在許多已開發的國家、開發中國家及新興國家都實施經濟自由化，貧富差距增加，社會犯罪事件頻傳，政府機關、私人企業、公共場所和人民住宅都開始有電子安全監控系統的設備架設，隨著市場需求增加和關鍵技術成熟，安全監控面臨網路化、數位化和開放式架構的發展趨勢， IP camera在這時期扮演一個重要產品的角色。 在2010年全球安防產品總產值186.7億美元，其中影像監控佔47.5%，按比例推估IP camera產值約30億美元，2012年預估會成長約20%，顯示這行業正在蓬勃發展，個案V公司為IP camera後進業者，在經歷數次研發失敗，仍在這龐大商機趨使下，在2011年，對研發部門做組織變革和購併相關產品業者，並計劃在2012年推出新的IP camera產品，期望搶佔IP camera 市場商機。 本研究是以個案V公司為例，探討V公司IP camera 產品在2011年前和後因研發組織變更、購併影像儲存設備公司和不同階段產品行銷策略產生的影響，並以國內IP camera領導廠商VI為標竿和競爭對手來做策略比較分析。經產業五力分析、公司核心競爭力分析，最後以「策略行銷-4C」對個案V公司提出以下五個建議：C1外顯效益成本：個案公司擁有被投資的日系零件供應商核心競爭力一同開發新產品和PCB模組化設計來降低買者成本；設計上克服熱當機、IVS(Intelligent Video System)和聲音傳輸品質等買者需求來增加買者效益。C2資訊搜尋成本：社群網站架設後，增加與買者互動的機制；產品定位清楚且長期一致，降低資訊搜尋成本。C3道德危機成本：保固期延長3年，甚至更長，降低道德危機成本。C4專屬陷入成本：在社群網站上放置IP camera影像錄製管理軟體教學影片；軟體的使用介面和使用方法設計與市佔率第一的品牌一樣，降低使用者移轉購買V公司產品成本。國際品牌建立：以利基市場為出發點，按品牌成本效益、品牌定位知曉、品牌信任、品牌專屬資產等步驟來建立良性品牌之輪循環。 / There are many developed countries、 developing countries and emerging nations that have already implemented economic liberalization. The gap between rich and poor increases. The social crime incident keeps pouring in. The governments 、 individual enterprises、public places and people's houses all begin to erect the apparatus with the surveillance system of electron. As market demand increases and key technology is ripe, the security system has been facing with networking, digitizing and development trend of open structure. IP camera acts an important product this period. The global output value of security products is US$18.67 billion in 2010. The surveillance camera system accounted for 47.5% and estimated about US$3 billion dollars of IP camera output value in proportion. It is estimated to grow up about 20% in 2012. It reveals this industry is growing vigorously. The case V Company is a later(second) mover in IP camera industry. It had got fail several times for IP camera research and development. It did R&D(Research and Design) department reorganization and merged a company of related products under this huge business opportunity hastened in 2011. And plan to put out new IP camera products in 2012. It is expected to catch the business opportunity of this IP camera market. This research takes V Company as an example, it probe into the marketing strategy difference before 2011 and after 2011 while V Company did R&D reorganization and a company of image storage equipment merger. And take internal IP camera leading manufacturer VI as benchmark and competitor to do strategy analysis. After five competitive forces analysis and corporate core competence analyze, finally propose five following suggestions on the case V company by“strategic marketing - 4C”: C1 Buyer cost/ Buyer utility: The case V company has core competence that Japanese parts supplier company develops new product together with and does PCB modularization design to reduce buyer's cost. It overcomes the system halted under high temperature、IVS (Intelligent Video System) and sound transmitted quality etc these buyer’s demands in the design to increase buyer's benefit. C2 Information searching cost: After social website setup, adds the mechanism of interacting with buyer. The product position is clear and identical for a long time, reduces information searching cost. C3 Moral hazard cost: The warranty is extended to 3 years or even longer, reduces the cost of moral hazard. C4 Asset specificity cost: Put IP camera CMS(Central Management System) software teaching films on social websites. The user interface and operation method of software are designed to like brand of the first market share, reduces the cost of users transfer and buy goods of V company. The international brand building: It regards niche market as the starting point, follows in steps such as the utility of brand cost、the awareness of brand position、the brand believing in, the asset specificity of brand to build up a benign circulation of the“brand wheel”.

