사진사(寫眞師)의 삶과 사진관의 사회문화적 의미

조성실(Cho Sung-sil) 역사문화학회 2007 지방사와 지방문화 Vol.10 No.2

본 연구는 평생을 사진사로 살아온 유명국의 구술생애사를 통해 사진사의 삶과 사진관의 사회문화적 의미를 살펴보고자 한 것이다. 연구내용에는 유명국의 삶과 정체성, 그리고 사진사에 대한 사람들의 인식과 사진관의 사회문화적 의미 분석이 포함된다. 그의 구술생애사 속에서 사진사와 사진관이 민중에게 특별한 의미를 가지고 있었으며, 그 역할 또한 중요하였음을 알 수 있다. 사진사는 개인의 역사를 담는 기록관이었으며 사진관의 쇼윈도는 도시성을 소비하는 공간이었다. 신태인이 번창하던 시절 사진관의 인기도 대단하였다. 5일장이 서는 날이면 인근 시골에서 온 사람들이 사진관으로 몰려들었다. 이들은 쉽게 갈 수 없던 외국이나 서울의 유원지 등이 그려진 사진관 스튜디오의 배경 그림 앞에서 사진 찍는 것을 즐겨하였다. 그의 생애사에는 단순히 한 사람이 살아 온 이야기가 아닌 사진사와 사진관 그리고 민중 사진의 역사가 고스란히 들어있다. 즉 그의 이야기는 한 개인의 정체성과 사회의식을 표현하고 있음은 물론 당대 역사와 문화에 대한 귀중한 증언이고 살아있는 역사기록인 것이다. This paper explores a photographer's life history and the sociocultural meanings of photo studio. Yoo Myeong Gook, the former photographer, revealed his entire life history through in-depth interviews. The content's of this paper includes his life and identity in the first place. It, then, furthers into the sociocultural analysis on the photographer as a modern profession and the photo studio as a place for the reproduction of the images. His life history reveals that the photographer and the photo studio had special meanings to people and played important role on their lives. The photographer was the one who recorded their personal histories. The photo studio was known to be the place to consume a urban culture. When the city of Sintaein was flourished, the photo studio located in the city center was one of the poplar places for people. On the market day, many people coming from the countryside stopped by there. Enjoying background pictures of the photo studio with the foreign landscapes or Seoul's amusement parks, they had their pictures taken in front of them.

해강 김규진의 대한제국 황실사진 연구

박주석 ( Park Ju Seok ) 한국사진학회 2021 AURA Vol.0 No.46

This thesis is based on the results of discovering and introducing a photographs of Emperor Gojong of the Korean Empire in the possession of < The Newark Museum of Art > in New Jersey, USA. It was written for the purpose of revealing the photographic activities of Kim Gyujin as a royal photographer of the Korean Empire. < The Freer Gallery of Art and Arthur M. Sackler Gallery Archives >, which is affiliated with the Smithsonian Institution in the United States, also was released their photographs of Emperor Gojong and the Crown Prince Sunjong at the era of Korean Empire. The excavation of these photographs held by the two institutions created an opportunity to uncover the reality of the royal photographer Kim Gyujin, who is handed down only through oral tradition in the history of Korean photography. The Emperor Gojong's picture made by Kim Gyujin, which exists as a Vintage Print of 1905 in cultural institutions of U.S.A., provides an important clue to solving several issues in studying and describing the history of early Korean photography. The core themes are the following four. 1. The career of Kim Gyujin as a Royal photographer. Kim Gyujin has founded and operated < Cheonyeondang Photo Studio > in 1907 and opened the era of popular photographic culture. 2. A Possibility of existence of the photographs of Emperor Gojong and Sunjong made during the late Josun. It is generally known to have been taken by Japanese photographers and Western travelers. 3. The route of the release of Korean Empire's royal photographs in Korea and abroad and that's politics means. 4. The technical revel of Korean photography, like the negative process, the printing process, the equipment's like the camera in the 1900s.

