• International Journal of Internet, Broadcasting and Communication
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• v.16 no.4
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• pp.346-351
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• 2024

As a significant aspect of photography, artists and photographers use it as a creative tool, yet existing image styles often remain too limited and predominantly rely on the body as a medium, lacking a systematic approach. In response, we aim to explore and organize the stylistic elements and creative processes involved in selfie photography. By examining these through an interdisciplinary lens, we identify and apply the 'participatory observation method' as a systematic approach to selfie photography creation. In this paper, we analyze the connection between participatory observation and selfie photography, investigating how this method shapes selfie imagery and its pioneering role in cultural research. Our approach positions selfie photography as a cultural research tool, serving as both a medium and a methodology that integrates observational techniques with creative expression. Through this interdisciplinary blend of observation and selfie photography, we aim to establish a more systematic methodology that can deepen the study of cultural representation and self-expression.

• ETRI Journal
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• v.45 no.2
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• pp.291-303
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• 2023

Selfies are a popular form of photography. However, due to physical constraints, the compositions of selfies are limited. We present algorithms for creating virtual portraits with interesting compositions from a set of selfies. The selfies are taken at the same location while the user spins around. The scene is analyzed using multiple selfies to determine the locations of the camera, subject, and background. Then, a view from a virtual camera is synthesized. We present two use cases. After rearranging the distances between the camera, subject, and background, we render a virtual view from a camera with a longer focal length. Following that, changes in perspective and lens characteristics caused by new compositions and focal lengths are simulated. Second, a virtual panoramic view with a larger field of view is rendered, with the user's image placed in a preferred location. In our experiments, virtual portraits with a wide range of focal lengths were obtained using a device equipped with a lens that has only one focal length. The rendered portraits included compositions that would be photographed with actual lenses. Our proposed algorithms can provide new use cases in which selfie compositions are not limited by a camera's focal length or distance from the camera.

• Korean journal of communication and information
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• v.67
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• pp.62-87
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• 2014

The purpose of this study is to understand the social and cultural implication of the activities of taking 'selfies' and the use of Social Network Service(SNS)s through the personal story of a 20s female researcher. She analyzes her own digital photography activities based on the experience of the use of Cyworld photo albums for three years and the use of pictures in iPhone album for fifteen months. The other researcher(40s male) cooperates to answer the questions about how to understand the digital photography activities. We understand the digital photography activities including digital cameras, social network services and smart phones as acts of personal identity configuration and acts of making the personal documentary. As a result, digital photos are used more for archive purpose rather than for document purpose. Also, we found that the digital photography activities can be understood as the interactions between human and non-human actors in the perspective of Actor-Network Theory (ANT).

• Korean Association of Arts Management
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• no.49
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• pp.37-63
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• 2019

This study aims to find out how the photographing affects the satisfaction of visitor experience in the art gallery. We surveyed the visitors who visited the exhibition hall. In order to see if the selfie photographs positively affect the visitor satisfaction level, one-way ANOVA was conducted and the mediating effect of the flow and the moderating effect of narcissistic tendency and involvement was examined. As a result of study, First, in the relationship between photography and satisfaction, the group who took a photo but did not take a self-shot showed higher satisfaction than the group who did not take a photo and self-shot in the exhibition area. This result shows that photographing the art work in the exhibition hall gives experience-based satisfaction to the visitors, but self-shot does not show positive effect on the satisfaction. Second, the hypothesis that the flow degree will play a mediating role of the visitor's experience-based satisfaction in the relationship between art work photo-shot and self-shot type in exhibition hall was rejected. Third, the positive effect of involvement was shown only in the groups that did not take self-shot but took pictures in the exhibition hall. This shows that the satisfaction of the self-shot visitor is not affected by the degree of involvement of art. The results of this study are expected to help determine the policy for permission to take photographs in art galleries.

• Journal of the Korean Geographical Society
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• v.50 no.2
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• pp.217-237
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• 2015

Seokchon Lake, and the area surrounding it, have become symbolic with an environment of 'peace', 'delight', 'happiness', and 'healing' due to the large floating yellow rubber duck which sits within the lake. There exists, however, a hidden intention of a large corporation who wishes to make benefit of this installation and its healing properties. Nevertheless, the lake has become a hot destination for people to come and see the rubber duck and take romantic photos with it. The photographs taken and shared further expand the popularity and romantic environment of the duck and lake. This process is a perfectly hermeneutic circle. Self or group mediation through photographic performances with the rubber duck has allowed the lake to take on new meaning to visitors. For families taking photos together it has become a place of family bonding and love while for couples of any age it has been transformed into a place to express their love through pictures together with the duck. Even for selfie generation it has become a destination and muse. Tourists are not merely written upon, but are also enacting and inscribing places with their own stories. Therefore, photographic performances produce rather than consume and reflect geography of Seokchon lake.