We improved the antenna efficiency of the Taeduk Radio Astronomy Observatory (TRAO) 13.7-m radio telescope by adjusting the antenna panels based on digital photogrammetric measurements. First of all, we measured the surface accuracy of the main reflector of this antenna at three elevation angles of 35°, 45°, and 60°. We performed a total of four sets of the photogrammetric measurements and panel adjustments. When adjusting the panels, we positioned the antenna to the zenith and applied the measured data sets at the elevation of 45°. We found that the antenna surface accuracy has been improved by a factor of ~ 3 times after the final adjustment in comparison with the value before the adjustments. And we also found that the antenna surface accuracy tended to be slightly better at the elevation angles of 35° and 60° than that at the elevation angle of 45°. After the final panel adjustment, the aperture and beam efficiencies of the telescope have has been improved from 35% to 44%, and from 41% to 51%, respectively.

본 연구는 신체적, 발달적 변화로 인한 자아정체감의 혼란을 겪고 있는 중년여성에 대한 사진치료의 적용이 심리 치료적 측면에서 어떤 작용을 하는지를 참여여성들의 경험을 중심으로 살펴보고자 하였다. 이에 따라 사진치료 프로 그램 참여 과정에서 일어나는 인식의 변화를 가장 잘 이해할 수 있는 현상학적 연구를 진행하였다. 연구 참여자는 중 년여성으로 총 6 명이며, 자료수집은 2013년 1월부터 2014년 2월까지 진행되었다. 지오르지(Giorgi, 1997)의 현상학적 연구방법 4단계에 따른 자료 분석 결과 총 309개의 의미단위와 6개의 구성요소, 13개의 하위구성요소를 도출하였다. 연구결과 중년기 여성들에게 사진치료 프로그램의 경험은 사진을 매개로 하여 자신의 방어기제를 자연스럽게 해소 하고 사진에 투사된 자신의 무의식을 알아차리며, 자신의 이미지를 직면하는 과정을 통해 중년기의 변화를 포함한 자신의 삶을 수용하여 보다 유연한 태도로 관계와 일상을 영위하게 되었음을 알 수 있었다. 또한 사진은 잠재적인 현 실을 재현하는 유용한 도구로서 욕구를 명료화하여 생활에서의 보다 빠른 선택과 실행으로 이어지도록 도움을 주었 음이 보고되었다. 이와 같이, 사진치료는 사진이라는 매체의 독특한 특성으로 인해 중년기 여성들의 자아정체감의 혼란을 보다 빨리 해소하고 향후 삶을 계획하는 데에 도움을 주는 것으로 나타났다.

Modern society attaches great important to state of the technology, but, unconscious desire and subconscious are also discussed in an important value. In the social background of such madness is acting as an artistic inspirational to the many people. At such a time, fashion photographs also being used medium which speak for people's desire. Editorial fashion photographs with unusual stories or including experimental visual elements unlike fashion advertising have increasing. The subject of this study is the formative characteristics in recognition of madness from ancient times until now and find out new meaning of the unusual and informal form of editorial fashion photographs showed in Vogue Italia since 2000. The analysis data of this study, we used 36 photographs of editorial fashion photographs taken by Steven Meisel, Tim Walker and Miles Aldriege. The final process of analysis made in with agreement of 10 major people. We used photograph's basic visual elements as analysis to avoid arbitrary interpretations. The content of this study is drawing in editorial fashion photographs from the viewpoint of Michael Foucault's Madness theory, Deleuze and Felix Guattari's Madness as the aspects of desire. The madness images in the editorial fashion photographs were showed as Decadence, Blindness, Violence and Grotesque based on the analysis results from above. The formative characteristics of editorial fashion photographs enabled the awareness on the value and importance of madness in modern society. These editorial fashion photographs can be the source of our wider perspectives for changing recognition of madness.

