사진과 드로잉: 드로잉을 위한 사진으로부터 사진을 위한 드로잉으로

이필 ( Phil Lee ) 한국미학예술학회 2014 美學·藝術學硏究 Vol.41 No.-

사진은 긴 시간동안 드로잉을 위한 보조수단으로 쓰이다가 점차로 매체로서의 독립성을 획득하게 되고, 20세기 후반에 들어서는 다수의 사진작가들이 드로잉적 요소를 보조수단으로 사용하여 사진을 제작하고 있어, ‘드로잉을 위한 사진으로부터 사진을 위한 드로잉’으로의 치환된 관계가 나타나고 있다. 본고는 사진과 드로잉의 기나긴 역학관계를 고찰함으로써, 현대사진의 매체 혼성적 경향을 미술사적 맥락에서 규명하고자 한다. 이를 위하여 우선 드로잉의 개념의 변천사를 개괄한 후, 사진이 어떻게 장시간 카메라 옵스큐라나 카메라 루시다의 형태로 드로잉의 정확성을 획득하기 위한 보조수단으로 쓰여 왔는지 고찰한다. 이들 두 형태는 화가가 카메라 장치를 통하여 대상의 이미지를 보는 도구로 사용하되, 투영된 대상의 이미지를 손으로 베껴내는 방법을 거쳐야만 했다. 19세기에 이르러 니엡스, 탈보트, 다게르 등이 인간의 손을 거치지 않고 감광판에 이미지를 전사하는 ‘빛이 그려낸 드로잉’을 발명해냄으로써 인간의 손이 더 이상 개입될 필요가 없이 사실적 이미지를 얻어내는 것이 가능해졌으며, 회화적 리얼리즘의 보조수단으로 쓰여 오던 카메라는 20세기 초반 아방가르드 미술이 회화의 탈-리얼리즘의 시대를 이끄는데 중요한 역할을 하게 된다. 최근의 미술현장에서는 사진이 회화의 보조형태로 혹은 드로잉의 역할을 하던 긴 역사를 전복하는 많은 시도들이 자칭 사진작가들에 의해 일어나고 있는데, 본고는 이정진, 구성수, 제이슨 에반스 등이 어떻게 드로잉을 사진제작의 보조수단으로 이용하는지 분석한다. 본고는 이들의 사진을 탈-미디움 시대의 이론적 맥락에서 조망하면서 더 나아가 20세기 말에 발전된 디지털기술이 사진에 결여되었다고 믿었던 손의 개입에 의한 드로잉적 표현을 가능하게 함으로써 사진에 회화적이고 미학적인 논의의 적용을 가능하게 하였음을 고찰한다. 이처럼 사진과 드로잉의 경계가 모호해지는 현대미술의 매체-혼성적 현상에 대한 미술사적 고찰은 드로잉의 개념을 무한대로 확장시켜 메타-장르로 보고자하는 비평적 경향에 역사적이고 이론적 성찰을 제공한다. Photography had long been used for an aid of drawing and had gradually acquired its status as an artistic medium. Since the late twentieth century, many photographers have been using drawing to create their photographic works. This recent phenomenon shows a shifted relationship between photography and drawing, what I call “from photography for drawing to drawing for photography.”This essay aims to illuminate ambiguous boundaries between photography and drawing in contemporary art photography by examining the long dynamic relationships between the two media. I explore how artists used early forms of photography such as camera obscura and camera lucida to achieve likeness of the object. These two devices required the use of artists` hands to draw images reflected on or seen through them. However, the invention of the “photogenic drawing”, and daguerreotype in the nineteenth-century, made human hands unnecessary in acquiring likeness. Photography has since then interacted with major art movements of the twentieth-century in various ways. Recently contemporary photographers such as Jungjin Lee, Ku Sungsoo, and Jason Evans appropriate drawing techniques to make their photographs. I discuss these artists` use of drawing in the context of the post-medium condition and further observe that the development of digital and printing technologies has called for the aesthetic of drawing for photography. My art historical analysis of the hybrid condition of photography and drawing provides a theoretical insight into a recent perspective for considering drawing as a meta-medium.

