Digital Photography professionals are experiencing a real golden age: learn with TECH to work in one of the creative careers offering the most professional opportunities"

Digital Photography is the process by which images are obtained through the use of electronic technology in digital form, storable in a magnetic, optical or electronic format. It is possible to obtain digital images by scanning a photograph (printed or in the form of a negative or slide) or by taking a photograph with a digital camera, a tool that has been the subject of great technological advances, such as digitization integrated into the machine itself or its integration into a drone for aerial photography.

This academic program is focused on providing the tools and methodologies used in the field of Digital Photography, giving ample attention to digital technology, with a detailed description of the stages of acquisition, manipulation and registration of the image. Of all the activities planned for this program, the use of the computer predominates, conceived as a means of supporting ideas and artistic creation.

Thus, the profound diversification of the traditional photographer's craft has led to the emergence of true masters of the discipline who are skilled in social networks, and who practically do not need to leave their homes to do their work. 

The student will come into contact with all these changes, learning to master the different elements that make up the camera, as well as the types of camera that exist. Furthermore, you will study the necessary topics to be able to conduct various photographic tasks and the approach you need to take to the camera when doing so.

Once the Digital Photography program has been completed, the graduate will be able to work in communication as they will have mastered all the standards required by the industry.

Channel all your creativity through cutting-edge educational content that will allow you to excel in the field of Digital Photography"

This Digital Photography in Digital Photography contains the most complete and up-to-date program on the market. The most important features include:

• Case studies presented by experts in this in the field
• The graphic, schematic, and practical contents which they contain, provide scientific and practical information on the disciplines that are essential for professional practice
• Practical exercises where self-assessment can be undertaken to improve learning
• A special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

It is not enough to have ideas: you have to master the different photographic techniques and procedures. Put yourself in TECH hands and make your creative and professional aspirations a reality"

The program’s teaching staff includes professionals from the sector who pour their work experience into this Professional master’s degree, as well as renowned specialists from leading societies and prestigious universities. 

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive learning designed for real situations. 

This program is designed around Problem-Based Learning, whereby the professional must try to resolve the different professional practice situations that arise during the academic year. For this, the professional will be assisted by an innovative system of interactive videos made by recognized experts in Digital Photography with a wealth of professional experience.  

Immerse yourself in the know-how of an expert teaching team in the field of Digital Photography"

Learn how to generate high quality visual content"

This itinerary covers the principles of each of its subjects in great depth Starting from a journey through the history of visual art, the program accompanies the student through 10 modules that condense an exhaustive body of knowledge relating to Digital Photography, both theoretical and practical. Pre-production, production and post-production, composition, lighting and editing, etc. These concepts are very evident throughout the 1,500 hours of this academic program.

A syllabus designed to make you a master of Digital Photography sought by all types of communication companies"

Module 1. The Influence of Art in Today’s Photography

1.1. Training the View

1.1.1. Visual Representation
1.1.2. Photography and Art
1.1.3. Perception: Learning to Look at and Evaluate Cultural Heritage

1.2. The Bison: The Graphic Representation of Society

1.2.1. Drawing as a Technique
1.2.2. The Need to Represent Concepts
1.2.3. Icons, the Iconic Image and the Iconosphere

1.3. Leonardo da Vinci’s Students

1.3.1. Italian Art During the Renaissance
1.3.2. Leonardo da Vinci’s Legacy
1.3.3. Lorenzo Cesariano and the Camera Obscura

1.4. The 19th Century: The Image on Paper

1.4.1. Niépce at the Academy of Sciences and Fine Arts of France
1.4.2. The Kodak Camera
1.4.3. The Daguerreotype

1.5. The Age of Color and the Avant-Garde

1.5.1. Prokudin Gorski: Color Photography and the Polaroid Camera
1.5.2. The Artistic Avant-Garde
1.5.3. The New Way of Understanding Reality

1.6. War Photography and the Masters of Photography

1.6.1. Documentary Photography in the USA and Photojournalism
1.6.2. Great Photographers: Robert Capa, Larry Borows and Alfred Stieglitz
1.6.3. Photography and Propaganda during Nazism

1.7. Commercial Photography

1.7.1. Persuasion: A Product in Images
1.7.2. American Advertising Agencies: From Illustration to Photography
1.7.3. Intention: Types of Advertising Photography

