Lecturer(s)
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Course content
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The content of the course consists of regular meetings in the photographic studio, in which students respond to suggestions arising from common assignments in the KARF/ARF4 course. We work together on alternative photographic solutions to the sub-exercises, while finding the most effective way of photographic processing of a fictional assignment with an emphasis on future, practical applications. On a theoretical level, we then jointly search for further uses for already functioning lighting arrangements within the history of fashion photography and contemporary production.
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Learning activities and teaching methods
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Monologic (Exposition, lecture, briefing), Dialogic (Discussion, conversation, brainstorming), Practice exercises
- Participation in classes
- 14 hours per semester
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prerequisite |
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Knowledge |
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The prerequisite for starting the study is mastery of the computer program Photoshop. The student explores current events and trends in the genre of portrait photography. The student is technically capable of working independently in a photographic studio, working with Capture One software and flash control. Understands the principle of TS lenses and can use these devices functionally. |
The prerequisite for starting the study is mastery of the computer program Photoshop. The student explores current events and trends in the genre of portrait photography. The student is technically capable of working independently in a photographic studio, working with Capture One software and flash control. Understands the principle of TS lenses and can use these devices functionally. |
learning outcomes |
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The student independently operates all studio equipment with emphasis on digital capture equipment and production and post-production software. He/she is knowledgeable in the history of fashion photography and follows its current trends. Understands the role of the photographer in relation to the architect or fashion designer. |
The student independently operates all studio equipment with emphasis on digital capture equipment and production and post-production software. He/she is knowledgeable in the history of fashion photography and follows its current trends. Understands the role of the photographer in relation to the architect or fashion designer. |
The student knows local and complex lighting. |
The student knows local and complex lighting. |
The student masters the procedures in fashion photography. |
The student masters the procedures in fashion photography. |
The student knows the the basic of architecture photography. |
The student knows the the basic of architecture photography. |
The student knows more complex post-production processes. |
The student knows more complex post-production processes. |
The student can work in a creative team. |
The student can work in a creative team. |
Skills |
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The student can comprehensively control lighting technology. |
The student can comprehensively control lighting technology. |
The student can photograph a figure in the studio. |
The student can photograph a figure in the studio. |
The student is able to do implement a contract for architecture photography. |
The student is able to do implement a contract for architecture photography. |
The student can apply new software programs. |
The student can apply new software programs. |
The student can design an unconventional creative solution. |
The student can design an unconventional creative solution. |
teaching methods |
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Knowledge |
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Practice exercises |
Practice exercises |
Monologic (Exposition, lecture, briefing) |
Dialogic (Discussion, conversation, brainstorming) |
Dialogic (Discussion, conversation, brainstorming) |
Monologic (Exposition, lecture, briefing) |
assessment methods |
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Analysis of works made by the student (Technical products) |
Analysis of works made by the student (Technical products) |
Analysis of creative works (Music, visual arts, literature) |
Analysis of creative works (Music, visual arts, literature) |
Recommended literature
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Lindbergh Peter. Assouline.
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