시각 문화로서의 한국 전쟁 사진

김윤정(Kim Yunjung) 한국근현대미술사학회 2010 한국근현대미술사학 Vol.21 No.-

Pictures was one of the easiest and most images for Koreans in the 1950’s. In particular, photographs has been used for propaganda during war because the media depicts the combat verisimilitudely. Reproduced photographs posted in mass media were circulated, which made people see and believe the war in their own eyes. In this regard, pictures was a powerful media in constructing visual culture during wartime. For three years of Korean War, people sought refuge in Busan, the city of southern Korea and kept publishing newspapers to deliver the progress of the battle. As a public and influential mass media, newspapers in the 1950’s had an effect on formation of visual culture at that time. Newspapers showed some images repeatedly to their readers: one is the latest war weapons and the other devastated landscapes. Even if the front line got stuck, photographs of war weapons symbolized the triumph of South Korea and the defeat of the North. Even if the photographs showed the ruins of war, texts in the article told the hope of life to reconstruct the city. While foreign press focused on miserably destructed Korea, Korean press tried to show war images with positive texts that the country can overcome the tragedy and rebuild their nation. During war all the articles and photographs were under the control of strict censorship of the Korean government. South Korean Army was considered as a government organization to decide which images should be seen or not as well as let the Signal Photographic Unit take war photographs. Looking into the establishment and activities of South Korean Signal Photographic Unit is imperative that we reveal a relationship between photographs and official subject that made them. This study is also a research about war photographers who documented the war in different areas of the Korean army. Korean war photographers not only obeyed the rules of army but took photographs of Korean war in their creative perspectives. It will include pictures of these war photographers who provided the foundation of development of documentary photographs which became the mainstream of postwar Korean photography. In conclusion, Korean war photography is an influential media that visualized the war for Koreans as one of the main source of visual culture in the 1950’s. This article is to study a close relationship between photographs and visual culture during Korean war.

6·25전쟁 전쟁 다큐멘터리 사진에 관한 연구 - 현역 군인 ‘한동목’이 촬영한 사진을 중심으로 -

임상욱,양종훈 한국사진학회 2022 AURA Vol.- No.48

Abstract The Korean War is one of the most tragic events in our modern history and brought many changes. From the perspective of Korean photographers, it is a very meaningful war in that it is the first attempt to reproduce the war. Many photographers were able to visually project their ideological knowledge of history and society by getting out of the fence of art photography through Japanese colonial era and touching reality through war. Among these photographers, there were not only civilians but also active soldiers who participated in the war. The photographers of the Ministry of National Defense's “Jeong Hoon-guk” and the photographers of each military headquarters and subordinate units were representative military photographers. Although he lacked expertise compared to civilian photographers, he belonged to each unit in the front and rear and took pictures during the battle. However, little of the active military photographers have been known so far. Unlike civilian photographers, they were unable to take pictures under their own names, and there were not many remaining photos due to many cases of loss or damage, so there were no known active military photographers except Lim In-sik, who served as the photographer of the Ministry of National Defense's “Jung Hoon-guk.” In this regard, Han Dong-mok's photo released in 2016 is worth giving a new perspective on the Korean War and at the same time knowing how active soldiers view the war. Han Dong-mok, who was commissioned as the "2nd generation of Jeonghoon officer" in 1950, participated as a member of the 1st and 8th divisions of the Armed Forces. It proved that the perspective of the photos viewed by active soldiers was inevitably different, and the photos also confirmed how to confirm the value of documents related to the Korean War. However, this study has limitations because it analyzes only a small part of the numerous photos left by Han Dong-mok. This is something that needs to be improved through future research.

