室內燈光 色溫的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列各種有用的問答集和懶人包

單燈人像：預視現場，用一支閃燈打出各種可能【暢銷經典版】

為了解決室內燈光 色溫的問題，作者張道慈 這樣論述：

尋光顯影＿ 亮部暗部＿ 階調過度 專注現場觀察＿讓直覺引領畫面＿拍出人像真本事  一支燈搞定 室內／戶外／夜間 等場景環境，挑戰人像拍攝極限，內容圖解左右對照超直白，破解專業人像攝影師的用光邏輯、打光鏡位與拍攝技巧，一起修煉攝影心法。 「一支燈」、「淺顯易懂」、「實境佈光圖」為這本書的中心理念，許多人像攝影的初學者進階到打燈時，都是從一支燈開始，無論是棚燈或是小閃燈。我們利用單燈來挑戰人像拍攝的可能性，除了說明日常與人造光線、曝光等基礎運用知識外，更從照片的影像細節切入，如何從小地方去觀察一張好照片的構成？並在各個實例拍攝中融入作者本身長久以來的拍攝心法。我們非常確定你

用心閱讀體會修煉後，偷到技巧只是應該的，更棒的是你能學會在面對各種不同的拍攝情境下，適度調整自己的拍攝心態，把攝影交給靈魂，讓作品說出最真的話。 ◎沒關係，你還有一支燈啊！只要記得光從哪裡來，就從那邊打光，細心觀察現場環境找出突破點，人像用光需要大膽假設，掌握光影特性，在亮與暗之間，打出屬於你自己的——完美階調。

室內燈光 色溫進入發燒排行的影片

復甦中的大觀園—一個由環境劇場觀念推動的社區改造經驗

為了解決室內燈光 色溫的問題，作者顧德偉 這樣論述：

社區的集體記憶是社會中庶民記憶的一部分，但隨建物的老舊，社區常走向衰亡的命運，庶民記憶也汲汲可危。大觀園是戰後中原大學師生與社區居民的共同生活場域，目前也正面臨垂亡的命運。本研究藉由行動研究的研究方法、R. Schechner環境劇場概念作為環境塑造的概念，以都市針灸觀念檢視並療癒大觀園社區，以社區總體營造理念帶動大觀園的發展。將上述觀念與方法，在大觀園中導入軟硬體的活化策略，企圖挽救這一瀕臨消失的師、生、民的共同記憶場域。主要方法有文獻探討、田野調查、實驗性實作與訪談。主要研究成果：1）在行動研究方面，以行動力的直接參與、實作，改善大觀園1220㎡，並獲得第一手資料；2）在環境劇場方面，將

此觀念實際轉化為創造獨特大觀園的空間；3）在都市針灸方面，針對節點、區域做改善，燃起居民對大觀園的希望；4）在社區總體營造方面，藉由教學推廣、改善示範，影響師、生、民，亦即「人」，達到永續改造大觀園的初衷。本研究影響學生約240人、居民約15人、大眾18000人（臉書按讚數）、公部門約20人對大觀園的看法，並吸引8間小店一同經營大觀園。並將成果由老師介紹給公部門。

攝影用光：快速提升照片水平的150個關鍵技法

為了解決室內燈光 色溫的問題，作者北極光攝影 這樣論述：

攝影是光與影的藝術，沒有光也就沒有攝影。本書從基礎知識和技巧實戰兩大方面介紹了如何掌握攝影曝光與用光方法。   在曝光與用光基礎知識部分，本書向各位讀者講解了曝光的控制方法，以及不同方向、不同時間、不同天氣情況下光線的特點；在曝光與用光實戰技巧部分中，本書從人像、風光、建築、動物、植物、靜物6個題材中總結出150個關鍵技法， 每一種技法均以圖文並茂的形式，直觀地展示出使用此技法後可以給畫面帶來的變化，從而讓讀者更容易理解並掌握攝影用光。 本書適合攝影愛好者，尤其是在用光方面遇到瓶頸的攝影愛好者參考閱讀，對於有一定經驗的攝影師，本書也同樣適用。 北極光攝影是由多位有豐富攝影

