International Masters in Fashion Photography © Jacques Olivar © Jacques TEACHING PROJECT
From the very beginning the world of fashion communication through the main reason why this Masters focuses on the subject of fashion The International Masters in Fashion Photography represents a com- students create networks that allow them to initiate their professional image has been based on a continuous change aimed to adapting photographer’s work management, creation of a network of contacts, plete tour through all the production phases implied in a fashion carrier and at the same time complete their studies. itself not only to the shifts in fashion industry and design, but also to communication strategies and team motivation. photographer’s profession. The program is not only centered on the constant adjustments regarding our contemporary society. photographic techniques, but also on other aspects which intervene The program consists in two different cycles: theoretical and practical This program aims to generate an active space for reflection and in the process of the creation of fashion photography. This Masters subjects focused on the production of contemporary fashion imagery The International Masters in Fashion Photography concentrates above all, of practice in fashion communication through images in is drenched in the changes produced in fashion photography since and workshops with first class national and international photogra- its attention on fashion communication through image basing its our contemporary culture. Focusing its attention on the process of digital revolution, changes that have affected the way in which photo- phers. It also counts on the analysis of student work in order to assist program on our contemporary culture. Events deriving from knowle- creation, this Masters represents a complete tour through the phases graphers relate to their market, establishing professional relationships them in the development of a portfolio and to guide them in their dge in digital technology like documentary photography applied to implied in the production of fashion photography, from the genesis and generating a brand image. It also focuses on the contact between career. The program concludes with a viewing of the portfolios throu- cool-hunting, fashion film or the reality of online editorial; or style of an idea to its diffusion passing through the relationship which is fashion photography and video through Fashion Film. gh the eyes of a group of professionals of the medium. applications deriving from technological changes like hybrid cameras inevitably created with the artistic team implied in the production of for digital filming and photography, or new media applied to ima- the images, the agencies and editorials. The connection of the Masters program with the industry of fashion, gery, have changed the fashion communication panorama through the professors and the projects the students will be producing, helps image forever. Through the course’s program and the workshops held by first class fashion photographers, the students will have access to the technical Fashion photographers are not only photographers: they are above aspects needed to develop excellent imagery, but most of all they will PROGRAM all communication experts that use new forms of media to generate work on their analysis capabilities with the objective to relate images extra meaning through their images. to their contemporary visual culture. HISTORY AND VISUAL CULTURE PHOTOGRAPHY LANGUAGE: On the other hand, the speed in which ideas are transmitted in our The International Masters in Fashion Photography is a unique pro- TECHNOLOGY, DIGITAL POSTPRODUCTION AND LIGHTING contemporary culture has changed the fashion photographer’s day to gram, which responds to the lack of international proposals focused A good preparation in fashion communication through imagery must day work style. Today a fashion photographer’s job is based on 20% on the practice of contemporary fashion photography, sensitive to be based on a profound capability to analyze images, sociological This series of classes represents the backbone of the Masters and is creation of images and 80% research and work management. This is technological and social changes in our contemporary culture. tendencies and fashion design. Fashion photography has always been dedicated to photography, both from a technological and a semiotic built around the photographer’s capability to create images that ex- point of view. Dynamic expertise adapted to innovative technology and press avant-garde attitudes that mark new trends, not only in clothes to the ever new means of creation offered by photography, are essential fashion, but also in the way to act or in the structures that society has in the evolving situation that photography encounters itself in today: in created around the industry. other words it regards the relationship between video and photography or recent tendencies in digital retouching with 3d elements. This capabilibity to turn a careful eye onto the present and a profound knowledge of fashion history, is the ground on which fashion images The objective of this module is to offer the student a contemporary te- are created, images which are considered to have an avant-garde chnological know-how, and to promote interest and curiosity towards touch. modern technology.