1.8. Cinema and Television: The Moving Image

1.8.1. The Photogram
1.8.2. The First Silent Films
1.8.3. Photographs with Voice: The Audiovisual Format

1.9. The Appearance of Digital Photography

1.9.1. Digitizing Images: The Electronic Sensor
1.9.2. Megapixels and Digital Imaging Software
1.9.3. Virtual Reality

1.10. Photography in Social Networks

1.10.1. Cell Phones: The New Camera
1.10.2. Personal Brand
1.10.3. Marketing of the Photographer’s Portfolio

Module 2. Camera Usability

2.1. The Photographic Camera

2.1.1. The Photographic Camera
2.1.2. Types of Camera
2.1.3. Camera  Modes

2.2. The Diaphragm

2.2.1. Diaphragm Aperture
2.2.2. Focal Length and Perspective
2.2.3. Zoom

2.3. Sensors

2.3.1. Sensitivity
2.3.2. Megapixels
2.3.3. Sensor Ratio

2.4. Objective

2.4.1. Objective
2.4.2. Lens Types: Telephoto, Wide-angle and Fisheye Lenses
2.4.3. Decentralized Lenses: Catadioptric Lenses

2.5. Attitude and Position in Front of the Camera

2.5.1. Hand Grip and Co-ordination
2.5.2. Protective Caps
2.5.3. The Purpose of the Photo Shoot

2.6. Trepidation and Motion

2.6.1. The Shutter
2.6.2. Exposure Speed
2.6.3. Trepidation

2.7. Use of Flash, Natural Light and Strobist

2.7.1. Additional Lighting
2.7.2. Use of Flash in Daylight Environments
2.7.3. Strobist Technique to Save Equipment

2.8. Camera  Modes

2.8.1. Automatic
2.8.2. Semiautomatic
2.8.3. Manual

2.9. Camera Accessories

2.9.1. The Photometer
2.9.2. The Tripod
2.9.3. The Monopod

2.10. Concealment Accessories

2.10.1. Hide
2.10.2. Rain Covers
2.10.3. Underwater Casings

Module 3. Light and Color in Photographic Composition

3.1. Light

3.1.1. Light
3.1.2. Natural Light
3.1.3. Artificial Light

3.2. Focus

3.2.1. Focal Length and Depth of Field
3.2.2. Focusing Methods
3.2.3.  Selective Focus

3.3. The Exposition

3.3.1. The Histogram
3.3.2. ISO Values
3.3.3. Overexposure and Underexposure: Relationship Between ISO, Aperture and Shutter Speed
3.3.4. Backlighting and Creative Exposure

