이승택 작품 연구: ‘비조각’ 개념을 중심으로

이인범 미술사학연구회 2017 美術史學報 Vol.- No.49

This article is an analysis of Seung-taek Lee’s art works. Lee’s early works had their roots in sculpture, but he would later explore various genres under the name of non-sculpture—ranging from drawing, modern painting, objet, performance, installation, and photo-picture. Lee has been considered one of the most representative figure for Korean experimental art, as evidenced by the numerous exhibitions and research under his name. One of the most notable exhibitions was the Seung-taek Lee Invitiational Exhibition in 1997, which attempted to highlight the 50 year history of Korean experimental art. Despite his importance in Korean experimental art, most exhibitions and research papers fail to consider the full picture and chronological importance of Lee’s artwork. Instead, they would only focus on the experimental aspect of Lee’s art by looking at each piece separately. Furthermore, these exhibitions and research papers would often rely on non-credible records, casting even more doubt on credibility. This article will first thoroughly analyze the existing literature on Lee’s artwork. Based on the information, I identify four phases of Lee’s art as follows: 1) while embracing the western practice of sculpture, Lee would experiment with traditional Korean objects such as totem poles and pottery, or with ordinary industrial objects such as wood, glass, vinyl, and steel. Lee would also experiment with anti-sculpture installation art with non-material elements such as smoke, fire, and wind to reflect on the memories of cultural anthropology (1955-1971). 2) Lee also combined natural objects and artificial objects—such as sculptures, white porcelain, books, currency—by using a “rope” to contemplate on their existence via methodical and conceptual thoughts (1972-1983). 3) Under the name of non-sculpture, Lee intervened in various aspects of reality such as shamanism, self-burning, environment, division of the country, and sexuality via installation and performance art (1984-Early 1990s). 4) Finally, Lee shifted his focus from 3-dimensional experimental art with objet and sculpture to a photo-picture experiment with collage, montage, painting, and drawing (1990s and after). As a result, the existing literature that focuses on the experimental aspect of non-sculpture is ironically very limited in identifying the experimental nature of Lee’s non-sculpture art. In addition, by treating photo activity as just a byproduct of installation art, the previous literature fails to account for the importance of photo-picture, which was the main focus of Lee starting from the 1990s. Lee’s art is created in the context of the national division and Korean War, industrialization, and post-industrialization, and the rapidly changing objects within this time period. There is much more to his art than the experimental aspect, which warrants a more fundamental approach examining the relationship between objects and life. 이 글은 이승택(1932-)의 작품세계 연구다. ‘조각’에서 출발한 그는 ‘비조각’을 내걸며 드로잉·회화·오브제·퍼포먼스·설치·‘포토픽쳐’ 등 여러 장르를 넘나들며 실험적인 활동을 펼쳤다. 그는 한국 실험미술 50년을 조명하고자 한 한국문화예술진흥원 《이승택 초대전》(1997)을 비롯한 여러 전시와 연구들을 통해 한국 미술계를 대표하는 실험미술의 아이콘으로 평가되어 왔다. 그럼에도 불구하고, 전시나 연구들이 십중팔구 그의 작품 전모나 시기별 전개를 간과한 채, 단편적 형식적으로 그 실험성에만 주목하고, 그마저 엄정하지 못한 1차적인 기록들에 의존하고 있어 매우 제한적으로 설득력을 지닌다. 이 글은 우선 그의 작품에 관한 선행 기록들이나 연구들을 엄밀히 검토하여 다음과 같이 그 전개를 4시기로 나누고 각 시기별 특징을 정리하고 있다. 1) 서구 ‘조각’을 적극적으로 수용하면서도, 장승·옹기 같은 민속 오브제나 각목·유리·비닐·양철 같은 산업화 시대의 일상 재료로 형태실험을 하고, 연기·불·바람 같은 비물질적인 재료로 반조각적인 설치 퍼포먼스로 문화인류학적 삶의 기억을 불러내는 시기: 1955-1971, 2) 조각·백자·책·화폐나 돌·나뭇가지 같은 인공물과 자연사물들을 ‘줄’로 묶어 그 존재를 방법적·개념적으로 묻는 시기: 1972-1983, 3) ‘비조각’ 개념을 내걸며 설치·퍼포먼스로 무속·분신·환경·남북분단현실·섹슈얼리티 같은 삶의 현실에 개입해 들어간 시기: 1984-1990년대 초, 4) 지금까지의 3차원적인 오브제·조각 매체 실험에서 무게 중심을 사진콜라주·몽타주·페인팅·드로잉 등 이미지 실험으로 옮긴 ‘포토픽쳐’작업을 한1 990년대 이후 등. 그 결과 ‘조각’을 향한 ‘비-조각’적 실험에 주목했던 지금까지의 연구들이 정작 그 실험성의 성격을 드러내는 데서도 한계를 드러내고 있으며, 게다가 사진작업은 단지 설치·행위의 기록으로 부수적으로 취급함으로써 이승택이 일찍부터 추구했고 특히 1990년대 이후엔 몰입하다시피 했던 ‘포토픽쳐’에 관한 평가가 간과되었다는 점이 확인된다. 더불어 남북분단과 전쟁, 산업화, 후기산업시대 등으로 전개되며 급변하던 사물들의 체계를 배경으로 펼쳐진 이승택의 작품은 실험성만이 아니라, 인위성과 자연성, 오브제와 삶 사이에서 살아있는 새로운 사물의 질서 모색이라는 보다 근본적 관점에서의 접근이 요청된다.

