• The Journal of the Korea Contents Association
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• v.11 no.10
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• pp.242-256
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• 2011

The activity to share personal daily life through social media is becoming more common. In this case, photographs as well as text are used a lot; it has been as easy as winking to clip others' photographs just as it's very easy to take and post pictures. If the picture is the photographic work protected by the copyright law, however, the clipping should be paid close attention. If you use others' photographic works without authorization, you infringe their copyright; if you post them on your social media such as blog, you infringe the right of reproduction, interactive transmission and exhibition. Even though the clipping is permitted, if you'd like to use the photographic works for a profit-making purpose, you should get additional authorization. Others' photographic works are occasionally altered and used for the purpose of avoiding the argument in relation to the infringement of copyright; this act means that it's the infringement of the right of reproduction, the right to preserve the integrity and the right of the production of derivative works for degrees of alteration. We can download others' photographic works with a few mouse clicks thanks to the technology of capturing the screen; we have to recognize that all the acts technically possible are not always legal.

• American Studies
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• v.42 no.2
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• pp.79-107
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• 2019

This article explores the photographic work of North American artist Jeff Wall. While his photographic work has been much discussed in terms of aesthetics and composition highlighting his methodological appropriation of modernist painters such as Eduard Manet and Piet Mondrian, the political aspect of his work remains to be investigated. This article especially unpacks the complicated dialectical relationship between the formal aesthetics and the political nature of his works by visiting his photographic work in the context of contemporary debates on the contradiction and conflicts between aesthetics and politics in photographic form. Ultimately, this article argues that Wall's photograph acquires its political meaning by problematizing the reified social representation of the other in a way in which the materiality and/or otherness of the photographic object is registered within the photographic frame and by representing the violence of the social representation and the un-representability of the object/other.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.7
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• pp.4424-4431
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• 2015

The purpose of the study is to analyze the judicial precedents of the copyright relating to advertising focusing on the photographic works and find the characteristics of the legal principles of the copyright infringement or no. As the results of the analyses of the exact 6 precedents, the creativity of the works was the main issue of the judgment of the copyright infringement or no, comparing that 'on the basis' and 'practical similarity' were mainly applied the judgment. It is implied that the photographic works depending on the technologies are more difficult to prove their creativity, and the simple photo of the product itself without or lack of the photographer's creative effort and labor is not acknowledged as a copyrighted work in advertising area.

• Korean Institute of Interior Design Journal
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• v.24 no.5
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• pp.31-41
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• 2015

The objective of this research is to investigate the artistic meaning of "infinity," manifested by the fourth dimensional value in the genres of photography and architecture, by analyzing how Sugimoto Hiroshi's photographic spatio-temporal infinity transfers to his architectural approaches. The research is initiated by scrutinizing the themes, characteristics, techniques, and artistic meaning of Sugimoto's famous photographic series, including "Seascapes," "Theatres," and "Architecture"; the concept of infinity can be defined as infinite divergence and infinitesimal convergence between antithetical concepts in time, space, and being. Sugimoto's photographic works display "temporal infinity" by connecting ancient times, the present, and the future; "spatial infinity" by offering the potential for transformation from flat photographs into infinite three-dimensional space and fourth-dimensional concepts through time; and "existential infinity" of life and death by making us think about being and essence, being and time, and origin and religion. These perspectives are also used to analyze Sugimoto's architectural works, such as "Appropriate Proportion" and "Glass Tea House Mondrian." As a result, the research finds that in Sugimoto's architectural approaches, spatio-temporal infinity between antithetical values is manifested through the concept of origin, geometric form, extended axis, immaterial threshold, transparent materiality, and connectivity of light and shadow, provoking our existence to transcend into infinity itself.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.71-79
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• 2014

The purpose of this study is to elucidate that photo, which has been used as original photo's purpose of information transfer in modern age, is now used as romantic reproduction which is the communication methods of architect's idea and thought through photographic vision which is beyond photograph own capabilities. The photos of Mies van der Rohe and Le Corbusier's architectural works are taken as an example for studying and analysing the way of deliverying the concept of creative work in the functional spaces in the modern era. It looked at the way of modern archirecture configuration, which architects wanted to show by pictures, such as concurrency, movement, sense of exhibition and concept of time-space and planarity on photographic vision such as multiview, movement, daily life exclusion, scenography and perspective loss. Reflecting that, I presents Le Corbusier and Mies van der Rohe's intention through photo by analyzing their picture of architecture by way of photograph techniques-camera position moving, over exposure, photomontage, silhouette technic and overlap technic. Mies van der Rohe and Le corbusier demonstrated the change and manipulation of the their architectural photos in different point of view. They express their architectural theories by photos of their works and overcome the limitation of expression of constructed building designed by them. The photos of architects's works in the case study with photos and descriptions introduce to their design concept. The design concept of the architects have become ideal concept for many contemporary architects and keep reproducing through the photos of their architectural works.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.93-105
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• 2015

Upon ruling that two photographs of "Solsum(located in Samchuk city)" are not substantially similar, issues on the level of protection for the copyrighted photographs expecially on landscape, which appearance could be similar whoever takes, were raised. Accordingly, this study summarizes and suggests the standards of expression differentiating from idea on photographic works. The results are as such. Elements of expression on photographs are positioning of subject, framing, selection of camera angle, control of light's direction and quantity, length of exposure, speed of shutter, timing or posing of the shutter. kinds of emulsion, methods of development, and any other methods of creative and characteristic photography. On the other hand, elements of ideas of photographic works are theme, concept, feeling, appearance of objects, time or season of taking a picture, vantage point, choice of horizontal or vertical angle, etc. As a result, this study reconfirms that copyright law entitles photographers to copyright as to their minimal degree of creativity, not as to their sweat of brows.

