Include the capture, editing and professional broadcasting of quality impactful sports images into your professional skill set and compete in a flexible and innovative sector that needs trained professionals who can offer a new vision of this field"

The course begins with an essential review of the  "History of Photographic Journalism", which addresses its historical evolution from the very beginning of photography and its subsequent use in the field of journalism, examing the technical and historical aspects that have conditioned this trajectory along the way. 

The course analyzes the works of the most relevant photojournalists throughout history, from Roger Fenton's coverage of the Crimean War to the current national and international photojournalists: Jacob Riis, Erich Salomon, Donald McCullin, James Nachtwey, Gervasio Sánchez, etc. 

It is very important to define what we understand by Photographic Journalism and other closely related models that we can include within what is sometimes a far-reaching field. All the while being aware not only of the importance of the photographic medium, but also of all its limitations. 

We will make special mention of the historical evolution of Spanish photojournalism and the role of women within it. Firstly, we must focus with special attention on the Spanish Civil War, not just because it marks the beginning of this form of expression but also because it is often considered to be the field's golden age. Secondly, our attention turns to the woman who created Robert Capa, the most legendary photojournalist of all time, namely: Gerda Taro. 

This course offers a more concrete vision of today's profession, we will see how Photojournalism combines the art of photography and the craft of journalism. At its core are the artistic and aesthetic aspects of the image combined with the information that is being communicated. Photographic journalism is, in short, a journalistic specialty which aims to inform others by means of the photographic image. Sports photojournalism is not only governed by the immediacy of the news, but also by the testimonial value of the sports report and the incisive nature of the interview, which suggests that it is related to each and every one of the genres of journalism, the only essential difference being that its raw material is not the word, but the image. 

This module will analyse the range of genres within photojournalism and the variety of specializations in the field, such as events, conflicts, environmental or street photojournalism. This theoretical and practical tour through the genres and subgenres will allow for an in-depth analysis of the photojournalist's approach and preparation based on the type of work they are facing. 

The aim is, on the one hand, to examine the qualities that each image must have according to the journalistic genre for which it is to be used and, on the other, to delve into the specific criteria that must be taken into account in practice. In this sense, the photojournalist must know how much prior research is necessary, especially when covering in-depth projects such as wars.

The module will also address the ethical and legal issues involved in the different genres, with special emphasis on image editing (pixelation) and the need for photojournalists to know the regulatory and ethical limitations which they must follow in the exercise of their profession. To this end, the course willl cover  the fundamental rights which photojournalists must be aware of, such as the right to information, privacy and image rights or the special protection afforded to minors and people with disabilities. 

Sports photojournalism, or the journalistic image in sports, has been and is a determining factor in assessing the state of sports journalism both nationally and internationally. Traditionally, the role of the sports journalist has been an undervalued position, especially by their own colleagues in the media who commonly refer to the sports editorial department as the ‘Toy Department’.

The same attitude can be found in the academic field towards studies related to media and sports. For this reason, and with special emphasis on the figure of the sports photojournalist as they are one of the most forgotten in the sector, this module focuses on discovering and placing value on photojournalism in sport. The student will experience a historical journey through the most iconic images that represent the most transcendent events and figures in the sporting world. 

The value of an iconic image representing sport in a given context can even transcend to other journalistic fields such as politics, economics and social issues. It is essential to recognize the differences between a photojournalist who covers a specific sport and is able to understand the way the game unfolds and empathize with the athlete in key moments, and those who are involved in sports but in other professions. This specialization will enable professionals to be decisive in capturing and reflecting not only what happens during the sporting event but also what frames it, such as the moments prior to the start, the reactions of the fans and the different protagonists as the event plays out as well as the emotions that arise at the end of the event. 

Finally, it is also important to bear in mind the power of the photographic image in sports. In an era which tends towards spectacularization and where, thanks to social networks and the wide variety of digital platforms on offer, images increase in value as a source of news. Last but by no means least, it is essential to understand the way that women have been represented through the journalistic image in the sports media in order to advance towards a more equitable and ethical treatment, which no longer seeks to use sexualization or success as the only motives for the representation of women in sports. 