This paper explores a psychoanalytic reading of the characteristics of Nan Goldin's photography. Goldin, as one of the most prominent artists in new documentary photos in America, has been highly evaluated by her subjects of love and death in her tribes, who are mostly homo-sexual, drag queens, AIDS patients, and drug addicts. She emphasizes her work as a visual diary of her daily life, and attempts to capture a proper memory of her entourage. Upon the loss of her old sister Barbara at the age of 13, Nan left her family and began to take photographs as a desperate effort to forget her tragic loss. Her sister Barbara's premature death due to her suicide left her an indelible trauma, on which she has perpetually pondered. Trauma is a type of damage to the psyche that occurs as a result of a severely distressing event. Sigmund Freud theorized it from physical wounds to psychological symptoms, which might be caused by a depressed sexual desire in early ages and repeats unconsciously in dreams and actions. There are debates on its unique characters, which neither be represented, nor properly remembered, nor verbally claimed, nor clearly experienced. However, Michael White and Judith Herman believed that linguistic expressions could help to heal trauma and that making narrative stories about lives could consolidate the role of the subjectivity. Psychoanalytic studies on trauma and its therapy sheds light on Nan Goldin's photographs of her friends with daily routines. The artist might work as the subject of the story telling. However, her photographs lack the context to develop stories, while providing little concrete meanings or messages. Instead, Goldin communicates with the viewer through her feelings to the image. As the narrator, Goldin strengthens herself as the subject of the emotion and it could enhance sympathy between the artist and the viewer.

This study aimed to investigate the association between carotid artery calcification (CAC) on panoramic radiograph and intima-media thickeness (IMT) measured on ultrasound. Panoramic radiographs which were taken from dental patients aged 50 years and older who visited for dental treatment were screened for the presence of CAC. The study group was composed of seven patients (four males and three females, average age 74.4±4.2 yrs) with CAC detected on panoramic radiographs, and the control group eleven patients (seven males and four females, average age 64.5±10.1 yrs) without CAC. All the patients underwent carotid ultrasonography to measure carotid IMT. The IMT was compared between the groups by nonparametric analysis of covariance (ANCOVA). The range of IMT of the study group was 1.10~2.0 mm, while that of the control group 0.60~1.10 mm. The mean of IMT was 1.50±0.34 mm in the study group and 0.85±0.14 mm in the control group, and there was statistically significant difference between the two groups (p<.01). In conclusion, CAC detected on panoramic radiograph might have an association with atherosclerosis

어쩐지 곤충들을 보고 있으면 징그럽고 내 몸에 기어 다니는 것처럼 몸이 근질근질 해지는 것 같아 곤충이 눈에 띄면 일단 몸을 움츠리게 된다. 하지만 자주 보는 개미를 볼 때는 무섭지 않은 걸로 봐서 도시에서만 자라 곤충을 볼 일이 그렇게 많지 않았고 익숙하지 못함이 두려움으로 변한 것이 아닌가 하고 나 혼자 진단해 보기도 한다. 카메라를 가까이 하면서 아이들에게 꼭 보여주고 싶어 사진을 찍고자 하여도 기존의 카메라로는 담아낼 수 없는 경우가 많아 “곤충의 눈 렌즈”라는 새로운 렌즈를 개발하게 되었고, 마치 눈앞에 곤충들이 살아 꿈틀거리는 듯, 곧 날아가 버릴 듯, 생생한 느낌을 담아 사진들 찍어 아이들의 이해를 돕기에 훌륭한 자료가 되었다. 좋은 곤충생태사진을 찍기 위해서는 많은 관찰과 노력이 필요하며 기능적인 부분도 있으며 간단히 정리하면 다음과 같다. 사진 파일 형식 중 RAW의 원본 데이터는 크고 보정이 되어 있지 않은 것이므로 사진이 맘에 들지 않을 경우 노출, 화이트 밸런스, 샤픈 등의 후보정시 깨지지 않는 좋은 질의 사진을 얻을 수 있기 때문에 RAW로 찍어 두는 것이 좋다. 상대적으로 JPEG의 데이터는 용량도 작으므로 사진의 보정폭도 적고 많은 손해를 보게 된다. RAW는 다이아몬드 원석이고, JPEG는 가공된 다이아몬드에 비유할 수 있는데 가공된 다이아몬드가 맘에 들지 않아 새로 가공하여 깎아 내면 다이아몬드는 작아지게 된다. 결론적으로 원석인 상태로 가지고 있다가 필요에 따라 사용하면 더 좋은 사진을 얻을 수 있다. 또한 좋은 사진을 얻기 위해선 상황에 맞는 렌즈의 선택과 플래시의 사용이 중요하다. 근접사진을 찍는 경우 40mm, 60mm, 85mm, 105mm, 180mm 등의 마크로 렌즈가 사용되며 각 종류마다 장단점이 있다. 플래시의 경우 일반플래시, 링플래시 등이 사용되며, 광량이 부족한 경우, 움직이는 피사체를 찍을 경우 더 좋은 사진을 얻을 수 있는 장점이 있다.