스포츠 포토저널리즘에 대한 탐색적 연구 -조선일보에 실린 2014년 소치 동계올림픽 뉴스사진을 중심으로-

이소라 ( So Ra Lee ),양종훈 ( Jong Hoon Yang ) 한국사진학회 2015 AURA Vol.0 No.35

Sports is an important subject of photojournalism. News photos have become increasingly important in the era of images. In particular, sports is the special field because we can get information form sports news pictures without text. Nevertheless, the existing studies on sports photojournalism has been used as a secondary means to prove the ideology of News. The purpose of this study is to investigate the properties of the sports photojournalism itself. Research question is “How sports photos are published in newspaper?”- constituted three subconcept : format, content and description. I analyzed all of Sochi Olympic news photos(270) published in ChosunIlbo which is the largest newspaper in Korea. In the format, the average picture size was 10370.026㎟ and photos printed in color was 90.7%. Eye-level and medium shot were used a lot. This paper proved that sports is important subject of photojournalism. Photos printed in ChosunIlbo were mostly related with games. However, 17% pictures were like ID photos as a ‘wallpaper’. We can only know who they are through the photos. Athletes wearing sportswear were common in news photos. Only a few athletes had frequently appeared in the pictures. This means that newspapers were interested in the one of photojournalism values - prominence - too much. Players in the photos usually showed positive and passionate expression, which are easily transmitted to the reader. Angle, shots and characters were not various except the facial expression. In other words, sport is a visual target. However sports pictures in the newspapers were not taken variously.

일제침략기 한국 사진그림엽서의 탄생과 엽서의 분류 및 시대구분법에 대한 소고

신동규 동아시아일본학회 2019 일본문화연구 Vol.0 No.71

First, the name ‘Picture postcard’ has been used, but it is a photo-picture postcard to be precise. Second, It is wrong to consider Korea’s first photo postcard as an Alévêque postcard and reasonable to see the Uchechongguk New Year’s postcard issued on January 1, 1900 as the first postcard whether it is issue by government or private institution. The view of the postcard commemorating Ito’s appointment, which was issued on March 28, 1906, as the first postcard should be denied. Third, the time of production of modern postcards in Korea can be divided into five stages, we should keep in mind that the change of Japanese postal law, the fact that the Korean Empire joined the Universal Postal Union on January 1, 1900, and that Japan had taken control of the Postal Service of the Korean Empire from April 1, 1905.

