This program will allow you to learn about the latest advances in photographic technique and its application in Photojournalism, delving into issues such as editing with Photoshop or image rights" 

The new avenues opened up by digitalization have brought about a revolution in the world of journalism. However, there are more traditional elements that maintain a great weight in this discipline. Photography has been an essential component of communication for decades, and its importance has continued to grow in contemporary journalism. However, the photographer must aspire to adapt to the current communicative context, which demands professionals with a large number of tools to develop comfortably in the digital environment. 

Thus, this Advanced master’s degree in Photojournalism offers the photographer the opportunity to delve into the latest developments in this area, paying attention to photographic technique, editing and post-editing with software such as Photoshop, Bridge or Lightroom image rights or even the use of drones for aerial photography. With all this knowledge, the professional will be ready to face the present and future challenges of this field. 

All this, from a 100% online teaching methodology that will allow you to combine your work with your studies, since it will be completely adapted to your personal circumstances. In addition, you will have at your disposal numerous multimedia resources that can be accessed 24 hours a day from any device with an internet connection, and you will receive the support of the best teaching staff, composed of active specialists in the field of Photojournalism. 

You will be able to catch up on the latest developments in digital photography from a 100% online methodology specially designed to allow students to combine their professional life with their studies" 

This Advanced master’s degree in Photojournalism contains the most complete and up-to-date program on the market. The most important features include:

• The development of case studies presented by Photojournalism experts
• The graphic, schematic, and eminently practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning
• A special emphasis on innovative methodologies in photography
• 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

With this program you will learn the principles of photographic documentation, one of the fastest growing areas of Photojournalism today" 

Its teaching staff includes professionals from the field of journalism, who bring to this program the experience of their work, as well as renowned specialists from reference 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 an immersive training experience designed to train for real-life situations. 

This program is designed around Problem-Based Learning, whereby the student must try to solve the different professional practice situations that arise during the academic year. For this purpose, the professional will be assisted by an innovative interactive video system created by renowned and experienced experts.  

A teaching staff made up of professionals in the fields of photography and journalism will accompany you throughout the educational itinerary"

TECH will give you 24-hour access to all of the program's learning resources"

The contents of this Advanced master’s degree in Photojournalism have been elaborated by internationally renowned experts in photography. They, who have structured the degree in 17 specialized modules, have been responsible for incorporating the latest content in this area, so that the student, upon completing the program, will have the most advanced knowledge to advance his or her professional career. 

You will learn everything you need to become a great photojournalist thanks to this program, structured in 17 specialized modules, which has been designed by internationally renowned photographers and journalists"  

Module 1. History of Photojournalism

1.1. Background of Photojournalism

1.1.1. Journalists, Reporters, Photographers, Authors, etc.
1.1.2. The First Reporters since Herodotus of Halicarnassus
1.1.3. Informers of Major Events
1.1.4. The Birth of Graphical Press
1.1.5. Francisco de Goya, Precursor of Photojournalism

1.2. Photography as a Journalistic Tool

1.2.1. Photography, an Objective Medium?
1.2.2. Photographic Images as Sources of Information
1.2.3. Photography between Manipulation and Propaganda
1.2.4. Functions of Photography in Journalism
1.2.5. The Paparazzi Phenomenon
1.2.6. From the Photographic Essay to the Author's Photography as Frontiers
1.2.7. Interpretation of Journalistic Image

1.3. The Birth of Photography

1.3.1. The Historical Context of the Industrial Revolution
1.3.2. Nicéphore Niépce's Heliographies
1.3.3. The Spread of the Daguerreotype
1.3.4. Image Multiplication with Fox Talbot

1.4. The Influence of Technological Evolution in Photojournalism

1.4.1. From Daguerreotype to Film Reels 
1.4.2. Evolution of Cameras up to the Digital Era
1.4.3. Evolution of Reproduction and Dissemination Media up to the Internet

1.5. Early Photographers: Documentary Filmmakers and Photojournalists

1.5.1. The First Years of Documentary Photography
1.5.2. The First Photographers in the War
1.5.3. Photographers in Search of “Photonews"

1.6. The Rise of Photojournalism in the Interwar Period

1.6.1. The World at Odds: Communism versus Fascism
1.6.2. The Birth of Photojournalism in Germany
1.6.3. The Construction of Robert Capa

1.7. Photojournalism in the Second Half of 20th Century

1.7.1. The Creation of Big Agencies and Magazines Magnum and Life
1.7.2. The Figure of Enrique Meneses, the Spanish "Capa"
1.7.3. James Nachtwey and Reel Photojournalists

1.8. Photography in Current Digital Press

1.8.1. The Need for Immediacy
1.8.2. From Reflex Cameras to Mobile Photography
1.8.3. Mobiles and Social Media
1.8.4. Current Photo Essay and Photo Reportage
1.8.5. Photographic Agencies and Cooperatives
1.8.6. Current Photojournalism Awards

1.9. The Role of Women in the History of Photojournalism

1.9.1. Behind Robert Capa, the Figure of Gerda Taro
1.9.2. Dorothea Lange
1.9.3. Margaret Burke-White
1.9.4. Lee Miller
1.9.5. Berenice Abbott
1.9.6. Diana Arbus
1.9.7. Lisette Model
1.9.8. Joana Biarnés
1.9.9. Cristina García Rodero
1.9.10. Other Photojournalists in History