인물사진에서 피부 톤은 사진작가가 가장 중요하게 다루는 부분 중 하나이다. 인물사진의 피부 톤 변화에 따른 수용자의 감성과 선호도의 관계를 파악하기 위해 두 가지 실험이 시행됐다. 실험 1은 피부 톤을 어느 정도 변화시 켜야 피실험자들이 그 차이를 감지하는지(JND)를 확인하고, 극단적 단계까지 단계별로 변화시킨 많은 수의 사진들 로 실험하여 대략적 선호 분포를 파악하기 위한 것으로, 밝기가 가장 밝은 사진과 붉은(Red나 Magenta) 피부 톤 선 호를 확인했다. 실험 1의 결과에 따라, 사진의 밝기를 가장 밝은 밝기로 고정하여 실험 사진들의 수를 줄이고, 높은 선호도를 보였던 마젠타는 보색인 그린(Green)과 함께 5단계로 조절하고, 나머지 색채의 샘플은 한 장으로 제한함 으로써 실험 2를 심화했다. 그 결과, 중성색 피부 톤의 공통된 선호와 함께 각 성별집단 간 선호도의 상이점이 발견되었고, ‘행복’하거나 ‘편안’한 감성이 선호도와 긍정적으로 관련이 크다는 결론을 얻었다. 본 연구를 통해 같은 인물사진의 피부 톤의 조정이 그 사진에 대한 사용자의 선호에 유의미한 결과가 될 수 있음을 확인하였다.

The purpose of this study was to determine the reliability of distance measurements from the medial border of the scapula to the spinous process of the thoracic vertebrae when obtained using tape and photography measurements. The study included 20 healthy subjects (10 males, 10 females); for a total of 40 scapula measurements. The distance measurements made using tape or photography methods were conducted with the subject in a standing position. Repeated tape and photography measurements were conducted in two sessions on different days by two examiners to assess the inter-rater and intra-rater reliability of the two methods. The reliability of scapular distance measured using tape and photography methods was tested using intraclass correlation coefficients (ICC(3,1)) and the standard error of measurement (SEM). The inter-rater reliability of the tape measurement method was excellent (ICC=.77) and the intra-rater reliability was fair to good (ICC=.74). The inter-rater and intra-rater reliabilities of the photography measurement method were excellent (ICC=.76 and .76 respectively). Our results suggest that photography measurement is an objective and qualitative measurement tool for scapular distance measurements.

This paper examines the characteristics of post-modern self-portrait photography. Characteristics of postmodernism associated with the “loss of centeredness,” such as the death of the author, interdisciplinarity, and intertextuality, brought about a number of changes within the self-portrait. The distinction between post-modern and modern self-portraiture can be characterized by the following qualities: appropriation, the use of photography, and the utilization of the human body as an art. The characteristics of post-modern self-portrait photography can be represented through the works of Cindy Sherman, Orlan, and Morimura Yasumasa. By presenting prototypical women in her works, Cindy Sherman not only represents images of those women, but also exposes her fictitious role in the work. She creates a distance between herself in the works and herself in reality and discloses a paternalistic gaze. Meanwhile, Orlan transforms her face into a distorted image and presents it as an alternative identity that is representative of postmodernism. She corrodes the standard concept of identity through plastic surgery and treats the face not as a place where the identity stays, but as a simple body part or fragment of skin. Orlan’s post-human face is malleable according to the artist’s desire to raise the issue of what the human face is, and opposes the structure of modernism. Morimura Yasumasa also appropriates images from masterpieces and presents a hybrid identity between Eastern and Western, male and female, original and replica, and subject and object. In order to dissect social prejudice, he puts forth every single structural dichotomy that coexists in his self-portrait and suppresses a strong ego. He also studies the relationship between ‘seeing’ and being ‘seen’ by trading the painter’s role from that of the subject to that of the object.

