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        • KCI등재

          Walker Evans and the F. S. A. Project

          Lee,,Jae,Gu 현대사진영상학회 2001 현대사진영상학회논문집 Vol.4 No.1

          본 논문에서는 대표적인 다큐멘터리 사진가 Walker Evans의 작품과 활동을 1935년 미국 뉴딜 정책에 따라 시행된 농업 안정국(Form Security Dimistration : FSA) 사진 활동을 중심으로 살펴보고자 하였다. 사진사의 새로운 국면을 맞이하는 시기인 1920년대와 1930년, 다큐멘터리 사진의 예술성을 사진 미학 관점에서 본격적으로 논의하기 시작한 당시의 상황에서, 워커 에반스의 다큐멘터리 사진은 그 작품성을 높이 평가받음으로써 다큐멘터리 사진의 길을 본격적으로 열었다고 할 수 있다. 사진사에 새로운 전기를 마련한 그의 독특한 작품들은 미국의 사진적 전통을 이어받으면서 한편 그가 바라본 현실상황을 감성적으로 작품에 투영시켜, 보는 이로 하여금 현실기록과 느낌의 공감대라는 새로운 장을 마련하였다. 단순한 현장의 기록을 뛰어넘어 그 생생한 현장감과 조화를 이루는 피사체의 드러나지 않는 삶의 숨결을 독특한 조형 구성과 단순화된 주제부각 방식으로 표현하고 있다. 특히 농업안정국 사진활동에서는 공식적인 기록이라는 다큐멘터리 사진의 한계를 넘어 도로시 랭(Dorothea Lange)과 함께 삶의 진실 된 모습을 담아낸 일련의 작품들로 다큐멘터리 사진을 예술적인 차원으로 끌어올리는 전기를 마련하였다.

        • KCI등재

          사진적 시각 : 첨단 영상정보화 시대에 잡지사진가의 역할에 관하여 The future role of the magazine photographer

          이재구 현대사진영상학회 2002 현대사진영상학회논문집 Vol.5 No.-

          Philosophy of the Lens: The future role of the magazine photographer Lee, Jaegu The camera itself mirrors reality; however, with modern technology including hypersensitive films and digital imagery the photographer can achieve a wide range of results. Although the lens is the eye of the camera, the photographer brings to each picture his or her own vision. The photographer can be a documentary historian recording an important political event or an artist concerned with the textures of a rocky ocean shore. Here, Id like to bring back the following words of the famous twentieth century American photographer, Edward Steichen, as a point of departure for my study. "I want to emphasize what I consider the most important service photography can render history, and that is in the recording of human relations, in the explaining of man to man it is the Artist-Photographer who in photographing his fellow man with understanding, with sympathy and warmth, gives us something that comes out of his pictures and remains with us; something that helps up to know and understand each other.' Edward Steichen, "Photography: Witness and Recorder of Humanity," Wisconsin Magazine of History, No 41(spring 1958) Open the latest copy of any magazine, and your eyes will immediately fall upon a beautiful landscape photograph. In addition, we could face a piece of life that we encounter like familiar snapshots in the newspaper. We, as photographers, choose in which direction to point o cameras. We can portray a beautiful flower-filled meadow, or turn around and capture the bulldozer gearing up to the construction site. The choice is ours-pretty picture, or harsh reality? In the magazine photographs, what is called, photo-journalistic images can be seen without attempting. Normally, these kinds of photographs have the ability to change the collective environmental paradigms of our society and our political process. Consequently, the future role of the magazine photographer should be more distinct than the traditional one. Keeping with the current technology and the fast-moving cultural shift, photographers should be willing to discover what the duty of their jobs; therefore, I suggest that magazine photographers can be more an independent explorer than a creator. There are many ways in which images can be explored from the point of view that the process of that exploration itself is both the utility and the product. Exploration of images refines our visual sense. It can be used to explore our inner psychology as in forms of photographic therapy. In performance the process of image making and real image transformation may be incorporated into multimedia presentations. The rapid acceptance of imaging with all is benefits of the removal of potentially polluting wet chemistry from the common currency of the family snapshot allows eater attention to be paid to a wider exploration of the older traditional techniques and new extensions from traditional techniques. That can be integrated into the fine art of photography and related disciplines. Similarly, the innovative form of image capture and reproduction must form new expressions of our art. I think probably after several years, when the newest photography can match medium format images (professional medium format films/prints), professional photographers will use the future advanced digital cameras and printers. For this, professional photographers will need to enhance or learn how to adopt the all the changes in producing the images. Following up the trends, their knowledge of composition and their understanding of the equipment will make progresses. In summary, the major change will be the benefits of the photographer to improve his skills and perspective that require years of experience and talent. We live in which invite a strong response from the viewer as participants in a cohesive movement for our positive collective spiritual evolution. I believe the way the photographers bring in the reality has a profound impact on the way we view our world. We have a moral and social obligation to use this power wisely and efficiently.