Module 2. Photojournalistic Genres and Specialization 

2.1. Photonews

2.1.1. Evolution of Photonews
2.1.2. The Importance of the Image
2.1.3. The Text in Photonews
2.1.4. Differences between Photonews and News Photos: The News Photo

2.2. Short Photo Reportage

2.2.1. History of Photojournalism: from Jacob Ribs to Cartier-Bresson Examples:
2.2.2. Features
2.2.3. The 5 Ws in Photojournalism
2.2.4. Methodology

2.3. In-Depth Photoreporting

2.3.1. Origins of In-Depth Photojournalism
2.3.2. Features
2.3.3. Previous Investigation
2.3.4. Methodology

2.4. Photojournalistic Essay

2.4.1. The Essay as a Form of Journalistic Expression
2.4.2. The Importance of the Author and the Point of View in the Essay
2.4.3. Iconography in the Essay The Overview

2.5. Photojournalistic Portrait

2.5.1. The Interview in Photojournalism
2.5.2. The Importance of Detail
2.5.3. The Photo-Stamp
2.5.4. The Review Photo

2.6. Resource Image

2.6.1. The Importance of Resource Images
2.6.2. The Labour of Documentation The Photographic Archive
2.6.3. The Image as a Resource in the Layout

2.7. Photojournalism of Events

2.7.1. Evolution of Photography in Crime Journalism
2.7.2. Immediacy in Crime Journalism
2.7.3. The Value of the Testimonial versus the Quality of the Image
2.7.4. Editing Crime Photography
2.7.5. Ethical Considerations

2.8. Conflict Photojournalism

2.8.1. History and Evolution
2.8.2. Exponents of Conflict Photojournalism From Gervasio Sánchez to Lynsey Addario
2.8.3. Previous Investigation
2.8.4. Hazards of Conflict Photojournalism
2.8.5. Images of Minors in Conflict Photojournalism

2.9. Environmental Photojournalism

2.9.1. The Environment as a Narrative Axis
2.9.2. The Aesthetics of the Image
2.9.3. The Photo Complaint

2.10. Street Photojournalism

2.10.1. The Street as a Habitat for Photography
2.10.2. New Scenarios of Street Photojournalism
2.10.3. Immortalizing the Everyday: Shooting from the Hip
2.10.4. The Citizen as a Photojournalist

Module 3. Sports Photojournalism 

3.1. The Figure of the Sports Photojournalist

3.1.1. Introduction 
3.1.2. Functions and Sources of Sports Photography
3.1.3. The Language of Sports through Images

3.2. Photographic Team

3.2.1. Cameras and Required Characteristics
3.2.2. Supplementary Materials
3.2.3. Selection and Editing

3.3. Positioning of the Photographer on the Playing Fields

3.3.1. Placement and the Importance of the Type of Lens Used
3.3.2. Soccer
3.3.3. Basketball
3.3.4. Cycling
3.3.5. Others.

3.4. Current References

3.4.1. Foreign Sports Photojournalists

3.5. Photographic Awards

3.5.1. World Press Photo
3.5.2. Sony World Photography Awards
3.5.3. Others.

3.6. Analysis of Iconic Photographs

3.6.1. Selection and Study of Photographs Recognizable by their Impact I
3.6.2. Selection and Study of Photographs Recognizable by their Impact II
3.6.3. Historical Publications
3.6.4. Sports Illustrated
3.6.5. El Gráfico
3.6.6. Don Balón
3.6.7. Others

3.7. The Power of Image in the Olympic Games: Barcelona ‘92

3.7.1. The City of Barcelona: Photograph of a Metamorphosis
3.7.2. The Olympic Work
3.7.3. The Symbolic Legacy

3.8. Treatment of Diversity I

3.8.1. Racism
3.8.2. Gender
3.8.3. The Invisible Role of Women on Sports Covers

3.9.  Treatment of Diversity II

3.9.1. Monitoring the Frontiers of Sexuality
3.9.2. Case Study: Caster Semenya
3.9.3. Other Similar Cases

Module 4. Photographic Technique in Photojournalism

4.1. How a Camcorder Works

4.1.1. Types of Cameras
4.1.2. Interior of an Analog SLR Camera
4.1.3. Interior of a Digital SLR Camera
4.1.4. Parts of a Digital SLR Camera
4.1.5. How a Digital SLR Camera Works
4.1.6. Differences between Reflex and Mirrorless Cameras
4.1.7. Triggering Modes

4.2. Pixels and Printing

4.2.1. What Are Pixels and What Do They Indicate?
4.2.2. Pixels and Resolution
4.2.3. The Camera Sensor and Its Types
4.2.4. Size and Sensor Proportion
4.2.5. Sensibility of the Sensor
4.2.6. Relationship between Resolution and Printing
4.2.7. How to Choose a Sensor

4.3. Color Space

4.3.1. The Visible Light Spectrum and Color Space
4.3.2. Colorimetry and the Chromaticity Diagram
4.3.3. RGB, CMYK, LAB: What they Are and the Differences
4.3.4. Other Color Modes
4.3.5. The Profiles of Color
4.3.6. Which Mode Is Best to Work with?
4.3.7. Color Modes and Printing

4.4. Exposure, Speed and ISO

4.4.1. The Exposure Triangle and Camera Modes
4.4.2. The Opening
4.4.3. The Speed
4.4.4. ISO Sensitivity
4.4.5. The Passage of Light
4.4.6. The Law of Reciprocity
4.4.7. Examples of Correct Exposure