포스트-포토그래피 : 현대 예술 매체로서의 사진의 재고(再考) Reconsideration of Photography as Contemporary Art Medium

윤준성 한국사진학회 2004 AURA Vol.0 No.11

Post-photography does not simply indicate new photography. Rather, it implies the returned photography with new aspects, and the practically and theoretically expanding photography. In contemporary art, photography has overcome its traditional myth of the faithful duplication of reality. While it cannot be denied that the firm belief on photography has disappeared, the praise for the traditional myth is still going on. The collapsed belief plays roles not only in escaping the concept of photography as duplication and documentation, but also in supporting opportunities to reconsider the concept of representation. The conceptual interpretation and the aesthetic consideration of digital photographic images are coming out in these days. These blessings are the responsibility for the pioneering task of photography. Beyond the traditional photography, post-photography is intriguing various and multilateral discourses, and it would be necessary to reconsider photography in the age of new art media.

최근 한국사진의 제 양상에 관한 비평적 연구

박주석 한국사진학회 2005 AURA Vol.0 No.12

It seems obvious that, on the threshold of the 21st century, Korean photography confronts new aspects of which the precedent can never be found in the past century. One reason is that photography is entering into the center in discourse of art and reflects a trend in art world that in the field of exhibitions or publication, photography is overwhelming. in comparison with other media. The other reason is that the capability of Korean photography since the 1980s, has been enhanced in great scale. This phenomenon is certainly both an opportunity and a pressure to Korean photography. According to how we use and prepare for such opportunity, the future of Korean photography will be depending. To do this, it is important, above all, to comprehend the history of Korean photography and its present features correctly. The thesis analysed, in critical viewpoint, the features of Korean photography from 2000 to 2002, that allow to make an academic evaluation possible, based on dividing its social and cultural background symbolized as digitalization, features of domestic exhibitions revealing photographers' talents to the best, advances into oversea and interchanges, institutional systems that led the development of photography, etc.

사진과 프린트

박상우(Park Sang-woo) 현대미술사학회 2009 현대미술사연구 Vol.26 No.-

This paper aims to reveal the fundamentally different nature of the two technical images: photography and print. Since the last 30 years, we have often debated whether photography is the ‘index’ or the ‘print’. Especially, a french historian of art Georges DiDi-Huberman intented to use the concept of print very largely as a paradigm. He said that the photography should be considered as a particular case of the system of the print. Does the photography belong to the print? Is the photography represented in the same way as other systems of the print such as footsteps, fingerprints, or wood printings? In an attempt to clarify the relation between photography and print, first of all, we examine the technical property of these two systems. After this, we explore commonality and differences between the two systems. In doing so, this paper further examines the technical nature in the system of print itself in a general sense that has not been discussed sufficiently in academics. This paper reaches the conclusion that the photography and the print are very different systems at every levels which constitute a system of the representation: projection, support, and agent. In terms of the mode of projection, while the photography is the conical projection, the print is the straight parallel projection. For the support, the print uses whatever materials such as paper, stone, wood, etc, but the photography very particular material like the photo-sensitized surface. For the agent, the photography is the system of light, precisely that of the photon, while the print is the system of pressure. In other words, the photography is the result of the effect of the photon on the photo-sensitized surface, while the print is that of the pressure of the one thing on the other. And if the photography is the system of the distance between image and reference, the print is that of the contact. The photography and the print are the very different system in terms of the mode of production of the image. They thus show different features in the sense of their efficiency, uses and functions. In terms of the fidelity of representation, the print is more effective than the photography. A cast of the face is more similar to the real visage than the photographical portrait is. But in terms of the automatism of the mode of production, the print goes through less mechanical process than the photography does.

