FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
GEAR 212 | Course Introduction and Application Information
Course Name |
Basic Photography
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
GEAR 212
|
Fall/Spring
|
2
|
2
|
3
|
6
|
Prerequisites |
None
|
|||||
Course Language | ||||||
Course Type |
Second Foreign Language
|
|||||
Course Level |
-
|
|||||
Mode of Delivery | - | |||||
Teaching Methods and Techniques of the Course | DiscussionQ&ACritical feedbackApplication: Experiment / Laboratory / WorkshopLecture / Presentation | |||||
Course Coordinator | ||||||
Course Lecturer(s) | ||||||
Assistant(s) | - |
Course Objectives | The main objective of the course is to develop a working knowledge of photography through the application of skills regarding camera choices, lens choices, camera operation (aperture/shutter speed/ISO), lighting, composition and image processing. Through a series of genre-oriented assignments, students will learn to shoot and edit according to assignments/client briefs. |
Learning Outcomes |
The students who succeeded in this course;
|
Course Description | Through bi-weekly assignments, students are expected to produce photographs according to the demands/technical requirements of the following genres: street photography, architectural photography, product photography, and fashion photography. |
|
Core Courses | |
Major Area Courses | ||
Supportive Courses | ||
Media and Management Skills Courses | ||
Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
Week | Subjects | Related Preparation |
1 | Introduction | |
2 | History of Photography & Photography Basics | Davenport, A., 1991, The History of Photography, Focal Press: Boston, ISBN: 0-8263-2076-7 p.3-29. Turner, P., 1987, History of Photograph, Bison Books Corp: USA, ISBN: 0-671-08923-4, p. 11-35. Stuckey, S., National Geographic Complete Photography, 2011, National Geographic Society: USA, ISBN: 978-142620776, p. 9-196. |
3 | Photography Basics II & Assignment | Diprose, G. and Robins, J., 2012, Photography: the new basics: principles, techniques and practice, Thames&Hudson: United Kingdom, ISBN: 978-0-500-28978-5, p. 45-68 and p.113-140. |
4 | Project I (%10) Change your angle! | |
5 | Project I Continues & Adobe Camera Raw Workshop | Sheppard, R., 2008, Adobe Camera Raw For Digital Photographers Only, 2nd ed., Wiley Publishing: Indiana, ISBN: 978-0-470-22457-1, p.73-266. |
6 | Project II (%10) Portrait Photography & Basics of Photostudio Equipment | Child, J. , Studio Photography Essential Skills, 2008, 4th ed., Focal Press: Canada, ISBN: 978-0-240-52096-4, p. 45-126 Lewinski, J. and Magnus, M., The Book of Portrait Photography, 1982, Alfred A. Knopf Inc. : New York, ISBN: 978-0394524689, p.6-72 Smith, B., Secrets of Great Portrait Photography: Photographs of the Famous and Infamous, 2013, New Riders: USA, ISBN: 978-0-321-80414-3, p. 18-194 |
7 | Project II Continues | |
8 | Project III (%10) Indoor & Outdoor Fashion Photography | Siegel, E, 2008, The Fashion Photography Course: First Principles to Successful Shoot - the Essential Guide, Thames&Hudson: London, ISBN: 978-0-500-28769-9, p.10-99. |
9 | Project III Continues | - |
10 | Project IV (%10) Still Life Photography | Perweiler, G., 1984, Secrets of Studio Still Life Photography, Amphoto: New York, ISBN: 0-8174-5898-0, p.6-133 |
11 | Project IV Continues & Project V (%10) A day in your life | - |
12 | Photoshoot Event | |
13 | Project V Continues | |
14 | Project V Continues & Portfolio Submission Brief | |
15 | Semester Review | Portfolio Submission |
16 | Semester Review |
Course Notes/Textbooks | |
Suggested Readings/Materials | Davenport, A., 1991, The History of Photography, Focal Press: Boston, ISBN: 0-8263-2076-7 p.3-29 Turner, P., 1987, History of Photograph, Bison Books Corp: USA, ISBN: 0-671-08923-4, p. 11-35 Stuckey, S., National Geographic Complete Photography, 2011, National Geographic Society: USA, ISBN: 978-142620776, p. 9-196 Diprose, G. and Robins, J., 2012, Photography: the new basics: principles, techniques and practice, Thames&Hudson: United Kingdom, ISBN: 978-0-500-28978-5, p. 45-68 and 113-140 Sheppard, R., 2008, Adobe Camera Raw For Digital Photographers Only, 2nd ed., Wiley Publishing: Indiana, ISBN: 978-0-470-22457-1, p.73-266 Lewinski, J. and Magnus, M., The Book of Portrait Photography, 1982, Alfred A. Knopf Inc. : New York, ISBN: 978-0394524689, p.6-72 Smith, B., Secrets of Great Portrait Photography: Photographs of the Famous and Infamous, 2013, New Riders: USA, ISBN: 978-0-321-80414-3, p. 18-194 Child, J. , Studio Photography Essential Skills, 2008, 4th ed., Focal Press: Canada, ISBN: 978-0-240-52096-4, p. 45-126 Siegel, E, 2008, The Fashion Photography Course: First Principles to Successful Shoot - the Essential Guide, Thames&Hudson: London, ISBN: 978-0-500-28769-9, p.10-99 Perweiler, G., 1984, Secrets of Studio Still Life Photography, Amphoto: New York, ISBN: 0-8174-5898-0, p.6-133 |
EVALUATION SYSTEM
Semester Activities | Number | Weigthing |
Participation |
1
|
10
|
Laboratory / Application | ||
Field Work | ||
Quizzes / Studio Critiques | ||
Portfolio |
1
|
30
|
Homework / Assignments |
1
|
10
|
Presentation / Jury | ||
Project |
1
|
50
|
Seminar / Workshop | ||
Oral Exams | ||
Midterm | ||
Final Exam | ||
Total |
Weighting of Semester Activities on the Final Grade |
4
|
100
|
Weighting of End-of-Semester Activities on the Final Grade | ||
Total |
ECTS / WORKLOAD TABLE
Semester Activities | Number | Duration (Hours) | Workload |
---|---|---|---|
Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
2
|
32
|
Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
2
|
32
|
Study Hours Out of Class |
14
|
2
|
28
|
Field Work |
0
|
||
Quizzes / Studio Critiques |
0
|
||
Portfolio |
1
|
28
|
28
|
Homework / Assignments |
1
|
10
|
10
|
Presentation / Jury |
0
|
||
Project |
5
|
10
|
50
|
Seminar / Workshop |
0
|
||
Oral Exam |
0
|
||
Midterms |
0
|
||
Final Exam |
0
|
||
Total |
180
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
1
|
2
|
3
|
4
|
5
|
||
1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. |
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2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. |
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3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. |
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4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. |
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5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. |
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6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. |
|||||
7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. |
|||||
8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. |
|||||
9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. |
|||||
10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. |
|||||
11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). |
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12 | To be able to use a second foreign language at the medium level. |
|||||
13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. |
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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