4.5. Histogram

4.5.1. What Is Histogram and What Is it for?
4.5.2. The Dynamic Range
4.5.3. How Do you Read a Histogram?
4.5.4. Exposure Compensation
4.5.5. Exceptions to the Perfect Histogram
4.5.5.1. High Key and Low Key
4.5.5.2. Nigh Contrast and Low Contrast
4.5.6. Correcting a Histogram after the Fact

4.6. Light Measurement

4.6.1. What Is light Measurement?
4.6.2. How Do You Measure Light?
4.6.2.1. What Is the Exposure Meter and How is it Used?
4.6.3. What Is the Exposure Meter and How is it Used?
4.6.4. Measuring Modes and Differences between Canon and Nikon
4.6.5. How to Measure Light Correctly?
4.6.6. Measurement in Mirror and Mirrorless Cameras

4.7. White Balance

4.7.1. What is White balance?
4.7.2. Need for White Balance
4.7.3. The Color Temperature
4.7.4. Modes of White Balance
4.7.5. Non-neutral White Balance
4.7.6. Adjusting the White Balance (Depending on the Type of Light)
4.7.7. Correcting White Balance in Post-Production

4.8. Optics

4.8.1. What Is Optics?
4.8.2. What Are the Objectives?
4.8.3. Physical Parts of a Target
4.8.4. Main Characteristics on the Objectives
4.8.5. Types of Objectives

4.8.5.1. According to Focal Length Characteristics
4.8.5.2. Special Needs
4.8.5.3. According to Focal Length Characteristics

4.8.6. Which Lens to Choose Depending on the Type of Photography?
4.8.7. Stabilizer, Focus Motor and Duplicator: Options to Consider

4.9. Image Extensions

4.9.1. Image Types

4.9.1.1. Bit Maps
4.9.1.2. Vector Images

4.9.2. Compression in Image Formats
4.9.3. Raster Image Formats
4.9.4. Vector Image Formats
4.9.5. Camera Shooting Formats
4.9.6. RAW and JPG: Which Is Better?
4.9.7. Image Extensions and Social Networking

4.10. Main Accessories

4.10.1. Advantages of Accessories or Why Use Camera Accessories?
4.10.2. External Battery
4.10.3. Remote Trigger
4.10.4. Flash and Flash Diffuser
4.10.5. Filters
4.10.6. Bag
4.10.7. Lens Hood
4.10.8. Memory Card
4.10.9. Tripod or Monopod

Module 5. The Perfect Photograph in Photojournalism

5.1. What Is Perfect Photography?

5.1.1. Technique, Creativity or Feeling
5.1.2. Photographic Material
5.1.3. Photographic References
5.1.4. The Perfect Photograph Based on Your Objective
5.1.5. Evolution of the Concept of Perfect Photography
5.1.6. Need for Editing to Get the Perfect Picture

5.2. Depth of Field

5.2.1. What Is Depth of Field?
5.2.2. What Depth of Field Is for
5.2.3. Depth of Field Factors

5.2.3.1. Diaphragm Opening
5.2.3.2. Focusing Distance
5.2.3.3. Focal Length
5.2.3.4. Circle of Confusion

5.2.4. Depth of Field and Sensor
5.2.5. Depth of Field Types
5.2.6. Hyperfocal Distance
5.2.7. Bokeh and Blur

5.3. Focus 

5.3.1. What Is Focus?
5.3.2. Methods of Focus
5.3.3. Manual Method of Focus
5.3.4. Autofocus Mode and Types
5.3.5. Differences between Simple and Continuous Focus
5.3.6. Focus Points

5.3.6.1. What Are Focus Points?
5.3.6.2. How to Use Focus Points?
5.3.6.3. Cross Type Focus Points

5.3.7. Focus Areas
5.3.8. Disassociate the Focus
5.3.9. Focus Peaking

5.4. Framing 

5.4.1. What Is Framing?
5.4.2. How Do you Use Framing?
5.4.3. Types of Framing

5.4.3.1. Depending on the Aspect Ratio
5.4.3.2. According to Orientation

5.4.4. Reframing
5.4.5. Enhancing Framing

5.5. Composition

5.5.1. What Is Composition in Photography?
5.5.2. Importance of Composition
5.5.3. Where to Start Composing?
5.5.4. Elements and Tools of Composition
5.5.5. Composition and Framing
5.5.6. Composition in Film
5.5.7. Phases of Composition

5.5.7.1. Precomposition: Observing, Establishing Relationships, Imagining the Result
5.5.7.2. Composition: Division into Zones of Interest, Setting Depth of Field, Checking the Result
5.5.7.3. Processing: Selection, Reflexion and Possible Editing

5.6. Technical Elements of Composition

5.6.1. Formal Elements: Point, Line, Shape and Contour
5.6.2. Visual Elements: Volume, Textures, patterns and Rhythm
5.6.3. Perspective and Objectives

5.7. Rules and Laws of Composition

5.7.1. The Rule of the Thirds
5.7.2. The Law of the Horizon
5.7.3. Use of Lines
5.7.4. The Vanishing Point
5.7.5. The Law of the Look
5.7.6. The Movement Rule
5.7.7. Negative Space
5.7.8. Element Repetition
5.7.9. Interest in Groups of Three
5.7.10. The Natural Framework
5.7.11. Symmetry
5.7.12. The Golden Rule