3.4. Color

3.4.1. Whites
3.4.2. Filters
3.4.3. Contrast and Harmony

3.5. Speed

3.5.1. The Shot
3.5.2. Bracketing
3.5.3. Trigger

3.6. Composition I: Geometry and Spatial Arrangement

3.6.1. The Rule of Thirds and the Golden Ratio
3.6.2. Symmetry
3.6.3. Vanishing Point

3.7. Composition II: Balance and Proportion

3.7.1. Horizontal and Vertical Lines
3.7.2. Balance: Image Distribution
3.7.3. Master Lines

3.8. Composition III: Perspective

3.8.1. Background
3.8.2. Height
3.8.3. Order of Spaces

3.9. Composition IV: Framing and Proportion

3.9.1. Framing Formats
3.9.2. Framing and Negative Space
3.9.3. Point of Interest: Directing the Gaze

3.10. Photographic Contextualization

3.10.1. The Environment and Situation
3.10.2. Transmission of Emotions
3.10.3. The Photographic Sequence

Module 4. The Digital Image

4.1. Compositional Atmosphere

4.1.1. The Air of a Photograph: Balances and Framing
4.1.2. Space and Perspective
4.1.3. Color or B/W Photography

4.2. Light: Advanced lighting in Digital Image and File

4.2.1. Photographic Light
4.2.2. Control and Use of Light
4.2.3. Photographic References

4.3. The Digital Image

4.3.1. Image in Bits
4.3.2. Processing and Storage of Different Digital Formats
4.3.3. Image Resolution: RAW or JPEG

4.4. Parameters to be taken into Account for a Digital Image

4.4.1. Exposure and ISO Sensitivity
4.4.2. Aperture and Shutter Speed
4.4.3. Noise: Digital Grain

4.5. The Digital Environment I: Workflow

4.5.1. Workflow
4.5.2. Digital Processing Steps
4.5.3. File Management

4.6. The Digital Environment II: Image Recording and Storage

4.6.1. Digital Registry
4.6.2. Image Storage
4.6.3. Initial Processing

4.7. Digital Color

4.7.1. Color Spaces
4.7.2. Color Management Systems
4.7.3. Profiling: Calibration and Characterization of Devices

4.8. Introduction to the Main Image Editors

4.8.1. Adobe Photoshop RAW Camera
4.8.2. All-in-one Programs Adobe Lightroom
4.8.3. Adobe Bridge for Digital Processing
4.8.4. Other Modern Image Editors

4.9. Advanced Photographic Workflow Processing and Management

4.9.1. Printing and Presentation of Photographs
4.9.2. Specialized Printing Program and RIP
4.9.3. Creation of Contact Sheets

4.10. Professional Photography with Smartphones

4.10.1. RAW
4.10.2. Mobile Applications
4.10.3. Photographic References

Module 5. Creativity techniques

5.1. Creativity

5.1.1. Dynamics of Creativity and Forms of Thought
5.1.2. Difference Between Creativity and Innovation
5.1.3. Creativity in Photography

5.2. Creative Thinking and the Biology of Creativity

5.2.1. Creativity and Intelligence
5.2.2. Characteristics of Creativity and the Creative Process ( Creative Quantification, Phases, Taylor’s Levels, Torrance Factors)
5.2.3. Social Media and Creativity

5.3. Creativity Techniques

5.3.1. The Creative Block
5.3.2. Creativity and Techniques for Idea Generation What Use Are Creativity Methods and Techniques?
5.3.3. Creativity Techniques: from  Brainstorming to CRE-IN

5.4. Inspiration and Purpose of Photography

5.4.1. Inspiration in the Creative Process
5.4.2. Photographic Language Genre: Imaginary or Interpretation Photographic Genres Photographic Categories
5.4.3. Documentary Values of Photographs The Importance of the Photograph as a Historical Document The Photograph as an Informative Text The Photograph as Representation. The Photograph as an Art Form

5.5. Environments I: Landscape and Nature

5.5.1. Landscape Photography Explore or Locate
5.5.2. Subjects of Landscape Photography
5.5.3. Light as a Differential Element: Sunrise and Sunset, The Best Light, Seasons.

5.6. Environments II: The City and Urban Atmosphere

5.6.1. What is the Urban Landscape? Urban Environments Image, Atmosphere and Urban Landscape Urban Gestures
5.6.2. Photography as an Indiscreet Window into Urban Environments. Camera and City Urban Living in Photography
5.6.3. The Three Great Masters of Urban Photography: Henry Cartier-Bresson, Eve Arnold, Robert Capa

5.7. Environments III: Portraits and Models

5.7.1. The Portrait Historical Evolution of Portraits
5.7.2. The Self Portrait
5.7.3. Image Composition Photographic Planes Sketching Lighting Environment Backgrounds and Dressing

5.8. Specific Settings: Fashion, Travel and Sports

5.8.1. What is Fashion Photography? History and Concepts
5.8.2. Travel Photography: The World in the Lens
5.8.3. Sports Photography Features of a Sports Photo Shoot The Value of Photography in the Field of Sports New Trends: “Sportraits”

5.9. Creation of Customized Environments

5.9.1. Democratization of Photography in the Digital Era Playing with Art
5.9.2. Composition in Photography Create Atmospheres with Natural and Flash Light Capture Details
5.9.3. Virtual Photography

5.10. Staging and Context

5.10.1. What is Staging? Analysis of the Theoretical Framework
5.10.2. Staging and Photography
5.10.3. Image Perception  Le Tableau Vivant (The Living Picture) The Photograph and the Problem of Representation

