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台灣「當代攝影家」對影像數位化的互動研究
How Contemporary Taiwanese Photographers Regard Digital Photography
1.游本寬
1.Ben Yu
1.國立政治大學廣告學系
1.Department of Advertising, National Chenchi University
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1.國立政治大學廣告學系
1.Department of Advertising, National Chenchi University
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1.行政院國家科學委員會
1.National Science Council
A.14 計畫執行期間(起):2009-08-01
A.14 計畫執行期間(訖):2010-07-31
2009-08-012009-08-30 2009-09-202009-11-30 2009-12-172010-02-15 2010-03-152010-05-30
A.16 收到日期:2010-11-19
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台灣當代攝影家--在公私立展演機構舉辦過個展或聯展,目前仍在世之攝影家

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C.2 聯絡日期:2010-12-06
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1.國立政治大學廣告學系
1.Department of Advertising, National Chenchi University
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C.7 資料公開日期:2010-08-01
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1.台灣「當代攝影家」
2.台灣攝影家
3.當代
本研究對全台265位在台灣有展覽經驗的攝影家,進行個人「影像數位化」調查和台灣「當代攝影家」推舉活動。接著,對被推舉出的「當代攝影家」再進行相關問題的電訪,得到綜合結果如下:

只有兩成攝影家全面使用數位相機,近七成兼用傳統;絕大部分都藉由影像軟體進行影像編輯或檔案管理;不到半數攝影家肯定數位攝影術有助作品品質的提 升;近七成會在網路藝廊發表作品,四成覺得值得推廣;近六成不同意將網路展出視為正式紀錄;近六成攝影家「偶而」在「國內」網路上看過令人印象深刻的攝影 展,近四成則從未見過;攝影家的底片、照片防潮率都不及一半;絕大部分都會參觀同儕的影展和攝影相關活動;六成認為數位時代「傳統攝影家」不會因而消逝, 三成者認為會消失;將來即使有實體攝影博物館,過六成覺得仍有必要再籌建網路攝影博物館。

本研究進一步發現:官方對攝影活動資料重視度不高;美術館、文化局對數位攝影的認知有落差;在地攝影家對網際互動雖慢半拍但有前景;偏好「靜態」的攝 影本位、「紀錄攝影」有可能是近代主流。除此之外,台灣攝影家們對台灣「當代攝影家」的高共識率雖不存在,但認為作品風格獨特、新穎為「當代攝影家」首要 特質,其次是經常展覽、出版發表新作,並期望這樣的攝影家能對社會有貢獻。

265 photographers, with an exhibition record, were invited to participate in this research project. They were asked to provide biographical information and answer questions about their use of digital photography. Secondly, the participants were asked to vote for whom they regarded as contemporary Taiwanese photographers from a provided list of names. Following the completion of this, the 100 photographers who received the most votes were interviewed by telephone.

Research Conclusions: Only 20 % respondents exclusively use digital cameras.70% use both film based cameras and digital cameras. Majority of the photographers use software to edit images and save their files digitally. Less than half of the participants felt strongly that digital photography enhanced their work. 70% utilize the web to display their images. 40% highly recommend showing their photographs online.60% do not believe that web-based exhibitions should be listed on an artist’s exhibition record. Nearly 60% responded saying they viewed exceptional Taiwanese web-based exhibitions only once in a while. Also, 40% have never viewed a web-based exhibition. Less than half of the photographers utilize climate controlled storage equipment for their photographs and film. The majority of the respondents reported they will attend exhibitions and participate in related activities. 60% reported that a “traditional photographer” will not disappear in the digital photography age as opposed to 30% who believe it will. 60% reported that even if Taiwan establishes a photography museum, Taiwan would still require a web-based photography museum.

Government did not give much attention to the historical activities of photography in Taiwan. There is a knowledge gap between Taiwan’s museums and local cultural centers. Taiwanese photographer’s reaction to web-based exhibitions is slow but they still believe in it’s potential. There is no common agreement about who is a contemporary Taiwanese photographer because participants desire the work of a contemporary Taiwanese photographer to be unique and break new ground. They are looking for someone with extensive exhibition and publications records and a contributing member of society. Taiwanese photographers prefer artists working in still photography processes as opposed to video and film. Documentary photography may become a mainstream in the future.

D.16 完成檢誤日期:2011-01-19
D.17 預定釋出日期:2011-03-07
D.18 初次釋出日期:2011-03-07
D.19_1 最新版釋出日期:2011-03-07
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10.6141/TW-SRDA-E98028-1
https://efenci.srda.sinica.edu.tw/webview/index.jsp?object=https://efenci.srda.sinica.edu.tw:80/obj/fStudy/E98028
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