        • KCI등재
        • KCI등재

          디지털 카메라의 촬상소자와 화질에 관한 비교 연구

          이인희 현대사진영상학회 2002 현대사진영상학회논문집 Vol.5 No.-

          The comparison study of Digital cameras' image device and Imagery. The speed of a digital system offers extra time to make images. Consequently, the time has been right to move from film-based photography to digital. In my study, I attempt to find out what the characteristics for the formation of the images with regards to compact digital cameras. For this, Irun the experiment in order to compare with four different kinds of compact professional digital cameras that are commonly used by the professional photographers. Irandomly chose the digital cameras, such as Cannon D-60, Fuji SE Pro, Kodak D-760, Nikon D-100. The methodology used in the study emphasized the theory concerning reoccurrence features of 35㎜ professional digital images. Moreover, every character that represents the company's features was analyzed and the results were processed. Especially, I related the range of the view finder, along with the area of the taking pictures to the size of digital shots.(particularly, portraits and product shoots) To conduct the experiment that could measure the range of the view, I adopted the grid paper and I used the identical lenses in the same height as I took pictures; therefore, I could concisely read the line of the grid paper that is seen through the view finders at the maximum distance. It is quite capable of delivering quality images suitable for figuring out the range of the view with naked eyes. Another area for the interpolation test, the white light was thrown off. Adding light power, I facilitated the 65light equipment under particular region of the wave. R(600~700㎚), G(500~600㎚), B(400~500㎚), I caught the KIIMA image Evaluation Test Target, Visually, I was able to processing each image and additionally, I equipped Kodak Waretten, Gellaten Filter No 29, 47, 64 to throw off the visible ray in a distinctive way. I aid the questions behind my study; how has digital imagery effected the film manufactures? What will be the roles of processing labs? As we know it and how is education adapting for the future in digital imagery? I would be grateful forgetting some archives of photographers. And of course, the need and desire for digital imagery will only be increased when we have faster wireless network.

        • KCI등재
        • KCI등재
        • KCI등재

          사진과 인공지능 : 기술 이미지의 진화

          박평종 현대사진영상학회 2020 현대사진영상학회논문집 Vol.23 No.2

          The purpose of this article is to examine how artificial intelligence has changed the way images are produced and distributed after photography. Bazin defined the photography as an auto-generated image, and Flusser defined it as the first technical image and saw the property as the program's automatism. The core of the image production method using computer programs and algorithms, which are rapidly evolving in recent years, is automation. In this regard, it can be said that the artificial intelligence image inherited the automaticity of photography. The problem here is that humans are excluded. The same problem occurs not only in the production process of images, but also in the process of receiving and distributing images. This is because it automatically accepts information that is automatically calculated. This article seeks to explore where human positions are in this cultural environment dominated by automatism.

        • KCI등재

          실용 정물사진에서 표현되는 암시적인 의미와 느낌 -어빙 펜과 본 저자의 정물사진을 중심으로-

          김강 ( Kim Kang ) 현대사진영상학회 2016 현대사진영상학회논문집 Vol.19 No.3

          In a successful and effective still-life photograph, a viewer can notice that there are much more than mere superficial visual information of depicted objects. Through the various photographic methods such as composition, the selection and arrangement of objects, framing, vintage point, color, and lighting, a photographer can express and imply his and her most personal concerns, concepts, and emotions. This very personal engagement of a photographer`s mind can greatly enhance the intended photograph`s quality even when the photograph is made for a client. In this paper, I have examined the photographs of Irving Penn and my own images which were made through various magazine assignments. Through this research I noticed various concepts and emotions involved in the examined images, which are related with movement and change, disappearing, disorder, destruction, the structure, color, and texture of natural organism, the meaning of time and space, ambiguity and uncertainty, the function of reason and mind, memento mori, the lines and forms of objects, object itself, visual harmony, light and shadow, and beauty. When a photographer`s authentic personal concept, concern, and emotion is well utilized in harmony with the subject matter of an assigned photographic project, the resulted photograph can be an effective and beautiful image which can express the intended visual information with implied multi-dimensional meanings and emotions.

        • KCI등재
        • KCI등재

          실용 정물사진에서 표현되는 암시적인 의미와 느낌 - 어빙 펜과 본 저자의 정물사진을 중심으로 -

          김강 현대사진영상학회 2016 현대사진영상학회논문집 Vol.19 No.3

          are much more than mere superficial visual information of depicted objects. Through the various photographic methods such as composition, the selection and arrangement of objects, framing, vintage point, color, and lighting, a photographer can express and imply his and her most personal concerns, concepts, and emotions. This very personal engagement of a photographer's mind can greatly enhance the intended photograph's quality even when the photograph is made for a client. In this paper, I have examined the photographs of Irving Penn and my own images which were made through various magazine assignments. Through this research I noticed various concepts and emotions involved in the examined images, which are related with movement and change, disappearing, disorder, destruction, the structure, color, and texture of natural organism, the meaning of time and space, ambiguity and uncertainty, the function of reason and mind, memento mori, the lines and forms of objects, object itself, visual harmony, light and shadow, and beauty. When a photographer's authentic personal concept, concern, and emotion is well utilized in harmony with the subject matter of an assigned photographic project, the resulted photograph can be an effective and beautiful image which can express the intended visual information with implied multi-dimensional meanings and emotions.

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