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한국사진학회> 한국사진학회지 AURA> 빛과 시간에 대한 사진적 연구 - 사진작품 < Foresta > 연작을 중심으로 -

KCI등재

빛과 시간에 대한 사진적 연구 - 사진작품 < Foresta > 연작을 중심으로 -

A Study on the Photographic Research of Light and Time - Focused on the series of < Foresta > -

김태중 ( Kim Taejoong ) , 천경우 ( Chun Kyungwoo )
  • : 한국사진학회
  • : 한국사진학회지 AURA 47권0호
  • : 연속간행물
  • : 2021년 08월
  • : 35-47(13pages)
한국사진학회지 AURA

DOI


목차

Ⅰ. 서 론
Ⅱ. 작품 제작 및 발전 과정
Ⅲ. 작품 전개 및 분석
IV. 결 론
참고문헌

키워드 보기


초록 보기

The series of the < Foresta > is a photograph work by the writer combining photographs and installation including the < Foresta - quasi a due > and < Foresta - reverse >. This research aims to study the notions of light and time prompted in the process of working on the < Foresta > series which takes a dark forest of an environment of specific light conditions as a subject matter.
The unique photographing method of emitting the large amount of low light running behind the tripod as leaving the shutter open was required in order to realize minutely scattering lights in the dark forest. This act of moving and shooting light is a basic element of the works, leading to the questions as to the light and time.
A series of < Foresta > an outcome of the concern and experiment regarding the medium of photography. The < Foresta - reverse > and < Foresta - quasi a due > attempted to work with different media are also drawn from the processes of researching the light and time. Through this research, it is expected to see the new examination that the photography with a great diversity of potentiality will acquire not only as a contemporary art but also as a theory of photography.

UCI(KEPA)

I410-ECN-0102-2022-600-000788521

간행물정보

  • : 예체능분야  > 기타(예체능)
  • : KCI등재
  • :
  • : 반년간
  • : 1228-503x
  • :
  • : 학술지
  • : 연속간행물
  • : 1994-2022
  • : 558


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48권0호(2022년 02월) 수록논문
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저자 : 김동필 ( Kim Dong Pil ) , 김민정 ( Kim Min Jung )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 48권 0호 발행 연도 : 2022 페이지 : pp. 6-16 (11 pages)

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For the development of photography, it is necessary to study photographic techniques to visualize of temporality. Italian Futurism and in the field of design including advertising, temporality was visualized using photographic techniques. The photographic technique to visualize of temporality contributed to expanding the scope of expression in the field of contemporary visual arts.

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2경계(Boundary)를 사유하는 예술사진 연구 - 사진 연작 < Invisible Scenery > 를 중심으로 -

저자 : 김전기 ( Kim Jeonki ) , 천경우 ( Chun Kyungwoo )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 48권 0호 발행 연도 : 2022 페이지 : pp. 17-29 (13 pages)

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< Invisible Scenery > series is a work that started in 2007 and has continued until the present, focusing on photographic representation of ideologic and physical boundaries in korean Peninsula. This paper aims is to examine the phenomena in the physical boundaries and surroundings of military boundaries that are difficult to approach to civil. While working on this series, I could learn about other photography works by Danish photographer Nicolai Howalt and German photographer Kai Wiedenhofer which I selected as important reference. The other works of boundaries with a mix of nature and culture that I saw from their pieces imbued vigor into my works.
After, I began analyzing many phenomena and partial subjects occurring in physical boundaries, which gradually expand and fluidly change over time, by dividing them into boundaries and spaces. Through this I could discover that vagueness and uncertainty of boundary zones overlapped in places where various boundaries and spaces.
< Invisible Scenery > series is a photographic study a new space that ceases to exist and is created in a world mixed with physical boundaries and ideological boundaries in Korea.
I seek to develop my interest toward place and space phenomena of various boundaries shown in the planning and realization of this study into the recording and exploration of photography of a higher dimension.

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36·25전쟁 전쟁 다큐멘터리 사진에 관한 연구 - 현역 군인 '한동목'이 촬영한 사진을 중심으로 -

저자 : 임상욱 ( Im Sang Wuk ) , 양종훈 ( Yang Jong Hoon )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 48권 0호 발행 연도 : 2022 페이지 : pp. 30-41 (12 pages)

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The Korean War is one of the most tragic events in our modern history and brought many changes. From the perspective of Korean photographers, it is a very meaningful war in that it is the first attempt to reproduce the war. Many photographers were able to visually project their ideological knowledge of history and society by getting out of the fence of art photography through Japanese colonial era and touching reality through war. Among these photographers, there were not only civilians but also active soldiers who participated in the war. The photographers of the Ministry of National Defense's “Jeong Hoon-guk” and the photographers of each military headquarters and subordinate units were representative military photographers. Although he lacked expertise compared to civilian photographers, he belonged to each unit in the front and rear and took pictures during the battle. However, little of the active military photographers have been known so far. Unlike civilian photographers, they were unable to take pictures under their own names, and there were not many remaining photos due to many cases of loss or damage, so there were no known active military photographers except Lim In-sik, who served as the photographer of the Ministry of National Defense's “Jung Hoon-guk.” In this regard, Han Dong-mok's photo released in 2016 is worth giving a new perspective on the Korean War and at the same time knowing how active soldiers view the war. Han Dong-mok, who was commissioned as the "2nd generation of Jeonghoon officer" in 1950, participated as a member of the 1st and 8th divisions of the Armed Forces. It proved that the perspective of the photos viewed by active soldiers was inevitably different, and the photos also confirmed how to confirm the value of documents related to the Korean War. However, this study has limitations because it analyzes only a small part of the numerous photos left by Han Dong-mok. This is something that needs to be improved through future research.

