| Study programme competencies |
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Code
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Study programme competences
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| A6 |
To know and to know how to use the necessary tools to implement, conceptualize and launch collections |
| A13 |
To know the impact of technology on the different processes of the textile industry |
| A18 |
To know the plastic and visual languages in the realm of fashion industry design, in order to understand and interpret the artistic creations of fashion garments |
| B1 |
That students demonstrate that they acquired and understood knowledge in a study area that originates from general secondary education and that can be found at a level that, though usually supported by advanced textbooks, also includes aspects implying knowledge from the avantgarde of its field of study |
| B2 |
That students know how to apply their knowledge to their job or vocation in a professional form, and have the competencies that are usually demonstrated through elaboration and advocacy of arguments and problem resolution within their field of study |
| B3 |
That students have the capacity to collect and interpret relevant data (normally within their field of study) in order to issue judgements that include a reflection upon relevant topics in the social, scientific or ethical realm |
| B4 |
That students may convey information, ideas, problems and solution to the public, both specialized and not |
| B5 |
That students develop those learning skills that are needed to undertake ulterior studies with a high degree of autonomy |
| B7 |
Capacity to analyse trends (critical thinking) |
| B8 |
Capacity to plan, organize and manage resources and operations |
| B9 |
Capacity to analyse, diagnose and take decisions |
| B10 |
Capacity to understand the social and historical-artistic dimension of fashion design and industry, as vehicle for creativity and the quest for new and effective solutions |
| C3 |
Using ICT in working contexts and lifelong learning. |
| C8 |
Valuing the importance of research, innovation and technological development for the socioeconomic and cultural progress of society. |
| Learning aims |
| Learning outcomes |
Study programme competences |
| Know the work flow in the creation of a photographic or audiovisual product. |
A13
|
B1
B3
B5
B8
B10
|
C8
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| Analyze the technical and aesthetic quality of photographic and audiovisual messages, placing them within their production context |
A6
A18
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B2
B4
B7
B9
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C3
|
| Contents |
| Topic |
Sub-topic |
| Fashion photography |
Introduction |
| Photographic language. |
Composition.
Basic concepts of photographic technique |
| Optics. |
Focus. Aperture, speed, sensitivity, white balance. |
| Lighting |
Types of lights and lighting schemes |
| Image retouch |
Retouch |
| Planning |
| Methodologies / tests |
Competencies |
Ordinary class hours |
Student’s personal work hours |
Total hours |
| Seminar |
A18 B1 B3 B4 B9 C3 |
10 |
40 |
50 |
| Workshop |
B5 B8 C8 |
11 |
27 |
38 |
| Supervised projects |
A6 A13 B2 B7 B10 |
21 |
40 |
61 |
| |
| Personalized attention |
|
1 |
0 |
1 |
| |
| (*)The information in the planning table is for guidance only and does not take into account the heterogeneity of the students. |
| Methodologies |
|
Methodologies |
Description |
| Seminar |
Group work technique aimed at in-depth exploration of given topic, consisting of group discussion, individual engagement, preparation of texts and collective conclusions. |
| Workshop |
Applied learning situation incorporating a range of supervised learning and testing techniques (presentation, simulation, debate, problem solving, guided practice, etc.) with a strongly practical focus. |
| Supervised projects |
Oral presentation (using audiovisual material and student interaction) designed to transmit knowledge and encourage learning. Presentations of this type are variously referred to as ‘expository method’, ‘guest lectures’ or ‘keynote speeches’. (The term ‘keynote’ refers only to a type of speech delivered on special occasions, for which the lecture sets the tone or establishes the underlying theme; it is characterised by its distinctive content, structure and purpose, and relies almost exclusively on the spoken word to communicate its ideas.) |
| Personalized attention |
|
Methodologies
|
| Seminar |
| Workshop |
|
| Description |
| Contará coa supervisión do docente |
|
| Assessment |
|
Methodologies
|
Competencies |
Description
|
Qualification
|
| Supervised projects |
A6 A13 B2 B7 B10 |
Entrega de traballos fotográficos |
30 |
| Workshop |
B5 B8 C8 |
Practical tests, execution of real and / or simulated tasks
|
70 |
| |
|
Assessment comments |
Second chance: The above evaluation criteria will apply to both the first and second chance, and will include Erasmus and exchange students
Advance call: will follow the same guidelines as the first chance test
Qualification of not presented: for those students who have not presented any of the compulsory practices
Students with recognition of part-time dedication and academic waiver of attendance exemption: they should contact the teacher to establish an ad hoc internship route
It is forbidden to access the classroom in which the different evaluation tests are carried out with any device that allows communication with the outside and / or information storage (telephones and other mobile devices, smartphones, etc.).
Attendance
to all workshop sessions is compulsory. Attendance to a minimum of 90% of
teaching hours is required. This requisite is a necessary condition to pass the
course.
|
| Sources of information |
|
Basic
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Teacher will facilitate more bibliography during the course
Arnheim, R. (1986): El pensamiento visual. Barcelona: Paidós Ibérica. Dondis, D.A. (2008). La sintaxis de la imagen. Introducción al alfabeto visual. Barcelona: Editorial Gustavo Gili, SL. Fontcuberta, J. (2016). La furia de las imágenes: notas sobre la postfotografía. Barcelona: Galaxia Gutenberg. Gatcum Ch. (2012). Light &Shoot. 50 Fotos de Moda. Hermann Blume. Lomba M., Pratts C. y De la Renta, O. (2010): Geografía de la moda española. Madrid: T.F. Editores Mellado, J. M. (2010). Fotografía de alta calidad. Técnica y método. CS5Artual S.L. Ediciones. Sontag, S. (2007). Sobre la fotografía. Madrid: Alfaguara. Villafañe, J. (1985): Introducción a la teoría de la imagen. Madrid: Pirámide. |
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Complementary
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| Recommendations |
| Subjects that it is recommended to have taken before |
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| Subjects that are recommended to be taken simultaneously |
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| Subjects that continue the syllabus |
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