• 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.

• The Korean Journal of Archival Studies
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• no.79
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• pp.471-513
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• 2024

The monthly news and culture magazine, 'Sasanggye,' established by Jang Jun-ha from 1953 to 1970, served as a platform for government criticism and intellectual representation. The magazine created photographic-essays covering a variety of topics and utilized images as a visually impactful tool with news value. This paper aims to critically examine the photographic-essays within 'Sasanggye' as archival records, shedding light on their intrinsic value. Before delving into this assessment, the paper thoroughly explores the developmental process and characteristics of these photographic-essays. And based on the content divisions within the main text, the paper categorized the themes captured in the photographic essays into politics, economics, society, culture, and miscellaneous topics. It then introduced representative photographicessays. From an archival perspective, looking at photographs involves elucidating that photographs carry meanings beyond mere data. The photographic essays in 'Sasanggye' serve as photographic records providing evidence of 1960s Korean society and encapsulating crucial visual information. Furthermore, the photographic essays in 'Sasanggye' hold a historical significance in the aspect of Korean magazine documentary photography. The photo-essays in 'Sasanggye' carry worth in the history of photography and encompass evidential and informational values as photographic records.

• 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.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2011.07a
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• pp.278-280
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• 2011

본 논문은 이미지가 갖는 R, G, B 비율의 분산을 이용하여, 공간 영역에서 정보를 은닉하는 알고리즘을 제시한다. 웹 상에서 Jpeg, bmp, gif 등의 포멧을 갖는 이미지를 raw 파일로 변환한 후, R,G,B 비율을 구한다. 그 중 사람의 눈에 가장 둔감한 B 비율 분산을 조작하여 정보를 은닉하는데 이용한다. 또한 오류율을 낮추기 위하여 (15,7)BCH Code 를 사용한다. 제안된 알고리즘이 JPEG(Joint Photographic coding Experts Group) compression, scale(이미지의 크기 변화), Mediancut 과 같은 이미지 변화에 강한 특성과 정보은닉 후에도 화질열화가 발생하지 않는 특성을 실험을 통해 보인다.

• Journal of the Korean Graphic Arts Communication Society
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• v.18 no.2
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• pp.55-68
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• 2000

Joint photographic experts group (JPEG) is a standard still-image compression technique, established by the international organization for standardization (ISO) and international telecommunication standardization sector (ITUT). The standard is intended to be utilized in the various kinds of color still imaging systems as a standard color image coding format. Because JPEG is a lossy compression, the decompressed image pixel values are not the same as the value before compression. Various distortions of JPEG compression and JPEG recompression has been reported in various papers. The Image compressed by JPEG is often recompressed by same type compression method in JPEG. In general, JPEG is a lossy compression and the quality of compressed image is predicted that is varied in according to recompression Q-factor. In this paper, four difference color samples(photo image, gradient image, gradient image, vector drawing image, text image) were compressed in according to various Q-factor, and then the compressed images were recompressed according to various Q-factor once again. As the result, this paper evaluate the variation of image quality and file size in JPEG recompression and recommed the optimum recompression factor.

• Proceedings of the Korean Printing Society Conference
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• 2000.04a
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• pp.17-24
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• 2000

The Joint Photographic Experts Group (JPEG) is a standara still-image compression technique, established by the International for Standardization (ISO) and International Telecommunication Standardization Sector (ITUT). The standard is intended to be utilized in the various kinds of color still imaging systems as a standard color image coding format. Because JPEG is a lossy compression, the decompressed image pixel values are nto the same as values before compression. Image of JPEG compression is often made to JPEG recompression at saving to apply JPEG compression of color image. In general, JPEG is a lossy compression and compression image is predicted to be varied image quality according to recompressed Q-factor. Various distortions of JPEG compression and JPEG recompression has been reported in previous paper. In this paper, we compress four difference color samples (photo image, gradient image, vector drawing image, text image) according to various Q-factor, and then compressed images are recompressed according to various Q-factor once again. As the results, we inspect variation of quality and file size of recompressed color image, and ensure the optimum recompression factor.