謠言，是未經證實的訊息，目的在使人相信並廣為流傳。接收者選擇相信與自身相關的謠言並散播出去；我們每天都在選擇要用怎樣的面貌來面對眾人，讓眾人相信我們是怎樣的一個人，我們的人生，也就是一則謠言。 本創作旨在基於對謠言研究的認知，透過攝影作品的敘事能力來呈現「人生即謠言」這個概念。

研究者以「人 – 工具 – 現場」之間的關係為觀察角度, 希望探討實作中電視新聞攝影活動的本質。本研究以錄影方式紀錄不同實作個案，並對13位不同年資的電視攝影記者進行深度訪談，研究發現實務中電視新聞攝影實際上不只是「攝影」的活動而已，更是關於什麼是「新聞資訊」和「解題資訊」的想像、聚焦和校準工作。而且，攝影記者在新聞現場使用攝影機的過程，也同時是智能配置與權力互動的「連結」活動。一方面，攝影記者必須與各種人與非人的工具/資源連結，才能涉入到現場的情境性中，理解新聞現場的解題意義，並以攝影機工具將特定對象轉化為新聞影像素材。另一方面，由於連結活動除了智能協力，也隱含了權力角力，攝影記者雖然「操作」了攝影機工具，但事實上主導攝影機工具如何被「使用」的人卻可能不是攝影記者。簡單來說，電視新聞攝影中「人 – 工具 – 現場」形成關係的過程，也同時是攝影記者配置智能與參與建構行動者網絡的過程。攝影記者在過程中不斷計算自己與其他行動者之間在智能上以及權力互動上的關係，以瞭解到底該「拍什麼」甚至「如何拍」。研究也發現，實務中電視攝影記者經常處於「資訊焦慮」和「權力焦慮」的狀態，也就是一方面對解題目標的模糊性感到困擾，另一方面又可能擔心自己在工作中失去主導攝影機使用以及詮釋新聞現場的權力。本研究提出，電視攝影記者如果想強化自己在網絡中的行動位置，必須加強處理資訊以及與其他行動者連結的能力，並找出更均衡的「人 – 工具」關係。 / This study aims to rethink the practice of TV news photojournalism by examining the relationship among TV news photographers, the tool(s) they use, and the location where “news” happens. Employing methods of case study and in-depth interview, the study finds that TV news photographer's job is more than just skillfully using camera to capture news video; in fact, in order to know what to film, as well as how to film, TV news photographer needs to work with different human and non-human resources, “involving-in” the context of activity, and constructing the content and objectives of the assignment. In short, TV news photography is a situated activity and process of calculation. To effectively perform his/her task, photographer is required to bring people and things together and measures relations among different actors.

1995年3月，日本卡西歐公司推出世界上第一台搭載彩色液晶螢幕的25萬畫素數位相機－QV10，堪稱現今消費型數位相機的始祖；經過十多年的演變，時至今日，數位相機幾乎已經完全的取代了傳統的軟片相機。 　　經過各家數位相機製造商十多年來的研發與整合，現今市面上不斷的推出一部部功能越來越強大、外型越來越新潮的數位相機，早已與當年功能陽春、外型笨重的QV10有著天壤之別的差異。同樣的，在數位相機的銷售通路型態方面，也從十多年前網際網路及大型連鎖通路尚未普及時，幾乎單純完全以傳統照相器材行及傳統沖印店這類的獨立店面為主的銷售通路，演變至今日包含了網路購物、大型連鎖3C通路、量販店、電視購物…等眾多通路瓜分的局面，這些企業的經營模式與競爭環境，也早已不像十多年前那麼單純。 　　本研究是針對現今越來越多採用Bricks-and-Clicks結合實體銷售通路與虛擬網路通路的經營模式來銷售數位相機的企業，將目前同樣採用此經營模式的個案公司藉由加入攝影社群活動，提供消費顧客及潛在顧客一個『不只賣釣竿給客戶，還教他怎麼釣魚，提升他的技術及興趣並刺激他產生更多消費需求』的銷售+社群環境，並提出一個具體的營運計畫，欲藉此創新的經營模式提供給個案公司更具優勢的競爭條件，以面對未來市場上越嚴峻的競爭者威脅。

