1988年度 憲法學界 回顧

成樂寅 한국공법학회 1989 公法硏究 Vol.17 No.-

議院內閣制의 理論的 基礎 : d'une analyse juridique

成樂寅 嶺南大學校附設 社會科學硏究所 1990 社會科學硏究 Vol.10 No.2

寫眞의 特性과 價値

成樂寅 弘益大學校 1974 弘大論叢 Vol.6 No.-

Today we live in a technical and industrial world. We are attuned to an aesthetic in which scientific technique, mass production, and teamwork for creativity have shaped the articles that we drive and wear and put into our homes. In such a society old distinctions between "fine" and "applied" art have come to have less and less meaning. The most creative among us today have accepted the forms and the drives of the technical-industrial world, and have been challenged to express its strength and its beauty. In accepting this assignment, the creative leaders of our society have accepted also the task of reshaping the technical-industrial world and bringing it into greater harmony and order through their art. Men with cameras, imagination, and sensitive vision show us the actual and potential beauty of our time, so that we are able to remember it, enjoy it, correct it, protect it and learn about it. In the forward ranks of today's creative workers in the studio and in the field-in the service of industry, advertising, publishing, government, humanity, and serving their own creative needs-are today's photographers. Photography, uniting art and science as it dose, is not only the most popular but the most characteristic art of our modern scientific and technical world. It was a child of the industrial revolution, and was the first art in history to depend upon a scientific instrument for its productions. Its broadening and deepening as an art has likewise had to follow upon developments in science and technique, for the creative photographer used every new invention to make more meaningful images. Particularly, when we consider about some characteristics of photography such as reality, gradation, perspective, space & time, texture and ultra-visualization in its specific representative feature, we may feel another surprise with respect to rapid development of science of today has contributed to the growth of photography. Photography has not displaced painting, as art critics predicted a century and a quarter ago, nor will it. There is more need than ever for the visual discipline and imaginative vision that creative painters provide our visually chaotic society. But photography is an artistic medium of tremendous flexibility and power. It is charged with reality on many levels and its rapid development during the brief period of its existence is a promise of still greater things to come.

Camera Mechanism 發達過程略說 : With Emphasis on 35mm Single Lens Reflex 35mm一眼 Reflex를 中心으로

成樂寅 弘益大學校 1976 弘大論叢 Vol.8 No.-

Since photography's beginning, the ground glass of the view camera placed directly at the film plane has been considered the best possible device for accurately judging composition, focus, and depth of field. Although the picture is upside down and the image is reversed, as in a mirror, from left to right, it's not surprising that many of today's best and most popular 35mm cameras use adaptation of the view camera. However, the viewing image has been righted by reflecting the light beams from a swinging mirror to a special horizontal viewing ground glass. This is the principle of the waist-level focusing single-lens reflex. By using a glass prism above the ground glass an eye-level image, not only the right way up but also not reversed, can be produced. You might wonder why it took so long to reach this design. The reason can be traced directly to the horiaontal 35mm format. As early as 1936, the waist-level 35mm Kine Exakta reflex was introduced. It focused only at waist level and was awkward for shooting verticals. To take a vertical picture, the photogrpher was forced to hold the Exakta at a right angle facing away from the subject. Since it set the scene for what followed, a brief description is in order. In this instance, listing the features it did not have will be more illuminating than describing what it did have: 1) No pentaprism 2) No automatic diaphragm 3) No light meter 4) No instant-return mirror 5) No really high speed lenses Despite this austere beginning, by 1958 there were quite a few SLRs on the market, most of which looked considerably sleeker than the Exakta but didn't provide a quantum jump in convenience over the Exakta. Although a few cameras didn't require three hands to operate, automatic lenses were not yet widespread, particularly in wide-angles and teles, and the instant-return miror wasn't universal either. Fortunately the penta prism had arrived, but several SLRs still came with waist-level finders as standard equipment. And many camera designers hadn't yet discovered the thumb-advance lever. As for light meters, some clip-ons were available, a few of which even coupled to the shutter-speed dial. But such meters were considered effete. Building a meter into the body of a camera was downright decadent. Anybody who spoke of someday putting the meter behind the lens was a visionary or a lunatic, depending on whether or not he was a friend. many lenses for SLRs of this period can only be considered jokes in poor taste by current standards, particularly in the wide-angle range. Photographer shuddered at the words "retro-focus wide-angle." When rangefinder photographers looked at the normal and short lenses the SLR types had to use, they went into gales of laughter. Of course, the SLR people got to laugh now and then, too. Particulary when watching a rangefinder type working with long lenses or making close-ups. It was heartwarming to watch the RF type attach a heavy, bullky, clumsy, completely manual reflex housing to his sleek RF camera. Once he did, you could shoot rings around him with almost any SLR. SLRs delivered to the photographer's eye a remarkably good impression of the image that would be recorded on film. They delivered painless close-up and telephoto shots. They allowed the photographer to play graphic games with space and shape and form as never before. And as the SLR grew out of its adolescent gawkiness, it became easier and easier to use. Pentaprisms and instant-return mirrors became the norm. Autodiaphragm lenses in all but the most extreme of least expensive designs, and excellent-quality high-speed lenses became the rule rather than the exception. Through-the-lens light meters offering in-the-finder match needle exposure control appeared, and are even being challenged by through-the-lens meters that provide completely automatic exposure control. Although many users of the old box camera were satisfied if a picture simply came out, today's amateur photographers have the tools at hand to produce snapshots that are almost perfectly exposed, due to the automation afforded by electronics. Intergrated circuits are just now making inroads in camera electronics. The small size of ICs makes them especially attractive for cameras because of space limitations and low cost. Solid state electronics will not only add automated functions, but also reduce the mechanical complexity of cameras, as for example, by replacing the shutter timing mechanism with several solenoids and their associated circuits. Also being attacked is the one remaining manipulation requird in many cameras-that of focusing. A number of automatic focusing systems have been tried, some strictly mechanical, but most partially electronic. However, none has yet been widely accepted, particulary, in the field of single-lens reflex. Anyhow, the perfecting of the single-lens reflex is now moving swiftly.