A modern vision of sports photography, aimed at breaking the most common archaic molds in this sector"

This Postgraduate diploma in Sports Photojournalism offers you the advantages of a highly academic, scientific and technological program. These are some of its most notable features:  

• The latest technology available 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
• Banks of complementary documentation permanently available, even after you have finished the course

A real process to acquire the specialized skills that will allow you to take impactful photographs that will set you apart from the competition"

The team of teachers on the Postgraduate diploma in Sports Photojournalism has extensive experience of university teaching, both at undergraduate and graduate level, alongside a wealth of experience as working professionals, which allows them to know, first hand, the profound transformation that this sector is undergoing, with the incorporation of new models. Their direct experience, their knowledge, as well as their analytical capacity are the best sources with which to grasp the keys to the present and the future of an exciting profession for those who are passionate about sports and communication. 

The methodology of TECH Global University Postgraduate diploma, a 100% online format, allows students too easily manage their work obligations with their studies and their personal lives. 

This compendium of educational knowledge makes this Postgraduate diploma a specialization degree that compiles all the relevant and essential aspects needed in order to turn professional journalists into authentic experts.

Learn how to create impactful images which will capture the attention”

Acquire the quick decision-making and technical agility you need to produce quality sports images"

The content of this training course will allow you to learn everything related to the different disciplines involved in this sector through a very complete and well structured program that will lead you to the highest standards of quality and success.  A complete review that will take you on a stimulating and intensive journey to professional success. 

A far-reaching up-to-date syllabus, which offers you a stimulating and efficient learning experience that will turn your efforts into real professional capacity"

Module 1. History of Photojournalism 

1.1 Background of Photojournalism

1.1.1. Journalists, Reporters, Photographers, Authors…
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 the "Photo-News"

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 the 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

1.10. History of Photojournalism in Spain 

1.10.1. First Foreign Photographers 
1.10.2. Documentary Photography
1.10.3. The Civil War
1.10.4. The Post-War Period
1.10.5. AFAL Group
1.10.6. The 70’s and the Transition
1.10.7. New Initiatives in Documentary Photography
1.10.8. The Rise of Centers, Meetings and Conferences

Module 2. Photojournalistic Genres and Specialization

2.1. Photonews 

2.1.1. Emergence of the Photonews Genre in Spain
2.1.2. Evolution of Photonews
2.1.3. The Importance of the Image
2.1.4. The Text in Photonews
2.1.5. 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. Integrated Marketing Communication
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

   3.3.1.1. Soccer
   3.3.1.2. Basketball
   3.3.1.3. Cycling
   3.3.1.4. Others

3.4. Current References 

3.4.1. Spanish Sports Photojournalists I 
3.4.2. Spanish Sports Photojournalists II 
3.4.3. 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. The Main Image on the Front Page of the Main Sports Media in Spain 

3.6.1. Marca
3.6.2. AS
3.6.3. Sports
3.6.4. Mundo Deportivo

3.7. Analysis of Iconic Photographs 

3.7.1. Selection and Study of Photographs Recognizable by their Impact I 
3.7.2. Selection and Study of Photographs Recognizable by their Impact II 
3.7.3. Historical Publications

   3.7.3.1. Sports Illustrated
   3.7.3.2. El Gráfico
   3.7.3.3. Don Balón
   3.7.3.4. Others

3.8. The Power of Image in the Olympic Games: Barcelona’’92 

3.8.1. The City of Barcelona: Photograph of a Metamorphosis 
3.8.2. The Olympic Work 
3.8.3. The Symbolic Legacy 

3.9. Treatment of Diversity I 

3.9.1. Racism 
3.9.2. Gender
3.9.3. The Invisible Role of Women on Sports Covers 

3.10. Treatment of Diversity II 

3.10.1. Monitoring the Frontiers of Sexuality 
3.10.2. Case Study: Caster Semenya 
3.10.3. Other Similar Cases 

Learn, practice and, as a consequence, position your CV amongst the most competitive in the sector”