On the other hand a critical view of the novelties in fashion photogra- This part of the Masters forms the student, giving them the necessary phy allows our students to evaluate, analyze, understand and compa- knowledge on photography semiotics as a language: analyzing how re the strategies and trends of the most influential contemporary pho- decision making affects the way a spectator interprets the resulting tographers, and also to examine their own images in a critical way. image. The composition, the control over the perspective, angle of camera or the choice of photographic shooting just to name a few, are Fundamental aspects of contemporary fashion communication like the substantial elements with which the spectator comes in contact blog tendencies, coolhunting and other proposals that use the web when looking at an image. This happens more frequently in fashion as a ways of communication, will be the basis of the trend analysis photography where the image maintains itself in a complicated ba- classes, giving the students access to a world that goes beyond the lance between art and commercial photography. editorial aspect of conventional fashion. This module also includes classes on lighting techniques as a fun- History of Fashion Photography damental aspect of fashion photography. An essential part of the Dir. Miguel Oriola (Photographer) photographic language is the way light is employed in fashion. A A walk through the main milestones of the history of fashion photo- high percentage of the esthetic aspect of fashion imagery is expres- graphy (12 hours) sed through light and it is also the basis on which the approach or the spectator is defined. Substantial aspects like clothes, make-up History of Fashion Design and acting maintain a special relationship with the lighting, and this Dir. MARINA VALERA ( Beauty and Fashion Editor in VOGUE Spain) is why a fashion photographer must know, not only technological Short introduction of the history of fashion design (4 hours) aspects or tendencies, but also fashion history and its application in other areas like film. Contemporary Fashion Design Dir. Inés Lorenzo (Vogue.es Director) CAMERAS, SENSORS AND LENSES This class focuses on the analysis of the proposals of contemporary Dir. Valentín Sama (Photographer and Director of DSLR Magazine) fashion design and studies its implications in social tendencies and Cameras, sensors and lenses (9 hours) style (6 hours) DIGITAL TECHNITIAN Creativity Dir. Omar Josef (Digital Editor) Dir. Javier Vallhonrat (National Photograghy Prize Winner in the The role of the digital editor. Capture techniques: Capture One, Ligh- year 1995) (20 hours) troom (8 hours)
BASIC STUDIO LIGHTING TECHNIQUES Dir. PABLO ESTÉVEZ (Photographer) Basic lighting techniques, photometry (9hours) FASHION SHOOTING II: ON LOCATION net and brands look to conquer strong visibility on the web through Dir. Estevez&Belloso (Photographers) (16 hours) their campaigns. This along with the introduction of hybrid cameras Pre-production: choice of location, casting, lighting tests, design and coor- by Canon, Nikon, Panasonic or Red One, has opened a new market for dination. Session/shooting: edition and postproduction of the images. fashion photographers: video editorial or Fashion Film.
FASHION SHOOTING III: ON SET Any contemporary photographer should learn to recognize and work Dir. Eugenio Recuenco (Photographer) (16 hours) with a hybrid medium where the borders between language, still ima- Pre-production: choice of location, casting, lighting tests, design and coor- gery and image in movement become blurry. At the same time, new dination. Session/shooting: edition and postproduction of the images. production strategies come to life and manage to join the production of still and in-movement imagery in a single process. This not only THE FASHION INDUSTRY affects the creation of new media, like Fashion Film, but it can also change the way photographers plan a fashion session. This part of the Masters specifically regards the fashion industry, focu- sing on the relationship between the photographers and the industry BASIC TECHNOLOGICAL KNOWLEDGE ON DIGITAL they work for and also on the mediums that fashion photographers CINEMATOGRAPHY contribute to with their images. This group of classes introduces the Dir. Luis Ochoa (Digital Editor and Colorist) (6 hours) students to the way this industry functions and establishes the basis Video digital formats, codecs, compression formats, workflow in HD for a relationship between photographer and the industry. and HDSLR.