5.8. Using Light

5.8.1. Light Properties

5.8.1.1. Light Quality
5.8.1.2. Light Direction
5.8.1.3. Light Intensity
5.8.1.4. Light Color

5.8.2. Light Sources
5.8.3. Light Measurement
5.8.4. Means of Light Control
5.8.5. Interior and Exterior Lighting
5.8.6. Special Techniques

5.8.6.1. High Contrast Photography
5.8.6.2. Long Exposition
5.8.6.3. Lightpainting

5.9. Contrast and Balance

5.9.1. The Duality of Reality and its Impact on our Photographic Vision
5.9.2. What Is Contrast?

5.9.2.1. Types of Contrast
5.9.2.2. Most Common Contrasts

5.9.3. What Is Balance?

5.9.3.1. Types of Balance

5.9.4. Tension in Photography
5.9.5. Visual Weight
5.9.6. Applying Contrast and Balance to Achieve the Perfect Photograph

5.10. Symbolism and Psychology

5.10.1. Psychology and Photography
5.10.2. Color Psychology
5.10.3. The Use of White and Black
5.10.4. Points of View or Angulation
5.10.5. The Use of Perspective

5.10.5.1. Types of Perspectives
5.10.5.2. Creative Perspective 

5.10.6. Creativity and Photojournalism 

5.10.7. Case Studies

5.10.7.1. “The American Way of Life”, Margaret Bourke-White
5.10.7.2. Trump in Times and EFE
5.10.7.3. Emilio Morenatti and the Telephoto Lens

Module 6. Studio Photography in Photojournalism

6.1. The Photography Studio: Setting up Your Own Studio

6.1.1. Introduction
6.1.2. The Photography Studio: Background
6.1.3. Set-up and Dismantling of the Photo Studio

6.2. The Photographic Shot

6.2.1. Introduction
6.2.2. Configuration of the Technical Parameters of the Pickup Device
6.2.3. Optics and Focal Lengths: Depth of Field and Selective Focusing

6.3. Tools for Measuring and Controlling Light

6.3.1. Introduction
6.3.2. Photometric Quantities and Units
6.3.3. Measurement Devices
6.3.4. Adjustment Charts

6.4. Basic Concept of Lighting for the Photography Studio

6.4.1. Introduction
6.4.2. The Basic Lighting Scheme
6.4.3. Basic Lighting Styles

6.5. Continuous Light Vs Flash Light

6.5.1. Introduction
6.5.2. Hand Flash
6.5.3. Measurement Modes: Manual, TTL, Bounce and Remote Strobist
6.5.4. Studio Lighting Studio Flash
6.5.5. Mixed Lighting

6.6. Filters for Photography 

6.6.1. Introduction
6.6.2. Types of Filters

6.7. Methods of Controlling Light: Lighting Accessories 

6.7.1. Introduction
6.7.2. Accessories for Light Reflexion
6.7.3. Accessories for Light Diffusion
6.7.4. Accessories for Light Clipping
6.7.5. Other Light Accessories

6.8. Studio Photography I: Portrait and Fashion Projects 

6.8.1. Evolution and Trends in Portrait and Fashion Photography
6.8.2. Portrait Styling
6.8.3. Lighting Techniques in Portrait and Fashion 

6.9. Studio Photography II: Still Life and Advertising Projects

6.9.1. Staging Techniques for Still Life and Advertising Photography Projects
6.9.2. Staging Techniques for Still Life and Advertising Photography Projects
6.9.3. Techniques for Capturing and Illumination of Small Dimensional Elements

6.10.  Usability of Applications for Studio Photography:  

6.10.1. Tools for the Creation of Lighting Schematics/Sketches
6.10.2. Tools for Measuring Light

Module 7. Mobile Photojournalism 

7.1. The Multimedia Era

7.1.1. The Importance of Mobile Photojournalism
7.1.2. The Presence of Mobiles in the Media
7.1.3. Technological Advances in Devices
7.1.4. Internet and Social Media
7.1.5. Mobile Photo Group

7.2. Technical Characteristics of Smartphones

7.2.1. Pixels
7.2.2. Focal Aperture
7.2.3. Dual Camera
7.2.4. Screen
7.2.5. Camera Options

7.3. Pros and Cons of Mobile Photography

7.3.1. Portability: Size and Weight
7.3.2. Immediacy
7.3.3. Image Quality
7.3.4. Temporary Efficiency
7.3.5. Flash
7.3.6. Panoramic
7.3.7. Zoom
7.3.8. Photographs that Exist Thanks to Mobile Phones (Pandemic, Franco's Exhumation)

7.4. Accessories

7.4.1. Adaptable Targets
7.4.2. Tripods
7.4.3. Covers
7.4.4. Flashes
7.4.5. Printer
7.4.6. Gimbal

7.5. Technique and Typology

7.5.1. Lighting
7.5.2. Grid
7.5.3. Don´t Use Zoom
7.5.4. Creativity: New Challenges
7.5.5. Street Photography
7.5.6. Frame Photography
7.5.7. Night Photography

