DOCSLIB.ORG

E-Content (SLM) for Course – Master in Journalism and Mass Communication (MJMC)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
E-Content (SLM) for Course – Master in Journalism and Mass Communication (MJMC) E-Content (SLM) For Course – Master in Journalism and Mass Communication (MJMC) Department – PG Department of Hindi Darbhanga House, Patna University, Patna Paper – CC7 By: Dr. Gautam Kumar Assistant Professor (Guest Faculty) MJMC, Patna University, Patna Mobile – 9304974687 Email – [email protected] The Basic To take consistently successful photographs, it is important to understand the basic optical principles underlying how a camera works; type of lens; what film speed or digital setting to use in a particular situation; lighting equipment; plus the advantages and drawbacks of different camera formats. The more familiar you are with the controls on your camera, the more you can concentrate on the composition and lighting of each photograph. THE BASIC CAMERA: If you were to strip away the electronic refinements and automatic features of any camera you would find the same basic design underneath – a lightproof container with a hole at one end over which a lens is placed and a holder opposite to accommodate either a strip of light-sensitive film, or a light sensitive electronic chip. To produce a correctly exposed image in a variety of light intensities, the camera lens has an iris diaphragm that can be adjusted to leave a hole of varying diameter. This is called the aperture. On a fixed- lens compact camera, the lens also contains a shutter THE PATH OF LIGHT : The mechanism, known as a between-the-lens shutter, which opens to allow light to reach the film. The shutter allows you to choose the precise moment of exposure, and by selecting from a range of shutter speeds you can also control the length of exposure. The shutter mechanism on a single lens reflex (SLR) camera is located inside the body, behind the lens, just in front of the film or digital sensor, and is known as a focal-plane shutter. Another common feature is the viewfinder. This is basically a compositional aid that allows you to aim the camera accurately and to decide what elements to focus on. There are many basic film photography tips and techniques for beginner photographers that will help to create some stunning images. Knowledge of these basic tips and full control over your film camera, including 35mm, medium format, and large format cameras, will help you achieve the correct exposure and create photographs to impress. COMPOSITION IN PHOTOGRAPHY: Composition is perhaps the single most important film photography technique and separates the mediocre snapshots from professional photography. Composition must always be considered before capturing the image to film. It involves proper balance of shapes, diagonals to maintain interest, cropping, and bringing the subject to the foreground. DEPTH OF FIELD: Depth of field is the amount of distance between the foreground and background of the subject that remains in focus. This basic photography technique is handled with the aperture setting of a film camera and the focal distance of the subject. In short, a shallow depth of field involves clear focus on your subject and out of focus areas around it while a great depth of field will have everything in the frame in focus. Change in depth of field is not Mobile – 9304974687 Email – [email protected] an immediate transition between sharp to unsharp. Instead, there is a gradual transition of sharpness to fuzziness to totally out of focus areas. Mobile – 9304974687 Email – [email protected] Photography Composition Composition is the singular aspect that marks the difference between a good photograph and a bad photograph. With film cameras that feature automatic exposure, preview buttons, automatic focusing, digital backs for medium format, and so forth, the technical process can no longer effectively measure and differentiate the amateur from the professional. Because photographers have complete control over their equipment, composition is a necessary photography technique. This basic photography guide to composition will provide you with the basic training to help take your film photography from mediocre to great. CONTROL OF THE FILM CAMERA : Control over your film camera is the best tip for beginner photography. Your camera does not dictate where to photograph from, you do. For instance, you may choose to get closer to you subject and crop the subject slightly. The biggest mistake of amateur photography is not focusing on the subject. If your subject is a grainy wood door and door handle, move the camera closer to get it. No one needs to see the rest of the room because it is largely unimportant. Beginner photography also suffers from a direct, eye level viewpoint. For a picture of the door knob, don‘t photograph it straight on – try looking for different angles to use. The door handle photography will likely be much more interesting from a perspective that you normally do not see. RULE OF THIRDS FOR FILM PHOTOGRAPHY: One such rule for film photography is the rule of thirds. This rule simply states that photographers should position the subject on an intersection of the thirds as opposed to the center of the frame. This basic photography rule works particularly well for landscape photographers, but also works well for various other subjects. Note the example photography with the owls. One owl sits on one third on the left