本文從攝影與真實的關係談起，探討使用數位軟體處理的攝影影像，其背後所承載的創作者之理念，以及作品所形成的擬像美學。以洪世聰的作品《沙域系列》、《迫降系列》和《換位與後設系列》為例，分析他如何使用去背、留白等「減」法，解構原本拍攝的空間影像；以及王鼎元如何以編導、拼貼等「加」法的方式，透過《臺北愛丁堡動物園計劃系列》和《黑洞系列》作品，虛擬一段段動物園的故事。這兩位創作者運用減減加加的表現形式，形成一幀幀如假似真的擬像，並傳達個人的創作理念。這種經由變造與操控原件照片的創作觀念，反映當代攝影作為藝術的特有形式，進而創造出攝影獨特的擬像美學。

This thesis focuses on the relationship between photography and reality by examining the photographer’s creational concepts and the aesthetics of simulation behind software application on photographic images. This thesis will analyze how Hung, Shih-Tsung, in his “Sand Arena Series”, “Forced Landing Series” and “Transposition & Meta Series”, utilizes “Reduction” techniques like the removal of background and vacant space to deconstruct the spatial image of the original photograph. In addition, the thesis will also examine how Wang, Ding-Yuan uses “Addition” techniques like Fabricated Photography and Collage Photography in his “Taipei Edinburgh Zoo Plan Series” and “Black Hole Series” to visualize various zoo tales. Through Reduction & Addition techniques, both artists produced realistic simulations that express their creational concepts. The concept of adjusting and modifying photographs has become a special practice in modern art, hence, through photography; it has also brought about the creation of the aesthetic of simulation