摘要

將相隔幾吋視點所繪出的兩幅圖畫透過立體視鏡，可以產生令人振奮的三度空間的實體影像，在文藝復興時期早就為人津津樂道。至攝影術的發明，立體照片的魅力更迅速蔓延橫掃全球，從海報到電影；由像框到多媒體，這個19世紀引燃的視覺革命，至今仍持續發光發熱。
166年來，隨科技突飛猛進，人類觀賞影像的態度也劇烈的轉變，無論是照片的品質、看片器與投映設備的精進，在環保意識高漲的今天，以化學顯像的方式，逐漸受到質疑，電腦顯示器成了「望外」(LOOK OUT)這個世界的絕對窗口。
立體影像應用在多媒體展示中，不但可以實體再現，讓觀者彷彿親臨現場，甚至誇張效果，比真實還更真實，破除單眼錯視覺的魔咒，人們不再瞎子摸象。
運用軟體，輕易地將個人風格的立體照片呈現在螢幕上，而不需任何配戴，這種偉大的視覺浪潮，是時代的趨勢銳不可擋。
20年前與立體照片巧遇，結下終身之緣，研究生親身體驗，由簡入繁，從靜態到動態；期間也多次走訪名家及業者，瞭解台灣目前生態和世界潮流，作者希望在本研究中釐出立體攝影在多媒體運用的去來。
在實驗創作當中，研究生同時以傳統和數位相機實際操作立體攝影的完整過程，並多次與資深攝影專家切磋改進、交換心得、汲取經驗，希望立體攝影之成就有前例可循。在第三章中研究生利用影片剪輯的方式作新的嘗試，將連續動作圖片串聯後，加上時間因素就成了動態的立體電影片
此番研究主要在闡述繪畫上空間的概念、視覺系統，立體影像製作、欣賞與視覺心理感受，從DIY自製看片器、立體照片、電子相簿、靜態立體電影等，研究生親身體驗，分享實驗心得，開拓立體影像在多媒體展示應用的潛力，希望透過此番研究拋磚引玉，吸引更多同好一起為推動立體攝影而努力，讓立體攝影在這片土地迅速開花結果。

ABSTRACT
It was to be taken delight in talking about two images which were at a distance of few inches of eyesight could produce the 3D images through the 3D glasses in the Renaissance. Till the invention of photography, the 3D photos express quickly to all world. From posters to movies and from frames to multimedia, the evolution of vision in 19 century still radiates and gives out heat now.

For 166 years, the technology progresses rapidly. The attitude of people appreciating the images changes quickly. No matter the quality of photo, the equipment of action viewer and screen, the display of images by chemical way was queried gradually. The computer monitor changes to look out. The application of 3D images in the multimedia display can reappear the substance and make the spectators as though arrive the locale. It has the effect of exaggeration and it’s truer than truth. It can get rid of the witchcraft of the single vision. People would not be busy for nothing. The application of the software can express the 3D photos which are the personal style in the screen easily and people needn’t wear any equipment. The great vision evolution is the tendency. It can’t be held back.

20 years ago, I contacted the 3D photos and then made a reason with it. I experienced firsthand by myself from easy to complex and from static state to motion situation. I visited some famous expert to understand the situation about the 3D photos. I hoped to explore the application of 3D photography in the multimedia field. In my research, I used the traditional camera and digital camera to operate the 3D photography at the same time and learned from other expert by exchanging views. I hoped that the accomplishment of 3D photography has the precedent to follow. In the chapter 3, I attempted to use the film editing and made the continuous motion pictures to be the series connection. After adding the time factor, it became to be the mobile 3D film.

In my research, I wanted to illustrate the space concept, the vision system, the fabrication of 3D images, appreciation and the visual feeling. From the manufacturing of the action viewer, 3D photos, electric albums, and static 3D films, I made the experiment and shared the acquaintance. I also wanted to explore the potential of the application of 3D photos in the multimedia display. I wish that the research can attract more people interested in taking photograph to advance the 3D photography. Then the technic can express quickly in Taiwan.

第六章 參考文獻
6.1書籍論文部份
 蔣載榮，民91，《觀念攝影》，台北，雪嶺文化事業有限公司。
 洪蘭，民84，《心理學》，Henry Gleitman原著，台北，遠流出版社。
 劉其偉，民79，《現代繪畫基本理論》，台北，雄獅圖書股份有限公司。
 楊清田，民81，《反轉錯視原理與圖形設計研究》，台北，藝風堂出版社。
 李錦松，民80《立體攝影》，台北，自行出版。
 呂清夫，民79，《藝術•設計的平面構成》二版，台北，北星圖書公司。
 麥都格．赫里，《視覺的震撼》，台北，時報文化。
 田中正明，民77，《視覺傳達設計》
 林美鍊，民81，《視覺搜尋之個人因素探討》，台技
 盧東華，民77，《視覺語言與圖像語言之要義》，台大
 徐東濱，民65，《攝影的技術》，台北，時代公司
 鄭國裕，民87，《現代攝影》，台北，藝風堂
 莊勝雄，民87，《攝影進階》，台北，授學出版社。
 格列高里(L.Gregory)，民76，《視覺心理學》，五洲出版社
 拿期許，民58《視覺錯覺》　 　
 張去疑，民61《立體攝影術之應用》　 　
 寫真大事典，昭和60年，講談社
 Naomi Rosenblum，《A WORLD HISTORY OF PHOTO GRAPHY》，ABBEVILLE
6.2期刊部份
 攝影天地雜誌
 立體劇場放映原理 台北市天文科學教育館
 COMMERCIAL PHOTO 玄光社
6.3網路電子資料部份
 李錦松 3-D攝影教室 www.vr.com.tw
 劉祥睦 三度空間的科學與哲學 www.uart.org.tw
 林志隆 全像術 www.nmns.edu.tw
 VR-CLUB 3-D體驗區 www.apec.com.tw
 http://www.3dstereo.com/viewmaster/glf-xr.hlml