본 연구에서는 스포츠사진이 언론매체를 통해 보도되는 여성이미지의 젠 더의 맥락성과 이데올로기를 연구하려 하였다. 이를 위해 2012년 런던올 림픽 경기 기간에 종합 일간지와 스포츠신문의 보도된 사진을 분석하고 사진의 제 목을 통해 언어적으로 묘사하고 있는 사진에 대해서 해석하고 텍스트분석을 시도 하였다. 또한 올림픽기간에 스포츠 사진이 가지는 특성과 성 불평등 및 여성이미 지를 규명하려 하였으며, 이를 위하여 보도사진의 의미와 특성을 분석하는데 목적 이 있다. 연구결과 스포츠 사진이 언론매체에 에로티시즘과 성 상품화을 통한 마케팅이 이루어지고 있으며, 선정성과 결합된 인간의 지적요구의 일정인 에로티시즘이 나 타났다. 여성스포츠나 여성 운동선수의 운동행위보다는 특정 신체부위나 복장 등 을 강조하는 사소화(trivalization)나 성격이 아닌 미모 등 스포츠와 무관한 특성에 기사의 초점을 맞춤으로써 스포츠 장면에서의 의미를 축소하는 한계화 (marginalization)가 이루어지는 방식, 여성 운동선수의 신체를 성 상품화 (sexualization)하는 방식으로 나타났다. 스포츠 사진에 함축된 이데올로기는 과감 한 노출 사진을 통해 성 상품화를 강조한 기사의 제목과 내용을 통해 볼거리를 제 공한다. 또한 여성의 우는 모습을 통해 여성의 나약함과 함께 성적 차이를 강화시 켜 여성 나약함을 표현되는 경우가 많음을 알 수 있었다.

This study is one that estimates the architectural composition as well as the location of guest house of Haemi Eupseong on the basis of the analysis of modern and contemporary data related to Haemi Eupseong. It is significant that this study has presented an opinion that can become a practical basis for the historical research of the prototype of Haemi Eupseong of the late Chosun Dynasty through the analysis of modern and contemporary data that had been unsatisfactory among the fruition of studies conducted in relation to Haemi Eupseong. The outcomes achieved by this study are as follows. Firstly, it was verified that the guest house of Haemi Eupseong that has been restored is one that has different architectural composition than the prototype of the late Chosun Dynasty and is restored in a different location. Secondly, in respect of architectural composition of guest house found by the analysis of the picture, it was confirmed that the government office has one step higher than the double-wing house in the form of the roof. Thirdly, the location of the guest house of Haemi Eupseong of the late Chosun Dynasty is judged to be the periphery area where the current restored guest house is located, which is where the teachers' building of Haemi elementary school was located. Fourthly, the prospect of the guest house of Haemi Eupseong is decided to be similar direction to the current restored guest house with the greatest possibility of having the same direction with the arrangement of teachers' building of Haemi Eupseong elementary school.

본 연구는 인쇄신문과 인터넷 신문에서 사진이 이용자의 재인기억과 회상기 억에 미치는 영향을 실험을 통해 살펴보았다. 총 135명의 대학생으로 구 성된 4개의 피험자 집단은 각기 다르게 처치된 조선일보 뉴스 기사에 노출되었으 며, 노출 직후 설문에 응답하였다. 설문조사를 분석한 결과, 인쇄신문 이용자가 인터넷 신문 이용자보다 재인기억, 보조회상기억, 자유회상기억을 더 잘하는 것으로 나타났다. 그리고 사진이 없는 신 문 이용자가 사진이 있는 신문 이용자보다 재인기억을 더 잘하는 것으로 나타났으 며, 사진이 보조회상기억과 자유회상기억에 미치는 영향은 발견되지 않았다. 신문 매체에서 사진이 이용자의 기억에 미치는 영향에 관한 기존의 연구들이 인 쇄신문을 중심으로 이루어지고 있었으며, 서로 상반된 결과들을 제시하고 있는 상 황에서, 본 연구에서는 신문 사진의 이용자 효과 연구를 인터넷 신문으로 그 영역 을 확대하여 추가적으로 검증하였다는 점에서 연구의 의의를 찾고자 한다.