This portion of the program centres its attention on the two main CAMERA EQUIPMENT AND HDSLR FILMING industries in fashion photography: advertising and editorial. Dir. Thiago Quadrado (Photography Director and Colorist) (6 hours) HDSLR camera configuration. These workshops regard a first approach to the industry of fashion photography, students will work hand in hand with professionals NON-LINEAR EDITING IN ADOBE PREMIERE involved in fashion production: editors, art directors, accounts execu- Dir. GONZALO P. MARTOS (Digital Editor and Colorist) (16 hours) tives, fashion designers, stylists, make-up artists and models. Editing and color timing in Adobe Premier. Editing in Premiere, color correction, conforming in Premiere. ADVERTISING AGENCY Dir. Emilio Saliquet (8 hours) COLOR GRADING AND COLOR GRADING IN VIDEO Dir. Thiago Quadrado (Digital Editor and Colorist) (12 hours) ADVANCED STUDIO LIGHTING FASHION STYLING THE FASHION MAGAZINE Light and color editing in Da Vinci. Dir. PABLO ESTÉVEZ (Photographer) (8 hours) Studio lighting. Dir. JOSÉ FERNÁNDEZ PACHECO “JOSIE” (Stylist). (6 hour) Dir. Yolanda Muelas (Director for Metal magazine) (11 hours) The job of the stylist, design and preparation of a stylebook with its NEW HYBRID PRODUCTION SYSTEMS EXTERIOR LIGHTING AND LOCATION LIGHTING TECHNIQUES relative references. Shopping, style try-outs with necessary changes, THE ONLINE PUBLISHING MARKET Dir. Juan Santa-Cruz (Photographer and Photography Director) Dir. Juan Santa-Cruz (Photographer and Director of Photography) the relationship between styling and acting. (6 hours) Dir. INÉS LORENZO (Director of Vogue.es) (4 hours) (6 hours) and Daniel Parrilla (Gaffer and Head of the Electrical Department) The Red One System and the EOS system Advanced lighting techniques in exteriors and on location using flas- THE CREATIVE PROCESS OF MAKE-UP AND HAIR STYLING BOOKERAGE AND MODEL MANAGEMENT hes, natural lighting and continuous light (18 hours) Dir. Ricardo Calero (Hair and Makeup Artist) Dir. Fernando Merino (UNO models director) (4 hours) FASHION FILM WORKSHOP The role of the make-up and hair styling artist, preparation of a style- Dir. Diana Kunst (Photographer and Photography Director) (20 hours) IMAGE EDITING AND PROCESSING book, relationship between make-up, light and styling (6 hours) ART DIRECTION OF FASHION BRANDS The universe of Fashion Film, commissioned project for the students. Dir. Omar Josef (Digital Editor) Dir. María Barros (Designer) (4 hours) Editing and retouching in Lightroom and Photoshop using the Macin- PREPARATION OF THE SHOOTING: CREATION OF MOODBOARDS tosh platform (24 hours) Dir. VICKY SÁNZ (Production manager of S Moda) (3 hours) THE PHOTOGRAPHY PRODUCER How to present and expose a shooting project. Dir. Agustín González (Aproductions’ director) (4 hours) GRAPHIC DESIGN AND LAYOUT USING INDESIGN Dir. Rocío Ballesteros (Diseñadora) MODEL DIRECTING. (8 hours) THE PHOTOGRAPHY ASSISTANT Basic concepts of design and layout using Indesign (12 hours) Keys to directing a model. Dir. Rafael de Labra (Photographer and Assistant) (4 hours)
PRODUCTION DESIGN AND ART DIRECTION MEETING A MODEL MANAGING PHOTOGRAPHERS Dir. ILDUARA VANDALL (Production manager) Dir. MADELEINE HJORST (Professional model) (4 hours) Dir. José Murciano (Director for Agencia Enrimur) (4 hours) How to be an art director in photography (6 hours) Meeting with a professional model in order to discover first hand the daily life of this profession, since it is so closely linked to that of fas- FASHION EDITING WORKSHOP PRODUCTION AND CREATION OF FASHION PHOTOGRAPHY hion photographer. Dir. Olga Liggeri (Director of Vanidad magazine) (12 hours)
This part of the Masters, regarding production, refers to a practical MODEL TEST FASHION CAMPAIGN WORKSHOP and fundamental part of a fashion photographer’s job: knowing how a Dir. Alejandro Brito (Photographer) (24 Hours) Dir. María Barros (Fashion Designer) (11 hours) fashion shoot works in its whole, from the preparation, planning and The creation of a Model Test. Theory and practice in a studio and production of the shoot, to the shoot in itself, postproduction and location MANAGEMENT photographic retouching of the material produced. FASHION EDITORIAL PRODUCTION MANEGEMENT AND COMPANY This area of information aims to endow the students with the neces- Dir. JULIA BEJARANO (Production of Marie Claire España) (6 hours) Dir. Javier González (Lawyer specialized in copyright) (6 hours) sary tools needed to deal with the creation and production of an enti- What is a fashion editorial? Legal aspects of the photographer’s professional life (copyright, image re fashion shoot, both in preparing the needed material and creating Review, through real practical examples, of all the elements compri- rights). Basic procedures for a freelancer: Quoting and invoicing. a good relationship with the artistic team involved. sed in the fashion editorial production. VIDEO & FASHION FILMING These classes are fundamentally practical; so that the student can FASHION SHOOTING I: STUDIO participate in the creative process of a real fashion shoot directed by a Dir. José Morraja (Photographer) (16 hours) Internet has opened new possibilities in the world of fashion commu- professional fashion photographer while counting on an active parti- Pre-production: casting, lighting tests and styling, design, coordina- nication and of image creation that go from the interactivity of social cipation of the students as photography production assistants. tion and moodboard. Session/shooting: edition and postproduction networks to video and multimedia contents. Magazines direct their of the images. efforts and contents towards achieving a solid position on the Inter- © Richard Ramos WORKSHOPS WITH PHOTOGRAPHERS ANALYSIS TUTORIALS AND PORTFOLIO PRODUCTION
