的限制，或是對象物的突然移動而改變，因此，在對比表現形式中加入了重新選擇的機制。另外，透過有形或無形線條、色彩或明暗的運用，可以使主體更加明確，增加圖像的傳達性。

關鍵字

攝影 ； 對比表現 ； 視覺認知與心理 ； 圖地關係 ； 完形法則

並列摘要

The nature of photography predetermines that graphic (visual) elements are limited by the given environmental conditions. However, photography as a medium, artists still need to organize, arrange the graphic elements inside the visual frame. “Contrast” is an effective and basic composition approach. If the photo-shootings are expressed in contrast and the messages are organized according to objective principles, the subject-object relationship could be well demonstrated. As the visual effects on the subject and object are strengthened, the tension, the sense of beauty, and imagination are created, which then manifests the theme, attracts people’s attention, and increases the visual communication effects.
Based on the literature review, case study and art creation, this study summarizes the contrast expression forms in photography for the reference of future artists. This study concludes that:
1. Contrast comes from the juxtaposition of two or more (groups of) elements. In photography, the combination and selection of contrasting elements are determined by the photographer. The common contrast types include contrast in form and contrast in content. The two elements in contrast are deemed as the subject and object, which are expressed through single substrate or complementary substrate. In composition, artists create a complete visual image through visual cognition and mentality. In order to increase the visual element effects, the element which would be easily recognized as a figure in the Figure-Ground relationship can be the foundation. When the emphases on the subject and object are the same, Gestalt Law can be used to manifest the relationship and help people to link the two visual elements.
2. In the case study, the theme plays an important role in the interaction between observers and pictures. When there are more elements in pictures, observers may first follow the themes and group the visual elements, and then focus on the contrasting combinations. On the other hand, the contrast between visual elements, contrast in content, and complementary substrate are the common contrast expression approaches in MAGNUM PHOTOS. Moreover, utilizing an informal order of space to combine the contrasting elements on different surfaces, or the personification, letter symbols, and the imaginary-real replacement of same elements are all the techniques that make it fun and full of imaginations.
3. In the actual art creation process, the selection of contrasting visual elements is limited by objective environmental conditions or changed because of the sudden move of subjects. Therefore, the re-selection mechanism is added into the contrast expression form. On the other hand, through visible or invisible lines and colors or light/darkness, the subject can be more outstanding, which then increases the communicability of pictures.

並列關鍵字

Photography ； Contrast ； Visual cognition and mentality ； Figure-Ground relationship ； Gestalt Law

參考文獻

謝富章（2007）。〈2007「茶花物語」探索攝影寫實「建構」與「再現」的思維〉。《藝術欣賞》，第3卷第6期，頁102-106。

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