從業經驗的攝影師組成的作者團隊，得益於多年拍攝的積累，有著豐富的圖片資源和技巧沉澱，長期致力於普及單反器材使用與實拍技巧的提升。 第 1 章 曝光與用光基礎知識 [ 簡介 1] 如何考慮曝光與用光 ······················ 10 [ 簡介2] 曝光與用光學習路線 ······················ 11 [ 步驟 1] 學會控制曝光量 瞭解什麼是曝光 ················································· 13 沒有正確的曝光，只有合適的曝光 ··················· 14 控制曝光的三

個要素 ········································· 15 快門速度對曝光及畫面效果的影響 ··················· 15 高速快門抓拍瞬間動作 ······································ 16 低速快門記錄車燈痕跡 ······································ 16 光圈對曝光及畫面效果的影響 ·························· 17 大光圈得到小景深畫面 ······································ 18 小光圈得到清晰的風

景照 ·································· 18 感光度對曝光及畫面效果的影響 ······················· 19 高感光度拍攝弱光美景 ······································ 20 低感光度畫面細膩 ············································· 20 靈活運用光圈、快門速度和感光度拍攝不同效果····························· 21 使用AUTO模式快速設置曝光參數 ···················· 22 程式模式（P）靈活組合

曝光參數 ····················· 22 光圈優先模式（Av）表現不同的景深效果 ········ 23 用光圈優先模式突出主體 ·································· 24 快門優先模式（Tv）表現不同的動態效果 ········ 25 凝固瞬間動態效果時使用快門優先模式 ············ 25 手動模式靈活掌控曝光 ······································ 26 理解曝光補償 ······································· 26 特殊的情況下利用曝光補償調整畫面 ··

············· 27 拍攝對象顏色較深時減少曝光補償 ··················· 28 拍攝對象顏色較淺時增加曝光補償 ··················· 28 使用曝光鎖鎖定被攝物的曝光 ·························· 29 複雜光線條件下可使用包圍曝光模式 ··············· 30 液晶屏重播照片檢查曝光情況 ·························· 31 通過長條圖判斷曝光情況 ·································· 31 曝光不足時的長條圖 ·····················

···················· 32 曝光過度時的長條圖·········································· 33 拍攝煙花時的長條圖·········································· 34 畫面反差過大的長條圖······································ 35 畫面反差較小的長條圖······································ 35 根據長條圖糾正曝光·········································· 36 分析RGB長條

圖················································· 37 [ 步驟 2] 認識不同光線的特點 明暗過渡均勻的柔光·········································· 38 柔光的畫面層次細膩·········································· 39 柔光下的影調更均勻·········································· 39 層次分明的硬光················································· 40 硬光突

出質感······································· 41 硬光加強明暗對比············································· 41 順光場景清晰明亮············································· 42 順光顏色真實·········································· 43 前側光立體感很強············································· 44 側光的畫面明暗對比明顯····················

·············· 44 側光適合表現質感············································· 45 側逆光表現物體輪廓·········································· 46 側逆光使畫面明暗層次更豐富··························· 46 逆光製造畫面空間感·········································· 47 逆光表現毛髮的邊緣輪廓·································· 48 頂光突出物體立體感·············

····························· 49 腳光製造畫面氣氛············································· 49 黎明前的高色溫光線·········································· 50 拍攝照片的黃金時段········································· 50 9點之前的光線比較柔和··································· 51 中午的光線很硬············································

····· 52 溫暖的午後·········································· 53 夕陽的霞光漫天················································· 53 晴天硬朗的直射光線·········································· 54 烈日下的取景技巧············································· 54 陰天的柔和光線················································· 55 突出雨天特色的畫

面效果·································· 55 使用閃光燈需要準備的器材······························· 56 閃光同步時間········································ 57 反射光柔和自然················································· 58 機位直接閃光法減少投影·································· 59 通過距離控制閃光燈強弱·································· 60 調節閃光

補償控制閃光燈強弱··························· 60 混合光的畫面效果············································· 61 多個光源時要注意分清主次······························· 62 根據主光進行曝光············································· 63 根據主光色溫設置白平衡·································· 63 閃光燈與日光的混合·········································

· 64 [ 步驟 3] 理解畫面的影調影調的意義···································· 65 粗獷的影調增加畫面的力量感··························· 66 均勻的影調畫面層次細膩·································· 66 明亮、清新的高調············································· 67 高調表現柔美感覺············································· 68 增加曝光形成乾淨的高調畫面···············