• Cross-Cultural Studies
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• v.25
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• pp.35-54
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• 2011

Magnum Korea, a 2008 exhibit at the Hangaram Art Museum in the Seoul Arts Center, introduced representative images of Korea to commemorate the 60th year of the founding of the nation. Twenty photographers of various backgrounds participated in Magnum Korea. This study focuses on one of the exhibited photographers, the French photographer Bruno Barbey. Born in Morocco, Barbey occupies a special position in today's modern photography not to mention in the Magnum group of traditional medium of photography. His photographic world is affiliated with the humanism of Robert Diosneau, particularly as his photographic medium is based on communication and code. Among the photographs in the Magnum Korea collection, Barbey's photographs can be organized into six different subjects: industrial structures in nature, industrial buildings, traditional relics of culture, terminals, markets and restaurants, and daily life. This paper takes special interest in Barbey's unique perspective on Korea's traditional cultural assets focusing on 'Seoul, Jogyesa'. What is the uniqueness of our culture as contained in Barbey's works? In other words, how did he capture the special characteristics of our culture that are often overlooked or ignored because they are so familiar to us? A semiotic approach is used to discover what common but special situations and realities of Korea attracted this photographer and how he managed to capture them in his photographs.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.2 s.8
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• pp.42-49
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• 2006

This study aims to revive modernized upstyle technique by analyzing the formative characteristics of hairstyle in Rococo ages. As a methodology, book-form literatures, periodicals, theses, and photographic materials including portraits related to Rococo ages, which had been studied from the time when Louis XIV died, to the advent of French Revolution in 1789, reaching a period of seventy-four years, were reviewed. Those materials for hairstyle revealed in modern fashion included related literatures and theses and photographs involving designers' works in fashion magazines, photographs of hairstylists' works, and movies with background of Rococo ages. Based on such materials, the formative characteristics of hairstyle in Rococo ages were studied for modernized upstyle. First, the formative characteristics of hairstyle in Rococo ages were divided and analyzed in Fontnage style, in Pompadour style Marie Antoinette style. Second, this study researched those examples wherein the characteristics of Rococo's hairstyle were expressed in modernized style, and manufactured modern upstyle works based on the research. Rococo ages featured various fashion trends and created sensitive and magnificent style with romantic theme in art field. Also, since the hairstyle in Rococo ages featured various styles that were magniloquent and magnificent, it is revived in today's hair shows and fashion shows in the same way or altered way. It is expected that this study will help understand the formative characteristics of hairstyle in Rococo ages and shed light on study on modern hairstyle in more various perspectives.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.48 no.2
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• pp.66-77
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• 2011

We propose a framework for grouping photographic advertising images that employs a hierarchical indexing scheme based on efficient feature combinations. The study provides one specific application of effective tools for monitoring photographic advertising information through online and offline channels. Specifically, it develops a preprocessor for advertising image information tracking. We consider both global features that contain general information on the overall image and local features that are based on local image characteristics. The developed local features are invariant under image rotation and scale, the addition of noise, and change in illumination. Thus, they successfully achieve reliable matching between different views of a scene across affine transformations and exhibit high accuracy in the search for matched pairs of identical images. The method works with global features in advance to organize coarse clusters that consist of several image groups among the image data and then executes fine matching with local features within each cluster to construct elaborate clusters that are separated by identical image groups. In order to decrease the computational time, we apply a conventional clustering method to group images together that are similar in their global characteristics in order to overcome the drawback of excessive time for fine matching time by using local features between identical images.

• Korean journal of communication and information
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• v.17
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• pp.145-178
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• 2001

Bourdieu is one of the few social science researchers who were interested in photography. Bourdieu's work on photography appears principally in two books: Un art moyen: Essai sur les usagrs sociaux de la photographie(1965) and La distinction(1979). In these books, Bourdieu analyzes the role of photography in the family life of peasants and small town and urban dwellers. He shows how different classes and groups express their esthetic worldview in response to different photographs and photographic styles. What Bourdieu analyzed is not just photography but ways of photographing and ways of looking at pictures. Through these analyses, Bourdieu explores the social definition of photography. Bourdieu's ideas on photographic practice in social life are as follows. First, the photography, especially family photography generally practiced, has the integrative function. It recreates the group by ritualizing and solemnizing the important moments of social life in which the group reaffirms its unity. Second, the photography as esthetic practice in search of legitimacy as a fine art becomes a means by which different classes are pitted against each other. Each of classes gives its own meaning to photographic practice. Despite its originality and persuasive power, Bourdieu's work on photography has its own limits. The data used by Bourdieu are 35 years old and relevant to European social life. Things has changed since. First, the technological improvement and innovation in photography was considerable. Cheap and good photographic materials, easy to operate, made photographic practice everybody's everyday activity. New media like camcorder and digital camera made photography one of the industrial discards like jukebox. It means that photography does not function as important means of distinction between classes any longer. The integrative function of the photography becomes more ambiguous too. Second, the esthetic status of the photography has changed. The family photography was already integraed into fine art. Photography is not a middle-brow art any more. Bourdieu's work on photography shows how photography was used by different social classes in European social life of the 1960's. His work is historically and geographically limited. Moreover, his work was ordered by the french affiliate of Eastman Kodak Company. And all along the analysis, Bourdieu didn't hide his intention of distinguishing his sociological method from the other methods, especially psychological one. These mean that Bourdieu's work was done in a specific context, for specific purposes. In this respect, Bourdieu's work on photography, like every sociological work, can not claim to be universal.