본 연구는 무인 항공사진 촬영을 이용하여 해안에 산재한 해안표착물을 탐지하는 새로운 방법을 제시하였다. 이동성과 신속성, 경제성 이 우수한 소형 무선 조정 헬리콥터의 기체와 헬리콥터의 진동에 관계없이 연직 상태를 유지할 수 있는 짐벌 장치에 디지털카메라를 장착하여 항 공사진 촬영을 시행하였다. 또한, 촬영된 영상으로부터 해안표착물을 탐지하기 위해 Matlab Program을 이용한 디지털 영상처리 알고리즘을 고안 하였다. 특히 고안된 알고리즘은 배경 차감 기법(background subtraction method)을 적용하여 연구 대상 해안의 각기 다른 모래 상태로 인해 발생 하는 물체 추출 오차를 감소시킴으로써 다양한 형태의 해안표착물을 안정적으로 탐지하는 결과를 보여주었다. 향후, 이 연구 방법을 적용한 해안 표착물 모니터링이 이루어질 경우 모니터링 대상 구역 설정의 대표성 문제 해결 및 발생량 추정에 크게 기여할 수 있으며, 해양환경 감시 분야에 활용가능성이 클 것으로 판단된다.

The advent of various arts and remarkable development of mass media since 1980s accelerate fashion photographs' advancement. The expression of fashion through photographs can represent characteristics of ages, societies, cultures, traits of designers and techniques of photographers. In addition, that is the tool which contains economical role as a product and artistic role as photos. Therefore, this study examines hyprt-reality images in editorial fashion photographs. Hyper-reality means the reproduction which represents the reality of life more actually. Hyper-reality through photographs elevates reality of virtual things and creates the confused situation which haunts the boundary between reality and reproduction. This study classifies the hyper-reality in editorial fashion photographs into three groups by their external traits, ideal reality, collapse of reality, and restoration of reality. First, ideal reality is represented as harmony among fashion, characters, and space, causality of fashion with time and circumstances, positive will, and melting with nature. Second, collapse of reality is expressed as in harmony between fashion and situation, violence, fetishism and symbol of death. Third, restoration of reality is shown as recurrence to nature and images of utopia to express dignity of life.

Today, as individuals show their social identities and reflect their being as the members of society with a culture, an art style and communication function are stood out in fashion photographs. Accordingly, the meanings of images into text are expanded in its interpretative width through the acceptor's various terms. This researcher looked into four theories of both positions on the textuality of language and image, and considered the point of discussion on image of each theory through modern fashion photographs. First, the theory which divides language and image as auditory and visual recognitions in the textuality of language and image is limited from the view it focuses on only one side without considering the ambivalent elements of each field. For the textuality in modern fashion photographs, the observer attempts to turn it into text to give meaning to it as the recognition through five senses conforming to the acceptor's condition. Second, the theory dividing language and image into the text of time properties and spacial properties has limitation in the text, for acceptor's experience of the object appears as the structured form in time and space rather than being defined as two things like time and space. Third, the theory classifying the language and image text into conventional taste and natural taste has limitation from the view that image text is hardly an object of consistent classification in ease of recognition by the code accepted in society. Thus, this can't be fundamental approach for the understanding of the text of decoding trend represented in modern fashion photographs. Fourth, accordingly, this researcher focussed on contextual and arbitrary text of fashion photographs through the theory of Nelson Goodman which discusses image text through the differences in textuality. Basic mechanism of perceiving and recognizing and distinguish image is closely related to habit and custom like language. So, each acceptor perceives the image as a text through arbitrary interpretation obtained by individual, empirical, historical, and educational viewpoints. The textuality of modern fashion photographs aims to widen the range of diverse knowledge and understanding, transcending the regulations of simple function of existing fashion photographs. Consequently, this researcher puts forward the opinion of consistent and diverse follow-up studies on instilling meaning into fashion photographs for the understanding de-regulatory and de-constructive through various senses by avoiding only one sense-dependent fixed and regulatory properties of it