현대 사진예술의 쟁점들

이용환 ( Lee Yonghwan ) 현대사진영상학회 2020 현대사진영상학회논문집 Vol.23 No.3

It is the age of post-photography, referring to the era of electronic photography. Digital photographs can be modified and manipulated any time so they might be false images. A digital photograph can be an index but may morph into an icon. Photographs can be the products of either a virtual world or a fictional imagination. Any post-photographic expression brought about a revolutionary change in artistic photography. The assertion that a photograph is a mark of light is no longer objective. Photographs in the era of post-photography feature a composition of time, a mixture of the past and present, a representation of past memories, a coexistence of two and three dimensions, a coexistence of fragmented history, and the mode of pastiches. A photograph here is nothing but a material for representation. And yet, photography’s realistic ontology is still effective and much more photographs tend to reinforce photography’s realistic aspects. As a result, photography as art comes to have much more diverse forms. We are living in an age of the post-Internet after post-photography. Photography has already been part of art. Artists employ or utilize re- intermediated mediums in accepting information in this post-Internet era. In this era imaging technology has merged with contemporary art. A contemporary metaphor maintains its meaning in a relation incessantly altering like rhizomes. The concept of readymade has still been appropriated, profoundly influenced by the motive and dynamism of the post-Internet environment. The post-Internet is an extensive account of the artistic convention that takes something networked and integrated for granted. As we are living in the era of nonlinear technical images, the material property of marks engendered by photography’s contact with light have disappeared in the digital environment of contemporary art and photography. The everyday in which the virtual is mixed with the real through any in-intermediation and solidarity with time, place, space, and medium. As a real space is connected to a virtual space by the advancement of Internet technology and social networking sites, art materials have turned into something immaterial and any representations force us to perceive a virtual space as a new reality. The medium of photography is given a new status as media art in the deconstruction of genre in the the post-Internet era. Two-dimensional photography is asked to have a three-dimensional perception of space with the progress of technical videos, forging a united front with sculpture and video as an arrangement of time. As photography has become the medium to incarnate all aspects of post-modernism, we realize we have to become the subject to perceive the world, not merely choose time. Both language and expression are altered as the medium changes. We witness the medium of photography enriching art history across the world. The problem of whether photography is art or not is no longer a matter of discussion. It is nothing but a medium. What should be asked again is what we should do with this medium.

한국사진의 리얼리즘과 모더니즘 - 작가의 등장과 사진 담론 -

박평종 ( Park Pyungjong ) 한국사진학회 2020 AURA Vol.0 No.44

In modern era of Korea, photography was mainly a means of portrait production, while the photographer remained in the role of a 'functional person' who operated a photo studio. Art photography was nothing more than an affair of talented amateurs, and the aesthetic achievement of photography was insignificant in the competition of amateurs who wanted to be recognized as ‘artists’ through competition awards. With the establishment of the “Photographic Division in National Exhibition of Art” by Korean Government, the so-called ‘photographer’ is produced largely, but their ‘artist status’ has not changed. The situation begins to change in which the Museums of Visual Arts accepts photographic works. This is in line with the phenomenon that photography rapidly enters contemporary art. 'Photographers' are now given the status of 'author', which stands for 'artist'. And the main discourse of Korean photographers has shifted the agenda according to the times and contexts. From 'art photography' during the Japanese colonial period to 'realism photography' after liberation, and to ‘modern photography’ after the liberation, there are various issues including 'photography as an arts' after entering the field of modern art. These discourses have always been formed around authors and their works.

Study on the Commercial Photography of the Post Photography Era

Daewook Kim,Joungwoo Joo 보안공학연구지원센터 2015 International Journal of u- and e- Service, Scienc Vol.8 No.8

The beginnings of digital photography were humble, but now are overwhelming the silver halide photography in 2015. The term Post-Digital Photographic Era mentioned by Fred Ritchin refers to a characteristic image of digital photography with the appearance of digital photography and the beginning that the surrounding infrastructure changes. It means the era that the value framework that the existing photography had changes and a new paradigm begins to appear. Such a new paradigm is giving direct changes, i.e. technology generalization, to photographers and predicting drastic changes to society, culture, politics, and economy. This study looks at the present of photography through literature review of analog photos and digital photos from 1839 to 2015 and based on this literature, investigates the currently-emerging trends of photography and the post-photographic era. It also looks at various cases of technological advancement and presents the future directions for photography. Roland Barthes thought that photography is what was passed away, what was in the past, and what was dead. Through consideration on digital photography, virtual reality, and 3D image – products of various efforts for reviving such dead photos, it looks at the world of visual illusion, ultimate purpose of something virtual and studies the images of photography beyond being ubiquitous, the end of desire for a graphic virtual world.

