Nearly 40 Korean undergraduates majoring in logic and analytical disciplines at the University of Wisconsin make for a peculiar group of people engaging in a hobby predominantly involving the left side of the brain. They owe gratitude to Sunny Sixteen, instigating and overseeing the metamorphosis of these eager neophytes with their thousand-dollar cameras.

To the photographically challenged, Sunny Sixteen’s peculiar name seems clever, a catchy alliteration. But, according to Jae Yeon Jang, president of Sunny Sixteen, “sunny 16” is nothing more than photographic jargon.

“[It’s] a rule of exposure which was utilized in earlier days of photography when built-in light meters were unavailable,” Jang said. “By employing the name Sunny Sixteen, the student organization intends to uphold the principles of calculated and well-thought-out photography that has become less eminent in modern digital-camera-available photography.”

Sunny Sixteen members of the will have their artistic endeavors on display Saturday during the “3rd Annual Picture Film Show,” sponsored by the Center for East Asian Studies. Early birds are welcome to scrutinize human emotions captured in uncompromised nature in an exhibition of poignant photographs conveniently located near the front door. “Sa-rang” — coined in Konglish for “love” — will serve as the main event with three 12-minute love stories — “Love,” “Trifling” and “D?j? Vu” — composed in consecutively fluttering frames of photographs.

In a preview, “Trifling” clears the melodramatic air of love’s soppy residue with a renewed breath of comic relief, hinting at parodies of classic flicks involving an “unsinkable ship,” an iceberg, a younger Leonardo DiCaprio and the indomitably sultry Kate Winslet blended with the British love mosaic “Love Actually” — all condensed into a narrative about a guy who meets a girl in a bookstore, falls in love and befalls a tragic end.

Korean melodramatic love songs permeate in the backdrop, but relaying dramatic or comedic milieu to a fickle audience using still images requires skillful editing, as success lies on the editor’s shoulders.

“It depends on how you want to show the pictures. If you want to show [pictures] meaningfully, you have to go through them slowly. If you want to just take a lot of pictures and condense them into a few seconds, you can depict animation sans a spectacle,” Jang said. “We took a thousand pictures and had to squeeze them into 12 minutes. It’s a lot of work.”

Browsing through an archive of hundreds of Sunny 16’s photographs, the intrinsic values of a subject find a place in the artist’s unrestricted, virtually global canvas. A subject cautiously traversing narrow skeletons of a former dock above dark blue waters one yard above sea level is portrayed to be careless, flirting with the edges, searching for excitement between the life and death. The photographs are enrapturing.

Sunny 16’s popularity and success speaks for its ambitious self. Aside from its members being readily outsourced as photographers for other organizations, last year’s “2nd Annual Picture Film Show” saw 150 in attendance and expects to see a showing of 200 this year. Not bad for an infant organization rounding up its fourth year.

Sunny 16’s 3rd Annual Picture Film Show starts at 4:30 p.m. on April 25 in L160 at the Chazen Museum of Art.