過去談論1970年代的臺灣攝影史，往往從外交局勢動盪、鄉土文學論戰、印刷媒體發達等因素，闡釋報導攝影的興起。本研究則從攝影家的能動性和觀察力，探討紀實攝影作品的多元形式和涵意，進而論證風土和寓居的觀點，影響了風景攝影轉向地方性的探索。本文採用和辻哲郎的風土論、馬丁．海德格的哲學和提姆．英戈爾德的寓居風景論，並考量創作者的生命歷程和社會脈絡，閱讀王信、梁正居、陳傳興關於家鄉主題的攝影作品。首先，將舉出攝影家黃則修、莊靈的論述為例，分析當時對於畫意、沙龍式風景攝影的批評，進而提倡具有地方感和時代性的新風景攝影。再者，將聚焦王信的《我的故鄉臺中》（1972）和《訪霧社》（1972-1973）兩個系列作品，對比城鄉差異下的風土民情和族群文化；討論梁正居的報導文學和攝影作品《山城埔里》（1978），透露他在多年漂泊後的歸屬之地，進行自然資源和產業轉型的田野調查；析論陳傳興的《蘆洲浮生圖》（1975）如何借景探尋失落和衰亡的氣息，激發影像潛藏的心理伏流。本文指出三位攝影家揚棄意義匱乏的畫意風景窠臼，在主流傳播媒體的框架之外，積極探索家園和自我的關聯性，在臺灣城市和鄉村的再現中體現風土和寓居視野，並展現攝影媒介的記錄特質和曖昧意義。

In the past, histories of Taiwanese photography in the 1970s have focused on explicating the rise of reportage photography as a result of the precarious diplomatic situation, debates on nativist literature, and a flourishing print media. This study discusses the multiple forms and meanings of documentary photography from the standpoint of the photographers’ agency and observation, and argues that the perspectives of fūdo and dwelling affected the shift from composing landscape imagery to exploration of places. In light of Watsuji Tetsurō’s “fūdo” theory, Martin Heidegger’s philosophy of dwelling, and Tim Ingold’s landscape theory, this paper analyzes the theme of homeland in the photographic works by Wan Hsin, Liang Cheng-Chu, Cheng Tsun-Shing in their biographic and social contexts. First, I will examine writings by Huang Tse-Hsiu and Chuang Lin that effectively formed the new landscape discourse, criticizing the pictorialist salon landscape and advocating for a sense of place and contemporaneity. Then, I will concentrate on Wang Hsin’s two series Taichung, My Hometown (1972) and A Trip to Wushe (1973-1974) and demonstrate the contrast in fūdo, vernacular custom, and ethnic cultures between the city and village. It is followed by a discussion of Liang Cheng-Chu’s photo-text reportage, The Puli Mountain Town (1978), as an embodiment of dwelling after his long-term drifting life experience and as his insightful fieldwork of local natural resources and industrial transformation. Furthermore, I will look at the atmospheric scenes of loss and decline in Cheng Tsun-Shing’s Pictures of Fleeting Lives in Luzhou (1975), as evocation of the psychological undercurrents hidden in the images. This article posits that the three photographers, rejecting the cliched pictorialist landscape with depleted meanings, actively searched for the interconnections between the selves and homelands. Beyond the framework of the mainstream media, they conveyed the fūdo and dwelling perspectives in their representations of Taiwanese urban and rural places and manifested the recording nature and ambiguous meanings of the photographic medium.