Module 6. Advanced Photoshop Editing

6.1. Main Features of the Program: Fundamental Tools

6.1.1. Text
6.1.2. Shapes
6.1.3. Trace

6.2. Editing with Layers

6.2.1. Layer Styles
6.2.2. Transform Layers
6.2.3. Fusion Modes

6.3. Histogram

6.3.1. Lighting: Shadows, Midtones and Highlights
6.3.2. Color Balance: Hue and Saturation
6.3.3. Exhibition

6.4. Color

6.4.1. Foreground and Background Color
6.4.2. Color Panel and Sample Panel
6.4.3. Color Substitution

6.5. Painting and Editing Tools

6.5.1. Brushes
6.5.2. Pencil
6.5.3. Paint Pot and Gradients

6.6. Selection Tools

6.6.1. Frames
6.6.2. Links
6.6.3. Magic Wand

6.7. Masks and Adjustments Layers

6.7.1. Concept and Application of Layer Masks
6.7.2. Adjustment Layers
6.7.3. Masks Panel

6.8. Filters

6.8.1. Filter Gallery
6.8.2. Focus and Blur Filters
6.8.3. Artistic Filters

6.9. Retouching Tools

6.9.1. Cloning Stamp
6.9.2. Focusing and Blurring
6.9.3. Overexpose and Underexpose

6.10. Correction of Errors

6.10.1. Red Eye
6.10.2. Concealer Brush and Patch
6.10.3. Camera Distortion Correction

Module 7. Audiovisual Communication in the Digital Environment

7.1. Audiovisual Language

7.1.1. Multisensory Communication
7.1.2. Dimensions of Audiovisual Language: Morphology and Syntax
7.1.3. Semantics and Image Aesthetics

7.2. Communicating Without Words

7.2.1. From Mass Communication to Globalization
7.2.2. The Sender and the Receiver
7.2.3. The Message, the Code and the Channel

7.3. Image Identity

7.3.1. Individual Identity
7.3.2. Message Projection
7.3.3. Audiences and the Public

7.4. Graphic Attributes

7.4.1. Attribute Adaptation
7.4.2. Aesthetic Attributes
7.4.3. Ethical Attributes

7.5. Shape, Color and Texture: The Visual Message

7.5.1. The Visual Message
7.5.2. Shape, Color and Texture
7.5.3. Practical Applications

7.6. Viewer Psychology

7.6.1. Perception, Interpretation and Subconscious Intuition
7.6.2. Target Audience and Segmentation
7.6.3. New Eyes Watching

7.7. Information, Photojournalism and Reporting

7.7.1. The Image as a Source of Information
7.7.2. The Photojournalist
7.7.3. Report Structure and Composition

7.8. Advertising and Social Networks

7.8.1. Image Dissemination Channels
7.8.2. The Growth of the Audiovisual Format among Opinion Leaders
7.8.3. Advertising in the Digital Environment: Banners

7.9. New Trends in the Audiovisual Field

7.9.1. Consolidated Formats: Streaming, Laser projection and 4K Resolution
7.9.2. Virtual Reality: Gamification and Sensory Experience
7.9.3. The Future of the Image

7.10. Ethics and Morality of the Photographic Profession

7.10.1. The Photographer’s Lifestyle
7.10.2. Respect for the Profession and Artistic Style
7.10.3. The Ten Commandments of Good Practice in the Photographic Profession

Module 8. Photographic Documentation

8.1. The Photograph as a Document

8.1.1. Photography
8.1.2. Links with Other Professions
8.1.3. Paradigms and Challenges of Photographic Documentation in the Digital Society

8.2. Centers of Photographic Documentation

8.2.1. Public and Private Centers: Functions and Cost-Effectiveness
8.2.2. National Photographic Heritage
8.2.3. Photographic Sources

8.3. The Photographer as Documentary Analyst

8.3.1. The Various Dimensions of Photography: from Creation to Documentary Treatment
8.3.2. Roles of the Graphic Documentalist and Standards
8.3.3. Analysis of Photography: Technical, Academic and Professional Aspects

8.4. The Professional Photographer: Rights Protection

8.4.1. Photography as a Commercial Activity
8.4.2. Copyright and Intellectual Property
8.4.3. The Use of Photography on the Internet: The Difference Between Photographic Works and Mere Photographs