풍경사진 광고물의 저작권 보호에 관한 고찰 -서울중앙지방법원 2014. 3. 27. 선고 2013가합527718 판결을 중심으로-

장정애 한국스포츠엔터테인먼트법학회 2014 스포츠와 법 Vol.17 No.3

Today, courts still see the foundation for a photograph's copyright - the originality in the photograph - in roughly similar terms: in the photographer's selection of background, lights, shading, positioning of subject, and timing or posing the subjects, lighting, angle, selection of film and camera, evoking the desired expression, and almost any other variant involved. However, the choice of the image frame produces selection in the copyright sense. Once the frame is chosen, there is another set of choices made by the photographer regarding the position of the subject, angle and timing. The need for incentives, our concern for fairness and our sense of beauty may tend to make us look at the copyrightability of photographs generously. Many more would be interested in their rights if they knew how their images were being used. The protection of photographers is copyright education. Extensive reformation is needed at both the governmental level and in the minds of creators and corporations such as Facebook, Google, etc. The first person who spend the enormous labor and time to find and shoot the object and place for the first time should be legally protected generously. However, when the latter is recorded in the same landscape, at least the latter would highlight their creativity to be expressed distinguishably from the first photographer. Copyright legislation moves slowly and educating the populace to take action to preserve their rights can be a daunting task. There are no easy answers to balancing copyright protection for creators and access for the public, but the answer is never copyright infringement. Copyright law must seek to craft a system that is strong enough to provide protection to the least among us, but sufficiently flexible to evolve with the times and technological advancements. 카메라의 기능과 사진촬영 기술이 지속적으로 발달되고 완성된 사진을 자유자재로 수정·변경이 가능한 컴퓨터 그래픽의 기술도 나날이 발달되고 있으므로, 유사한 사진은 늘어날 수밖에 없다. 무명의 자연경관도 실력 있는 사진작가가 찍을 경우 유명해 질 수 있고, 그렇게 해서 알려진 경관을 다른 사람들로 하여금 촬영하지 못하게 하는 것은 지나친 권리보호라 하지 않을 수 없다. 이를 엄격한 법적 잣대로 결정하기 위해서는 관련 업계의 관행과 행위자의 의도 등을 면밀히 고찰하여 판단해야 하는데, 결국 이후에 찍는 사진작가의 도덕성과 윤리 의식이 중요하다고 할 수 있다. 우리 법원은 영국 사진작가 마이클 케나를 대리한 공근혜 갤러리 측이 대한항공을 상대로 ‘솔섬’ 풍경사진의 저작권을 침해했다며 제기한 손해배상청구소송에서, 대한항공이 저작권을 침해하지 않았다는 원고패소 판결을 내리면서 자연물이나 풍경을 어느 계절, 어느 시간, 어느 장소에서 어떠한 앵글로 촬영하느냐의 선택은 일종의 아이디어로 보아 저작권의 보호범위 밖으로 보았다. 하지만 사진저작물의 경우 촬영자의 창작성보다는 카메라라는 기계적 작용에 의존하는 부분이 많으므로 이미지 프레임(frame)의 선택에서부터 창조성이 인정되어야 한다. 거대한 자연 속에서 촬영자가 선택한 풍경 또는 장소가 작가의 독자적 사상이나 감정의 표현이 가장 많이 드러난 부분이기 때문이다. 따라서 방대한 노동과 시간을 투하하여 처음 대상과 장소를 발견하고 촬영한 자와 그 이후에 촬영한 자와는 다른 기준을 적용하여 저작물성을 인정하고 법적 보호를 해주어야 한다. 즉 최초 촬영자의 사진작품은 그 후에 촬영한 자와 달리 독창성 내지 창작성을 인정함에 있어 좀 더 관대하여야 하고, 같은 풍경을 촬영한 후자의 경우 적어도 후자 자신의 것이라고 볼 만한 개성과 창조성이 표현되어야만 창작성이 있다고 보아야 한다. 최초 촬영자가 풍경사진의 독점권을 행사하여 지나지게 많은 저작료를 요구하는 것 역시 바람직하지 못하다. 이는 저작권법이 추구하는 저작물의 공정한 이용 도모와 문화 및 관련 산업의 향상발전에 기여하지 못하는 행위이기 때문이다. 따라서 저작권자의 권리 보호와 공중의 접근을 균형 있게 유지하기 위해서는 이해관계자 모두 스스로 공정성과 형평성을 추구하는 인식 변화가 필요하다 하겠다.