An essential part of a fashion photographer’s training was that to Every student will participate in tutorials and in the development of share a workspace with an established fashion photographer as an a portfolio twice a week with an approximate duration of three hours assistant. In this way young photographers learned to work with me- per encounter. thods, both on a technical and business level, along with the intan- gible human aspects of working with a team of people. Nowadays These activities will create an exchange forum between the students this technique is not as common or is more complicated since being and the professors where to analyze and approach the latest propo- an assistant has become a professional job or maybe because the sals of the most important fashion photographers and design novel- amount of future photographers has grown and has become more ties. Students will present their latest projects so as to analyze them numerous than the professionals. with their fellow students and professors. These tutorials will help in- crease their capability to analyze, will develop the necessary knowle- These professional workshops intend to be a substitute, in the Mas- dge on our contemporary culture, help create a portfolio towards the ters program, to this past practice. The workshops are freely designed end of the course. by the professional photographers themselves and the basic idea is to dedicate time to learning from their professional experience. The This subject will be taught by a group tutor, by professors and guest students are thus able to witness the production of a photographic professionals: editors, photographers, film directors, critics, stylists, session and then to study the results of the session along with the designers will be present in this part of the Masters in order to enrich professionals. Finally a viewing of the work the students developed the debate. during the workshops is held. The workshops will be taught in English. This section closes at the end of the Masters, with a viewing of the students’ portfolios seen by professionals of renowned prestige. WORKSHOPS WITH PHOTOGRAPHERS VANIDAD MAGAZINE Introduction, session, viewings (each workshop will last 20 hours) Dir. Olga Liggeri (Director of Vanidad Magazine and View of the Eugenio Recuenco Times) (4 hours) Xavi Gordo Viewing and selection of two student portfolios chosen by Olga Li- Miguel Reveriego ggeri and the editorial team from the Vanidad Magazine. EFTI will Enric Galceran produce two fashion articles with Vanidad’s team and the two chosen Hunter & Gutti students will publish them in the July edition of the magazine. These Magdalena Wosinska students will be advised and will count on the help of the Vanidad Ma- gazine team, of EFTI’s production team and the means of the school WORKSHOPS WITH CREATORS OF OTHER DISCIPLINES to produce the fashion articles.
Creators of other disciplines contribute to the global idea of the Masters VISUAL CULTURE AND ANALYSIS with their interesting points of view. Art directors, Fashion Film creators, Dir. Estévez&Belloso (Photographers) Prestigious stylists, Make-up artists, Fashion Designers, Art Photogra- Analysis of contemporary fashion editorial and advertising (48 hours) phers, Documentalists, Editorial or Film Portrait Photographers, will give an ample point of view of the industry while helping students open PORTFOLIO VIEWING their minds to the many options offered by fashion photography. Dir. Eva San Juan (photographer) along with Professional guests of the editorial world and fashion industry (60 hours) WORKSHOP WITH A GUEST ARTIST I Dir. Mikel Bastida (Photographer) (20 hours) VIEWINGS
WORKSHOP WITH A GUEST ARTIST II PRESENTATION OF STUDENTS’ PROJECTS Dir. Cristina Ramos (Art Director). (16 hours) Dir. Miguel Oriola, Juan Santa-Cruz, Estevez&Belloso and 3 professional guests from the fashion industry. WORKSHOP WITH A GUEST ARTIST III Dir. EspadaySantacruz Studio (20 hours) © Miguel Reveriego MORE ABOUT THE MASTER
COORDINATION AND DIRECTION - Digital theory fundamentals (digital image formation, bit depth, dynamic range, file formats). Directed by Miguel Oriola and Juan Santa Cruz -Photoshop program (tools, selection, layers, masks, fusion modes Coordinated by Pablo Estevez and Javier Belloso Windows and Os (Mac).