8.5. Photo Localization: Search and Retrieval Systems

8.5.1. Image Banks
8.5.2. Standard Procedure for Photo Retrieval
8.5.3. Evaluation of Results and Content Analysis

8.6. Metadata and Watermarks

8.6.1. Photo Search and Metadata: the IPTC (International Press Telecommunications Council) Standard
8.6.2. EXIF: Technical Metadata for Digital Camera Files
8.6.3. Digital Watermarks

8.7. Image Databases

8.7.1. Digitization: The New Challenge for Photographic Documentation
8.7.2. Databases: Control of Information and its Dissemination
8.7.3. Free or Paid Resources and Licenses

8.8. Photographic Selection

8.8.1. Professional Photography Galleries: The Online Marketing of Artistic Artwork
8.8.2. Digital Photo Galleries: Diversity and Richness
8.8.3. Photography and the Promotion of Digital Cultural Activity

8.9. Photography as Discourse

8.9.1. Photostory: Stories and Images
8.9.2. Photo Galleries: from Cultural Activity to Commercial Purposes
8.9.3. Photojournalism and Documentary Photography: The Impetus from Foundations

8.10. Photographic Documentation and Art

8.10.1. Digital Cultural Activity and Photographic Art
8.10.2. Preservation and Dissemination of Photographic Art in International Galleries
8.10.3. Challenges of the Professional Photographer in the Digital Age

Module 9. Post-production of Digital Photography

9.1. Post-production: Limits to Photo Editing

9.1.1. Improved Texture, Color and Density
9.1.2. Blurring of an Image (BOKEH)
9.1.3. Color and Temperature Balance

9.2. Retouching

9.2.1. Selections and Layer Masks
9.2.2. Fusion Modes
9.2.3. Channels and Brightness Masks

9.3. Filters

9.3.1. UV or  Skylight
9.3.2. Polarizer and Neutral Density
9.3.3. Color Filters and Black and White Photography

9.4. Special Effects

9.4.1. Neutral Density
9.4.2. Fine Art
9.4.3. Matte Painting

9.5. Montage

9.5.1. Photo Montage
9.5.2. Creative Retouching

9.6. Main Technological Editing Tools for Publishing on Social Networks

9.6.1. Hootsuit
9.6.2. Metricool
9.6.3. Canva

9.7. Narrative Expressiveness

9.7.1. Drawing on the Photographic Image
9.7.2. Lighting
9.7.3. Art Management

9.8. Creating Photographic Projects

9.8.1. Idea and Documentation
9.8.2. Script and Planning
9.8.3. Equipment and Resources

9.9. Corporate Photography

9.9.1. Lifestyle Photography
9.9.2. E-Commerce
9.9.3. Corporate Photography in Studio

9.10. The Personal Portfolio

9.10.1. Domain
9.10.2. Hosting
9.10.3. Wordpress/Behance

Module 10. The Use of Drones for Photography

10.1. New Tools for Digital Photography

10.1.1. Drones
10.1.2. Technical Composition of a Drone
10.1.3. Types of Drones 

10.2. Learn to Fly

10.2.1. Flight System Stabilization
10.2.2. Internal Aspects: Safety
10.2.3. External Aspects: Meteorology 

10.3. Legal and Geographic Limitations on the Use of Drones

10.3.1. Europe
10.3.2. U.S. and Latin America
10.3.3. Rest of the World 

10.4. Planning and Locations

10.4.1. Plan
10.4.2. Search for Locations
10.4.3. Applications and Checklists 

10.5. Photographic Techniques Applied to Drones

10.5.1. Perspectives
10.5.2. Exhibition
10.5.3. Other Adjustments 

10.6. Photographic Composition with Drones

10.6.1. Spatial layout
10.6.2. Elements of the Image
10.6.3. Color 

10.7. Photographic Composition with Drones II

10.7.1. Format
10.7.2. Elements of the Image II
10.7.3. Height 

10.8. Special Techniques

10.8.1. Panoramas
10.8.2. Timelapse and Hyperlapse
10.8.3. Others 

10.9. Filming with Drones

10.9.1. Technical Features of a Moving Film
10.9.2. Elements of the Image
10.9.3. Camera Movement

10.10. The Professional Drone Photographer

10.10.1. Training
10.10.2. Legal Aspects
10.10.3. Career Opportunities

A unique, key and decisive training experience to boost your professional development”