7.6. Camera Applications

7.6.1. Advantages
7.6.2. Free and Paid
7.6.3. Manual Camera: DSLR Professional Camera
7.6.4. Open Camera

7.7. Editing Applications

7.7.1. Advantages
7.7.2. Free and Paid
7.7.3. VSCO
7.7.4. Pixlr

7.8. Snapseed

7.8.1. Brightness, Light and Saturation
7.8.2. Brush
7.8.3. Blurring
7.8.4. Curves
7.8.5. Stain Remover
7.8.6. Details

7.9. From Photography to Multimedia Presentation

7.9.1. Design
7.9.2. Free and Paid
7.9.3. StoryChic
7.9.4. Story Lab
7.9.5. Mojo
7.9.6. Story Maker
7.9.7. Unfold

7.10. References

7.10.1. Pioneers
7.10.2. Awarded
7.10.3. Projects

Module 8. Editing and Digital Development in Photojournalism

8.1. Digital Development

8.1.1. Definition of Digital Development in Journalism
8.1.2. When Is Digital Development Necessary in Journalism
8.1.3. Limits of Digital Development in Journalism
8.1.4. Main Professional Programs or Packages
8.1.5. Examples of Practical Applications of Digital Development in Journalism
8.1.6. Bibliography

8.2. Adobe Bridge

8.2.1. General Characteristics of Adobe Bridge
8.2.2. Main Uses of Adobe Bridge
8.2.3. Basic Program Interface
8.2.4. Organization and File Filtration
8.2.5. Basic File Editing
8.2.6. Combination of Adobe Bridge with Other Adobe Software
8.2.7. Exporting and Publishing Files and Batches

8.3. Adobe Photoshop

8.3.1. Main Features of Adobe Photoshop
8.3.2. Main Uses of Adobe Photoshop
8.3.3. Photographic Interface of the Program
8.3.4. Image Importing
8.3.5. Exporting and Publishing Images

8.4. Digital Development in Adobe Photoshop

8.4.1. The Concept of Photoshop Editing

8.4.1.1. Setting up the Workspace

8.4.2. Main Image Settings 
8.4.3. Editing an Image: Brightness, Levels and Curves
8.4.4. Editing an Image: Intensity, Hue and Saturation
8.4.5. Editing an Image: Other Resources

8.5. Adobe Photoshop Retouching Techniques

8.5.1. The Concept of Photoshop Retouching
8.5.2. Main Retouching Tools
8.5.3. Most Common Retouching

8.5.3.1. Surface Removal for Compositions
8.5.3.2. Face Blurring
8.5.3.3. Shape Trimming
8.5.3.4. Facial Retouching

8.5.4. Creative Retouching

8.5.4.1. Caricatures
8.5.4.2. Special Needs

8.5.5.  Creation and Use of Presets in Photoshop

8.6. Adobe Lightroom

8.6.1. General Characteristics of Adobe Lightroom
8.6.2. Main Uses of Adobe Lightroom
8.6.3. Interface of the Program in Depth
8.6.4. Importing and Classification of Images
8.6.5. Basic Image Development

8.6.5.1. Cutting Images

8.6.6.  Exporting Image 

8.6.6.1. Recommended Export Formats
8.6.6.2. Adding Watermarks

8.7. Digital Developing Techniques in Adobe Lightroom

8.7.1.  Introduction to Development Panel
8.7.2.  Histogram Editing
8.7.3.  Editing the 'Basic' Panel
8.7.4.  Editing the 'Tone Curve’
8.7.5.  Hue, Saturation and Luminance Editing
8.7.6.  Tone and Detail Division
8.7.7.  Lens Corrections
8.7.8.  Other Resources ‘Transform', 'Effects' and 'Calibration'
8.7.9.  Editing an Image in Black and White
8.7.10. Creation and Use of Presets in Lightroom

8.8. Capture One

8.8.1.  General Characteristics in Capture One
8.8.2.  Main Uses of Capture One
8.8.3.  Interface of the Program in Depth
8.8.4.  Image Importing
8.8.5.  Importing a Catalog from Lightroom
8.8.6.  Metadata and Image Organization
8.8.7.  Exporting Image

8.9. Digital Development in Capture One

8.9.1.  Introduction to Capture One Development
8.9.2.  Concept of Layers and Masks
8.9.3.  Exposition, Histogram and Other Values
8.9.4.  Color Editing
8.9.5.  Focus and Noise Editing
8.9.6.  Lens Editing and Cropping
8.9.7.  Styles and Pre-established Settings

8.10. Free Resources in Digital Development

8.10.1. Pixrl
8.10.2. GIMP
8.10.3. PhotoFiltre
8.10.4. PhotoScape
8.10.5. Darktable
8.10.6. Photoshop Express
8.10.7. Ribbet
8.10.8. BeFunky
8.10.9. InPixio

Module 9. Social Networks and Verification in Photojournalism

9.1. Beginnings of Photojournalism on the Web

9.1.1. Arrival of Image to the World Wide Web
9.1.2. Storytelling and Citizen Photojournalism
9.1.3. The Smartphone and the Democratization of the Image

9.2. Photojournalism in National and International Media

9.2.1. BBC 
9.2.2. The New York Times
9.2.3. The Guardian
9.2.4. Le Figaro
9.2.5. El País
9.2.6. La Vanguardia
9.2.7. El Mundo

9.3. Photojournalism in Social Media

9.3.1. Javier Bauluz
9.3.2. Victoria Iglesias
9.3.3. Miguel Riopa
9.3.4. Emilio Morenatti
9.3.5. Manu Bravo
9.3.6. Judith Prat
9.3.7. Luis Calabor