이승택의 ‘비(非)-조각’에 대하여: 기록 사진과 ‘포토-픽쳐’의 틈

이인범 ( Ihn-bum Lee ) 한국미학예술학회 2021 美學·藝術學硏究 Vol.64 No.-

1956년 인체 조각으로 데뷔한 이래 이승택은 조각뿐만 아니라, 드로잉, 회화, 대지예술, 설치, 퍼포먼스, 사진 등 다양한 장르에서 실험적인 활동을 펼쳤다. 그리고 그 실험성은 ‘비조각’ 개념으로 언급되어 왔다. 이승택의 청장년기 작업은 서구 근대 ‘조각’ 개념을 대상으로 한 예술적 실험이라는 점에서 ‘비조각’으로 다루어질 만하다. 그런데 1980년대 이후 그의 실험들은 조각 개념과 무관한 문화인류학적 오브제나 퍼포먼스 등 다양한 삶의 영역들에까지 확장되고 있다. 그런 점에서 후기 작업들까지 아울러 ‘비조각’ 개념 아래 거론할 수 있는지는 의문이다. 조각-비조각 같은 이분법적 접근으로는 재료, 기법 등 매체적 문제나 장르, 제작 연도 같은 기초적인 정보 확정도 어려운 경우가 적지 않다. 예컨대, 설치나 퍼포먼스로 취급된 작품들 중 적지 않은 것들은 재료로 그 기록 사진들을 활용하였을 뿐, 엄밀한 의미에서 기록 사진이 아니라 다만 그 위에 덧칠되거나 콜라주, 몽타주하여 재구성된 이미지들인 경우가 허다한 ‘포토-픽쳐’이다. 따라서 ‘비조각’이라는 단정 아래 논의 해온 이승택의 예술 세계를 그 발생사적 전후 관계, 작품 형식이나 기록에 대한 면밀한 검토를 바탕으로 새롭게 해석해야 할 여지가 적지 않다 Seung-Taek Lee has attracted attention in the Korean art world with experimental artworks, since he made his debut through a sculptural work in 1956. The experimental nature of his work has been referred to as a concept, ‘non-sculpture’ after he contributed his essay, “The origin of my non-sculpture” to a art magazine in 1980. However, the considerable errors are found in the relevant records of his works of art. Sometimes there are so many problematic errors in basic records of his works, especially documentary photography or the records of artwork such as the names, year of production, materials, techniques, size and etc. These errors not only make it difficult to identify the historical context between each works and his interaction with other artists, but also caused great confusion the understanding of his artworks. His performances and installations, which have been active since the 1980s, have been discussed through the photographic images. By the way many of them are not just records of objects or events but have been painted or collaged on photographies. Therefore taking it as an index that dictated actual works and characterizing them as an extension of the concept of ‘sculpture’ or its symmetrical concept ‘non-sculpture’. These Seung-Taek Lee’s photography works should be called his own ‘Photo-Picture’.

그림으로서 사진과 사진으로서 그림

이경률(Lee Kyung-Yul) 현대미술사학회 2006 현대미술사연구 Vol.19 No.-

This theory intends to discuss modern plastic art utilizing pictures as concrete situation setting or artist's expression tools in actual. However, the theory will be analyzed focused on not media but dual discourse (matter-shape, or ground and its directive objection) which is understood as common principle of art. Based on conceptual side, it is because plastic art is an artistic action as a specific matter first caught by artist is revealed in concrete shape using artistic media. And so plastic art is not a material meaningful word which designates totally all the genres of art, but virtually directive meaningful art in the point of modern post-structuralism in which art is understood as matter-shape principle. Photos as picture are expression tools for artists to deliver their message, as well as basically such photos intend to reveal the fact of existence which is irrefutable. For example, news photograph-made pictures of Andy Warhol and photobilders of Gerhard Richter were to remerge so as to trace back historical truth with time. Also, their artistic intention is not in critic and aggressive sight but the 'observer's attitude without any prejudice and justification. On the other hand, pictures as photos intend to recover subjective and personal view which has been excluded for a long time rather than to take neutral position for society and history, and catch internal existence in ordinary case which we haven t discovered yet in collective sight and badly unified view. This ordinary existence can be shown only as plain and old-fashioned form all around because we are always used to social events and justice, neither events nor justice in actual. However, all these things are the only objects which can be remerged in neutral photos. Neo-pictorialism intends to confuse own area of photos and pictures which have been fixed as one genre for a long time rather than to develop a new genre of photo and picture as real art. As a result, this means that purity (purification) commented by Clement Greenberg is wrong, at the same time this means to recover traditional beauty dropped out by avant-garde. Also, while pictorialism, at early twentieth century, was regarded as separatist movement, in other word, the straight photos was regarded as loss of aurabased on the historical view, neo-pictorialistes try to express visually visual translation refuting artists personality, unique works and real reflection, that is, to recover 'aura'. Finally, modern neutral photos, formative photos formed by Germanic Bernd and Hilla Becher, and their followers threw away absolute recording ability and lyrical side of photos, on the other side, they chose ordinary and old-fashioned side contrary to 'poses' and 'events', and showed a side of vacant existence kept on being in ordinary non-time.