2015개정교육과정 미술 교과서 사진 단원에 관하여: 3, 4학년 교과서를 중심으로

권해일(Hae-Il Kwon) 한국국제미술교육학회 2021 미술과 교육 Vol.22 No.4

2007개정교육과정 미술 교과서에 처음으로 사진 단원이 등장하였다. 2015개정교육과정 3, 4학년의 경우, 6개 출판사의 12개 교과서 중 5개의 교과서에 사진 단원이 수록되어 있다. 현행 교과서의 사진 단원에 관한 선행 연구의 부재 속에서 이 연구는 교과서에 수록된 사진 단원을 분석함으로써, 추후 교과서 집필에 참고할 제언을 목적으로 한다. 이에 수치적 분석보다 교과서별 사진 단원의 집필 방향과 문제점, 참고작품 등을 종합적으로 분석하였다. 그 결과는 다음과 같다. 첫째, 표현 활동 영역에서 기술 습득과 촬영 방법에 지나치게 중점을 두고 있었다. 이는 학생들의 상상력과 자유로운 사진적 시각을 표현하는 것을 방해하는 요인이 될 수 있다. 둘째, 사진 자체의 교육보다 사진을 도구로 활용하는 경향으로 교과서를 구성하고 있다. 셋째, 참고작품을 선정할 때는 미술표현, 미술사, 미술비평, 미학 등 미술의 범주 속에서 모범이 되고, 학생들에게 지도할만한 가치 있는 작품을 선정하려는 노력이 필요해 보인다. 교과서에 대한 종합적 분석 결과에 따라 다음과 같이 제언하고자 한다. 사진교육은 기술적인 접근방식에 유연할 필요가 있다. 또한, 사진교육은 학생의 생활과 밀접하고, 자기 생각을 사진으로 보여줄 기회를 제공해야 한다. 사진 전문가의 조언에 귀 기울일 필요가 있으며, 교사의 사진에 관한 지식과 안목을 넓힐 방안도 필요하다. 마지막으로, 모든 미술 교과서에서 사진 영역을 소홀히 하지 않고 사진 단원을 구성하길 기원한다. The photography units first appeared in art textbooks since the 2007 revised curriculum. In the third and fourth graders of the 2015 revised curriculum, photography units are included in five of the 12 textbooks of six publishers. There is no prior study on photography units in the current textbook, which aims to make suggestions for future reference in writing textbooks by analyzing the photography units contained in the textbook. Thus, rather than numerical analysis, the direction, problems, and reference works of each photography units were comprehensively analyzed. The results are as follows. First, there was an excessive focus on skill acquisition and filming methods in the area of expression activities. This can be a hindrance to students" imagination and free photographic perspective. Second, the textbook is composed of the tendency to use photography as a tool rather than the education of photography itself. Third, when selecting reference works, it seems necessary to set an example in the art categories such as art expression, art history, art criticism, and aesthetics, and to select valuable works to guide students. According to the results of comprehensive analysis of the textbook, the following suggestions are made: Photography education needs to be flexible in a technical approach. Also, photography education should be close to the student"s life and provide an opportunity to show his or her thoughts through photography. It is necessary to listen to the advice of photography experts, and it is also necessary to broaden teachers" knowledge and insight on photography. Finally, I hope that all art textbooks form a photography unit without neglecting the photography area.

