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.

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. This study focuses on Cindy Sherman's fashion photographs, which represent different kinds of respect to the women's states and identity. Cindy Sherman describes neglected women, sexual characteristics, and tries to overcome the limitation existing in modern society. By analyzing her fashion photographs, women's identities can be examined and the new trial of fashion photographs' expression is able to be considered as well. The results are summarized into two traits. The first is grotesque images, which have strange cuts, dissolved and deformed bodies. Those are expressions to subvert the stereotype of women. The second is amusement, which is expressed with uncanny and ridiculous appearances. These fun images are challenges to depict human instinct and also symbolic plays.

사진과 삽화는 현행 과학 교과서에서 핵심적인 시각적 표상 요소이다. 본 연구에서는 6차와 7차 교육과정에 따른 고등학교 지구과학 교과서에 사용된 사진과 삽화의 기능 및 구조를 비교 분석하였다. 기능 분석 결과, 6차와 7차 모두 예시적 기능이 차지하는 비율이 압도적으로 높았으며, 보충적 기능의 비율이 가장 낮았다. 7차의 경우 사진과 삽화의 기능들이 6차에 비해 다양해졌는데, 이것은 지구과학 II 보다는 I에서 보다 두드러지게 나타났다. 특히, 6차에서는 극히 미미하게 나타났던 보충적 기능과 설명적 기능이 7차에서는 증가하였으며, 장식적 기능 또한 전반적으로 증가한 것으로 분석되었다. 구조 분석 결과, 6차에 비해 7차에서 참조가 현저하게 감소하여 본문과의 연계성 면에서 오히려 퇴보한 것으로 분석되었다. 단독 사진이나 삽화에 비해 다중 구성의 비율이 증가한 것으로 나타났으나, 짝이나 연속 구성에서는 발전된 점이 나타나지 않았다. 앞으로의 과학 교과서 개발에서 사진과 삽화의 기능에서 탐구적 기능을, 구조에서 보완적 구성을 추가할 것과 사진과 삽화를 포함한 시각적 표상의 기능과 구조 측면을 과학 교과서 검정 준거로 활용할 것을 논의하였다.

각막 굴절교정수술 전후 각막미란 및 안구건조증에 대한 변화양상을 비교하기 위해 정량적 검사지표와 Diagnostic corneal surface digital photography를 이용한 Oxford corneal stain grading scheme을 사용하여 이들 검사지표의 변화와 유용성을 분석하고, LASIK 과 LASEK 시술군의 차이를 비교하고자 하였다. 굴절교정수술을 위해 내원한 환자 134명 (267안)을 대상으로 한 명의 술자가 LASIK(110안)과 LASEK(157안)을 시행하였고, 수술 방법에 따라 두 군으로 나누어, 술 전과 술 후 7일, 1개월, 3개월 및 6개월에 각각 Tear break-up time(TBUT), Fluorescein stained corneal surface digital photography를 시행하였고, 또한 술 전과 술 후 1개월 3개월에 Schirmer test를 시행하여, 술 후 각막미란 및 안구건조증 검사지표의 변화양상을 관찰하였다. Digital photography 에서 Corneal staining은 Oxford scheme을 이용하여 하였다. 안구건조증에 대한 정량적 검사 지표는 두 군 모두 수술 초기에 건조증이 심하였다가 시간이 경과할수록 회복되는 양상을 보였다. TBUT와 Schirmer test는 추적 관찰기간 내내 술전 보다 낮았고(p

오래된 사진의 표면은 빛, 습도, 온도변화 등의 영향으로 손상되어 있으며 이러한 표면의 변화는 표면광택의 측정을 통하여 연구될 수 있다. 전통적으로 사용되어온 사진필름과 인화지를 선택하여 손상되기 전후의 광택을 측정하여 광택손실과 표면손상의 관련을 연구하였다. 상용광택기의 작은 입사각에 따른 둔감한 광택측정은 gonioglossmeter의 값으로 대치될 수 있으며 퇴행화상의 감도손실을 고려할 때 더 좋은 결과를 보여준다. 사진손상의 정도를 수치화 할 수 있는 방법을 제시하는 광택측정은 오래된 사진의 손상정도를 측정하는 방법뿐아니라 손상을 최소화 할 수 있는 사진보관 방법을 연구하는데 있어서도 매우 유용하게 사용될 수 있다.

In this paper, magenta coupler was prepared by the reaction of 1-(2,4,6-Trichlorophenyl)-3-(5-amino-2-chloroanilino)-5-pyrazolone with 2,4-di-tert-pentyl-phenoxy butanoyl chloride in the presence of pyridine. The product was identified by using various analytical tools such as melting point, elemental analyzer, IR spectrophotometer, UV-Vis spectrophotometer and GC-mass spectrometer. The reaction of magenta coupler with CD-3 (color development agent) was shown magenta color.

