Learn everything you can get out of your camera, until you achieve an efficiency that makes it practically a part of your person, with fast reactions and professional thinking"

Photographic Technique is the point from which every photographer or photojournalist who wants to pursue a professional future in this field starts. This is why it is so important to know the most theoretical part of this profession, which, in reality, is actually very practical. 

In order to create images that match reality or what the photographer or photojournalist wants to portray, it is necessary for the professional to have perfect knowledge of the equipment in their hands. A good photograph is often the result of a situation that lasts only a thousandth of a second. The person behind the camera must be prepared to shoot at any time without having to stop and think about how their device works. That is one of the main objectives of this module: that the photographer or photojournalist feels that the camera is almost part of themselves and knows all its components inside out.

The same applies to the technical concepts that make up the photographic development of an image. When a photographer or photojournalist begins to take their first steps in this field, it is normal to have doubts about aspects such as the use of the histogram or white balance, or not knowing how to measure light correctly. This module covers all the concepts that a professional photographer must know in depth to be able to shoot quality images.  

Knowing how to use a camera both in its physical and in its technical settings is the essential basis that every photographer or photojournalist needs in order to progress successfully as a professional. 

This module also covers some of the photographic material that a professional may need to develop their career in this sector.

For a photograph to make a lasting impact it must be technically perfect. Secondly, the photographer or photojournalist must know how to analyze the situation being photographed and know from where, and in what way, it is best to capture what is happening in order to provoke a reaction in the viewer or at the very least grab their attention.

The rules and laws of composition are a key point of this module, since they are the basis from which the professional creates images that make an impact on the viewer. It will also cover how to use light for the benefit of a perfect image, as well as how to play with contrast and balance so that the photograph does not go unnoticed.

Finally, this module focuses on a more abstract aspect, but one that is equally as important in photography, which is the way to transmit an idea thanks to the symbology and psychology behind it. The use of perspective, points of view and color, or lack thereof, in creating perfect photographs will be discussed.

In order to establish and visualize all these concepts and to be able to apply them to real situations, we will study real cases featuring all the above and what they intend to communicate, as well as their successes and mistakes.

The work of the photojournalists is ofentimes extremely diverse. Although a large part of their activity is done outdoors, capturing graphic evidence of newsworthy events, it is also important that they know and master the photography studio and all the equipment and accessories found in it. 

Presenting the protagonist in an interview, exhibiting the product to be studied in a reportage, or producing photographs for the editorial of a publication are just some of the examples of cases when studio work becomes essential. 

Photography studios have changed significantly over recent years, especially with regard to the technology used in them. Some turning points have been the change from analog to digital photography or the replacement of traditional lighting with LED lighting. 

In this module, you will study the theoretical and practical fundamentals necessary when working in a photography studio, starting with the creation of your own studio, followed by how to use the essential tools, and the staging of lighting techniques with continuous light and light with additional flash. Finally, a review will be made of some of the most commonly used software tools which can ease the photographer's daily tasks considerably. 

In another section, the keys to digital development will be investigated, alongside the main software tools needed to produce a professional product. In order to advance with your professional development, you will follow a meticulously planned structure that will start with your own personal development as a photographer and how this can be adapted to the journalistic profession. 

This will be followed by a linear explanation of the most appropriate process for effective development in terms of both time and quality. For this reason, we will include an introduction to Adobe Bridge  as a file organization software. You will learn about its main functions and the possibilities it opens up when combined with other programs such as Photoshop or Lightroom. 

Adobe Photoshop will become essential, as it is the software par excellence for developing, editing and retouching photographs. These three pillars will be studied in a segmented and organized way according to the needs of the professional when carrying out any modification for editorial or design purposes in a photograph. The program will be introduced, its highlights and interface will be explained, and its practical application will be discussed, whenever necessary, in order to use this Adobe program professionally. 

In addition, special attention will be paid to two specific digital development tools, Adobe Lightroom and Capture One. In this case, special emphasis will be placed on the formulas of these two software options, their most important settings, and how the parameters should be modified in order to obtain the optimum result within the ethical limits of photojournalism. In addition, students will be introduced to the ways of creating their own editing styles as presets so as to achieve greater speed in their work as photojournalists. 