패키지에서 시즐감 표현과 자동차사진 표현을 위한 광고촬영연구

임채형 한국디자인트렌드학회 2005 한국디자인포럼 Vol.12 No.-

외국의 유명브랜드의 국내 진출로 우리나라 각 기업의 제품 디자인 수준이 높아져야 하고 광고나 패키지의 촬영과 디자인수준이 국제 경쟁력을 갖출 수 있어야 한다. 이제 국가간, 기업간 제품의 기술적 격차가 점점 줄어들고 있고, 국내 소비자들의 제품을 보는 안목과 디자인을 보는 수준도 국제적으로 향상되었다. 각 기업들의 자동차 촬영과 광고 및 패키지디자인의 중요성이 높아지고 있지만, 이에 대한 연구는 매우 부족한 실정이며 그동안 몇몇 포토그라퍼의 실력에 의존하면서, 포토그라퍼들과 촬영에 관한 자료가 전혀 공유되지 않고 있어 이에 대한 연구는 매우 부족한 실정이다. 먼저 광고 디자인 촬영 중에서 가장 어려운 자동차와 식품ㆍ음료 패키지의 촬영을 우선적으로, 촬영기법을 연구하기로 하였다. 형태가 커다란 자동차는 촬영 시 매우 복잡하여 여러 조명이 설치되어야 하며, 촬영에 필요한 특수장비 및 스태프 등 많은 구성요소가 필요하다. 자동차 촬영에서는 돔의 형태나 촬영차의 높이에 따라 포인트가 달라지고 식품, 음료패키지의 시즐 촬영에서도 스튜디오 촬영 및 조명장비 등 인프라의 문제를 검토하였다. 또 식품ㆍ음료패키지는 촬영에서 나타나는 고급감과 시즐감 자체가 패키지의 테마가 될 수 있고 잘 표현된 시즐만으로도 충분히 광고나 패키지의 목표를 달성할 수 있다. 최근에 많은 주목을 받고 있는 자동차와 식품ㆍ음료패키지의 촬영기법을 통하여 이해나 식품ㆍ음료패키지에 시즐감을 적용했을 때 패키지 고급감의 느낌을 비교하고 제품촬영과 촬영된 식품ㆍ음료를 광고 및 패키지 적용이라는 두 영역간의 유사성을 발견하여 디자인에 적용시킴으로서 맛과 디자인적 고급감을 나타날 수 있게 도입하여 상품의 가치와 구매욕구를 올릴 수 있다. 이번 연구에서는 자동차광고촬영의 기법 및 패키지제품에 대한 연구 스태프들의 역할, 조명의 연출, 시즐 포인트에 대하여 촬영 기법을 제시함으로써 패키지에서의 시즐감 표현과 자동차사진 표현을 위한 광고촬영연구에 대한 미래적인 발전 방향을 제시하고자 한다. Because the foreign famous brands advance into Korea, it needs to improve the level of product design in each enterprise of this country. And, the enterprises in Korea must have the international competitive power in advertising, photography of packages, and design level. Recently, it gradually decreases the technical product gap among the nations and enterprises, and it improves the domestic consumers` eyes for the products and levels for designs internationally. As to the product photography, advertising, and package design by each enterprise, its importance becomes higher, but there is still a very serious shortage of research on it. In the mean time, the photographers have not shared the materials of photography, depending on some photographers` capacities. After all, recently, we are in a situation that the research on it is sparse. First of all, this study was to investigate the photography for the automobiles, foods, and beverages, most difficult fields, among the photography of advertising design. And, this study was to suggest the plan for utilizing the pictures photographed for advertising. The automobiles with large shape are very complicated in taking a photograph, and it needs to install various lightings. And, it needs a lot of components like special equipment necessary for the photography and staffs, etc. As to the photography of automobiles, it differs from the shape of dome or height of automobile for photography. This study was to review the studio photography and problems of infrastructure like illumination system, etc. in Sizzle photography for foods and beverages. In the foods and beverages, the high-grade and Sizzle feelings shown in the photography could be themes of packages as they are. It is possible to achieve the aim of advertising and packages sufficiently only with Sizzle expressed well. This study was to compare the feeling of high-grade package through the photography for the automobiles and foods·beverages highlighted recently a lot when it applied the Sizzle feeling and understanding the layout to the foods and beverages. It was possible to enhance the product value and desire for purchasing, introducing it in order to show the flavor and designated high-grade feeling as it applied the foods·beverages to design by finding out the similarities between two fields like advertising and package adaptation. In conclusion, this study was to suggest the future scope as it suggested the photography for the staffs` roles in research on the techniques of advertising photography and product, production of lightings, and Sizzle point.

1960년대 주명덕과 ‘현대사진연구회’의 관계 연구

박주석 ( Park Ju Seok ) 한국사진학회 2016 AURA Vol.0 No.37

The Belief of photographer, Joo Myung Duck, on documentary Photography which emphasizes element of reality in photography and the process of storytelling construction is surmised that it was affected by trend of ‘Modern Photography Society’ which was made as subsidiary of ‘Salon ARS’ in 1960s. Jeon Mong Gak who was a senior of Joo Myung Duck as well as a start member of ‘Modern Photography Society’ said that documentary Photography was alternative for Realism Photography. This is because the earlier Korean Realism Photography also has a limit, so it was required the change. Second, he also insisted that there are tendency and future of modern Photography and power of photography in the documentary form. The important point at here, in those days, the members, young photographers, were source of cognition system for information about the acquired photograph and news photography. When Lee Hyung Rok and Jung Bum Tae else who were their advisors still stayed at photograph of realism and Johyungjueue which were affected by Japanese realism photography and news photography, they consider a document and a reality as inherent of photography. Realism photography consider element of site in photography as a value of photography, however, its state was not that appreciate the element of documentary. And Johyungjueue photography’s role was that only added composition ability and several visual factor at the Realism Photography. The members of ‘Modern Photography Society’ have awareness system which surpasses previous thoughts and this was brought by photographs and columns in American magazine named < Popular photography >. It was the first time that Joo Myung Duck was joined and participated in ‘Modern Photography Society’ in November 1964. In those days, this society was leaded by Jeon Mong Gak else and he actively agree with the belief and direction about documentary photograph which were shared by the members. He reflected these theme setting on his works of photography. Joo Myung Duck’s exhibition of < On Harry Holt’s Memorial > have evaluated as a forerunner of new area of Korean photography has to be considered that it came from activity and research of ‘Modern Photography Society’.