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.

< 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.

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.

'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.