Finally, in addition to all the above, an exclusive topic will be dedicated to the set of free online resources which are available to assist professional development. Some will be downloadable and can be used from the desktop, others will require an internet connection, but all of them will serve as a perfect alternative for those without access to the Adobe package or Capture One. 

A complete learning experience which encompasses the theoretical and practical basics needed in a photography studio"

This Postgraduate diploma in Photographic Technique contains the most complete and up-to-date academic course on the university scene. The most important features include: 

• The latest technology in online teaching software
• A highly visual teaching system, supported by graphic and schematic contents that are easy to assimilate and understand
• Practical cases presented by practising experts
• State-of-the-art interactive video systems
• Teaching supported by telepractice
• Continuous updating and recycling systems
• Autonomous learning: full compatibility with other occupations
• Practical exercises for self-evaluation and learning verification
• Support groups and educational synergies: questions to the expert, debate and knowledge forums
• Communication with the teacher and individual reflection work
• Content that is accessible from any fixed or portable device with an Internet connection
• Supplementary documentation databases are permanently available, even after the course

All the knowledge you need to face the different situations that arise in carrying out this profession with confidence, giving you the flexibility and skills you need to make quick decisions” 

The team of teachers on the Postgraduate diploma in Photographic Technique have extensive experience of university teaching, both at undergraduate and graduate level, combined with extensive work experience. All of which has given them deeper understanding of the profound transformation that this sector is undergoing, with the incorporation of new models of spectator or receivers of messages, control of networks, etc. Their direct experience, their knowledge, as well as the analytical capacity of the faculty are the best resources available to you to grasp the keys to the present and the future of an exciting profession for those who love sports and communication.

The methodology of TECH Technology University's Postgraduate diploma, which is brought to you in an exclusive online format, enables students to overcome the limitations imposed by work obligations and their personal lives. 

All this makes this Postgraduate diploma a high-quality compilation of all the relevant aspects required to help journalists become authentic experts in this profession.

With the latest software and tools in digital development, you will learn how to implement the most effective advances in this sector"

A complete review of the field which will enable you to master all aspects of the camera, from its physical characteristics to the most in-depth technical aspects"

The content of this Postgraduate diploma will allow you to learn about everything you can achieve with the technical means available for the realization of photographs. Through the different disciplines involved in this area you will go through a very complete and well-structured study program that will lead you to the highest standards of quality and success. A complete review that will take you to the highest level in your learning in a stimulating and intensive way.

An intensive study organized in such a way that your learning is constant, stimulating and very efficient, converting your effort into real work skills"  

Module 1. Photographic Technique in Photojournalism

1.1. How a Camcorder Works

1.1.1. Types of Cameras
1.1.2. Interior of an Analog SLR Camera
1.1.3. Interior of a Digital SLR Camera
1.1.4. Parts of a Digital SLR Camera
1.1.5. How a Digital SLR Camera Works
1.1.6. Differences between Reflex and Mirrorless Cameras
1.1.7. Triggering Modes

1.2. Pixels and Printing

1.2.1. What Are Pixels and What Do They Indicate?
1.2.2. Pixels and Resolution
1.2.3. The Camera Sensor and Its Types
1.2.4. Size and Sensor Proportion
1.2.5. Sensibility of the Sensor
1.2.6. Relationship between Resolution and Printing
1.2.7. How to Choose a Sensor?

1.3. Color Space

1.3.1. The Visible Light Spectrum and Color Space
1.3.2. Colorimetry and the Chromaticity Diagram
1.3.3. RGB, CMYK, LAB: What Are They? Its Differences
1.3.4. Other Color Modes
1.3.5. The Profiles of Color
1.3.6. Which Mode Is Best to Work with?
1.3.7. Color Modes and Printing

1.4. Exposure, Speed and ISO

1.4.1. The Exposure Triangle and Camera Modes
1.4.2. The Opening
1.4.3. The Speed
1.4.4. ISO Sensitivity
1.4.5. The Passage of Light
1.4.6. The Law of Reciprocity
1.4.7. Examples of Correct Exposure