융합산업 시대에 창의적 광고사진 직무모형에 관한 연구

김대욱 ( Kim. Dae-wook ) 현대사진영상학회 2017 현대사진영상학회논문집 Vol.20 No.1

We are currently living in the era of media and the fusion of media through photography and images. At this time, the field of advertising photography is changing very rapidly. In this situation, it is necessary to follow these changes in the education of the university that produces advertising photographers. College education, of course, is not the only place for job-related jobs. However, in the field of advertising photography, where commercial photographers are cultivated, it can be distinguished from other fields in that it aims at commercialization. The purpose of this study is to analyze the job of the advertising photographer through the demands of field staff. The aim is to diagnose the situation of the advertising production site, to analyze the university`s curriculum, and to define the duties and tasks of the advertising photographer through meetings of field experts. The result of this study is that the role of advertising photographer is needed not only in photography but also in post - product work, video work and planning work.

사진촬영에 대한 저작권법적 고찰

최형구(Choi, Hyung-Koo) 충남대학교 법학연구소 2016 法學硏究 Vol.27 No.1

저작권법은 원칙적으로 사진저작물을 보호하고 있다. 그러나, 여권사진 등과 같은 초상사진은 저작권법에 의하여 보호되지 않는다고 보는 것이 일반적이다. 광고목적으로 촬영한 제품사진 등에 대하여는 저작권법상의 보호가 불가능하다는 판례도 있다. 그러한 점에서, 사진저작물은 저작권법상 상당히 다른 취급을 받고 있다고 보여진다. 그럼에도 불구하고, 다양한 사진작품 중 저작권법상의 보호를 받는 것과 보호를 받지 못하는 것을 구별할 기준은 아직도 명확하지 않다. 본고는 사진저작물에 대해 위와 같은 저작권법상의 보호범위에 관한 기준이 명확하지 않은 이유를 검토하고자 한다. 주된 원인은 사진이라는게 사진 찍는 사람이 아니라 카메라에 의하여 기계적으로 찍힌다고 생각하는 잠재적 인식에 기초한다. 이러한 인식은 사진이 그렇게 기계적으로 찍히는 것인 한 그러한 사진 속에 창작적 요소가 그다지 발견될 수 없을 껏이라는 결론으로까지 발전한다. 그러나 카메라를 통해 사진이 찍히기까지의 구체적은 사진촬영과정을 이해할 때, 우리는 위와 같은 인식이 잘못된 것이라는 걸 발견할 수 있다. 그렇게 되면, 사진저작물의 창작성에 관하여 좀 더 넓은 범위를 바라볼 수 있다는 시각을 갖게 되는 바, 이 점이 본고의 결론이라 할 수 있다. Copyright Act protects the photography works in principle. However, it is generally admitted that some photography works such as passport portrait photographs are not protected by copyright act. We have considerable precedent cases saying that product photos taken for the purpose of advertisement are not protectable. It seems to us that photograhy works are treated by the copyright act somewhat differently, compared to other copyrightable work such as paintings. However, the standards of judgment defining the copyrightable scope among the various photography works are not so clear. This article tries to find the reason why such standards as above are not clear. Main reason stands on the potent notions that the photographs are taken mechanically only by a camera, not by a photographer. This notion develops to the conclusion that, as far as the photographs are taken mechanically, any creative parts cannot be included on such photographs. However, we find that these notions are false when we come to know the detailed procedures of taking photographs through a camera, Then we may arrive a little different conclusion that we should look at broader scopes for creativeness of photographs, which is the conclusion of this article.

‘재현불가능성’의 맥락에서 본 한국전쟁 사진

고경옥 동서미술문화학회 2023 미술문화연구 Vol.26 No.26

Since the (disastrous) genocide called the Holocaust, the issue of representing suffering emerged in modern philosophy. This study sheds light on the discussions of such “unrepresentability” through Korean War photographs. Specifically, this study focuses on the issues of ethics and race raised in the discussions of “unrepresentability.” The ways of otherizing non-Western races in Asia and Africa are studied through the photographs of Western war correspondents who documented the Korean War. The development of philosophical discussions of “unrepresentability” is explored, and modern art and film products that deal with suffering are also examined. This study determines the issues raised in the representation of suffering through the medium specificity of photography. Through Susan Sontag and Jacques Rancière’s discussions, the medium specificity — the position of the voyeur or spectator — is elaborated. By criticizing the othering of non-Western races (e.g., Asians and Africans) in war photographs, this study analyzes the “neocolonial gaze,” which posits that cruelly and unjustly inflicted suffering is far removed from the West. Through photographs gathered from war correspondents who recorded the Korean War such as David Douglas Duncan, Marguerite Higgins, Max Desfor, Werner Bischof, and others from the National Archives and Records Administration of the United States, this study examines how Western white people otherize Asians. This study sheds light on the issue of race in the white-centered war documentary photographs and studies how the races from third-world regions are represented. This makes it possible to understand the otherness inherent in the Korean War press photographs in a detailed manner. Furthermore, this study suggests the ethical implications regarding the creation of a “fair image” by modern artists.