主權論에 관한 硏究

成樂寅 嶺南大學校附設 社會科學硏究所 1993 社會科學硏究 Vol.13 No.2

프랑스의 정치자금 선거비용 및 재산등록에 관한 최근의 법제

성락인 세계헌법학회 한국학회 1994 世界憲法硏究 Vol.1 No.-

N/A

Camera Mechanism 發達過程略說(其五) : With Emphasis on Autofocus 自動焦點을 中心으로

成樂寅 弘益大學校 1986 弘大論叢 Vol.18 No.1

A camera that spans the abyss between the ubiquitous(but highly convenient) do-it-all, point and shoot autofocus, autowind, autorewind, autoexposure, autoflash 35s which have proliferated in the past few years, and the SLR(Single Lens Reflex). To put it succinctly, the camera designers and manufacturers are concerned about their inability to get point-and-shoot owners to take the big step across the gap into SLR land. At length, Minolta released a new type camera, MAXXUM, built-in autofocus SLR system, it instantly snaps the subject into perfect focus in a fraction of a second-time after time, shot after shot. One after another, Canon introduced T 80. Faster than we could to it manually, sensors in the T 80 activate Canon AC autofocus lenses to focus on any object in the center of the bright viewfinder frame. In every case, an audible "BEEP" signal confirms sharp focus and lets us know it ready to shoot. How good and convenient is the autofocus? Is the camera really simple enough for the simple? How much is it? An endless development of the camera mechanism should reveal all.

Ethylcrotonate에 對한 n-butylmercaptan의 親核性 添加反應 메카니즘과 그의 反應速度論的 硏究

成洛道,李甲湘 圓光大學校 1976 論文集 Vol.10 No.-

The rate constants for the addition reaction reaction of n-butylmercaptan to ethlyI crotonate have been measured by iiodometry and for the proposed reaction mechanism a rate equation whcih can be applied over wide pH range was obtained; ?? Below pH 6.5, the nucleophilic addition of n-butylmercaptan to ethylcrotonate is initiated by the attack of mercaptan molecule. Above pH 10.5, mercaptide ion is the only nucleophile to ethylcrotonate and in the range of pH from 6.5 to 10.5 these two reactions occur competitively.