············ 69 平淡真實的中間調畫面······································ 70 雄渾有力的中間調影像······································ 70 神秘、含蓄的低調照片······································ 71 利用側逆光、逆光拍出低調影像······················· 71 低調不是曝光不足············································· 72 低調照片使用亮部法測光···················

··············· 72 控制光照面積使影調更厚重······························· 73 第 2 章 曝光與用光技巧實戰——人像 1 大光圈突出畫面中的人物····················· 75 2 小光圈表現人物的環境 ························ 76 3 高速快門凝固運動中的人物················· 77 4 對準人的臉部測光································ 78 5 淺色衣服時增加曝光補償····················· 79 6 深色衣服時減少曝光補償··

··················· 80 7 利用曝光過度減少不利因素················· 81 8 利用曝光不足減少不利因素················· 81 9 低調光影表現男性沉穩一面················· 82 10 高調光影表現女性柔美一面················· 82 11 利用陰天拍攝影調細膩的人像 ············· 83 12 利用高色溫光線表現人像的寧靜美································ 84 13 利用低色溫光線表現溫馨感 ················· 85 14 前側光使臉型更立

體 ···························· 85 15 利用側光突顯人物個性 ························ 86 16 腳光減少眼袋、笑紋 ···························· 87 17 散射光表現女性細膩的皮膚 ················· 88 18 小光比的天氣適合表現少女 ················· 88 19 利用頂光表現頭髮質感 ························ 89 20 在烈日下利用反光板為面部補光·········· 89 21 用硬光表現男性的粗獷感 ·················

···· 90 22 柔光表現兒童的天真爛漫 ····················· 91 23 閃光燈可使少女臉部更白淨 ················· 92 24 利用閃光燈縮小畫面反差 ····················· 93 25 利用閃光燈在暗光中突出人物 ············· 93 26 水邊拍攝時避免水面強烈反光 ············· 94 27 靈活使用反光板改變光源色 ················· 94 28 樹林中拍攝時使用透光板過濾光線 ···································· 95 29 投影增加畫面形式

感 ···························· 95 30 光暈營造浪漫氣氛 ································ 96 31 黃昏營造溫馨氣氛的人像 ····················· 96 32 逆光的剪影效果人像 ···························· 97 33 窗邊夢幻效果的人像 ···························· 98 34 眼神光使眼睛炯炯有神 ························ 99 35 輪廓光突出人物的輪廓線條 ··············· 100 36 背景光製造畫面

氣氛，表現人物性格 ···························· 101 37 利用深色背景光突出人物 ··················· 102 第 3 章 曝光與用光技巧實戰——風光 38 利用點測光拍攝日出日落 ··················· 104 39 小光圈捕捉水面晶瑩的反光 ··············· 105 40 小光圈表現燈光的星芒效果 ··············· 106 41 大光圈表現樹葉的半透明感 ··············· 107 42 慢速快門捕捉風的痕跡 ······················ 107 43 拍攝月亮並不

需要大光圈 ··················· 108 44 利用曝光過度去掉畫面的不利因素 ·································· 109 45 曝光不足拍出有“光”的感覺 ··········· 110 46 減少曝光突出樹林的茂密 ··················· 110 47 慢快門記錄煙花的綻放 ······················ 111 48 借助白平衡使日出日落更絢麗 ··········· 112 49 高調影像表現雪景的純淨 ··················· 112 50 利用冷色調表現清晨靜謐的感覺········ 1

13 51 捕捉“耶穌光” ··································· 114 52 側光突出山巒的立體感 ······················ 115 53 逆光呈現山巒的剪影效果 ··················· 115 54 順光表現原野的色彩 ·························· 116 55 逆光表現冰淩的晶瑩 ·························· 116 56 側光表現雲霧繚繞的迷人晨景 ··········· 117 57 利用不同時間的陽光為雲彩染色········ 118 58 借助側光表現霧景的層次感

··············· 119 59 逆光表現波光粼粼的水面 ··················· 120 60 利用夕陽餘暉渲染日落海面 ·············· 120 61 硬光拍攝風景層次分明 ······················ 121 62 偏振鏡使天空更藍 ······························ 122 63 利用中灰漸變鏡縮小天空與地面的亮度差距 ···························· 123 64 利用星光鏡表現夜晚的燦爛燈光 ·································· 124 65 借