1.5. Histogram

1.5.1. What Is a Histogram and What Is it for?
1.5.2. The Dynamic Range
1.5.3. How Do you Read a Histogram?
1.5.4. Exposure Compensation
1.5.5. Exceptions to the Perfect Histogram

1.5.5.1. High Key and Low Key
1.5.5.2. High Contrast and Low Contrast

1.5.6. Correcting a Histogram after the Fact

1.6. Light Measurement

1.6.1. What Is Light Measurement?
1.6.2. How Do You Measure Light?

1.6.2.1. What Is the Exposure Meter and How is it Used?

1.6.3. What Is the Exposure Meter and How is it Used?
1.6.4. Measuring Modes and Differences between Canon and Nikon
1.6.5. How to Measure Light Correctly
1.6.6. Measurement in Mirror and Mirrorless Cameras

1.7. White Balance

1.7.1. What is White balance?
1.7.2. Need for White Balance
1.7.3. The Color Temperature
1.7.4. Modes of White Balance
1.7.5. Non-Neutral White Balance
1.7.6. Adjusting the White Balance (Depending on the Type of Light)
1.7.7. Correcting White Balance in Post-Production

1.8. Optics

1.8.1. What Is Optics?
1.8.2. What Are the Objectives?
1.8.3. Physical Parts of a Target
1.8.4. Main Characteristics on the Objectives
1.8.5. Types of Objectives

1.8.5.1. According to Focal Length Characteristics
1.8.5.2. Special Needs
1.8.5.3. According to Focal Length Characteristics

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

1.9. Image Extensions

1.9.1. Image Types

1.9.1.1. Bit Maps
1.9.1.2. Vector Images

1.9.2. Compression in Image Formats
1.9.3. Raster Image Formats
1.9.4. Vector Image Formats
1.9.5. Camera Shooting Formats
1.9.6. RAW and JPG: Which Is Better?
1.9.7. Image Extensions and Social Networking

1.10. Main Accessories

1.10.1. Advantages of Accessories or Why Use Camera Accessories?
1.10.2. External Battery
1.10.3. Remote Trigger
1.10.4. Flash and Flash Diffuser
1.10.5. Filters
1.10.6. Bag
1.10.7. Lens Hood
1.10.8. Memory Card
1.10.9. Tripod or Monopod

Module 2. The Perfect Photograph in Photojournalism

2.1. What Is Perfect Photography?

2.1.1. Technique, Creativity or Feeling
2.1.2. Photographic Material
2.1.3. Photographic References
2.1.4. The Perfect Photograph Based on Your Objective
2.1.5. Evolution of the Concept of Perfect Photography
2.1.6. Need for Editing to Get the Perfect Picture

2.2. Depth of Field

2.2.1. What Is Depth of Field?
2.2.2. What Is Depth of Field Is for?
2.2.3. Depth of Field Factors

2.2.3.1. Diaphragm Opening
2.2.3.2. Focusing Distance
2.2.3.3. Focal Length
2.2.3.4. Circle of Confusion

2.2.4. Depth of Field and Sensor
2.2.5. Depth of Field Types
2.2.6. Hyperfocal Distance
2.2.7. Bokeh and Blur

2.3. Focus 

2.3.1. What Is Focus?
2.3.2. Methods of Focus
2.3.3. Manual Method of Focus
2.3.4. Autofocus Mode and Types
2.3.5. Differences between Simple and Continuous Focus
2.3.6. Focus Points

2.3.3.1. What Are Focus Points?
2.3.3.2. How to Use Focus Points?
2.3.3.3. Cross Type Focus Points

2.3.7. Focus Areas
2.3.8. Disassociate the Focus
2.3.9. Focus Peaking

2.4. Framing 

2.4.1. What Is Framing?
2.4.2. How Do you Use Framing?
2.4.3. Types of Framing

2.4.3.1. Depending on the Aspect Ratio
2.4.3.2. According to Orientation

2.4.4. Reframing
2.4.5. Enhancing Framing

2.5. Composition

2.5.1. What Is Composition in Photography?
2.5.2. Importance of Composition
2.5.3. Where to Start Composing?
2.5.4. Elements and Tools of Composition
2.5.5. Composition and Framing
2.5.6. Composition in Film
2.5.7. Phases of Composition

