Module Code and Title:        CMS102 Photography and Visuals Lab

Programme:                          BA in Mass Communication

Credit Value:                         12

Module Tutor:                       New #1

General objective: This module aims to introduce students to visuals as a key form of communication, especially through photography, with an emphasis on light, design, colour and composition. Students will get hands on experience with digital cameras to take photographs using their knowledge gained on visual concepts and photographic technique. This module also intends to introduce theories commonly associated to visuals in the realms of news, advertisements and art.

Learning outcomes – On completion of this module, students will be able to:

1. Identify effective components of visuals.
2. Identify differences between visuals used to convey facts and information and those for other purposes.
3. Identify and describe parts of a camera and their function.
4. Use a range of digital cameras from basic mobile cameras to a digital SLR (at a beginner level).
5. Compose effective visuals through proper application of composition theory and good camera techniques.
6. Create visuals merging text into artwork.
7. Evaluate peer artwork in order to gain a better understanding of composition.
8. Create traditional, environmental, candid, glamor, lifestyle, surreal, conceptual, and abstract portrait photographs.
9. Apply lighting and exposure techniques for indoor and outdoor photos to portraits.
10. Discuss similarities and differences of using smartphone cameras and digital SLR cameras.
11. Discuss narrative theory based on the use of visuals in news publications.
12. Explain aesthetic theory in art and how visuals differ in colour and symmetry.

Learning and Teaching Approach:

Assessment Approach:

A. Individual Visual portfolio: Portion of Final Marks 25%

Students will produce a series of visuals that will be critiqued in class following a theoretical portion of an aspect of photography or visuals. These visuals will be critiqued in class in order for students to begin a deeper analysis of visuals and how they see images. Using both the critiques and the images themselves, students will be graded on their composition, creativity and ability to use theory and their short presentations they give to their peers. Presenters should discuss their initial idea, the process of creation, and 5 compositions they tried to illustrate their ideas. They will show the compositions created and ultimately what they felt their best work was and explain what went well, and what fell short of expectations.

5%       Composition

1%       Subject

1%       Light

1%       Depth

7%       Ability to utilize best practices and photographic concepts

5%       Creativity

5%       Presentation

B. Class participation - critiques on visuals: Portion of Final Mark: 10%

At numerous opportunities during the presentations of other students’ portfolios, students from the audience are expected to give constructive criticism and evaluate the images based on theory, composition and creativity. Specific audience members offering their well-reasoned and informed responses to the presentations will be credited marks toward this assessment on a 10-point scale. The final mark will be the average of their various critique attempts throughout the semester.

C. Midterm examination: Portion of Final Marks 15%

Students will be tested on the theory components they have learned in the first part of the semester in an exam lasting 1.5 hours.

D. Class tests: Portion of Final Mark: 10%

Students will take 2 written tests (5% each) within the term to demonstrate their theoretical knowledge of concepts that were discussed in class.

E. Individual Visual display: Portion of Final Mark: 15%

Students will use the theories taught in class to compose 2 final pieces of work that they will display on campus. Students will caption the piece and be available to describe their piece of work to distinguished guests, their classmates and their tutor. Their grade will be based both on the extemporaneous descriptions and conversations that students have with their guests and on the actual pieces of work with their captions.

4%       Aesthetics of display

1%       Quality of captions provided

4%       Quality of discussions and explanation given to guests

4%       Ability to illustrate theoretical concepts artistically into their work

2%       Creativity of the pieces

Pre-requisites: CMS101 Introduction to Communication Arts & Technology; CTH101 Principles of Communication Science

Subject matter:

1. Unit I: Introduction of visuals as a medium
   • Overview of advertisements, propaganda, photographs and cartoons
   • Text versus words and their use
   • Infographics
   • Photography as a visual medium
2. Unit II: Basics of composition and design
   • Images to illustrate depth
   • Images to illustrate light
   • Studio photos to illustrate concepts
   • Outdoor photos to illustrate concepts
3. Unit III: Brief introduction and background to key concepts related to photography and visuals in news, art and advertisements and mixed mode reception
   • Common visual theories in news
     • Narrative theory: telling stories with visuals
     • Media aesthetics theory: how the medium contributes to experiences, e.g., Shock value: Colour, framing and gore
   • Common visual theory in art--Aesthetics theory: Beauty and pleasing appearance
     • Symmetry and asymmetry
     • Colour, line and texture
     • Patterns, weight and balance
   • Common visual theory in advertisement--Representation theory: Analysing what objects represent, not what they physically are, e.g., the logo represents the brand
   • Common visual theory across news, art and advertisement:
     • Cultural studies visual theory: representation in history, pop-culture, transcultural events and subcultures
     • Perception theory: images impact the experience, not the act of seeing
   • Visual ethics theory: ethical issues involved in visual productions
     • Permissions and guidelines
     • Exploiting emotions and passive observation for profit
     • Production and reception of images
   • Visual literacy theory: reality, realistic expectation and responsibility
     • Staging of visuals, staged photos, visual effects
     • Role of photography in society and responsibilities of photojournalists
     • Comparing art to advertisements and photojournalism

4. Unit IV: Introduction to photographic equipment
   • Storing images, backup and memory
   • Cleaning and storage kits; Caring for and storing equipment
   • Cameras and accessories
   • Indoor lighting, lenses, flashes
   • Aperture, ISO and light
   • Editing software (Gimp / Photoshop equivalent) and basic usage (viewing, cropping, and saving)
5. Unit V: Detailed concepts and practice in photographic technique
   • Photography comparisons on light and exposure
     • Side light, back light, rim light, ambient, soft and hard light, spotlight, artificial
     • Long exposure, light painting, high dynamic range, panoramic, macro
   • Photography comparisons on studio photographs
     • Split lighting, loop lighting, Rembrandt lighting, butterfly lighting, broad lighting, short lighting
     • Traditional, environmental, candid, glamor, lifestyle, surreal, conceptual, abstract
   • Photography compositions from outdoors
     • Nature, landscape, sports, action, cold weather
   • Considerations for smartphone photography: Lens limitations relative to standalone cameras; light, exposure and focus considerations
   • Creating compositions and explaining them to an audience

Reading List:

1. Essential Reading
   • Winslow, D.R. (2012, October 12). A Question Of Truth: Photojournalism And Visual Ethics. Retrieved from https://nppa.org/news/2160
   • Curtin, D. P. (2011).A short course on using your digital camera. Marblehead, MA: ShortCourses.com.
   • Kress, G. (2015).Reading images: the grammar of visual design. Routledge.
   • Long, B. (2014). Complete digital photography (8^th). Australia: Delmar.
   • Ministry of Information and Communication (2016). Advertisement Guidelines of the Royal Government of Bhutan (draft). Thimphu: Royal Government of Bhutan.
   • Zettl, H. (1999). Sight sound motion: applied media aesthetics. Boston, MA: Cengage Learning.
2. Additional Reading
   • Creeber, G. (2011). Digital cultures. Maidenhead: Open Univ. Press.
   • Housenbold, J., & Johnson, D. (2005). The shutterfly guide to great digital photos. Emeryville: McGraw-Hill/Osborne.
   • Friday, J. (2002). Aesthetics and photography. Aldershot: Ashgate.
   • Kobre, K. (2004). Photojournalism: The Professionals' Approach. Focal Press.
   • Livingston, A., & Livingston, I. (1992). The Thames & Hudson dictionary of graphic design and designers. London: Thames & Hudson.
   • Lovell, R. P., Zwahlen, F. C., & Folts, J. A. (1996). Two centuries of shadow catchers: a history of photography. Albany, NY: Delmar.
   • Orvell, M. (2003). American photography. Oxford: Oxford University Press.
   • Smith, K., Moriarty, S. E., Barbatsis, G., & Kenney, K. (2011).Handbook of visual communication: theory, methods, and media. New York: Routledge.
   • Stone, M. C. (2003). A field guide to digital color. Natick (Mass.): A.K. Peters.
   • Timacheff, S., & Karlins, D. (2005). Total digital photography: the shoot to print workflow handbook. Hoboken, NJ: Wiley Pub.

Date:  May 14, 2018