助倒影表現湖泊 ······························ 125 66 借助投影增強畫面空間感 ··················· 125 67 拍夜景別等天黑 ·································· 126 68 利用眩光讓風景生動起來 ··················· 127 69 豐富的影調使山水畫面充滿變化········ 128 70 利用CPL偏振鏡拍出清澈見底的湖水 ···························· 129 第 4 章 曝光與用光技巧實戰——建築 71 利用小光圈拍攝清晰的建築及環境 ·····

······················· 131 72 利用慢速快門虛化建築周圍的人群 ·································· 131 73 利用三腳架使用較低的ISO拍攝夜景 ································· 132 74 拍攝室內建築不要懼怕提高ISO ········· 132 75 利用慢速快門拉曝建築燈光 ··············· 133 76 硬光下的建築層次分明 ······················ 133 77 散射光可突出建築的滄桑感 ··············· 134 78 前側光下的建

築物很有立體感 ··········· 134 79 借助室內燈光拍攝建築內部 ··············· 135 80 利用反光表現建築的現代感 ··············· 135 81 暮色中的夜景建築 ······························ 136 82 利用明暗反差強化照片層次感 ··········· 136 83 順光下的建築顏色很柔和 ··················· 137 84 慢速快門表現建築燈光 ······················ 137 85 黃昏的光線襯托建築物的氣勢 ··········· 138 86 注意發現有特色的

建築燈光 ··············· 138 87 利用焦外成像營造帶有光斑的夢幻效果 ·································· 139 88 利用雲霧營造的柔光表現建築的意境美································· 139 89 有特色的建築剪影 ······························ 140 第 5 章 曝光與用光技巧實戰——動物 90 小光圈拍攝動物表現環境 ··················· 142 91 大光圈突出體積小的動物 ··················· 143 92 大光圈突出動物的

表情 ······················ 143 93 高速快門拍攝飛行的動物 ·················· 144 94 利用倒影表現動物 ······························ 144 95 拍攝雪地的動物增加曝光補償 ··········· 145 96 增加曝光補償突出天鵝的潔白 ··········· 145 97 利用點光拍出鳥類的藝術美感 ··········· 146 98 夕陽下逆光效果的馬匹 ······················ 146 99 利用逆光表現昆蟲透明的翅膀 ··········· 147 100 利用側光突出昆蟲

的立體感 ··············· 147 101 強逆光塑造寵物剪影並在身體邊緣形成亮邊 ···························· 148 102 逆光下拍攝毛毛蟲的輪廓光 ··············· 149 103 逆光拍攝動物的半透明感 ··················· 150 104 側光表現貓咪的五官 ·························· 150 105 硬光表現瓢蟲光滑的外殼 ··················· 151 106 冷調拍攝動物藝術感十足 ··················· 152 107 利用暖調營造溫馨畫面 ·

····················· 153 108 低調畫面的飛鳥形式感很強 ··············· 153 109 高調拍攝白色的貓咪 ·························· 154 110 中間調拍攝家中的狗很溫馨 ··············· 154 111 大光比拍攝剪影的水鳥 ······················ 155 112 拍攝小動物儘量不要開啟閃光燈········ 156 113 利用眼神光表現動物的可愛 ··············· 156 第 6 章 曝光與用光技巧實戰——植物 114 利用大光圈突出花朵的細節 ·······

········ 158 115 小光圈拍攝花海 ·································· 158 116 用小光圈捕捉樹隙中的光線 ··············· 159 117 增加曝光表現樹木和天空 ··················· 160 118 減少曝光使花卉色彩濃鬱 ··················· 160 119 讓黃色花卉色彩更亮麗 ······················ 161 120 拍攝白色花卉增加曝光補償還原真實感································ 161 121 順光下的花卉色彩飽滿 ····

·················· 162 122 側光突出花卉的立體感 ······················ 162 123 逆光時選擇暗背景突出乾草的半透明感 ··································· 163 124 細膩的影調突出花卉的細節 ··············· 164 125 逆光表現樹木形態美 ·························· 164 126 散射光拍攝花卉色彩真實 ··················· 165 127 直射強光讓樹葉更加鮮豔 ··················· 166 128 用側光突出樹木