디지털사진 이미지의 형상적 아우라의 표현연구 -「AISTHESIS」작품을 중심으로 -

안홍국 현대사진영상학회 2015 현대사진영상학회논문집 Vol.18 No.2

Studies on the expression of a particular aura in the digital photographic images - Focusing on the works of Aisthesis series - Hong kug, An Professor Dept. of Digital video, Kyungwoon University Abstract This paper is present in some form in the aura ⌜AISTHESIS⌟ series in my work, a theoretical analysis of the reasons for the inquiry and its working methods for the presence of an aura dissolved in traces images. The 'Aura concept' Benjamin for analysis and yigyeongryul of 'interpretation of the aura' thesis based on the "presence of an aura dissolved in the presence of the target, were analyzed theoretically. The results of the analysis in the body of work of ⌜AISTHESIS⌟ been found ln the presence of aura appear in a strange encounter that appears in the upcoming contemplative perspective to reasons manner. In other words, Photo3) - Photo 13) ln the inner landscape presented by ⌜the gesture of shape⌟ was confirmed that the aura exists. In addition, it was confirmed that there exists an aura felt in place in nature are encountered in the coexistence heterogeneous space

데이비드 호크니의 <더 큰 그림> 연구 -회화의 시각과 시점에 관한 문제를 중심으로-

정영한 한국기초조형학회 2015 기초조형학연구 Vol.16 No.5

이 논문은 데이비드 호크니의 근작 <더 큰 그림>에 관계된 ‘시점’에 대한 문제를 호크니의 회화론과 동시대적 입장을 통해분석하는 것을 논점으로 한다. 호크니는 회화, 판화, 사진, 무대미술, 일러스트 디자인, 그리고 ‘아이폰 드로잉’이라고 불리는 미디어통신 매체를 활용한 작품 등, 기법의 한계를 자유롭게 넘나드는 미술가이다. 호크니는 리처드 해밀턴, R.B. 키타이 등과 함께 영국 팝아트의 핵심인물이자 <결합(joiner)> 과 같은 독창적 포토 콜라주 작품을 고안한 사진가이며, 오페라 무대공간을 연출하는 무대미술가로서 활약했고, 2001 년에는 Secret Knowledge라는 저서를 통해 르네상스 거장들의 그림을 광학이론에 기초하여 분석하면서 미술이론가로 활동 영역을 넓혔다. 이른바 호크니-팔코 이론이라고 명명되는 그의 연구는 현재까지 많은 논란 속에서도 다양한 분야에서 언급되고 있으며, 2000 년 이후부터 영국 요크셔 지방을 배경으로 마치 외광파의 방식과 유사한 풍경화, 즉 <더 큰 그림>을 통해 그의 이론을 시점에 관한 담론과 함께 전개시키고 있다. 따라서 호크니의 <더 큰 그림>은 회화를 보는 눈, 즉 시점에 관한 동시대적 담론을 가장 전통적 매체를 통해 구현해냈다는 데 중요한 의의가 있으며, 회화를 여전히 실험 가능한 매체로 제시하는 등 이미지 제작에 대한 폭넓은 감각적스펙트럼을 보여주고 있다는 점에서 비평적 관점에서 재고해 볼 필요성이 있다. 결국 <더 큰 그림>은 ‘회화에 있어서 시점의 문제’에 대한 호크니의 회화론과 다양한 매체를 통한 실천적인 실험과정이 집약된 결과이며, 사진-이후 시대의 회화에서 결코 간과해서는 안 될 주요 과제이다. This study deals with ‘perspective’ issues of David Hockney’s recent work <A Bigger Picture> by analyzing his optical theory and in the context of contemporary art. Hokney is well known for the artist who is without technical limits for example he makes painting, engraving, photography, stage design, illustration, and he uses ‘I-phone’ for drawings. Actually Hockney emerged core of British Pop artist in the early stage, then he made creative photographic collage under the name of <Joiners>, he designed opera stage for Stravinsky’s Rake’s Progress, and in 2001 he expanded his career as an art theorist. In his book Secret Knowledge, Hockney argues that optical devices were used by European painters from the early 15th century. Usually called ‘Hockney-Falco thesis’, Hcokney’s highly controversial theory has been marked upon today’s art. It is important connecting with Hockney’s recent work <A Bigger Picture> which is en plein air landscape painting of Yorkshire having the implications for vision and perspective issues of painting. In this sense, <A Bigger Picture> means that Hockney embodied the discourse of the eyes or the perspective in contemporary painting with the most traditional medium of art, and it is important that he presents the latent possibility of painting as still experimental media in today’s art field. At this point, there is a need to reconsider Hockney’s wide spectrum of image making in the context of contemporary art. And <A Bigger Picture> is a result of the essence of Hockney’s practical experiments progress using his own theory and multiple media so that should not be overlooked in Post-Photographic era.