9.4. General Networks and Apps with Photo Publishing

9.4.1. Twitter
9.4.2. Facebook.

9.5. Specific Photography Apps and Networks

9.5.1. Instagram
9.5.2. Pressgram
9.5.3. Flickr
9.5.4. Pinterest
9.5.5. Others

9.6. Auxiliary Tools

9.6.1. StoryChic
9.6.2. Leetags
9.6.3. Adobe Spark
9.6.4. Grid in Instagram
9.6.5. Content Programming Tools

9.7. Sales and Image Distribution  

9.7.1. Shutterstock
9.7.2. Adobe Stock
9.7.3. Getty Images
9.7.4. Dreamstime
9.7.5. 123RF
9.7.6. Depositphotos

9.8. Online Image Galleries

9.8.1. Portfolios
9.8.2. Image Galleries
9.8.3. Photoessay

9.9. Main Events in Photojournalism 

9.9.1. World Press Photo
9.9.2. Magnum Photography Awards
9.9.3. Leica Oskar Barnack Award
9.9.4. Robert Capa Gold Medal
9.9.5. Mobile Photo Awards 
9.9.6. Digital Camera Photographer of the Year (Mobile Section)
9.9.7. iPhone Photography Awards (News/Events)

9.10. Image Verification Tools 

9.10.1. Manual Verification
9.10.2. Verification Tools
9.10.3. Fake news Tools

Module 10. Image Rights in Photojournalism

10.1. The Limits of Photography 

10.1.1. Introduction to the Concept
10.1.2. Historical Cases
10.1.3. "Citizen Witness: Does Anything Go on the Internet?

10.2. The Code of Conduct

10.2.1. Writing as a Pivot: Unspecified Photography
10.2.2. Public Interest or Interest of the Public
10.2.3. Money before Ethics: Morbidity
10.2.4. Sexualize
10.2.5. Correcting Errors

10.3. Manipulation

10.3.1. Editing
10.3.2. Temporal
10.3.3. Case Studies

10.4. Image Rights

10.4.1. Dignity
10.4.2. Case Studies

10.5. The Eternal Debate: to Show the Reality or Sensitivity of the Viewer

10.5.1. Information or Spectator Protection
10.5.2. Economic Interests of the Media
10.5.3. Expert Opinions
10.5.4. Case Studies

10.6. Children in Images

10.6.1. Child Protection
10.6.2. When Information Takes Priority: The Aylan Case

10.7. Immigrants

10.7.1. Presentation of a Minority
10.7.2. Case Study: Bauluz-espada

10.8. Intentionality of the Image

10.8.1. Manipulation in Taking the Photograph
10.8.2. Selective Focus

10.9. Shots

10.9.1. Angles
10.9.2. Characters
10.9.3. Color
10.9.4. Selection of Agency Images 
10.9.5. Literacy: Aesthetic Dimension The Need to Be Critical in the Face of the Image

10.10. Security Forces 

10.10.1. Historical Cases
10.10.2. Ethical and Safe Guide to Palika Makam

10.11. Copyright

10.11.1. Know Properties Rights
10.11.2. Consistent Use of Other People's Work
10.11.3. Photography Protection

Module 11. The Influence of Art on Photography Today

11.1. Gaze Training

11.1.1. The Visual Representation
11.1.2. Photography and Art
11.1.3. Perception: Learning to Look at and Evaluate Cultural Heritage

11.2. The Bison: The Graphic Representation of Society

11.2.1. Drawing as a Technique
11.2.2. The Need to Represent Concepts
11.2.3. Icons, Iconic Image and the Iconosphere

11.3. The Students of Leonardo Da Vinci

11.3.1. Italian Art During the Renaissance
11.3.2. Legacy of Leonardo Da Vinci
11.3.3. Lorenzo Cesariano and the Dark Camera

11.4. 19th Century: Image on Paper 

11.4.1. Niépce at the Academy of Sciences and Fine Arts of France
11.4.2. The Kodak Camera
11.4.3. The Daguerreotype

11.5. The Era of Color and the Avant-Garde

11.5.1. Prokudin Gorski: Color Photography and the Polaroid Camera
11.5.2. The Artistic Avant-Garde
11.5.3. The New Way of Understanding Reality

11.6. War Photography and Photography Teachers

11.6.1. Documentary Photography in the USA and Photojournalism
11.6.2. Big Photographers: Robert Capa, Larry Burrows and Alfred Stieglitz
11.6.3. Photography and Propaganda During Nazism

11.7. Commercial Photography

11.7.1. Persuasion: A Product in Images
11.7.2. American Advertising Agencies: From Illustration to Photography
11.7.3. Intention: Types of Advertising Photography

11.8. Film and Television: The Image in Movement

11.8.1. The Frame
11.8.2. The First Silent Films
11.8.3. Photographs with Voice: The Audiovisual Format

11.9. The Appearance of Digital Photography

11.9.1. Digitizing Images: The Electronic Sensor
11.9.2. Megapixels and Digital Imaging Software
11.9.3. Virtual Reality

11.10. Photography in Social Networks

11.10.1. The Cell Phone: The New Camera
11.10.2. Personal Branding
11.10.3. Marketing of the Photographer's Portfolio

Module 12. Creativity Techniques

12.1. Creativity

12.1.1. Creativity Dynamic and Thought Types
12.1.2. Difference between Creativity and Innovation
12.1.3. Creativity in Photography

12.2. Creative Thinking and the Biology of Creativity

12.2.1. Creativity and Intelligence
12.2.2. Characteristics of Creativity and the Creative Process (Creative Quantification, Phases, Taylor's Levels, Torrance's Factors)
12.2.3. Social Media and Creativity