디지털 사진 이후 사진가들의 변화

조인원(In Won Cho) 한국언론정보학회 2017 한국언론정보학보 Vol.84 No.4

이 연구는 필름 사진에서 디지털 사진으로의 변화를 경험한 직업사진가들이 겪은 경험과 인식에 대해 현상학적 접근을 통해 직업사진가들의 노동과 창작 환경의 변화 의미와 맥락을 찾아보려는 데 있다. 디지털 기술의 발전은 사회에 많은 변화를 가져왔다. 사진도 디지털 카메라의 보급으로 커다란 변화를 겪었다. 아날로그 사진에 비해 디지털 카메라는 어렵고 복잡했던 사진 제작 공정을 카메라 안에서 촬영과 동시에 완성되도록 만들었다. 조작이 쉬운 디지털 카메라는 대중에게 빠르게 보급되었고 사진의 창작과 소비 형태도 크게 변해 갔다. 반면, 기존의 전문 사진 업계는 어려움을 겪기 시작했다. 광학 기반의 사진 산업은 붕괴되고 직업사진가들은 수입의 감소나 소외감을 겪기도 했다. 연구를 위해 연구자는 디지털 사진과 디지털 산업에 관한 선행연구들을 찾아보았다. 이를 바탕으로 직업사진가 12명을 만나 심층 인터뷰를 실시했고 수집된 자료들로 현상학적 분석을 적용했다. 이러한 접근을 통해 필름 사진에서 디지털 사진으로 변화된 이면에 사진가들이 느끼는 불안과 소외감, 그리고 새로운 방식에 적응하기 위한 노력 등을 통해 디지털 사진 시대에 직업사진가들이 겪은 경험과 사회적인 의미를 탐색해 보고자 했다. This study examines photographers who experienced steep changes from film to digital photography working and photography culture after using digital camera through a phenomenological approach. Digital technologies have brought many transition. Most of all digital camera popularize photography among people who had no knowledge and experience about camera. On the contrary digital photography made many professional photographers difficulties. After being digital photography, most film companies and film developing and printing studios have diminished. In addition many professional photographers have to cover increasing working time by decreasing photography price. For this research researcher interviewed 12 professional photographers who is working as a digital photographer. After collecting data, researcher analyse data by phenomenological approach. This study is looking for a meaning of photographers’ labor after digital photography times.

월북사진가 김진수(金珍洙) 연구 - 해방공간과 1950년대 활동을 중심으로 -

박주석 ( Park Ju Seok ),홍성후 ( Hong Sung Hu ) 한국사진학회 2020 AURA Vol.0 No.44

This article surveys a photographer Kim Jinsu who was a key figure in < Joseon Sajin Dongmaeng > in North and South Korea, and a photographer who made clear his identity as a socialist in North Korea. Since he defected to the North Korea, Kim has worked as a photographer for the headquarters of < Joseon Photographic Press > and a editor of 『Shining Motherland』. Received the trust of the North Korean government, he served as chairman of the < DPRK's Photographic Union > in 1951 to study socialist realism of Soviet Union. Based on Kim's photographic activity as a socialist culminated in 《World Festival of Youth and Students》, and clearly showed the identity of North Korean photography. On the other hand, we concluded that all his works are not just political pictures that represent the party's position. The subjects such as 'labor people as masters', 'worker's subjectivity' and 'nationality of Joseon' as shown by Kim's socialist realism photography were largely a means of promoting socialist ideology. His photography has become a methodology for contemporary North Korean photographers and has developed into ‘Juche Sajin’ since the 1970s.