근대 사진그림엽서의 개념 정의와 종류에 대한 특성 고찰

신동규(Shin, DongKyu) 동아시아일본학회 2021 일본문화연구 Vol.- No.79

본고는 그간 혼동을 초래해왔던 근대 사진그림엽서의 개념 정의와 발행 주체별 엽서 종류에 대한 특성을 고찰한 것이다. 요약하면, 첫째로 사진그림엽서의 명확한 개념은 “사진이나 그림이 있는 우편엽서”로 정의할 수 있으며, 그 연구 범위는 학술범위에 제한을 받지 않을 정도로 무한적인 자료적 특성이 엽서 자체에 태생적으로 잠재되어 있다. 둘째, 그 종류와 특성에 관한 문제이다. 엽서의 발행 주체에 따라 “A:국가권력, B:지방권력, C:민간기업 단체, D:개인”으로 나뉘는데, 국내용의 ‘통상엽서’와 국외용의 ‘UPU엽서’, 또는 그에 준하는 형식의 엽서를 이용하여 각기 목적과 필요성에 따라 제작 발행하였기 때문에 본고에서 논증하였듯이 각기 발행 주체를 대표하는 특성들이 내재되어 있다. This paper can be summarized as follows. First, a clear concept of the picture postcard can be defined as “the postcard containing photocopy or picture” and its research scope is not limited in its academic scope that infinite data characteristics are inherently contained in the postcard itself. Second issue is the types and characteristics of postcards. Postcards are divided to “A: State power, B: Local power, C: Private Company & Group, D: Individuals” according to the subject issuing the postcard. Since the postcard was designed and issued according to its purpose and necessity using the postcards such as ‘Government-issued postcards’ for domestic use, ‘UPU postcards’ for overseas use or similar form, as this paper argued, the characteristics presenting each issuing subject are inherent in the postcard.

비사실적 렌더링 기법에 의한 3D 카툰 애니메이션 제작에 관한 연구

주헌식(Heon Sik Joo) 한국컴퓨터게임학회 2013 한국컴퓨터게임학회논문지 Vol.26 No.4

Computer graphics technique with which two dimensional black and white characters used to be displayed on a monitor in the early period, has now been developed to display three dimensional color images on a mobile terminal. In particular, owing to technique growth in graphics, non-photo realistic rendering technique has grown to express non-photo realistic images as well as realistic rendering. Non-photo realistic rendering technique grows to be motion graphic technique. With the growth of motion graphic technique, it can be possible to produce various expressions and effects. This study proposes a way of turning three dimensional images into two dimensional cartoon look. Two dimensional cartoon look, a type of pictorial expression appeals to emotions, and is in great demand at dvertisement, mobile and cartoon. Thus, this study not only changes three dimensional images into two dimensional cartoon look, but also numerous images can be expressible in one page by applying PIP (Picture In Picture) technique, and expressions of cartoons are to be reproduced in turning pages automatically by applying ‘page turn’ technique. Accordingly, it is believed that this content production technique can be applicable in various fields including game, advertisement, cartoons, etc.

