• Journal of Korean Society of Archives and Records Management
• /
• v.21 no.1
• /
• pp.249-255
• /
• 2021

The Korea Democracy Foundation's archives offer its collection of records about Korean democratization movements through "Open-Archives," allowing users to read and use them conveniently. One particular article aimed to promote an overall understanding of its photo database to offer more promising services through the "Open-Archives." Similarly, many different archives hold photographic records, but they have difficulty releasing them to the public. Therefore, the present study introduced the case of Korea Democracy Foundation's project of building a photo database for Tony Chung in 2019-2020 to improve its establishment process, significance, and future tasks.

• Journal of Korean Society of Archives and Records Management
• /
• v.3 no.2
• /
• pp.98-113
• /
• 2003

In comparison with conventional types of documents, photographs present special problems in the management of any archives because of their physical properties and the nature and format of their informational content This paper is case study for the effective photographs management at the university archives. At first, sort out photographic images in the university publications, draw up work sheet by the bibliographic information of the photographic images and construct a bibliographic database based on the work sheet. Secondly, the photographic images is linked with bibliographic database. In result, users can confirm immediately photographic images on the screen by searching OPAC. This paper concludes with a problem and improvement of the photograph database at the university archives.

• The Korean Journal of Archival Studies
• /
• no.74
• /
• pp.45-78
• /
• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

• Journal of Conservation Science
• /
• v.37 no.5
• /
• pp.491-504
• /
• 2021

Gwanghwamun Gate of Gyeongbokgung Palace was dismantled and relocated during the Japanese colonial period, destroyed during the Korean War, reconstructed with reinforced concrete in 1968, and finally erected at its present location in 2010. A pair of Haechi statues located in front of Gwanghwamun was dismantled and relocated several times, and the statues have yet to be returned precisely to their original positions. This study assesses the historical accuracy of their current placement under the Gwanghwamun Square Restructuring Project of the Seoul Metropolitan Government and the Cultural Heritage Administration based on archival photos from the early 1900s, and proposes a method to estimate the original positions of the Haechi through image analysis of contemporary photographs and recent digital camera photos. We estimated the original position of the Haechi before the Japanese colonial period by identifying the shooting location of the archival photo and reproducing contemporary photographs by calculating the angle and distance to the Haechi from the shooting location. The leftmost and rightmost Haechi were originally located about 9.6 m to the east and 7.4 m to the north and about 1.9 m to the west and 8.0 m to the north, respectively, of their current location indicators. As the first attempt to determine the original location of a building and its accessories using archival photos, this study launches a new scientific methodology for the restoration of cultural properties.

• The Korean Journal of Archival Studies
• /
• no.60
• /
• pp.239-281
• /
• 2019

Percival Lowell was the first foreigner who came into Korea with a camera in 1883 and left about 80 of photographic materials. The materials have not been studied even though all of them are the only and first in the history of Korea. Most of the materials archived by Putnam Collection Center in America are offered on-line with wrong explanations and referred by writers and researchers. So that I studied the contents of the photographic materials and suggest corrected explanations to the Center.

• The Korean Journal of Archival Studies
• /
• no.39
• /
• pp.73-100
• /
• 2014

For a society to be constantly sustained, it needs its past memories to be made present into cultural memories. The state of oblivion resulted from the time difference of the past and the present is commonly made present into commemoration days or memorial spaces. Each has its own form of representation it reflects, but all are related to how past is remembered and how it will be formed. Records, especially the authentic records the nation secured, have an ontological feature of proof that is able to persuade the current present of the past present, and inherent in it is faith that originates from fundamental objectivity. Therefore the image of silence that such strictness of records creates realizes the detonation of specific memories through the act of visual exhibition. Hence, this paper endeavors to examine how the national records, particularly the photographical records, was utilized and how it influenced the people and the society after its organization, through analysing examples of memorial spaces.

• Journal of Information Management
• /
• v.37 no.3
• /
• pp.139-163
• /
• 2006

This article analyze a constructing process of photographic digital archive based on photographs of korean democratization movements. After photographic digital archive defines as integrated systems in which photographic digital objects collect, classify, describe, preserve and access, this article explains metadata elements and classification schema reflecting a special quality of photograph. Especially, this article presents dynamic classification structure using subject keywords. After all, this method provides integrity and interrelationship with photographes which promote usability of photographic digital objects.

• 주택과사람들
• /
• s.220
• /
• pp.96-97
• /
• 2008

2006년 2월, 뉴욕 소더비 경매에서 에드워드 스타이켄의 1904년작 <연못과 달빛>이 사진 작품으로서는 세계 최고가인 30억 원에 판매됐다. 그러고는 이듬해 2월, 안드레 구르스키의 2001년작 <99센트 II>가 런던 소더비에서 약 34억 원에 팔리며 이전 기록을 갱신했다. 불과 1년 사이 생겨난 이 기록들은 미술 시장에서 사진의 위치가 급부상하고 있음을 보여주는 상징적인 사건으로, 두 작품의 제작 시기가 거의 100년 가까이 차이가 난다는 점에서 많은 시사점을 준다.

• Vending industry
• /
• v.4 no.4 s.12
• /
• pp.32-34
• /
• 2004

튀는 사진이 뜨는 사업성으로 연결되는 시대이다. 국내 최초로 보고 즐길 수 있는 스티커자판기가 지난 98년 폭발적인 시장 인기를 기록한데 이어 이미지 포토, 목걸이 사진, 메달 사진, 명함사진, 폰카인화사진 등 다양한 형태의 튀는 사진들이 뉴 트랜드 사진 사업영역을 열어오고 있다. 이제 사진도 튀지 않고서는 성공하기 힘든 시대. 최근 큰 인기가 예상되는 뉴 트랜드 사진 사업이 등장해 화제가 되고 있다. 자판기를 이용해 이용자의 모습을 찍어 스탬프로 제작, 다양한 재미와 실용성을 만끽할 수 있는 제품이 바로 그것. 드림윅에 의해 전개되는 드림스탬프 자판기는 뛰어난 품질력와 엔터테인먼트성을 무기로 시장 돌풍을 준비하고 있다. 어뮤즈먼트자판기 시장의 새로운 기대주로 등장한 드림스탬프 자판기의 시장 성공 가능성을 진단해 본다.

• Journal of Korean Society of Archives and Records Management
• /
• v.19 no.3
• /
• pp.155-178
• /
• 2019

The study aims to analyze the characteristics and problems of raw image file formats, evaluate its suitability for the management of digital photographic records, and suggest the introduction method to utilize such format in public institutions. Raw image file formats feature reversibility and flexibility. However, most of them are proprietary file formats that depend on the digital camera manufacturer. The DNG format, which was developed to standardize raw image file formats, has received positive reviews from overseas public agencies. However, the DNG format is not fully recognized as a standard; hence, it is appropriate to use it tentatively until the standard raw format appears. On the other hand, the converted digital photo file format is not recognized as an original with legal authenticity. Therefore, in the short term, DNG files created by format conversion and original raw files should be encapsulated and preserved. Furthermore, it is necessary to redefine the baseline of the hash value and file size to recognize the legal authenticity only with DNG files in the long term.