一般人總以為電視新聞攝影記者的主要任務，只是拍攝影像。倘若換個角度觀察，記者既要擷取新聞畫面、又要編輯影像，以配合文字語音敘事。因此電視新聞攝影工作，既是建構新聞內涵，也是發現與解決實務問題的過程。攝影記者最困擾的問題之一，在於當畫面影像不足以搭配文字和語音時，如何適時彌補「破口」(Gap)。因此，攝影記者工作重點之一在彌補素材不足。 本研究所關注的問題是：攝影記者工作的主要情境為何？他們如何運用策略和情境互動，以解決素材不足的困境？本研究從資訊尋求、配置智能，以及活動理論等觀點切入，並透過深度訪談和參與觀察，以蒐集資料，以解答本研究關注的問題。 記者尋找畫面資料素材，是知識、策略和情境互動的歷程；一方面，攝影記者累積工作知識，定義資訊缺口、並選擇資料來源；另一方面，記者也因應情境變化、隨時取捨資料、並調整先前資料蒐集策略。 攝影記者能力並不應該只是呈現在操控機具、或卡位、搶拍畫面的能力；更重要的或許是臨機應變、運用資源彌補畫面與文字落差的資訊蒐集能力。研究成果可以讓我們重新思考未來電視新聞攝影教育和訓練的課程內涵。 / The Cameramen gathers visual formation for TV news. They gather not only “fresh” clips on the spot, but also “classic” ones from archives and other sources. Both requires cameramen to find resources surround and make decisions. Clip seeking can be identified as one of the major characteristics of cameramen’s work. The purpose of this study is to find how cameramen fill up insufficient resources for their daily reporting activities: mainly, what contexts are they situated and how they develop the strategies to respond the contexts? This researcher collected data, in two critical cases, by employing depth interviews as well as participant observation. Controlling cameras and capturing visuals may only count for a small part of cameramen’s required talents. Finding discontinuity and meeting the gap requires cameramen solve problems by identifying and organizing resources in order to in changing environment. Cameramen are more reflexive practitioners than device operator. This result may lead us to revisit design of TV journalism curriculum.

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.

這是一篇有關台灣報社攝影記者的深度報導。本報導藉由攝影記者在台灣媒體環境中的弱勢，凸顯攝影記者專業地位尚未建立的事實。到底未來攝影記者該如何邁向專業之途？專業發展的路上又有哪些障礙？本文從專業知識、專業自主、專業承諾和專業責任四個角度切入，探討攝影記者工作的現況，歸納出攝影記者在專業發展上所應具備的特質，並進一步指出發展新聞攝影專業的主要作法。