side while the other sits on the third on the right side. Imagine how stagnant this image would look if there was just one owl in the middle. Mobile – 9304974687 Email – [email protected] CREATING COMPOSITION WITH THE RULE OF THIRDS Aside from leading the eye directly to the subject, the rule of thirds can be used to enhance composition or place emphasis on certain areas of the photograph. For motion photography, the rule of thirds can further express motion or action. If, for example, an object is moving from left to right, then using the rules of thirds to position to object on the left side will further enhance the idea that it is moving to the right side of the frame. Conversely, placing the subject on the right will give the impression that your object is leaving the frame. In landscape photography, the rule of thirds can place emphasis on the horizon line and what is above or below it. To emphasize the sky of on image, place the horizon line on the lower line in the rule of thirds, and conversely for emphasis on the land place the horizon line on the higher line in the rule of thirds. DIAGONALS: Another rule for composition in photography is diagonals. This rule helps to put the subject at an angle other than straight on and squared at the edges. Compare the two skyscraper photographs below and decide which image is more dynamic. One image centers the buildings and is fairly straight on looking upward. The more dynamic image, however, puts the skyscraper at an angle to shoot it out of the frame. This also creates a seemingly curved building to create much more interest. Placing the subject at a diagonal will almost always increase composition interest. Mobile – 9304974687 Email – [email protected] Self Portrait Photography Tips Self Portraiture Using yourself as the subject in photography can be difficult. For starters, you have to manage to be the photographer and the subject, which requires some skill and guess work to do it just right. One of the more difficult objectives as the photographer is composing your shot and ensuring that your subject, you, will be within the composition and in focus. It is often difficult to do this because you don‘t have a point of reference. This can easily be fixed by placing an object where you will sit, or will your face will be. From behind the camera, you will have something to focus on and a way to compose the image. As the subject, this becomes difficult because you don‘t have a photographer looking at you to ensure you are in the proper position, posing correctly, making the right face, etc. So as the photographer, you must already have a clear idea of how you will pose and how you will look before the shot is taken. It is also not uncommon for a film photographer to use Polaroid film or digital cameras to take a few test shots in advance. SELF-TIMER AND CABLE RELEASE FOR SELF PORTRAITS : There are two ways for you to pose in front of the camera and snap the photograph. First, you can use your camera‘s self-timer, if available. This will give you about 10 seconds to get from behind the camera and into position. This works well if your position is easy to get to and settle within that time frame. Most self-timers also have a system to blink a light faster and faster as time winds down, giving you some notice of when the shutter is released. Mobile – 9304974687 Email – [email protected] The second way is getting a long cable release cord. This will allow you to get as far from the camera as the cord stretches and take a photograph from positions that would‘ve taken too long with a self-timer. Plus, there is no need to wait or hold still as you have complete control over when the photo is taken. The major downfall with cable releases is that you can only get as far as the cable reaches and you‘ll often see the cable in the shot. Cables can be hidden in many instances or made to look like part of the shot, but sometimes you‘ll always be able to tell it‘s a cable release. Which ever option you choose is up to you.
Load more

Recommended publications
  • Improve Your Night Photography
    IMPROVE YOUR NIGHT PHOTOGRAPHY By Jim Harmer SMASHWORDS EDITION * * * * * Improve Your Night Photography Copyright © 2010 Jim Harmer. All rights reserved THE SALES FROM THIS BOOK HELP TO SUPPORT THE AUTHOR AND HIS FAMILY. PLEASE CONSIDER GIVING THIS BOOK A 5-STAR REVIEW ON THE EBOOK STORE FROM WHICH IT WAS PURCHASED. * * * * * All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise) without the prior written permission of both the copyright owner and the above publisher of this book. This is a work of non-fiction, but all examples of persons contained herein are fictional. Persons, places, brands, media, and incidents are either the product of the author's imagination or are used fictitiously. The trademarked and/or copyrighted status and trademark and/or copyright owners of various products referenced in this work of fiction, which have been used without permission, is acknowledged. The publication/use of these trademarks and/or copyrights isn’t authorized, associated, or sponsored by the owners. The copyright notice and legal disclaimer at the end of this work is fully incorporated herein. Smashwords Edition License Notes This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each person you share it with. If you're reading this book and did not purchase it, or it was not purchased for your use only, then you should return to Smashwords.com and purchase your own copy.