12.3. Creativity Techniques

12.3.1. The Creative Block
12.3.2. Creativity and Idea Generation Techniques What Are Creativity Methods and Techniques Used for?
12.3.3. Creativity Techniques: from Brainstorming to CRE-IN

12.4. Inspiration and the Purpose of Photography

12.4.1. Inspiration in the Creative Process
12.4.2. Photography Language Gender: Imaginary or Interpretation Photographic Genres Photographic Categories
12.4.3. The Documentary Value of Photography The Weight of Photography as a Historical Documentation Photography, as an Informative Text Photography as Representation Photography                as Artistic Genre

12.5. Environments I: Landscape and Nature

12.5.1. Landscape Photography Explore or Locate
12.5.2. Subjects in Landscape Photography
12.5.3. Light as a Differential Element: Sunrise and Sunset, the Best Light, Seasons

12.6. Environments II: the City and Urban Atmosphere

12.6.1. What Is the Urban Landscape? Urban Environments Image, Environment and Urban Landscape Urban Gestures
12.6.2. Photography as an Indiscreet Window into Urban Environments Camera and City Urban Life in Photography
12.6.3. The Three Big References in Urban Photography: Henry Cartier-Bresson, Eve Arnold, Robert Capa

12.7. Environments III: Portrait and Models

12.7.1. Portrait Historical Evolution of Portraits
12.7.2. Self Portrait
12.7.3. Composition of the Image Photographic Plans Photographic Plans Sketching Lighting Environment Backgrounds and Costumes

12.8. Specific Environments: Fashion, Travel and Sports

12.8.1. What Is Fashion Photography? History and Concepts
12.8.2. Travel Photography: The World in the Lens
12.8.3. Sports Photography Characteristics of a Sports Photo Shoot The Value of Photography in the Sports Environment New Tendencies: “Sportraits”

12.9. Creation of Personalized Environments

12.9.1. Democratization of Photography in the Digital Era Playing with Art
12.9.2. Composition in Photography Create Environments with Natural Light and Flash Capture Details
12.9.3. Virtual Photography

12.10. Staging and Context

12.10.1. What Is Staging? Analysis of the Theoretical Framework
12.10.2. Staging and Photography
12.10.3. The Perception of the Image Le Tableau Vivant The Photo and the Problem of Representation

Module 13. Advanced Editing with Photoshop

13.1. Main Elements of the Program: Fundamental Tools

13.1.1. Text:
13.1.2. Shapes
13.1.3. Traces

13.2. Editing with Layers

13.2.1. Layer Styles
13.2.2. Transform Layers
13.2.3. Fusion Modes

13.3. Histogram

13.3.1. Lighting: Shadows, Halftones, Highlights
13.3.2. Color Balance: Tone, Saturation
13.3.3. Exhibition

13.4. Color:

13.4.1. Front and Background Color
13.4.2. Color Panel and Sample Panel
13.4.3. Color Substitution

13.5. Painting Tools and Editing

13.5.1. Brush
13.5.2. Pencil
13.5.3. Paint Pot and Gradients

13.6. Selection Tools

13.6.1. Frames
13.6.2. Links
13.6.3. Magic Wand

13.7. Masks and Adjustment Layers

13.7.1. Concept and Application of Layer Masks
13.7.2. Adjustment Layers
13.7.3. Mask Panels

13.8. Filters

13.8.1. Filter Gallery
13.8.2. Focus and Blur Filters
13.8.3. Artistic Filters

13.9. Retouching Tools

13.9.1. Cloning Buffer
13.9.2. Focusing and Defocusing
13.9.3. Overexposure and Underexposure

13.10. Error Correction

13.10.1. Red Eyes
13.10.2. Concealer Brush and Patch
13.10.3. Camera Distortion Correction

Module 14. Audiovisual Communication in the Digital Environment

14.1. The Audiovisual Language

14.1.1. Multisensory Communication
14.1.2. Dimensions of Audiovisual Language: Morphology and Syntax
14.1.3. Semantics and Aesthetics of the Image

14.2. Communicate without Words

14.2.1. From Mass Communication to Globalization
14.2.2. The Sender and the Receiver
14.2.3. The Message, the Code and the Channel

14.3. The Identity of the Image

14.3.1. The Individual Image
14.3.2. Projection of the Message
14.3.3. Audiences and Publics

14.4. Graphic Attributes

14.4.1. Adaptation of Attributes
14.4.2. Aesthetic Attributes
14.4.3. Ethical Attributes

14.5. Shape, Color and Texture: The Visual Message

14.5.1. The Visual Message
14.5.2. Shape, Color and Texture
14.5.3. Practical Applications

14.6. Psychology of the Spectator

14.6.1. Perception, Interpretation and Subconscious Intuition
14.6.2. Target Audience and Segmentation
14.6.3. New Eyes Looking

14.7. Information, Photojournalism and Reporting

14.7.1. The Image as a Source of Information
14.7.2. The Graphical Reporter
14.7.3. Structure and Composition of the Report

14.8. Advertising and Social Networks

14.8.1. Image Dissemination Channels
14.8.2. The Growth of the Audiovisual Format among Opinion Leaders
14.8.3. Advertising in the Digital Environment: Banner Ads

14.9. New Tendencies in the Audiovisual Field

14.9.1. Consolidated Formats: Streaming, Laser Projection and 4K Resolution
14.9.2. Virtual Reality: Gamification and Sensitive Experience
14.9.3. The Future of Image