本研究探討國內電視新聞攝影記者採訪報導颱風新聞的採訪應變與專業意理。研究採取質化的深度訪談法，訪談12名任職於台北有線、無線電視新聞頻道的男性攝影記者。研究結果發現，攝影記者在自然環境破壞與充斥新聞編輯室時效、災難影像競爭壓力的報導現場裡，克服環境、設備資源侷限發展應變之道，而能因地制宜、就地取材、或朝向預防準備方向。當自然環境衍伸出採訪安全風險時，攝影記者會權衡多重面向因素，如：編輯室內控壓力、自然環境、個人因素、與文字記者配合程度而決定是否涉險，過往受傷經歷也讓攝影記者累積採訪智識，判斷環境風險。但是，攝影記者為了應付編輯室壓力、採訪安全問題，常產生目的導向的「偏差介入式」報導手段。 　　攝影記者採訪報導颱風創傷新聞情境，面對死者遺體與受創傷者的情緒壓力會在現場或報導完後有所展現，他們會藉由採訪智識、前輩經驗傳承或自我創建降低心理創傷的採訪方式、調適辦法。且攝影記者對颱風創傷情景的記憶，會連帶觸動他們工作生涯裡初次與印象最深刻的創傷新聞情景，進行跨事件聯想。過往創傷新聞經驗會脈絡性地影響攝影記者採訪報導方式，有助於專業意理養成、但也可能助長偏差的報導手段。 　　專業意理於攝影記者採訪報導颱風新聞的實踐，傾向以新聞本質的記錄真實、快速傳遞訊息而自然而然地發揮媒介助人、批評譴責、動員、關懷、設定議題、解決問題等正向功能。但是，這些正向的媒介功能卻會被攝影記者作為合理化偏差報導手段的藉口，記者僅重視報導可能帶來的正向「結果」，忽視採訪報導方式的「程序正義」。在在反映攝影記者欠缺採訪報導創傷情境的認識、應變颱風報導環境限制的安全策略，與抵抗編輯室內控壓力的適切辦法。 / This study investigates television photojournalists’ adaptation strategies and professional ideology when covering typhoon news in Taiwan. 12 male photojournalists who work in cable and network television stations in Taipei are in-depth interviewed. The findings indicate that photojournalists seek resources from the news venue and adapt them to fit in the local circumstances, or prepare in advanced to deal with the possible restrictions from natural environment due to typhoon disasters. Simultaneously, photojournalists also weigh multiple factors to take risks for news or not, like competitive pressures, newsroom routines, natural environment, individual causes and the degree of cooperation with their counterpart. They evaluate risks of natural environment based upon their hands-on wisdom that is collected from past physical hurt experiences. However, photojournalists under the pressure of competition sometimes use inappropriate ways to shoot news footages and get involved in news events to make sensational typhoon news. 　　Interviewed photojournalists have emotional stresses when facing corpses and traumatized people at the news venue, even after work. Covering wisdom, senior photojournalists’ experiences and suggestions are good way to mitigate photojournalists’ emotional stresses and trauma. The interviewees’ answers to typhoon reporting are often associated with their first trauma news experiences and most impressive event. Those significant experiences in their career will influence photojournalists’ reporting methods towards nurturing beneficial professional ideology or increasing inappropriate covering measures. 　　Photojournalists tend to develop positive media functions, like helping, criticism, mobilization, care, agenda-setting and solutions-developing to accomplish their professional ideology by reporting truth and conveying disaster messages as soon as possible. Nevertheless, photojournalists only focus on “consequentialism” of effective media functions, but discard “procedural justice” of moral reasoning in typhoon reporting. The so-called professional ideology is only optimistic bias among photojournalists.

《睜開左眼》真實紀錄了國內四位電視台記者太短又太長，太急又太慢的職業生命。都說記者是無冕王，其實他們像乞丐般一整天蹲在特偵組前面，只為乞求一個不到5秒鐘的約談畫面；或者配合業主拍攝美美的業配新聞。對於一個擔任15年把最精華的人生歲月都給了新聞工作的電視新聞攝影記者來說，究竟「什麼樣的事物是生命當中最重要的註腳」？ 長久以來，觀眾所看到的電視新聞都經過了不只一道的壓縮與過濾，事件真實的樣貌當然是難以窺視。不過在這部紀錄片當中，我們清楚看到了目前商業電視台無法避免的「業配新聞」究竟如何產製？而這些站在第一線見證歷史的攝影記者們又是怎麼面對？ 如果我們把電視媒介生態當成一幅拼圖，那麼「電視新聞攝影記者」與「新聞產製過程」無疑的是兩片重要的拼圖，而紀錄片《睜開左眼》就剛好適時的把這兩片拼圖擺到他應有的位置上。 / The documentary named “Eye on the Left” is literally telling a true story about four TV news cameramen whose life careers in Taiwan were too short, too long, too harsh and too slow. We always said the reporters are the King without Crown, but the truth is, they are little more than a group of beggars sitting in front of the Special Investigation Division all day long, begging for an opportunity to capture the certain person interview by the prosecutor for finding their individual counseling which the content of length is only less than 5 seconds. Thing can be worse that reporters were forced to make a series of nice-looking paid news in order to fulfill the commercial buyers' demand sometimes. As a professional reporter who have been dedicated his prime 15 years to TV news reporting and videos taking, he might ask himself, “what is the most significant thing during my career?” For a long time, the TV news which offer to audiences daily is manipulated by not only but several human interferences and condensed selectively, the truth behind the scene is very hard to reveal to the public. However, in this documentary, we can understand apparently the fact about how the commercial TV company produce the “paid news” which they are just cannot say no to the buyers. And how these TV news cameramen witness and face the historical scenes they encounter in the front line. If we consider that the TV media as an uncompleted jigsaw puzzle, the “TV news cameraman” and the “Process of News Reporting” are undoubtedly the last two essential pieces to assemble together. “Eye on the left”, just put all of them back to their right positions in the best time.