電影是門用畫面說故事的藝術，除了劇情上的編排，導演也必須思考如何運用鏡頭配置和運鏡技巧來渲染氣氛並傳達故事。電影拍攝製作上一直都是件費時費力的工程，儘管現在有不少電影後製工具，但專注在根據電影內容提升或改善拍攝手法的工具卻不多。本研究目標為開發智慧型電腦動畫攝影編輯輔助系統及互動操作平台，透過圖示化攝影機拍攝的結果作為選項的介面和推薦系統，讓使用者可以快速簡單的設置虛擬攝影機，配合智慧型回饋提醒系統檢查各鏡頭間是否違反拍攝規則，以達到輔助攝影初學者的目的，提供創新有效的動畫電影拍攝輔助工具。我們透過實驗讓不同攝影背景經驗的使用者操作，以驗證我們系統的可用性。 / Movie is the art of "storytelling." In addition to arranging story elements in a movie, a di-rector must also consider how to present the story by shots arrangement and operations. Filmmaking is a time-consuming process. Although there are many post-production tools available in the market, it is rare to find a tool focusing on facilitating shot arrangement to improve the quality of a movie. In this work, we have developed an intelligent camera editing system for computer animation, in which users can easily set up virtual cameras through se-lecting shot icons recommended by the system. It can also provide intelligent feedbacks to novice users and check if the shots selected by the users violate the rules in virtual cinema-tography. In order to show that the system is an innovative and effective tool for making an animation film, we have conducted an evaluation study by inviting participants with different photographic backgrounds to experience the system and verify the usability of our system.

本研究在虛擬環境中發展出一套符合攝影學法則的即時智慧型攝影機模組，當使用者操縱化身時能夠給予攝影機自動規劃之能力，不需要花費額外的心力控制攝影機。智慧型攝影機的能力包含了規劃不被障礙物遮蔽的跟蹤拍攝，以及當攝影機進入險惡的環境時，自動在兩台攝影機之間進行符合攝影學法則的轉切。此外，此智慧型攝影機模組能夠依照不同使用者的偏好，產生不同結果的攝影機規劃。我們實作了此一智慧型攝影機的系統，並以實例說明此系統的有效性。 / We have developed a real-time intelligent camera module with a set of cinematography in a virtual environment. Its automatic camera planning capacity allows that the users to spend less effort in controlling the camera when manipulating an avatar. An intelligent camera should be able to plan unobstractive tracking motion and necessary cuts automatically between two cameras with the rule of cinematography. In addition, the results of the camera planning can be customized by setting appropriate parameters in accordance with the user’s preferences. We have implemented this intelligent camera system, and demonstrated the effectiveness of this system through several examples

現如今，生活在北京的人們同時處在或跨越著不同的的城市空間。在北京的 城六區，人們可以看到摩天大樓、立交橋、地鐵構成的現代建築和縱橫交錯的胡 同以及四合院式的「都市裡的村莊」。而在五環以外，既有房地產宣傳畫冊上遠 離塵囂依山傍水的高檔別墅群落，也存在一排排城郊平房組成的小社群。昔日的 皇城「紫禁城」，車水馬龍的西直門立交橋，高級住宅鱗次櫛比的城郊花園，自 家磚瓦堆砌的戶外廁所，這些都是北京。 再度來到北京，創作者藉由每天的行走與思考、拍攝與交談，進而仔細瞭解 北京這座城市，再現城市化發展進程中北京真實的城市形態。並通過搭地鐵漫遊 北京，通過鏡頭記錄北京。地鐵和照相機的組合讓創作者更加深入地瞭解北京的 每一個角落，捕捉這座城市的表情，記錄那些平日被我們忽略的畫面。 整個主題以攝影作品、故事分享會及民謠彈唱會三個部分所組成的主題攝影 展來呈現。 / In modern times, people in Beijing live in different city landscapes. The central six districts are constituted by modern buildings, such as skyscrapers and flyovers, together with traditional ones, or ‘urban villages’, such as quadrangle courtyard. However, on the edge of Beijing, luxurious villas and small bungalows stand together and contrast each other. The once-thrived palace, the busy flyovers and urban gardens, with huge differences, yet, all of these are parts of Beijing. Back to Beijing, the author has gained more understandings about this city and represented the real city landscape during the urbanization process through daily walking, thinking, taking photos, and talking. With the author’s camera and taking the subway, the author has been enabled to capture the every single corners in Beijing, having those ignored scenes documented. The entire work has been consisted of photography, story-sharing, and a un-plug mini concert.