的立體感 ··················· 167 129 林間的頂光可以塑造大面積的透明樹葉 ································ 168 130 以逆光在地面上的陰影突顯樹木的高大和畫面的空間感·················· 169 131 利用高強度的逆光為樹上色 ··············· 170 132 利用暗背景突出花卉 ·························· 170 133 利用偏振鏡使花卉色彩更加純淨········ 171 134 使樹葉呈現半透明效果的光線 ··········· 171 135 利用眩光得到有藝術效

果的畫面········ 172 136 利用側光拍攝蘑菇很有立體感 ··········· 173 137 明暗相間時可增強畫面的空間感········ 174 138 利用點測光拍攝暗背景低調花卉········ 175 139 利用星光鏡將植物上的水珠拍出特殊的效果 ································· 175 140 利用低調畫面表現綠植上晶瑩剔透的水珠 ··································· 176 第 7 章 曝光與用光技巧實戰——靜物 141 使用大光圈讓陪體虛化 ······················ 178

142 使用小光圈讓美食清晰 ······················ 178 143 白色背景要增加曝光補償 ··················· 179 144 利用倒影表現被攝體 ·························· 179 145 利用側光表現物體質感 ······················ 180 146 逆光表現玻璃的透明感 ······················ 181 147 逆光拍出“熱氣騰騰”的美食 ··········· 182 148 光影也能做畫框 ·································· 183 149

利用柔和的光線拍攝小清新風格靜物 ································· 183 150 營造明暗反差突出主體 ······················ 184

消費者對手搖式飲料店門市裝潢之視覺觀感調查

為了解決室內燈光 色溫的問題，作者林穎蔧 這樣論述：

隨著人們生活水平的提升，以及對於自我價值的對等追尋，對於美的事物的追求與認同，有了越來越多的選擇與呈現方式，美的定義不再只是存在於美術館與藝術課程之中，而是充斥在生活中的許多小細節，「美學（感）價值」（Aesthetic Value）油然而生。各種商品的業者透過將「美」的注入，提升商品的價值與銷售量，店家透過裝潢努力創造消費者的注目度與來客數，消費者則透過對於美的選擇，來展現自己應有的價值與品味，美學創造經濟已是潮流。手搖式飲料店在台灣民國70年代崛起後，各式品牌快速成長，此景已成為台灣街道的特色文化之一，也融入了台灣人的茶飲生活習慣。依據台灣連鎖暨加盟協會（Taiwan Chain Sto

res and Franchise Association, TCFA）出版的「台灣連鎖店年鑑」顯示統計至2014年，手搖式飲料店業者已成長為79家，全台共有5992家手搖式飲料店，而每一家店面的地理位置在熱鬧的商圈內，或許是緊鄰，或許是對望，市場競爭激烈。各家手搖式飲料店除了推出專屬的特色飲品外，紛紛也投入注重店面裝潢的行列，無不希望藉由店面裝潢來凸顯自我的特色與格調，好為產品加值，以吸引認同店面裝潢品味的消費者，故店面裝潢已成為消費者第一印象與決定是否嘗試消費的關鍵。本研究試著藉由市場既存的12家手搖式飲料店，透過店家拍攝與問卷調查的方式，讓每一位受測者在每看完一家手搖式飲料店的照片後即做

問題回覆，故每位受測者一共做了12次問答，一共有464位受測者協助問卷調查。最後再以問卷調查與訪談的結果歸納出最受消費者喜歡與注目的店家，關鍵因素分別是「空間風格」、「空間色彩」與「裝潢建材」。消費者或許會注目與喜歡有風格與精緻裝潢的店家，此能加深消費者對企業與飲品的正向聯想，但要消費者確實付諸消費行動時，消費者對於新鮮食材的直覺性聯想，才是關鍵。故在空間風格上，能與有茶飲文化的國家（中國、英國、日本）劃上等號，更能讓消費者相信飲料的品質；在空間色彩上，能藉由新鮮食材做延伸，如新鮮水果的色彩、茶葉的綠色，讓消費者對飲品的新鮮度有好的聯想；在裝潢建材上的選用，天然的素材最受消費者歡迎與認同，讓消

費者感到舒適、質樸與天然的同時，也願意接近店家嘗試消費。