Short Title:Advanced Photographic Techniques
Full Title:Advanced Photographic Techniques
Module Code:FOTO H4004
Credits: 7
NFQ Level:8
Field of Study:Audio-visual techniques and media production
Module Delivered in no programmes
Module Author:TOM JENNER
Module Description:The purpose of this module is to synthesize sophisticated technical and intellectual skills, enabling students to demonstrate expertise in advanced photographic techniques integrated with an ability to visualise personal concepts, set goals and respond to personal needs and strengths.
Learning Outcomes
On successful completion of this module the learner will be able to:
LO1 Use digital imaging techniques to manipulate and montage photographs in order to subvert their original message, or to make a personal or social statement.
LO2 Make a tabletop product or still-life photograph in a carefully controlled studio environment, using specialist lighting and compositional techniques to produce a large, high resolution print.
LO3 Demonstrate competence in the use and control of the camera movements associated with a large format / high resolution technical view camera.
LO4 Understand and utilise fully the advantages and applications of the many different camera formats and working practices in photography, in order to reflect critically and develop a finely honed personal approach to the medium.
LO5 Prepare and evaluate a personal project proposal, undertaking investigative research and initial production work.
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) %
Advanced Photographic Techniques
Students will be asked to submit a written proposal for a personal project on a theme of the student’s choice, in consultation with the lecturer. The personal project proposal should outline the student’s aims, objectives, working methodology, relevant areas of research, equipment and materials required, and any other information which may be relevant to a particular project; a working title should be included at this stage, and personal project production work will take place throughout the semester. The technical view camera will be studied and used: the advantages of using this format, i.e. high resolution image quality, architectural, landscape, portrait and still-life applications; setting up the camera; the lens and film/digital capture panels; lens control; lens coverage; image sizing and fine focusing techniques; the use of a 5x4 instant and sheet film; double dark slides; digital capture backs and image previewing; camera movements, i.e. vertical shift (rise and fall), horizontal shift (left and right), swing movements around the vertical axis and tilt movements around the horizontal axis; Scheimpflug rule; bellows extension factors. A tabletop still-life or product photography project will be undertaken, with specific attention to careful composition and ‘still-life’ lighting techniques, the aim of which is to explore a highly precise and methodical way of working, as used in areas such as medical photography, commercial product photography, architectural photography and museum archiving; the student will make a large 20x24” high resolution inkjet print, demonstrating one of the advantages of the high resolution capture format. There will be an overview of traditional darkroom practices and historical or alternative printing methods, in order to facilitate these working practices if required in the personal project. Through an in-depth study of the critical, cultural, historical, political, social, philosophical and aesthetic aspects of the medium, students will be able to incorporate intellectual theory, and to reflect and integrate a broad range of commercial or artistic methodologies with their own evolving individual working practices. Dawn Ades wrote that “Manipulation of the photograph is as old as photography itself: it has been used in political propaganda, and has also embodied or enlivened satire, publicity and commercial art; it has created evocations of the ‘brave new world’ of the future, and surrealist and fantastic visions.” Using digital imaging software, students will manipulate or reconstruct a photograph or sequence of photographs in order to subvert the original message, or to make a personal or social statement. A review of digital imaging techniques will include the use of photographic special effects and the assembly of composite images using montaging techniques.
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 image manipulation work, tabletop still-life or product photography, combined with research and initial production work for the personal project. 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; there will be gallery tours, guest lecturers and visits to commercial labs/studios. 6.00 Every Week 6.00
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 10.00
Total Weekly Contact Hours 6.00
This module has no Part Time workload.

Module Resources

Recommended Book Resources
  • Kloskowski, Matt, 2011, Photoshop Compositing Secrets: Unlocking the Key to Perfect Selections & Amazing Photoshop Effects for Totally Realistic Composites, Peachpit Press
  • Hirsch, Robert, 2008, Photographic Possibilities: The Expressive Use of Equipment, Ideas, Materials and Processes, 3rd Ed., Focal Press
  • Haughey, Anthony 2006, Disputed Territory, Gallery of Photography Ireland
  • Levi Strauss, David, 2005, Between the Eyes: Essays on Photography and Politics, Aperture Foundation
  • Les McLean, 2005, Creative Black and White Photography, David & Charles
  • Grundberg, A., 2004, Crisis of the Real: Writings on Photography Since 1974, 2nd Ed., Aperture Foundation
  • Savedoff, Barbara E., 2000, Transforming Images: How Photography Complicates the Picture, 1st Ed., Cornell University Press
  • Stroebel, Leslie, 1999, View Camera Technique, Focal Press
  • Larg, A; Wood, J., 1999, New Product Shots (Pro-Lighting Series), Rotovision
  • Hicks, R; Schultz, F., 1997, Food Shots (Pro-Lighting Series), Rotovision
  • Hicks, R; Schultz, F., 1997, Still Life (Pro-Lighting Series), Rotovision
  • Phillips, C. (ed.), 1989, Photography in the Modern Era: European Documents and Critical Writings, 1913-1940, MOMA/Aperture Foundation
  • Ades, Dawn, 1986, Photomontage, Revised Ed., Thames and Hudson
  • Crawford, W., 1979, The Keepers of Light: A History and Working Guide to Early Photographic Processes, Morgan & Morgan
Recommended Article/Paper Resources
  • Aperture, quarterly journal
  • British Journal of Photography, monthly journal
  • Source – Ireland’s Photographic Review, quarterly journal
Other Resources