PLANNING AND DURATION OF THE COURSE The student must declare to possess these expertise whensigning up for the course. AND DURATION OF THE COURSE INSTALLATIONS AND EQUIPMENT 667 teaching hours The duration of the Masters Course in Fashion is of 15months. In EFTI students will have 4.000m² of installations dedicated The students will receive 4 classes a week and each will be at least 3 exclusively to photography, two exhibition rooms, Galería Cero, 7 hours long, from Monday to Friday. studios equipped with last generation material (one of them being an industrial studio of 700m²), 4 Mac equipped classrooms, 1 editing Because of their characteristics some classes may vary in length or room, 2 classrooms, 1 conference room, a multidisciplinary space date. for 150 people, library, a dark room and a storage room where you According to the programme there may be the need to establish will have access to the necessary equipment for your assignments more or less days of class in the same week, and longer hours of (cameras, photometer, infrared triggers, backdrops, soft boxes, duration. umbrellas, tripods, etc.) All of the equipment used in class is included in the price of the TIMETABLE FOR THE NEXT CALL course. During and according to their course, EFTI’s students have access to last generation equipment, which is constantly renewed Next call 15 of September 2015 at 10.00 a.m. (the duration and revised. depending on each individual class). 90 Mac computers which provide Photoshop CS6, Lightroom 4, FREE CHOICE PRACTICE TIME Aperture and Premiere 31 cameras Canon Eos 1DC, 5D Mark III, 5D Mark II, 7D y 50D Besides attending his regular classes, the student can also practice 5 Fuji series X cameras establishing their own schedule, in the digital editing lab, the sets, 5 Olympus E-M1, Em10, Em5 negative development and dark room and other school facilities, 54 studio flashes PROFOTO within the following practice timetable: on weekdays from 10:00 a.m. 5 PROFOTO generators with flash heads to 10:00 p.m., and on Saturdays during the morning. 3 Hasselblad 503 cameras 2 Phase One cameras HOW TO GAIN ACCESS TO THE COURSE 5 medium format digital backs 10 hand held flashes The following documentation must be presented: 3 spectrophotometers - A web page or portfolio of photographs must be sent to the director and coordinator of the Masters for its viewing. The portfolio The school offers its students a wide variety of over 3000 books must include at least 12 images presented on paper, cd or it can be and DVDs dedicated to the subject of photography. These books sent by email to [email protected]. If the images are digital, they and DVDs can be freely accessed in the school’s library during the must be presented in .jpg and not larger than 1000 pixels on their established hours. larger side. - The presentation of a Curriculum Vitae or Resume. AND MUCH MORE… - A letter of presentation letting us know why you would like to attend this course and what you expect from it, your professional Don’t miss out on Los Viernes de EFTI (EFTI’s Fridays) where and/or personal objectives, and what photographic knowledge you anyone, students or not, can freely assist interviews, conferences, already master. presentations, round tables, etc. All contents are based on - Signed declaration of minimum pre-masters preparation. photography and other activities that you can visit in our web site. If you would like to share your photos with photographers from all REQUIREMENTS NEEDED TO GAIN ACCESS TO THE MASTERS around the world, upload your portfolio at efti.org and participate.
- Conocimiento absoluto de los controles de cámara (diafragma, Every year we publish an issue of Exc! with a selection of some of - Absolute knowledge about camera controls (diaphragm, velocities, the best works created by the students who have participated in our ISO, exposition modes, measurement modes, etc.) Masters. Do you want to see it? - Knowledge on light meters, incident and reflected measurement, On efti.tv you can spend some time watching videos, ‘making of’ flash measurement and mixed lighting. of our classes, interviews of photographers that have come to EFTI - Basic knowledge of medium-format camera. either for their exhibitions or to give classes, etc. - Studio flash use, knowledge in studio lighting and control over the Every month EFTI inaugurates photographic exhibitions in its elements that compose a studio. exhibition rooms and in Galeria Cero. - Photographic culture (history, tendencies, authors), composition By presenting your student card EFTI offers you the possibility to and color theory. receive discounts in establishments specialized in photography.
Con la colaboración de: