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Get Back: The Beatles

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為了解決shoot拍照的問題，作者 這樣論述：

★首度公開！傳奇樂團披頭四1970年最後一張專輯《Let It Be》幕後創作紀實 ★收錄數百張從未曝光照片 ★獨家披露四人會議逐字稿 　　本書從披頭四解散前一年1969年的一月揭開序幕，當時他們第九張錄音室專輯The BEATLES（The White Album）登上排行榜冠軍，四人齊聚倫敦著手新企畫。在接下來超過二十一天日子裡的場景首先出現在特威肯曼電影製片所（Twickenham Studios），接著在全新的地下錄音室Apple Studio，他們用攝影機和錄音機記錄每天的工作和對話。期間他們排練了大量歌曲，並在自己的蘋果唱片總部頂樓舉辦舉辦了一場即興演唱會，震驚了倫敦市中心直到警

察前來才結束。 　　這本《The Beatles: Get Back》以文字記錄樂團坦誠的對話，講述樂團解散前這段時間發生的故事。英國著名音樂類型作家John Harris彙整超過120小時的錄音，帶讀者重返錄音室身歷其境。當時拍攝搖滾樂團聞名的攝影大師Ethan A. Russell，以及為名人和流行音樂家拍照的專業攝影師Linda McCartney（兩個月後與保羅•麥卡尼結婚）特別獲准為他們紀錄影像，數百張當時拍攝的照片將在本書首次發表。 　　書中還特別收錄選自魔戒名導Peter Jackson紀錄片《披頭四：GET BACK》55小時修復鏡頭的獨家高解析度畫面。今年本書將與該紀錄片

同步紀念《Let It Be》50周年里程碑。 　　本書回顧披頭四面臨分崩離析的嚴峻時期。 但如著名小說家Hanif Kureishi在序中所言：「他們當時正處於巔峰期，創作出最好的作品。我們有幸目睹形塑他們巨作的初期草稿、錯誤、轉變、離題、無聊、興奮、干擾和突破。本書在他們最後一場表演經過半個世紀之後，完成了披頭四創意奇才、永恆音樂和振奮人心的傳奇故事。」 　　“本書可見Ethan A. Russell和Linda McCartney的照片，Peter Jackson和Hanif Kureishi的文字。但最棒的是，書中會議的逐字稿就像諾貝爾文學獎作家Samuel Beckett寫下的

對白。” ——美國權威音樂雜誌《滾石雜誌》 　　“平心而論，Let It Be至今仍象徵披頭四的解散。真相其實略有出入。Let It Be的真實故事在蘋果唱片總部封印了50年。” ——Peter Jackson 　　The most anticipated book in more than a decade by the legendary band, The Beatles: Get Back is the official account of the creation of their final album, Let It Be, told in The Beatles’ own

words, illustrated with hundreds of previously unpublished images, including photos by Ethan A. Russell and Linda McCartney. Half a century after the 1970 Let It Be album and film, this milestone book coincides with the global release of Peter Jackson’s documentary feature film, The Beatles: Get Bac

k. 　　The book opens in January 1969, the beginning of The Beatles’ last year as a band. The BEATLES (The White Album) is at number one in the charts and the foursome gather in London for a new project. Over 21 days, first at Twickenham Film Studios and then at their own brand-new Apple Studios, wit

h cameras and tape recorders documenting every day’s work and conversations, the band rehearse a huge number of songs, culminating in their final concert, which famously takes place on the rooftop of their own office building, bringing central London to a halt. 　　The Beatles: Get Back tells the sto

ry of those sessions through transcripts of the band’s candid conversations. Drawing on over 120 hours of sound recordings, leading music writer John Harris edits the richly captivating text to give us a fly-on-the-wall experience of being there in the studios. These sessions come vividly to life th

rough hundreds of unpublished, extraordinary images by two photographers who had special access to their sessions―Ethan A. Russell and Linda Eastman (who married Paul McCartney two months later). Also included are many unseen high-resolution film-frames, selected from the 55 hours of restored footag

e from which Peter Jackson’s documentary is also drawn. 　　Legend has it that these sessions were a grim time for a band falling apart. However, as acclaimed novelist Hanif Kureishi writes in his introduction, “In fact this was a productive time for them, when they created some of their best work. A

nd it is here that we have the privilege of witnessing their early drafts, the mistakes, the drift and digressions, the boredom, the excitement, joyous jamming and sudden breakthroughs that led to the work we now know and admire." Half a century after their final performance, this book completes the

story of the creative genius, timeless music, and inspiring legacy of The Beatles. THE BEATLES are the bestselling music act of all time. Between 1962 and 1970 John Lennon, Paul McCartney, George Harrison and Ringo Starr released thirteen albums as a band, made five films together, and topped th

e charts all over the world. Until 1966 they toured the world to unprecedented mass acclaim, inspiring the phenomenon of Beatlemania. Their creativity stretched the possibilities of popular music and -- working with their producer George Martin -- they revolutionized studio recording processes. They

had an unrivalled impact on the music industry, fashion, popular culture and society in the 1960s and beyond, and their influence persists today. PETER JACKSON is an Academy Award winning director, producer and screenwriter. His films include The Lord of the Rings and The Hobbit trilogies as well

as the BAFTA nominated World War One documentary They Shall Not Grow Old. In 2018 he began work on a new documentary about The Beatles’ 1969 Let It Be sessions, making use of the 55 hours of footage that have never been seen. HANIF KUREISHI is the author of The Buddha of Suburbia, which won the Whi

tbread Prize for Best First Novel, The Black Album, Intimacy, The Last Word, The Nothing, and What Happened? His screenplay for My Beautiful Laundrette received an Oscar nomination for Best Screenplay. Kureishi has been awarded the Chevalier de l’Ordre des Arts et des Lettres, the PEN Pinter Prize,

and is a Commander of the Order of the British Empire. His work has been translated into thirty-six languages. JOHN HARRIS writes for The Guardian and Mojo magazine. His books include The Last Party, about the culture of the 1990s, and the definitive account of Pink Floyd’s The Dark Side Of The Moo

n. In 2018, he contributed an essay to the 50th anniversary edition of The Beatles’ White Album. ETHAN A. RUSSELL is a multiple Grammy(R)-nominated photographer, director and author of four books. He is the only photographer to have shot covers for The Beatles, The Rolling Stones and The Who. He wa

s invited by The Beatles to photograph the band’s recording sessions in January 1969 and his images adorn the sleeve of the Let It Be album. LINDA McCARTNEY was a prolific photographer and began her four decade career chronicling the musical revolution of the 1960s. In 1967 she was voted US Female

Photographer of the Year and in 1968 she became the first female photographer to shoot the cover of Rolling Stone magazine. Her photographic work went on to focus predominantly on the themes of social commentary, domesticity, nature and the experimentation of printing techniques. Linda’s exhibitions

have been exhibited in over 70 cities and feature in the collections of the Victoria & Albert Museum and National Portrait Gallery. Between 1967 and 1969 Linda frequently photographed The Beatles, including the Get Back sessions, and she married Paul McCartney in March 1969. As well as her photogra

phic career, Linda was a cookbook author, vegetarian pioneer, musician and mother of four.

shoot拍照進入發燒排行的影片

應用簡化立體光度法於肖像光影重建系統

為了解決shoot拍照的問題，作者張欣媛 這樣論述：

隨著科技的發展，智慧型手機鏡頭、軟硬體配置的提升與普及，攝影、拍照已日漸成為大眾日常生活的一部分。但對於修飾照片、影像融合的光影問題在學術界、影視產業…等領域一直是重要課題。為解決此類問題，學界與業界皆已投入大量人力，並已有顯著改善結果，但耗費成本過於龐大，僅用於實驗研究與專業用途，並非普通民眾能夠接觸並負擔。對此本研究提出一套基於真實物理反射特性的肖像光影重建系統，以一台數位單眼相機搭配五盞燈之簡化硬體架構進行影像擷取及運算，獲得漫反射貼圖及法向量貼圖，再透過光影重建軟體進行呈現。此架構適合用於如大頭貼機、拍照機等簡易攝影棚。本研究針對肖像攝影開發一套光源重建系統，分別針對硬體及軟體個別進

行研究。在硬體建立部分，本研究以理想球體作為校正基準，並採用簡化的立體光度法計算球體法向量。接著利用不同曝光條件組合取得誤差最小的法向量貼圖之拍攝條件，使得拍照時的整體法向量平均誤差低於8.04度。在軟體部分，利用硬體拍攝之肖像照片及法向量貼圖，以單一光源模擬各種配置角度，進行肖像影像光影重建之渲染。在效能評估方面，本研究針對肖像表情、化妝以及光源角度等條件進行24位成年人的人因實驗，並與Adobe公司的生成DPR的技術進行一對一的立體感比較。實驗結果顯示，肖像表情、是否化妝以及光源角度皆會影響選擇結果。本研究在實驗樣本中48.9%優於Adobe公司生成DPR的技術。其中，在實驗室環境的實驗問

卷中，本研究在實驗樣本中66.25%優於Adobe公司生成DPR的技術；在遠端使用線上實驗問卷中，本研究在實驗樣本中40.25%優於Adobe公司生成DPR的技術。

缺席的照片：關於那些沒拍下的瞬間

為了解決shoot拍照的問題，作者WillSteacy 這樣論述：

　　這次，他們並非透過相機鏡頭朝外部世界凝視，這些文字直穿過心眼，洩漏了攝影最裸裎而原初的形式──亦即「初念」。這些心靈底片描繪了那些因無法存在於單格相紙中、而從未被編輯的世界。 ─威爾‧史岱西 　　這是一本沒有照片的攝影書，談的是六十二位以拍照維生的攝影師們沒拍下的那些照片。 　　當你隨時隨地都能拍下照片的時候，有什麼樣的照片是你想拍、卻沒能拍下的呢？而手持著相機就如入無人之境的攝影師，竟然也有沒能拍下的照片嗎？ 　　因為情境過於詭奇使然而無法拿起相機拍下的照片；因為忘了裝底片而沒拍下的照片；因為拍攝對象的轉變而無法繼續拍攝的那些照片，因為更忙於成為母親而沒能拍

下的自己小孩的照片……這些攝影師們沒拿起相機拍攝、或拿起相機卻沒有拍攝、或拍攝了卻沒有拍成的理由各式各樣，有些有著黑色幽默，有些則令人感覺寂寥或哀傷。 　　這本書揭露並且翻轉了「攝影」的程序：總是以「攝影師之眼」看見、以攝影機之眼拍下的照片，返回到「拍攝」這件事的最原初──也就是「想拍下」的這個初念；也因此這些「想拍，卻沒能拍下的照片」，在心靈的底片上留下了比拍下的照片們更難以抹滅的顯像。

日夢之地 －邊緣性空間的影像與探討

為了解決shoot拍照的問題，作者李若綺 這樣論述：

筆者一直對於城市中的邊緣性空間、角落、縫隙、廢墟感到有一股吸引力，常常會去各個地方探險，拍照與作為秘密基地在那個所在發呆、看書或做白日夢，藉由這次的論文，筆者想要去探討自己內心與這些邊緣性空間的關聯性，也希望可以藉由邊緣性空間探討社會體制與人的存在狀態。 對於廢棄物件筆者也有莫名的迷戀，在論文中思考筆者、邊緣性空間與廢棄物的連結，藉由廢棄物件做為材料來改造及介入這些邊緣性的空間，試圖在一成不變的日常生活裡做一些改變、並且碰撞體制，而因為筆者是晚上天天會做夢、白天也很容易做白日夢的人，因此想要藉由在各個邊緣性空間給予的不同感受，想像出不同的白日夢，在這些被改造的邊緣性空間中放置角色、觀察

角色在空間中產生的行為並以錄像的形式保存並再呈現，藉由錄像作品可保留當下、在各個空間播映及讓人產生共鳴的特性，使這些邊緣性空間中的創作可以轉化成為一場可重回當下的創作。 在錄像作品裡加入了筆者的環島書寫為文本，將空間轉化為文字、轉化為夢境，在創作過程中筆者踩踏著社會體制模糊的地帶，也感受著自己存在的意義，在創作成果中進行一場播映的儀式性演出，無論在撿拾過程與構築過程中、或是最後的錄像成果，全部皆為創作的一部份。 錄像呈現為給觀者的共鳴與反思，而過程卻為筆者無可取代的自我意識與自身的存有性，因而邊緣性空間並不只是探討空間本身，而是一個可以不斷發散及延伸下去的空間能量，在此論文與創作中

，筆者孤單的面臨著種種的挑戰與煎熬，與世界孤軍奮戰，最後想要引用一句話來表達筆者的感受：如果你感到無法融入這個世界，那是因為你在世上的任務是創造出更好的世界。 －無名氏 《共感人自救手冊》