살충성 O,O-Dimethyl-O-(3-Methyl-4-Nitrophenyl)-phosphorothioate (Sumithion^�)의 전기화학적 환원반응에 미치는 Micell의 영향

成洛道,明平根,朴勝熙,金日光 충남대학교 약학대학 의약품개발연구소 1986 藥學論文集 Vol.2 No.-

The electrochemical reduction of sumithion in various surfactants, LaLS, CTABr, Triton X-100 and in acetonitrile solution has been examined by DC, DP polarography and cyclic voltammetry (CV). Especially, in anionic surfactant, NaLS solution, the height of reduction wave is dramatic eliminated and half-wave potentials are shifted to strong negative potential (-2.7 volt vs. Ag-AgCl) by repulsion of nitro group in sumithion and anionic micell surfaces. The processes of reduction of sumithion were irreversibly electrochemical mechanism and the result of the reaction at high cathodic potential (-2.7 v. vs. Ag-AgCl), O,O-dimethyl-O-(3-methylhydoxyaminophenyl) phosphorothioate is formed as major product via O,O-dimethyl-O-(3-methylnitrosophenyl) phosphorothioate in NaLS micell solution.

Camera Mechanism 發達過程 略說 (基二) : -With Emphasis on 35mm Single Lens Reflex- -35mm 一眼 Reflex를 中心으로-

成樂寅 弘益大學校 1980 弘大論叢 Vol.12 No.-

Historically, innovations and improvements in the light-sensitive materials of photography have had a profound effect on the medium, enlarging its possible scope and providing creative photographers with a means of finding new images and making new statements. The auto-exposure 35mm Single Lens Reflex is where photography is today. With their wide-ranging fleets of enticingly interchangeable lenses and tailor-made accessories like power winders and flash units that control camera functions automatically, these paradigms of 20th-tentury technology have captured the public imagination. And within the photographic world they've stimulated continuig growth in 35mm image-making. As applied to cameras, the word "automatic" still refers only to exposure determination, although fully automatic operation has oozed into other aspects of camera working, including film loading, flash setting, and even lens focusing. But exposure automation remains the central concern of phtographers and camera engineers alike. When first achieved more than 40 years age, exposure automation was consigned to photography's lowest common denominator, the rank biginner, the perpetual duffer, and in those unliberated days, "the typical housewife." But today's brand of 35mm SLR exposure automation is much less a sop for the uninitiated as an excitingly new creative tool for the serious photographer. Whether we opt for one of the more numerous aperture-priority cameras in which we pick the f-stop and the camera decides the shutter speed, or for a shutter-prioity camera that does things the other way, we're going to find that we're on target with the right exposure faster than ever before. More than this, that old saw about concentrating on images rather than technics has finally come of age. Of course, there will be scenes and situations in which automation simply won't work and a strogly backlighted scene is the best example of this. But the reason it does't work is't because it's automatic, but because an auto-exposure camera makes a full-field reading from the camera position. This is why it's wise to examine the overrides when selecting an auto-exposure SLR. The best of these is a convenient manual control that lets us continue to use the camera's inboard light meter. Most of the time we'll be using the camera on automatic, but when it's suddenly imperative to peg an exposure for a backlighted subject we'll be able to use match-needle(or align the LED or whatever) manual to get the exposure we need. Two overrides are scattered unevenly among the many models now being marketed. The first is an exposure "bias" or "compensation" control which nearly all models have today. Here the idea is to be to introduce an over-or under-exposure correction factor so as to season the auto-exposures to our personal taste, with the least amount of trouble. Most of these devices permit the introduction of plus-or-minus 2 f-stop of correction, but take a closer look: many have only limited usefulness because they're calibrated in one-stop jumps. The best bias controls give 1/3-stop increments, and very good ones have half-stop intervals. Also very useful, but not so plentiful nowadays, is a metering memory lock that lets us hold an exposure measurement of the right part of the subject while we aim the camera to get ht picture that we want. If the camera has a really convenient manual control this isn't really necessary, but memory locks are nice things to have once we've gained experience in using them. In the final analysis, most camera choices are made in terms of the System and its Lenses, and rightly so. Right now exposure automation and those some remarkable "multimode" models from well-known camera-makers are riding an incredible wave of sales enthusiasm. But what's in store for the next act in this continuing drama of phototechnical developement? Anyhow, it is true that electronics are invading our SLR cameras in force, nowadays.