    [Show full text]
  • Photography and Photomontage in Landscape and Visual Impact Assessment
    Photography and Photomontage in Landscape and Visual Impact Assessment Landscape Institute Technical Guidance Note Public ConsuDRAFTltation Draft 2018-06-01 To the recipient of this draft guidance The Landscape Institute is keen to hear the views of LI members and non-members alike. We are happy to receive your comments in any form (eg annotated PDF, email with paragraph references ) via email to [email protected] which will be forwarded to the Chair of the working group. Alternatively, members may make comments on Talking Landscape: Topic “Photography and Photomontage Update”. You may provide any comments you consider would be useful, but may wish to use the following as a guide. 1) Do you expect to be able to use this guidance? If not, why not? 2) Please identify anything you consider to be unclear, or needing further explanation or justification. 3) Please identify anything you disagree with and state why. 4) Could the information be better-organised? If so, how? 5) Are there any important points that should be added? 6) Is there anything in the guidance which is not required? 7) Is there any unnecessary duplication? 8) Any other suggeDRAFTstions? Responses to be returned by 29 June 2018. Incidentally, the ##’s are to aid a final check of cross-references before publication. Contents 1 Introduction Appendices 2 Background Methodology App 01 Site equipment 3 Photography App 02 Camera settings - equipment and approaches needed to capture App 03 Dealing with panoramas suitable images App 04 Technical methodology template
    [Show full text]
  • Milky Way Photography: the Definitive Guide (2021)
    Milky Way Photography: The Definitive Guide (2021) www.photopills.com Feel free to share this eBook © PhotoPills December 2020 2 Never Stop Learning The Definitive Guide to Shoo- ting Hypnotic Star Trails How To Shoot Truly Conta- gious Milky Way Pictures Understanding Golden Hour, Blue Hour and Twilights 7 Tips to Make the Next Su- permoon Shine in Your Pho- tos MORE TUTORIALS AT PHOTOPILLS.COM/ACADEMY Understanding How To Plan the Azimuth and Milky Way Using Elevation The Augmented Reality How to find moon- How To Plan The rises and moon- Next Full Moon sets PhotoPills Awards Get your photos featured and win $6,600 in cash prizes Learn more+ Join PhotoPillers from around the world for a 7 fun-filled days of learning and adventure in the island of light! Learn More What if I told you that you're more than capable of imagining, planning and shooting Milky Way pictures that will put people into what I call a sharing trance? Would you believe it? Nowadays, almost everyone can take photos of the night Sky, even very good ones. Night sky photography in general, and MIlky Way photography in particular, have become very popular. You see it every day, social networks are filled up with multiple great Milky Way photos, published by great photographers hoping that their work will be massively shared. Unfortunately, the truth is that just a few achieve to go viral. Why? One possible answer is: inner remarkability. Social transmission expert, Jonah Berger, in his New York Times Bestseller book 'Conta- gious: why things catch on', maintains that: "Remarkable things provide social currency because they make the people who talk about them seem, well, more remarkable [...] Sharing extraordinary, novel, 6 or entertaining stories or ads makes people seem more extraordinary, novel, and entertaining [...] Not surprisingly then, remarkable things get brought up more of- ten." Therefore, how can you make photos so that people will share and talk about? The same inner remarkability principle applies.
    [Show full text]
  • A Guide to Smartphone Astrophotography National Aeronautics and Space Administration
    National Aeronautics and Space Administration A Guide to Smartphone Astrophotography National Aeronautics and Space Administration A Guide to Smartphone Astrophotography A Guide to Smartphone Astrophotography Dr. Sten Odenwald NASA Space Science Education Consortium Goddard Space Flight Center Greenbelt, Maryland Cover designs and editing by Abbey Interrante Cover illustrations Front: Aurora (Elizabeth Macdonald), moon (Spencer Collins), star trails (Donald Noor), Orion nebula (Christian Harris), solar eclipse (Christopher Jones), Milky Way (Shun-Chia Yang), satellite streaks (Stanislav Kaniansky),sunspot (Michael Seeboerger-Weichselbaum),sun dogs (Billy Heather). Back: Milky Way (Gabriel Clark) Two front cover designs are provided with this book. To conserve toner, begin document printing with the second cover. This product is supported by NASA under cooperative agreement number NNH15ZDA004C. [1] Table of Contents Introduction.................................................................................................................................................... 5 How to use this book ..................................................................................................................................... 9 1.0 Light Pollution ....................................................................................................................................... 12 2.0 Cameras ................................................................................................................................................
    [Show full text]
  • Night Photography with the View Camera
    Night Photography with the View Camera By Tom Paiva Night photography has low-orange of sodium va- been a passion of mine for por, the cyan of mercury some twenty years, for vapor, the green of fluores- more than the reason that cent, adds to the drama of I am a night person. The the modern industrial combination of man- landscape at night. Much made artificial lights, from of the “seeing” at night is neon and tungsten to so- the training of your eye to dium and mercury vapor, notice interesting high- adds surreal colors on film. lights, interactions, reflec- Their reflections and shad- tions off objects, light fil- ows add so much more to tering through windows, the image than during the etc.Most of us don’t really day, along with the inher- see these details. I’m al- ent mystery. I enjoy the ways looking for them, man-made environment even when not photo- and shoot in urban and in- graphing. dustrial areas. The advantages of the Having been involved in view camera working at many workshops on night night are the same as dur- photography, I have been ing the day; perspective asked many times about control, selective focusing how to use the view cam- and the large negative. And era at night, and the pros that large piece of film has and cons of this type of Rail Car at Chemical Plant; 10 minutes at f22, 150mm the tonality, depth and col- shooting. Like most, I lens, Fuji 64T film] or I get pleasure from.
    [Show full text]
  • Long Exposure Photography Lesson 1 (Of 4)
    © Beth Ruggiero-York Long Exposure Photography Lesson 1 (of 4) 1) What is “Long Exposure Photography”? 2) Why use long exposures? 3) General categories of long exposure images a) Motion blur (including obscured moving subjects) b) Night landscapes c) Urban scenes d) Artificial lighting using flashlights, lanterns, strobes, etc. (light painting) 4) The technical stuff: a) Equipment needed b) Camera setup c) Focusing in low-light or at night d) Exposure settings 5) Assignment What is “Long Exposure Photography”? Let’s start with a definition of long exposure photography so that we all have a shared understanding of what it is: Long exposure photography (aka time exposure photography, from the days of film) is the use of slow shutter speeds (aka long exposure times) to capture the fixed elements of the image sharply, while blurring, obscuring, or streaking the moving elements. In this way, long exposure photography allows the photographer to convey the passage of time, something that conventional photography cannot do. If you spend some time thinking about this definition, you will come up with endless applications. That is what this course is about – learning the techniques you need to record long exposures and then finding creative ways to use them. © Beth Ruggiero-York 30 seconds, f/14, ISO 100 Lee “Big Stopper” Neutral Density filter (adds 10 stops) Nikon D810, Nikon 24-120mm f/4 lens @ 38mm This image combines the stationary elements of the foreground rocks (which act as an anchor for the image) and the dock with the moving elements of the water and the sky.
    [Show full text]
  • Night and Low-Light Photography Photo Workshop
    NIGHT AND LOW-LIGHT PHOTOGRAPHY PHOTO WORKSHOP Alan Hess Night and Low-Light Photography Photo Workshop Published by John Wiley & Sons, Inc. 10475 Crosspoint Boulevard Indianapolis, IN 46256 www.wiley.com Copyright © 2012 by John Wiley & Sons, Inc., Indianapolis, Indiana Published simultaneously in Canada ISBN: 978-1-118-13822-9 Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, 201-748-6011, fax 201-748-6008, or online at http://www.wiley.com/go/permissions. LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS WORK AND SPECIFI- CALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES OR PROMOTIONAL MATERIALS. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION. THIS WORK IS SOLD WITH THE UNDER- STANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL, ACCOUNTING, OR OTHER PROFESSIONAL SER- VICES.
    [Show full text]
  • Dave Morrow's Night Sky Photography Guides
    Dave Morrow’s Night Sky Photography Guides This guide contains PDF copies of my Milky Way, Star Trails & Northern Lights ​ ​ ​ ​ ​ Photography Guides, which can be found on my website. ​ PDFs allow you to easily take the guides out shooting with you, by downloading them to your phone. Many photographers have asked for a complete resource, so I also wrote a book on the topic, which goes into even more detail. Start with this guide & if you want to learn more, download the ebook. START HERE​ | ​LEARN PHOTOGRAPHY​ | ​VIEW PHOTOS​ | ​WORKSHOPS & TOURS www.DaveMorrowPhotography.com Page 1 ​ My 170 page eBook, Photograph the Night Sky, teaches every skill, technique and ​ ​ ​ workflow for Milky Way, Northern Lights, Moon, Star Trail and Night Sky Photography. You Can Download Photograph the Night Sky for 10$ I also provide Star & Night Sky Photography Workshops & Tours. ​ ​ Enjoy the Guide & Happy Shooting, Dave TABLE OF CONTENTS Click the titles & jump to specific sections. Milky Way Photography Guide 4 Star Photography Camera Equipment 4 Minimum Requirements 4 Planning Your Night Photography Shoot 6 Moon Phase, Dark Skies & Weather 6 Learn The Photographer’s Ephemeris & Google Earth 7 Locate the Milky Way - Stellarium 8 Focusing Your Lens - Milky Way & Night Photography 8 Focusing Your Lens at Night - Camera Technique 9 Method 1: Preset Your Focus Point During the Day 9 Camera Settings - Milky Way & Star Photography 10 Exposure Time Settings - Milky Way Photography 12 The 500 Rule Equation & Exposure Chart 14 Step By Step - Calculating the
    [Show full text]
  • Long Exposure Photography Lesson 2 (Of 4)
    © Beth Ruggiero-York Long Exposure Photography Lesson 2 (of 4) 1) Filters a) Fixed neutral density (ND) filters b) Variable neutral density (Variable ND) filters c) Polarizing filters 2) Photographing motion blur: a) Waterfalls, ocean, etc. b) Car trails and other moving vehicles c) People moving through a static scene d) Panning 3) Assignment Filters After the discussion in Lesson 1 about extending the exposure time to achieve creative effects, the question remains: How do you get a long or relatively long exposure time in daylight? If you don’t have a filter to use, you will be somewhat limited, but you can get some extra exposure time just by adjusting your camera settings. Remember that the exposure triangle you saw in Lesson 1 has three sides – shutter speed (exposure time), aperture, and ISO. In order to lengthen the exposure time, the aperture and ISO sides need to be adjusted. Specifically, keeping the ISO at lowest native ISO (LNI) will maximize exposure time as well as image quality (remember, the higher the ISO, the faster the shutter speed and the noisier the image). In addition, decreasing the third element, aperture, can help to increase the exposure time (decreasing the lens aperture happens when you increase the f-number – larger f-number = smaller lens aperture). Because you are decreasing the area of the lens aperture that is letting light reach the sensor, it takes longer to get a correct exposure. To get a correct exposure after stopping the aperture down, you will need to lengthen the exposure time. For example, if you were originally at f/4, 1 second with the polarizer for a correct exposure, stopping down to f/8 is a total 2 stops less light coming in (f/4 to f/5.6 = 1 stop; f/5.6 to © Beth Ruggiero-York f/8 = 1 stop).