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

2.6. Technical Elements of Composition

2.6.1. Formal Elements: Point, Line, Shape and Contour
2.6.2. Visual Elements: Volume, Textures, patterns and Rythm
2.6.3. Perspective and Objectives

2.7. Rules and Laws of Composition

2.7.1. The Rule of the Thirds
2.7.2. The Law of the Horizon
2.7.3. Use of Lines
2.7.4. The Vanishing Point
2.7.5. The Law of the Look
2.7.6. The Movement Rule
2.7.7. Negative Space
2.7.8. Element Repetition
2.7.9. Interest in Groups of Three
2.7.10. The Natural Framework
2.7.11. Symmetry
2.7.12. The Golden Rule

2.8. Using Light

2.8.1. Light Properties

2.8.1.1. Light Quality
2.8.1.2. Light Direction
2.8.1.3. Light Intensity
2.8.1.4. Light Color

2.8.2. Light Sources
2.8.3. Light Measurement
2.8.4. Means of Light Control
2.8.5. Interior and Exterior Lighting
2.8.6. Special Techniques

2.8.3.1. High Contrast Photography
2.8.3.2. Long Exposition
2.8.3.3. Lightpainting

2.9. Contrast and Balance

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

2.9.2.1. Types of Contrast
2.9.2.2. Most Common Contrasts

2.9.3. What Is Balance?

2.9.3.1. Types of Balance

2.9.4. Tension in Photography
2.9.5. Visual Weight
2.9.6. Applying Contrast and Balance to Achieve the Perfect Photograph

2.10. Symbolism and Psychology

2.10.1. Psychology and Photography
2.10.2. Color Psychology
2.10.3. The Use of White and Black
2.10.4. Points of View or Angulation
2.10.5. The Use of Perspective

2.10.5.1. Types of Perspectives
2.10.5.2. Creative Perspective 

2.10.6. Creativity and Photojournalism 
2.10.7. Case Studies

2.10.7.1. “The American Way of Life”, Margaret Bourke-White
2.10.7.2. Trump in Times and EFE
2.10.7.3. Emilio Morenatti and the Telephoto Lens

Module 3. Studio Photography in Photojournalism

3.1. The Photography Studio: Setting up Your Own Studio

3.1.1. Introduction
3.1.2. The Photography Studio: Background
3.1.3. Set-up and Dismantling of the Photo Studio

3.2. The Photographic Shot

3.2.1. Introduction
3.2.2. Configuration of the Technical Parameters of the Pickup Device
3.2.3. Optics and Focal Lengths: Depth of Field and Selective Focusing

3.3. Tools for Measuring and Controlling Light

3.3.1. Introduction
3.3.2. Photometric Quantities and Units
3.3.3. Measurement Devices
3.3.4. Adjustment Charts

3.4. Basic Concept og Lighting for the Photography Studio

3.4.1. Introduction
3.4.2. The Basic Lighting Scheme
3.4.3. Basic Lighting Styles

3.5. Continuous Light Vs. Flash Light

3.5.1. Introduction
3.5.2. Hand Flash
3.5.3. Measurement Modes: Manual, TTL, Bounce and Remote Strobist
3.5.4. Studio Lighting Studio Flash
3.5.5. Mixed Lighting

3.6. Filters for Photography 

3.6.1. Introduction
3.6.2. Types of Filters

3.7. Mehods to Controlling Light: Lighting Accessories 

3.7.1. Introduction
3.7.2. Accessories for Light Reflexion
3.7.3. Accessories for Light Diffusion
3.7.4. Accessories for Light Clipping
3.7.5. Other Light Accessories

3.8. Studio Photography I: Portrait and Fashion Projects

3.8.1. Evolution and Trends in Portrait and Fashion Photography
3.8.2. Portrait Styling
3.8.3. Lighting Techniques in Portrait and Fashion

3.9. Studio Photography II: Still Life and Advertising Projects

3.9.1. Staging Techniques for Still Life and Advertising Photography Projects
3.9.2. Staging Techniques for Still Life and Advertising Photography Projects
3.9.3. Techniques for Capturing and Illumination of Small Dimensional Elements

