Short Title:Studio Photography
Full Title:Studio Photography
Module Code:FOTO H3005
 
Credits: 5
NFQ Level:7
Field of Study:Audio-visual techniques and media production
Module Delivered in 1 programme(s)
Reviewed By:DAVID IRWIN
Module Author:TOM JENNER
Module Description:The purpose of this module is to deliver a working understanding of photographic studio use and lighting techniques, to enable the photographing of people within a studio environment in areas of studio production such as fashion, editorial, advertising, portraiture and contemporary art photography; this will be complemented by a study of contextual, theoretical, critical, cultural and historical aspects of the medium, with reference to studio practices.
Learning Outcomes
On successful completion of this module the learner will be able to:
LO1 Demonstrate competence in the use of a photographic studio and studio lighting techniques, using flash lighting and studio equipment.
LO2 Competently use a digital medium format camera in the studio and process Raw files.
LO3 Apply an understanding of the roles of photographer, assistant, stylist, make-up artist, art director and model in studio shoots, and demonstrate the ability to work as part of a team in the production of studio-based photographs.
LO4 Assess the development of different areas of studio-based photography and carry out detailed studies and critical analysis on the work of studio-based photographers.
LO5 Produce black-and-white and colour wide-format pigment inkjet prints.
Pre-requisite learning
Co-requisite Modules
No Co-requisite modules listed
 

Module Content & Assessment

Content (The percentage workload breakdown is inidcative and subject to change) %
Studio Photography
This module complements the proceeding photography module: the emphasis of this module is on practice-based team work within a controlled studio environment; whereas the emphasis of the proceeding module (Documentary Photography) is on individual documentary practice in an external environment. Through an in-depth study of different areas of studio photography and in the production of project work relating to this (in which students could assume the roles of photographer, assistant, stylist, make-up artist, art director, model), students will be empowered to realise a sophisticated resolution of projected aims, in which a high level of debate will be encouraged and to which all students will be expected to contribute. Various areas of studio practice will be researched and explored, including advertising, fashion, editorial, contemporary art practices and portraiture. There will be an exploration of lighting techniques: the nature and behaviour of light; artificial lighting; continuous lighting; flash lighting; fill-in flash; mixing natural light and artificial light; ambient and flash light readings with a hand-held light meter; flash guns; flash lighting in the studio: choosing lighting equipment; using studio flash heads and studio equipment such as backdrops, stands, reflectors and clamps; location lighting; contrast control; control of colour temperature; studio health and safety. The digital medium format camera: the techniques and advantages of using this format; the digital SLR camera and CCD capture backs for medium and large format cameras; Raw camera files and sensor sizes; lens focal lengths and conversion factors for lenses; Raw file process control; sending files to print via a RIP. Prints will be output by students to a photo-quality wide format pigment-based inkjet printer.
100.00%
Assessment Breakdown%
Course Work100.00%
Course Work
Assessment Type Assessment Description Outcome addressed % of total Assessment Date
Project The project this semester will comprise of production based studio work; printed and presented to a high standard. Students will be required to keep a project workbook throughout the semester, which will form an intrinsic part of all project work completed. The purpose of the workbook is to give each student the opportunity to present, to a high standard, an in-depth study including all background material and supporting work involved in production (see module Content). Students will write up their own notes throughout the semester, which will then be presented in the workbook, detailing their contextual research, progression and development of ideas, technical notes, exhibitions and seminars attended, etc. Appropriate academic referencing and bibliographic conventions should be applied throughout. All project work will be assessed holistically under the following criteria: Concept (e.g. contextual research and understanding, development of ideas); Production (e.g. technical proficiency, working competence, creativity); Presentation (e.g. attention to detail, print quality, final presentation). 1,2,3,4,5 100.00 Sem 1 End
No End of Module Formal Examination
Reassessment Requirement
Repeat the module
The assessment of this module is inextricably linked to the delivery. The student must reattend the module in its entirety in order to be reassessed.

IT Tallaght reserves the right to alter the nature and timings of assessment

 

Module Workload

Workload: Full Time
Workload Type Workload Description Hours Frequency Average Weekly Learner Workload
Lecturer/Lab Students will attend lectures and participate in practical workshops, lecturer-supervised learning, tutorials, seminars and critiques. 4.00 Every Week 4.00
Independent Learning Students will undertake independent research and related practical work outside of scheduled class times. 4.00 Every Week 4.00
Total Weekly Learner Workload 8.00
Total Weekly Contact Hours 4.00
This module has no Part Time workload.
 

Module Resources

Recommended Book Resources
  • Hunter, Fil; Biver, Steven; Fuqua, Paul, 2011, Light - Science & Magic: An Introduction to Photographic Lighting, Focal Press
  • Kelby, Scott, 2011, Professional Portrait Retouching Techniques for Photographers Using Photoshop, New Riders
  • Child, John, 2008, Studio Photography: Essential Skills, 4th Ed., Focal Press
  • Gillanders, Robin, 2004, The Photographic Portrait: Techniques, Strategies and Thoughts on Creating Portraits with Meaning, David & Charles
  • Derrick, Robin; Muir, Robin, 2002, Unseen Vogue: The Secret History of Fashion Photography, Little, Brown & Co.
  • Cotton, Charlotte, 2000, Imperfect Beauty: The Making of Contemporary Fashion Photographs, V&A Publications London
  • Brittain, David (ed.), 1999, Creative Camera: Thirty Years of Writing, Manchester University Press
  • Williams, Val, 1998, Look at Me: Fashion and Photography in Britain, 1960 to the Present, British Council London
  • Larg, A. & Wood, J., 1997, Beauty Shots (Pro-Lighting Series), Rotovision
  • Hicks, R. & Schultz, F., 1997, Portraits (Pro-Lighting Series), Rotovision
  • Solomon-Godeau, Abigail, 1994, Photography at the Dock: Essays on Photographic History, Institutions and Practices, University of Minnesota Press
  • Bolton, Richard (ed.), 1992, The Contest of Meaning: Critical Histories of Photography, MIT Press
Recommended Article/Paper Resources
  • Aperture, quarterly journal
  • British Journal of Photography, quarterly journal
  • Source - Ireland’s Photographic Review, quarterly journal
Other Resources
 

Module Delivered in

Programme Code Programme Semester Delivery
TA_HAVAB_B Bachelor of Arts (Honours) in Creative Digital Media 5 Elective