台灣地區地小人稠，土地使用情況複雜，因此，土地管理為一重要課題。航攝資料具高空間解析力及幾何真實性之特性，若能快速取得，則有助於長期環境監測與土地永續利用。有鑑於此，本研究以機動性高之直昇機為載具，配合9cm焦距之攝影機，採用11.5cm ×11.5cm像幅之彩色正片，航空拍攝實驗區，並於拍攝前佈設空照標，且利用全球定位系統測定地面控制點。 本研究目的在探討小像幅數值影像於重建方位過程中，攝影條件之特性及地面控制之成果，此外，利用解析測圖儀與影像工作站不同量測方法對於空中三角精度影響，結果顯示小像幅亦可完成數值空中三角測量。數位法X、Y、Z方向之RMSE為0.097 m、0.090 m、0.161 m，解析法之RMSE為0.132 m、0.120 m、0.144 m。 / The objective of this thesis has been to investigate the feasibility of digital aerotriangulation using small format photos. A focal length of 9mm camera mounted on a helicopter with format of 11.5cm by 11.5cm color positives have been used for taking pictures of the research area. The premarked ground control points were surveyed by GPS. Photo control was executed using a Leica BC3 analytical plotter and an Intergraph ImageStation respectively. The coordinates measurements of photo points using the two instruments have been evaluated. Both of interior and exterior parameters computed from digital triangulation and digitized photos have been used to produce the orthoimage. The resultant orthoimage was then superimposed and compared with the existing 1/1000 digital map. The results have indicated that: 1. The RMSE of digital method were X = 0.097m, Y = 0.090m, Z = 0.161m; the RMSE of analytical method were X = 0.132m, Y = 0.120m, Z = 0.144m; 2. Digital aerotriangulation could be performed using small format photos.

新聞攝影在中國的發展脈絡與西方國家不同，不僅在於攝影與紀實攝影引入中國的時間背景正處於中國政經混亂的年代，使得新聞攝影的地位無法獨立，另一方面，也在於1949年中國政局變革後，政府當局對新聞媒體的掌控，使得新聞攝影內容受政府政策影響和干預。 本研究以影像角度，探討2008年中國四川省汶川大地震這一重大災難新聞中，新華網照片中所隱藏的影像訊息結構。研究者以官方媒體機構新華網站上的川震專題新聞照片系列作為研究對象，透過符號學與論述分析方法，釐清影像所再現的黨政宣傳機制、中國媒體的宣傳工具地位受箝制情形、影像訊息所構築的意識型態內容，並探討「政治正確」與新聞媒體在影像上的自主空間縫隙。 研究發現，在川震災難新聞的處理上，照片內容呈現：（一）影像元素呈現正面的訊息，但正面訊息的層次多元；（二）影像修辭符合「中國特色」和「愛國主義／民族主義」情懷；（三）影像元素不脫離政治正確和政治權力結構的框架。於是，透過研究發現，可解讀到：新華網的新聞影像亦以正面的手法宣傳國家形象，只是，這些框架中的影像元素中仍藏有「意外的」敘述事件，即，那些未被放大的訊息和刻意隱藏的「新聞事實（大多為負面訊息）」在「和諧、設計過的場景」內，有時反而顯得突出而明顯。 可見，正面或負面的新聞訊息，在選取和框架上並不如文字訊息那樣容易或簡便，也因此，中國媒體受到政治權力運作問題，在新聞影像呈現上，產生更多的探索空間。

本研究的動機在整合攝影測量與網際網路技術，主旨為研究經由網路瀏覽立體影像之分析。為製作地物之立體影像，研究中使用非量度性數位相機，於地面垂直拍攝二棟建物，以補色原理製成數值像對，接著建置研究區之導覽網站，並將立體影像連結上網，提供立體觀察。本研究亦以Java程式設計立體浮測標，提供觀察者瞭解地物之遠近或高低。 　　實驗呈現若以柯達DC280數位相機進行近景攝影測量，前方交會地物檢核點之空間位置可達像空間上次像元之精度，像比例尺為1/1680時，相對精度可達物距之1/8400。研究結果顯示：結合攝影測量與網際網路可充分展現影像之三維空間。 / The ideal of this study is to put together the knowledge of Photogrammetry and web technology and then provide the 3D pictures for web browsers. 　　A non-metric digital camera is used in this research to shoot two building on the ground vertically. The color-contracting theory is applied to construct the website and create a stereoscopic viewing on the targets within the experimental range. In addition to color-contracting theory, floating mark designed with Java program is also used to help the web users better understand the distance and altitude in proportional to the surrounding objects. 　　According to the experiment in this research, pictures taken with Kodak digital camera model #DC280 together with help of close-range photogrammetry. turn out to beas accutate as those taken with sub-pixel standard (1:1680 proportion versus 1:8400 accuracy). Photogrammetry joins with Internet will successfully disclose the 3D concept and will promote the idea of Photogrammetry.