This study was started under the judgement that reviewing $\ulcorner$A Survey Report of Korean Architecture$\lrcorner$, which contains photographs and drawings by Sekino Tadashi and which was also made under the order of the Japanese government(1902), would make it possible to consider in detail the status of Korean buildings in the period of the Korean Empire. The focus of the study. was put on three main parts of the temple, especially the central parts. The photographs and drawings as mentioned above showed that changes in the layout of buildings in the central part of the temple were made between the period of the Korean Empire and that of Japanese occupation. Thus the purpose of the study is to investigate when changes in building layout in the central part of the temple were made and what made such changes to be caused, obtaining information necessary for future changes in the precincts of the temple. Results of the study can be summarized as follows. First, 'Seonchal Daebonsan Beomeosa feonkeongdo' and 'Gyeongsangnamdo Dongraegun Beomeosa Geonmul Jeondo' were made in a same period. While, 'Chosun Gojeok Dobo', published by the government-general of Chosun, was a collection of photographs taken by Sekino Tadashi for about 30 years from 1902 to 1933 under the order of the Japanese government. But there were few changes in the building layout of the temple shown in the three materials. Second, one of the photographs and drawings made since 1933, not contained in 'Chosun Gojeok Dobo', and discovered by this researcher was 'Seonchal Daebonsan Beomeosa Annae' which was published by the temple itself after national independence from the period of Japanese occupation, indicating the main reason of changes in building layout as mentioned above. In conclusion, the layout of buildings of the temple began to be changed on a large scale, with so-called 'Cheyongseol' ignored, when Buddhist monk Cha Woon Ho established a 7-storied sarira tower to the left of the main building in the center of the upper part in 1936. In addition, the axis line connecting between Hwaeomjong and Seonjong was also changed at that time.

제7차 교육과정의 초등학교 ‘과학’ ‘실험관찰’ 교과서와 서로 다른 출판사의 중·고등학교 과학과 지구과학 I, II교과서, 각각 4권씩을 대상으로 교과서에 수록된 화석사진을 분석하여 화석의 종류, 산출지역과 척도의 표기에 대한 분석결과 다음과 같은 결론을 얻었다. 초등학교의 ‘과학’, ‘실험관찰’ 교과서에 수록된 화석사진의 종류는 32개였으며, 중학교 과학교과서 4권에는 50개, 그리고 고등학교 8권의 교과서에서는 109개였다. 그러나 화석사진에서 표현되는 과학적 정보는 부족하였다. 초등학교의 과학교과서와 실험관찰에서는 수록된 화석사진의 68%에 산출지가 표기되어 있었으며, 척도가 표기된 화석사진은 전체의 6%였다. 중학교와 고등학교 교과서의 경우, 전체 화석의 40%와 16%에 산출지가 표시되어 있으며, 척도는 14%와 18%만이 표기되어 있었다. 보다 효과적인 과학교육의 목표를 달성하기 위해 과학교과서에 수록된 화석사진에 산출지와 척도를 표기할 필요가 있다.

The article proposes some ways for improving students writing skills while teaching Russian in Korean universities. One has to admit that existing textbooks cannot be efficiently used in groups which include students with different level of language competence (such situation is currently common in Korean universities). Hence teachers need methods which, being are used together with textbooks, allow to raise learning efficiency in such non-homogeneous environment. One of the proposed ways is the use of private photos which should be prepared by students in advance. Such photos are necessarily related to individual memories of each student, so during exercises students rely on their own personal experiences evoked by the pictures. To describe a situation depicted by the photos, students are asked to write down some sentences. In her turn, a teacher should also suggest some questions connected with a situation which is reflected by a photo. A usual set consists of six questions (as a rule, with inclusion of the most widespread interrogative words: “when”, “where”, “who”, “what”, “how”, “why”). On each question the student should give a full answer in writing. The questions should be closely connected with the grammar studied by the students. Another proposed method is based on use of the short texts of Russian fiction. Since most Korean students are interested in Russian literature, these materials are quite useful. For exercise I usually chose Pushkin’s poem I loved you. This poem is not only a remarkable literary piece, but also possesses peculiar and representative grammar structure. Teacher asks students to count verbs, adjectives, and nouns which are encountered in the text of the poem. Then they should conjugate the verbs and decline the nouns and adjectives, to demonstrate the forms used in the dictionaries. This helps students to understand peculiar features of cases and conjugations. After they have mastered all words in the text, poem is divided into fragments which should be arranged in correct order. As a result students get acquainted with of Pushkin‘s language, and also learn some features of Russian verses. These methods encourage interest among students and can be successful used while teaching groups of students with different level of language skills.

정확도가 높은 정사사진지도를 제작하기 위해서는 데이터의 취득에서부터 영상처리를 위한 표정 및 정밀한 검수 과정이 객관적이고 엄밀한 절차와 기준에 의해 진행되어야 한다. 본 연구에서는 수치항공사진영상을 이용한 정사사진 지도 제작과정을 사례 연구를 통해 상세히 분석하고 이를 통해 시사점을 확인하였다. 특히 보다 정확도가 높은 정사사진지도를 취득하기 위하여 수치항공사진에 의한 DEM 자료와 수치지형도의 등고선을 이용한 DEM 자료를 비교하였다. 그 결과 정사편위 수정을 위해 사용하는 수치고도모델은 1/5.000 수치지도를 이용할 경우에 비해 영상매칭에 의한 DEM 결과값이 0.94m 이하의 오차로 정확도가 향상하는 것으로 나타났다.