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4일제시기 신문 스케치사진의 사진사적 연구 - 『동아일보』를 중심으로 -

저자 : 정은아 ( Jung Eun Ah ) , 박주석 ( Park Ju Seok )

발행기관 : 한국사진학회 간행물 : 한국사진학회지 AURA 48권 0호 발행 연도 : 2022 페이지 : pp. 42-60 (19 pages)

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'Sketch-sajin' is photograph published singly on newspapers without articles by journalists who, as a part of their work, take pictures of nature and urban landscapes, everyday life, animals and plants, and so on. In 『Maeil Shinbo』, sketch-sajin appeared together with illustrations in 1911. Sketch-sajin and illustrations showed a close relationship, showing similar forms in material and composition.
As public journals by Koreans became available in 1920, Korean public newspapers including『Donga Ilbo』followed the norm of photographs of 『Maeil Shinbo』. Since the 1930s, sketch-sajin has been actively published and developed in Korean public journals to the extent that one or two pictures are published every day. The subjects can be broadly divided into nature and cities, daily life, and animals and plants. The photographs were mainly expressed with a sense of the seasons and were filmed in the style of 'yesulsajin'. Most of the photographers who shot the sketch-sajin were photo-journalists employed to newspapers.
In the realm of newspapers, sketch-sajin played a role of weather forecast, appreciation, and alleviation of the heavy atmosphere. Some sketch-sajin even reflected social conditions and conveyed political messages. In the field of photography, sketch-sajin has much value as an independent photographic work, contributing to the introduction and diffusion of 'yesulsajin' and 'sinheungsajin'. And sketch-sajin was repeatedly exposed to readers and played a role in spreading the modern visual system. This paper was written with the intention of clarifying the historical process.

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In case of copyright infringement of photographs, the most important issue of the court procedure is how the creativity of the copyrightable photograph is determined. This issue is, in normal practices, determined in two different stages.
First is the stage determining whether the plaintiff's photograph is a copyrightable work. In this stage, the court shall find if the photograph contains any creativity. In the second stage, the court shall find which are the copyrightable parts of the photographs. Then the court shall compare the copyrightable parts to the corresponding parts of infringer's photograph, and finally determine the substantial infringement.
With the research, it was found that the some domestic courts unreasonably restricted creativity of photographs in the above stages. These are compared to foreign court precedent cases that have accepted generally creativity for almost all photographs. Moreover, the courts tried to limit excessively the protectable range of photography copyright. This paper compared and analysed the copyright infringement cases of photographs in domestic and foreign courts, clarifying the above different standards in two different stages, and proposed some suggestions for protecting photograph copyright.

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This article deals with the main issues of art based on technical media leading to photography, computer based new media, and AI. Photography, which was born as a technical medium in the 19th century, became an important axis of contemporary art by combining it with digital technology and computers that quickly spread in the late 20th century. The so-called “AI project,” which started in 1950s, was rapidly developing into the 21st century, and is encouraging the evolution of the technical medium. Digital technology and computer engines are now at the center of contemporary art. The direction of this change is clear. In other words, the automaticity of the program is becoming more advanced. Photography, the first technical medium, started with 'low-level automation', but through computers and new media, 'high-level automation', such as an AI engine, is rapidly progressing. In this process, the original intention of human beings who planned the program disappeared and only 'functional automatism' remained. This is why the criticism of the technical media should consider this issue of “self-exclusion” as an object of reflection.

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3빛과 시간에 대한 사진적 연구 - 사진작품 < Foresta > 연작을 중심으로 -

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The series of the < Foresta > is a photograph work by the writer combining photographs and installation including the < Foresta - quasi a due > and < Foresta - reverse >. This research aims to study the notions of light and time prompted in the process of working on the < Foresta > series which takes a dark forest of an environment of specific light conditions as a subject matter.
The unique photographing method of emitting the large amount of low light running behind the tripod as leaving the shutter open was required in order to realize minutely scattering lights in the dark forest. This act of moving and shooting light is a basic element of the works, leading to the questions as to the light and time.
A series of < Foresta > an outcome of the concern and experiment regarding the medium of photography. The < Foresta - reverse > and < Foresta - quasi a due > attempted to work with different media are also drawn from the processes of researching the light and time. Through this research, it is expected to see the new examination that the photography with a great diversity of potentiality will acquire not only as a contemporary art but also as a theory of photography.

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