• Journal of The Korean Association of Information Education
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• v.14 no.2
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• pp.149-156
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• 2010

Social study for province textbook is very difficulty for experience and learning in classroom because the contents of social study for province text book is consist of contents about very far away places. And there are less contents than normal subject. Especially, children need experiences and enough contents for learning in social study for province textbook. The purpose of this paper are as follows: 1) design and implementation of PVR contents 2) applying 4th grade social study for province textbook 3) inspecting for satisfaction degree and result of students about the efficiency of PVR contents.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.2
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• pp.61-73
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• 2021

This study aimed to identify the landscape perception and landscape characteristics of users by utilizing SNS data generated by their experiences. Therefore, how to recognize the main places and scenery appearing on the island, and what are the characteristics of the main scenery were analyzed using online text data and photo data. Text data are text mining and network structural analysis, while photographic data are landscape identification models and color analysis. As a result of the study, First, as a result of frequency analysis of Bakji·Banwol-do topics, we were able to derive keywords for local landscapes such as 'Purple Bridge', 'Doori Village', and location, behavior, and landscape images by analyzing them simultaneously. Second, the network structure analysis showed that the connection between key and undrawn keywords could be more specifically analyzed, indicating that creating landscapes using colors is affecting regional activation. Third, after analyzing the landscape identification model, it was found that artificial elements would be excluded to create preferred landscapes using the main targets of "Purple Bridge" and "Doori Village", and that it would be effective to set a view point of the sea and sky. Fourth, Bakji·Banwol-do were the first islands to be created under the theme of color, and the colors used in artificial facilities were similar to the surrounding environment, and were harmonized with contrasting lighting and saturation values. This study used online data uploaded directly by visitors in the landscape field to identify users' perceptions and objects of the landscape. Furthermore, the use of both text and photographic data to identify landscape recognition and characteristics is significant in that they can specifically identify which landscape and resources they prefer and perceive. In addition, the use of quantitative big data analysis and qualitative landscape identification models in identifying visitors' perceptions of local landscapes will help them understand the landscape more specifically through discussions based on results.

• Journal of Korean Elementary Science Education
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• v.19 no.1
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• pp.101-112
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• 2000

The purpose of this study was to develop the modular multimedia instructional materials emphasizing the particulate nature on the realm of matter in elementary science classes. Features of the material are as follows: 1 To be in focus on particulate model named 'phenomenal magnifying glasses' in order to change the student's belief system of continuous matter into the belief system of particulate matter . The 'phenomenal magnifying glasses' is a new instructional strategy designed to change into the view of particulate matter through facilitating the reflective thinking resulted from the simultaneous consideration of experimental phenomena(macroscopic world) and particulate model(microscopic world). 2. To introduce modular system into the instructional materials, which was consisted of 14 subunits according to the sequential instruction unit of 'molecule and molecular motion'. Each subunit was composed of 5 types of modules(module 1: motivation, module 2: experimental result, module 3: discussion, module 4: phenomenal magnifying glasses, module 5: related experiment) 3. The multimedia program was composed of 36 kinds of experimental animation and 59 kinds of computer animation materials combined with text resources, photographic materials and sounds.

• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.618-628
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• 2014

A photograph used in a film poster summarizes the story of the film that lasts for around two hours. The image must contain a picture that represents the story and text including the title, with various design elements composed in a harmonious way. However, given that a photograph is the most noticeable element in a film poster, this study aims to examine the function, role, and types of a film poster and analyze poster photographs. Currently, there are companies specialized in photography for film posters, but sometimes recognized photographers are commissioned to take a photograph that will be used for a film poster. Hein-kuhn Oh actively produced such photographs in the early and mid-2000s, and this study deals with 'how the photographs recreate the content of the films' focused on three selected photographs taken by him. Also, There were commonalities found between the tree photographs and Oh's personal portrait photographs, which were then analyzed from the photographic aesthetic point of view. The three selected works are: , , and .