    [Show full text]
  • Under the Night Sky
    Under the Night Sky Adventures in Landscape Astrophotography Pete Scifres Thousand Oaks Photo Group April 27, 2020 Contents What is Landscape Astrophotography? Wally Pacholka Safety Photography Challenges Equipment Camera Settings A little about post Examples and Case Study What is Landscape Astrophotography? Astrophotography – images of the sky at night Landscape – stuff on the ground Combine the two into a hopefully interesting image! Wally Pacholka The “godfather” of landscape astrophotography Gave up being an accountant in the 1990s Popularized • the genre itself • and how to do it www.astropics.com Safety Most likely alone, outdoors, at night Take sensible precautions • Be familiar with area, in daytime • Ideally easy, straightforward access • Use hiking poles • Use headlamp • Contact at home Photography Challenges Milky Way vs Star Trails Milky Way • Dim objects = high iso, long exp=noise • Stars move = constraint on exp time • Need lots of light in short time • But wide aperture = shorter DoF Star Trails • Very long exposures=noise • But wide aperture = shorter DoF Equipment Low noise body Very fast lens • Ideal for me = 24mm fixed F1.4 • Other fixed lens Lenses 28mm F1.8 50 mm F1.8 lowest cost 50mm F1.4 24mm F1.4 20mm F1.4 Must have focus scale, to manually focus Equipment -- Other Tripod Intervalometer, cable release Light pollution filter, e.g. Hoya Starscape Headlamp, with red bulb Warm, layered clothing Hiking poles Focus Your biggest problem Live view, zoomed Stars must be points, not
    [Show full text]
  • Long Exposure Photography Lesson 3 (Of 4)
    © Beth Ruggiero-York Long Exposure Photography Lesson 3 (of 4) 1) Night landscape photography a) Stars as points b) Star trails 2) Assignment Night Landscape Photography All night landscape photography is long exposure photography because it is dark. For this reason, no filters are needed or should be used. The dark is acting as your filter. I have divided this category into two types – stars as points and star trails. Both are long exposures, but star trails are longer exposures of a similar scene. Star tails, also known as star streaks, are the result of a long exposure that includes a starry sky. So why do the stars trail? Since the earth is moving to the east, the stars appear to move to the west. It’s not the stars that are moving; it’s us here on earth. “Stars as points,” on the other hand is a bit of a misnomer. Because the earth never stops moving, the stars will always show apparent movement in a photograph. The key is to use an exposure time that is short enough that the star movement or ‘trailing’ cannot be detected by the human eye in the resulting image. The keys to shooting these special types of long exposures are discussed in detail in this lesson. © Beth Ruggiero-York • Night landscapes with stars as points in the sky When photographing night landscapes when your goal is to have the stars appear static, or as points, there is an easy rule that will help you find a starting point for the exposure time that will keep them as close as possible to points (rather than trails).
    [Show full text]
  • Photography 1
    Photography 1 Photography PHOTOGRAPHY AA or AS Degree Positions for which students of photography are qualified are Contact Information professional photographer, commercial photographer, advertising and photographic journalism. Students must fulfill the following major Division requirements with grades of “C” or better, complete a minimum of 60 Liberal Arts degree-applicable semester units (12 of which must be completed at Dean Sierra College) with a grade point average of at least 2.0 and complete Anne Fleischmann (Interim) one of the following three general education patterns: Associate Dean • Sierra College Associate Degree Requirements (http:// Lynn Medeiros (Interim) catalog.sierracollege.edu/archive/2017-2018/student-resources/ general-education/associate-degree-requirements); Division Office • California State University General Education Breadth (http:// W 107, Rocklin Campus catalog.sierracollege.edu/archive/2017-2018/student-resources/ general-education/california-state-university-general-education- Overview breadth-requirements) pattern; Photography is offered as a creative means of visual expression with • Intersegmental General Education Transfer Curriculum (IGETC) artistic and commercial application. Opportunities for experimental (http://catalog.sierracollege.edu/archive/2017-2018/student- and applied aspects are provided from the beginning through advanced resources/general-education/intersegmental-general-education- levels. A serious effort is made to structure offerings so that students transfer-curriculum-igetc). can attain individual goals in the field of Photography. Photographic skills complement other diverse fields such as science, environmental Required Courses studies, law enforcement, teaching, anthropology, art and real estate. This PHOT 0010 History and Aesthetics of Photography 3 complementary aspect is also stressed in the program. (also ARHI 0134) PHOT 0060A Elementary Photography 3 TRANSFER MAJOR REQUIREMENTS in Photography are available in the PHOT 0060B Intermediate Black and White 3 Counseling Center.
    [Show full text]