총살 장면의 역사적 기록과 사진

이경률 ( Lee Kyung-ryul ) 한국기호학회 2016 기호학연구 Vol.48 No.-

사형수를 죽이는 처형 장면은 원래 그림으로 재현되어 왔고 화가들은 그것을 상상으로 재구성했다. 그러나 18세기 이후 근대 산업이 발전하고 제국주의가 팽창하는 시기에 전쟁에서 소총이 보편화되면서 죄인의 처형은 교수형에서 총살형으로 바뀌게 된다. 그런데 참수형이나 교수형과는 달리 총살형은 특별히 사진과 밀접한 관계를 가진다. 그 이유는 19세기 과학의 발전과 산업혁명 그리고 대중매체의 발전과 함께 역사적 사건을 기록하는 방식이 점진적으로 데생 화가의 손에서 대량 이미지 복제가 가능한 사진으로 이동하였기 때문이다. 그러나 사진의 역사에서 사형수가 총살되는 사진은 의외로 드물게 나타난다. 그 이유로 우선 총살 장면을 사진으로 기록하는 기술적인 문제 특히 오랫동안 순간포착이 불가능했던 기술적인 한계를 들 수 있다. 역사적 사건을 현장에서 카메라로 순간 포착한다는 것은 1925년 라이카 소형 카메라의 출현 이전까지 지나치게 큰 사진판과 무거운 카메라로 인해 거의 불가능했다. 그래서 19세기에 나타난 총살 장면의 역사적 기록은 총살의 순간포착이 아니라 연속 시퀀스 방식으로 총살의 집행 과정과 그 흔적만 보여준다. 총살 장면이 흔하지 않는 또 다른 이유는 비록 공개 총살이라 할지라도 총살을 기록한 사진은 정권 유지와 프로파간다 선전을 위해 언제나 정치적 검열과 조작에 노출되어 있기 때문이다. 게다가 포토저널리즘에서 총살되는 순간을 그대로 촬영하여 전파하는 것은 예견치 않은 장면의 선정성 문제를 야기한다. 왜냐하면 인간의 죽음을 생중계하듯이 총탄에 피를 흘리는 참혹한 장면이나 총을 맞고 꼬꾸라지는 순간포착은 아무리 대중의 알 권리가 우선이라 할지라도 장면의 지나친 묘사에서 윤리적인 비난을 받기 때문이다. 끝으로 포토저널리즘에서 나타나는 총살 장면들은 대부분의 경우 현장에서 우연히 포착된 결정적 순간이다. 이럴 경우 촬영자는 어떠한 정치적인 선입견도 없이 자신이 목격한 현장을 군중의 입장에서 기록하는 `관찰자적인 관점`을 가진다. 특히 잔혹한 총살 집행에서 불법으로 개입된 카메라의 눈은 집행자들의 입장이 아니라 인본주의적 시각과 인류학적 관점을 가진다. 그러나 관찰자적인 관점은 촬영된 장면이 대중에게 알려지고 난 후 흔히 현장에서 촬영자의 방관이나 무책임에 대한 암묵적인 비평이 따르기도 한다. The execution scene of killing condemned criminal has been originally reproduced in the picture and painters have reconfigured scene of execution with their imagination. As rifle was universalized in the war in the age when modern industry was developed and imperialism was expanded after the 18th century, however, the execution of offender was changed from hanging to execute by firing squad. Unlike decapitation or hanging, execute by firing squad is closely related to photograph, because the method to record historic case has gradually moved from the hand of dessin painters to photograph which can reproduce image in large quantity due to the development of science and Industrial Revolution in the 19th century and the development of mass media. However, the photo which describes condemned criminal killed by firing squad is rare in the history of photograph, because of the technical problem in recording the scene of execute by firing squad, especially technical limit, the impossibility of instantaneous capture for long time. It was nearly impossible to instantaneously capture historic case until small camera of Leica appeared in 1925, because the photo plate was too large and camera was quite heavy. Thus, the historic record of execute by firing squad in the 19th century showed only the process of execution and its trace by sequence mode instead of instantaneous capture of execute by firing squad. Another reason why the scene of execute by firing squad is rare is that even in the case of open execute by firing squad, the photo recording execute by firing squad. is always exposed to politic censorship and manipulation for maintenance of politic regime and propaganda. Further, photographing and broadcasting the scene of execute by firing squad through photo journalism causes the issue of sensationalism of unexpected scene. This is because instantaneous capture of horrible scene of condemned criminal bleeding by bullet & falling down like telecasting human death is subject to ethical denunciation in the light of excessive description of scene, no matter how prevalent public`s right to know may be. Finally, the scene of execute by firing squad shown in photo journalism generally shows the critical moment fortuitously captured at the site. In this case, photographer keeps observational viewpoint where he records the scene he witnessed in the position of public without any politic prejudice. Especially, the eyes of camera which illegally intervened in the cruel execute by firing squad keep humanistic vision and anthropologic viewpoint instead of position of executors. However, observational viewpoint is usually subject to implicit criticism for the photographer`s onlooking or irresponsibility at the site after the photographed scene is open to public.