| 摘要: | 在攝影資訊豐富與科技進步的時代還欠缺什麼嗎？本研究希冀揭露一般攝影者難以覺察且有違攝影常理的現象，破除大眾攝影資訊帶給讀者的刻板印象，進而提出目前攝影文獻中較為罕見的攝影實踐知識。考量研究目的與合理分析範圍內，本研究以立意取樣5位在該領域業界資歷平均超過40年以上的攝影老手為主要研究對象。研究問題定錨於攝影實踐知識及其意義性為何？
本文發展一套適合分析實踐知識的方法。以紮根理論為核心進行資料分析，具體分析作法如下：一、辨識攝影老手的在意與爭議點。研究者以實踐社群理論為分析觸覺，探尋攝影老手平時心之所繫之處，並針對研究資料進行註解並辨識出其中的在意與爭議處，爾後，以追溯在意與探究爭議來釐清研究對象所指涉之事物，並輔以由下而上的原則（data-driven）為這些在意與爭議進行概念化範疇化的命名；二、賦予攝影實踐知識意義性。以技法、基本議題、認識論、終極關懷四位一體之觀點，來理解攝影老手進行攝影時的實踐樣貌。
由上述分析作法獲得五個研究結果：一、在山岳攝影方面，為拍攝到獨一無二的大景，發展出由分散式專精知能所組成的妖魔鬼怪團等實踐知識；二、在生態攝影方面，為拍出具生態教育意義的作品，而發展出聽音辨位、腳動變焦、陷阱對焦等實踐知識；三、在人像攝影方面，為記錄美好回憶或協助委託者過關，而發展寶貝球式引導或後製易筋經等實踐知識；四、在人體攝影方面，為拍攝出攝影者與委託者同時滿意的作品，發展彼此間的信任是最重要的事業；五、在鍵盤攝影方面，為順利流通創作者所生產之意義，而發展出擬真的事業。
最後，本文具體貢獻有二：首先，本文指出攝影老手與普羅攝影者的實踐知識之的差異，並確切指出如「漂亮或得獎的照片就是好照片」、「工欲善其事，必先利其器」的攝影迷思；其次，研究者以在地成員的角度，試圖縮小攝影實作者與攝影研究者對於攝影實踐知識的落差，開啟攝影實踐知識這塊文獻的新視野。
;Is there a gap between existing photography knowledge and technological advancement? This study aims to investigate the phenomenon that is uncommon and difficult for ordinary photographers to observe, and thus break the stereotype that public photography information brings to readers, and then propose the relatively rare knowledge in photography which cannot be found in the current photography literature. Considering the purpose of the research and the scope of analyses, this research is based on the interviews with 5 experienced photographers, old timers, who have an average of more than 40 years of experience in photography. This research emphasizes the significance of the practical knowledge of photography.
This research develops a set of methods suitable for analyzing practical knowledge, with grounded theory as the foundation. The specific analysis methods are as follows: First, identifying the major concerns and disputes among old timer photographers is conducted. This research uses the Community of Practice theory as a detecting sensor to explore the stakes (major concerns) of old timer photographers, and then pinpoint and annotate on the research data to identify the concerns and disputes. Investigations are conducted to clarify the essential issues that old timers refer to in their concerns and disputes. Data driven (Buttom-up) principle is applied to naming these conceptualized and categorized concerns and disputes. Secondly, the practical photography knowledge is defined. From the perspective of quaternity, including techniques, basic issues, epistemological, and ontological views, this study aims to explore the practice of photography old timers.
Five research results were obtained from the above analyses. First, in terms of mountain photography, in order to capture a unique scene, the practical knowledge composed of distributed expertise, such as a group of monsters and ghosts, were developed. Secondly, in ecology photography, in order to shoot ecologically educational works, the practical knowledge such as listening position, foot movement zoom, trap focusing, etc. were developed. Thirdly, in portrait photography, practical knowledge such as “ball-guided” or “post-production Yi Jin Jing” were developed to record good memories or satisfy the client. Fourth, in terms of human body photography, the most important thing is to shoot the works that both the photographer and the client are satisfied with. The establishment of mutual trust is the key point. Fifth, in the aspect of keyboard photography, in order to smoothly circulate the meaning produced by the creator, and develop a realistic business.
Finally, there are two specific contributions made by this research: First, this article points out the difference between the practical knowledge of photography old-timers and general photographers. It also reveals the myths in photography, such as, "beautiful or award-winning photos are good works" and "workers must obtain expensive equipment to produce good quality photographs”. Secondly, from the perspectives of local members, the researchers attempt to narrow the gap between a researcher’s and a photographer’s practical knowledge of photography and open up a new vision of the literature of practical photography knowledge. |