14.10. Ethics and Morals of the Photographic Profession

14.10.1. The Lifestyle of the Photographer
14.10.2. Respect for Profession and Artistic Style
14.10.3. Decalogue of Good Practices in the Photographic Profession

Module 15. Photographic Documentation

15.1. Photography as a Document

15.1.1. Photography
15.1.2. Links with Other Professions
15.1.3. Paradigms and Challenges of Photographic Documentation in the Digital Society

15.2. Centers of Photographic Documentation

15.2.1. Public and Private Centers: Functions and Cost-Effectiveness
15.2.2. National Photographic Heritage
15.2.3. Photographic Sources

15.3. The Photographer as Documentary Analyst

15.3.1. Polysemy of Photography: from Creation to Documentary Treatment
15.3.2. Duties of the Graphic Documentalist and Regulations
15.3.3. Analysis of Photography: Technical, Academic and Professional Aspects

15.4. The Photography Professional: Protection of Rights

15.4.1. Photography as a Commercial Activity
15.4.2. Copyright and Intellectual Property
15.4.3. The Use of Photography on the Internet: The Difference Between Photographic Works and Mere Photographs

15.5. Photo Localization: Search and Retrieval Systems

15.5.1. Image Banks
15.5.2. Standard Procedure for Photo Retrieval
15.5.3. Evaluation of Results and Content Analysis

15.6. Metadata and Watermarks

15.6.1. Photo Search and Metadata: IPTC (International Press Telecommunications Council) Standard
15.6.2. EXIF: Technical Metadata for Digital Camera Files
15.6.3. Digital Water Marks

15.7. Image Databases

15.7.1. Digitization: The New Challenge of Photographic Documentation
15.7.2. Databases: Control of Information and its Dissemination
15.7.3. Free or Paid Resources and Licenses

15.8. Photographic Selection

15.8.1. Professional Photography Galleries: The Online Marketing of Artistic Artwork
15.8.2. Digital Photo Galleries: Diversity and Richness
15.8.3. Photography and Promotion of Digital Cultural Activity

15.9. Photography as Discourse

15.9.1. Otorelatos: Stories and Images
15.9.2. Photo Galleries: from Cultural Action to Commercial Purposes
15.9.3. Photojournalism and Documentary Photography: the Push for Foundations

15.10. Photographic Documentation and Art 

15.10.1. Digital Cultural Activity and Photographic Art
15.10.2. Preservation and Dissemination of Photographic Art in International Galleries
15.10.3. Challenges of the Professional Photographer in the Digital Age

Module 16. Postproduction of Digital Photography

16.1. Post-production: Limits to Photo Editing

16.1.1. Improved Texture, Color and Density
16.1.2. Blurring of an Image (Bokeh)
16.1.3. The Balance of Color and Temperature

16.2. Retouching

16.2.1. Selections and Layer Masks
16.2.2. Fusion Modes
16.2.3. Channels and Luminosity Masks

16.3. Filters

16.3.1. UV or Skylight
16.3.2. Polarizer and Neutral Density
16.3.3. Color Filters and Black and White Photography

16.4. Special Effects

16.4.1. Neutral Density
16.4.2. Finder Art
16.4.3. Matte Painting

16.5. Montage

16.5.1. Photo Montage
16.5.2. Creative Retouching

16.6. Main Technological Editing Tools to Publish on Social Networks

16.6.1. Hootsuite
16.6.2. Metricool
16.6.3. Canva

16.7. Narrative Expressiveness

16.7.1. Drawing in the Photographic Image
16.7.2. Lighting
16.7.3. Art Direction

16.8. Creation of a Photographic Project

16.8.1. Idea and Documentation
16.8.2. Script and Planning
16.8.3. Team and Resources

16.9. Corporate Photography

16.9.1. Lifestyle Photography
16.9.2. e-Commerce
16.9.3. Corporate Photography in Studio

16.10. Personal Portfolio

16.10.1. Domains
16.10.2. Hosting
16.10.3. Wordpress/Behance

Module 17. The Use of Drones for Photography

17.1. New Instruments in Digital Photography

17.1.1. Drones
17.1.2. Technical Composition of a Drone
17.1.3. Types of Drones 

17.2. Learn to Fly

17.2.1. Flight System Stabilization
17.2.2. Internal Aspects: Security
17.2.3. External Aspects: Methodology 

17.3. Legal and Geographic Limitations on the Use of Drones

17.3.1. Europe
17.3.2. USA and Latin America
17.3.3. The Rest of the World 

17.4. Planning and Locations

17.4.1. Plan
17.4.2. Search for Locations
17.4.3. Applications and Checklists 

17.5. Photographic Technique Applied to Drones

17.5.1. Perspective
17.5.2. Exhibition
17.5.3. Other Settings 

17.6. Photographic Composition with Drones

17.6.1. Spatial Layout
17.6.2. Elements of the Image
17.6.3. The Color 

17.7. Photographic Composition with Drones II

17.7.1. Format
17.7.2. Elements of the Image II
17.7.3. Height 

17.8. Special Techniques

17.8.1. Panoramics
17.8.2. Timelapse and Hyperlapse
17.8.3. Others 

17.9. Drone Filming

17.9.1. Technical Aspects of a Film in Movement
17.9.2. Elements of the Image
17.9.3. Camera Movements

17.10. The Professional Drone Photographer

17.10.1. Training
17.10.2. Legal Aspects
17.10.3. Career Opportunities