The Bauhaus educational method gave the strong influences on Modern Japanese art and design education. In the 1920s and 1930s, Japan allied with Germany and Italy politically and tried to receive German system to be modernized. The reception of the Bauhaus and Moholy-Nagy's photographic theory was one of those activities at that time. Japanese intellectual class went to the Bauhaus and studied there; Ishimoto Kikuchi, Nakata Sadanosuke, Mijutani Takehiko, Yamawaki Iwao and Yamawaki Michiko(Yamawaki Iwao's wife). Especially, Yamawaki Iwao studied about the architecture at the Bauhaus, but his interest moved toward the photography and the photomontage based on Moholy-Nagy's theory. He studied at the photography workshop of the Bauhaus presented by Peterhans irregularly. Even though Yamawaki Iwao was an architect, he wanted to be admitted as an expert for the photomontage that he particularly studied at the Bauahus as a Bauhaus member. He had presented many articles about the photomontage at the photography magazines in Japan in order to introduce it to Japan since he returned in 1933. Thus, Yamawaki Iwao is the important person when we look back the Modern Japanese design and art history. In Japan, the art and design systems are managed by the Bauhaus educational system until now, and it has become a kind of cultural legacy in Modern Japan; The university of Tama and The university of Tsukuba are the representative educational systems which are based on the Bauhaus legacy. However, Yamawaki Iwao had been concealed as a photographer in Japanese design and photography history until the retrospective discuss named by ‘Bauhaus syashin(Bauhaus Photographies)’ at the photography magazine, Deja-vu in 1995 and the retrospective exhibition titled as ‘Bauhaus syashin(bauahustofografie)’ in 1997. This study rethinks of Yamawaki Iwao's historical position while looking at the term as ‘Bauhaus Syashin(Bauhaus Photographies)’ used in Japan. It is very important to bear in mind Moholy-Nagy's wide variety of approaches to photography at the Bauhaus, but it is impossible to name it ‘Bauhaus style’. ‘Bauhaus style’ is the international style in architecture, but that was never a Bauhaus style in photography. Eugene J. Prakapas indicated that the vague term of ‘Bauhaus Photographies’ in his article in 1985 as well. This study considers the historical background for the mistake of the term of ‘Bauhaus Syashin(Bauhaus Photographies)’ in Modern Japanese history, while looking at Yamawaki Iwao's photomontage faintly entering on the historical stage again to discuss the reception of the photomontage from him. In particular, Some of Yamawaki Iwao's photomontage presented as the wall photography in Japan during the Second World War, that was related to the propaganda of Japanese government. It had not been known well in the modern Japanese art and design history because it was related to a declaration of the Second World War by Japan. However, the historical position of his photomontage is very important for Japanese history when we rethink of the reception of the Bauhaus and Moholy-Nagys' photographic theory to build up the Japanese modern history. In the result, this study wants to discuss that the mistake of the term of ‘Bauhaus syashin(Bauhaus Photographies)’ in Japan is related to the interpretation for the the historical position for Yamawaki Iwao's photomontage in the reception of Bauhaus and Moholy-Nagy's photography in Japan.

한반도 남해안 일원에 분포하는 공룡발자국 화석산지는 파도와 조석의 영향을 받아 지속적으로 훼손되고 있다. 이러한 상황에서 공룡발자국 화석의 훼손 및 멸실 등에 대비한 보존 방안과 자료의 확보가 시급하다. 본 연구에서는 천연기념물 제499호 가인리 화석산지의 공룡발자국 화석을 대상으로 디지털 사진 측량 기법을 이용하여 3D 이미지 기록을 획득하였다. 획득한 3D 이미지 자료는 공룡발자국 화석과 화석산지에 대한 형태적 정보의 영구 기록과 보존이 가능하다. 또한 공룡발자국 화석의 변화 양상을 주기적으로 측정하여 그 값을 수치적으로 비교함으로써 시간에 따른 자연적 풍화율을 수치적으로 분석할 수 있다. 이외에도 3D 모델링 기법은 발자국 화석의 형태 분석, 복제 및 전시, 홈페이지 탑재 등을 통하여 다양하게 활용될 수 있다.