【摘要】：紀(jì)實攝影，一講到“紀(jì)實攝影”出現(xiàn)在人們印象里的應(yīng)該是“抓拍”“偷拍” —即攝影師要眼明手快的抓住一個瞬間性的畫面。攝影者在拍攝時應(yīng)不打擾拍攝對象，是攝影者處于一種不被發(fā)現(xiàn)的狀態(tài)中，對被拍者進行拍攝，使得被拍者處于一種自如的不知你存在的環(huán)境里。不因知道拍攝者的存在而產(chǎn)生心理上的變化或者負(fù)擔(dān)，造成一些行為及表情變化，而這些變化就是我要發(fā)掘的，也正是我的創(chuàng)作及論文要詮釋的。本文主要以鏡頭前的釋放與約束為研究主線，用抓拍與擺拍形成鮮明的對比，反應(yīng)鏡頭前后擺拍者的心理變化過程。 我的創(chuàng)作想要反映的是被拍者自身是否與“自我”吻合，，在只是知道被拍攝前后時，被拍者的反應(yīng)是否都會不同，如果遇到其他情況，被拍者在照片上的那個影像是不是真實真正的自我。更進一步地說㑳“照片中的你是你嗎？你是否是真實的自己。當(dāng)今社會越來越浮躁，你還是真正的自我嗎？”，通過偷拍或抓拍的形式，記錄真實的影像與干涉后所擺拍的影像，前后兩者進行比較。利用攝影客觀記錄瞬間事實的功能，將一種狀態(tài)變化的前后，客觀的記錄下來，這屬于一種紀(jì)實攝影內(nèi)的實驗性嘗試。
[Abstract]:Documentary photography, when it comes to "documentary photography" appears in people's minds should be "capture" and "secretly"-that is, photographers to grasp a moment of the picture. The photographer should not disturb the subject when shooting is that the photographer is in an undiscovered state to shoot the subject so that the subject is in a free and unknown environment. There are no psychological changes or burdens caused by knowing the presence of the photographer, resulting in some changes in behavior and expression, and these changes are what I have to explore, and which I am writing and explaining. This paper focuses on the release and constraint in front of the lens, and uses the capture and swing to form a sharp contrast to reflect the psychological change process of the front and rear swing. What I wanted to do was to reflect whether the person who was being photographed was the same as the "self," and if I knew whether the person would react differently before and after the shoot, if anything else, The image of the subject in the photo is not true to the true self. Further? "are you in the picture? Are you who you are. Today's society is becoming more and more impetuous, are you still true self? ", through the form of secretly taking or grabbing, record the real image and the image after interference, before and after the comparison between the two. It is an experimental attempt in documentary photography to make use of the function of recording instantaneous facts objectively and objectively before and after a state change.
【學(xué)位授予單位】：云南藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J404

【參考文獻】

相關(guān)期刊論文 前7條

1 劉剛;紀(jì)實攝影的本質(zhì)內(nèi)涵、本土特色和未來發(fā)展[J];安徽師范大學(xué)學(xué)報(人文社會科學(xué)版);2005年03期

2 戴軍;論中國的新紀(jì)實攝影[J];贛南師范學(xué)院學(xué)報;1993年03期

3 楊莉莉;;紀(jì)實攝影,抑或當(dāng)代藝術(shù)——當(dāng)代紀(jì)實攝影的走向[J];美苑;2007年03期

4 李庭堅;;淺談當(dāng)代中國紀(jì)實攝影[J];美術(shù)教育研究;2012年23期

5 王朝輝;;淺談紀(jì)實攝影中的抓拍與擺拍[J];美術(shù)大觀;2011年07期

6 石靜;;紀(jì)實攝影——介入并延伸的真實[J];山西農(nóng)業(yè)大學(xué)學(xué)報(社會科學(xué)版);2010年06期

7 孫宇龍;;觀念攝影——被導(dǎo)演的紀(jì)實[J];西北美術(shù);2008年02期

相關(guān)碩士學(xué)位論文 前1條

1 蔡萌;紀(jì)實與觀念[D];中國藝術(shù)研究院;2006年

本文編號：2281057