Short Title:Digital Imaging for Photographers
Full Title:Digital Imaging for Photographers
Language of Instruction:English
Module Code:IMAG H2003
 
Credits: 5
NFQ Level:6
Field of Study:Audio-visual techniques and media production
Module Delivered in no programmes
Reviewed By:GLENN MEHTA
Module Author:TOM JENNER
Module Description:The purpose of this module is to consolidate manual camera handling skills, integrating a colour managed digital workflow with emphasis on digital capture and process control for photographers.
Learning Outcomes
On successful completion of this module the learner will be able to:
LO1 Demonstrate greater technical competency and wider experience in applying manual camera controls for creative image capture, understanding core photographic functions and settings used in digital cameras.
LO2 Use the full functionality of a scanner in its professional mode.
LO3 Demonstrate competence in the use of digital imaging techniques used by photographers in the capture and output of photographs, utilising a colour managed digital workflow.
LO4 Apply practical colour theory and understand the development of a number of technological photographic printing processes.
LO5 Use industry standard digital imaging software to produce black-and-white and colour photo-quality archival pigment inkjet prints up to A4 in size.
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) %
Digital Imaging for Photographers
Further experience of manual camera controls in order to consolidate fundamental skills acquired, giving students the opportunity to fully develop their manual camera handling, understanding, ability and experience; an overview and understanding of JPEG and Raw digital camera file formats, resolution, pixel density; the management of a photographic digital workflow; resizing digital camera photos; the practical application of colour theory; colour temperature using the Kelvin scale; colour balance, conversion and correction; additive and subtractive colour systems for the reproduction of colour; the development of photographic imaging, printing processes and digital media; health and safety considerations for the digital greyroom; scanner software and hardware; scanning from reflective and transmissive originals; scanning resolutions and terminology; 8-bit JPEG and 16-bit TIFF scans; dynamic range; interpreting the histogram; photographic file formats and file handling; colour management, monitor set-up, display settings and calibration; ICC profiles; colour settings and workspaces; image modes (RGB, CMYK, Lab and Grayscale). Industry standard digital imaging software: preference settings; Raw file processing; essential tools used by photographers, e.g. retouching with the healing brush; levels and curves adjustments; hue, saturation and brightness control; image orientation and image size, image resolution and interpolation in the enlarging, reducing, cropping and resizing of photographs; dodging and burning-in; adjustment layers, layer opacity and blending modes; USM sharpening, file formats. Practical procedures in image processing and printing methods; repro considerations; choice of print output device and print media; image permanence and storage; making an archival pigment inkjet print; creating contact sheets for image editing purposes; sending files to A4 size print utilising an industry standard high-end photo quality archival pigment 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 work enabling students to actively engage with a controlled digital photographic workflow, making pre-visualised black-and-white and colour A4 inkjet prints in the digital greyroom; 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). 1,2,3,4,5 60.00 Sem 1 End
Project Students will write up their own notes throughout the semester, which will then be presented in the workbook (see above), 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 40.00 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. 3.00 Every Week 3.00
Independent Learning Students will undertake independent research and related practical work outside of scheduled class times. 3.00 Every Week 3.00
Total Weekly Learner Workload 6.00
Total Weekly Contact Hours 3.00
This module has no Part Time workload.
 

Module Resources

Recommended Book Resources
  • Dyer, Geoff, 2018, The Street Philosophy of Garry Winogrand, University of Texas Press
  • Hirsch, Robert, 2018, Light and Lens: Photography in the Digital Age, 3rd Ed., Focal Press
  • Meyerowitz, Joel, 2018, Where I Find Myself, Lawrence King
  • Suler, John and Richard D. Zakia, 2018, Perception and Imaging: Photography as a Way of Seeing, Focal Press
  • Wells, Liz, ed., 2018, The Photography Cultures Reader: Representation, Agency and Identity, Routledge
  • Clement, Krass, 2017, Dublin, RRB Publishing
  • Freeman, Michael, 2017, Black & White Photography: The Timeless Art of Monochrome, Ilex Press
  • Hermanson Meister, Sarah, et al., 2017, Arbus Friedlander Winogrand: New Documents, 1967, Museum of Modern Art, New York
  • Kelby, Scott, 2017, The Adobe Photoshop Book for Digital Photographers, Updated Ed., New Riders
  • Lubben, Kristen, 2017, Magnum Contact Sheets, New Ed., Thames and Hudson
  • Evening, Martin, 2016, Adobe Photoshop for Photographers, Updated Ed., Focal Press
  • Shore, Stephen, et al., 2017, Stephen Shore, Museum of Modern Art, New York
  • Westerbeck, Colin and Joel Meyerowitz, 2017, Bystander: A History of Street Photography, Laurence King
  • Hirsch, Robert, 2015, Exploring Color Photography: From Film to Pixels, 6th Ed., Focal Press
  • Mark, Mary Ellen, 2015, On the Portrait and the Moment, Aperture
  • Shore, Stephen, 2015, Uncommon Places: The Complete Works, Revised Ed., Aperture
  • Ashe, Tom P., 2014, Color Management & Quality Output, Focal Press
  • Badger, Gerry, 2014, The Genius of Photography, Quadrille Publishing
  • Campany, David, 2014, The Open Road, Photography and the American Road Trip, Aperture
  • Bussard, Katherine A. and Lisa Hostetler, 2013, Color Rush: American Color Photography from Stieglitz to Sherman, Aperture
  • Clement, Krass, 2012, Drum, (Books on Books #16), Errata Editions
  • Sternfeld, Joel, 2012, Stranger Passing, Steidl
  • Roberts, Pamela, 2010, The Genius of Color Photography: From the Autochrome to the Digital Age, Carlton Publishing Group
  • Shore, Stephen, 2010, The Nature of Photographs: A Primer, 2nd Ed., Phaidon Press
  • Barthes, Roland, 2009, Camera Lucida (first published 1980), New Ed., Vintage
  • Batchen, Geoffrey, ed., 2009, Photography Degree Zero: Reflections on Roland Barthes's Camera Lucida, MIT Press
  • Greenough, Sarah, 2009, Looking In: Robert Frank's The Americans, Hardback Expanded Ed., Steidl
  • Frank, Robert, 2008, The Americans, (first published 1958), Steidl
  • Szarkowski, John, 2007, The Photographer's Eye (first published 1966), Museum of Modern Art New York
  • Eggleston, William, 2002, William Eggleston's Guide, (first published 1976), 3rd Ed., Museum of Modern Art, New York
  • Hopkins, David, 2000, After Modern Art 1945 - 2000, Oxford University Press
  • Clarke, Graham, 1997, The Photograph: A Visual and Cultural History, Oxford University Press
 
Recommended Article/Paper Resources
  • Aperture - international journal specialising in photography, quarterly journal
  • British Journal of Photography, monthly journal
  • Source - magazine of contemporary photography in Britain and Ireland, quarterly journal
Other Resources