3.10.  Usability of Applications for Studio Photography: 

3.10.1. Tools for the Creation of Lighting Schematics/Sketches
3.10.2. Tools for Measuring Light

Module 4. Editing and Digital Development in Photojournalism

4.1. Digital Development

4.1.1. Definition of Digital Development in Journalism
4.1.2. When Is Digital Development Necessary in Journalism 
4.1.3. Limits of Digital Development in Journalism
4.1.4. Main Professional Programs or Packages
4.1.5. Examples of Practical Applications of Digital Development in Journalism
4.1.6. Bibliography

4.2. Adobe Bridge

4.2.1. General Characteristics of Adobe Bridge
4.2.2. Main Uses of Adobe Bridge
4.2.3. Basic Program Interface
4.2.4. Organization and File Filtration
4.2.5. Basic File Editing
4.2.6. Combination of Adobe Bridge with Other Adobe Software
4.2.7. Exporting and Publishing Files and Batches

4.3. Adobe Photoshop

4.3.1. Main Features of Adobe Photoshop
4.3.2. Main Uses of Adobe Photoshop
4.3.3. Photographic Interface of the Program
4.3.4. Image Importing
4.3.5. Exporting and Publishing Images

4.4. Digital Development in Adobe Photoshop

4.4.1. The Concept of Photoshop Editing

4.4.1.1. Setting up the Workspace

4.4.2. Main Image Settings
4.4.3. Editing an Image: Brightness, Levels and Curves
4.4.4. Editing an Image: Intensity, Hue and Saturation
4.4.5. Editing an Image: Other Resources

4.5. Adobe Photoshop Retouching Techniques

4.5.1. The Concept of Photoshop Retouching
4.5.2. Main Retouching Tools
4.5.3. Most Common Retouching

4.5.3.1. Surface Removal for Compositions
4.5.3.2. Face Blurring
4.5.3.3. Shape Trimming
4.5.3.4. Facial Retouching

4.5.4. Creative Retouching

4.5.4.1. Caricatures
4.5.4.2. Special

4.5.5. Creation and Use of Presets in Photoshop

4.6. Adobe Lightroom

4.6.1. General Characteristics of Adobe Lightroom
4.6.2. Main Uses of Adobe Lightroom
4.6.3. Interface of the Program in Depth
4.6.4. Importing and Classification of Images
4.6.5. Basic Image Development

4.6.5.1. Cutting Images

4.6.6. Exporting Image

4.6.6.1. Recommended Export Formats
4.6.6.2. Adding Watermarks

4.7. Digital Developing Techniques in Adobe Lightroom

4.7.1. Introduction to Development Panel
4.7.2. Histogram Editing
4.7.3. Editing the 'Basic' Panel
4.7.4. Editing the 'Tone Curve
4.7.5. Hue, Saturation and Luminance Editing
4.7.6. Tone and Detail Division
4.7.7. Lens Corrections
4.7.8. Other Resources Transform', 'Effects' and 'Calibration'
4.7.9. Editing an Image in Black and White
4.7.10. Creation and Use of Presets in Lightroom

4.8. Capture One

4.8.1. General Characteristics in Capture One
4.8.2. Main Uses of Capture One
4.8.3. Interface of the Program in Depth
4.8.4. Image Importing
4.8.5. Importing a Catalog from Lightroom
4.8.6. Metadata and Image Organization
4.8.7. Exporting Image

4.9. Digital Development in Capture One

4.9.1. Introduction to Capture One Development
4.9.2. Concept of Layers and Masks
4.9.3. Exposition, Histogram and Other Values
4.9.4. Color Editing
4.9.5. Focus and Noise Editing
4.9.6. Lens Editing and Cropping
4.9.7. Styles and Pre-established Settings

4.10. Free Resources in Digital Development

4.10.1. Pixrl
4.10.2. GIMP
4.10.3. PhotoFiltre
4.10.4. PhotoScape
4.10.5. Darktable
4.10.6. Photoshop Express
4.10.7. Ribbet
4.10.8. BeFunky
4.10.9. InPix

You will feel confident having studied the most up-to-date knowledge available"